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The paradigm of information society changed the recognition on the literature itself and pattern of communication using literature. We can summarize the situation as a digitalization of literature environment. Digital already dominate the creation and perception of literature text. Digital contents, using digital media as a presenter, can be realized by ‘Digital Storytelling’. The creation ability of digital storytelling is a very critical factor to acquire the improved completion and competitiveness of the story. To achieve this, we need to provide effective education system for high quality storytellers, who make and compose a‘ story’, fitting to the digital environment The objectives of this study were to explain the core of digital storytelling and to evaluate the creation method for involving digital storytelling in the curriculum of literature creation in the University. We tried to find out a teaching method and education model. To achieve the objectives, we discussed about the concepts in digital storytelling. Digital storytelling is a story or a method of storytelling created and accepted based on the digital environment. Digital storytelling is a new way of narration, which was generated by combining digital environment, produced by advanced telecommunication technology, and traditional storytelling. Digital storytelling contains original narrative contents, but uses the presenting media (method) and presenting action(activity), which compose the story structure, importantly. Digital storytelling is characterized as hypertext, multi-media, and interactive narrations. Digital storytelling recover the ‘property of storytelling’, which is lost while a story is embedded into letters, in the digital media. It absorbs readers stronger than the written stories. Digital storytelling is already more than a new communication method and requires a new concept on ‘ability of reading and writing’. Therefore, literature creation needs to change its paradigm in ability of literature creation. Moreover, we will have to change the education of literature creation, if digital technology alters the composition and communication techniques in literature. Digital storytelling will overcome the limitation of traditional literature creation, which has been a model in the classroom, to open new page in educational contents and methods to present the characteristics in digital storytelling. Students in literature creation have excellent properties in performing storytelling, since they specially study narrative story composition and verbal expression. Therefore, if we can lead these abilities to develop it as cultural contents and expand the area and function of literature creation to the digital storytelling, it would be a positive thing for literature as well as industry.

Since 1920, korean poets regarding narrative as the origin of poetic imagination transformed group epic in narrative into individual epic and eventually constructed original poetic world. Among them, the two poets who remained splendid footsteps on the korean literary dealt with the same subject, the legend of Mrs. Hwang at Illwol mountain in Young-yang county in Kyong-Buk province. They are ‘The stone door’by Jo-Jihyun and‘ The bride’by Soe-Jeongju. As the result of analyzing the aspects of accepting narrative in the two poems, ‘The stone door’by Jo-Jihyun isn’t disobeyed the core matrix of narrative. It contains the main matrix of narrative using poetic comparison. The poet wrote the dead bride with the same figure still sitting in the dried-grass on the first night at honeymoon and the image of the stone stature in a bridal crown as they were. This poem is developed with the axis of confronting items.:‘ your leaving’and‘ my waiting.’ ‘Leaving and waiting’these two couldn’t get a mediator, as a result they produced a bad result,‘ the curse’. ‘The door of waiting’in the first line resulted in ‘the door of the curse’in the last line. As you see, the closing part is left out to enlarge the tragic scene of narrative. In the closing scene, as the husband put the bride in the dried-grass on the top of the mountain, the bride said.“ This is the time to say good-bye.”and disappeared. It means that the bride and bridegroom made up in the end. As you see, the closing part of ‘the stone wall’is left out, the main matrix of narrative is kept. This corresponds to the extension of narrative. The extension of narrative, the product of traditionalism, pursues not only linguistic tradition but also the traditional matrix of life. Eventually it finds and re-finds the value and dedicates to form the new value. If the tragedy of narrative is maximized in the manner of metaphor in ‘The stone door’by Jo-Jihyun, however, the tragedy of narrative is even more maximized by transforming the situation on the first night of honeymoon into the humorous situation in ‘The bride’by Soe- Jeongju. ‘The bride’is consisted with the axis of the two confronting items: the run away bridegroom and the deserted bride. The sediment with the result of the collision of two confronting items is ‘biting ash’. ‘Biting ash’is also the result of contravening the matrix of narratives. So this work corresponds to the conversion of narrative. As shown above,‘ The bride’of Soe-Jongju is the work through the psychological reflection. Soe-Jongju transformed or violated the matrix of narratives and set the ideal foundation of his poetic world. Since the japanese invasion, the spirit of Sil-la dynasty and buddhism had been cut, he tried to succeed and incarnate it. At last he founded his original poetic world called eternalism, Sil-la Spirit or idealism of spiritual communication. Spiritual communication between the dead and the living, which is based on Soe-Jongju’s eternalism, is expressed well in‘ The bride’. Like this, the common sentiment of our nation was experienced and assured by accepting narrative in the korean contemporary poems. In addition, oral narration in narrative was reproduced in the manner of colloquial style. As the confronting epic structure of narrative was positively accepted in the poem, confronting mutual relationship like ‘lyrical ego’and ‘the situation of the times’, ‘the reality of the times’‘the essence of the life’was intended to explain. And it also dedicated to build korean identity in korean contemporary poems, a new genre which was taken from the west.

Soon-Won Whang(1915~2000) has been a writer whose place has been considerable important in modern and contemporary Korean literary field. He had written at the same time novels and poems for his life. In fact, fewer attentions have been given to his poetry than his literature though his poetry has been significantly important. But, in the heart of his poetry, we can meet with a world that has been able not to be seen as mere leisure but to be formed by his poetical genre, and that meeting can be a new attempt to consider an archetype of his literature. Therefore, to consider carefully his poems by classifying times of publishing them has been to show a possibility of lighting to the pattern of transfigure of his thoughts and his view of literature. The place of his poetry in his literature has been supposed from the fact that his literary works had been started from July of the year 1931 when his poem “My Dream”had been published in the magazine Dong Gwang, and that he had never given up poetry in spite of producing his poems at rare intervals while he had extended his literature to short stories and novels after that time. Nevertheless, studies and appreciations on his poetry have remained incompletely. By premising that his poetry has been very important to understand the whole aspect of his literature, this consideration has tried to explore them timely and to light to the world that he has consistently directed toward. Then his early poetry has shown his young passion and determination that had made him not only face the reality but also discover and describe a clue to be aware of our history. And it has been a new fact that a strong consciousness of the north has been discovered at the bottom of his early poetry. It has been to reflect an universal view of the world of intelligent youths in his time. But what has been exposed is the fact that an experimental world of the second poetical works of him had been very different from the world of the first poetical works of him. The highly moderate and intuitive world of the second had been associated with worlds of the Japanese haiku or of the works of the French poet Jules Renard. As easily known by the title Curios of the second, its contents have lighted to many things of everyday life by centering the native world of our nation among them. Henceforth, in raging waves of our history, his published poems had been developed as poems which had rather sung a submerged form of the reality of inner life. This could be said to be related deeply not only with his literature but also with the fact that he had distanced rigorously from literatures taking advantage of ideologies. His late poetry which has appeared to be formally different from his early or middle poetry had assumed a prose style and taken a dramatic structure to converse and harmonize with the death. This would be a natural transfiguration of all the old who has meditated on the death. But what a remarkable character of Whang alone has been that he had not compromised with the death, nor assumed a transcendental pose, but tried to a series of conversations with the consciousness of the death through his conflicts and meditations at a distance. Consequently, it has been to say that the pattern of transfigure of Whang’s poetry has largely connected with not only his poems but also his whole literature.

In this thesis I looked into the feature of Ideology and recognition of actuality of Park In Hwan’s Poetry. Park In Hwan is the representative poet in 1950’s history of literature. Park In Hwan was our postwar literary’s true modernist first realizes and tries to practice the base of the 1950’s modernism. I’m going to examine a characteristic meaning of Park In Hwan’s Poetry. Park In Hwan was given a severe emotional blow by the Korean War and wrote about the tragedy of the war based on his personal experience. First of all, it is starting to straighten up a life and a chronology. Park In Hwan overcomes an experience of actuality by poetic effort constantly. Park In Hwan expressed in the work Sense of nihil, nihil of history, nature of tragedy, sentimentality in the postwar experience. In the chapter II of “the recognition of actuality and the postwar experience”has analysed his the recognition of actuality which appeared on the poetry by him. The ideal thought that the recognition of actuality is the product of his nagative perspective by postwar experience. In the chapter Ⅲ of “the god of negation and the nature of tragedy” has analysed his the sense of negation which appeared on the poetry by will and life. In the chapter Ⅳ of “the nihil of history and sentimentality”has analysed his the sense of nihil which appeared on the poetic a view of the world. In my thesis, I explored the recognition of actuality and Sense of nihil that is the essence of Park In Hwan’s Poetry. it tried to check these Sense of nihil in literary writing were how appearing. Park In Hwan who had made efforts to overcome frustration and despair had been gradually changed to the nature of tragedy and sentimentality. His poems can be said to have important value in a history of korea poetry.

In this article, we examine the ‘subject’in Kim Kuyoung’s poetic works in general and his ‘novella poems’in particular which mainly shape his reputation of impenetrability, though they show arguably one of the highest peaks of modern Korean poetry. The subject in Kim Kuyong, is above all the linguistic subject. It’s the subject of split and desire, and it is produced by the dominance of the Other as language. A subject appears as signifier and is alienated by signifier, though the birth of subject is completed only through entering the chain of meaning of the symbolic, i.e. language. In his works the split subject is caused by the split of signifier and signified, and it is represented as the opposition of ‘subject symbolized’and ‘subject without symbolic address’. The latter hangs around the former. In this context the subject is nothing but a series of effects of signifiers. “The Postmark”demonstrates the condition of the subject as the place, the arrangement or the effect of signifiers. In the poem we could not find any rational reasoning that “I”, the innocent, is indicted on murder charge. The only possible answer is, the signifier of murderer he got is no more than a certain ensemble of what happened to be around him that day. The subject is coagulated as a signifier, for the subject is nothing but the effect of a series of signifiers. Kim Kuyong has a special name for this sort of coagulation. It is ‘imprisonment’. In fact, imprisonment is a rather frequent word in his works.“ The Postmark” is a brilliant showcase of his unique use of the imprisonment motif. Though he never actually killed anyone, he is a murderer in so far as he is represented as murderer signifier. The subject exists as enlisted in the symbolic system of the Other. Interesting is the subject in another novella poem “Dreamy Ideal” because it shows a denial of the disappearance of subject in the chain of meaning of the Other, in opposition to “the Postmark”. The pursuits of his desire and the phantastic union with the cause of desire - an orange - keep him, in this case, from disappearing in the chain. It seems it says the Other’s domination over the subject could not be perfect. In other words, the subject’s immersion in the symbolic system is not complete because there is always something lost when he has become a linguistic being. Desiring ‘something lost’, the subject could separate himself from the Other. The pursuit of an orange and the phantasy that he would succeed in imaginary union with that let him separate from the Other. “Dreamy Ideal”clearly points out that the separation of the subject from the Other is made possible by phantasy - and traversing the phantasy. In this poem exist uncannily Lacanian shifts from pursuit to jouissance, from desire to pleasure. The subject of the jouissance is eventually freed from desire and perversion, i.e. the power of the symbolic. The motif of the subject dominated by the Other, forms the core of Kim Kuyong’s works. The subject of desire is split, alienated, and imprisoned. On the other hand Kim Kuyong knew the possibility that the subject would traverse the phantasy. There is no trace of similar subject in the modern poetical lineage in Korea. In spite of the severe literary and intellectual isolation, Kim Kuyong’s works anticipate the subject of split and desire, only elucidated by the recent development of western philosophy and psychoanalysis. It seems he, a dozen years earlier, simply invented his own Lacanian philosophy of subject. This article is a call to an attention to the untouched mysteries of his works ? modern, resourceful and ever impenetrable.

Shimchung rarely appears in modern Korean poetry even though it is one of the deep-seated symbolic features in most Koreans’mind. We see this heroin takes turn into a scape-goat of modernization, a new incarnation of the Korean traditional virtue of filial piety, a victor of feminity, and a soul friend and deliverer of people in a few Korean verses. The Shimchung is first of all a victim of patriarchism and of rapid industrialization kicked off with the general Park Jung - hee’s dictatorship. This Shimchung shows up between the lines in “The Lettter”by Kim Pil-gon. As Shimchung in the famous novel had to be sent away for the 3 hundred bags of rice so his father’s blind eyes could be opened, the girl in his work shows us a laborer, a housekeeper, even a prostitute to save her family some rice, to let her parents have less burden, to earn the school fee for her sister and brothers. This girl is a Shimchung as a victim of Korean modernization. The Shimchung in this sense is not only a victim inside a family but also that of history. The“ Drinking the U-dong soup”by Park Je-chun quotes a play that adapted the palace in the sea in the old novel Shimchung into a brothel, awakening the Shimchung as a victim of history as she might have been smuggled into another country. The “Blind Mr. Shim”by Go Eun shows in a roundabout way our era’s attitude regarding filial piety. The oild virtue has now become not a sacrifice but a living- together. Children are the genuine light and debt. The serial“ The Queen of Shimchung”by Yun Je-rim shows us an incarnation that comes up time and again in each different outfit. Mr. Yun finds out Shimching not only in the Korean peninsula but also in Yen-bien, in China. He might find her soon in all places over But the most important aspect of the Shimchung reincarnated in our times should be the victorous bearer of feminity. Shimchung in classical Korean novel is the bearer of ‘obedience’which became a resistance beyond ordinary dimension. That plane of resistance is expressed in the“ The Sea Indang”by Go Eun, which later turns into the victory of feminity in his “Shimchung”. The latter tells that the Shimchung story should not be limited to that of a Chosum girl’s filial piety, picturing Shimchung as deliver and partner of people. The variation of the Shimchung motive predicts a wider adaptation of the old heroin in modern Korean poetry. Poetry as a genre has only a limited capacity in varying the classical figures and images, which must be why there are only a scarce reinterpretation of Shimchung in the verses in our times. Out of poetry, there are so many versions of its recreation and reinterpretation. Shimchung in them can be a scapegoat, a queen of all people, a feminity with strong power of life. Poetry can do the same, adapting the Shimchung motive in a wider and fuller way, because there can be no freer genre than poetry in utilizing imagination.

Fantasy appears much to recently young poets’the poem. It is fantasy which praise shriek is filled by pain of subject. Why do young poets use much fantasy? Their fantasy is so painful why? First, examine confrontation at lyric and fantasy in this learning. By next time, study about meaning and view of fantasy. The most representative criticism about poets that deal with mainly fantasy is their poem that is shut-in. Young poets do not want to show own interior to anyone. Certainly, their poem is shut-in. But, can not analyze this unconditionally badly. According to Racan, modern society is age of (post) modern autism. Because do not close door, (post) modern autism occurs. Because do not close door properly not that fall in autism being closing door, fall in autism. Fantasy appears this time. fantasy is defense action that do not fall in (post) modern autism. Outer things do not enter into interior of subject because of fantasy. This time, energy that turn outside target is withdrawn mostly. Energy is medicated for all self. Excessive narcissism is side effect that happen at this process. However, this process is agonizing. Because subject tries frantically to keep individual’s characteristic and subjecthood. Young poets are having an agonizing autism. But, all problems are not solved even if is agonizing. According to Freud, our memory is not truth but fantasy. Because of our desire, memory is distorted and is deformed. Through these psychoanalysis fantasy concept, can learn some points. First, fantasy which refloat in depths of unconsciousness is that can appear in similar form at the slightest slip almost. Second, it is truth that it can be fantasy that produce to hide own genuine article desire justly. Third, fantasy is ‘Share of subject’necessarily. There is pleasure that fantasy is mysterious and even if is cruel, subject of there gets necessarily. Fourth, literary fantasy must recognize that is different from fantasy of psychoanalysis. Ordinary people’s fantasy can be understood to data that expose enough psychological actuality of each single person. However, literature must refer passable way within speech community anywhere. Fifth, it is truth that there is no paradise justly that first of all must learn in fantasy. Paradise that we want to reach so is fantasy according to viewpoint of psychoanalysis. Examined about meaning and view of fantasy which appear to the 2000 young poets’poem so far. Interest which pour to young poets was proof of ardent wish about truth recency. At the same time, it was congregate request that can no longer put off renewal about Korean poet. However, we must advance more step here and throw question constantly. Fantasy may be imitation paradise that our desire produces. There is reason that literature must pass over psychanalysis and fantasy justly here. If do depth self-examination about these problem, there may be the future of fantasy.

In this study, writer’s consciousness is analyzed by looking at the way he recognizes reality and responds to it. Especially writer’s consciousness and related motif is utilized as a useful tool in understanding Kim Seung─Ok’s novels. Father─absence motif becomes more important as Kim begins to pursue self─ consciousness from his work, “Life Practice”that makes the first entry to the Korean literary circles. This “self─consciousness” mainly confronts the materialistic desire of contemporary capitalism. It is also interesting that sexuality motif affects his works in various ways. This becomes a main motif when setting up a relationship of men and women. His view about women including his mother who directly related to the other motif, father─absence, is very complicated and peculiar. The way of self─consciousness recognized by sexuality is clearly divided into three periods; former, middle and latter. In former works, women’sex tend to be sacrificed to and violated by men. Young boys grow up after living a period of admiring “The world of sister”and violate women to clear the stage and move to the next reality. It is a sort of “qualification test”to men. Women sacrificed to men represent victims of violating modernization and also stand for evilness of men’pursuing self─consciousness. So to speak, male characters in Kim’s novels who “decide”to grow up by betraying “The World of Sister”tend to keep their self─ consciousness by“ overcoming”guilty conscience. As we have looked at the whole period of his works, Kim Seung─ Ok novels overall talk about confrontation between the pursuit of purity and the principles of reality represented by materialistic desire. Characteristics cause complications between these two desires. Common ego is busy pursuing given desires without knowing what it’s following. However, it can’t be ever satisfied as capitalism produces endless desire to maintain its system.

Today’s readers acutely realize that it’s getting increasingly harder to find the links between probability and inevitability in psychological impact that leads to?behavior of one’s actions. How can one understand those people showing abnormal behavior who suffer from the anxiety and solitude without no reason;?having antagonism and hatred against somebody that’s not clearly identified; or displaying mysterious pathological symptoms wrapped up with madness? This study started with a question about how to understand such characters, what were the motives of their incomprehensible and irrational behavior, and what was the meaning of such behavior. The questions led to an investigation into why today’s writers often depicted such behavior in their stories. Going through the process of finding the answers to them, the study looked into the psychological concept of‘ adjustment’to find the key to the answers. In psychology, adjustment is a series of effort to strike a balance by responding to the environmental stimuli and regulating desirables voluntarily between desire and possibility to fulfill it. It’s a concept to embrace the process of changing one’s behavior and environment. Adjustment can be classified into three areas. First external adjustment involves active efforts to resolve the problems; second, internal adjustment involves accepting the problematic situation as it is; and third, defensive adjustment involves deceiving oneself unconsciously and thus distorting to threatening situation. While external and internal adjustment are the rational and realistic measures for a conflict situation, defensive adjustment is more irrational and unrealistic approach. This is also called defense mechanism, defensive adjustment is an approach to responding to frustrated desire and conflicts by deceiving one’s behavior regarding his or her desire in order to reduce the tension and confusion.?This is derived from ‘disagreement between ego and experience(or disagreement between desire and possibility).’ Although the term of defense mechanism was first used in psychoanalysis, it’s been confirmed in many different theories that people take such unconscious psychological strategy to protect themselves from the current stress. Based on the general psychology theories including psychological mechanism and abnormal psychology dealing with humans’abnormal psychology with mental disorders, the study tries to prove the fact that irrational and abnormal acts of the characters in modern novels were exaggerations of the universal and commonality among people. It also showed that today’s authors makes every effort to define the functional relations between deep psychology and behavior of the individual to describe them in complicated and sophisticated manners. Those points were proved by examining the characters’diverse efforts and attempts for psychological adjustment and the process of their failures. The results indicate that the characters’weird behavior in modern novels has inseparable relations with the psychological mechanisms that cause it. The psychological mechanisms are the efforts of adjustment for the characters to unconsciously defend themselves from the conflicts resulting from unsatisfying situations and thus maintain the psychological balance. In modern novels, psychological action of adjustment is employed as a means of creation to realistically depict the characters that more concentrate on postponing disruption and catastrophe rather than resolving the situations of conflicts when they are faced with diverse taboos. It’s also used as an advanced technique to describe modern people who live their lives constantly defending themselves from various stresses and struggles. The perceptions and reactions or the thinking methods or behavioral patterns that the characters show in a conflicting situation make the critical elements of the aesthetic features and unique personality of modern novels. They are also embodied as a literary device to report the problematic reality of the modern society; full of various irrationality and contradiction as well as reflecting complex psychology of modern people.

It had taken exactly 10 years from the novel ‘The far away river Song- ba’to ‘The shadow of arms’. It has been published some novels that used the Vietnam war as its subject but it is true that most of the novels could not reflect thorough historical awareness and true spirit of novelist. This limitation is still maintained today. It is hard to deny that Korean novelists were being lukewarm about the Vietnam war which is one of the most important historical issues in modern history even if we had some invisible form of pressure or we were more concerned about our problem than other country’s matter. As we know, Korea was one of offenders in the Vietnam war and Vietnam has similar historical pain as Korea so we had to more concerned about it anyway. In addition, to reproduce our experience inVietnam during the Vietnam war as source of Korean novel literature, we need to understand Vietnamese unique history. Korean novels ‘Human’s dawn’and ‘The shadow of arms’are written in understanding of Vietnamese unique history. These two novels which have 10 years interval, established similar characters in ruined Vietnam and well described ideological and ethnical conflicts of these characters. As a result, these novels well reflected writers’ constructive awareness more than any other Korean novels. However, Human’s dawn’has a limitation in fact. It estimated its value as anticommunism literature because it described the reasons of the Vietnam war only focused on Vietnamese ethnical conflicts and skepticism of communist. This limitation wascaused by writer’s coweredattitude to the outside world. In contrast, ‘The shadow of arms’illustrated Vietnam war’s background in not only ideological conflicts but also outside world’s pressure especially focused on meaning of outside world to Vietnamese. Moreover, The writer of ‘The shadow of arms’was concerned about Vietnamese’self - existence and their ethnical awareness in a position of ethnical literature. There is no doubt to say that how to melt the Vietnam war in our literature is still one of the most significant tasks to us and to evaluate and examine a result of novels untiltoday is also very important subject to us as well.

Die vorliegende Arbeit zielt darauf, für das Verständnis vom Stück <Ein Gefühl, wie ein Paradies> den Sinn und die Funktion der epische Theaterschöpfungsästhetik herauszuarbeiten. <Ein Gefühl, wie ein Paradies> ist ein episches Drama. Das Stück ist nicht dem Muster der aristotelischen traditionallen Theorie gebaut. In diesem Stück wird die entfremdete Situation nicht als bekannt vorausgesetzt, sondern sind die Gegenstand der Untersuchung. Also wird die entfremdte und widersprüchliche Zustände auf der Bühne vorgetreten vor allem in provozierender Weise, die das Publikum dazu auffordern will, seiner eigenen Entfremdung bewußt zu werden und dementsprechend sein Bewußtsein und Leben zu verändern. Die Szene im Stück <Ein Gefühl, wie ein Paradies> ist Ausschnitt, herausgebrochene Stück aus einem groß en, komplexen Geschehnisganzen, das größer und umfassende ist als die im Drama erscheinende Handlung. Dieses große Geschehen begann, ehe der Vorhang am Anfang sich öffnet, und es dauert meist noch fort, wenn der Vorhang am Schluß des Dramas gefallen ist. Dieses Stück hilft besonders dort, wo das Publikum durch die Kommunikationsmittel ein entstelltes Bild besitzt, eine Korrektur dieses Bildes herbeif?hren. Das Stück <Ein Gefühl, wie ein Paradies> vermittelt nicht nur Geschichtskenntnis, sondern hilft ein Geschichtsbewußtsein zu entwickeln. Die Mitteln der epische Theaterschöpfungsästhetik im Stück <Ein Gefühl, wie ein Paradies> sind geeignet, die dramatische Phantasie zu wecken, ohne dabei ein freies, ideologiehängiges Spiel der Phantasie zu lassen. Hier tritt ein Erzähler als ein episches Ich vor, dann kann sie sich selber verfremden und auch kann das Spiel in seiner Ganzheit verfremdet werden. Der Parabelerzähler verfremdet die Wirklichkeit in die erhellende Analogie des Bildes und leitet damit kritische Reflxion ein. Das Verfahren der Gleichnisbildung setzt gleichzeitig ein erkennendes Subjekt voraus. Dieses Subjekt ist im epischen Theater der Erzähler. Die Parabel gehört damit von Natur aus zur epischen Gattung. Der Erz?hler hebt das Bild wieder in der Wirklichkeit auf, indem er durch seine Gegenwart die Uneigentlichkeit des Bildes bewußt macht. Die B?hne verwickelt also nicht den Zuschauer in eine Aktion, sondern macht ihn zum Betrachter.

Lee, Sang reverses the value of nature and civilization. He had never been to have worship and feel emotion on nature. He always stayed at the outside of nature and his sense of body did not react on nature. The only sense out of five he used was the sense of the sight. So, we can see two things. First, Lee got accustomed to the modern experiences and senses called ‘the visualcentrism’. Second, Lee regarded nature not the object of sense, but the object of intellectual thought. The visualcentrism is a strategy devised by the modern society to dominate modern people. The modern society separated the sense of sight from the human body and created new human being. Modern people to be a just ‘seeing being’has lost his physicality so that nature is destructed. The miscellany ‘Fatigue’by Lee showed that modern people lose the physicality of ‘nature/human’and a literary historical scene which a modern subject who stare nature as a thing was born in Korean modern literature. The modern cognition of nature of Lee based on the visualcentrism controls his poetic objects and inner landscapes. Poetries that Lee rarely expressed on nature, such as ‘A Flower- tree’, ‘A Cliff’and ‘The Last’do not describe real landscapes of nature. The natural materials in Lee’s poems were separated from nature and transformed into an abstract, individual and artificial signs which explain the inside of Lee. The natural materials such as a flower-tree, a flower, and crab apples are only psychological signs that Lee used to visibly describe his inner landscapes. A Modern cognition of nature of Lee can be summarized as the word, a model garden, which is appeared in his poem. ‘A model garden’appeared in ‘A model garden made by a prisoner’means ‘a box garden’in Japanese with the meaning of a little model garden for decoration.‘ A box garden’reminds of‘ Sang(box),’the name of Lee, Sang. He symbolized his identification as ‘A model garden made by a prisoner.’‘A model garden made by a prisoner’is an allegory of the real condition of the nature/human of the colonial Chosun distorted in course of modernization forced by Japan. The landscape of modern nature degraded to a decoration in the modern society exactly corresponds to the dissociated inner landscape of Lee. His abstruse poetries were the model garden made by modern society or by Lee as a small part of it.

The aim of this study is to investigate the several related sets of questions such as definition of Marxism, the reasons for the present popularity of Marxism to intellectuals, politics, and others, the core principles of Marxist thought, the limit of Marxist literary criticism and finally to suggest Marxist literary critic’s tasks. Marxism is an approach to literary analysis based on the principles of Friedrich Engels(1820~1895) and Karl Marx(1818~1883). Marxism is not primarily a literary theory that can be used to interpret a literary text, for it is first a set of social, economic, and political ideas to interpret and change the world. According to Marxists, ultimate reality is material, not spiritual. As an approach to literary analysis, Marxism’s methodology is a dynamic process that maintains that a proper critique of a text cannot exist in isolation from the cultural situation in which the text evolved. Necessarily, Marxists argue the study of literature and the study of society are intricately bound. By placing the text in its historical context and analyzing the author’s view of life, Marxist critics arrive at one of their chief concerns: ideology. These critics are interested in the ideology expressed by the author, as evidenced through his or her fictional world, and how this ideology interacts with the reader’s personal ideology. A Marxist critic may begin such an analysis by elucidating how an author’s text reflects the writer’s ideology through an examination of the fictional world’s characters, settings, society, or any other aspect of the text. Whatever method the critic chooses, a Marxist approach exposes the dominant class, demonstrates how the bourgeoisie’s ideology controls and oppresses the working class, and highlights elements of society most affected by such oppression. Such an analysis, Marxist critics hope, will lead to action, social change, revolution, and the rise of socialism. Any Marxist critic must keep the core principles of Marxism and critic’s tasks in his or her heart. These are suggested in this paper of my own.

This thesis summarize a Kang So Chun’s fairy tale especially, the yearning that is main motive in this story and the correlations with the experience of 6.25 war that is signify of dreams. Kang So Chun is the main fairy tale writer in 1950. He work as children’s rhyme writer after published his children’s song “A willow fruits”in “children’s life”at 1930 and became famous as fairy tale writer after 6.25 war. The war signifies hometown and losing family to Kang So Chun who cross the border into South Korea by himself at 1.4 retreat and this became a chance to create fairy tale. This is the reason that“ yearning”and“ lose through the war”became main motive in his fairy tale. He comfort the yearning of lose through the fairy tale and try to overcome the limitations of reality through the mediation of dream. So the expression of the unconsciousness of dream is the only things that makes Kang So Chun to overcome his yearning in the 1950. He solute feeling of lose from the terrible war by the fantasy of the fairy tale and the mediation of the dreams. So if the yearning and the lose from the experience of the war became a main subject side of technique in Kang So Chun’s fairy tale then the solution of dream can be a method side of technique. However, the experience of the war isn’t only have a literature character that is the yearning and the dream of hometown and lose of family to Kang So Chun. His inner mind of experience of the war is not only for the yearning but also express ideological aspects which is “anticommunism”Those two recognitions are related to the same side of the category about the terribleness of the war and the experience of loss. In other words, his anticommunism cope with the experience of the war so it didn’t appear the sense of purpose like other anticommunism writers. However, his literary main subject was the yearning which beginning from the private experience of the war and the fantasy techniques which is the dreams that construct the basis of the solitary shows the new condition of the fairy tale’s aesthetics. Also his fairy tale of the dream working as educational skills and the motive of the dream treat as the escapism and the recollection of hobby propensity. If we overlook the inner motive of the yearning and the aesthetic of the dreams that is a basis of the kang So Chun’s literature causes from the experiences of the war and the loss, then can feel that his literature looking for a dream which is pure and the ideal through human’s mentality. So the motive of the dreams in Kang So Chun’s fairy tale can be a questionary of the final existence of human who fall into the bottomless pit of the war and the realistic description that is suggest the problem of the life.