Production ecology of the seagrass Zostera marina in Jindong Bay, Korea

이근섭,박정임,정익교,허성회,Dong Woo Kang 한국조류학회I 2004 ALGAE Vol.19 No.1

Production dynamics of eelgrass, Zostera marina was examined in Jindong Bay on the south coast of the Korean peninsula. Eelgrass leaf productivities and environmental factors such as underwater photon flux density, water temperature, and nutrient availabilities in the water column and sediments were monitored from March 2002 to December 2003. While water temperature exhibited a distinct seasonal trend, underwater irradiance and nutrient availabilities exhibited high degree of fluctuation, and did not show a seasonal trend throughout the experimental periods. Eelgrass leaf elongation and production rates showed significant seasonal variations. Leaf productivity was highest in May (30.0 mg dry wt sht-1 d-1 or 3.7 g dry wt m-2 d-1) and lowest in November (3.2 mg dry wt sht-1 d-1 or 0.12 g dry wt m-2 d-1). Eelgrass leaf productivities did not show a strong correlation with underwater irradiance or environmental nutrient availabilities. The production rates, however, were positively correlated with water temperature during spring periods, and were correlated negatively at high water temperature exceeded 20C during summer months. While relative growth rates were highest in spring and lowest in high water temperature periods, plastochrone interval was longest during during summer and shortest during spring. These results imply that seasonal growth dynamics of eelgrass, Z. marina was mainly controlled by water temperature.

George Herbert의 詩的 技攷

李懃燮 이화여자대학교 한국문화연구원 1968 韓國文化硏究院 論叢 Vol.12 No.-

Reading through George Herbert's The Temple, one can easily be impressed with the fact that he uses carious forms of poetry. He uses 140 different poetic forms out of 171 pieces in The Temple, but never uses any traditional forms except sonnets. Even in the case of sonnets he writes only six pieces after the fashion of the English sonnet form out of 15 pieces. The others are of the form of his own device in which he sometimes mixes the English form with Italian sestets. He never uses even such a popular form as the ballad metre probably because he prefers rhymed verse to the unrhymed. There are no unrhymed verses in The Temple with the possible exception in the case of his deliberate technical device. Even though he prefers iambic pentameters (more than half of his whole verses are in pentametres) he never uses any blank verse. His chief technique lies in his subtle device of various rhyme schemes as shown, for example, in "Man" in which he uses different rhyme schemes in every stanza but one. He tries to conform his matter or sense with the poetic form in accordance with his various poetic moods and experiences. Not all of his poetic techniques is successful, but his artistic endeavour is not to be disregarded or underestimated. Any practitioners of verse can be greatly profited by the study of Herbert's verse. He is one of the greatest originators of various verse forms of English poetry.

George Herbert 평가의 변천과정

이근섭 이화여자대학교 한국문화연구원 1984 韓國文化硏究院 論叢 Vol.45 No.-

After death, George Herbert, a professional sacred poet of seventeenth century England, was received favorably when The Temple, the only volume of his religious poems(and quite congenial with the pious minds of the Anglican Church) was published posthumously. His poems were studied seldomly from an artistic point of view. Coleridge was the first to recognize Herbert as a true poet. In his lifetime, Herbert did not thrive in the eyes of the eminent critics, Consequently, he was not considered an important poet. It is only in the early poet of this century, that George Herbert gained recognition. The revival of Metaphysical poetry by Sir Grierson drew attention to Herbert and his religious lyrics from a number of critics and scholars. Important critics of Herbert in the 1930's include Williamson, Eliot, Bennett, White and Leishman; in the 1940's Freeman and Knight's; in the 1950's Tuve, Bottrall, and Summers; in the 1960's Rickey and Stein; in the 1970's and onward. Vendler, Freer, Fish, Charles and Asals. In addition to the above-mentioned, there are numerous other scholar-critics as Nuttall, Lewanlski, Low, Slights, Halewood, Colie, Mahood, Marts, Patrides, Di Cesare and Elsky who also have studied Herberts poems. One camp of modern Herbert critics, represented by Summers, can be called the "traditional camp". These critics concentrate on Herbert's constant search of a proper language for his poetry. They maintain that Herbert tried to achieve eloquence by means of plainness. Another camp, represented by Fish, hearing jarring notes in Herbert's poetry, maintains a "deconstructionist" view of literary indeterminacy. This is central to the modern leading critics' regard of Herbert as a major poet.

17세기 영국 종교 시인론

이근섭 이화여자대학교 한국문화연구원 1994 韓國文化硏究院 論叢 Vol.64 No.1

The Authorized Version of the English Bible was firtst published in 1611, which was one of the basic sources of religious verses of the Seventeenth Century English poetry. Although the former century produced several religious poets such as William Alabaster and Robert Southwell among others, the Seventeenth Century was abundant in religious poets which included such noteworthy poets as John Donne, George Herbert, Richard Crashaw, Henry Vaughan, Thomas Traherne, let alone John Milton. The above mentioned poets with the exception of Milton(who cannot be confined in a small group) are usually classified as Metaphysical poets, and curiously enough all of them wrote the first class religious poems. Donnes later works, the whole body of Herberts poems, most of Crashaws and Vaughans works and all of Trahernes works are religious poems. Especially in Vaughans case he used to be regarded as an unimportant imitator of Donnes love poems whereas his later religious lyrics were highly praised as excellent works. Their common characteristics can be summed up as simplicity, plainness, directness, concreteness and sincerity. These are drawn from the English Bible. Herbert learned his simplicity and plainness from the Bible and followed Biblical example when he used homely images. His poetic statements may seem simple and plain but they contain profound truth. Vaughans religious awakening leads to his poetic awareness which makes him aware of profound meaning behind everyday matter of experiences surrounded by natural beauty. T.S. Eliot once praised Herbert as a major poet who was sincere and true to his own religious experience. "The great danger, for the poet who would write religious verse, is that of setting down what he would like to feel rather than be faithful to the experience of what he really feels. Of such pious insincerity Herbert is never guilty." Seventeenth Century Metaphysical poets religious poems are exempt from such insincerity and true to their own religious experiences. That is why their religious poems do not lose their attractions, still now.

Petrarchan Sonnet과 Milton

李懃燮 한국영어영문학회 1967 영어 영문학 Vol.24 No.-

Henry Vaughan의 詩

李懃燮 한국영어영문학회 1962 영어 영문학 Vol.11 No.-

The English Bible and the seventeenth century English prose

李懃燮 이화여자대학교 한국문화연구원 1964 韓國文化硏究院 論叢 Vol.5 No.-

초록없음

On the poetry of Thomas Traherne

李懃燮 이화여자대학교 한국문화연구원 1966 韓國文化硏究院 論叢 Vol.6 No.-

17世紀 英國 宗敎詩人 Thomas Traherne은 20세기에 접어들어서야 비로소 발굴된 사람으로서 맨 처음에는 그 詩題와 詩風으로 보아 Henry Vaughan의 詩가 새로 發見되었다고 믿어졌었다. 그러던 中 銳利한 批評的 眼目을 지니고 있는 Bertram Dobell이란 사람이 두 詩人 사이의 差異를 發見하고 드디어 그 詩原稿가 Traherne의 것임을 證明했다. Traherne의 詩에는 Vaughan의 詩에서와 마찬가지로 幼年期라는 것이 象徵的으로 取扱되고 있다. 즉 人生의 幼年期는 곧 人類의 幼年期인 Eden時節을 意味하는 것으로 人生의 幼年期는 타락하기 이전에 樂園에서 幸福을 누리던 Adam의 순수성을 지니고 있다는 것이다. Vaughan과 差異가 있다면 Vaughan이 幼年期를 읊는 詩는 좀 더 고요하고 詩的인 세련이 있는 反面에 Traherne의 詩는 더 熱烈하고 熱情的인 點이다. 前者는 幼年期의 幸福을 잃었기 때문에 後悔하지만 後者는 아직 그 幸福을 지니고 있기 때문에 如前히 歡喜를 잃지 않고 있다. Traherne은 그의 詩에 슬픔을 거의 나타낸 일이 없다. 그는 황홀경에서 지날 수 있었기 때문에 그가 즐겨 使用한 單語들은 delight, joy, pleasure, happiness 等이다. 그래서 그는 基督敎的 快樂主義者란 別名까지 듣고 있다. Vaughan을 「失樂園의 詩人」이라면 Traherne은 「復樂園의 詩人」이라고 일컬을 수가 있을 것이다.

Poe as a poet-critic

李懃燮 이화여자대학교 한국문화연구원 1966 韓國文化硏究院 論叢 Vol.6 No.-

Edgar Allan Poe는 主로 短篇作家로서 이름이 났지만 詩人으로서도 또는 批評家로서도 無視할 수 없는 存在다. 作品의 量으로 보아 詩는 五十篇 도 넘지 않고 批評도 또한 僅少하나 이 중에는 注目할만한 力作이 많이 包含되어 있다. 그의 批評은 특히 文學原理論으로서 유명하다. 散文에 있어서나 韻文에 있어서나 그는 原理를 提示하고 그 原理를 實際 創作에 最大限度로 利用한 흔적이 여기 저기 보인다. 그의 作詩法 理論은 Rationale of Verse에 또 Marginalia에 斷片的으로 나타나 있지만 美國의 作詩法理論으로서는 最初로 注目할만한 力作이라고 하겠다. 그는 詩의 音樂的 要素를 지나치리만큼 强調하고 있는데 그의 詩는 정말 音樂的이다. 例를 들면 "Annabel Lee"는 詩에서 使用할 수 있는 모든 音樂的 要素를 最大限度로 利用한 느낌을 준다. 非單 이 詩 뿐만 아니라 어느 詩를 골라도 音響의 效果가 매혹적이 아닌 것은 없다. 特히 注目할만한 事實은 그의 脚韻 使用法이다. 그의 脚韻은 大部分 音樂的인 音響을 갖고 있다. 英語는 본래 子音이 적기 때문에 音樂的인 母音으로 끝나는 單語가 많지 않아 脚韻이 非音樂的인 경우가 많지만 Poe에게 있어서는 이 弱點이 最大限度로 回避되어 있다. 意識的이었건 無意識的이었건 간에 그의 脚韻은 마치 中國詩와 마찬가지로 母音 혹은 半母音으로 끝나는 것이 딴 詩人에 比해 越等히 많다. 그의 詩論은 좀 편협하여 敍事詩 獻詩를 時의 영역에서 除外하고 있지만 敍情詩에 對한 理論은 그의 實踐과 더불어 길이 기억될 것이다.

The Temple의 구조에 관한 연구

이근섭 한국영어영문학회 1986 영어 영문학 Vol.32 No.4