• (The)Study of the Eastern Classic
• /
• no.70
• /
• pp.119-156
• /
• 2018

Suk Dang Kim Sangjeong (1722-1788) was one of the Big Three Noron literati of the mid-18th century, and is an author worth taking note of in that he expressed the duty to pursue the Qin-Han gomoon-ron (古文論) more clearly and radically than anyone else. The literary debates that unfolded in the letters he exchanged with Ahn Doje (安道濟) and Sin Daejeon (申大傳) are the clues that may explain the continual development of Qin-Han gomoon-ron within Joseon. His gomoon-ron is a self-reflection of the Dang-Song gomoon-ron that continued as tradition in the Noron literati after Kim Changhyeop (金昌協), and also reflects his literary and periodical confidence. At the same time, he also makes a distinction with Qin-Han gomoon-ron set forth by the Seven Masters literature from the Ming Dynasty (前後七子) in that he takes precautions against plagiarism and emulation. It has rarely been shown that his sentences plagiarize and excessively cite the classics, or that he abstrusely elaborates sentences. He sorted through things of value worth recording and cleanly reenacted them based on the scenes and conversations, further, delivered applicable normative lessons through allegoric writing. This may be discussed as the portions that are possessed by the Qin-Han gomoon-ron that he pursued, and particularly that have the esthetic and contact point of historical prose. Kim Sangjeong's writing pursued the Qin-Han gomoon-ron of a prior era, and though distinguishable from authors of difficult writings, possesses unique characteristics that make it distinct from the Dang-Song gomoon-ron that focuses on argument. The direction of Kim Sangjeong's antiquarianism seeks after imperial loyalty, and is mutually intelligible with the artistic discourse of the Noron Cheongryu literati such as Lee Yunyeong, Kim Sangsuk, Lee Insang, and Hong Naksun who preferred archaeological finds and classical prose. While their literary tastes are a reflection of their conservative worldviews, they may also have been utilized as a foundation supporting their lives which were devoted to literature.

• SUVANNABHUMI
• /
• v.4 no.2
• /
• pp.17-32
• /
• 2012

This study explores the concept of postmodernism in literature. There are many ideas which have conflicted with each other, but now postmodernism is real concept. We cannot deny. By researching papers of Jean-François Lyotard, Jean Baudrillard, Jacques Derrida, Michel Foucault, Julia Kristeva, Roland Barthes, Ihab Hassan etc. we find out many characteristics of postmodernism. From that, we propose a conceptual understanding of postmodern literature as follows: Starting from the late 1910s with the poetry of Dadaism (1916), Franz Kafka's prose (Metamorphosis 1915) and drama by Samuel Beckett (Waiting for Godot 1953), postmodern literature coexists with modern literature and is a thriving form from 1960 on. Postmodernism is opposed to modernism in nature in that it accepts nothingness, chaos, games and intertextuality. It tries to solve some difficult problems of modernism making use of science to free people from a life of darkness and dogma. Postmodernism is associated with the information technology revolution, an economic, scientific and technological boom and rapid urbanization.

• Journal of Korean Elementary Science Education
• /
• v.38 no.1
• /
• pp.130-148
• /
• 2019

This study compared the characteristics of scientific poems written by scientifically-gifted and general elementary students, and their perceptions of writing scientific poem. To do this, 5~6 graders (n=100) at two gifted science education institutes and 5~6 graders (n=93) at a elementary school in Seoul were selected. Scientific poems written by the students were analyzed according to their numbers and types. Their perceptions of writing scientific poems were also analyzed through a questionnaire and group interviews. The analysis of the results revealed that the general students wrote more scientific poems than the scientifically-gifted students for thirty minutes. The general students mainly named the titles in a direct way, while scientifically-gifted students did it in an implicit way. The free verse poems in both general students and scientifically-gifted students appeared most frequently, and the prose or narrative poems also often appeared. The general and scientifically-gifted students frequently used impersonation, and some students did not use metaphors. They didn't connect the scientific knowledge for multiple grade. While the poems of the general students evenly included the scientific knowledge for various academic fields, those of scientifically-gifted students tended to include the scientific knowledge for physics or chemistry. The poems of scientifically-gifted students tended to include more science process skills, especially in basic inquiry skills, than those of general students. The scientifically-gifted students wrote scientific poems in a more expanded form regarding the scientific knowledge, than the general students. Scientifically-gifted students perceived the educational benefits of writing scientific poems more positively based on various cognitive and affective aspects. However, many scientifically-gifted and general students had also several difficulties in the processes of writing scientific poems. Educational implications of these findings are discussed.

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

• The Korean Journal of Archival Studies
• /
• no.63
• /
• pp.167-225
• /
• 2020

The author conducted a records research named 'daily life and records.' The purpose of the research was to find an archive, if possible, that would be effective in promoting exchange and cooperation among people in their daily lives, and to distinguish what type of archive it would be, as well as how to let it naturally take place in their ordinary lives. For 4 months (August-December 2019) with 100 college students in their 20s, trial and error were repeated. There was no separate laboratory for the research, and it used regular school hours at universities. Although it is true that there was a control through power by the college system, the plot was centered on the sunshine policy. To human being there is a voluntary and positive attitude. If anyone begins to take this attitude it is difficult to stop such action. Through emotional support, this voluntary action was encouraged to take root. The experiment was an attempt to doubt the obvious, and to search for something new. From afar, this may seem irrelevant to archives. However, for the author who is a professional archivist, it was a time of records through control by Records principles. By organizing into a form of story, its archival implications are observed.

• The Korean Journal of Archival Studies
• /
• no.59
• /
• pp.207-275
• /
• 2019

This archiving project of the survivors of suicide was done with the survivor supporting team of the Seoul Suicide Prevention Center. The survivor supporting team was operating a Self-help Support Group for the emotional support of the survivors of suicide. A Self-help Support Group is a place for the survivors of suicide to regularly meet and share their suffering by talking of topics hard to discuss elsewhere. As the Self-help Support Group progressed members who acted as the leader of the group appeared. They formed an essay group that writes together. Two fathers who lost their sons, two mothers who lost their daughters, a mother who lost her son, a wife who lost his husband. The essay group met each week in a place facing Sajik Park. Through the windows that took up the whole side of the room, evening was coming in. The things that happened during the day went away towards Inwang mountain following the setting sun. Ten people (six members of the essay group, three from the survivor support team, a historian for unique conversation) sat around a table, facing each other. "Now, what shall we do?" History for unique conversation is a time that archives life by sharing conversations. At times a complete stranger, and other times people who share their ordinary lives sit around together (3-9 people, sometimes about 15). On the table there is coffee, bread, fruits and salads, and sometimes a dish someone heartily prepared. When a bottle of wine is placed on the table, each takes a glass. Morning, afternoon, the time the evening is welcomed in, late night. It does not matter which. For six months, 3 hours when meeting every week, 6 hours when at every other week. A room where the ambience is like that of a kitchen where sunlight enters, or a cozy living room is the best location. However, there are many times when it is held in a multipurpose room in the suburbs where many meetings are held, or in a classroom of a school. The meeting place is decided according to different situations of the time. There are no participation requirements as it is said to be for themselves to write down according to archiving form while looking back their lives thoroughly, and they are the only ones to stop themselves. The archives landscape from far away would seem like trying to do some talking. However, when going into a microscopic situation one must leave themselves to the emotional dynamics. It is because it archives the frustration and failures one experienced through life. A participator of history for unique conversation must face the sufferings of their life. The archiving project took place in 2013 to 2014. Many years have passed. Has the objective distance for archiving the situation of that time been secured? That may be uncertain, but I will speak of a few stray thoughts on archiving while depicting the process and method of operation.