• Journal of Korean Classical Literature and Education
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• no.37
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• pp.75-109
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• 2018

This paper explains how the exile experience and the writer's consciousness were presented in Namhaemungyeonrok and Bukgwannojeongrok, both written by Yu, Eui-yang in the 18th century. He was banished to Namhae island and Jongseong because of the King Yeongjo's anger. The author composed his writings by presenting historic events and tales related to the places he was passing, and by presenting poems as well. It means that the author tried to understand these places through history and literary works. Moreover he presented in detail, the lives of people living in the places of his exile. It shows how he tried to understand and recognize their lives as they themselves did. In addition, focusing on the relationships and conversations with the people from each place, the author described his life in exile. There are some reasons he presented his exile experience in the ways mentioned above. First, he was a government official and a writer. Second, as the reason for his banishment was not very significant, he felt relaxed more or less. Last, by focusing on his journey and the place of his exile, he was able to forget the agony he was facing to some degree.

• (The)Study of the Eastern Classic
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• no.57
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• pp.383-406
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• 2014

Mi-Am Yu Hee Choon (1513~1577) considered poetry as a part of his life. Therefore, this writer specifically focused on Mi-Am Yu Hee Choon's Chinese poems. The following is the conclusion from the materials discussed in this article. Mi-Am tried to understand literature in ethical perspective. The number of Chinese poems composed by Mi-Am is estimated to be about 300, and the number of pieces that this writer could find was 285. Also, Mi-Am took poem composition seriously, and put emphasis on content more than structure. Among Go Shi, Yul Shi, and Jul gu, Jul gu (especially Chil Un) is the largest in quantity, and it is presumed that he preferred Chil(seven) Un over Oh(five) Un. With regards to Go Shi, there are relatively many Jeon-Go. With regards to Jul gu, which was a poetry composing structure that Mi-Am could make the best use of, they were mostly about the daily lives. And with regards to Yul Shi, there were many poems that expressed his feelings about the real world and self-examination. Mi-Am's poems can be categorized into ones that he wrote when he was on exile, and ones that he wrote while serving for the king again after he got released from exile. During the exile period, self-discipline through learning, friendship, and love for the people were the main themes of his poems, and after being released and started serving for the king again, his poems were mostly about loyalty to the king, interaction with acquaintances, emotions, ancestor worship, self-examination, and conjugal affection through literary communion. Among Mi-Am's poems, there are many that have Eum Song Cha Un included in their titles, and the mainstream of his poems were related to daily lives or experiences. Also, most of them naturally and calmly expressed the fact itself without exaggerating. Mi-Am considered poetry as a part of his life and the fact that he practiced literary communion with his wife by writing poems about the ordinary things happened between him and his wife, Song Duk Bong, is worthy of notice.

• Journal of the Daesoon Academy of Sciences
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• v.26
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• pp.215-253
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• 2016

In 2007, according to the records, I made an on-the-spot survey of the place where Doju Cho Jeongsan and his family might have lived in exile in Manchuria and released a paper in which I decided that the site could be the Shuidongchun (village) of Luotongshanzhen in Liuhexian, Jilin Province. Thereafter, sponsored by the Doju Cho Jeongsan's Memorial Project from 2008 to 2013, many times, I carried out the field investigations and researches on Liuhexian, including the visits of the institutions which have the historical documents, in order to find the data related to the participation of him and his family in the anti-Japanese movement. I was, hence, able to reconfirm that the village had been the place of their exile, based on my collected data and the oral reports which the local historians and ethnic Korean elders had provided. In this study, using the historical documents and maps and the oral materials, I made an attempt to prove the historical truth thoroughly once again. First, the existing sources of Doju Cho and his family's settling in Manchuria from March 1909 to 1917, were carefully analyzed which were described in The Jin-gyeong. In doing so, the misspelling of the names and the spatio-temporal errors of the people's activities were corrected. Next, I researched on another town, Shuitungou of Liuhexian in Fengtian Province (in West Gando of Manchuria), which it is known that Doju and his family stayed in, and the Laogushan (mountain), which it is believed that Doju cultivated himself in. Finally, through the attempt, I reached the conclusion that Doju and his family had settled at Shuidongchun (once called Shuidonggou or Shuitongchun) of Luotongshanzhen (once called Datonggou) in Liuhexian, Jilin Province. In the Liuhexian-related documents and maps published in the eras of Republican China and Manchuria, the place name called Shuitungou was not found. However, I discovered a map in the era of Republican China on which Shuitongchun was recorded as Shuidonggou. In addition, considering the administration system of Republic China, tun(屯) and gou(溝) could not be used together in the place names. Accordingly, Shuitungou was more likely misspelled as Korean people in those days mispronounced Shuidonggou. Furthermore, people in China has habitually called the Dagushan(大孤山), located in the north of Gushanzizhen of Liuhexian, as the Laogushan(老孤山). This means that the Korean people who lived in the area then perhaps recorded the mountain as the Nogosan(老姑山), the mountain of the old goddess, according to Korean enunciation, because they had the custom of worshipping the mountain goddess. I tried my best to find the historical documents regarding Doju and his family's anti-Japanese activities to prove the location of exile in which they settled in northeastern China (Manchuria). However, I was not able to reach the initial goal completely due to the shortage of objective evidences, only to leave tasks to be solved. I hope that this study can give a little help to researchers who are interested in this matter.

• Journal of Convergence for Information Technology
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• v.9 no.10
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• pp.94-100
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• 2019

This study presents the superiority of his calligraphy by analyzing the use, meaning, and calligraphy of nickname three dragon-man(yong-jeong) written by Kim Junghee before and after exile in Jeju Island. Based on the basic structure of the three dragon-man, the relationship between the times, the context, and the characters was studied. Through this change process, the difference of art engineering with other works was analyzed. Kim Junghee intentionally went through a difficult situation by using a nickname with a dragon. He wrote different meanings, uses, and typefaces of the nickname three dragon-man, depending on the circumstances. Finally, Kim Junghee used 'three dragon-man' to King Heonjong and Monk Choui to express his feelings and intentions. His writing was excellent in art engineering and unique in the world. All were found to be supported by his epigraphy insights. The results of this study will be a new methodology for analyzing the meaning of nicknames of ordinary artists.

• English & American cultural studies
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• v.16 no.2
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• pp.89-110
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• 2016

Since he was an exile, Henry James himself was well aware of agonies as an outsider in either Europe or America. Such an anguish is deftly depicted in the character of Felix Young with James's unique ironic tone. Unlike James, however, Felix is neither affluent nor distinguished as an artist. Nor is he supported by any patron. Furthermore, at first, he doesn't seem to survive the strict joyless environment in New England, but he possesses his own survival value. His unique esthetic value and his beautiful smile enable him to win Gertrude's heart. His adroit balance between pleasure-seeker and respect for American serious culture without hostility ultimately ends up with his marrying Gertrude. His arrival in Boston might pose a threat as Mr. Wentworth fears. Actually he subverts the traditional idea of an artist. He is armed with amiability and frankness, which are incongruous with a stereotypical idea of an artist: a willful, freakish, and self-righteous person. Felix here suggests to us that a new kind of modern art be possible. Gertrude is also a new woman who opposes to staying put under the patriarchal society. She is always wavering in and out of the house, searching for opportunities to quench her curiosity to see the world by breaking the bond of New England. Her ceaseless quest for independent values results in fortuitous encounter with a new species of artist Felix. Unlike Henry James's other novels, in which male characters assume a role of sophisticated "fortune-hunter," the union of Felix and Gertrude in The Europeans represents the compromise between two different cultures. According to Nietzsche, the birth of superman is possible by the union of Athens and Jerusalem. In other words, the matrimony of Felix and Gertrude means the commingling of his liberal arts and Gertrude's moral seriousness might contribute to the birth of the new culture.

• Journal of Ecology and Environment
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• v.37 no.4
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• pp.341-350
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• 2014

In this study, aquatic and aerial algae were collected in various environments in Hongcheon-river of Gangwan-do between December 2011 and June 2012, with the aim of adding newly described genera and species to the Korean flora. As a result, five genera and eight species were recorded for the first time in Korea. These newly recorded genera and species were Cylindrocapsa geminella, Leptosira mediciana, Pseudendoclonium basiliense var. brandii, Stichococcus minor, S. deasonii, Eustigmatos polyphem, Nephrodiella lunaris, and Xanthonema exile. The eight taxa identified in this study mostly corresponded to their reported morphological characteristics. However, some differences from previous published descriptions were found; N. lunaria, reported to be an aquatic species in a previous study, was found to be an aerial algae inhabiting on rocks and mosses. Cylindrocapsa geminella was found to transform into attached or planktonic algae depending on the environmental condition, and the cell wall was found to be changed. Likewise, E. polyphem was seen to change cell-shape or chloroplast color according to the environment.

• Animal Systematics, Evolution and Diversity
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• v.28 no.3
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• pp.212-214
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• 2012

The Cymatium Roding, 1798 is a small- to large-sized marine gastropod genus. Three species has been reported thus far for Cymatium in the Korean waters. In general, Cymatium encausticum (Reeve, 1844) is known to occur in tropical seawaters including the Philippine Islands along with its congeners C. gutturnium, C. springsteeni, and C. exile. A single individual of the species was collected from Jejudo Island by SCUBA diving and morphological features were observed using a stereomicroscope. This is the first study to report the occurrence of Cymatium encausticum (Reeve, 1844) from the Korean waters, providing a detailed description of the species with the illustration for the shell morphology.

• Asian review of World Histories
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• v.4 no.2
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• pp.231-256
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• 2016

This paper presents a case study of the Muslim diaspora through comparative analysis of Islamic tombstones from the Southeast Coast of China under Mongol rule. The locations of the nisbas in the Islamic tombstones are widely dispersed, covering Xinjiang, Transoxiana, Iran, Khorasan, Khwarazm, Armenia, Syria, Palestine, and Arabia. Unexpectedly, we did not find a single named location from India or Southeast Asia. It is well known that notable descendants of distinguished families traditionally produced officials, intellectuals, and wealthy merchants, and surrendered to the Mongols during the war against the Qara Khitai Khanate and the Khwarazm Empire. There were a great number of appointed officials with Muslim names in the Jianghuai (around Lower Yangtze) and Fujian regions. This is consistent with the concentration of epitaphs written in Arabic on the southeast coast of China. The frequent use of the specific tradition of the prophet Muhammad associating the death of the exile with martyrdom in Islamic tombstones in Quanzhou, Hangzhou, and Yangzhou indicates that the Muslims in these port cities eventually established an interregional or diasporic identity of Muslim foreighners whoimmigrated into the region.

• Cross-Cultural Studies
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• v.21
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• pp.289-306
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• 2010

In Jamaica Kincaid's novel Lucy, the narrator grows up with the burden of colonial legacies embedded with Englands' imperial disciplinary projects, its language, educational institutions, discourses. Colonial education interpellates the narrator into a colonial subject through its multiple ideological discourses and systems. Teaching the literature of England is the most insidious form of the Empire's disciplinary colonial projects, more powerful than military enforcement: Its mode of operation is creating phantasy and instigating and planting desire for such phantasy. As Homi Bhabha aptly theorizes as colonial mimicry and ambivalence, the narrator as colonial subject grows up split and confused as an ambivalent subject, simultaneously mimicking and desiring for the phantasized England as real, while resisting and criticizing such up-bringing and mimetic desire. This paper explores Kincaid's rhetorical strategy of employing Wordsworth's poem, "I Wandered as a Lonely Cloud," especially her use of the flower "daffodil." Employing the concept of "daffodil gap" suggested by postcolonial critics, this paper closely examines two episodes involving the flower daffodil in the novel, one in a colonial classroom and the other in a garden in a new world and suggests that Kincaid accomplishes intertextual critique of colonial education and imperial projects.

• American Studies
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• v.44 no.2
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• pp.193-210
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• 2021

Theresa Hak Kyung Cha's Dictée proliferates with many pronouns. Whether the various subjects invoked in Dictée refer to a single common figure remains ambiguous. By paying close attention to the ambiguity of narrative voice, this essay examines how the creation of narrative ambiguity in Dictée is closely linked to the author's employment of the second person voice. This essay particularly attends to how Cha explores the narrative possibilities of the second person voice in the text's "Calliope/Epic Poetry" section in order to reflect upon experiences of exile and migration on a transnational scale. Through the intimacy and narrative ambiguity of the second person voice, Cha is able to create an epic on migration that is not only transnational in scope, but also invites the reader to engage with the self-alienating aspects of exilic and immigrant life in an unusually intimate yet powerful manner.