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This paper examines some ‘names of grass green’ in literature and takes a first to a long journey in order to trace the etymology and form change of each grass green name. The names of grass green which are examined in this paper are ‘가 시연’(a prickly water lily), ‘거여목’(a snail clover), ‘고사리’(a bracken), and ‘꼭두서니’(a madder plant). The research is described especially in terms of the original form and meaning, the form and aspects of change, and the cause and result of loss in each grass green name. The ‘가시연’(a prickly water lily) goes back to ‘가련’ in modern Korean. The word is a compound word of ‘가 [刺]’(prickle) and ‘련(蓮)’(lotus), therefore, it represents ‘lotus with prickles)’. The word became ‘가싀련>가싀년’ and then ‘가시 연’(a prickly water lily) now. The flower which blooms on ‘가시 연’(a prickly water lily) is called ‘가시연꽃’(flower of prickly water lily), and the fruit on the ‘가시연’(a prickly water lily) is called ‘가시연밥’(fruit of prickly water lily). ‘가시연꽃’(fruit of prickly water lily) is exclusively used for referring to the names of grass green from which the flower blooms, not the flower itself. The ‘가시연밥’(a prickly water lily) goes back to ‘*가련밤’, and it is very strange that the ‘밤’ in the word took a change of form as ‘밥’(rice) in the change process. it is assumed that the feature that ‘가시연밥’(a prickly water lily) can be edible is the main cause of change the ‘밤’ into ‘밥’(rice). The ‘거여목’(a snail clover) goes back to ‘게여목’ in the 15th century. The ‘목’ might be ‘苜’(clover), but it is difficult to trace the etymology of ‘게여’. It is assumed that the ‘게여목’ became ‘게유목’ and then ‘게우목’, or became ‘거여목’ and then ‘게목’. Both ‘게우목’ and the ‘게목’ are standard words. The ‘고사리’(bracken) appeared as in the form of ‘고사리’ since the 15th century. It is assumed to have been changed from ‘*곱사리’. The ‘*곱사리’ is divided into ‘곱-[曲]’(curve) and ‘사리 (a coiled-bundle)’, and it represents ‘a coiled-bundle in the shape of curve’. The feature that bracken looks circinate and the top of the sinuous stem looks like ‘사리’(coiled-bundle) gives support to the explanation of the form change. The ‘꼭두서니’(a madder plant) goes back to ‘곱도’ in the 15th century. It was very hard to trace the etymology of ‘곱도’. But, the process of form change from ‘곱도’ into ‘꼭두서니’ can be found without difficulty. The ‘곱도’ became ‘곡도>곡도숑>곡도 송>곡도손’, and then ‘-이’, a suffix, is added to ‘곡두손’ to be ‘곡 두손이’, and it became ‘곡두선이’, and ‘꼭두서니’ finally. The ‘곡 두손이’, which is similar to ‘꼭두서니’ in the modern Korean, appeared in the 19th century literature at the first time.

Sodaesungjeon was printed as blockbooks for sale in Seoul and Jeonju late Choseon and was read popularly. Today we can find six blockbooks of Sodaesungjeon printed in Seoul and four in Jeonju. I compared two kinds of Seoul’s 36-sheets and 24-sheets. And I ascertained that the two blocks reflected the change of language, for example ‘이시리잇고’ and ‘잇스리잇고’ that the former have changed to the latter. This corresponds with the advanced research. I can find similar results in two blockbooks printed in Jeonju, 36-sheets and 43-sheets, therethrough I find the latter has many dialects. Also I compared Seoul’s 36-sheets and Jeonju’s 43-sheets, and ascertained that the Seoul’s has the older spellings and Jeonju's reflects the Cheolla dialects. This study tells that the spellings of blocks have many information about the language of the day.

This study examines the prose collection of 『Seoeoyugo』 and the life of Seoeo Kwon Sang-Shin(1759～1824), a distinguished bureaucrat and a writer during the late Chosun Dynasty period. It then analyses his earlier prose works and discusses its literary features. Having concentrated on writing literary works from his twenties to thirties, Kwon Sang-Shin halted prose-writing throughout his 13 years of government service, starting from October 1788 to 1801. After resuming literature-writing since 1801, he mainly focused on producing official writings such as appeals(上疏) and jinhyangmun(進香文). Thus, this research reviews his prose during his ‘initial’ period, by defining this term as his lifetime prior to serving as a government official. It can be speculated that the reason for the noticeable increase of his public writings, contrary to his previous active creation on literary works, attributes to the continuous death of his family members that eventually led to decline of his prose-writing. There are mainly three literary features in his early prose, using 『Seoeoyugo』. The first is ‘change of conception and pursuit of novelty'. <A record on Ilhongdang(日紅堂記)>, <A story on changing names from Soogyo to Soogyo (水橋變名睡覺 說)>, <A story on a donkey and a cow(驢牛說)> and other works make existing perceptions unfamiliar, thereby show one’s differentiated thoughts in a persuasive way. The second is 'conformity to death and expression of grief', which is related to Kwon Sang-Shin's personal affairs. In <A letter sent to brother Choeihu(與戚兄趙而厚書)> and <A forward written for a concubine celebrating Choi Han-Chu’s 60thbirthday(崔漢樞世壽帖 序)>, where his viewpoint on death is shown, the attitude of accepting the death of a family member with expressions of deep sense of sorrow can be seen, unlike the general appearances of showing skeptical reactions toward Heaven’s will after the loss of one’s child, or denying the child’s death. In particular, <Cemetery for daughter Giwan(女琬壙誌)>, a piece he wrote after the death of his nine-year-old daughter, is a highly literary piece that concentrates the sorrow to the inscription at the end after narrating calmly on the benevolent and dutiful images of the daughter through several episodes. The third is 'pursuit of roughness and flatness and introduction of absurd theories'. Kwon Sang-Shin enjoyed landscape sightseeing throughout his life and left many works on the theme including, <Namgo’s spring promise on sightseeing(南皐春約)> and <A record on sightseeing Jeongneung(貞陵遊錄)>, which show the proprietary characteristics that break from the formality of traditional essays on landscapes. In addition, there are works that on the one hand follows the tradition of essays on landscapes, but on the other hand show novel characteristics of essays on landscapes during this period. Such works include, <A record to go sightseeing from Dowon towards Suraksan mountain(在道院將遊水落山記)>, <A record of crossing Nowonchun creek(涉蘆原川記)>, <A record from Nowonchun creek to Chungjulsa temple(自盧川至淸節祠記)>, <A record from Chungjulsa temple to Sukrimsa temple(自淸節祠至石林寺記)>. In these works, rough walks are not avoided for the journey to search for eccentric yet magnificent sceneries. This goes in line with the tendency of landscape sightseeing in the late Chosun Dynasty, where sightseeing was desired to be differentiated from the previous generation literary persons. In addition, its characteristic can be found in that human affairs realized through the process of sightseeing are expressed through novel arguments. The former generation essays on landscapes perceived landscape as the object to which cultivated souls are indwelled, and expressed the political reality or personal deprivation through their discussions. In contrast, through small episodes during sightseeing, Kwon Sang-Shin originally narrated the enlightenment on the attitude and way of life including, reflection on vanity or chasing power.

This study examines the relevance between Kim-jongsam’s bergamasque poems and Impressionism art. The poet realized the limitations of Romanticism and Realism art. He paid attention to impressionism art in order to overcome it. He intends to represent the world more impressively than to represent it clearly. Bergamasque poems has many ambiguous and indefinite expressions. This attitude avoiding concrete naming of objects appears as passive metaphors. He wants to leave an impression that he can not be sure of if he can not be sure. It is not due to lack of narrative skills or descriptive techniques. Rather, it is a clear aesthetic attitude toward the object and the world. He struggled to fully understand the context and significance of the art history of Impressionism and introduce it more ripe into his work. It was revealed through the adaptation aspects of the Bergamasque poems. Through the process of adaptation, the poet has removed the spatial continuity and the perspective view maintained by the central point of view. In addition, he erased the present tense statement and unified it with the past tense statement. He rejects the subject-centered worldview. It is not to separate the world from the world by looking at the world with its intelligent contemplation but to include itself in the world and accept that it is part of the world. This aesthetic attitude is also an ethical attitude toward the world. Impressionism, which the poet wanted to accept, had to be transformed into a tragic impressionism in the postwar context of Korea. Compared to Western Impressionism, which still has humanistic colors, there is no trace of humanity in his poem. This dehumanization is not an aversion to the human being, but an abhorrence of the violence of human-centered representation that overwhelms all the objects of the world with humans. The will of the poet who wanted to represent the object without violence naturally came to impressionism, and it turned out to be a unique aesthetic form of it.

The purpose of this study is to examine the placeness of ‘Buddhist temple’ found in Jo Oh-hyeon’s poem series, Story in Buddhist temple, consisting of total 32 pieces. As a result, this author has found that the placeness of ‘Buddhist temple’ in this work is characterized by the followings: First, as ‘Buddhist temple’ forms the nuclear part in the title of this work, even before reading the entire text, readers get to arouse their own cumulated ideas or imagination about ‘Buddhist temple’. ‘Buddhist temple’ is the space of Buddhist monks distinguished from secular space, and though it is strange to those living in the mundane world, it does arouse awe and respect from them. In the very fact that it talks about the stories of ‘Buddhist temple’, Story in Buddhist Temple series can attract and interest readers more than any stories dealing with other kinds of space. Second, placeness revealed in Story in Buddhist Temple poem series is characterized by ‘no difference between profane and sacred (凡聖不二)’. The work contains ‘the idea of no difference (either 不二or 不異)’ which implies that the ordinary and saints or being secular and being divine are not two but the same. In Story in Buddhist Temple, that idea of ‘no difference’ could be activated, and the depth could be obtained because the poet and monk, Jo Oh-hyeon’s exquisite discernment did work. Jo Oh-hyeon did capture the aspects of being a saint or being divine hidden inside the ordinary or revealed from that, and it does play roles in breaking and deconstructing the line between the profane (凡) and the sacred (聖) in general. And on account of this, ‘qualitative placeness’ does appear with alteration from a secular to a divine place, that is, the conversion of all places where divine deeds take place including the ones named as a Buddhist temple into ‘Buddhist temple.’ Third, in Story in Buddhist Temple poem series, ‘Buddhist temple’ is space where ‘Buddhist Talking (法談)’ or ‘Zen Mind (禪心)’ does breathe as a world of those who have left their own home. Buddhist talking distinguished from profane talking is the discourse or language of soulmate who live by truth, explore truth, and love truth. If what forms human behavior basically is body-speech-thought (身口意) three karmas (三行), Buddhist talking is the ultimate state of karmic speech (口行). Through this Buddhist talking, ‘Buddhist temple’ becomes a place of truth where Buddhist talking is created, communicated, and extended. If you recall the reciprocality of two parties, humans creating language and language creating humans and also space making language and language making space, you can understand the placeness of ‘Buddhist temple’ in Story in Buddhist Temple series along with that reciprocality. The matter of ‘Zen Mind (禪心)’ can be examined in this perspective, too. Body-speech-thought karma is the one indeed, and when it is grounded on zen mind, Karmic speech (口行) and also karmic body (身行) can be zen work (禪行, or good work 善行). In Jo Oh-hyeon’s Story in Buddhist Temple series, ‘Buddhist temple’ is sound spiritual space where such zen mind is alive. Fourth, ‘Buddhist temple’ in Jo Oh-hyeon’s Story in Buddhist Temple series is space where seriousness, philosophy, mentality, spirituality, and religiousness breathe alive as mentioned above, but it is also such delight space of liberation and freedom full of humor and laughter. Regarding the placeness of ‘Buddhist temple’ in Story in Buddhist Temple, this part is very particular and noteworthy enough to be stressed to share the meaning. The humor and laughter found in Story in Buddhist Temple created by the characters, objects, and also listeners altogether lie in such a supreme state beyond the distinction between the subject and the object, that is, dichotomy. The author sees that it comes from the mastery of śūnyatā (空性) and the operation of Emptiness Mind (空心). The creation of laughter by getting rid of distance grounded on śūnyatā and Emptiness Mind is differentiated from the general way of creating laughter, ‘keeping distance’, and it internalizes cleanness distinguished from ‘superiority’ or ‘coolness’ implied in laughter in general. The laughter of cleanness itself presents a moment of liberation and freedom and also awakening and enlightenment having no traces of residues or greed-hatred- delusion (貪瞋癡). To sum up, Jo Oh-hyeon’s Story in Buddhist Temple series embody the placeness of ‘Buddhist temple’ differentiated from many other worldly places grounded on the original aspects of a Buddhist temple as getting over the closeness of a temple, embracing secularity positively, and pursuing openness into the mundane world aggressively as well. This is why it is interesting and meaningful to listen to a variety of stories that each of the works contained in Story in Buddhist Temple series tells us, and it is the way that we get to experience the distinctiveness that the placeness of ‘Buddhist temple’ is equipped with.

The purpose of the study is to review the operational performance and challenge of the reading program of Chungbuk National University(CBNU). The main reading progarm of CBNU is a <Reading Club 'Pass through a book'>. The program’s team consists of nine students and a researcher. They read and discuss one book a week.. Eight weeks during the semester, six weeks during the vacation, it runs for 32 weeks every year. So far, more than 800 students have been completed. CBNU is more extracurricular program than the regular curriculum. This resulted in the building of the foundation of the integrated reading. To activate and settle reading education, a reading club and a reading certification system must be institutionalized. For this purpose, a list of recommended books should be created at the Policy Level and the financial support should be strengthened.

This teaching-learning process is an example of an actual poetry class in middle schools, considering how to make students interpret poetry for themselves, how to make them understand the organic relationship between each element of poetry and its formation, and how to share aesthetic experiences with them by poetry. For independent interpretation of poetry, this teaching-learning process focuses on the process of ‘story making’ by five W’s and one H. And its principal purpose is to make students interpret each poem for themselves guided by the questions of a teacher. Especially, it tries to overcome decreasing role of a teacher under the increasing importance of students’ participation in the class. And it is designed based on the criticism that teaching-learning processes of a literature class has been developed concentrating on reading activities. After making students interpret poetry primarily by the process of ‘story making,’ teachers lead them to accept poetic images and expressions related to its theme. Therefore, students can know that literary techniques are not just a theory but they are organically related to form a theme of poetry and thus they can experience their use and meaning. This experience is regarded as useful for students to understand the formation of poetry. Research on independent interpretation of poetry, literary techniques and themes results in aesthetic experiences which can make students feel the poetic emotions and be moved by them. The essential purpose of aesthetic experiences, which is different from other learning purposes of a Korean language class, is to get an artistic impression. Nonetheless, these experiences tend to be neglected during the class partly because they are possible only when teachers’ deep understanding and sympathy on poetry is successfully delivered to their students. However, a lot of interests and research from teachers should be needed because aesthetic experiences are the ultimate aim of literature classes including poetry. Introduction of this teaching-learning process aims at the materialization of actual classes and application based on it. However, research on teaching-learning process, sharing of experiences, etc. cannot help but have essential limitations. Because even if a certain model is applied to actual classes, teaching- learning method of each class should be adjusted each time according to the plan of a teacher, personality and ability of the teacher, the condition of students, etc. Therefore, it can be defined as the reality of professionality of a teacher.