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Baek Cheol considered 1920’s as the period of decadent literature and Jo Yeonhyeon insisted that members of the literature coterie which published a magazine, Pyeheo, were conscious of the Western decadence and wrote their poems under the influence. But nobody has argued against what they said. If Korean poets in 1920’s came under the influence of Verlaine and Baudelaire with strong decadent trend, it is needed to study that what poems of the two poets they read and what works of 1920s the poems of the two poets had an effect on. Hence this paper tries to study what poems have decadence among Verlaine’s and Baudelaire’s translated poems, which has hardly done by researchers of Korean literary history. 「Black and Endless Sleep」among Verlaine’s poems is looked upon as a poem of decadence. Because the poem shows indulgence in sick condition and hypersensitive self－consciousness. It got over Korean traditional way of thinking which had negative perception about death and a life after death. And also it didn’t put a taboo on death, accepted it to some extent, and had vague yearning for it. In view of these facts, the poem had an influence on Park Jongwha’s 「Going back to a Secret Chamber」and 「Heuk －bang－bi－gok」, and Park Younghee’s 「A Ghost Land」more or less.

Purpose of this study is to reconsider Dongin at <The second half of the period> that did the leading role for Modernism in the 1950’s and historic position of In-Hwan Park in poetry who did central role for formation of Dongin. Poems of the Modernism in the 1950’s must be argued from different point of view from those at the 1930’s. Modernism movement in the 1950’s being made mainly by Dongin at <The second half of the period> had its root in reality and obtained concreteness. Problems of ideology and existence through the 6·25 Korean War, interest and introspection of human being made them take pains in forming the ruined city and depression of death as poetic metaphor by means of modernistic language through concrete recognition of reality. Because they couldn’t but accept reality as fate of the times, poems of modernism in the 1950’s were using such situations of the times as various sources. And such aspects would become points discriminating from the modernism in the 1930’s to the modernism in the 1950’s. Dongins at <The second half of the period> criticized the modernism in the 1930’s, which emphasized only poetic language and techniques by applying theory of British- American Imagism, and argued their difference. Therefore, in this study, the researcher understood Dongins at <The second half of the period> as the latecomer of the modernism in the 1930’s, and as the result of examining historic position of In-Hwan Park in poetry who was at the center of Dongin’s activities, through his poems, the researcher could confirm that he opened a new world of Korean modernism being differentiated from the modernism in the 1930’s and became motive power to show possibility of extending and deepening modern poems thereafter. Nevertheless, the reason that his poems haven’t been evaluated properly but devaluated in the meantime seems to be because of the influence of literary journalists and Soo- Young Kim. Publication of a writing about devaluating In-Hwan Park by Soo-Young Kim who did activities of Dongin for <New Poetics> together with In-Hwan Park and had friendly relation with him, and influence of Soo-Young Kim’s followers taking advantage thereof could become some reasons for devaluating In-Hwan Park’s poems. Even though his poems were not able to overcome some limitations, the aspects that he denied traditional lyric poetry and his experimental spirit trying to open a new world, and aspects of accepting reality actively without neglecting it must be evaluated properly. Short life of In-Hwan Park who left us without living the whole period’s of 1950’s didn’t allow him to have time to grope for new direction unlikely as Soo-Young Kim who could remain as a symbol of the participating poem in the 1960’s. However, his poetic walk left a footprint that wouldn’t be meaningless at all for history of poetry in the 1950’s. And thereby, we can’t deny that he was a hero who did a bridge role between the modernism in the 1930’s and recent postmodernism poetry.

Poems written by Ko- Eu in the 1960s can be described as encompassing romantic sensitivity, nihilism, and modernism. Especially, the image of “sisters”is the key to understanding his poems. Through this, Ko-En’s poems from the 1960s created an imaginary war criminal, sister and a morbid?social cognition. This, however, is only a fabrication of writer consensus and imagination, and writer intention to lend credence to this fictional concept has resulted in the establishment of the conceptual fallacy of a “sister complex.” These elements have begun to flourish in the new social environment. The poet, with a reflection on the idea of ‘sister’and self inspection, has tried to add a more realistic meaning to his poems. By aggressively expressing the process of overcoming the “sister complex,”the poet has made this in itself a“ literary motivation.” Within this transformation, there always lies the theme of “the creation of discussions,”which can be refered to as reflecting his political ambitions. Experiencing the death by immolation of a worker, his poems express a strong sense of realism; whether this was intentional is unknown. To a poet with a strong romantic sensitivity, political inconsistency and irrationality were the impetus for becoming more passionate and acknowledge the importance of selfconviction. Strictly speaking, the poetical transformation to the image of sister, history and reality has had the same significance and implications on his personal life. The changing desires and aesthetic alterations expressed in the poem “If I weren’t present at the 4.19 movement,”should be understood as expressing the changes to Ko- Eu’s poems. Romanticism combined with Nihilism has developed into a revolutionary romanticism, and Ko-Eu has finally escaped from his poetic frame of a “Sister Complex.”

This paper is searching the creating method of story-telling using Shin Kyung-lim’s poetry. This would be one of meaningful exercises that are presented the importance of storytelling in various ways in culture. The storytelling is a basic data to develop cultural contents. The more the demand of new contents, the more meaningful the discussion of the creating method of storytelling. This paper aimed to prove the value of story through deriving the facts that Shin’s poems contain. Shin Kyung-lim poetry is worthy because she usually composed her poems as ‘Narrative Poetry’. Especially the through-composed ≪South Han river≫ has a significant value since the poem reveals its epical facts. This could be sum up as below. ≪South Han river≫ is composed of 「Bird ridge」(1978), 「South Han river」(1981), 「Syeomuji beol」(1985). These three works have own completion themselves and have epical structure which are consistent and continuous at the same time. This epical structure could deduce the creating method of storytelling as the creation of heroic mold, the development of conflicts and struggles, and the emotional creation of particularity and universality. At first, we would search the creation of heroic mold. The personality of hero in all over ≪South Han river≫ is foresight → struggle → reconciliation. This is the distinctive point with other heroic stories and this makes ≪South Han river≫ a poem that uses a creative storytelling method. The second one is the development of conflicts and struggles. The conflicts and struggles in ≪South Han river≫ do not end with any particular parts’victory since in 「Syeomuji beol」, the end of the poems, there is the place of reconciliation. Therefore the conflicts and struggles are figured in 「Bird ridge」and 「South Han river」, and she tried to derive the reconciliation and solidarity of community from internal conflicts and struggles in「 Syeomuji beol」. The third one is the emotional creation of particularity and universality. ≪South Han river≫ presents the unique emotion based on our nation’s historical circumstance, on the other hand, it holds universality as awakening of people and social achievement. The struggle consciousness that was presented by Dol-bae, the main character of「 Bird ridge」get down to Yeon-i and the people in「 South Han river」. Yeon-i who gets Dol-bae’s social consciousness opens a tavern at Mok-gae marcketplace near South Han river. The people near 「South Han river」gather at the tavern and form national solidarity naturally. This shows that the movement for national independence is rooted at class consciousness. This is the creating method of storytelling of Shin Kyung-lim’s poetry focused on through-composed ≪South Han river≫. These three facts, the heroic character, a story of conflicts and struggle, and a harmony of particularity and universality, enhance the value of story. This proves that Shin’s poetry can recreate as the entertainment storytelling, in other words, a plat, a movie, and a musical.

The literature space in Shin Gyeonglim’s works is generally considered as the three of the road, the river and the marketplace. Therefore, in this thesis I tried to follow the specific places appearing in his early literature space. The poet was born at Sangibjang in Yeonhari of Noeunmyun in Chungju city and had his childhood, and grew up there. Going along the road is the essence of the poet’s life and literature. On the road he dreamed of his future and got to know what’s the life. And also he became acquainted with lots of people and got to know the history and the society of the area he went about. When he went to a primary school, the poet went further and saw the river. Afterwards, the river, the road and the marketplace became one in his literature space ‘Mokgye’. The poem ‘Mokgyejangteo’finished after three years’having worked hard is thought of as a masterpiece to himself and others. To the dwellers in Mokgye used as a place name in the poem ‘Mokgyejangteo’, the poem becomes central to the restoration and the fostering of a river port literature such as ‘Mokgyebyulshinje’, a tug of war and other folk literature. A series of ‘Mokgye’Projects planned by Chungju city should be developed laying stress on the poem ‘Mokgyejangteo’and the poet’s episodes related with‘ Mokgye’. In this thesis I want to regard the poet’s literature space as a basis of the above projects and to make clear the specific places their motives appearing in the poems.

Lee Sun Gwan(1942~2005) reflected on a relationship between Nature and Human critically with a poem’s subject matter which an actual of nature destruction and environmental pollution. His poem searched the cause of environmental pollution in a contradiction of politics and economic structure and escaped a romantic thoughts about nature. For this, it embodied an actual of environmental pollution and destruction in a more concrete life. His poem escaped the point of the human central idea early, underwent some changing since he recognized problem of environment to ecosystem. It is that the between human and all sorts of life. Especially, creatures which are placed in a reality for being commonplace with a principle of exchange embody a tragic conditions. There is a suggestive significant of his an outlook on the world and an attitude that have been expanding & deepening a field of poem for 30 years, expanding the cognitive about an emergency of environment to the problem of relationship between existences.

Nowadays the teaching method of writing poems is every professor’s common concern who teaches writing poems at universities. In order to solve this problem, we should develop a teaching method which helps students to approach writing poems with more interest and concern. In this context, a teaching method of writing poems through mythology and tales can be an alternative. The mythological space which appears in ‘Samkookyousa’and Greek mythology can be a treasure house, from which students can fill their inexhaustible imagination. By letting modern characters live in mythological space and embodying detailed description of life poetically, we can nurture students’ability to propagate which can lead the market of the 21st century cultural contents. This research is on analyzing existing poems which utilize the mythological space of components and characters’mentality which appear in mythology and tales, and using it in teaching students how to write poems. I hope this research helps students to boost their story-telling and writing -poem ability and to reconstruct their mythological imagination as a modern poem.

The Studying object of this thesis includes three works of 「Manbo Mountain(萬宝山)」, 「The Farmer(農軍)」and 「The Rice Plant(벼)」, which are dealing with the uprising of Manbo Mountain, which was waged in 193l. 「The Farmer」and 「The Rice Plant」as the primary parts of the novels were set up those backgrounds of the times previous to 1930’s ; it seems as if there were few connections related to such uprising, however, it can be easily noticeable for the author to acquire those themes from the uprising on Manbo Mountain. 「Manbo Mountain」was written by a Japanese author under such circumstances in less than one month right after ‘the uprising on Manbo Mt.(만보산사건)’had taken place, and since it was described realistically reappeared the specific reasons why Chosun tribe were expelled to Manchuria, how severly distressed lives they were forced to lead, and how they were squeezed into cruel exploitations by their landlords, the military, and the police : it is greatly helpful for us to understand the good-natured Manchuria farmers got faced with the situations of those hard days. Nevertheless, it showed with descriptions such as most accidents disoriented to deliberately curtail or suppressively conceal with Chinese warriors first fired on the spot of the uprising on Manbo Mountain. 「The Farmer」is a work which realistically described all the struggles that Choson farmers in Manchuria had to endure until they succeeded in reclaiming of waterways. While the interest of author focused on the hardships from the waterway reclamation to result in plain narration, it is obvious for the author to intend his utmost serious perception of its theme. 「The Rice Plant」is described comparatively and objectively all the situations and circumstances with which Chosun people had faced between 1920 and 1930. However, overall Japanese excessive interventions were actually ignored to remain silent whereas exaggeratedly described with Chosun people driven away under the political measures by Chinese National Party, and overstated with narrations as if they had depended extremely on the Japanese Consulate.

The cultural environment these days is evolving and developing to connect the emotional value which is represented by fun and pleasure to each field and based on that another field is connected again and influence each other very deeply. The attitude of the people accepting and appreciating the cultural art also showing more active and aggressive tendency that they are not satisfied to be the former passive consumer anymore but want to be the subject themselves and be on the same level as the producer. Despite of these drift of times and what it should be it is still quite uncomfortable to discuss literature in the concept of cultural business. It is true that in actuality the industrialization of culture in the field of literature is relatively underdeveloped compare to other genre of art. The reason is because that there are ingrained tradition and perception to esteem the classic literature’s value and respect. And on the other hand, it comes also from the lack of efforts to industrialize literature. But like all the other fields in Cultural art the industrialization of literature can not be avoided. At least, set aside the the classic meaning of the link between creating the work and distributing it is an inevitable reality to utilize and re-process and translate the literature in a way that readers (consumers) want. Moreover, the character of literature being the core and playing the role of original resource of cultural art with a new perception and approach to literature for the development of cultural industry overall, and the variation of literature as the original resource can be a foundation to get some important power in cultural industry. Therefore in this article with the groundwork of basic discussion of the cultural industrious level so far, we looked over the characteristic in cultural contents of Kim Yu Jung and his works and how Kim Yu Jung as the original resource can change and evolve. And we also examined if it can be the cultural power to satisfy the expectations of readers and cultural consumer. And to check the point of universality which is common throughout time and space the characteristics of the cultual contents of Kim Yu Jung’s novel provinciality and localism. And on this foundation we will find out the way how Kim Yu Jung’s novel can be extended from a literary contens to a cultural contens.

He, Lee, Dong Ha has been known as a novelist who wrote a novel out of his experience, however he wrote even writings which made use of a fantastic technique continually. But such a kind of writings did not little attract people’s attention. This thesis is to consider the world of his writings which built an exquisite harmony and turningpoint of daily events and fantasy to make use of a fantastic technique. The major motive to make use of a fantastic technique in his novel divides broadly into three categories. Firstly, as the motive of alter ego, he criticized a fearful alternative capacity for manpower in a society of capitalism through it. This aspect was the gloomy selfportrait of the Korean society in the year 1970 and he denounced it to make use of the motive of alter ego. Secondly, He made use of the spirit-motive. The author asked about a true value and meaning of life to extend his viewpoint about human’s life and death through such a technique. Lastly, the characters in novel made use of ways of a space transformation or locomotion to a strange place without his own will. He tried to satisfy the desire of deviation for the characters which got forced down in everyday life by using of such ways. But, we could not recognize that the original aim was perfectly accomplished in the point the characters of deviation from a reality returned to everyday life. He, Lee, Dong Ha is one of authors introduced to fantastic technique in the history of our novel earlier on relatively. The researcher suppose that the reason why he wrote a novel through such a methodology was a result of taking great pains over a formal aspect of the novel. His novels contributed to intensification and extension for his world of works. It is unable to put something out of our mind that there was no difference nearly from the existent things and as such kind of novels was no many original works.

This thesis studies on the pattern of the writing in Choi, In-hoon’s literary works through analysing the mythological conception and the structure of the narrative in Choi’s representative novel, the 『Public Square』. 『Public Square』is made of the double structure of the narrative that is developed with the surface and the depth of the text. In this novel, the hero starts on a journey with a view of the foreshadowing, passes through a desperate adventure, and meets his death after discovering epiphany of the archetypal truth. In the end, he leaves the image of the regeneration through the symbolic ritual. The structure of the narrative across Choi, In-hoon’s other novels, 『Ga Myeon Go』·『Seo Yu Gee』·『Gu Woon Mong』which surround 『Public Square』has symilar type too. Even though their works appear to be in different at the surface styles, the original methods and patterns of the creating text have the homologous relation in categorical and structural view points by broader meaning. At a crisis period that oppresses human life by war and ideology, Choi’s literary works reflects the human spirit that always try to discover the epiphany of the transcendental truth. The creating pattern of the text in Choi’s lietrary works has new significance in the whole world of the periodic and social context.

In-Hoon Choi is a very creative and unique writer having an eye of a research worker on history of modern korean literature. The ultimate goal he took as an object was authentic acquisition of korean modernity and its artistic accomplishment pulling up with western literature and thoughts. An awareness like this is a motive power he had gotten a great artistic accomplishment as creating drama. This thesis is written to study Chioi’s modern creative accomplishment on korean literature intending main tex「t Long long Time Ago, Whai Whai」in his several dramas. In my opinion「, Long long Time Ago…」 is a very important text proving he got literary modernity in his private career as well as korean literary history. Choi producted series of parody novels concentratively like『dreams of nine clouds』, 「Yul-Ha diary」, 「Nol-Bu story」, 『Seoyoogi』before he put his right hand to drama work. These novels were pointed out anti-realistic or far outed because of its difficult and experimental figures. But These are products of his intellectual and methodological effort to find out unique korean cultural mode and to get its artistic accomplishment. 「Long long Time Ago…」is a drama gotten material from korean traditional tale and its theme comes from our traditional thoughts－ Confucianism and Buddhism to save the bitter human world. We find love for one’s family and neighbors during development of affair in drama, but we feel it more seriously from denouement of this drama. A sacrifice of main character’s family to save themselves and neighbors originates from love of Confucianism and Buddhism. We know familism of confucianism and karma of Buddhism might expanded into humanistic love and cosmic savation. Choi gets his theme and material from our tradition and accomplished dramatic language use, plot and stage setting successfully in the view of dramatic skills. Choi is a refugee from north korea during Korean War. He integrated his rootless situation into national problem to find out korean identity. Finally, he found out korean speciallities and expanded them into cosmic salvation and also achieved artistic accomplishment. We call him a great research worker as well as creative writer for this reason.

The purpose of this thesis is to study the critical recognition, practice, and argument in U-Jong Kim’s literary criticism of the 1950s with attention to the origin of his criticism and to turn out the achievement and limitation in view of criticism history. In addition, the analysis of his criticism in the context of the 1950s were investigated and reconstructed in the meaning of criticism history. U－Jong Kim’s literary criticism of the 1950s explored the various theoretical criticism and founded the basis of korean literary criticism. He pursued the creativity of criticism as a literature and established the independence and specialization of criticism getting out of criticism that a writer is superior to anything. He also showed the peculiar critical direction in view of “the objectification of the subjective world”and taked part in the critical argument positively noticing the communication of criticism. His peculiar critical perception presented korean literary directivity through the practice of critical sprit. He discovered tradition which has meaning of the present through the critical reinterpretation of classic and aimed at humanism literature judging the modern literature. Many achievements from U-Jong Kim’s literary criticism in the 1950s have influence on criticism these days and should not be overlooked with the importance of critical history in that it is maintained as basic of modern criticism. Especially, the critical recognition, practice, and argument in U-Jong Kim’s literary criticism of the 1950s have showed not the blind imitation of western criticism but the pursuit of criticism based on korean tradition and historical situation.

Digital language and environments are bringing a rapid change in literary sensibility and the way in which we consume literary works. Digital imagination and sensibility are replacing analogic imagination and sensibility. The speed of writing down language and the speed of language communication go together with the speed of the advance of civilization. Digital language, made up of zeros and ones, evolves at the speed of light through primitivisierung. Culture and civilization will change at an ever-increasing speed, and human sensibility and literature will also change along with it. Digital language requires a non-linear, circular and ahistoric change of paradigm. Writing in a digital age allows a more democratic and effective communication. Now we have a better system which allows us to communicate with more information than in analog language. Digital language has freed human beings from such things as numbers, remembering, vowels and consonants. In the digital age, the scope of human imagination will be enlarged. Digital language will make us see what we have not been able to see in the past. An electric intermix in the digital age will get rid of the barriers between genres and will create a new genre. Just as analog language has changed human relations and human characteristics, so too will digital language. Digital language has created “the multi-tude.”A multi-tude is an active type of human being that penetrates the uniqueness of individuals and, at the same time, fosters the common characteristics in them. The discipline of literary creative writing must be keenly aware of this change in human life. Our society has already become a multiple society. We are experiencing dialogue not only between academic departments but between academic disciplines, and now we have to be ready for an age of“ Excellence Clusters.”Departments of Literary Creative Writing in colleges and universities should be ready for Excellence Clusters that foster humanity, professionalism, practicality, and develop new curricula and courses to meet the change.