• Cross-Cultural Studies
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• v.33
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• pp.33-52
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• 2013

Haizi, who ended his life with suicide on the railroad at the age of 25, is a poet who implemented his unique poetic world alone without belonging to any of the existing Chinese poetry schools in the 1980s. The process that Haizi reveals self-inside through a poetic work is rather to hide self-inside paradoxically, too. Accordingly, even a work of figuring out the real intention, which is hidden in poetic dictions that he selected, will be meaningful. In this sense, this study tried to inquire into the poetic imagination and self-image that were revealed in poetry focusing on "Spring, Haizi of 10 People", which is a work of having his name as topic, with having been written at the time of suicide, among Haizi's many poetic works. In addition, it figured out Haizi's private conscious world through analyzing the poem titled "Facing the sea with spring blossoms", which was created ahead of death same as "Spring, Haizi of 10 People". Thus, the aim was to look back on significance of his death and to broaden the width of understanding about Haizi's poetry. As for Haizi, the death can be regarded as the completion of 'performance,' which is a kind of Haizi's own final art form. Hence, Haizi's suicide needs to be seen from the perspective dubbed the continuity of creation through this performance, not the discontinuance of creation caused by 'intended death' that the poet himself selected. In the wake of pursuing the poetic world of a gifted poet Haizi, who died early, that this study examined, there will be any poet of Korea who is recalled naturally. One poet will be first recalled Yi Sang, who is a poet and a novelist of having been broadly known. Another poet is overlapped Gi Hyeong-do, who had been active as a poet and a journalist of having been dead after living in the similar period to Haizi. A comparative analysis among works by these Korean and Chinese poets has similarity beyond the temporal space. A research on this is thought to have value of being considered a little more deeply and generally hereafter. Still, this study mentioned only possibility of a comparative research on this.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.543-555
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• 2010

In his early poems, Wallace Stevens shows us different gestures, compared with his later poems, when he acquires reality by faculty of imagination. The former is made of ontological violence while the latter is revealed by bareness of less sensuality. However, they are the identical gestures, though from different angles, to accomplish things as they are rather than the ideas of things. In "Sunday Morning," ontological violence occurs in such epistemological couples as thought and thing, mind and world, and imagination and reality. Especially, in order to recuperate his poetic reality, Stevens undermines the traditional hierarchy between heavenly divinity and earthly divinity. In the poem, Christianity faces a critical challenge and then it is disempowered by the earthly divinity. Additionally, by disadvantaging religion, he wants to raise his poetic issue of the faculty of imagination to acquire reality. Stevens' concept of imagination is less subjective and more transcendental than Kantian one. After the ontological violence, Christian divinity and mythic gods leave ontological boundary for earthly divinity in an ambiguous way. In other words, between "Sunday" and "sunny day," the ontological conflicts haunt us throughout the poem as if the violence would happen between imagination and reality. For Stevens, both Christian divinity and mythic gods are mere obstacles to real divinity; both play a mere role of imagination before reality is revealed. Whatever reality is, imagination is always ready to draw an ontological line of reality in an ambiguous way, regardless of how long it lasts. In general, most ontological violence requires such physical remnants of conflicts as borderline, deaths, and pains which still prevail in the poem. Those ontological remnants remain to be found on earth. The sky is an abstract borderline between heaven and earth because in a sense, it belongs to both earthly landscape and heavenly sphere. Without any ontological borderline or threshold, there is no recognition of the divinity because the vitality of divinity is inflamed in continuous transgression of the other. After the final ontological conflict between heaven and earth, there remains only ambiguous borderline near the earth beside the friendlier sky.

• The Journal of Korean Philosophical History
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• no.35
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• pp.415-443
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• 2012

The moral instruction expresses and conveys a abstract objects so called moral. And it pursues occurrence of moral meaning contained a emotion. In these respects, there is a resemblance between moral instruction and artistic symbolic language. Meanwhile, the poetry are a typical form of artistic symbolic language, and especially poetic symbolism is a representative and possible way that expresses accepting a meaning of abstract objects. Then a moral instruction needs to be poetic symbolism. The poetic symbolism that a moral instruction intends to resemble is a linguistic expression, but at the same time that is a expression beyond a linguistic limitation for conveying the metaphysical meaning. For this, the poetic symbolism reveals visible and concrete vehicles that imply invisible and metaphysical tenor. At this point, poetic symbolism is characterized with sameness, implicitness, polysemy, context, allness. The poetic symbolism having these characters appears personal symbol of poet as combined with creative imagination, and is experienced poetic meaning as combined with creative imagination of reader. The moral instruction as a poetic symbolism offers learning experience similar to poetic experience. The moral instruction as a poetic symbolism would be constructed not a logical or prosaic explain but symbolic form that can draw various moral meaning. For this construction, first, we might find a symbolic media for materialization of teaching contents. Second, moral teaching should be constructed to be searching moral meaning of symbolic media. Third, moral teaching should be constructed to be interpreting moral meaning of symbolic media. When teacher can construct moral instruction as possible as similar to poetic symbolism, student can learn moral meaning combined with emotion through their response and interpretation to the teaching. It is very similar to good poem that is sympathized and accommodated poet's theme by reader.

• SUVANNABHUMI
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• v.6 no.1
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• pp.193-221
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• 2014

Archipeligiality, a concept continuously being developed by the scholar, is one that attempts to articulate the Filipino sense of place as discoursed in/through its literatures. As a country composed of 7,107 islands, the very fragmentation and division of the country, as well as its multiculturality and multilinguality, have become the very means by which Filipino writers have "imagined" so to speak-that is, also, constructed, into a singular, united frame-the "nation." This, the author supposes, is an important aspect to explore when it comes to discoursing the larger Southeast Asian imagination, or poetic, as similar situations (i.e. Indonesia, Malaysia, and Singapore), may soon compel for a comparative critico-literary perspective. This paper continues this exploratory "geoliterary" discourse by looking at a Filipino canonical work in English by Cirilo F. Bautista, the epic The Trilogy of Saint Lazarus, the title of which already signals a geographic allusion to the first map-name granted by the Spanish colonizer to the Philippines in the region, and consequently the first signification of the country's subjected existence in the colonial imagination. The work, published between 1970 and 1998, is composed of three parts: The Archipelago, Telex Moon, and Sunlight on Broken Stones, which won the 1998 Philippine Independence Centennial Literary Prize. In these epics, notions of Philippine history and situation were discoursed, and Filipino historical figures were engaged in dialogue by the poet/the poet's voice, with the end of locating the place [where history and time had brought it; or its direction or trajectory as a nation, being true to the Filipino maxim of ang di lumingon sa pinanggalingan, di makararating sa paroroonan (the one who does not look back to his origins would not reach his destination)]. of the Philippines not only in the national imagination, but in this paper, in the wider regional consciousness. The paper proposes that the archipelagic concept is an important and unique characteristic of the Southeast Asian situation, and thus, may be a means to explicate the clearly connected landscapes of the region's imagination through literature. This paper focuses on Sunlight on Broken Stones.

• Korean Journal of Childcare and Education
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• v.13 no.2
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• pp.59-80
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• 2017

Objective: The purpose of the present study was to find out the development of 4-year-old children's emerging poetry composition process and features of poetic expression through their own forest experiences. This research also aims to explore the possibility of alternative poetry education for early childhood. Methods: This study collected data from one class of four-year olds through classroom observation, interviews with teachers, and the researcher's journal entries on events that occurred during forest walking activities. Results: Research findings showed that it was possible to encourage free expression of metaphors and imagination in children and they were able to share excitement about poetry with their classmates when provided with an alternative environment. One remarkable finding was that children's spontaneous writing and pleasure in poetry did not continue when given the new theme of 'Mom and Dad'. Conclusion/Implications: The results imply that to encourage the development of children's intuitive poetic words we need to be interested in how to organize and highlight the experiences of children. This study also suggests that positive methodological and teleological changes are needed for poetry education that is separate from language education.

• Journal of English Language & Literature
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• v.56 no.2
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• pp.219-236
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• 2010

As a poet, a reviewer of books, and an editor of a major literary journal, Marianne Moore participated in aesthetic revolution which invented the American poetry of the twentieth century. Of all the modernists, she was one of the few truly technical originals, and became an endearing mascot of poetry. Innately attentive to detail, Moore wrote a myriad of poems about animal and plant subjects, and set out to develope and secure her own particular paradigm for modernist poetic and the poetry of objective and scientific description. Foregrounding a mind scientifically trained, Moore used her verse to demonstrate a means by which to see the reality beyond the obvious. Ironically enough, however, a central difficulty with understanding Moore's poetry lies with her concern for such scientific or surface description and precision. In order to understand Moore's poetry fully, it is of special necessity to appreciate relativity among the seemingly disparate entities such as science and literature, as Moore herself did. This paper explores the way in which the poetic techniques of Moore substantiate her sense of morality that underlies the creation of her poetry. Rather than merely addressing her artistic genius or craftsmanship as a modernist poet, Moore's methods engage the power of imagination, magic, lifting the human spirit and eschewing anthropocentric perspectives. For Moore, the poet's magic comes by diligence. In so doing, as I would argue here, Moore draws on the nature of language, especially what Bakhtin insisted with his notions of polyphony and carnival. By introducing openness to various perspectives and meanings in her verse, Moore succeeds in maintaining her own sense of creativity while continuing to acknowledge morality. In a similar skein, her use of active verbs in animal poems and the kaleidoscopic descriptions demonstrate how Moore accommodates imagination and reality, and form and content.

• Cross-Cultural Studies
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• v.23
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• pp.265-293
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• 2011

This study focused on the literary world of T. Tolstaya, a Russian writer who takes a crucial position in contemporary Russian literature, drawing upon the wrier's a couple of short stories. 'Youth' is a key motive encompassing all works of Tolstaya, so that it becomes the poetic keynote among her literary works. In order to examine such distinctions of the main characters' world awareness in their youth as shown in Tolstaya's literary works, Chapter 2 of this paper paid a special attention to the analyse of her representative works such as "Sitting on a Golden Terracing Stone" and "Meeting with a Bird", and expressed potential implications of youth with mimetic imagination for her. For Tolstaya, youth is perceived as a paradise but original imagination of youth gradually fades away in adult and ends up with a lost paradise. This is why Tolstaya uses poetic means based on nostalgia for youth like paradise and literary motto for recovery of imagination in youth. In this regard, this study particularly examined the retrospective prologue resisting the power of time as well as different fictional characters living in her own fantastic world. As a result, this study draws a conclusion that such longing and nostalgia for youth and lost paradise as delineated by Tolstaya through retrospective prologue and characters speak for an existential speculation that explores any profound implication of afflictions in reality of human life, rather than focusing on the painful reality of human life which consists of honest dialogues with realities like 'darkness' and 'pain.' In addition, this study, complying with Zolotonosov's ideas which deal with and define Tolstaya's literary works as a shabby and humble box invisibly containing a full wealth of precious jewels inside, sheds a new light on the writer's literary world.

• (The)Study of the Eastern Classic
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• no.70
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• pp.185-210
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• 2018

This thesis investigates wrote by Lee Han Jin who edited "Chung Ku Young Un(靑丘永言)" with supposition that was affected by Lee Han Jin's literary activity and poetic direction, and Wayu(臥遊) was enjoyed by Sajok(士族) in the late Chosun Period. Lee Han Jin kept company with The Yeonam Faction and their friendship was based on Lee Han Jin's blood-relationship. Lee Han Jin's musical sense and poetic direction are verified by records about their poetic activity. In his old age, Lee Han Jin retired in the Yeongpyeong of Gyeonggido and edited "Chung Ku Young Un", Lee Han Jin's poetic direction is also verified by Sijo's theme which was included in "Chung Ku Young Un" and Lee Han Jin's Sijo. Meanwhile, Kyunghwasajok(京華士族) in the late Chosun Period wanted to overcome their situation that they could not leave city by imagination about landscape. That activity was Wayu. They didn't consider whether they see landscape, and they made good use of many genre of literature for effective Wayu. Lee Han Jin and his group's literary activity was formed by that cultural air. Lee Han Jin wrote though his retirement in mountain. It was also for effective imagination about landscape that he didn't see. So unworldly landscape was appeared in compared to other fishermen motif poems. The tension between Situation that he couldn't see real landscape and desire for effective Wayu get solved by form named that have distinct characteristic as a Jipgusi(集句詩).

• Journal of English Language & Literature
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• v.59 no.4
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• pp.593-617
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• 2013

Tales from Shakespeare, written by Charles and Mary Lamb in 1807, is an adaptation of Shakespeare's plays which was intended for children. Shakespeare's poetic language is transmitted into prose, which enables children to easily read his works. Charles and Mary Lamb collaborated in adapting Shakespeare's plays, but they undertook separate duties which revealed different attitudes in their approach to the adaptation. This dissertation examines Mary Lamb's adaption of Shakespeare's problem play All's Well That Ends Well and Charles Lamb's adaption of Shakespeare' tragedy King Lear, with an adapted pattern focusing on the plot and character. Charles Lamb stressed the "imagination of a fairy tale," which was against the trend in children's literature of the time, while Mary Lamb stressed "the moral and didactic element." Mary Lamb was concerned with the education of female children in the early nineteenth-century. As a result, the Tales presents "a double movement" or perspective, which stresses didactic elements, as well as imagination. These ambivalent attitudes caused critical debates in the nineteenth-century. However, the Lambs defended criticism against "the double movement," suspecting themselves to be "no bigger than a child," from the viewpoint of "the imagination," and reading the Tales to be effective at "making a child a virtuous man," from the viewpoint of "an education."

• Cross-Cultural Studies
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• v.26
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• pp.321-351
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• 2012

This paper attempts to clarify the similarity found in Seo Jungjoo's two books of poems, Seo Jungjoo Shiseon and Shillacho, and thereby to establish the continuity between Seo's early poetry and his mid-period poetry. This attempt arises from the realization that unfamiliar poetic material, background, and narration are merely surface features, and that in fact his early concerns nevertheless persist in terms of his poetic imagination and his Weltanschauung. Furthermore, this continuity seems to originate from shamanistic spiritual chaos that is consubstantially interrelated with the spirit of his deceased lover. After chaos and confusion subsided, the poet's endeavor to discover the lineal origin of his personal shamanism shows itself in Seo Jungjoo Shiseon, and we witness the embodiment of such endeavor in Shillacho. His interest in the skies as it is expressed in my poem, and Shilla as it is intimated by Gwanghwamun are sublimated in saso yeonjag and the words of Queen Seondeog into shamanic wisdom that served as the norm for both spiritual life and physical life in ancient times, and the wisdom is carried on further into the present in Seo's own times. Moreover, the star and the bell sound that were presented as signs of desirable Weltanschauung in Sangrigwawon are transformed into the symbols of shamanic wisdom, and into the inner magic formula that contributes to achieving the wisdom. This analysis offers as its result the evidence embedded in his poems that shows, first, that the two books correspond to merely two separate stages of his poetic concern, and second, that his early poetic concern persists, though transformed through a peculiar manner, into his mid-period poems.