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The globalization of a culture shows the interactive flow of cultural communication that is not a one- way flow. Accordingly, the creation of the 3rd culture equipped with generality and interaction by embracing the various cultures of the world along with the Korean culture can be the true globalization. This study based on this viewpoint of globalization explored the possibility and limitations of faction. Faction that breaks down the wall between fact and fiction is a genre that shows the characteristics of the times in which boundaries disappear. The characteristic of boundary deactivation included in faction is also connected with the hybridizatioin of genres and this influences positively the possibility of faction’s globalization in the aspect of the combination of Korean subjects and universal stories. In addition, faction has the characteristic of a genre appropriate to infortainment and this provides entertainment and intellectual satisfaction simultaneously to consumers. Furthermore, as the effect of visual media is increasing day by day, the merit of faction appropriate to one source multi-use is closely related to the creation of economic effects. But, due to the subject specialty of history, faction can not be free from the viewpoint of nationalism. Because this problem that can be seen as ethnocentrism can influence the globalization of faction as a restriction, it is necessary to further expand the scope of the subjects regardless of a nation or modern ages.

The modern reason’s deepening agency, the legacy of enlightenment and the appearance of nation state by revolutionary extension of printing technology more provoked the writing of novel. On this multilayered process, it is no exaggerated to say that the novel based on literalcentrism of focusing on literacy created modern world of Eurocentrism. We would like to pay attention to return of the Tricontinental(Africa, Asia, Latin America) literature’s orality of which was pushed out this literalcentrism. Gradually, we used to regard the orality related to literature as the traditional legacy, so we consider that the orality is not concerned the field of modern literature, and that it is one of traditional customs. That’s why we are apt to intend to absorb the orality into the modern subject. Therefore the orality is not useful for representation on the modern world, or has a role as a redundancy of it, otherwise is specially noted as the exceptional aesthetic accomplishment of which made the orality aesthetic specific things. However, this argument is just blindness of the modernism which is caught up Eurocentrism rooted on literalcentrism. The orality is not only related to the modern world but also digests the creative value of modernity and pursues deep modernity which can be creatively beyond the negative of modernity. Meanwhile the orality can perform and project ‘other modern’ differentiated from the modern of Eurocentrism. What we note the return of the orality is the very this reason. The positive orality takes the precious role of narrative which makes subaltern represent their existential, political, and historical position for themselves in the global capital world system. The creative transmodern on between the orality and the literacy can emerge a possibility to solve the difficulty problems related to represent for subaltern’ s life. Hence, it is required to focus on the novel writing of Tricontinintal which shows ‘other modern’ distinguished from modern of Eurocentrism.

A role as a governmental representative that is the most significant feature of Korean-war novels was played under writers’ clear awareness of the purpose for propaganda and conveyance of an ideology. Authors took part in battles during the wartime, risking their own lives, and they passionately wrote their works against the situation and age. Therefore, the novels of Korean-war are ‘keys’ which can look into the age and have the worth as an ‘barometer’ which can shorten the distance between war and literature. Therefore, aspects of the role as a governmental representative are classified into three types in this study such as ‘war novels’, ‘propaganda novels’ promoting the system and encouraging men to join the army, and ‘solidarity novels’ enforcing military-civilian relationship. In the process, I dealt with the subject ‘anti-Communism’ appearing monotonously and the role of ‘propaganda’ in the novels. In addition to, I found out hidden principles such as women’s issues related to indifference and inhumanity veiled with the shade of propaganda and agitation as well as a problem of humanity overlooked despite emphasis on patriotism, fraternity, and comradeship. We have had no full opportunity to look at the literary significance of the Korean-war novels due to the lack of humanism and their instrumentalization, along with the criticism that they are just ‘records of experiences’ instead of ‘giving any shape of experience’. However, it will be meaningful that we arrange and study the novels as a subject occupying one position in our history of Korean literature.

With applying to Bachelard’s material imagination, it approached the imagination of rest ignited by the imagination of willpower and the death coming back to ground, through the images of ‘a hand’ and ‘a grave and a house’ that are the significant motives of ground imagination of Par Jungman’s poetry. To truly understand and sympathize one’s poetry, it needs to imagine the invisible side, which means the back of existence. The figuring out the stage of releasing inner potential things from oneself by an activation of material imagination and a ceaseless self-metamorphosis, it becomes the action to catch a poet’s the back of private unique existence. In Park Jungman’s poetry, relevant to material imagination, it can be classified a human’s willpower, such as the image of a hand working on material subjects, the image of mix, and the image of a smith, who gathers hardness and softness. Therefore, in the maintenance material, which is called ground, humans figure out that they are able to be them as a creation rather than a tragic being. However, the ground simultaneously detonates adversarial and thrusting imagination and has an imaginational function as a resting place where it can be protected against enemies. In Park Jungman’s poetry, the image of a grave concentrates on the power of night, such as ‘darkness’ and ‘drowsy sleeping,’ and the image has the characteristic of going back to motherhood. It is because that he surrenders to the absolute that an underground power has. Through ‘a grave,’ it dreams reproduction while it meeting with the life of the underworld- the image of privacy relative to the ground. Also, in Park Jungman’s poetry, ‘a house’ is the space that has the volition of settlement, such as that a silkworm builds only its “a secret room of a soul” in the tragic reality, interlacing of tear and death. From the space interlacing of contradiction and dishonesty, a house protects us. Death is not the end, and a house gives us comfort when we have a consciousness that we are dwelling. It is because that it is the image, which shows dynamic activation of a homecoming, returning to one’s home.

Writers in the 1950s were creative activity in the postwar confusion. They lived in childhood in Japanese colonial period and suffered from korean war were aware of the change of consciousness. It was related to language because the language representative of the product in thinking and acting of human beings and it was sensitive of their consciousness because it was source of creative activity. It also was seen people’s look in the period represented to confusion times. The language in the world are faced with the problem of ideology and language awareness in their literary works was related to it. Therefore language awareness in their literary works looked at self-conscious about language from abroad like as Japanese and English. Their language was multi-layered and a mixed through out japanese occupation, liberation and postwar. it made by confusing ideology was inherent in their postwar literary works. The problem for the language identity related to their consciousness was expressed in a section of an unfortunate era. This article will discuss that the characters appearing in novels of Seo Ki Won and Sohn Chang Seob recognizes the language in any way. The language with the flow of ideology from japanese occupation to korean war integrated into Korean society. In Japanese colonial rule, the language forced transplantation to the consciousness of the people was made of repressing it. Japan’s mandatory language policy was influenced on not only this era but also postwar era. Their novel showed linguistic identity of characters in background of japanese occupation and postwar era. Although their era has a huge time difference, the language in their novel with flow of the ideology had influenced on focus of people’s live expressed to new research. The language that appears in the novels of the two writers who at the same time to control the consciousness of those who recognize the dark times is the mental outlet. Through this fact, in the postwar era, confusing and dark age was expressed.

2013 South and North Korea relationship is a sharpening conflict. Nuclear force and economic development, ‘Kim Jong-un era’ of the translationl route corresponds to the strategic agenda. However nuclear threat to its neighbors is unacceptable strategy. Since Lee Myung-bak government all communication channels are almost closed. ‘kaesong industrial complex’ was the only connectivity is also placed in the closed state. 2012 Literature of the North Korea shows reality of ‘Kim Jong-un era’. It is equivalent to a roundabout reading about the North Korea. North Korea Literature of ‘Kim Jong-un era’ in 2013 is still the current era of Kim Jong-il’s {Ju-che literary theory} lies in the shadow of. 2013 North Korea literature of ‘Kim Jong-un era’ reveals that literary discourse already seated ‘Kim Il- sung=Kim Jong-il=Kim Jong-un’s the third generation’. While inheriting the discourse of the ‘Kim Jong-il ’s era’ is underway across the board. this paper investigated directions through short stories in 2012’s {Cho-sun literature} published in the January-December. Thus, the pursuit of ‘Kim Jong-il patriotism’, breakout of ‘the front edge era’, the voice of ‘conscience and devotion’ control reality of the North Korea’s socialist literature that was analyzed contents empirically.

There has been almost no study on literature for children of Han Seol-ya. But Han Seol-ya not only played an important role in establishing literature for children in North Korea but also literature for children took considerable part in his literary work. Especially, ≪Geumgang nymph≫ which was his last long tale written just before his being cleaned up draws special attention – this work was listed on 󰡔literature for children󰡕, propaganda journal of Chosun Writers’ Association. In September, 1953, Han Seol-ya presented a report to deal with a problem of literature for children as a head of committee in National writers and artists meeting. He also created tale for children and instructed activity for literature for children in a section. ≪Children’s revolution unit≫ and ≪ Mangyeongdae≫ published in 1950s received favorable comment as a bright performance of literature for children. But their effects are very limited because they are related to idolization of Kim Il-seong. ≪Geumgang nymph≫ published in early 1960s shows more universality as a fantasy based on well known folk tale ‘Woodcutter and nymph’. Its story develops in world of earth and world of immortal. Center of story is world of earth and here, combat against black thief is displayed. Differently from ending of ‘Woodcutter and nymph’, nymph seeks worth of life in world of earth apart from world of immortal. That is, though motif of ≪Geumgang nymph≫ is ‘Woodcutter and nymph’, allegory about process of constructing North Korea’s socialism can be read from it. For example, general people become subject of history and solve living; they overcome invasion of foreign enemy and natural disaster; they establish cooperative system with neighbor village. ≪Geumgang nymph≫ expressed the writer’s belief as fantasy, that general people are subject of history and utopia on earth can be constructed through efforts and cooperation. This tale has some distance with the cult of personality but reflects Juche Idea. Furthermore, short story <Mushroom> which was published just after ≪Geumgang nymph≫ is a work for admiration of Kim Il-seong. In the end, he never deviated from mainstream of North Korea’s literature and maintained consistency. Accordingly, another opinion that he was cleaned up because he was against apotheosis of Kim Il- seong should be reconsidered.

Bumsuk Cha is known as a representative realist playwright in Korea. He has received high praise in inheriting and developing the spirit of Korean realism drama. However, researches on his works have been also focused too much on the socio-structural aspect and his masterpiece, Sanbool also was no exception. As Cha himself emphasized the human individuals in terms of realism, realism drama has character of representing spirits of individuals including structural features. Realism drama represents the objectively existing world as faithfully as possible, and shapes dramatic illusion from reality. In these sense, we may say that realism drama is a metaphor. Sanbool is a metaphorical work that reproduces a variety of secret social desire. When it was staged at the National Theatre in December 1962, Keunsam Lee provided clue for analysis of desire, comparing Sanbool to Lorca’s La casa de Bernarda de Alba. This essay is aims to analyse the work focusing on these individual desires. In other words, this essay is to try to get an objective view for the distance between ideology and desire, showing that there is nothing beyond the ideology. I first regarded Sanbool as a symptoms because Cha also uttered the historic incident of South Korea war in terms of social symptoms, approaching metaphorically. And then, I will try to reveal the nature of the era’s desire that Sanbool shows, analyzing the space for desire, variation of subject and phenomena of mourning.

This article aims to examine a North Korean children’s literary work General Ax written by Ri Wǒn U, who was one of the most influential writers in North Korean literary educational field. I argue that this literary work is the cultural origin of North Korean socialistic patriotism and Juche ideology, demonstrating historically how the indigenous legend of revolutionary ideology has perpetuated hostile martyrdom of North Korea. The General Ax published in 1954 directly after cessation of the Korean War, and extracted from an ancient hero’s legend in Imjinwaeran in 1592 to the Korean War. Ri Wŏn U’s seminal work, The General Ax shows originally how North Korean socio-political body of Juche ideology has established the reincarnation and immortality of North Korean people culturally and institutionally. Most children’s literary works after The General Ax reveal collective trauma accumulated as a result of continuous foreign invasions, and show its dominant influence to institutional education system through their dissemination under the Party’s policy. Therefore, the General Ax can be actually defined as a typical symbol of North Korean hostility outwards and is the best symbol of North Korean people’s imperishability inwards, as well as an undying symbol of victimhood in many international wars throughout the history of the Korean peninsula. In the long run, I argue that the collective socialistic patriotism from General Ax eventually has come down to the current monolithic illusionary culture of North Korea against world peace.

韩国诗人申庚林和中国诗人李季分别是两国现代代表诗人，他们都擅长创作长篇叙事诗，并以此而著称，同时他们的诗作分别以民众性和人民性为主要特点。本文通过分析两位作家的长篇叙事诗代表作——申庚林的 ≪鸟岭≫ 和李季的 ≪王贵与李香香≫ 的作品特点，试图找到两位作家在民众性，人民性方面的共性和特性，结合当时的时代创作背景，摸索两位作家创作的必然性和偶然性，从历史角度再现他们的文学价值。

Chang-Rye Lee who is 1.5 generation in Koreans living in America published four full-length novels. 『Native Speaker』(1995), 『Gesture Life』(1999), 『Aloft』(2004) and 『The Surrendered』(2010) are all his works. 『Gesture Life』is comparable to 『The Surrendered』in many ways. Major characters in the novels have experiences of the Korean War or Pyongyang War, and almost every characters of them have lived in America. Most important thing is that both works have Double-epic structure crossing the present and the past. And It is also important that children of major characters is half- Korean that mean the future is quite bright. 『Gesture Life』presents the past repeatedly in the present life, it works to expose the falsity of the present life, and it also works that a narrator takes a new life by exposing the falsity. On the other hand a third-person narrator of 『The Surrendered』co-opts main characters and concentrates to redintegrate the each past of them. It is to organize the stagnant current caused by wounds of war, resurrect the visuospatial memory of past, and stare at the inside. Children of major characters of both novels is half-Korean, they lead characters who is internalized racism to deep reflection and play a role that provides a new starting point in the stagnant current. And they don’t have a negative view of their own identity, don’t live their life shackled to the past or the marginal person and try to live their own life. Especially Nicholas and Solferino in 『The Surrendered』 symbolize the peaceful future of the hybrid and mixed.