• Journal for History of Mathematics
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• v.29 no.2
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• pp.89-102
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• 2016

Lee Sang, one of the representative poets of Korean Modern Poetry, wrote poems which present the existentialistic modernism in the 1920s, the chaotic era of Korean history. The characteristics of his works have been shown by various points of view. This paper especially explored the meaning and feature of mathematical expressions by numbers, symbols and other signs of mathematics in Lee's poems. His poems are composed by scientific and abstract rules in mathematics which are expressed as mathematical symbols. The paper focuses on analyzing seven poems which maximizes mathematical expressions among his poetry. This kind of work would be the one of ways to figure out the features of mathematics through literature.

• Cross-Cultural Studies
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• v.53
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• pp.1-24
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• 2018

This following research is a study on the use of French and de-locality in the modern Korean poet Lee Sang's poetry (1910-1937). His hometown was Kyung Sung, Seoul. He mainly wrote his works in Korean, Chinese character, and Japanese, using the language of education and his native language at that time. So then, what was the spirit that he wanted to embody through use of French words? By using words like "ESQUISSE", "AMOUREUSE", Sang's French was not a one-time use of foreign words intended to amuse, but to him the words were as meticulously woven as his intentions. French words were harmonized with other non-poetic symbols such as "${\Box}$, ${\triangle}$, ${\nabla}$", and described as a type of typographical hieroglyphics. Instead of his mother-tongue language, French was applied as a surrealistic vocabulary that implemented the moral of infinite freedom and imagination, and expressed something new or extrasensory. Subsequently, the de-localized French (words) in his poetry can be seen as poetic words to implement a "new spirit", proposed by western avant-garde artists. Analysis of French in his poetry, showed a sense of yearning for the scientific civilization, calling for his sense of defeat and escape from the colonized inferior native land. Most of all, comparing his pursuit of western civilization and avant-garde art to French used in his poetry, is regarded as world-oriented poetry intended to implement the new tendency of the "the locomotive of modernity," transcending the territory of the native country.

• Information Systems Review
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• v.25 no.3
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• pp.43-57
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• 2023

In this study, we developed an AI-based system to generate sentences that assist in creating Korean poetry. Instead of replacing the creative aspect of composition, which is considered a unique domain of humans, the focus was on generating foundational sentences to enhance human imagination efficiently. By conducting interviews with poets, the researchers extracted sentences from eight distinct datasets, enabling the generation of poetry across eight different genres. This study stands out for its innovation in developing a method for crafting literary works in Korean. Its significance lies in its potential to facilitate the creation of diverse literary forms such as essays, prose, or novels.

• Journal of Digital Convergence
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• v.17 no.12
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• pp.337-344
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• 2019

The purpose of this study is to explore the uncertainty as the healing function in the poetry of Robert Frost. One of the therapeutic functions in poetry therapy is to make us look into life from a new perspective, which appears in the uncertainty of his poetry. His uncertainty is based on his peculiar poetic theory and philosophy of dualism. This paper reviews these things and deals with aspects of the uncertainty in detail through his poems. The result of this study shows that Frost conveys elements of ambiguity, illogical development and unpredictability in our society and fear, loneliness and anxiety in our daily life, and also offers realistic depictions of complex life as a therapeutic medium for overcoming these problems. So it seems that his poetry provides us with a recovery of psychic health and a possibility of healing and personal growth. Furthermore we need a practical in-depth study on the healing function of English poetry.

• Journal of English Language & Literature
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• v.57 no.2
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• pp.191-215
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• 2011

This paper aims at investigating Dorothy Wordsworth's later conversation poetry, which has not been the focus of critical discussions on her literary works. While many critics have been emphasizing Dorothy Wordsworth's journals and the tendency of self-effacement in her prose, this paper argues that her later poetry often reveals acute self-consciousness about the circumstances that condition this self-annihilation and searches for a creative way to endorse her own identity. In "Lines Intended for My Niece's Album," she expresses anxiety and uncertainty about the inclusion of her poetic piece in Dora Wordsworth's album, which contains poems by prominent male writers of the contemporary period. "Irregular Verses" presents Dorothy Wordsworth's self-conscious narrative of her girlhood and shows how her own ambition to become a "Poet" has been stifled by external circumstances, including the ideology that instills the idea of proper womanhood into aspiring girls. While these poems examine contemporary gender discourse and the frustrated poethood resulting from it, other poems activate conversations with William Wordsworth's poems and thereby provide a revisionary re-writing of her brother's texts. For example, in "Lines Addressed to Joanna H." Dorothy Wordsworth becomes "a woman addressed who herself addresses others." Her scrupulous approach to her own addressee refuses to subordinate the other to the self's will, and through this revision of "Tintern Abbey," Dorothy Wordsworth vicariously liberates her own self confined in her brother's poems. "Thoughts on My Sick-Bed," which echoes "Tintern Abbey" through borrowed phrases and direct address to William Wordsworth, foregrounds her own poetic identity in the form of the first-person pronoun "I." Dorothy Wordsworth's continual illness during this period of her life paradoxically allows her the time for personal reflection formerly denied to her in her busy life constantly occupied by physical and spiritual labor for others. Instead of earning satisfaction from the subsumption of her creative energy under William Wordsworth's poetical endeavor, Dorothy Wordsworth finally starts to affirm her own poetic identity that can properly express her inner vision and artistic talent. Although this final affirmation remains largely incomplete due to her later mental collapse bordering on madness, it powerfully conveys the hidden literary aspiration of the formerly frustrated female poet.

• Journal of English Language & Literature
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• v.64 no.2
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• pp.171-185
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• 2018

Students and other new readers of modernist poetry often experience difficulty with the influential early work of Ezra Pound. Although these typically brief poems may appear (deceptively) simple, an understanding of the relationship between Imagism and Vorticism is crucial to reading-or teaching-them effectively, which in turn requires significant familiarity with relevant poetics theories as well as representative poems. This essay clarifies the complex relations Imagism and Vorticism as two distinct styles that are too often conflated to the detriment of an accurate understanding of either one (and, in consequence, of the later modernist poetry that builds on their discoveries). In order to elucidate the modernists' justification of free verse over traditional metrical composition, I begin with an elaboration of T. E. Hulme's 1911 theory of the "cheerful, dry, and sophisticated" modern classicism on which both Imagism and Vorticism were largely predicated, developing Hulme's important distinction between the version of classicism that is "static" (and gives rise to Imagism) and the one that is "dynamic" (and leads to Vorticism and beyond it). In the following two sections, I draw upon and synthesize a broad range of Pound's own poetics statements to reveal the evolution of first sound ("melopoeia") and then the image ("phanopoeia") throughout his early work. Although the body of this article is analytical and historical in nature, it concludes with a practical template prompt for a creative response assignment, appropriate to undergraduate and graduate students, designed to help new readers recognize for themselves how Vorticist art works and why it matters.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.975-992
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• 2009

Whereas many Dickinson scholars tend to focus on Emily Dickinson's anthropocentric dimension, her work also reveals an ecocentric aspect. On the one hand, influenced by New England Puritan typology and its offshoot Emersonian Transcendentalist idealism, Dickinson reveals her indebtedness to these two worldviews by emphasizing the invisible over the visible and the spiritual over the physical. At times, she reflects the common thread of the two outlooks-a hierarchical thinking, in which nature is inferior to human beings and does not have its own identity outside of human use. On the other hand, seeing through the downside of the hierarchical Emersonian idealism, Dickinson sometimes suggests an alternative stance on nature in a nonhierarchical way. She often appreciates nature for its own sake, becoming its neighbor and companion. This aligns Dickinson with modern ecocritics and ecofeminists who criticize a hierarchical anthropocentrism and promote an egalitarian ecocentrism in which natural and human beings are fellow citizens of the earth community. And yet, unlike most ecocritics who advocate a complete shift to an egalitarian paradigm, Dickinson embraces both anthropocentrism and ecocentrism in her poetry of "open portfolio." This openness stems from her belief in interrelatedness between God, nature, and human beings. Housing the two opposing perspectives in her poetry, she widely opens the possibility to choose the better way to relate to our sister and brother, nature.

• Journal of the Daesoon Academy of Sciences
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• v.49
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• pp.157-186
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• 2024

This study aims to understand the symbolic meanings of dragons in the contemporary period through the painting featuring poetry based on the Hwaryong (paintings of dragons) and to analyze the literary representations and characteristics of dragons. First, the shape and aura of the dragon in the paintings should be confirmed. In dragon Painting Poetry (Paintings Featuring Poetry), the shape of the dragon is embodied in the aura of 'spirit.' However, people in previous eras customarily believed that dragons were real. In addition, the main spirit of the Hwaryong was in the representation of the dragon's aura, or "Jeonsin (transmission of spirit)," such as the creature's dragonly virtue or Heavenly Perfection. Next, the rhetorical representation of the dragon in the painting is to be examined. In the actual Painting Poetry, dragon images were relatively common in descriptions of pines, bamboo, and plum trees. The pine-bamboo-plum motif is known as Sehan Samwu (the three friends of the cold season), and since the Northern Song Dynasty, it has become a symbol of literary incision. Manifested as a dragon, the pine-bamboo-plum motif has a common denominator of winding branches, tangled stems, and bluish jade coloration, and like the dragon, it is used as a backdrop for weather phenomena such as rain, wind, and lightning. In the schematic that connects the Hwaryong, dragon Painting Poetry, the original meaning of the dragon is transformed into shapes and language. This is the meaning conveyed by the dragon, and this symbolic meaning was shared among the writers of the period who viewed the poems and paintings.

• Journal of Korean Classical Literature and Education
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• no.39
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• pp.221-246
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• 2018

In this text, the author examines the aspects and characteristics of the three forms that were created and enjoyed when the upper-class nobles of Japan "combined(混淆)" waka(和歌) and Chinese poetry(漢詩) between the 10th and 17th centuries. The three forms are the "Collection of Japanese and Chinese poems for singing"(和漢朗詠), "A collection of Japanese and Chinese poems" (詩歌合), and the "Renku renga"(聯句連歌). "Collection of Japanese and Chinese poems for singing" appeared in the 10th century, "A collection of Japanese and Chinese poems" appeared in the 12th century, "Renku renga" appeared in the 14th century, and all three continued to influence the history of Japanese literature after that time. As the combination of literary Japanese and Chinese progressed, the gap between waka and Chinese poetry decreased until they finally combined to create a single work. That is, waka and Chinese poetry converged in one place in multiple ways: as a work that was appropriate to be recited("Collection of Japanese and Chinese poems for singing"), facing each other work against work in a competition("A collection of Japanese and Chinese poems"), and, in the end, they reached the point where they were interchangeable as lines making up long poems(長詩)("Renku renga"). The combination of literary Japanese and Chinese can be said to be the Japanese version of the common movement in East Asian literary history during the Middle Ages to make songs from one's own language flawless in Chinese poetry. Meanwhile, by examining the status changes that appeared as Chinese poetry paralleled, fought with, replaced, and combined with waka, we can find clues to explain the attitudes of the Japanese people on Chinese poetry during the period when the three forms existed, as well as the characteristics of Japanese Chinese poetry that appeared in response to that. The preferences not of "myself" but of the "audience," content and expressions that revere the period rather than the inner self of the poet, and the fact that it is a means for enjoyable pleasure rather than having the original characteristics of lyrical poetry for self-expression are all characteristics of Chinese poetry in Japan during the early and late Middle Ages period. These characteristics can be said to be the current that flows in the underbelly of the history of Chinese literature in Japan. This author believes that the key to discussing the history of Chinese literature in Japan during the Middle Ages period from the perspective of East Asian literary history can be found here.

• Journal of architectural history
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• v.6 no.2 s.12
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• pp.53-64
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• 1997

The language of architecture is a kind of tool which helps people to experience the environment not as the thing itself but as a meaningful one. It, gathered by place, constitutes 'genius loci', as the existential structures. It, in other words, gives a thing 'cognitive quality', and serve people to 'dwell' because 'a place is a gathering thing with concrete presence.' Our environment, only when it possesses the language, presents itself as a namable thing or an understood world. Such a meaningful identification is dwelling. The modern world is a complex melting-pot. It is 'complexities' and 'contradiction'. The language of architecture is never created, rather it is selected by needs of the time and the place. In this sense, architectural design means discovery and interpretation of the poetic order of architypal form and style, and the poetic order is a way for people to dwell in the humanistic sense. These reminds me of Martin Heidegger's statement : "Architecture belongs to poetry, and its purpose is to help man to dwell."