• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.289-298
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• 2024

As digital mobile technology has advanced, vertical videos have emerged as a prominent format in the contemporary media field, presenting a new visual language that challenges traditional horizontal-centric aesthetic norms. This study delves into the visual and structural parallels and distinctions between traditional East Asian Hanging scrolls and contemporary vertical videos by applying traditional spatial composition techniques such as the 'Three Distances', 'One River, Two Banks', 'Intended Blank', and 'Unity of Poetry, Calligraphy, and Painting' to the creation of modern vertical videos. Through this comparative analysis, the research examines how vertical layouts enhance depth and layering of the screen, deepen emotional expression, and offer creators new avenues for expression. By juxtaposing the spatial compositions of traditional East Asian Hanging scrolls with those prevalent in today's digital vertical videos, this study seeks to uncover new visual languages and aesthetic values within the evolving media field.

• English Language & Literature Teaching
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• no.4
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• pp.249-267
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• 1998

"The Waste Land" is Eliot's best known poem. It was first published in 1922 and became a famous poem in modem poetry by the 1940's. The poem is a statement of his personal experience with spiritual crisis, this simple outline is complicated and universalized by being set within the structure of 'the Fisher King legend'. The fisher King legend was studied by Miss Weston in From Ritual to Romance and Sir James Frazer in The Goldon Bough which traced the vegetation myths. It explained the cycle of the seasons in relation to the death and rebirth of a god. The god died in the winter with the death of the vegetation and was reborn in the spring with the rebirth of the vegetation. Sir James Frazer reaced these ancient rituals within the Christian world. He indicated that the death and rebirth of Christ falls within the pattern of this ancient ritual. Also Miss Weston transformed that ancient ritual into Christian terms, and connected it with the Quest for the Holy Grail. Eliot used not only the title, but the plan and a good of the important symbolism of the poem from these two books. "The Waste Land" is a difficult one because of the numerous interruptions in the narrative. On the superficial level, the story covers a 12-hour period in a day. It is also in "the stream of consciousness." It might be called the internal monologue; that is, "the free association of ideas in the mind of the narrator," Eliot experiments with both the idea of time and with the stream of consciousness, He employs a number of quotations and allusion from the Classic literature. So, his technique in "The Waste Land" consists of the juxtaposition of the present with mythcism and religious symbolism derived from the past. The structure of the poem is built out of the contrasts in time. The poem illustrates his conception of the past as an active part of the present. "The Waste Land" has "a symphonic structure" composed of five parts, which are linked by the repeated themes. The theme is the death and salvation of the Waste Land. It is drawn from the Fisher King myths. Moreover, he has absorbed into the structure of this poem the language, phrases, and associations of other writers. It gave the poem the universality both of theme and of pattern. Also, his intricate and fine techniques added the universality to the poet's personal material. At last, the verse pattern of the poem follow the same basic structure as the thematic patterns. Again in symphonic style, the verse varies from section to section. The interruption of real time is associated with the flow of consciousness. Though the poem is a complex structure, there are the interweavings of a great deal of ideas into a simple, brief statement. By these poetic techniques the poem manages to have good harmony and unity between the thematic pattern and narrative structure. "The Waste Land" therefore, became the greatest poem in the 20th century modern world.

• Journal of English Language & Literature
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• v.56 no.1
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• pp.135-156
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• 2010

In the 1640's and 1650's, Milton wrote many prose works on a variety of topics such as education, church polity, divorce, censorship, regicide, tithing, civil liberty, and blindness. Much of his prose shows us turbulent decades of English history. In this period, he also published his first collection of poems and wrote sonnets. He wrote 23 sonnets in his life, and many sonnets Milton wrote after he had become Latin secretary are occasional poems in historical time. Milton's sonnets, as Annabel Patterson says, are a marker in his personal development, in his life, in his career as a writer, and in the history of his time. Four sonnets (15, 16, 17, 23), written between 1648 and 1655, were not published in the collected edition of Milton's poem in 1673. These sonnets, addressed to leaders of the Parliamentary party during the English revolution, Thomas Fairfax, Oliver Cromwell, and Henry Vane, and to his friend Cyriack Skinner, have been known as "commonwealth" sonnets. They are also called as "heroic sonnets" because they have the common style and theme with his later heroic epic poems. These sonnets were finally published in 1694 by Milton's nephew John Phillips. Milton was interested in religious, domestic, and political liberty for his lifetime, and his heroic sonnets also deal with these ideas of liberty. Milton asks civil liberty from Fairfax, freedom in religion from Cromwell, and from Vane for the reconciliation of both. The aim of this article is to examine how the rhetorical strategies of his "left-handed" prose interact with those of his "right-handed" poetry. This paper explores the relationship between Milton's heroic sonnets and his prose works, such as The Second Defense of the People of England, A Treatise of Civil Power, and The Likeliest Means to Remove Hirelings. Milton deals with the critical issues of religious tolerance, the separation of church and state, liberty of conscience and defense of his blindness, and attempts to define the statesman's role in peacetime England in these heroic sonnets and prose works.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.243-272
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• 2022

Jeongeup, Jeollabuk-do, is an area that requires attention from those who study the history of Korean thought. In addition, Jeongeup is an area wherein many works were recorded for the first time in literary history. This is the case with Jeongeupsa as a style of Baekje songs and the lyrics of the noble families of the Joseon Dynasty, Sangchungok. Jeongeup is likewise the location where Choi Chi-won (857~?) was selected to serve as a local taesu (viceroy) and where a unique tradition of music and style were passed down. In this paper, the relationship between Choi Chi-won's role in the process of establishing a silent Confucian academy in Jeongeup and the emergence of scholar culture was examined. When Choi Chi-won left after his term in office, a birth shrine called Taesansa Temple was built to repay the selection of the villagers, and it became the source that led to the opening of the Confucian academy Museongseowon in the future. Jeongeup will be shown to be the location where Choi Chi-won realized his aspirations and honed his capabilities. In particular, Choi Chi-won's played a crucial role in the mid-Joseon Dynasty by supporting the construction and securing the name of Museongseowon. That is why Choi Chi-won was able to be revived as a symbolic figure in the region. In addition, it can be seen that the shape of Choi Chi-won was more sedentary- in the form of a Confucian scholar- and Confucian scholars emphasized the transfer of portraits at Museongseowon. Through the poetry written by Choi Chi-won, readers can learn about the worries and perceptions of scholars during those times. Although his value in the field of poetry is diverse, he can especially be recognized as a Confucian intellectual. In a large number of his works, he expresses his anxiety, agony, and critical inner consciousness all of which came from his encounter with the realities of his time. In fact, Choi Chi-won showed his qualities as a prominent literary figure of his time who had extraordinary aspirations and an admirable work ethic. However, he failed to overcome his regional and mental alienation as a poet in neighboring countries. Therefore, he internalized a sort of fierceness in terms of his perception of the world. However, it seems that it was rather a factor that made his work exhibit a strong lyrical style. In addition, Choi Chi-won's collection of writings includes a number of works that strongly criticized various forms of pathological phenomena caused by terminal phenomena of the time. He also highlighted the wrong in society by realistically depicting the lives poor and needy people and their eventual sacrifice via distorted relationships. This can be read encapsulating the agony of intellectuals of that time. The dictionary definition of a 'Confucian scholar' is "a Confucian term referring to a person or class that embodies Confucian ideology," and in its contemporary meaning it suggests " ⋯ an example of a personality, but not an identity, and the conscience of one's time period as a source of human morality inwardly and social order outwardly." In this respect, it could even be said that Choi Chi-won could be considered the originator of scholar culture.

• Cartoon and Animation Studies
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• s.24
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• pp.173-197
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• 2011

Through a story, the audience moves between fiction and reality. A story is an emotional experience that appeals to human feeling. The rational function of a story is to convey knowledge and information, and its emotional function is to touch the audience. Moreover, these aspects of a story are linked to its language, text, and imagery. This paper focuses on the emotional function of a story. In a experiential story, the audience's emotional response is a result of maximum dramatic communication between them and the characters. Through psychological and mental communion with the characters, the audience becomes immersed in the story when they emotionally identify with the characters, and dramatic communication is achieved. However, dramatic communication is mostly achieved instantaneously. The elements of a film need to be realized to sustain dramatic communication such that the audience continues to be immersed in the story. The audience can identify with the characters who are placed in real-life situations by considering the characters' external and internal aspects. External search pertains to the tangible aspects of the character such as its background, life, and conversation. Through the audience's external search, the characters communicate with the audience. Internal search deals with aspects of the characters' personality such as their self-concept, desires, and internal conflicts. Through internal search, the audience understands the inner side of the characters. In this process, a film director should ensure that the acting depicts the inner side of the characters. In other words, the director should perfectly depict the internal and external elements of a human on screen. Appropriate visualization can lead to dramatic communication with the characters and thereby create the audience's emotional response. Considering these techniques, this paper focuses on the scenes of the film "Poetry" in which dramatic communication with the characters creates the audience's emotional response. Accordingly, the audience plays a role in sustaining dramatic communication for the physical screen time of a film.