서대(西臺) 김충(金沖)의 시에 나타난 정신세계

이구의 ( Ku Eui Lee ) 온지학회 2012 온지논총 Vol.- No.32

This thesis examines how the poems of Seodae Kimchoong`s(西臺 金沖: 1513-1572) are linked with life, and what the spiritual sphere in his poetry is. The characteristics of his poems can be summarized into several things. Seodae Kimchoong lived in the maturity of confucianism era. He was born in courtesy family. He was doing literature activity grounded by confucianism, or moral philosophy. Here, his poem appears elegance of classical scholars and refinement mind. He was not doing only study. He knew refinement and elegance. He found originality of elegance by nature. He found the meaning by lucid water drop. He thought nature like a thing that gives admonition of the reason. He achieved obvious principle in nature. He was pointed in his literature, most essential is recover the characteristic of nature. He said in everyone`s mind there is politeness or virtue. This means mind generalizes character. In other words, it is the mind controls one`s nature and temper. This is the spirits of unity of God and man. He caught the viewpoint of human knowledge by unity of God and man. Who has this human knowledge is not a scholar of mean type that`s a scholar of a noble gentleman. It`s derived from an idea of the union of nature and man. Every poem express the poet`s mental. See the people`s comments, Seodae`s personality was grace and noble. The poem is rankness and tranquility. Because who has personality like grace and noble made it. His life resembles part of Anhoi(顔回). In other words he lived in content amid poverty and take delight in the Way. This is the result that he performed in learned man`s mind. From past to contemporary there is no article about Seodae Kimchoong. That`s because his poem hardly remains recently. We should not ignore the represents of him because of scarceness of his poems. Found significance about one buried learned man by this article.

『白社會帖』과〈白社老人會圖〉

송희경(Song Heekyung) 한국미술연구소 2004 美術史論壇 Vol.- No.18

The Baeksa Hoecheop (Baeksa assembly album, 『白社會帖』) is a commemorative album published on the event of the assembly of 14 elderly men in 1784. Composed of 22 pages, the paintings are executed ink and light color on paper, and measure 41.5×31.5㎝, The album begins with the tide, “Baeksa Dongyu (Baeksa members enjoy together, 白社同遊),” and then goes on in pages 4 and 5 recording the pen name, birth date, and birth place of the 14 members. According to the records in pages 4 and 5, the participants included Jeong Gye (鄭棨, 1710-1793), Hong Juman (洪周萬, 1718-?) Jeong Mok (鄭棨, 1720-?), Song Jeno (宋濟魯, 1711-?), Gang Sedong (姜世東, 1714-?), Jeong Jip (鄭集, 1715-?), Eom Gu (嚴球, 1716-?), Yi Jingdae (李徵大, 1717-?), O Myeonggu (吳命久, 1718-?), Hong Gihan (洪起翰, 1719-?), Yi Uihyeong (李宜馨, 1720-?), Yi Hyejo (李惠祚 1721-?), Yi Myoungjun (李命俊, 1722-?), and Sin Taekgwon (申宅權 1722-?). On pages 6 and 7, an introduction is written by Jeong Gye, while on pages 7 to 14, poetry composed by the participants are listed. On page 15, writings by Song Jeno can be seen, and on pages 16 and 17, additional comments by Yi Hyu (李休, 1708-?), Song Jeyu (宋濟愚 1708-?), Bak Heonchae (朴獻采 1716-?) and Hong Eungjin (洪應辰 1710-?) are found. On page 18, Hong Juman s essay (1793) is recorded, while on page 19, Sin Taekgwon S writing (1797) is found. On pages 20 and 21, it appears that Jeong Suyeong (鄭遂榮, 1743-1832)' s paintings were present, but they are now detached. Most of the participants were related to each other. Jeong Gye and Jeong Mok. Song Jeyu and Song Jeno were brothers, while Hong Juman and Gang Sedong, Sin Taekgwon and SongJeyu were in-laws. Moreover, Gang Sedong and Gang Sehwang came from dle same Gang family of the Jinju dan. Eom Gu' s father was Song jeno' s father-in-Iaw making the two brothers-in-law. Thus, the Baeksa-hoe(白社會) assembly members constituted of dose-knit families and friends, in similar ages. Jeong Gye writes in his introduction mat former officials gathered in me west of the city. outside me city walls, in order to spend time together enjoying each others company and composing poetry. And thus, this album was created to record the poetry. Moreover, Sin Taekgwon writes in another essay that the 18 participants were 'extremely dose to each other, sharing and disposing together,' and that their 'good health, comrort, and happiness coming from their correspondence' brought about the production of this album. After retirement, me participants Lived nearby one another and held regular' meetings recalling their past official lifestyle and enjoying their old age. Most of the poetry included in the Baeksa Hoecheop discuss the strong friendship among the participants or the lamentation on me ephemeral life of me contrasting past and present, instead of me depiction of natural scenery or me specific discussion of people. Vocabulary such as 'peaceful reign: 'song of good harvest: and 'dream of high posts' imply me wealth and glory enjoyed in dle younger days, In contrast, words Like 'old age: 'poor home covered in snow', and 'last sear' anticipate the distress and transient life of me aged. In his painting, Jeong Suyeong chose to adopt the circular' composition, often used in elderly assembly paintings or commemorative paintings, continuing the mid Joseon (朝鮮, 1392-1910) assembly painting tradition. By placing the pine tree which symbolized longevity. righteousness and friendship on the right hand Side, the painter emphasizes the lofty characteristics of the participants. Moreover, the elderly, wearing everyday clothes, are depicted with Light ink and colors in steady brushwork, TIle background is also painted with light colors, creating an elegant and mellow atmosphere. Thus, dle figures in me paintings of the Baeksa Assembly present a group of intellectual scholars who also enjoyed refilled aesthetic pleasures. The painting itself is a visual creation by me Literati who pursued idyllic morality and unworldly elegance. The Baek

조선후기 西園雅集圖와 그 다층적 의미 : 金弘道 작품을 중심으로

유보은 한국미술사학회 2009 美術史學硏究 Vol.263 No.263

Xiyuan yaji tu (The Elegant Gathering in the Western Garden) depicts a gathering of renowned literati of Northern Song in Xiyuan, the garden of Wang Shen’s house, located in the capital city of Kaifeng. The illustrious company of sixteen includes the likes of the Daoist priest Chen Jingyuan, the monk Yuantong, and Su Shi, Li Gonglin and Mi Fu. This painting has long been understood as a praise of an elegant gathering between literati. In this paper, I pay attention to the long-neglected fact that the gathering was one among members of the Jiufadang, or the Old Law Party of Northern Song, to underline its political significance. I also explore the ideological and philosophical aspects of this meeting insofar as it is one in which Su Shi, who integrated Buddhism and Daoism into one system of thought, occupies a central position. This Chinese painting theme is presumed to have reached Joseon around the 17th century. Around this time, the influence of the late Ming Dynasty made its literati lifestyle, often associated with gardens, wildly popular in Joseon. Joseon literati held to the ideal of the so-called Three Perfections, which means the equal cultivation of three arts, poetry, calligraphy and painting. Su Shi’s works as a poet, calligrapher and a painter were highly popular in Joseon, also around this period. Once into the 18th century, both the members of its royal house and upper class were fond of paintings on the theme of the Elegant Gathering, owned by many in their private collections. Members of the Joseon literati also liked to compare their own gatherings to the one depicted in Elegant Gathering. Elegant Gathering was perceived by the Joseon literati in various different ways. For some, it was a scene of a banquet among a group of politically like-minded people, while for others, the painting portrayed a poetry meeting where verses were improvised based on motifs from Su Shi’s poems. The understanding of this scene depicted in Elegant Gathering varied according to individual political persuasions. Those who belonged to the Noron group, which dominated the political scene of Joseon at that time saw Elegant Gathering as a leisurely encounter between learned people, while those others belonging to the Namin and Sobuk Groups regarded it as a poetic gathering centered around Su Shi. Paintings on the theme of Elegant Gathering were produced, besides, in Joseon, mainly by people who admired Su Shi. The old surviving Elegant Gathering, produced in Joseon, was by Yun Du-seo, a member of the Namin group. In late Joseon, many painters, led by Kim Hong-do, tried their hand with Elegant Gathering, producing numerous versions of this theme. Kim Hong-do’s works of Elegant Gathering appear to have been directly influenced by Qiu Ying’s works, both in terms of distribution of human subjects and overall composition. Kim Hong-do, however, readapts the composition according to the format, and the landscapes in the background reflect the predominant style of late Joseon. He also adds auspicious motifs, absent in the Chinese versions of this theme. Even though they are variations on the same theme, these paintings differ according to the time of creation, type of target audience and the artist’s intent. The scene depicted on the handheld fan appears foremost an ideal literati gathering, while a political subtext is more apparent in the one on the six-panel folding screen, which also draws attention to the thought of Su Shi. Finally, the gathering scene on the eight-panel folding screen appears to be meant as an edifying scene and is evocative of literary and artistic ideals of the time. 서원아집도는 北宋의 수도 開封에 있었던 王詵의 정원인 西園에서 道士 陳景元과 승려 圓通을 포함하여 蘇軾, 李公麟, 米芾 등 저명한 문인 16명의 모임을 그린 것이다. 지금까지 이 그림은 문인들의 우아한 모임을 칭송하는 장면이라고 이해되었다. 그러나 필자는 서원아집이 북송시대 소식을 중심으로 한 구법당 세력의 모임이라는 정치적인 측면과 유교를 중심으로 불교와 도교를 통합한 소식의 태도를 공유한 모임이라는 사상적인 측면에 주목하여 서원아집도를 새롭게 해석하려고 하였다. 중국의 서원아집도가 조선에 전래된 것은 대략 17세기 경으로 추정된다. 이 시기는 明末 문인문화의 영향으로 庭園ㆍ詩社문화가 성행하고, 詩ㆍ書ㆍ畵 일치의 三絶과 풍류에 대한 동경이 사대부 사이에서 유행했으며, 소식의 작품이 인기도 높았던 때였다. 18세기에는 서원아집도가 왕실과 사대부를 중심으로 활발히 소장ㆍ감상되고 자신들의 모임을 서원아집에 비유하는 경우도 많았다. 당시 사대부들은 서원아집을 유흥적인 풍류모임, 정치적 지향이 같은 집단의 모임, 소식의 시에 次韻하는 시회와 같이 다양하게 인식하였다. 그러나 이러한 인식은 정치적 성향에 따라 달랐다. 당시 정치를 주도했던 老論系 문인들은 서원아집을 유흥이 강조된 풍류모임으로 인식한 반면에, 南人ㆍ小北系 인물들은 소식에 초점을 맞추어 서원아집을 고아한 모임으로 높게 평가하였다. 그리고 소식을 애호했던 인물들에 의해 서원아집도의 제작이 주로 이루어졌다. 현존하는 가장 오래된 서원아집도는 南人인 尹斗緖가 제작한 것이다. 조선 후기에는 金弘道를 중심으로 서원아집도가 활발하게 제작되었다. 이 논문은 김홍도의 <선면 서원아집도>와 <서원아집도 6폭병풍>, 그리고 傳 김홍도의 <서원아집도 8폭병풍>에 주목하여, 양식과 의미를 분석하였다. 그 결과 김홍도는 인물의 배치와 구성에 있어서 明代 仇英의 화풍과 직접적인 관련성을 보였다. 그러나 화면에 따라 구도를 바꾸고, 산수 배경에는 조선 후기 화풍의 특징을 반영했으며 길상적인 소재를 새롭게 추가하여 자신의 작품을 완성하였다. 그리고 동일한 주제의 그림일지라도 제작시기와 감상자, 제작목적에 따라 작품의 의미가 다르다는 것을 알 수 있었다. 따라서 <선면>은 이상적인 문인모임을 상징하였고, <6폭병풍>은 소식의 사상이 반영된 정치적인 의미를 지녔으며, <8폭병풍>은 당시 문예론을 반영한 교훈적 의미를 지닌 것으로 해석하였다. 결론적으로 조선 후기 서원아집도의 의미는 다양하였음을 알 수 있다.

조선후기의 野外雅會圖

송희경 미술사학연구회 2005 美術史學報 Vol.- No.24

'Ahoi'(or elegant assembly, 雅會) was an unofficial gathering of scholars who focused on poetic refinement, different from the grand official assemblies that were formulaic and commemorative. 'Ahoi-do(雅會圖)' paintings, literally 'elegant assembly paintings' changed according to the socio-cultural circumstances; particularly in form, style, content, and meaning. The newly risen scholar class, absorbing the literati culture of Ming (明, 1368-1644) China and succeeding the mid chosun(朝鮮中期 1550-1700) tradition, spent time admiring nature in open air. Late chosun(朝鮮後期, 1700-1850), 'Yaoe ahoi( 野外雅會 or elegant assembly in the open air)' reflect scholar's desire to pursue their literati culture. The origin of late chosun 'Yaoe ahoi can be found in The Springtime Purification at Orchid pavilion(蘭亭修稧). The literati viewed these ancient figures, not as Chinese, but as 'sages' and 'ancient nobles'. Elegant assembly in the Open Air, a professional painter was commissioned to depict the assembly. Among the special commemorative assemblies, many birthdays and farewell parties were held at homes, while special occasions and regular meetings were held open air. Late chosun 'Yaoe ahoi-do' paintings developed distinctive posture, vision, and composition. However, when depicting special occasions such as birthdays, particularly birthdays of the elderly, the figures were placed in a circular composition. 'Yaoe Ahoi' assembly was a cultural by-product of the literati class. The idyllic man sought after by the literati scholars in these assemblies, was a lofty, composed figure who knew how to enjoy elegant and refined activities. The literati who pursued such noble-mindedness and purity desired to form moral and harmonious relationship with others. Thus, 'Yaoe ahoi-do' paintings presented pictorial creations of the literati who strived to realize the idyllic lifestyle of the virtuous man and the unworldly hermit. 야외 아회도는 경치가 좋은 야회에서의 私的이며 자유로운 모임이 연출된 회집도이다. 따라서 야외아회도에서는 문인의 미의식을 알수 있고, 아회인의 풍류를 엿볼 수 있다. 조선후기 문인은 야외모임에서 遊를 실현하여 풍류의 세계에 몰입하고자 하였으며, 蘭亭修禊와 같은 故事風流會를 좋아하여 이를 본받아, 자신의 모임에 고사행위를 그대로 실천하고자 하였다. 야외아회는 17세기에 유입된 명말 문인문화 때문에 더욱 확산되었고, 당시 유행하였던 산수기행 풍조에 힘입어 사대부와 여항인에게 파급되었다. 野外雅會圖는 주로 참석자의 인적사항이나 직접 지은 시구가 粧帖된 시화첩에 수록되었고 특정 기념일이나 정기적인 행사에 주로 제작되었다. 그리고 18세기 전반에는 사대부의 풍류 아회가, 18세기 후반에는 長老와 옥계사의 일상 아회가, 19세기에는 실물상과 실경배경이 표현된 기념아회가 작품화되었다. 野外雅會圖는 동류의식을 지닌 文人들이 경치 좋은 교외로 나가 詩酒와 기승절경을 즐겼던 풍류 현장의 기록화였다. 山과 水를 은거와 유람의 장소로 삼고 풍류를 실현하고자 하였던 아회관은 문인 계층에 친화적으로 수용되었고 이로써 새로운 문인문화가 탄생되었다.

18세기 아회도의 조형성과 그 표상

송희경 ( Hee Kyung Song ) 우리한문학회 2012 漢文學報 Vol.26 No.-

``Ahoi``(or elegant assembly, 雅會) was an unofficial gathering of scholars who focused on poetic refinement, different from the grand official assemblies that were formulaic and commemorative. Thus, the ``ahoi`` was of spontaneous and elegant characteristic that embraced the conversations, poetry compositions, musical performances, board games, painting and calligraphy, tea brewing, and wine drinking activities of the assembly. Other gatherings called in different terms but conforming to the characteristics of ``ahoi`` are also examined as a part of the ``ahoi`` in this thesis. The term ``a(雅)`` in ``ahoi`` means ``simple, restrained, elegant, and refined``, and thus, the term soon became involved with the elegant literati gatherings. By enjoying refined tastes and elegant assemblies, the literati pursued the realization of ``a``(of ``ahoi``) and the means of this pursuit included musical performance, traditional game of ``baduk``, painting, and calligraphy(琴棋書畵). In order to follow the lifestyles of the lofty scholars, the literati copied the activities of ancient figures, and incorporated them into their own assemblies. Kim Hongdo(金弘道, 1745-1806 after) was perhaps one of the most prolific painters of ``ahoi-do`` painting. Kim not only participated in the assemblies held by the literati, but also partook in the gatherings of the newly risen class pursuing literati taste. He brought the icons of historic figures, and realized them on the painting, rendering a harmony of the past and the present. Thus, he adopted typical figures of the past, and incorporated them into the present background, producing a refined and elegant atmosphere. ``Ahoi`` assembly was a cultural by-product of the literati class. The literati who pursued such noble-mindedness and purity desired to form moral and harmonious relationship with others. And such relationships, they believed, could be perfected through ``elegant`` and ``non-secular`` activities and enjoyments. Thus, ``ahoi-do`` paintings presented pictorial creations of the literati who strived to realize the idyllic lifestyle of the virtuous man and the unworldly hermit.

명대 강남 吳中의 博雅風 문화와 조선 문단의 교섭

김정숙 한국중국산문학회 2024 중국산문연구집간 Vol.16 No.-

Wuzhong was the old name which referred to the Suzhou-city of Jiangsu Province in ancient China. I aimed to analyze on interrelated-aspects of literary world in the 17C. Choseon and the erudite-elegant style of Wuzhong. To reveal this point, I examined what the erudite-elegant style which reflected Wuzhong’s regional characteristic had the meaning as sharing-code together through the literature of the late Choseon and the late Ming China. Through this basis, I tried to present an new approach for erudite-elegant style to the literary world in the late Choseon. Firstly, I outlined the definition and aspect on the concept of the Wuzhong’s erudite-elegant style in the 16th century the Ming dynasty. Subsequently, inspected encounters of Wuzhong’s literati with the erudite-elegant style and the Choseon’s literary world, the encounter was through their official and the only way of which both Choseon’s and Ming’s literati met and interacted, as activities of envoy and diplomatic missionaries. Finally, analyzed the conditions with focusing on the works of Shishuo-style written by the Wuzhong literati.

옥봉 백광훈의 풍류와 제화시

황수정 한국시가문화학회 2024 한국시가문화연구 Vol.- No.53

본고는 옥봉 백광훈의 풍류와 제화시를 고찰한 것이다. 그동안 연구된 옥봉 시의 문학적 성과를 기반으로 한발 더 나아가고자 하는 데에 연구의 초점을 두었다. 따라서 그가 이룩한 옥봉 시의 미적 기반으로서 화가와 악사들과의 교유하는 풍류를 살펴보았다. 또한 옥봉 제화시의 예술적 면모를 고찰하였다. 첫째, 예술인들과의 교유와 풍류를 살펴보았다. 여기서는 당대 뛰어난 화가인 김계수가 자신의 그림에 옥봉의 시를 부탁한 점 등을 밝힐 수 있었다. 또한 당대 고수였던 가야금과 거문고 악사와의 교유는 옥봉의 풍류적 기질과 그 성향을 밝히는데 주요하였다. 이는 곧 옥봉 시의 예술적 미감의 저변이 되었을 것이다. 둘째, 제화시의 예술적 면모를 고찰하였다. 먼저 옥봉의 회화에 대한 견해와 인식을 살펴볼 수 있었다. 자신의 미적 견해와 예술적 면모를 유감없이 드러낸 것을 알 수 있었다. 옥봉 제화시 미감의 정취에도 주목하였다. 제화시는 주로 산수화 또는 산수인물화를 중심으로 청신하면서도 한적하게 와유하는 정취를 담고 있음을 알았다. 이로써 목릉성세 호남시단의 주축을 이루었던 옥봉 시세계의 일면을 새롭게 조명할 수 있었다. This study speculated on Okbong Baek Gwang-Hun’s elegant taste and Jehwasi. Based on the existing literary achievement on Okbong’s poetry, this study investigated his poetry intensively; in particular, the aesthetic base of his poetry and his elegant taste through friendship with painters and musicians including artistic aspects of Okbong’s Jehwasi. First, this study gave a focus on the friendship with artists and his elegant taste and it was discovered that Kim Gye-Soo, one of outstanding painters at that time, asked Okbong to write a poem for his painting. Also, friendship with outstanding Gayageum and Geomungo musicians demonstrated that he had elegant taste and tendency to love art and music. It was assumed that the friendship would be the base for his artistic sense. Second, this study investigated the artistic aspect of Jehwasi through his opinion and recognition on painting. In Jehwasi, he showed his aesthetic opinion and artistic taste. Aesthetic sense in Okbong’s Jehwasi was investigated. It was discovered that the Jehwasi had artistic and tranquil mood centering on landscape painting or landscape and figure painting. It was concluded that this study gave a new spotlight on the aspect of Okbong’s poetry that was a main axis of the Honam Poetry Circle of Mokreugseongse.

로맨틱 복식(服飾) 양식(樣式) 연구(硏究) - 21세기(世紀) 전후(前後) 여성(女性) 패션을 중심(中心)으로 -

박신영 ( Shin Young Park ),조규화 ( Kyu Hwa Cho ) 한국패션비즈니스학회 2007 패션 비즈니스 Vol.11 No.1

The purpose of this study is to examine the romantic costume style which has become a big trend before and after the 21th century. For this purpose, I examined the development plans and characteristics of women`s costume in France in the Romantic period from the 1820s to the 1850s and analyzed the aesthetic characteristics of romantic costume style. The aesthetic characteristics of romantic style in the 19th century were defined by the feminine and elegant beauty, exoticism, and sensuality. Since the 1990s, the characteristics are classified into Feminine & Elegant Style, Ethnic & Fusion Style, and Sensual Style. Feminine & Elegant Style is characterized by delicate, splendid lace and frill decorations that have become more ornamental and technical since the 1990s. They create greater romance and express gentler and more elegant femininity away from the artificial silhouette. Ethnic & Fusion Style use more diverse ethnic patterns, colors, accessories, and details since the 1990s and shows more varieties and creativity in convergence with modern fashion. Sensual Style exposes the physical curve of female body. In the 19th century, cuffs and collars were exaggerated and shoulders were exposed for sensuality. After the 1990s, however, see-through materials have been used to show the beauty of natural physical curves or corsets have been worn as the outerwear. Studying romantic costume style, which arose as a concept of postmodernism, the cultural ideology that exists as a breakthrough of our time, is signified by the understanding of the latest cultural phenomenon and fashion trends.

직장여성의 Self Image Making 인식정도에 관한 연구

조기년,최정숙 한국패션뷰티학회 2004 한국패션뷰티학회지 Vol.2 No.3

In order to investigate female workers' recognition of image making, this study conducted a survey of female workers in Daegu and obtained results as follows. First, according to the result of analyzing recognition of image making, many of female workers, 82.3% of whom were between 20s and 40s, replied that they were 'pure and lively'(41.8%) or 'elegant and womanly'(32.3%) but what they sought for in their mind was an elegant and womanly image. However, the image that a majority of female workers wanted to have in the future was 'elegant and womanly' (53.3%) and 'sexy and attractive'(27.4%). This suggests that our society still demand women to be womanly as well as sexy and attractive. Second, with regard to outward image by age, most female workers regardless of age thought that outward image is important for social life. This suggests that younger women recognize more the influence of image and, consequently, the necessity of image making. Thus, the recognition of the importance of outward image appears to result in the proportional enhancement of the consciousness of image management. Third, younger women have a great difference between their current image and the image they seek for and such a difference may be related to mental immaturity between ideal and reality. Fourth, as for the relationship between image making and occupation, those who engaged in service and beauty art highly recognized the importance of image making as they were greatly influenced by their outward image in their social life.

조지훈 시와 시론에 나타난 자연과 우아미의 관련 양상

이찬 ( Chan Lee ) 경희대학교 글로벌인문학술원 2015 비교문화연구 Vol.41 No.-

This paper is to examine in detail the relevant aspects of Nature and Elegant Beauty appearring in Cho, Chi-Hoon``s poems and poetics. It uses the same context to explain the reasons and grounds for the inevitable, corresponding closely to his poetry and poetics. It is the core of Cho Chi-Hoon``s poetry to determine “natural” new artistic views and his vision of ultra-modernism. This is consistent with the precise feature of “Elegant Beauty” in the midst of aesthetic categories profoundly discusseing his poetics. He regards a “lyric” as a vision of ultra-modernism, to overcome divisions and conflicts of values, “Truth·Good·Beauty”, which was caused by modern science. Furthermore, it includes many social issues in accordance with the differentiation and specialization of each area. It is inferred to have been attempted to produce specifically was found to shape new images of “Nature” in the dimension of his poems, “Elegant Beauty” is overwhelmed with the aesthetic excellence of the other categories in the dimension of his poetics in this context.