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This article investigates how Matthew Arnold’s early poem “Resignation” investigates the speaker’s perceptions of the power of unanticipated adversity, irresistible undertaking, and a vigorous pursuit of human resolution. Reworking an ode form into his work, devoted to his sister suffering from her precipitous affliction, Arnold ponders over the problem of man’s adverse fortune, his graceful-mindedness to forbear such occurrences, and to simultaneously pursue an unswerving power inherent within his willpower. Among his initial poems, this poem is remarkable in foreshadowing one of the writer’s recurrent thematic concerns with the dilemma of human choice under the ineluctable force of its bizarre and repugnant counterpart. In reference to his various poems and prose works, “Resignation” certainly establishes the germ of the territory of one’s resilient and free choice, which leads to his later portrayal of Empedocles’s defiant spirit, whose characterization has been regarded as one of Arnold’s great literary distinctions. Arnold’s poetic purpose is not to reveal the characters’ resigned stance, but discover an Empedocles-like dynamic and vibrant spirit of man in response to the present predicament.

본 연구는 브랜드 이미지가 배경음악 구성요소의 변화와 특성에 따라, 어떠한 차이를 보이는지를 알아보기 위한 목적에서 진행됐다. 이를 위한 연구방법으로 뇌파측정 방법을 사용했다. 피험자는 뇌파측정 코드를 장착하고 실험에 참여했고, 피험자가 느끼는 반응에 대한 뇌파는 모두 컴퓨터에 수치와 그래프로 기록됐다. 피험자는 모두 60명이었으며 실험은 측정방법상 인원 제한이 따르기 때문에 2008년 9월부터 2009년 2월의 6개월에 걸쳐 진행됐다.실험결과 측정된 뇌파측정치는 각각 독립적인 영역에서의 분석과 함께, 각 결과의 비교를 통해 어떤 차이가 존재하는가를 파악할 수 있도록 분석했다. 연구결과 광고 배경음악의 음계, 속도, 음량의 차이가 브랜드 이미지를 변화시킬 수 있는 유의미한 영향요인이라는 것을 파악할 수 있었다. 특히, 상대적으로 속도와 음량의 변화가 이미지 영역에 주는 영향력이 강하게 나타났다. 또한, 제품 관여도보다는 음악적 특성 변화에 따른 반응이 유의미하게 나타남을 알 수 있었다.

The purpose of this study is to give technical base for how to use background music by examining brand image distinction from the musical characteristics in the advertising and product involvements. Thus, the first independent variables are musical character-istics of background music in advertising. The second are the product involvements. The dependent variable is brand image in the advertising. This study was conducted through an experiment by EEG-brain wave test equipment. The subjects of this experiment are 60 university students. They were given four types advertising and two types background music. The results of this study are the following. First, there is no strong relationship between brand image and product involvements. Second, musical characteristic of background music and brand image are significantly related. That is, the results argue that musical characteristics of background music should be carefully examined regarding their functions and roles in the decision making process for choosing background music for advertising. Furthermore, it would be so desirable to study how much the music conforms to brand image.

The concepts of graph theory are applied to model and analyze dynamics of computer networks, biochemical networks and, semantics of social networks. The analysis of dynamics of complex networks is important in order to determine the stability and performance of networked systems. The analysis of non-stationary and nonlinear complex networks requires the applications of ordinary differential equations (ODE). However, the process of resolving input excitation to the dynamic non-stationary networks is difficult without involving external functions. This paper proposes an analytical formulation for generating solutions of nonlinear network ODE systems with functional decomposition. Furthermore, the input excitations are analytically resolved in linearized dynamic networks. The stability condition of dynamic networks is determined. The proposed analytical framework is generalized in nature and does not require any domain or range constraints.

This study adopts a comparative literary approach to two well-known poems composed in Korean and English, respectively: “Tugyŏn” (The cuckoo) by Kim Yŏngnang (金永郞) and “Ode to a Nightingale” by the English Romantic poet John Keats. In both poems the solitary speaker is responding to the bird’s song, but an intertextual reading of the two works reveals far more than this obvious similarity in the ways that deepen our understanding of their texts. Densely intertextual in itself, the text of each poem is a mixture of earlier texts which include the works of literature, historical sources, and literary or cultural conventions. Moreover, the relationship of “The Cuckoo” to the Nightingale ode proves explicitly intertextual. The third stanza of “The Cuckoo,” in particular, seems to have been produced in reaction to the seventh stanza of “Nightingale.” The imagistic structure of the former parallels that of the latter in that three successive scenes in each stanza feature different auditors (some of them being historical and literary figures) hearing the music of the bird. As illustrated by the depictions of Ruth and Ch’unhyang, a creative side do both of Keats’s and Yŏngnang’s dependence on other texts in the composition process have. In addition, the relationship between aspirations to death and the experience of beauty turns out to be paradoxical in both poems, which is an effect of intertextuality. While engaging creatively and intertextually in Keats’s ode, Yŏngnang evolved a ‘pure’ lyric style that laid the foundation for modern Korean poetry.

The friendship of Wordsworth and Coleridge is very famous in the history of English literature, but Coleridge had much inferiority complex to his friend. Women around Wordsworth, Annet Ballon, Dorothy Wordsworth and Mary Hutchinson, were all wise and friendly but Coleridge’s wife, Sara Fricker was an ordinary woman who could not understand her husband’s artistic world. Both of them were suffered for their financial problem in their young time and the first part of “Immortality ode” was written for that. But it was more serious for Coleridge who had to write many prose writings to bring up his family, while Wordsworth happened to inherit from his friend to be able to devote himself to poetic creation. And Coleridge got to love Wordsworth’s sister and sister-in-law but his love could not be realized. At last, he could not but admire Wordsworth for his making great achievement of his literature surrounded with good women. This relationship of two friends is expressed well in two poems, “Immortality Ode” and “Dejection Ode”. Wordsworth fell in sadness because of his lost paradise but he overcame it through his meditation and characteristic philosophy. Coleridge fell in endless desperation not to overcome it. It seems not so good to compare the two poems on their artistic value, but “Immortality Ode” is good in its excellent poetic expression and its meditative idea and “Dejection Ode” also gives deep echo to readers with its personal desperation.

This paper aims at defining the connection between “immortality” and “mortality” through the “Ode: Intimations of Immortality from Recollections of Early Childhood” of William Wordsworth. Generally speaking, two words “mortality” and “immortality” are regarded as opposite each other. But prefix “im-” has the function of “in” as well. Therefore the word “immortality” contains “mortality”, and we can suggest that the “mortality” is the sign to denote what the “immortality” connotes. In fact, the immortal world is not easy to explain. Everything is always changing and cannot but be mortal. But each of all has one significant clue to “immortality”, for whatever that exists is changing endlessly. So William Wordsworth realized the “immortality of changing” through “the meanest flower of his poetry” and himself. And in The Heart Sutra, “immortality” can be compared to emptiness, “mortality” to form. In conclusion, it is a kind of synecdoche, a part for the whole, the “mortality”(form) for the “immortality”(emptiness).

This essay examines Andrew Marvell’s An Horatian Ode upon Cromwell’s Return from Ireland in terms of its rhetorical structure. The poem has been read either as a lament for the dead king or as a praise for Cromwell. When we read the poem in terms of its rhetorical structure, we can see the political meanings of the poem clearly. The poem has a rhetorical structure, divided into six sections: an exordium, a narratio, a propositio, a confutatio, a confirmatio and a peroratio. On the first section of exordium, the poet introduces a “forward youth,” Cromwell who abandons his private life and pursues his active life in society. Then, by way of narratio, the poet examines the political situation in the 1650s. On the third section of propositio, the poet offers an encomiastic portrait of Cromwell. He praises Cromwell for his military abilities, and next commends Cromwell’s political acumen. The fourth section of confutatio deals with a portrait of Charles I. The king he portrays is decorous in that the poet says that Charles did not do any mean thing. Then the confirmatio compares the British republic to the Roman republic, and says that the bleeding head of Charles is taken as an omen of the success of the British republic. The poet counsels support of Cromwell’s republicanism, and expects that the British republic will liberate the suppressed Protestants in Europe. Finally, the peroratio claims that Cromwell will succeed in keeping the cavaliers at bay. In conclusion, when we read the poem in terms of its rhetorical structure, we can see that the poet advises the English people to support Cromwell and his republic, and also tries to convince Cromwell and his supporters to stick to republicanism.

드라마는 대중이 광범위하고도 쉽게 접할 수 있는 매체로써 한 나라의 문화를 연구하는 데 있어서 중요한 도구다. 우리는 중국 드라마 ｢환락송｣ 시리즈1에서 가부장 제 문화를 둘러싼 여성과 남성 인물의 서사를 중심으로 중국의 양성 젠더 의식을 살 펴보았다. 그 결과는 다음과 같다. 판성메이는 가족 내 가부장제의 피해자이자 내면화된 가부장제의 재생산자의 이중 적 면모를 보이고, 자신을 반성하며 가부장제적 문화를 극복하려는 자아 성장의 과정 을 겪는다. 안디는 가부장적 사고가 강렬한 생부와의 단절을 통해 자신 가족사의 정 신병 트라우마를 치유하고 자아를 확립한다. 꽌쥐얼은 부모의 가부장적 혼인관에서 탈피하여 자유연애를 추구하는 자아 해방을 맛본다. 취샤오샤오는 남존여비의 사상이 뿌리 깊은 부친과 이를 거부하는 모친의 이혼 위기를 해소하고자 노력하며 자아가 성숙한다. 츄잉잉은 처녀 콤플렉스를 지닌 연인 잉친과의 갈등이 절정에 달했으나 잉 친이 이를 극복하고 청혼함으로써 위기는 해소된다. 5명의 여성 주인공은 모두 가부 장제 문화와의 충돌을 겪으며 자아가 성장하거나 성숙한다. 자아 성장의 동력은 주체 성, 평등, 여성 자매의 연대의식 등을 주장하는 여성주의 이데올로기다. 5명 여성의 연애 서사 상대인 5명의 남성 인물 중, 가부장제의 대표적 피해자인 왕바이촨과 빠오이판을 중점적으로 고찰한 결과는 다음과 같다. 왕바이촨은 가부장제 문화의 가장에게 요구하는 과중한 부담감을 짊어진 남성상이다. 빠오이판은 절대적 부권의 가부장제적 사상을 극복하고 새로운 가치관을 확립한 신 남성이다. 그는 젠더 평등적이고 감정 중심의 관계 지향적 남성으로, 변화된 시대의 남성상을 대변하고 있다. 이들 여성과 남성 인물상은 현실 리얼리티에 기반을 둔 인물형상으로, 드라마가 중국 젠더 양성의식의 현재를 재현하는 기능과 미래를 비추는 등불 역할을 담당하고 있음을 알 수 있다. 동시에 우리는 ｢환락송｣ 시리즈1을 통해 작품에 구현된 여성주 의 이데올로기와 잠재된 친 여성주의적 남성주의의 연대 가능성도 엿볼 수 있었다.

Drama is a medium that the public can access widely and easily, and it serves as an important tool for studying a nation's culture. This study examines gender consciousness and the dynamics of gender relations in China through the narratives of female and male characters surrounding patriarchal culture in the Chinese drama series Ode to Joy (欢乐颂) Season 1. The findings are as follows. In the narratives of the female characters, Fan Shengmei exhibits a duality as both a victim and a reproducer of internalized patriarchy within her family, yet undergoes a process of self-reflection and growth as she strives to overcome patriarchal culture. Andy heals her familial trauma caused by her father’s strong patriarchal mindset and establishes her self-identity by severing ties with him. Guan Ju’er attains self-liberation by rejecting her parents’ patriarchal view of marriage and pursuing free love. Qu Xiaoxiao matures through mediating the marital conflict between her father, who upholds male dominance, and her mother, who resists it. Qiu Yingying’s relationship crisis with her lover Ying Qin, who suffers from a “virgin complex,” is resolved when he overcomes his prejudice and proposes to her. All five female protagonists experience self-growth and maturity through conflicts with patriarchal culture, driven by feminist ideologies that emphasize subjectivity, equality, and female solidarity. Among their male counterparts, Wang Baichuan and Bao Yifan represent, respectively, the victim and the transcender of patriarchal ideology. Wang Baichuan bears the excessive burdens imposed on the traditional male as the family head, embodying the male victim of patriarchy. In contrast, Bao Yifan overcomes the notion of absolute paternal authority and establishes a new value system characterized by emotional equality and relationship-oriented masculinity, representing the emerging image of men in a changing era. The male and female characters in Ode to Joy are portrayed with realistic depth, demonstrating that the drama not only reflects the current state of gender consciousness in China but also serves as a beacon illuminating its future direction. Furthermore, the series reveals the potential for solidarity between feminist ideology and a pro-feminist form of masculinity embedded within the narrative.

이규보의 <개원천보영사시>는 두목의 <과화청궁절구삼수>를 중요한 참고 텍스트로 삼아, 창작 주제, 정서적 분위기, 예술적 수법, 서사 구조 및 심미적 이미지 등 여러 측면에서 전작의 정수를 계승하면서도 모방을 넘어 창조적 전환을 이루었다. 창작 주제에 있어 이규보는 두목의 영사시가 지닌 사치를 통해 망국을 경계하고 역사를 빌려 현실을 풍자하는 핵심 주제를 깊이 계승하였으며, 나아가 두목의 단일한 정치적 비판 시각을 뛰어넘어 유가의 인정(仁政), 현인 중시, 백성 사랑, 윤리 도덕의 정치 교화 이념을 융합하였다. 정서적 분위기 측면에서는 고전 영사시 특유의 흥망성쇠에 대한 비애감을 공유하면서도, 이규보는 개인적 영사시의 애상을 사대부 계층의 정치적 우환과 윤리적 성찰로 승화시켜, 영사시의 정서 표현이 단순한 역사적 서정을 넘어 동아시아 한시 특유의 유자(儒者)적 구세(濟世) 의식을 갖추게 하였다. 예술적 수법, 서사 구조, 심미적 이미지 측면에서 보면 이규보의 <개원천보영사시> 연작시와 두목의 <과화청궁절구삼수>는 뚜렷한 상호텍스트성을 보이며, 두 텍스트 사이에는 분명한 연계와 변환의 관계가 존재한다. 이규보는 두목의 영사시가 지닌 한 가지 사건에 한 편의 시를 쓰고, 작은 데서 큰 것을 보여주며, 즐거운 경치로 슬픈 정서를 대비시키는 예술적 양식을 차용하였고, 두목이 정형화한 칠언절구의 장법과 풍자 기법을 계승하였다. 서사 구조에 있어서는 두목이 역사적 단편을 포착하고 국부적 장면에 초점을 맞추는 구도 방식을 벗어나, 전후 대조를 이루는 파노라마적 편년체 구조를 채택하였다. 심미적 이미지 차원에서는 원형적 전형 이미지를 계승하는 기초 위에 이미지 계보를 더욱 확장하고 이미지의 의미를 새롭게 하여 이미지 체계의 혁신과 재구성을 완성하였다.

Li Kyu-bo's "Historical Poems on the Kaiyuan and Tianbao Eras" takes Du Mu's "Three Quatrains on Passing the Huaqing Palace" as a significant reference text. In terms of creative theme, emotional atmosphere, artistic techniques, narrative structure, and aesthetic imagery, Li Kyu-bo inherits the essence of the earlier work while achieving creative transformation through adaptation. In creative theme, Li Kyu-bo deeply inherits the core theme of Du Mu's historical poetry—using extravagance as a warning against downfall and employing historical allusion to critique politics—and further expands beyond Du Mu's singular political-critical perspective by integrating Confucian principles of benevolent governance, valuing virtue, loving the people, and upholding ethical relations. In emotional atmosphere, both share the inherent pathos of rise and fall characteristic of classical historical poetry, and Li Kyu-bo elevates his personal historical lament into the political anxieties and ethical reflections of the scholar-official class, enabling the emotional expression of historical poetry to transcend mere historical lyricism and acquire the distinctive Confucian commitment to worldly salvation found in East Asian Sinographic poetry. In terms of artistic techniques, narrative structure, and aesthetic imagery, Li Kyu-bo's "Historical Poems on the Kaiyuan and Tianbao Eras" exhibits a pronounced intertextual relationship with Du Mu's "Three Quatrains on Passing the Huaqing Palace," with the two texts displaying clear connections and transformations. Li Kyu-bo adopts Du Mu's artistic paradigm of treating one event per poem, seeing the large through the small, and using joyful scenes to contrast sorrowful sentiments, while also following Du Mu's established seven-character quatrain form and satirical techniques. In narrative architecture, Li Kyu-bo moves beyond Du Mu's approach of capturing historical fragments and focusing on localized scenes, instead adopting a panoramic chronological structure of contrasting before-and-after. In aesthetic imagery, while inheriting prototypical classical images, he further expands the imagistic repertoire and refreshes imagistic semantics, accomplishing an innovation and reinvention of the imagistic system.

Korean society has a characteristic that the desire of national economic civil society is carried out in the family's territory. Family territorialization is a direct example showing the flow of the desire which can not be projected onto the society and so it flows back to the family. Family territorialization appears and completely replaces national society whenever it is in crisis. Gukje market-ode to my father shows that the private relationship between father and son was substituted by the public political relation of commanding and responding. This paper considers the family-publicness processing that makes Deok-su's life localized wholly shown in the movie, Gukje market-ode to my father in alignment with that of the reality of Busan's localization. The refuge's publicness is to Family fascism which exploits Deok-su's whole life what planning for world city Busan is to Nationlized fascism to devastate the inner life. From the beginning, for Deok-su has to live as a son of his father, he was not allowed to define his independent identity. Busan is also colonial city which has no permission of independent planning. Therefore, 'Local' exists only as a victim of public fantasy under the conditions that public values are good. Deol-su's life was taken as security by his father who didn't return and Busan is obsessed with the standard of world city Busan. This local fantasy is the factor of the downfall to childish old-age's local in the 'timelessness' which can't escape from the past. In the territory of publicness, the strong command and the weak obey the commands. Publicness is the process of typical localization using mistaken fantasy by authority. To sum up, Gukje market-ode to my father is an interesting text showing the process of downfall of Deok-su and Busan which don't have their identity independence in the mistaken fantasy that there is no lack in authority.

As Milton’s “Nativity Ode” was written before daylight on Christmas morning of 1629, as a birthday gift to Christ, about two weeks after his twenty-first birthday, December 9, it is said to mark not only his legal but also his poetical and vocational coming of age. He seems to compose the ode as the portrait of the artist as a young shepherd who would be a future bard (a great Christian epic poet). Milton thinks of the gist of the Christ’s birth as His kenotic descent into a human body, so he wants to sing a humble song as his gift to the birth. The song, like Pindaric victory odes, needs to introduce the specific event and to establish its larger cosmic significance. And he also finds out that Christ’s sacrificial narrative, beginning with His humiliation and ending with His exaltation, seems very similar to the Virgilian narrative of poetic development in his messianic eclogue. Milton considers his predecessors’ great works as the result of a process of constant reinterpretation and recreation of literary traditions. He wants to overcome his elders by accommodating them to his particular needs. Just as Virgil, who would potentially rival Theocritus and Homer, announces in the fourth eclogue his movement from the pastoral genre to the more elevated vein of heroic poetry, so Milton proclaims in this poem his mental dedication to the lofty range of Christian epic poet. But, in order to show his excellence in every genre, he put the song in the Pindaric victory ode in stead of the humble range of the Virgilian bucolic. In accordance with the scenic movement from the meanly wrapt Child in the rude manger, then to the implications of that Child, and finally back to the sleeping Lord in the courtly stable, Milton varies his song from the “humble ode” to the “holy song,” and then he ends the “tedious song” in order to play an activist role to His heroic acts. In a word, “Nativity Ode” can be safely said to show Milton’s willingness to adapt and vary several literary traditions so as to create his own inventive form.

This essay endeavors to prove Wordsworth’s greatness as poet lies in his early poetical works, where his vision about religious naturalism is voiced which is traceable to Spinoza’s Deus sive Natur (God is Nature). In other words, Wordworth played arguably a pivotal role of bridging between Spinoza’s philosophy and 21st century vision of Religious Naturalism on nature in terms of the relationship between God and Nature. Firstly, this research will attempt to classify Spinoza’s Deus sive Natur into four different versions: Pantheism, Atheism, Deism, Panentheism, thereby excavating Panentheistic elements in Wordsworth’s early poems with focus on ‘Ode: Intimations of Immortality.’ Secondly, this research is concerned with identifying vital elements of ‘the Numinous’ theologically reinstated by Rudolf Otto. Thirdly, it aims to shed light on the idea of Immortality poetically problematized by Wordsworth in ‘Ode: Intimations of Immortality.’ Especially, Otto’s concept of ‘the Numinous’ will be employed for critiquing the general consensus that the early works by Wordsworth have lost poetic dignity by foregrounding the emotional elements, by contending that emotion or enthusiasm constitutes the kernel portion in the process of experiencing the religious numinous. Further, this research will raise the question of Immortality, intimating, in unison with Spinoza’s anti-anthropomorphism, the infinity or immensity of the Soul by refuting the Orthodox Christian vision of the next world. To summarize, Wordsworth is a great visionary poet that prophesied Religious Naturalism currently burgeoning as alternative religion that may substitute for traditional churches by reinstating the then controversial idea of Spinoza’s Panentheism.

The purpose of this paper is to analyze the function of art represented in Keats's two great odes, “Ode to a Nightingale” and “Ode on a Grecian Urn.” “Ode to a Nightingale” appeals to auditory art, while ignoring the visual. “Ode on a Grecian Urn” stresses the visual and representational features. The former depicts the transitoriness and temporality of musical art, while the latter reveals social features of visual art which soothe the sufferings of human world. The nightingale flies away from the speaker who remains in pain, whereas the urn allows the speaker(audience) to connect with the art in eternity. The poet in “Ode to a Nightingale” realizes that the bird's song cannot deliver him from his painful life. The nightingale of “Ode to a Nightingale” is separated from humanity and therefore has no human concerns. However, the physicality of the urn serves as a component in describing the relationship between art and humanity. The urn requires audience to interact with humanity. The narrator rejoices in happy aspects of the scene, in a manner which reverses the claims made about art in “Ode to a Nightingale.” The figures on the urn are able to enjoy their beauty and passion because of their artistic permanence.

The real nature of the west wind in Shelley's Ode to the West Wind is the divine providence which influences all things in this world- that is, whether they are on land, in the sky, or in the sea. The divine providence is the manifestation of something beyond the present and tangibel object. In the first stanza, the real nature of the west wind in this poem is the wild wind, the breath of Autumn's being, the unseen presence, the azure sister of the Spring, a Destroyer, a Preserver, the winged seed, a creator, a philosopher, a poet, Shelley, and the wild spirit moving everywhere. In the second stanza, the real nature of the west wind in this poem is cloud, the angel of rain and lightning, fierce Maenad, the approaching storm, the congregated might, the black rain, the fire, hail, solid atmosphere, the tremendous power of revolutionary change, and the power that influences all things in the sky. In the third stanza, the real nature of the west wind in this poem is the voice that makes the oozy woods which wear the sapless foliage of the Atlantic, and the power makes the blue Mediterranean wake from his summer dream. the fit medium of expression which Shelley's soul was seeking for, Shelley's passion, Shelley's partner, Shelley's co-worker, and a strong presence which influences in the sea. In the fourth stanza, the real nature of the west wind in this poem is the mightest presence, the power, the strength, the free presence, the uncontrollable, the wanderer over heaven, a vision, the tameless, the swift, the proud and the God who can save Shelley form the heavy weight of hours and lift Shelley as a wave a leaf, a cloud. In the fifth stanza, the real nature of the west wind in this poem is the mighty harmony, the fierce Spirit, Shelley's spirit, the impetuous spirit, incanation of this verse, spark, the trumpet of a prophecy, the Providence which can make the Winter depart and call Spring, and the prophet. To conclude, the real nature of the west wind in this poem is Shelley's accumulated insight that he visulize his impulse of revolutionary thought.

With globalization, the potential for conflict between international trade law and environmental law is rising. Some multilateral environmental agreements (MEAs) employ trade restrictions to protect the environment, directly contravening the World Trade Organization (WTO) principle of non-discrimination. Achieving mutual supportiveness between WTO and MEAs will enhance global governance. However, the question of finding the most effective way to harmonize the two regimes remains unanswered. A review of WTO cases involving environmental measures suggests that it is desirable to handle the MEA-WTO conflict within the WTO framework: The best option is to amend the General Agreement on Tariffs and Trade Article XX. Specifically, the amendment will take the form of adding a new paragraph (k) “in multilateral environmental agreements” to Article XX. This ensures that free traders’ concerns are fully reflected because Article XX’s chapeau, which would automatically apply to (k), affords protection against “arbitrary or unjustifiable discrimination” and “disguised restriction on international trade.” Simultaneously, an amendment to Article XX is a straightforward way to account for existing MEAs and prevent prejudicing future MEAs. Harmonizing the potential regime clash is of particular importance to countries in the Asia-Pacific region because the U.S. has imposed unilateral trade-restrictive environmental measures and exporting countries in the region had to resort to the WTO for a resolution. Moreover, achieving mutual supportiveness between the two regimes can help handle the ever-escalating trade war between the U.S. and China.

본고는 한국 최초의 영문 월간잡지 『The Korean Repository』에 게일(James Scarth Gale, 奇一, 1863~1936)이 소개한 문학작품 중 ODE라고 인식한 번역시를 연구대상으로 하고 있다. 게일은 1892년 1월부터 1898년 12월까지(1893년과 1894년의 2년의 공백기를 제외하고) 6년에 걸쳐 발간된 영문 월간잡지 『The Korean Repository』에 총 17편의 번역시를 게재하였다. 이 시가들은 한국의 문학작품을 최초로 번역하여 해외에 소개한 영시임에도 불구하고, 이에 대한 연구는 없거나 극히 소략하여 이번에 본고가 그 전부를 찾아서 소개하려는 것이다. 17편의 번역시는 ODE와 LOVE SONG, SONG으로 나뉘는데, 그 중 ODE라고 소개된 번역시는 주제가 다양하고 19세기 말 한국시가의 특징을 잘 반영하였다고 본다. 더구나 『The Korean Repository』에 실린 ‘ODE ON FILIAL PIETY’는 서구에 소개된 한국 시가 중 시기적으로 가장 앞선 것으로서 특히 우리의 주목을 끈다. 이 작품들은 최초로 외국에 소개된 한국 시가들임에도 불구하고 아직까지 그 내용이나 원문이 제대로 파악되지 않았다. 이 점에 착안하여 필자는 『The Korean Repository』에 실린 번역시가 우리 시의 어떤 작품에 해당되는지를 먼저 파악하고, 그 원문과 번역작품을 대조하여 특징을 밝히고자 한다. 『The Korean Repository』는 한국에서 발행된 최초의 영문 월간 잡지로서, 본 잡지에 실린 영문 번역시가들을 검토하는 일은 곧 초기 한국의 문학작품들이 어떤 식으로 처음 서구에 소개되었는지, 그 경과를 밝히는 일이기도 하다. 그 동안 한국의 번역문학연구는 외국의 문학을 우리가 어떻게 수용하였는지 그 경로를 밝히는 데에만 치중했을 뿐, 우리 국문학이 해외로 특히 서구로 진출한 경우에 대해서는 그 연구가 활발하지 못하였다. 그 가운데 우리 국문학 작품 중 시가의 번역이 어떻게 시작되고, 서구에 소개되었는지를 밝히려는 것이다.

This study has been conducted on poems in the form of "odes", which were among the literary works translated by James Scarth Gale (1863~1936) and published in The Korean Repository, Korea's first monthly magazine in English. Gale published a total of 17 translated poems in The Korean Repository, which was published regularly in the six years from January 1892 to December 1898, excepting a hiatus of two years in 1893 and 1894. The purpose of this study is to introduce these poems after researching them, because research on them has been absent or very rare, even though they were very first Korean poems translated from Korean into English and introduced to other countries. The 17 poems can be generally divided into the types "ode", "love song", or "song". Among these poems, the odes, especially, cover various topics and reflect well the characteristics of the Korean poetry of the end of the 19th century. On top of that, the ode on filial piety published in The Korean Repository was the earliest of all Korean poems introduced in the west. Thus, it particularly attracts our attention. Regardless of the fact that these poems were introduced to other countries for the first time, yet the content, that is the original poems, have not been identified properly. From this point of view, this study will first determine to which category the poems published in The Korean Repository correspond and their characteristics will be investigated by contrasting them with the original poems. Since The Korean Repository was Korea's first monthly magazine in English, examining these poems that were translated into English is a way to discover how early Korean literary works were introduced to the West for the first time. So far, studies on Korean translated literature have only focused on the path by which Koreans accommodate foreign literature, but studies on how Korean literature could be spread to foreign countries, especially to the West, have not been actively performed. Therefore, this study will investigate how the translation of Korean literature began and how the poems were introduced to the West.