Hart Crane′s Aberrant English

Reed, Brian International Association for Humanistic Studies i 2003 인문언어 Vol.5 No.-

When Hart Crane′s poem cycle The Bridge was published in 1930, a group of influential reviewers accused Crane of immaturity, sentimentality, and lack of focus. They condemned crane′s wayward, fuzzy mysticism as backwards-looking and self-defeating. Even sympathetic critics, such as Harold Bloom, have consistently portrayed Crane′s poetry as the pyrotechnic final fizzle of late romanticism. These persistent, public reservations, however, have not prevented an impressive proliferation in secondary literature concerning Crane since the late 1960s. His promiscuity, alcoholism, erratic behavior, relative poverty, tragic death, and total commitment to art have since earned him the labels of New World Rimbaud and proto-Beat. His colorful career thus explains in part his retrospective fame. Nevertheless, living hard and dying young do not guarantee artistic immortality. This article poses questions as to why Crane has mattered so much to subsequent generations of U.S. readers and what these readers find so compelling in his poetry. The answer, I would argue, lies in Crane′s idiosyncratic use of language. Far from striving for transparency, he writes in an inimitably obstructive, artificial manner. There is something seductive and absurd in his wild use of words here, I would further argue, we discover the reason behind both Crane′s enduring appeal and his supposed inadequacy as a writer. Crane did "torture" syntax, semantics, and conventional associations, not because he saw his unusual language as an eccentric mannerism but because he saw it as a tool in the service of constructing a "myth of America" and reintegrating the human and divine. Understanding thy he considered this to be the case clarifies Crane′s achievement and illuminates why his work still seems so relevant today.

Literary Study in Representation of City Images in Contemporary Theater: A Comparative study of Modern American and Modern European Theater

Yang, Gi-Chan International Association for Humanistic Studies i 2005 인문언어 Vol.7 No.-

The difference between presentation of cities in the European modern drama and its counterpart the American modern drama denotes and comes from two very different images of cities. While the European modern drama presented cities that were desolate and fantastic to certain measure, the American modern drama presented the images of actual cities that can be identified by the spectators and readers. Although one cannot 'actually' identify any actual representation of cities in both the European and the American dramas, the images of cities can be discerned in the dialogues of the characters in the plays themselves. In this perspective the images of cities that are represented in any work of modern drama are actually represented through metaphors and connotations. The images in this instance rests and can only be identified within the boundaries of psychology. The dialogues are means through which the author communicates with the spectators. Because drama is above all categorized as being a work of text before representation, deciphering drama also falls in to same cadre as any other literary texts. Through the means of 'decontextualisation' the reader/spectator identifies with the associated images that the text proposes.

Cross-currents of Change and Continuity: Korean National Literature and Korean National Cinema

Kim, Daniel H. International Association for Humanistic Studies i 2005 인문언어 Vol.7 No.-

The decade of the 1960s in Korea is normally regarded as a transitional period, but this transition has been consistently viewed in either economic or political terms. In this paper I examine the 1960s and the 1970s as a period of cultural transition―from a neo-Confucian emphasis on "high" art to a broader, more inclusive acceptance of "popular" forms of cultural expression. Although these two realms of cultural production are often viewed as fundamentally antithetical, I argue that there is actually significant continuity in terms of both artistic expression and cultural engagement. In particular, I look at the trajectories of Korean national literature and cinema and their areas of confluence. I examine the career of Kim $S{\breve{u}ng-ok$, who in the 1960s was the preeminent literary voice of a new generation and who in the 1970s was the screenwriter for some of the most popular films of that era, and I show how Kim's career changes track parallel changes in both literature and cinema. Artistically, Kim continued his literary expressions of a new sensibility in his screenplays, bringing to cinema a new infusion of seriousness and respectability. Culturally, Kim continued his explorations of the ways in which rapid changes in Korean politics and the booming economy led to miscommunication and chaos in society. By consistently exploring processes of national identity formation and re-formation, Kim's 1960s literature can be seen as crucial instances of Korean national literature (minjok munhak). In the same manner, Kim's 1970s screenplays can be seen as foundational moments in a Korean national cinema.

Korean Names

Kim, Chin-W. International Association for Humanistic Studies i 2005 인문언어 Vol.7 No.-

Historical origins of both personal names and place names in Korea are reviewed. It is shown that names of native origin have been largely replaced by those of Sino-Korean names. Some statistics are given on the basis of the 2000 census data in South Korea. A unique method of naming personal names which contain a generation marker called hangnyol is reviewed. This enables the person to figure out one's position and others in the family tree up to as many as ten generations without going consulting the book of genealogy. While this practice had a role to play in a vertically structured society where seniority is important, it is less practiced as the society is becoming more egalitarian, so that native names, not writable in Chinese characters, are on the rise. In this global age, a person is not just a member of his family or clan, s/he is also a member of the international community. The author proposes several things that should be considered in naming to fit the modern global age: euphony of names, ambiguity, possible bad connotations when Romanized, unintended homophones with comic meanings, etc.

The Cinema of Poetry

Sbragia, Albert International Association for Humanistic Studies i 2002 인문언어 Vol.23 No.1

This essay explores the theories of Italian poet and filmmaker Pier Paolo Pasolini on the language of cinema. In essays such as "The Cinema of Poetry" and "The Written Language of Reality" composed during the 1960s, Pasolini argues for the special status of film language as "pre-grammatical" and links it to visual signifying processes such as dreams and memories. He also views cinema as the inroads towards a general semiotics of reality since, for him, the basic unit of film language is not the shot but those objects of reality that constitute the mise-en-scene of the shot, hence cinema is posited as the written language of reality whose minimal units of articulation are the very objects of reality itself. Accused by semioticians such as Umberto Eco of semiotic ingenuousness in trying to reduce the facts of culture to nature, Pasolini responded by arguing that he was trying to do the opposite, that is to say, to culturalize nature by examining it as a language. Against the constructed naturalism of both commercial and neorealist films, Pasolini argued for the creation of a poetic cinema able to exploit its constitutional pre grammatical, oneiric and sacred relationship with the world. The essay concludes with an analysis of the film Medea in which Pasolini′s attempt to restore a sacred vision of reality merges with his concerns over the cultural genocide of traditional and emarginated peoples at the hands of neocapitalist homologation.

A Study on the Conceptual Metaphor of English mind and Korean maum

Jhee, In-Young International Association for Humanistic Studies i 2006 인문언어 Vol.8 No.-

This paper deals with the various conceptual metaphors of 'mind' in Korean and English within the Cognitive Semantics. The purpose of this paper is to investigate the metaphorical expressions of the concept 'mind' represented andunderstood in various ways in Korean and English, to find out the linguistically-universal conceptual metaphors underlying the uses of the metaphoric expressions. In addition, this paper discusses the differences in linguistic realization of the concept 'mind' between Korean and English from the socio-cultural background. In the traditional view, metaphor was thought only as the linguistic matters and a deviance from literal or normal use. However, within the Cognitive Linguistic view such as Lakoff and Johnson(1980), metaphor has been considered as a means of understanding and conceptualizing world. According to them, metaphor is found in everyday life because it is not only as a matter of language but also as a nature of human conceptual system controlling cognition, thought and behavior. Conceptual metaphor is suggested as a device to understood abstract and less familiar things through concrete and more familiar things. Conceptual metaphors may be realized linguistically as well as non-linguistically, in the form of movies, arts or behavior. To define the concept 'mind' shared among the Koreans, conceptual metaphors used to represent 'maum(mind)'in Korean are examined. Then they are compared with the ones used to represent 'mind' in English. This is based on the idea that conceptual metaphors represented in linguistic expressions naturally reflect the speakers' concept and conceptualization is a universal irrespective of language. This paper exemplifies the Korean sentences as well as English sentences to utilize some conceptual metaphor such as Johnson(1987)'s THE MIND IS THE BODY and shows many other conceptual metaphors used in Korean and English to represent the same concept 'mind'. What are some metaphors shared by two languages and what is specific to one of them will be shown, too. This paper also suggests that the different conceptualization or lexicalization is partly due to the effect of the oriental cultural background that is more interested in the mental world than the physical world.

Perspectives on a Critical Period for Language Acquisition: Implications for language research and practice

Lim, Ja-Yeon International Association for Humanistic Studies i 2005 인문언어 Vol.7 No.-

In recent years there has been much discussion about whether there is a critical, or sensitive period for language acquisition. Research on a critical period provides an excellent example around which we can organize a discussion of the behavioral and neural evidence. In this paper, the early history of critical periods and evidence for the existence of critical periods in various domains of human cognition and learning are reviewed. Followed by this overview, evidence for a critical period in both linguistic and non linguistic area are presented. The paper then provides some unresolved questions regarding a critical period in language acquisition and states what the outcome of this issues mean for an understanding of language acquisition. Finally the paper concludes with some educational implications of a critical period for practice.

QU'EN EST-IL DE L'INCONSCIENT CHEZ FERDINAND DE SAUSSURE

ARRIVE, Michel International Association for Humanistic Studies i 2006 인문언어 Vol.8 No.-

This paper is a philological and epistemological study of the concept of the unconscious envisaged in Saussure. The study investigates whether the unconscious in Saussure can be put to question. Most Saussurian specialists have not as of yet raised any questions on this subject. The researches were simply limited to various comparisons between Saussurian concepts with those of Freud. The paper reconstructs the very concept of the unconscious in the Course in General Linguistics, using Lacan as a mediator between Saussure and Freud. Special attention is given to the linguistic subject who is unconscious about the law of langue, which contrasts it to the conscious of other social subjects and can be observed in the semiotic change of a social system. While not suggesting a hasty comparison between Saussure and Freud the paper draws an epistemological point of convergence. In other words, the paper tries to prove that the descriptive unconsciousness operates and intervene in the paradigmatic function of langue and that the topical unconsciousness operates to the syntagmatic function.

Perspectives on Post-Modernism in Contemporary Korean Fiction

Yang, Gi-Chan International Association for Humanistic Studies i 2002 인문언어 Vol.23 No.1

The Contemporary Korean fiction today to a certain context infringes on the outskirts of mainstream literary theories diversified to an extent that anything and everything that are printed are defined as literature. The two fictions that the study is based upon, probably, shows the effects of postmodernism in Korean fictional 'space' in that the representation of the said fictions veers clear from that with which one might associate in contemplating the traditional Korean fiction. The study, though it seems, based on a more of a societal perspective rather than traditional literary perspective is to be noted in reference with the postmodern theories that we identity with today. The paper takes look at the changes that can be noted in the fictions: Kyung ma jang ga nun gil by Ha Il-ji and Oak tap hang by Park Sang-woo. The main objective of the paper is that it tried to identify the cultural identity of Koreans through the descriptions found in the two works. While concluding as to why these two fictions can be categorized as belonging to the genre of postmodernism the research also tries to formulate what and how postrnodernism can be discerned in fictional genre and this especially in today's Contemporary Korean fiction.

′I′ and ′We′ in Russian and Korean

Kibalnik, Sergei A. International Association for Humanistic Studies i 2002 인문언어 Vol.23 No.1

The Russian language uses more words that imply collectivism than Western Indo-European languages. In Korean, the first-person plural pronouns are used more often than in Western languages. In this respect, Russian seems to stand closer to the latter, although typologically it belongs to the Indo-European family. The predominance of 'we' over 'I,' which took place in the history of the Russian language, had something to do with the Russian commune and the ecclesiastical and spiritual concept of 'sobornost' (equation omitted). A similarity between the Russian and the Korean nations lies in a collective way of life as compared to Western nations. The Russian concepts of (equation omitted) and (equation omitted) ('commune') have direct analogues in the Korean language. In all societies a commune involves a certain sense of collectivity, or spiritual unity of the people - 'sobornost' (equation omitted). Korean collectivity is more familial and moral in character, whereas Russian 'sobornost' is more spiritual. This has its direct reflection in Korean and Russian languages. One can say that a sort of a family version of Russian 'sobornost' takes place in Korean society.