• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.193-204
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• 2020

According to science technology development, information society has progressed rapidly in the 21st century. Our consciousness and tradition have become entangled in the tide of Westernization. Therefore, the education of Chinese characters was neglected, and Chinese poetry literature was naturally neglected. This led to the abundance of material civilization, however, from the mental aspects, the daily life of modern people became insecure. There is a poet who has lived a lonely life of creation of Chinese poetry in this era. He is a Geasan Kwon Seung Geun(1940~) who writes only poem while being friends with nature. His Chinese poems were revealed through life experiences in nature, which is inspiring sympathy. The origin of his theme is nature. The poetry obtained from nature is rustic simple and pure. Therefore His poems have the style and taste of nature. The Chinese poetry literature of Geasan has been embodied the elements of self-interest, self-satisfaction, self-contentment and living in free at his literatue. On its basis, his Chinese literature has aesthetic boundary of remaining aloofness(自然而然的 超然)·rambling talk, living peacfully and play around with leisure·(閒遠物遊的 閑淡)·deviation rhyme of vividly and beautifully(生趣淸遠的 逸韻) The aesthetic boundary of Chinese poetry of Geasan can be seen as having a depth. This is the aesthetic boundary of Chinese poetry written by this generation in the 21st century.

• CELLMED
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• v.6 no.3
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• pp.17.1-17.3
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• 2016

Pansori is a unique genre of Korean art music. Sugungga is a form of Pansori that is so famous as to be included in the representative five texts of Pansori, and is also a fable about a Dragon King who lived in a palace on the water. The Dragon King had a disease and the major plot of the story is the finding of a cure for his illness. At the beginning of Sugungga, Yaksungga appears on the scene in the form of an ascetic who has knowledge of various herbal medicines. By reciting and singing this medical knowledge, Yaksungga functions as an effective mnemonic technique to aid memorization of the herbs and their properties. Yaksungga exists only in Korea, and functions in Sugungga not only as a dramatic factor in the play, but also as a tool that allows people to easily learn professional medical knowledge during those times, not by books, but by funny rhymes, which gave people the opportunities to apply such knowledge in useful ways.

• CELLMED
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• v.8 no.2
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• pp.10.1-10.2
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• 2018

The aims of this article is to examine that Daegeum Sanjo Rhythm (DSR) compare with Jinyang-jangdan and Jajinmori-jangdan on music therapy. Daegeum has the largest range of notes in wind instruments through Korean music. Jangdan is the essential element of rhythm in Korean music. Just as human body sound and resonant with their rhyme and meters, jangdan has its own rhythms of physical structures and sequence and repeat. Jinyang-jangdan, which is close to western minor code, expresses heartbreaking grief and great mourning feeling, so it makes one feel the catharsis through that rhythm. Jinyang-jangdan of daegeum music may be slow, but it can be sublimated into grim music for human. So, people overcome the sadness through grim music. On the other hand, jajinmori-jangdan gives charm and gaiety to people and to everything. So, it is exciting that it's often performed in festival and parade. Rhythmical music is a tool to improve the well-being of humanity and increase our life choices. Therefore, music therapy surely needs both influences of daegeum sanjo music regardless of the rhythm. Because, daegeum sanjo music is nature-friendly music of the rhythm.

• Education of Primary School Mathematics
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• v.19 no.4
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• pp.361-380
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• 2016

This study aims to reflect on mathematical imaginations in learning mathematics and elementary students' mathematical imaginations. This was approaching a study of imagination not as psychological problems but as objects and methods of mathematics learning. First, children's mathematical narratives were analysed in terms of Egan(2008)'s basic cognitive tools using imagination, that is, metaphor, binary opposites, rhyme rhythm pattern, jokes humor, mental imagery, gossip, play, mystery. Second, how children's imaginations change under different grades was addressed.

• Cross-Cultural Studies
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• v.46
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• pp.253-279
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• 2017

This study aims to examine how the Chinese popular culture, especially music, can contribute to diversification of the ancillary materials for teaching Chinese language, literature and culture, based on the analysis of some songs of Jay Chou. For this purpose, this study analysed 10 songs that have been used in the tests or the text contents in China or Taiwan in terms of rhyme, words relation to the ancient poems, and the Chinese culture. Consequently, the songs of Jay Chou show that they can be used as an ancillary material in the Chinese class from the linguistic, literary, and cultural angles. For use in the Chinese language, literature, culture class in the future, there is a constant need to discover and analyse new materials from the Chinese popular culture.

• 중국학논총
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• no.67
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• pp.61-80
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• 2020

This paper analyzes the formation of Tianjin dialect by investigating the immigration situation in Tianjin in history, analyzing the rhyme phenomenon of Tianjin dialect and comparing Tianjin dialect with surrounding dialects. First of all, with the need of transferring grain from the south to the north after the Ming Dynasty, the canal-centered grain transportation industry developed, and the immigrants in Tianjin naturally began to increase. In the Qing Dynasty, a large number of commercial immigrants flowed into various areas of Tianjin with the expansion of Tianjin's urban scale. This way of immigration makes Tianjin dialect preserve some dialectal features of other regions. By comparing with other Mandarin dialects, it is found that this is not only a feature of Tianjin dialect, but also a common feature in other Mandarin dialects. Therefore, we can draw a conclusion that the opinion of considering the dialect of one region is the mother dialect of Tianjin dialect because a certain phonological feature of Tianjin dialect is the same as that of other specific area is not appropriate. On the other hand, these immigrant dialects, which well reflects the characteristics of Tianjin, just show that these dialects have formed the present Tianjin dialect in the form of integration after the Ming and Qing Dynasties.

• Journal of English Language & Literature
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• v.57 no.3
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• pp.457-472
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• 2011

The word "subject," like its apparent antonym "agent" is ambiguous. By "speaking subject" I intend both meanings: the spoken about, and the speaker, and the spoken about, in more or less that order. The paper contrasts the way women are spoken about in the 19^th Century debate over the role of women between John Ruskin and John Mill, and then in literary criticism of feminists nearer our own time, Kate Millet and Elizabeth Langland. I then move on to women as speaking subjects, first in the form of an imaginary speaking subject created by a male speaker, Charles Dickens channeling the confessional journal of Esther Summerson in Bleak House. The comparison with Elizabeth Gaskell, a genuine speaking subject, is highly instructive. I draw attention to symmetrical, in the sense of opposite, narrative strategies. Where Dickens begins in journalese, with a gritty, realistic opening that only gradually reveals a Cinderella in the ashes, Gaskell begins with a nursery rhyme, in an actual nursery, but goes on to reveal some rather sordid economic facts. Where Dickens creates a ventriloquist's doll, Gaskell succeeds in creating recognizable, if not always admirable, female voices. I conclude that just as the novel may be read as a real utterance in a real conversation, it is also possible to read the true emergence of women novelists in the 19^th Century as nothing more and nothing less than the creation of the first truly womanly words about women: women as speaking subjects in both senses of the word.

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.281-287
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• 2020

Dasan(茶山) Jeong Yak-yong wrote many works in various fields. His ideas and philosophy formed a mountain range. First, his aesthetic ideas improved from Dam(淡) to Dam(澹;light), and further to Dam (膽;courage). Because Dasan had the courage to make changes, this was possible. Second, Dasan has the aesthetic idea of Yun(韻). This can be seen in his life pursuing the quaint. Because Dasan was unable to participate in reality due to exile, so he was able to create our culture through many writings. First, Un-Rim-San-Bang(雲林山房) in Sochi Heoyu is the origin of our Namjong Literary Painting, and its origin is Dasan. Second, Dasan pursued Silhak(實學), and applies it to reality. It is Silsagusi(實事求是). Thirdly, Dasan pursued Enjoying Together with People(與民同樂). Aesthetics ideas of Dasan showed the Korean characteristics.

• The Journal of the Korea Contents Association
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• v.21 no.11
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• pp.403-413
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• 2021

This paper emphasizes the effect of using poetry in the University General English education and suggests the teaching method of English education with a Frost's poem, "Out, Out- ." These days, learner-centered English education and integrative study of four linguistic functions, reading, listening, speaking and writing are considered important in the University General English class. Poetry is very effective text for the education purposes. Poetry techniques like a visual image, rhythm, rhyme, or repetition are actually mnemonics and strongly connected to the enhancement of memory and oral linguistic function. This paper suggests the specific education methods in the poetry selection, pre-reading step, reading step and after- reading step with concrete examples of "Out, Out-." These education methods through the 'oral text' can be a good and sustainable model for learner-centered education.

• Sijohaknonchong
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• v.30
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• pp.219-240
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• 2009

Jasan An Whak did research on the essence of Sijo to show that Sijo has some features as a literature. I tried to show the formation process of Sijo theory in 1930s through Jasan's Sijo theory. As a preparatory step for it, I introduced Jasan's Sijo theory released in early 1930s and examined the characteristic aspects of it. Jasan recognized a literature as a directing post that reveals the history of our national spirit. He thought a literature as a foundation for satisfying new age. Also, he recognized the essence of a literature as a emotional expression. He emphasized that a new literature in Joseon age should have not only particularity of Joseon literature but also universality of modern literature. Jasan studied style of Sijo. Because he was at the time of modernization, he used the term, 'style', instead of 'poongkyeok', which had used before modern time. He tried to show linguistic artistry of Sijo through the series of his works about the style of Sijo. Jasan tried to find formal beauty of Sijo in the aspect of rhythm instead of rhyme. And he claimed that poetic words can be lengthened or shortened to be harmonious with the melody of Sijo. In other words, it is possible to change the words of Sijo for harmonizing with a tune. Jasan recognized that the words of Sijo have a musical function as well as a semantic function.