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A Study on Teaching Method of Korean in conceptual metaphors : focused on ‘Politics is War’ metaphor. Conceptual Metaphor Theory is the descriptive power on how a human being is understanding the meaning of things and this is being used as training tools in various subjects including the language education. Through Conceptual Metaphor, it is possible to efficiently understand idiomatic or figurative expression. However, it will be more effective in improving language abilities to applying the Conceptual Metaphor integrated in the overall language abilities rather than just applying it to partial aspects of the language elements. In other words, it is not a passive use of understanding things that have already been created through Conceptual Metaphor but the purpose of education must be in actively taking advantage of the concept of Conceptual Metaphor through understanding it and applying this concept to other domains as well. Especially, to advanced-level learners, active literacy of Conceptual Metaphor which is a social tool is needed. This is the bottom up concept from beginner to intermediate level, for the high-level Korean learners who have fit in the pieces of Korean language, it builds the cognitive systems, in other words, it provides the framework of top-down way of thinking. This study has proposed the utilization of Conceptual Metaphor based on the premise that the Conceptual Metaphor in order to improve the communication abilities in the Korean language training field targeting the foreign students. The significance of the study is found in the fact that this study has suggested the direction Korean language education must take regarding Conceptual Metaphor and have provided the actual training plan by designing the specific teaching-learning model.

The purpose of this study is to examine actual pronunciation data and previous research results regarding to the free variation phenomenon in the /ㄴㄹ(nl)/ string, and to show that there is a possibility to explain the phenomenon in terms of a cognitive approach. For this purpose, we have examined the data from the survey of pronunciation conditions conducted by the National Institute of the Korean Language, and carried out an investigation of modern Korean speakers’ preferences of pronunciation. In terms of the examination of the data, we can yield the following analytic results. (Though ① has been already mentioned by the existing studies, we nevertheless present it for the purpose of a systematic description of the phenomenon.) ① It is according to whether or not there is a morphemic boundary inserted into the /ㄴㄹ(nl)/ string that the free variation of liquidization and nasalization. ② There is a distinction between those speakers who prefer liquidization and those who prefer nasalization. ③ In proportion, those speakers who prefer liquidization outnumber those who prefer nasalization. ④ Even those speakers who prefer liquidization tend to apply nasalization when they pronounce unfamiliar words. ⑤ Those who prefer nasalization tend to apply nasalization more frequently when there is a clear morphemic boundary.

This study aimed to define as contronymy the phenomenon that meanings of formally the same words showed oppositional aspects with each other in Korean and examined it systematically. To attain the goal, this paper first defined what ‘contronym’ is and then arranged their semantically oppositional aspects by comparing it with the oppositional relations of vocabulary to present contronymy by types. Contronym can be divided into antonymic, complementary, and directional oppositions similarly to vocabulary relations. Complementary opposition refers to the relation of dividing into two mutually exclusive areas. In contronym, the representative example of complementary opposition can be found in binary opposition of generation and extinction, and opposition according to the sex of the reference can also be found. Antonymic opposition refers to the general degree opposition. In contronym, the examples of antonymic aspects consist of contextual meanings exhibiting evaluation mostly according to either positive or negative, subjective value standards or responses. Directional opposition refers to pairs which show movement or reversion in opposition directions. These are the types that are most frequently found in contronym. These contronymy go through a historic and transitional process either turning into words like compounds or idioms or dividing into homonyms. Also, they may show grammatical opposition through the use of a certain syntactic form and can present opposite meanings in various ways according to a particular context. Especially, the ironical use functions as a crucial declaring mechanism producing new opposite relations. The use of opposite meanings of formally the same words can be seen as critical data that show the aspects of men’s essential meaning recognition and use in that it is the recognition of multiple and collective meanings realized in the process of recognizing integrated meanings.

The tiger was recognized by the Korean people as a symbolic animal representing fear and respect and was revered as a sacred animal. In light of this, respect towards tigers was formed long ago, and the tiger become a deity as a result of this mindset. By the time tigers appeared in Dangun Sinhwa (the foundation myth of Gojoseon) for the first time in Korean history they were already fully recognized as divine. According to historical document, it illustrates how a ritual was conducted in honor of the tiger deity in Dongyeo. Additionally, in Goryeosa (history of Goryeo), a tiger appeared as both a female deity and mountain god who is said to be a family member of Wangun, the founder of Goryeo. These cases of how tigers are represented and revered are good examples of how historically Korea has valued the tiger as a deity. Thus, this tradition has been well preserved and continuously handed down until the present. The tiger has been believed to be a mountain deity and a guardian god of the statet hroughout the era of the Three Kingdoms, Goryeo Dynasty, and the Joseon Dynasty. In particular, the tiger expanded its functions from guardian god of the nation to guardian god of all villages during the Joseon Dynasty, an understanding which established a solid foothold in the folk belief of Korea. Contrary to this, tiger related-shaman rituals were performed in order to prevent tragic events. This was due to the tiger’s image of fear which was believed to gravely harm and provoke fear. The image of the tiger is a rather negative one, yet the ritual is still conducted in light of tiger’s divinity. In general, tiger’s became the guardian god which protects villages and the country, however, tigers often appeared as a foolish and silly character in folk tales and were often symbolized as foolish tyrants. In folk tales, tigers were taunted by rabbits and often said that dried persimmons were more terrifying than tigers. These examples show the public’s criticism of the tyrant king in which the tiger represents in these anecdotes. The tiger is a deity and is seen as divine in Korea. This is illustrated through many instances of folk beliefs in which the tiger has power to drive evil spirits away. This power and appearance in folk tales strengthen the symbolism of the tiger as a representative animal of Korea. This could likely be related to the reason why a tiger was selected as the official mascot of the 1988 Seoul Olympics. Beliefs and worship in relation to the tiger has continuously been transmitted among Korea for ages.

This study seeks the origin and its early conditions of the Korean love tragic novels from the narrative of the Three Nation Era and also investigates aesthetic features of the early narrative. In particular, based on existing researches of hero tragic drama, this study searches for distinctive logics and aesthetic bases that love tragic drama has. For this, fundamental and universal characteristics of love are first investigated and then reasons for what makes an individual frustration of love turn out tragic are sought, and from this, some frames that help to understand and classify love tragic drama are established. Love is a desire deeply rooted in the nature of all the human beings and the universality of the desire makes the value of love universal. For this reason, the frustration of the main character who pursues love takes the look of tragedy. Besides, love requires at least two persons for its development and in that sense, relationship is emphasized and especially, the loved one (a lover) has the absolute importance for the main character. From such aspects, early love narrative is largely classified into three types of female sacrifice, male sacrifice and female-male sacrifice. In the case of female sacrifice type, the ideology of patriarch tends to determine the degree of its aesthetic chastity, resulting in the two sub-categories of ideology-oriented sacrifice and temper-oriented one. For male sacrifice, there are in fact some differences, but male's pure love itself matters. And in the case of female-male sacrifice, a force that forcefully causes the failure of love is given not by the lovers but by outside and therefore, a proportional relation is made between the degree of resistance against this force (destiny) and the strength of tragedy a novel has. This is because the value of love will be heightened as the lovers resist their destiny and try to keep their love. The novels of female-male sacrifice type show more refined contents than those of ones featuring a unilateral love and its consequent strong frustration. And two-involving love provides a more stable narrative structure, when compared with unrequited love. Main characters in novels generally have a positive will to go against all the odds to keep their love. The study interprets this as the amalgamation of the archetype-thought of the Orient about the communication and circulation of all things and regional shamanism- thought. In addition, most novels dealing with female-male sacrifice type take an exclusive love only available to a pair of lovers. Such attitude seeking pure love for each other is typical for the early narrative and is a consistent tradition of Korean love tragic drama as well.

this study, I will examine the structure of the poetic images of space in Eupchihun Bak-Eun's Chinese poetry in space-symbolism with the symbolic semantics and the psychological-archetypical methodology. In chapter2 I will inspect the general style of the poetic experiences and the space-symbols, and then I will show Eupchihun Bak-Eun's consciousness and volition through the study of the vertical/horizontal structure of the space in his poetry. Also I will show the meaning of the dismantlement and the unity which is formed of the vertical and horizontal structure crossed or round-shaped. In this study, I adopted the symbolic method in analyzing Chinese poetry in order to provide a passage from the existing studies(that have adopted the thematic theory) of chinese poetry to the current studies. Analyzing spaces means inspecting traces of someone's life and we can see his psychological factors in those traces. The final aim of this study is to analogize the general mentality of the poets who had lived in his same age through those analyses.

In terms of various styles of Korean classic literature, the combination of epic and lyric category came originally from earlier period of ancient days than commonly estimated. Legendary story or chuanchi story (傳奇小說), one of ancient Korean early epic styles, is characterized remarkably by the combination of prose with verse. In particular, inserted poems play such a crucial role in romance stories that a flow of epic narration cannot go on with only prose writings except those poems. Historically, these characteristics become established from the period of Tang dynasty in ancient China. Based on these characteristics, this study took an approach of epic mechanism, i.e. inception, development and denouement to examining such different aspects and characteristics of inserted poetry as shown in ‘Choi Chi-won’ that is contained in “Taepyeong Tongjae.” But there are many theoretical controversies about literary styles of ‘Choi Chi-won’ in Korean academic world of ancient Korean literature world. Aspects and characteristics of inserted poetry contained in ‘Choi Chi-won’ don't appear to be different so much from ‘Geumo Shinhwa.’ Conclusively, it is reasonable that ‘Choi Chi-won’ should be considered as a sort of legendary stories in that it typically has early epic styles of ancient Korean literature.

This article investigated the forming process of literature of North Korea in early age mainly on the basis of individual text of Jo Ki Cheon rather than the existing historical viewpoint. Doing literary activity in USSR as a Korean poet in USSR, Jo Ki Cheon returned to North Korea immediately after emancipation. The diverse works created by him decisively defined the pursued idea and character of creating method for literature of North Korea in the early age. As the first poem on the theme of land reformation, “Song of Land” written by Jo Ki Cheon was evaluated as the example of creating works. It was the first work that showed the peculiar genre called “lyrical and epic poem.”Then, the genre, lyrical and epic poem became prevalent in the literature of North Korea. Further, the long epic poem of Jo Ki Cheon, 『Mt. Baekdu』 became the motive that decisively enhanced the creating methodology of noble realism in the period when literature of North Korea was formed. Forming the extreme tension and confrontational structure around 1948, US and USSR entered new system of Cold War. As a result, internationalism and patriotism appeared in the literature of North Korea, creating many works which further enhanced the thought of amicability between North Korea and USSR. “Our way” of Jo Ki Cheon is the work that best described the amicability between North Korea and USSR and “Yosu in struggle” is the work that expressed the thought of patriotism. As a result, the thought of internationalism and patriotism based on USSR became the important source of literature of North Korea in the early period. Leading the life of diaspora, the poet Jo Ki Cheon played the role of guider leading the early literature of North Korea in the process where North Korea constructed new country around USSR on the basis of the experience of socialism in USSR.

This study aims at exploring an aspect of aesthetic modernity in poems in the early and late 1950s by analyzing the rhetoric in poems by poet Cho Hyang in 󰡔Collection of Problematic Poems After Korean War󰡕. Cho Hyang experimented Korean language in a very avant-garde language and concentrated on breaking away from grammar and custom of traditional lyric poetry and writing surrealistic poems. The rhetoric of poet Cho Hyang stems from metaphor based on principles of difference rather than principles of similarity. Difference of metaphor in Cho Hyang's poems gradually adding to depth becomes metaphor and metonymy and finally emerges as dépaysement and calligrammes at an extreme spot. The transformation of poet Cho Hyang in terms of poetic rhetoric comes from his aesthetic position of breaking away from traditional lyric poetry which dominated Korean poetic community till the early 1950s and building the late 1950s on aesthetic modernity of surrealism. However, I am somewhat skeptical about whether Cho Hyang successfully accomplished aesthetic and ethical tasks which he gave to himself. While Cho Hyang consciously experimented the rhetoric of surrealism to sever relations with traditional aesthetics of lyric poetry and realize poetic modernity, I find it difficult to think that he invented his own creative rhetoric free from the influence of rhetoric from the epicenter of surrealism. He consciously accepted aesthetics and rhetoric of surrealism actively, but he leaves something missing in that he failed to thoroughly exclude sentimentalism as an aesthetic morality of a surrealist and did not create new aesthetic meanings. Experiment and failure of rhetoric in Cho Hyang's poems show both aesthetic meanings and limitations of the poet who attempted to perform ethical duty of overcoming dark reality as well as aesthetic task of realizing poetic modernity in Korean realities in the early and late 1950s when modernity was not yet matured.

The purpose of this study is to research into identity of korean women in Japan presented in Lee Yang-ji's novel. She is the second-generation as an ethnic Korean living in Japan(Joseonin: Korean). The characteristic of the second-generation writer at this time can be said to be a sight of marginal man, who is worried between Korea and Japan, unlike the first generation, who identified the fatherland with them, and the third generation, who shows de-nationalism tendency. ｢Nabitaryeong｣(1982) and ｢Haenyeo(woman diver)｣, which were addressed in this study, are the works that were reflected the primitive experience related to Lee Yang-ji's identity. Aeja in the former and ‘she’ in the latter are thickly reflected the writer's autobiographical life enough to be allowed to be Lee Yang-ji's other self. ｢Haenyeo｣ is a work that shows tragic life of ethnic Korean living in Japan(Joseonin). A person whom Korean mother selected as a subject of the second marriage is a Japanese. She got remarried again to a Japanese person with avoiding Korean husband who strives for violence. However, even a Japanese husband is not greatly different. In a sense that patriarchy is equally shown regardless of a nation, it shows that a haven for a woman is impossible for either nation or husband. What proceeds with living as an ethnic Korean(Joseonin) woman living in Japan ultimately implies the necessity of bearing double difficulty, which is forced the sacrifice of patriarchy, along with national discrimination. These two works prove this.

The purpose of this study is to trace the method of shaping the apartment space in modern korean novels. Apartment appears in history of korean novel for the first time in 1930's. In the novel which written by Yoo Jin-o and Chae Man-sik, a figure of an apartment is drawn. But they are very different building to present apartment. Perhaps the earliest novels which drawing the modern people's life of absurdity are Cho Jeong-rae's A Sloping Shady Spot and Park Wan-seo's Similar Rooms. The former is an observation of outsider's view, the latter is a report of the life in the apartment. Choi In-ho's Equatorial Flower is a novel which reflects the age of apartment. In this novel, we can find various life appearances in apartment space. After 1990's the lives of apartment are more settled, apartment turns into more unbearable space. Apartment is a place that the homogeneity of people's imagination or desire and standardization of lives are accomplished.

Kim-nae-sung won the first prize in the mystery novel <The mirror of the circle> of the Japan's magazine in the 1935th, and after year, he came back Korea, published <The woman of devil>, and stood unchallenged in the mystery world. However after Korea's liberation from Japan, he worked romance rather than mystery novels, turn out popular writers. This article focused on Kim-nae-sung's life, in the literary circles and novels, essays, reviews, translations after liberation. And it added to a chronological listing of the Kim's works. He very worked hard novels like that <The theater of the youth><The human life pictorial><The Lovers>, and over 10 short-story, children's fictions, essays. <The theater of the youth>, he started in popular writer. This novel of Kim's masterpiece were set in Man-ju, Japan and Korea in 1940th, and then was loved by a lot of readers and critics. It was variety characters, suspense structure and many events. Also, it was fresh because leaved a trace the author's life. He wrote energetic novels, published essays concerned on mystery and popular literature his opinion for popular or young writers. But, he had a fit of apoplexy publishing the last novel <The star of Paradise lost>, finally he died February in the 23rd, 1957Th.

This article has studied Modern Korean Literature Canon as literary institution. and searched “Modern korea literature complete collection” was published by chosunlibo in 1938. “Modren Korea literature complete collection” has seven books which three of short story, one of poetry, one of play, one of criticism and one of essay. The book of criticism has three viewpoint of literature. First, it pass judgment on proletarian literature. Second, it emphasize literature aesthetics Third, it support practical literature. Those three viewpoint of literature is applied to the same short story books and poetry book. This viewpoint of literature is showed standard of selection. The literature field of the late 1930's was affected social ambience which Japanese militarism was expanded and was removed political ideology. Consequently proletarian literature was on the decline. In the same case, “Modren Korea literature complete collection” has that time texts mainly and has few of proletarian literature. The time in 1938 is effected strandard of selection. Also because “Modern korea literature complete collection” purposed commercial viability. Commercial viablity is one of stardard of selection. “Modern korea literature complete collection” bring about literary achievement and function of that time reader. If any text are included “Modren Korea literature complete collection” then the text acknowledged literature canon. This structuralized step investigated ‘how to build up literature canon’. “Modren Korea literature complete collection” was showed institutional literature canon.

This paper examines the 1990s’ North Korean Cinema through Chosunyounghwa and some articles by Kim Jung-il. The North Korean cinematic discourses in the 1990s had been changed since the death of Kim il-sung, the dictator of North Korea, taking place in 1994. It advocated the second literature-art revolution in relation to the films such as the series of Minjok and Woonmyong(Nation and Destiny) under the Kim il-sung's regime. While some films of socialist realism were critically acclaimed by people and the party, a diversity of the national film was encouraged by the party at that time. But the death of Kim il-sung caused a closure of the variety of the period. The cinematic discourse focused on the positive future lead by Kim Jung-il, argued Juche realism that seems to be superior to socialist realism, tried to suture the lack of the political power, and displaced the mourning on the death of Kim il-sung with the fetishes, the sublime object of ideology.

This is a study about a critic called Kim Moon Jip, one of the important figures in the Korean literary scene of late 1930s. He is considered a pioneer in terms of highlighting aesthetic values in literary works. Such perspective interprets the works of novelist Kim Yoo Jung, namely, valuable. His stress on the aesthetic beauty is said to be formed under the influence of foreign writers such as Yokomitsu Rietsu, Tanijiaki Junnichiro and Oscar Wilde (respectively from Japan, Japan and Ireland.) Accordingly his perspective was considered not in accordance with nationalistic or ethical values of the time. His eccentric stance even leads him to jail. As such his view on aestheticism tends to be defiant. He often had disagreements with other figures such as critic Choi Jae seo concerning Realism or concerning the interpretation of the novel Wing by Yi Sang. Unfortunately his literary career came to an end with an unexpected lawsuit charged against him. After the incident, Kim is said to have lived a wandering life. An anthology of short stories published in Japanese, Arirang Hill, well illustrate his literary career.