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<The Stone> is a concentration of Jeun, Bong Geun's poetical journey which shows the artistic sublimation obtained after a long searching and the new consciousness or the transcendental world view of one's self existence. It is shown that 'the stone' is not just the part of the nature, but a symbol which recalls the scar of the Korean War and the historical consciousness. And moreover, it proves the existence through the trauma, the artistic sublimation, and the soaring of the new image of existence. The presence of himself which Jeun encounters through the stone is a tragic being who experienced war, a refugee from North Korea, and a original being with the eager desire of the home instinct. After a long process of 'the darkness' and 'the vanishment', the artistic sublimation that flourished with the gorgeous rich coloured flower is a manifestation of the poet's consciousness of life which makes constant effort to create a new vitality. The soaring of existence rise above to the heavenly world not through the grave of the earthly stone, but the ‘sound of the flute’ and the new golden lucid image. Showing the existence as a permanent present, the vitality of 'the stone' unifies the past(the childhood), the present(the war experience), and the future(the transcendence). It is Jeun's recovery which the stone is based on, so it is sublimated and, further more, overcame by the artistic sublimation and the soaring of existence. These sublimation and the soaring is heading for the ideal world. And the new image reflects the poet's spiritual freedom. The transcendental world of Jeun is the pure world before the war, and also it is the world of returning home by going back to the nature. It is the intense aspiration of the poet for the ideal world which is infeasible, and he perpetually tries to reach that world by the transcendence.

Poet Koh Chung-hee published 11 collections of poems including her first collection ‘Who Is Treading A Wine Press Alone?’ in 1979 as a result of vigorous creation of poems. Since her first collection, she continued to embody liberation of women and people and Christian ideas from her 10 collections published prior to her death including ‘Travel to Lost Paradise’ and her posthumous collection, ‘All That Disappear Leave A Space,’ demonstrating comprehensive poetic perspectives. Her posthumous collection, ‘All That Disappear Leave A Space’ includes grave poems in which she shows her view to see that Korea’s social structure still remains in the period of colonialism in spite of its rapid advancement and growth in politics, economy, and society by appearance. Her perspective and interpretation of the era she lived in as ‘colonialism’ is considered to come from ‘post- colonialism’ based worldview, following post-modernism and feminism. Her posthumous collection shows a fighter-like voice, which means it contains many works created on the basis of post-colonialist sociological beliefs. For those people who criticize the West-centered modernity and attempt to find a whole new modernity or post-modernity, bored with cultural and spiritual colonialism through the West-centered modern experiences, post-colonialism-based literature and culture theories can serve as one of the most helpful theories to be used when we aim to find the correct direction with subjectivity. Post-colonialism ultimately seeks to restore the suppressed. That is why many anti-arguments against dominant argument are needed at the moment in order to ensure that a variety of subjects with differences and liberated from imperialist suppression can co-exist. To do so, various subjects and cultures accept differences and diversity to find a possibility of consolidation. Therefore, this study is designed to examine post-colonialism and post-colonialist feminism both of which were the main ideas of her later poems. In particular, by reviewing her posthumous works from a post-colonialist criticism, the study pursues to investigate how a sense of loss and deprivation, anger and will to overcome are reflected in her works. In addition, the study aims to investigate how post-colonialist feminism and her writing correlate with each other and what interpretation the two ideas can provide the literature of us who live in the post-colonialism era.

This research attempts to investigate the description of female body parts in Mun, Jung-Hee's poem, and extracts the internal feature from feminine writing. Furthermore, the essay diagnoses the problem of contemporary feminine writing and then finds the way to overcome it. Also, I intend to release the tension of different concepts of femininity and masculinity. To begin with, the research notices that a woman body is not only function of activity but also symbol of showing femininity. So, it is believed that the selected words by a woman poet imply the crucial poetic devices to tell the nature of femininity. Therefore, it can be concluded below after analyzing the description of female body parts in Mun, Jung-Hee's poem. She dealt with love or affection in the beginning period. However, recently she has tended to contemplate the object in the world. In addition, although she writes a various expression of female body parts in her poem, it is noticed that she ultimately does not indicate eroticism or sexual intension, Therefore, the meaning of the description of female body parts in Mun, Jung-Hee's poem would rather the common concept of both femininity and masculinity than the concept only related to femininity. Furthermore, generally her description does not aim at eroticism, but simply refers to human body or seems to be used as metaphor and symbol. This will be a distinctive point of her poem compared with other women poets in Korea. In other words, most women poets focus on female body parts to aim for women's liberation. However, Mun, Jung-Hee writes it with the same view of men poets, and this enables her literary character to obtain the view of universal poet rather than the limited view of women writer. Specifically, her poem pursues the contemplation of objects as well as the enlargement of cognition. Through awareness and reflection, she recognizes the world and dreams the new world. Such creative attitude deviates from the stereotype of description of female body part. In conclusion, it will be highlighted that Mun, Jung-Hee is able to gain the status of universal poet rather than only a woman poet. However, this simple definition that she deviates from women poets' stereotype needs to be discussed more to look for her identity as a woman. In order to acquire sexual equality, it is important for women poets to obtain the status of 'universal poet' which is usually referred to men poets. Therefore, it will be approached to women poet in the sophisticated point of view. Especially, it should be more compensated for comparative art work and included her former poem to extract clear review.

Kim gi taek's poems are show objects itself and a phenomenon itself in our the history of poem, it is a poet whom it shows with the language which is acute. It entered specially to 1990's and in the time where the discussions regarding a post modernism flow, his poem perceived the desire of like this daily already with sensitivity of the poet. First of all his language is dense. With the sense of insecurity which comes from his urban daily sincerity continuity it is afraid from, it is in order to depart. The power of explosion is to his poem and is not the direct object which it depicts and always is immanent in surroundings a daily characteristic which it is. But his most will wither is not to treat only like this daily desire. He as the poet possibility doing a bigger view is the poems regarding the animals where he has an interest. This with petty compared to life dies confronts to an essence and it burns and the possibility which will roll the place to do, he treats and the many animals when admit it puts out, having the force which is dense. It does so and him we sink to desire of daily and daily inside and, to describe minutely obliviousness essence. Him the town it shows initially and the right time form and right time depth is to a Korean poetry and the history of poem and it was an indication which is important. In『Anti-Oedipe』, Deleuze with Guattari putting out this disunion which passes over the actuality of like this desire from the suggests the fact that becomes the patient. The such point is reaching with statement of the poet who speaks the contradiction of the body from hour inside. It is like that but it knows the fact that it will recognize this contradiction there are times when it speaks the fact that it will pass over the contradiction where rather piece whose Kim gi-Taeg is valuable he is like this in us. It rather will be the point which is the possibility becoming the departure in us, recognizes the contradiction of the such body and the contradiction end and thing with the literature will advance and, art it is because it will be able to acquire the area.

Nowadays digital technology makes dramatic changes in life style. Man can see the shift from analog media to digital media. Hypertext literature consists of text sections that can be rearranged by a reader. Since any section is linked to others, the reader can choose many routes through same work. The hypertext seems to destroy traditional plot―based narratives by letting readers participate in creating their own writing. The purpose of this paper is to explain the reality of hypertext literature education, and then to study prospect of the education. Digital Gubo 2001 is the first hypertext fiction in Korea; Readers can follow the story along whatever they choose. But the new fiction fails in obtaining popularity from readers. FanPoem is a hypertext poem in Korea. FanPoem is designed to look into how the stature of poets and readers have changed in the digital literature environment. On FanPoem program, readers can become poets by clicking on a phrase, and then by writing their own poem. In the age of digital media, paper book is not the only literary text. The limit of literature has been expanded to include nonlinearity, interactivity and visual language. Hypertext literature has the position as a new reading to popularize a literary appreciation. I hope students enjoy reading hypertext with delight.

The subject of this work searches the mother who is simple and the pole for held, religion comprehends is not like that pole which it speaks. The subject which is represented with the people ‘Do-Yeom' which is overcomes the object, actuality is difficult at once and discovers oneself and it is bigger in the world which is opened it is aiming above the elder brother to keep school register meaning from point. <A child Buddist> is like that ‘Do-Yeom' searches the mother not to be melodrama, the widow selects a failure and the religion extreme which is thin in the illegal world it knows there is a possibility of doing. When until now catching the feature of Ham Se-duk's Works, that it keeps a romantic feeling world-wide recognition, it said and it saw it came but all works from like this time and, by a same analysis when trying, rather will be the possibility to provide the margin which is the possibility of going out with the tendency which is visible the surpass ceremony which leads the discovery of oneself.

In the 1930s, both modern plays and dramas with western notion really began and developed. It might be much more ahead of this period when looking for the influx of western modern plays or the spiritual beginning of the western plays, but it was the 30s using new play as a terminology meaning the western modern play and presenting the realism play on stage in earnest which can be recognized as a western modern play. The aspect of plays that time could be divided in three parts and they are the new-play (experimental play, realism play), tendency-play(proletariat-play), and popular-play(common play, new-school play). Among those three courses the realism play accepted the realism newly appeared in the 1930s as a modern realism play. The appearance of this realism play has a great symbolic meaning that the westernized and modernized plays and dramas took their real first step. YOO Chi Jin and HAm Se duk decidedly are the main realism play writers in the 1930s, the time of such signification. YOO Chi Jin described the real circumstances and the structural contradiction of our rural life of the colonial times in his creation play and played the role of a precursor who established the realism play of the early and mid 1930s. And based upon YOO Chi Jin's establishment in realism plays, HAM Se Duk with his excellent writing skill succeeded to create psychological and lively colloquial lines and characteristic persons in a very lyrical and romantic mood and so he is valued to have upgraded the realism play through the accomplishment of the 'poetic realism' or 'lyrical realism'. KIm Jong Chul gave an appraisal of the 30s' result mentioning that 'Korean poetry does not passed the limit of the basic outline set up in the 30s'. Not much different with plays and dramas. Up until now, it's been easily said that there is no perfect realism play in our dramas, which will mean that Korean plays and dramas experienced a dialectical development to overcome and inherit the realism set up in the 1930s. Therefore in this article the introduction and current of realism play will be examined and also the achievement and limitation of the realism writings accomplished by YOO Chin Jin and HAm Se Duk will be illuminate through their masterpiece Bul> and Little Monk.

<Perfect Love> focused on love itself regardless of death. Meanwhile, <Rosemary> focused on maternity leading to how to bring up the remained children rather than love.From this point of view, we come to know that <Perfect Love> told us the absoluteness of love and <Rosemary> perceived new love is capable of keeping the maternity alive, and consequently, the family remains warm and harmonious. This takes a calmer attitude toward love and death and considers of future life to be continued carefully, compared with <Perfect Love> which merely concentrates on everlasting love even thought it blazes up like fire. In other words, the attitude of <Rosemary> is more realistic and implies that the work is based on real life as mentioned above. However, it is ironical that <Rosemary>, which is similar to our real lives, is considered to be rather incidental or unrealistic, whereas <Perfect Love> appears to be more realistic. Theaudience response reflected this tendency; <Perfect Love> was remarkably popular among the TV audience. However, the reason why <Rosemary> attracted public attention was that it was disclosed on TV with the theme and the period similar to <Perfect Love>. Needless to say, inexperienced melodramatic dramaturgy for less serious theme by the writer, Jina Song, who has mainly described extremely serious themes such as <Sandglass> and <The eye of dawn>, could be one of the reasons for unpopularity since she is not accustomed to melodramatic framework and characters.In addition, the matter of health or death has become our greattest concern since the beginning of 21st century. Under this social atmosphere, we have to note that our society is emotional rather than rational with respect to taking a stand among the two types of reality recognitions looking back the meaning of love and family.

There are few scholarly works to deeply discuss the literary space in the contemporary literature, although literary space has been recognized as one of the important topics of study in the Korean contemporary literature. Moreover, study materials published mainly focus on the space theory embodied in poems, limiting the topics to fantastic qualities of space or simply listing and mentioning issues confined to actual techniques only as for creation methodology. Studies on creation methodology focusing on literary space began to attract attention in that they can function to provide perspective of literary space through recently released research materials and help understand the wholeness of actual space and artistic space reflected in poems. Attribute of space can be identified because different experiences are able to be integrated into a whole new one in the simultaneousness and with the intention to expand images beyond limited visual reproduction to broader quality of space. Such awareness of space is viewed an essential process for fundamental understanding and appreciation of poetry in that it is originated from visual imagination. This study employs Hartman’s space classification method to analyze works on the basis of literary space and poetic imagination. Under the space classification method, the study aims to investigate organic correlation between real space and literary space and access creation methodology on intuitive space, focusing the poems contained in Kim Soo-bok’s collection, ‘Every Road Sings A Song.’

Traditional entertainment, especially material that is story based, is almost always linear. In other words, one event follows anther in a logical, fixed, and progressive sequence. The structural path is a single straight line. Interactive works, on the other hand, are always nonlinear. Even when interactive works include a central storyline, players or users can weave a varied path through the material, interacting with it in a highly fluid manner. Long before video games, or experiments with interactive TV, or the explosive growth of the Internet-long, even, before computers had ever been imagined- human beings all over the world devised and participated in interactive storytelling experience. These beginnings. in fact, date back to ancient times, thousands of years before relatively old forms of media and entertainment like printed books and theatre. Some professional in interactive media hypothesize that the earliest forms of interactive storytelling took place around the campfire of prehistoric people. I agree to this theory and I will add to 'Kang Kang Sul Lae' of Korea This study is about storytelling-a new form of storytelling, to be sure, but part of tradition that stretches back to preliterate time. The type of storytelling I will investigate in this study, digital storytelling, can do all the things that traditional storytelling can do, and I would argue that it can even do many of these things better. Digital storytelling is narrative entertainment that reach its audience via digital technology and media. The Purpose of study is to reinterpret structure of interactive storytelling based on digital media. To serve as a guide to digital storyteller, articulating ideas of digital media, structure, and development techniques that are specifically tailored to digital entertainment and that will help to propel forward this new way of presenting stories. This study will examine structure of digital storytelling, examining how they are created; the unique development challenges each of them presents; and the special kinds of entertainment experiences they offer.