• 한국엔터테인먼트산업학회논문지
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• 제15권7호
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• pp.71-86
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• 2021

본 연구는 외국인을 대상으로 하는 한국어 문화 수업에서 뮤지컬을 활용하는 방안을 모색하고 그 의의를 밝히는 데에 목적이 있다. 한국어 교육은 의사 소통 능력 신장을 목표로 하고 있으며 이를 위해서는 언어 지식뿐 아니라 사회적 배경 및 맥락의 이해를 돕는 문화 교육의 필요성이 제기된다. 이에 연구자는 그동안 한국어 교육에서 주목받지 못했던 뮤지컬 콘텐츠를 활용하여 한국어 문화 수업을 구성하였다. 뮤지컬은 뚜렷한 서사 구조와 음악을 중심으로 화려한 볼거리를 제공하여 한국어 학습자들에게 매력적인 문화콘텐츠이다. 특히 본 연구에서 다루는 뮤지컬 <스웨그 에이지: 외쳐 조선!>은 현재 사회에서도 유효한 문제의식을 지녔으며 작품의 주인공들이 부르는 '시조(時調)'는 한국 문학 수업 자료로도 활용가능하여 다양한 문화 수업을 진행할 수 있는 교육적 자료라 여겨진다. 연구자는 위와 같은 특성을 바탕으로 한국 뮤지컬<스웨그 에이지: 외쳐 조선!>을 활용하여 '시조'를 교수하는 문화 수업 방안을 제시하였다. 수업은 중급 이상의 학습자를 대상으로 한 4차시 과정으로 이루어지며 각 차시는 '뮤지컬 작품의 전체적인 내용 이해하기(1차시)', '한국 시조에 대해 학습하기(2차시)', '자신의 이야기를 시조로 쓰기(3차시)', '창작한 시조 작품 발표하기(4차시)'로 진행된다. 본 문화 수업은 시조를 소극적으로 학습하는 데에 그치지 않고 시조의 의미를 내재화하고 창작하며 적극적인 향유로까지 영역이 확장된다는 데에 의의가 있다. 더불어 그동안 한국어 문화 수업에서 주로 다루어졌던 영화, 드라마, 연극, 대중가요 등을 넘어 뮤지컬이라는 공연 장르를 더함으로써 한국어 학습자들에게 교육은 물론 폭넓은 한국의 대중문화를 소개하고 경험하게 하는 고무적인 수업이 될 것으로 기대된다.

• 영어영문학
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• 제59권4호
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• pp.527-544
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• 2013

William Shakespeare's dirge, "The Phoenix and the Turtle," is still a crux in the Shakespearean canon and interpretation. The poem is still believed a dark allegory dealing with some arcane and obscure courtly matters and politics. However, we cannot recover its allegorical significance. This interpretive situation enforces us to read the poem as a self-conscious artwork in terms of its paradoxical language and meta-poetic metaphors. Paradox, as a subspecies of metaphor, challenges categorical and judgmental absolutes, and produces a sense of wonder in reconciling the logically contradictory opposites. In this poem the urn containing the ashes of the phoenix and the turtle is the icon of the mysterious unity of art, born of the wonderful marriage of male and female. Shakespeare's poem demonstrates in itself the magical power of poetic language in transforming an elegy into an epithalamion. The union of the phoenix and the turtle defies the singularity of their respective entity, and at the same time it retains their distinctive particularity of the two-ness. This neo-Platonic mystery of the "married chastity" is a paradox which confounds reason and verifies the poetic truth of imaginative intellect. The marriage of Christian perichoresis is crystallized in the artwork of the urn, which is admired at by posterity, though the marriage was issueless, due to its passing virtue. "The Phoenix and the Turtle" depicts the metaphor-making process and its effect, the poem.

• 인문언어
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• 제7집
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• pp.123-155
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• 2005

This paper concerns different forms of poetic thinking, each of which attempts to investigating truth of being on the ground of its idiosyncratic feature. The horizon evoked via these practices, however, is the Absolute where any plausibility of communication be fundamentally blocked off. Poetry, for instance, relinquishes its semantic auto-referentiality in order to be expressive of something unsayable. Poetic diction, coming-into-being, and sound with no meaning are those three expressive modes that I will examine in terms of the so-called "poetic thinking."

• 인문언어
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• 제2권2호
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• pp.5-50
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• 2002

This paper aims to illustrate and illuminate the relationship between language and its neighbor disciplines, in particular between language and literature, language and religion, and language and music. 1. Language and literature. Literature is an art of language. Therefore, linguistics, the science of language, should be able to explain how the grammar of literature elevates and ordinary language into a literary language. I illustrate poetic syntax with examples from Shelley, Coleridge, and Wordsworth. 2. Language and religion. I show how a linguistic analysis of a religious text can illuminate the background, authorship, chronology, etc., of a religious text with an example from the Book of Daniel. I also illustrate how a misanalysis of a poetic meter led to a mistranslation with an example from the Book of Psalms. 3. Language and music. First I trace an epochal event in the history of the Western music, i.e., the change of the musical style from the liturgical music of Latin in which the rhythm was created by the alternation of syllable duration into the liberated music of German in which the rhythm was generated by the alternation of lexical stress. I then illustrate a parallelism between linguistic and musical structures with several musical pieces including Gregorian chant, the 16th century music of Palestrina, the 17th century music of Schutz, the 18th century music of Mozart, and the 19th century Viennese music. Finally, the importance of text-tune (verse-melody) association is discussed with examples of mismatches in translated Korean hymns and contemporary Korean lyrical songs. In the concluding part, I speculate on some factors that are responsible for the same organizational devices in three different modes of human communication. An answer may be that all are under the same laws of mind that govern the way man perceives and organizes nature, i.e., the same cognitive abilities of man, in particular, the capacity to organize and impose structure on their respective inputs.

• 영어영문학
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• 제58권6호
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• pp.1143-1165
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• 2012

Tinted with ontological concern, Ted Hughes passes through an existential climate, eventually confirms death( or nothingness) as the new foundation of his poetry, and explores the various paradoxical effects of nothingness. Nihilism, fraught with rather negative and traumatic themes such as death, melancholy, and despair can, however, generate being (even in multiple modes), animalistic vitality, and insubstantial specters. Among these new functions of nothingness animality and spectrality are the most notable in Hughes's poetry. A considerable number of animals and bioorganisms that Hughes introduces exhibit the enormous energy derived from the dignity of death, from subversive challenges against the established hierarchy, and from new and dynamic multifaceted sources of nothingness. In other words, Hughes's animals, yield surplus power beyond themselves, as if they are demi-gods; in short, they feature the sublime as unidentified terrifying effects of nothingness. In a sense, animality means allowing some level of violence without legal sanction. Hughes inaugurates this kind of all bigotry-eradicating violence and attempts to subvert higher beings such as humans and gods, and existing doctrines: thrushes rise up against the animal and human worlds; a rush of ghostly crabs at night press through the human world. Hughes also resists the highest being, God, employing the technique of rewriting God's theology. Dirty, anomalous crows attack, subvert, and dismember the delicate, indurate, and thorough system of logos. Hughes, of course, does not place the animals merely in lofty regard, aware of the ulterior deprivation of the sublime animality, the trace of existential negativity. Thus, a seemingly omnipotent crow can become a mere beggar guzzling ice cream from the garbage bin on the beach. In addition, the violent and dignified aspects of nothingness can be transformed to reveal the thin and trivial traits as unreliable specters. Dark, heavy, and terrible nullity lessens its own volume and mass, and exposes the airy waves of shadows or specters. However, owing to nullity's untraceable track, the scarcity and unfamiliarity of the phantoms inversely display their foreign gigantic effects such as fantasy and violence.

• 영어영문학
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• 제55권1호
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• pp.83-105
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• 2009

Modern poetry begins as criticism of modernity and, by so doing, rejects its idea of time. Modernity emphasizes sequential, linear, and irreversible time and progress. Williams rejects the modern view of time, and attempts to substitute literature for history assuming that literature can take us into the immediacy of time. His poetry asserts the true moment of experience as an immediacy, of words co-existent with things. He suggests that modernity and its idea of time already led to World War I and could clearly lead to an actual, manmade apocalypse with continued technological progress. Already in the 1920s, Williams sensed that he was living in a world where such an end could come all true, which is why Spring and All, his greatest early achievement, begins with a parody of the modern apocalypse. Throughout the work, Williams criticizes "crude symbolism" and expresses his longing to annihilate "strained associations," for he believes that the metaphoric or symbolic association is related to order, the center, and the traditional concept of time itself. The metonymic model of Spring and All substitutes a self-reflexive, open-ended, and indeterminate structure of time for the linear and closed one. Instead of supplying an end, Williams only asserts the rebirth of time and attempts to arrive at immediacy while attacking the mediacy of traditional art. His characteristic use of fragmentation and abrupt juxtapositions disrupts the reader's generic, conceptual, syntactic, and grammatical expectations. His radical poetic experiments, such as the isolation of words and the disruption of syntax, produce a sense of immediacy and force the reader to confront the presence of the poem. His destruction of traditional forms, of the tyrannous designs of history and time, opens up rather than closes the possibility of signification, and takes us into a moment of beginning while disallowing temporal distancing. Spring and All, as a criticism of the modern idea of time, asks us to view Williams's work not as an ahistorical text but as a cultural subversion of modernity.

• 영어영문학
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• 제55권5호
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• pp.843-863
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• 2009

This paper aims at tracing the appearance of Italy in W. H. Auden's poems. Auden summered on Ischia, an island in the Gulf of Naples, between 1948 and 1957. In the process of ten years of contact with Italy, Auden' poetry developed out of Italy, and contributed to the world's picture of Italy by English poets. In the early part of his stay, Auden was fascinated with Italy and found a source of vitality for composing his poems. But Auden's initial view of Italian culture evolved from extolling its virtues to a more critical one weighing its losses and benefits. The happiest mood is reflected in "In Praise of Limestone", in which the ground itself becomes a symbol of Eden. "Ischia" introduces the real landscape of the island. Auden partly admits the darkness of the island in the aspects of its past history and legends, but the poem is still mainly about praising the beauty of the island and the comfort that it gives to the poet. In "Goodbye to the Mezzogiorno" the negative side of the island's life comes to light. There was something in the setting, warm and beautiful as it was, that no longer suited Auden's temperament and Auden bids farewell to his Mediterranean period. His view of Italy is a restricted and detached one seen through the eyes of a successful Anglo-American poet. Auden's cosmopolitan character often is defined such terms as "the Wandering Jew," "alien" or "stateless Auden". But our reading of his poems dealing with Italy reveals his true characteristics which can not transcend his evolving views.

• 영어어문교육
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• 제9권spc호
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• pp.167-184
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• 2003

This paper is to analyze how Walt Whitman developed the theme and structure of Leaves of Grass with his ideal of democratic vistas. Whitman established his identity as an inspired poet, having faith in the divinity of man based on transcendental belief. After being awakened to the transcendental truth, he practiced his own common world view--his democratic vistas. Whitman searched for the unity with nature and identified his self with "common man and his nation." The poetry expresses "cosmological and national ideology" dedicated to the creation of an ideal nation united in eternal freedom and peace. By portraying common cosmic and national theme in terms of his individual personality, he brought various paradoxical and controversial ideas into one thing, namely "democracy", fusing diversity into unity. As in the symbol of the grass, there is a unity in variety reflected by democracy in a cosmological and political compound. With the form of free verse, he could express his liberal unrestrained and mystical thoughts of democracy. This new form has been associated with the poet's strong consciousness of the need for modernization in his country. He willingly assumed "the role of prophet and public voice for American democrat" with the rolling catalogues and I-persona which formed a sense of the common man and common things of America. Whitman pioneered a democrat literature with simple and dynamic tone and style. He successively pursued the democratic vistas in his Leaves of Grass.

• 한국정보과학회 언어공학연구회:학술대회논문집(한글 및 한국어 정보처리)
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• 한국정보과학회언어공학연구회 2018년도 제30회 한글 및 한국어 정보처리 학술대회
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• pp.580-583
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• 2018

본 논문에서는 SeqGAN 모델을 사용하여 한국어 시를 자동 생성해 보았다. SeqGAN 모델은 문장 생성을 위해 재귀 신경망과 강화 학습 알고리즘의 하나인 정책 그라디언트(Policy Gradient)와 몬테카를로 검색(Monte Carlo Search, MC) 기법을 생성기에 적용하였다. 시 문장을 자동 생성하기 위한 학습 데이터로는 사랑을 주제로 작성된 시를 사용하였다. SeqGAN 모델을 사용하여 자동 생성된 시는 동일한 구절이 여러번 반복되는 문제를 보였지만 한국어 텍스트 생성에 있어 SeqGAN 모델이 적용 가능함을 확인하였다.

• 인문언어
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• 제1권1호
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• pp.159-183
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• 2001

This paper surveys the meaning of the pen name ′Yi Sang(李箱)′ in the light of the arbitariness of language and the relationship among names, observing in three ways how the images of ′Sang′ (Box) appear differently in his works. In Particular, we look into (1) the relationship between a box and its inner boxes, (2) the divisional relationship in the box, and (3) the relationship between the box and an outer box. In Yi Sang′s work, image (1) gives shape to the relationship between the writer himself and his ancestors who are responsible for his present existence. Image (2) gives shape to two internally divided Yi Sangs, and is symbolized as a mirror that reflects two selves. Image (3) gives shape to a relationship between himself in the closed world and other people and/or a bigger outside world. All these symbolic relationships are fully represented in his work "Nalgae" (The Wing)". What is interesting is that Yi Sang has already employed these box images in his earlier poetry "Geonchuk-muhan-yukmyeon-gaucho" (Infinite Architectural Hexagon). furthermore, by visualizing his name as a sqaure($\square$), he means to suggest the intentional image of his pen name as a ′box′.