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This study begins from the fact that Confucian norms are still operating in contemporary Korean society, and the jongga (head lineage family) plays a great part here by keeping traditional norms and rituals as an ideal model for the kinship group. From a feminist perspective, this study examines Confucian morality internalized in the Korean woman’s femininity and its contemporary implications by reference to the jongbu’s life. The story of Park Kyung-ri’s 『To-ji』(The Land) Choi Myung-hee’s 『Hon-bull』goes on in a particular historical case, Japanese colonial era, and the beginning of modern ages, which was mostly by foreign influence, in the closing days of Joseon. 『To-ji』’s historical background and those space in 1897 to 1945 has the meaning of suppression as well with release and undergo changes. In these particular matter, the paternal ancestral line, which is the traditional family concept of Korea, doesn’t shows a big influence. This is because of the historical period of Japanese colonial era when Japanese tried to avoid the fact of patriarchal system. The story of 『To-ji』is mostly about women who take care of their home because of the absence of men. In other words, women are the main subject of story, not the surroundings. Not only Choi champan ga, known best for Choi Seo Hee, but Lee’s Boosa daek, Bok-Dong’ne(Bok-Dong’mother), Mak-ddal’ne(Mak-ddal’ mother) etc also shows the home of matriarchal which mother becomes the authority. These kind of Matrilineal family system is also lodged in 『Hon-bull』which has Confucian veiw of world. 『Hon-bull』as well starts the story in the time of closing period of Joseon, when the modern times shows a sign by foreign power. But unlike Seo hee from 『To-ji』who is a progressive woman, Madame Cheong-am, Hyo won and In-wol’s deak are all still captured in patriarchal system. They’re the heroines who lives in the colonial era which comes after Joseon but still didn’t free their self’s from feudalism. However, we can’t conclude that their sacrifice and devotion to their in-laws are simply because of patriarchy. Madame Cheong-am, who represents the patricentric jongbu in 『Hon-bull』, gets over the process of endurance by traditional jongbu’s sense and raise up the family, but this also means finding her identity. Hyo won also goes through the tough time of humiliation and sense of loss but eventually accepts everything and overcome those times. This can be shown as progressive jongbu’s life by keeping the family with her son , and at the same time finding her identity.

Writer Lee, Ho-cheol embodies the division of Korean peninsular through a specific sense of reality. The general assessment of him as a writer is usually interpreted as a ‘displaced writer’ or a ‘defected writer’. These words not only describe his life well but also help to predict his tendency of works. Most nonfictional narrative usually revolves around a writer’s real experience, and in particular, Lee’s works have a strong tendency towards autobiographical one. He engaged himself on writing novels as a witness and a victim throughout the swirls of Korean history. Therefore, this paper is to point out that his works are not free from his own original memories. Especially, when the experience is a historical one that can control a person’s life, it takes a dominant position. Considering his experience was interlocked in 1950’s, a special time period, most important factors forming his works would be the Korean war, being displaced and the division of Two Koreas. The starting point of Lee’s novel is a cruelty of the reality of post-war era. Most of all, Lee is concerned on a general issue on human nature as well as a special factor-a division after the war. Since his theme-the loss of hometown-is derived from his own experience, it continues to lie at the root of Lee’s works.

The notion of ‘death’ is one of the symbols that represents the image of ‘war’. This paper examines the reason for the characters in the poast-war novels who commit suicide even though they escape from the threat of genocide and mass violence during the war. Of the short, meium-length, and long novels in Moon-ye, Hyeondae-Moonhak, Jeonseon-Moonhak, Sasanggye, and Saebyeok around mid-1900, it was examined to draw the representation of ‘suicide’ through semiotic functional relation and categorized the types of suicide commitment into three depending on the status of the suicide: drawn by the author, commitment of suicide as a punishment by the third person’s push, and social threaten upon a person to commit suicide. The characters in the novels have brutal history caused by war such as murder, rape, loss of chastity, kangaroo court, betrayer and custody. Those traumatic memories become a guilt trip to lead a person into suicide. It seems like a character’s suicide which is caused by a guilt trip in a disastrous environment of Korean war would represents the symbol of the guilt trip. However, the guilt trip is merely the trigger X of the commitment of suicide, and the political, systemic, and conventional environment is the fundamental environmental condition X2 which represents an ideological suicide and a character’s status having no choice.Post-war literature showed the government’s control over an individual and reminding him obedience to the government by forcing the fallen morality in the chaotic social environment after war. It also showed that the society after Korean War was the transition period that the feudalistic norm and the virtue of modern-ages are mixed without clear division. This leads to the conclusion that a suicide is committed by threaten of societal system rather than ideological conflict.

Yeom Sang-seup’s early 3 novels are The Hyla of Specimen Room(1921), The Dark Night(1922), The Last Night of the Year(1922). In The Hyla of Specimen Room, it seems that Yeom had read the d’Annunzio’s novel, which hero felt suicidal and including letter that disclosures the hero’s inner world and the past of the lovers. In The Hyla of Specimen Room, the I character feel suicidal but he got back health after met Kim Chang-oek who was crazy and escaped his home and realized his belief, which in the Victory of Death hero felt suicidal because of his family and his lover Ipolita who tie Ziorzio up on the sexual pleasure. So the heros feel suicidal because outer world tie up their individualism and didn’t let them free. This is intertextuality between Yeom and d’Annunzio’s novel. And The Last night of the Year shows that The New Woman is ready to die because of her husband’s patriarchy which in d’Annzio’s novel hero despise his lover Ipolita because she is lower class and has nasty blood. The conception of descendant blood is common Yeom and d’Annunzio’s Novel. So the Yeom’s Early 3 novels shows intertextuality with The Victory of Death on the pursue spirituality and patriarchism.

A good poem always opens a new horizon. The poem showing an open horizon never falls in absolute egoism or solipsism. As a poem is to have a structure of horizon, time and place can create the world filled with sense. It is to use sense, such as hearing and touch, as well as sight, to see all the aspects. We often have a prejudice or fixed idea of seeing. Seeing mean feeling the sense about everything in general before dominating and controlling something. As one sees an object and a world with eyes, it is considered as a sense before composition and concept. Seeing always includes horizon, and it makes the world exist as possibility. If a poem is filled with sense, the horizon is not considered as concept. It says ‘Thinking can keep drawing rechargeable power from sensible world’ Michel Collot, translated by Jung Seon-Ah, 󰡔La poesie moderne et la structure dhorizon󰡕(Moonji Publishing Company, 2003, p14). The thought ‘now here’ is too old and tired. Poetic thought, so to speak, poetic imagination and expression are also too old and tired. Fundamentally poetic thought should rise from sense. Since the poetic expression is impossible without language, it can’t get out of concept and idea. However the poetry will have to show comments on the current and horizon in the phenomena filled with sense. Finally it’s the poets who conjure up ‘touch and sight’ or ‘color and scent’ hidden in this world, give them names and move them, so that they can be left as small wave in the horizontal structure.

The aim of this essay to examine the awareness of Korean in Soviet Central Asia by analyzing the dramas written by them. First, the plays deal with their achievements contributed to the Soviet establishment and resisted Imperial Japan. But the plays deal with betrayers who helped Japan. They are admitted that there are people who have become the minions of Japan through the dramas. On the other hand, they desired that they were accepted as a member of the Soviet by separating himself with the minions of Japan. The dramas disclosed that The Korean in Soviet Central Asia are not the group with single identity but the group with variety of interests. Next, there are dramas dealing with the ancient history. The Koreans in the Soviet Central Asia could not learn about the history of their fathers properly. Thus it is an unusual thing that the dramas told of pre-modern historical events. Historical background of these works were a very strange time to Koreans in the Soviet Central Asia. Hereby the playwrights announced the nation’s ancient history and criticized contemporary problems. But contemporary problems are more important. It is a major goal of the dramas that they criticized the present through the old stories. In other words, this works have criticized Stalin, the dictatorship of North Korea and the ruling class who made war for their interests. These dramas had the function of criticism of contemporary. Additionally, there were dramas dealing with Korea War, German-Soviet War and etc. But I defer analysing the dramas because I did not collect a lot of work. For the future excavation and study of these works have to be progress as soon as possible. Accordingly, we should be able to find a way of improving the understanding of Korean in Soviet Central Asia and creating a new future together.

第二次世界大戦後、世界の芸術界への社会主義の浸透に脅威を抱いたアメリカが、CIAやその傘下の｢文化自由会議｣などを用い、世界各国に抽象主義やポップアートなどアメリカの現代美術や、アメリカ文学を普及させる資金援助や工作を行った。これが本当に効果があったのかは不明であるが、次第に多くの西側の芸術家たちのうち、左翼とされた者達も社会主義や硬直化した社会主義リアリズムから距離を置き始めた。韓国文学での非文学的影響を明かして, 韓中日三国でのリアリズム文学の形成過程とその相互影響関係を明かそうと思う。リアリズム論の形成に一番大きく影響を及ぼしたのは、もちろん西洋からの科学的社会的自然観と人間観の変革だった。日本文学では、 中江篤介, 坪內逍遙, 二葉亭四迷 などが初めてリアリズムを受け入れた。韓国近代文学に自然主義が入って来たのは白大鎭の評論からだ。中国の場合は、 リアリズムに関する最初の言及は梁啓超と王国維に見られる。梁啓超は日本の 坪内逍遥から影響を受けた。坪内逍遥と梁啓超の文学論は韓国の申采浩にもそのまま現われる。陳独秀と胡適は新しいリアリズムの理論を発表した。周作人はリアリズムの開拓を主張した。日本での自然主義リアリズム論は、森鴎外, 小杉天外と永井荷風などによって始まった。しかし、日本の自然主義は浪漫主義に近い形態だった。このような日本の自然主義は、韓国では廉想渉に伝染した。韓国での自然主義的リアリズム論議は白大鎭から出発して、≪新生活≫誌の創刊直前まで広がった。中国では韓国よりも7年遅く、1922年に自然主義論議が成り立った。日本では批判的リアリズムの概念はあまり用いられないが、概して蔵原惟人が弁証法的リアリズムを提唱する前までの評論家たち、 小牧近江, 平林初之輔, 青野季吉などの論議がここに当たりそうだ。韓国では、1922年≪新生活≫誌初号がプロ文学を開拓し、批判的リアリズム論議を初めて展開した。中国の批判的リアリズムは魯迅や茅盾に代表的に現われる。日本プロ文学理論の代表的リーダーである蔵原惟人のプロレタリアリアリズム論は、日本のみならず韓国と中国のプロ文学に強い影響を与えた。これは韓国では弁証法的リアリズムという名前で現われた。韓国での弁証法的リアリズムは朴英煕,金八峰,安漠によって成り立った。中国では成仿吾と李初梨が弁証法的リアリズムを展開した。伊藤貞助, 黒島伝治などは日本で社会主義リアリズム論を初めて紹介した。韓国で社会主義リアリズムが最初に紹介されたのは日本より1年遅い1933年白鐵と安漠によってからだった。中国では、1933年の初めに社会主義リアリズムの創作方法が初めて紹介され、11月いよいよ周揚が社会主義リアリズムを初めて紹介した。 2次世界大戦の終戦後、アメリカの影響で韓国と日本では社会主義リアリズム論議はほとんど進行されなかったが、北朝鮮では1950年以後に本格的に社会主義リアリズム論議が展開された。中国では、1949年,社会主義リアリズムが文芸の最高基準として公式に規定された。改革開放政策で社会主義リアリズムは, かろうじて命脈を維持しているだけだ。

With relation to Park, Kyung-ri’s Choinron, we can find three peculiar types of characters in her novels. (1) A complete overman who crossed the border between the ordinary person and the overman, (2) an incomplete overman who lives as an ordinary person but has inner properties of the overman and sometimes exposes its property as an overman, and (3) a marginal man who wants to be an overman but lives as an ordinary person because he/she could not cross the border. The complete overman is a self-closed being who confines him/herself to his/her desire, and is a self-confiding being who has absolute trust in his/her way of life and way of existence. By using this type of characters, Park, Kyung-ri succeeded in exposing universal property of human-being and asserting credibility of exceptional individuals who cannot associate with the outer world, and the strangers. However, this self-closed and self-confiding being restricts relationship with strangers and the outer world. Therefore, with only this type of characters, the world will be intense but can be only mono-cultured and narrow. With this point of view, incomplete overman and marginal man/woman are more realistic, and are more efficient in describing overall relationship between human-being and the world.

This paper analyzes the aspects and meanings of ‘Falling in love’ indicated in Park Gyeong-ni’s literature in 1960s. Park Gyeong-ni’s literature are popular novels that pursued for the patterns of usual love grammar, such as pursuit of romantic love that can be seen in a melodrama, an obstacles of marital matters, emotionalism, self-loss, transcendence of the reality and materialistic world, etc. For these reasons, any attention wan not paid to the long works in the 1950s for discussions. However, it is noteworthy in that the works represent dual and the contemporary complicated sexual discourses, which is a public sphere, through popular keyword named ‘Falling in love’ a lyric of love and broken heart belonging to an individual personal sphere. So to speak, these works are noteworthy in that they criticize contradiction of patriarchal ideology, reject a female image men’s dual desires are reflected in, and propose a new living mode as an independent subject through a female figure who has been regarded as ‘risky woman’. This is also significant in that the pieces of work can be connected to long works in 1960s~1970s which dealt with a research process of family ideology and female identity that account for large portion of Park Gyeong-ni’s literature after that, and that they prepared an opportunity enabling position of long works in 1950s in Park Gyeong-ni’s literary world.

This study focuses on Kim Sooyoung’s view on the time and ‘history’. The time in a poem is different from usual time. Usual world-time or general world-time in the common sense(consciousness) is physical, natural, chronicle and continuous. After accumulation of many past and present, the future arrive. A history is like that. On the other hand, the time in a poem is conscious time and subjective event. The history in it is not object but subjective praxis. Walter Benjamin is worth reference for concept of the time and history. According to Benjamin’s pretation, the modern concept of time is secularization of rectilinear, irreversible Christian time, albeit sundered from any notion of end emptied of any other meaning but that of a structured process in terms of before and after. This representation of time as homogeneous, rectilinear and empty drives from the experience of manufacturing work and is sanctioned by modern mechanics. Whether it is conceived as linear or circular, in Western thought time invariably has the point as dominating feature. Lived time is represented through a metaphysical-geometric concept, and it is then taken as if this concept were itself the real time of experience. Against this, Benjamin posits the liberating experience of time as something neither objective nor removed from our control, but springing from the actions and decisions of man. Its model is the cairos, the abrupt and sudden conjunction where decision grasps opportunity and life is fulfilled in the moment. Infinite, quantified time is thus at once delimited and made present. He posits a present which is not a transition, but in which time stands still and has come to a stop. Instead of the usual representation of the historical progress of humankind, which cannot be sundered from the concept of its progression through a homogeneous, empty time, he puts forward the revolutionaries awareness that they are about to make the continuum of history explode. Against the empty, quantified instant, he sets a time of the now, Jetzt-Zeit, construed as a messianic cessation of happening. Kim Sooyoung’s concept of the time looks suspisciously like W.Benjamin’s view. Kim sooyoung recall the perfect past which is not distorted by the real life in his poem, <The flower 2>(<꽃 2>). At that time, this recalling the past is looking back on not the homogeneous time and chronicle but the time fulfilled. Kim forefeels any other future, unknowing time in his poem, <The precognition>(<예지>). This time is like <The flower 2>. This time is connected with liberating time in a political situation. This concept of the history is not transition but stop of common order in the present world. Kim’s posit liberating experience is drived from the action and decision of man, the praxis. It’s a subjective time. Since then he has called this time “the love”. “The love” is potentiality of the history, which is contained in the core of the weaks. “The love” is not object but subjective experience of the time. It’s important that his concept of the time and history is an original thought among the modern poetry in Korean literature.

The plays in the era of Soviet Union had the main direction of socialist realism and the only purpose of criticizing the Western world, praising the communist leaders and Russian traditions and encouraging the communist education and production to the audience. However, in the 1960s, theaters and plays also started to make some human beings individualized from the entire concept and image, their psychological development, ethical formation, economic issues during the process of industrialization and so on the main themes. The works of Koryosaram writers who had no choice but to follow the trend of literature of the times also seem to reflect the appearances of Koryosaram as citizens of Soviet Union. In view of the works published in <Lenin Gichi> in the 1960s and the 1970s and the plays of Koryosaram writers in Central Asia published in personal collections, the following three characteristics are revealed. First, though they show themselves to have been sovietized, it could be known that the passionate attitude towards education on the other side appears as a characteristic of only Koryosaram. Second, as the works criticizing the negative aspects of capitalism are the mainstream, almost no national emotions or identity as Koryosaram writers are shown in these works. Third, the appearances of Koryosaram working in kolkhoz are depicted much. It can be known that Koryosaram who were abandoned in the Central Asia showed an amazing outcome in kolkhoz in order to survive and to be acknowledged in the foreign countries. The plays in the era of Soviet Union had a great burden to convey the ideas of socialism to the general public. It can be seen that the plays of Koryosaram in the 1960s through the 1980s also almost removed the national and traditional emotions and sufficiently completed their role as the literature of socialist realism.