KJC Korea
Journal Central

Which of the modern poets of Korea will be frequently found in the public? Which poems will be found in the public? To answer this question, they used Big Data, which has recently been in the spotlight. The study's data collection and analysis used Google Trends, thumb trends, and social metrics. The analysis procedure searched for 100 poets with Google Trends. 27 people with high frequency of search were compared. The study had a reputation analysis of 13 of the 27 poets. The first analysis of the study showed that Kim So-wol, Han Yong-woon, Seo Jung-joo, Kim Chun-soo and Jung Ji-yong had a high number of searches. The relevant search result for the study was Kim So-wol's "Azaleas", "Invocation of the spirits of the dead", "Some distant day", "A mountain flower", "My house" and Han Yong-woon's "Your silence", "I don't know", "Obedience", Seo Jeong-joo's "By Chrysanthemum", "Self-portrait", Kim Chun-Soo is "Flower", Jung Ji-young is "Fragrance", "Lake", "Springtime". Yoon Dong-joo is "Prologue poem", "Starry Night", "Self-portrait", "Cross", "Confession", "Hometown", "Written easily", "Shoot the Moon". The Poet Kim Soo-young had many searches for the comedian Kim Soo-young. The living poets are the order of An Do-hyeun, Do Jong-hwan, Jung Ho-seung, Kim Ji-ha, and Kim Yong-taek. The search word of An Do-hyeon discovered as "Ask you", "Permeating there", "A piece of briquette" and 'a used briquet', 'briquette' of poetic diction. Do Jong-hwan discovered as "You, the Hollyhock", "An ivy" and 'senator', 'minister', poet Jung Ho-seung discovered as "Spring road", "To Daffodil", "Unbearable letter". And Kim Ji-ha searched out "Burning thirst", Kim Yong-taek searched out "Seomjin River", "You are so good", "Spring day" and "A wild chrysanthemum". However, the poet Ko eun was more searched by Ko eun, the leader of the girl group. In the analysis of Opinion Mining, affirmative responses of related words are in order of Do Jong-hwan, Kim Yong-taek, Kim Chun-Soo, Han Yong-woon, Jung Ho-seung, An Do-hyeon, Jung Ji-young, Kim So-wol, Seo Jeong-joo, Yoon Dong-joo, Kim Ji-ha. Yoon Dong-joo's neutral reaction was interpreted as disturbance factor related to internet shopping mall. Yoon Dong-joo's search volume in Google Trent was excessive due to sales of Internet shopping malls. In the analysis of Opinion Mining, the highest order of positive response was analyzed by Kim So-wol, Han Yong-woon, Yoon Dong-joo, Jung Ji-young, Do Jong-hwan, Kim Yong-taek, Jung Ho-seung, An Do-hyeon. Ko eun poet and Kim Ji-ha poet have received increasingly negative reputation from the public. An Do-hyeon, Jung Ho-seung, Do Jong-hwan and Kim Yong-taek are expected to increase their positive reputation gradually. Therefore, the translation work for the globalization of modern Korean poetry should be focused on the poems of An Do-hyeon, Jung Ho-seung, Do Jong-hwan and Kim Yong-taek.

This paper looks at how the text was written in the late Victorian period, how it was then translated into the Japanese Empire during the 1940’s and how its original message was transformed by comparing H. G. Wells’ The War of the Worlds to the Japanese translation, Kasejin to no Sensō (War with the Martians, 1941). In The War of the Worlds, we can read the ambivalence in Wells’ critique of imperialism and colonialism. The text encourages patriotic anxiety by imagining Britain invaded by Martians. It advocates that the Martians are driven by an incessant struggle for existence and cannot help invading the earth. It thus criticizes western imperialism and colonialism by comparing the relationship between the Martians and Earthlings to that of the animals and indigenous people, whose civilizations have gone extinct. However, the Japanese translation weakens this ambivalence and turns it into a text promoting imperialist aggression. The death of the Martians in The War of the Worlds means a defeat to the history of the struggle for survival on Earth. Thus, the death of the Martians is inevitable. The deletion of this evolutionary context in Kaseijin to no Sensō turns the Martians’ death into a coincidence with the help of allies, not something inevitable. As the death of the Martians changes from inevitable to accidental the patriotic anxiety of the original text is further emphasized and the message of the imperialist criticism of the original text weakened.

This paper reconsiders the meaning of the term “Uncanny” through a re-reading of Freud’s Uncanny, and revises some noteworthy errors that appear in the Korean translation. The domestic translation of the “Disquieting Strangeness” displays only Jentsch’s interpretation. Freud’s Uncanny is, however, based on the desire of returning to the maternal body which is well-known and familiar to all people since primitive times. The emergence of the super-ego modifies this sentiment, and the ego feels it from then on as anxiety. In order to make this point, this paper reconstructs Freud’s demonstration of the etymological study on the German word “Unheimlich” from the psychoanalytical perspective. In addition, Freud’s paper elucidates the Uncanny with a logical structure. Strangely enough, it is a rather uncanny paper that evokes an uncanny feeling to its reader, and this paper pinpoints the reason in Freud’s methodology and rhetoric. Freud explained that the Doppelganger phenomenon can easily create the feeling of the Uncanny, which can be described as a fragmentation, a reversal as well as a duplication of the ego. Likewise, Freud used the following rhetoric in his paper: His ego “ich/I” is divided and reversed as “er/he” and duplicated even as “wir/we”. As a result, Freud’s Uncanny has become an uncanny writing between a scientific research paper and an artistic creation. Furthermore, it is noteworthy that Freud used a more postmodern methodology, namely the author’s intellectual sensibility. Intellectual sensibility refers to the ability of empathy with intelligence, which plays a particularly important role in aesthetic experience. Therefore, at the heart of Freud’s study, there is The Sandman by E.T.A. Hoffmann, who is regarded as the unreachable master of the Uncanny by Freud. Based on Freud’s “Creative Writers and Day-Dreaming ”and Totem and Taboo: Resemblances between the Psychic Lives of Savages and Neurotics, this paper explains that aesthetic experience provides the experiences of young children and savages as well as neurotics. Thus, it is the psychoanalysis itself, which is per se uncanny, because it reveals all the hidden psychic power in all human experiences, both in real situations and fantasy. The Uncanny is the feeling, which is somehow familiar, but at the same time unpleasant as well as frightening. It can be felt when the boundaries are unclear. However, this emotion provides an opportunity for the expansion of the boundaries because it departs from the psychic world of young children, savages and neurotics. Because this world is influenced by both animism and omnipotence of thoughts, what is regarded as the Other in this world symbolizes actually the Doppelganger of the ego. Besides, the fact that the concept of the Uncanny is particularly useful in research and application in various interdisciplinary studies especially in the digital age implies that the Doppelganger phenomenon has been increased in the digital world. With this background, this paper intends to contribute to understanding the concept of the Uncanny more precisely.

The article is organized as follows. First, it clarifies research questions, the purpose of study and methodology about the Kang-wha's(江都) local food culture storytelling. The second deals with methods of study, literature review, precedent research and theoretical background of the Kang-wha's local food culture storytelling. The comparative variables of a characteristic of food culture are similarity & difference of Kangwha, Koryo & Mongghol's food culture in the thirteenth century. This paper analysed effects of Kang-wha's local food culture storytelling. Thirdly, it presents the comparative analysis about Kang-wha's local food culture storytelling. Fourthly, it suggests interchange direction for fostering Kang-wha's local food culture storytelling. Lastly, it concludes that they are fundamentally similar on Kang-wha's local food culture storytelling.

With the end o f ‘war’, s ocieties are a s s umed to go back to ‘ the normal’ and ‘to restore the cultural and traditional values’ that was destroyed by war and bloody conflict. This ‘going back to normal’ and ‘restoration of culture and traditions’ is an indication that women should ‘go back to the houses’ and take their primary duties assigned in almos t every society ‘ to take care of the home and family’. This at the same time also indicates that the discriminatory practices against women will continue despite the reconstruction of a new social, political and economic s tructure. This paper examines the problem of continuation of violence against women in post-conflict societies and argues that the traditional notion of security, on which most of the post-conflict societies are reconstructed, is partial. The overemphasis on power politics excludes women as actors in ‘war’ and ‘peace’ and ignores women security challenges and shuts the door of opportunity that any conflict opens, that is to reconstruct the new structures of state and society that promotes gender equality. This paper has taken the cases of Cambodia to argue that greater involvement of women in the reconstruction process makes a difference to women security and greater political representation of women put restrains on the problem of gender based violence by taking women issues as an agenda of importance. My research makes a comparative study of women in pre-conflict and post-conflict societies of Cambodia to look at the changes that reconstruction has brought out for women and influence of reconstruction programmes on women’s security challenges.

This transversal and transdisciplinary thought-experiment aims to explore the following: 1) in and through specific fragments of literature to explicate upon the complicated notion of the Body without Organs (BwO); 2) to present a reconsideration of the idea of love in Deleuze and Guattari's philosophy; and 3) through several instances of science fiction to map out an ontology and ecosophy of machinic desire or eros. The examples of construable science fiction which have been chosen are Tong Enzheng’s The Death of the World's First Robot; and Félix Guattari's film screenplay A Love of UIQ. These have been chosen as they explore in their way the possibility of inhuman or nonhuman forms of love. We shall also reflect on the possibility and nature of the neologism – the machine without organs (MwO) – that is to say, a sense of robot or machinic love beyond the collapsed or exhausted body without organs. The MwO is invoked to question the limits of explanation of the BwO in the post-human milieu. The focus on the MwO connects with Tong Enzheng's fourth law of robotics: A robot may not fall in love.