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The major poets in the history of korean poetry literature thought the narrative as the source of poetic imagination and they established characteristic poetic world by converting‘ the group narration’to‘ the individual narration’. Among them, Seo Jeongju(1915~2000) accepted narratives and reflected his poetic world in his more than 200 pieces of poems. As a result, he pioneered the uniqueness of poetic world. Kim Chunsu(1922~2004) as well converted the legendary people like ‘Cheo-Yong’‘Jigui’into ‘self-replication’or made such characters as ‘cognitive another person’. He converted korean narratives into texts keeping alive and in the end he opened his own poetic world through this. These two poets occasionally wrote a poem with the same subject - ‘Jigui’. Seo Jeongju’s ‘Queen Sondok speaks’and Kim Chunsu’s ‘Tune 3’are as such. ‘Queen Sondok speaks’is also borrowed the opposing narration structure of Jigui narrative, the general meaning is very different. In this poem, Me(queen Sonduk) and the man driven mad by the flesh are contrasted. In the poetic words, they are presented and divided.: ‘heaven(the heaven, the death)’and ‘peak(this world, the life)’, ‘here(the second heaven of this world)’and ‘Seorabul(this world)’, ‘flesh(the body)’ and ‘the second heaven of this world(the soul)’, ‘fire(Jigui’s heartburning)’ and ‘sea(purification of flames)’. But this poem is written admirably to the horizontal love transcending vertical social status and perpetual love above the spirit and the body, the life and the death. In the ‘tune 3’of Kim Chunsu’s, Jigui is called to the modern space. This work consists of repetitive meaning in the two paragraphs. This work is made of statement like tune on the base of narration of Jigui.: recitation Buddhist sutras at Haein temple, Mount Gaya, and the feet of the people at the crowded Jongro streets reflect the sublime and the vulgar, and further they reflects transcendence of the world and worldly reality. The soul of Jigui did find the resting place nowhere. his flesh and blood still chills and fevers. That is to say : Chill and fever are metaphorical expressions of Jigui’s fire, the love for queen Sonduk. It means that even though Jigui’s body was disappeared into the flames, the fire of love is circulating like the blood of flesh. Till now, ‘Jigui narrative’was re-born as the perpetual love messenger transcending vertical social status in the world, the spirit and the body, the life and the death through ‘Queen Sonduk speaks’ by Seo Jeongju. Jigui’s bitter grudge shown in the ‘Jigui narrative’ was sublimated as perpetual love. On the contrary Kim Chunsu’s poetry ‘Tune 3’shows Jigui’s bitter grudge is circulating incessantly even in our time. Seo Jeongju inserted optimistic view of world of Buddhism in ‘Jigui narrative’. He not only transformed the matrix of the narrative, but built the foundation of his poetic world, eternalism, or shamanism(believing intercourse between the living and the dead). In Kim Chunsu’s poetry ‘Tune 3’tragic narration in the previous text was borrowed, but the stage was moved to the modern time and finally the experiment on the poet’s poetic theory, what is called ‘nonsense poetry’was done. Each line and each paragraph in the traditional creation of poems aims at general meaning, but he did an experiment on the rhythm of poems. As above, the two poets built the foundation of the new world of poems using‘ Jigui narrative’. we can see that the change of the appearance in narration enhanced the life force of the narration.

The purpose of this paper is to study Zen poems called Gaeosi meaning that truth can be understood through the truth of Buddhism. First, the poet Jo O-hyeon represented a variety of thoughts related to Zen poems especially through the Buddhism performance, one of which is Ilsaekbyeon, a series of poems, “Jeolgan Story”. Through the work, “Ilsaekbyeon”which was continually and intensively depicted, the poet revealed his ardent poetic exploring for being and the deep theory of being and life. In this paper, the truth he pursued on the basis of the analysis of Buddhism principle is examined especially by way of the work,“ Ilsaekbyeon”as to the real life image and the method of transcending the value of being on the way to finding the nature in the process of Buddhism performance. “Ilsaekbyeon”regarded humans asked, “Who am I?”as poetic importance. The studying process by the monk reveals the answer through the continual circulatory relation, that is, O-on without authors. In other words, the spiritual struggle made in the stage of acknowledging the emptiness of the world called ‘saek’and “myeong”is understood based on the inner property of things. Through the study, the real source of knowing the real thing of things stemmed from the mental path and vulgar one as well, on the other hand, all the things existing in the world are co-related one another, being one as an O-on being. In addition, some materialism underlain in humans suffering from the vulgar world is represented in the Buddhism aspect which denies substantial thoughts, being construed as O-on for the object of pursuit of physical and mental liberation. The centerpiece of this study is the relation such as saek to soo, soo to sang, sang to haeng, and haeng to sik, all of which symbolically and paradoxically represent that myeong and saek stem from body and mind, material and spirit from O-on respectively. In a nutshell, as the human nature originates from all kinds of desires and it has an empty being along with the world, the basic concept as to all things is just the same as the self called“ ja-a”. However, the desire happening in the mind has a variety of agony and anxiety, although most humans have the world in the midst of desire of possessing all materials. This reaches the selfless questions which all kinds of desires radically are based on foolishness. The poems as a text search for the nature of human being assimilated into nature from the property of things, realizing that humans are just the very feeble beings, entering the ground of Zen as a Zen tool in order to obtain the real freedom. The prerequisites to get the real freedom is to perform incessantly through self-denial. This study suggests that the real picture toward being should be found and reached the ground of Zen through the proper thoughts. From the study, the real picture of being is hypocricy and vanity stemmed from desire and all things are the same as I, of course, obtaining empty world view. That is, all things are the truth as they are and as they are true, they are all Buddha. The only method of meeting Buddha is through waking our sleeping Buddha in our mind, only meeting the Buddha existing in all things.

Quantitative expansion in city life changed the moderner’s life into equal and average dailiness. Urban dailiness is the root of modern life. Dailiness became one of the most important key ideas to consist of modernity. Dailiness has been denied in the aesthetic category by its repetitiveness and heteronomy, but dailiness became the key element to understand modernity in post industrial society. Thus, investigation of dailiness provide a regular conformity frame needed to understand modernity and literature of post industrial society. One of the most important poetic thoughts in modern poetry is the self-reflection of daily urban life. This sort of poetic self-recognition is expressed and reflected as sarcasm and criticism of daily life. In our daily life under industrial capitalism, commercial products and money become something to diffuse mysterious power and worshiped by people for that reason. However, capitalistic cultural logic and ideology which encourage people to worship material and put them under its control indeed the element to threat human and its life. Modern poetry shows a sensitive and avant-gardism reaction toward this dailiness. While exploring urban dailiness, this article pay attention to the poetries which express self-reflection and recognition of ‘unconsciousness in modernity’in that and discuss the artistic experiences of poets about dailiness introduced by the metropolitan space. The daily life of moderner is produced in the urban space of highly developed post industrial society. This sort of cultural environment change, in other word urbanization, or increasing experience of urban life acts as an essential index to express historical changes in korean modern society and poetry. From this point, dailiness is one of the most important concepts. Dailiness in modern life is product of civilized city life. Dailiness become one of the comic subject or even forbidden by poets to write about. It is a life automatically repetitive and mechanical and even conventional. in one word, as a fine part of reality, earthly dailiness was understood as something not artistic and even filthy and moreover was denied as something worthless by artists. However, due to the collapse of experiencing aura and increasing experience of urban life, capitalistic dailiness became payed attentions to with fresh eyes. City and urban life controled by dailiness is somewhat political and economical space and at the same time artistic space as well. Moderner often experience artistic experience while doing daily social life. This sort of artistic experience is a new phenomenon which wasn’t noticed before the time which de-modernized city was not even introduced yet. Therefore, this article specially focus on how korean modern poetry pay attention to the capitalistic dailiness and illuminate how the main poetic body reacts from urban life experiences.

This study analyzes 2000’s poetry focusing on nihilism. Nihilism has been understood until now as a private, effeminate and decadent emotion. But a kind of Nihilism is various;Benjamin’s ennui that implies on sterility of the world, Lefebvre’s irony which means negative capability. Especially this study gives attention to Nieatzsch’ s affirmative nihilism. Nieatzsch’s affirmative nihilism shows us free play spirit, delight skepticism as a perpectivism and philosophy of positve will. And then nihilism in Korean literature has not been get serious attention. But nihilism is relation to the political and social situation in a age. Nihilism in 2000’s Korean literature is closely connected with ‘1997 system-IMF;financial emergency’. But reality of literary life in poetry is modified unlike direct depiction about a social situation of the novel. We need to look at 2000’s nihilism from this perspective. This study interpret 2000’s nihilism as three angle. noneroticism; sexuality in Kim Un-Hee and Kim I-Dm’poetry, unsuccessful anarchism;irony in Zang Seok-Won and affirmative nihilism;a new poetic analytics in Kim Haing-Swook.

The purpose of this study is to examine how the narration of desire is structuralized in Kim Seung-ok’s short novels centering around Life-Rehearsal. Most of Kim’s novels written intensively in 1960’s are almost read as one united novel because the one same character that splitted into several characters appears repeatedly in those novels. The narration which appears repeatedly in those novels confesses childhood root-experience through looking back on the past. And there are both exposure and concealment in those confessions. This concealed desire incessantly summons present narrator into the past with sufferings of root trauma. The substance of the desire is incestuous desire which stems from Oedipus complex, and it appears as an embedded form because of absence of father who had to be symbolic identification through appropriate emasculation of desire. The effect of root trauma makes the adult narrator always recollect the past or go back to his hometown not allowing him to be included in the city, confront repression of incestuous desire between him and his family, and kill himself or other because of the sexual guilty. In the end Kim couldn’t solve these moral problems in his novels, so he involved himself with the Christian God outside his novels, and couldn’t write meaningful one after that. In this way, this study has clarified that the substance is incestuous desire that the narration of desire conceals after the analysis of Life- Rehearsal. And it will be easier to understand Kim’s other novels if they are analyzed from this same point of view.

This study aims to analyse time technique and time consciousness in Yi, i, Chung-Jun’s Novel,「 The door of time」. Traditionally, time has been recognized only as a background of the novel. Therefore, it has been only a short time since it became a methodology of the novel research. Basically, time has structure in two aspects, the progress and contents of narration, and time also serves both a dynamic part and an aesthetical function in the novel. Accordingly, a study of time technique in the novel is a very important theme that should be researched so as to develop the novel aesthetics. This thesis will also focus on what the characteristic of time consciousness expressed in 「The door of time」is and how time technique in「 The door of time」is used. This thesis uses a method of time technique, order, duration, and frequency, that Gerald Genette classified in his「 Figure」.

This study is on‘ Nammuntong’(South Gate Thoroughfare), one of the novels written in 1970s by Jeong-In Suh, which characteristically depicts the cognitive fallacies in everyday lives. Using provincial cities in mid-1970s in Korea as a backdrop, Jeong- In Suh made a variety of aesthetic attempts to reveal the desire and cognitive fallacies that bedraggles modern life. Several of his short stories use different approaches to the similar subject. The lives of the characters in a small provincial city are highlighted in this novel in a symbolic setting of ‘inside and outside of a walled city’. Although ‘Nammuntong’is located at the center of the city inside the wall, it is, in fact, no longer the center as the center of the city had moved over. In this particular space, those who lost their center or shunned by the center symbolize themselves the lives that were estranged from the center. The author implies that the cognitive fallacies in their lives may be the true attribute of life. Although people of‘ Nammuntong’are carrying their lives with the center of their lives lost, they still hold illusion of themselves still being in the center.‘ Nammuntong’to them is outside but sometimes feels like inside, it is on the verge of their boundary but still it is at their center. As such, this novel reveals duality of cognitive fallacies in which they live. People of ‘Nammuntong’carry their lives lost in their road to the center or without even a map. This study reveals that their loss of the sense of location eventually change the location where modern lives exist from the center to the boundary. The two faces of modern lives described in ‘Nammuntong’can be considered as the center and the boundary. People in‘ Nammuntong’, with cognitive fallacy, nurture their desire to be admitted from the boundary to the center, to the modernity. Jeong-In Suh made selections of specific parts from the desire of these people while depicting the cognitive fallacies hidden in everyday lives of them. Inside and outside of the walled city in this novel is used as a characteristic, symbolic spatial setting. This study reveals that the desire to be admitted to the modernity is the root of earthly disposition and cognitive fallacies of the people in ‘Nammuntong’who live modern day lives in a small provincial city in mid 1970s.

The heroic epic “Beowulf”, with “The Lord of the Rings”and “Harry Potter”, is the typical creative material which is showing OSMU(One Source Multi-Use), one of the most remarkable characteristics of the cultural contents and it is linked from a myth a creation of fantasy novels a movies a games and theme parks. The heroic myth is emerging rapidly today as the main contents of the cultural industry, it is resulted from the need to re-evaluate and succeed the heroic myth which contains fantasy with a modern point of view according to the rapid cultural convergence on internet and the cyber space of virtual-reality. In this context, the heroic epic was reborn modernly and there are two factors in the background. First, the narrative and fantasy which are the internal factors of the heroic epic itself, and second, the development of CG technology and the realization of virtual-reality which are the external factors of technical and circumstantial realization of the heroic epic. A Medieval heroic epic “Beowulf”was newly drew attention in several points when it was reborn as a movie in 2007. First, the movie “Beowulf”broke down the boundary between the actuality film and the animation by using a new technology called Performance EOG Capture(Performance Electrooculogram Capture). Second, it is the story which inspired J.R.R. Tolkien ’s “The Lord of the Rings”. Third, it was spread out to the various cultural industries such as games and theme parks followed by “The Lord of the Rings”and “Harry Potter”. The heroic epics like “Beowulf”are widely distributed all over the world. Among those, two of them are not lean to a specific region as well as containing diverse original forms of culture and have the high possibilities of being global contents; “ Gilgamesh”, the Mesopotamian heroic epic in the West, and “Geser”, the heroic epic in the East which was made in Tibet and was passed on to Mongolia. Considering that the heroic epics become global cultural contents continuously, it will be necessary to discover the heroic epics which can be developed into the global contents overcoming the limits of poor circumstances of our domestic market, and to have the strategic point of view to remake the globalization with our own view. Also it is important to realize the myth and the heroic fantasy with our own creativity by acquiring the independent CG technology on the basis of our IT-infrastructure and prominent imagination.

The human race has lived listening to and enjoying many stories such as fables, myth, scriptures, folktales, fairy tales and romances. These stories acquired in time elaborate forms and became beautiful narrative literatures like novels. In late 20th century the existing narrative forms partnered with other communication environments and have been expanded to movies, drama, cartoon, musical and animation. Recently these diversified story forms have been more extensively developed into a story genre called “storytelling.” Storytelling now became an important topic not only in the cultural industry but also in public relations of companies and administration of local communities. Especially storytelling, backed by advancement of digital games on the internet, has intensified its usage among people. In this regard storytelling has become a main focus as the cultural industry met its explosive development. Culture contents can produce industrial demand by a single story, but by inter-utilizing it with other contents their values eventually will increase in explosive proportions. This series of process through a medium like storytelling is call ‘OSMU’ (One Source Multi Use). And quite recently, the OSMU concept is being expanded into that of‘ MSMU’(Multi Source Multi Use). A local culture is the identity of a local society, and at the same time a practical resource for the local economy. Therefore, various methods should be devised to maximize its value. Today storytelling that is utilized in public relations and product advertisements could provide a direction in development and cultivation of local cultures. First of all, local folktales and legends could be good ‘source contents’for storytelling of local cultures. Also, places and geographical names associated with their local cultures have a value of concreteness and realism; so they could be an important fortune. Lives and works of local celebrities and artists can be better utilized in storytelling local cultures. Also indigenous products can be made effective brands of the localities. It may also be very productive in storytelling local cultures to intentionally develop and create certain symbols, even if they are not specially related to the localities. As in the case of brand storytelling of companies as well as products, utilizing stories of personal experiences of users(visitors) is another way of storytelling that enhances effectiveness of publicity. Writing activities in the local culture contexts are a foundation to storytelling of local cultures. Those who have stories of experiences or are in charge of planning of local cultures are recommended to express their culture experiences by telling, writing and then storytelling. A local culture is an archetypal(original) space, and at the same time a place of concrete practice to create new culture contents. Writing of local cultures is a base to their storytelling, which should be a driving force to create and develop culture in general.

As the necessity of writing education is underlined recently, the existing education has been converted into more subdivided and professional one according to the characteristics of each major field. Differentiated from the previous integrated writing system covering all the areas, writing education specialized for each domain has been put emphasis on now, and its phenomenon seems to be much more reinforced thanks to the social demand for capable workers of practical experience. In this paper, taking universities for instance whose writing systems are specialized for each department now, the present state of writing education of engineering departments was investigated, and the writing materials and their contents based on the index was also analyzed. In the result, the writing materials of each university could be divided into ‘Specialized Writing’and ‘Integrated Writing’in terms of the pattern of their composition, and when the actual curriculum was studied, almost all of the universities were found out to operate the system of integrated writing. Besides, according to the contents of the curriculum, they were classified into 3 patterns such as ‘Integrated-Topic Composition’, ‘Lecture-Centered Composition’ and ‘Problem-Solving Composition’, but most importantly, it could be judged that the materials dealing with all the 3 patterns properly be the most effective ones. On the base of this discussion, a new table of contents for writing of engineering departments was composed with the contents of a new curriculum. The integrated pattern was chosen for the curriculum composition, and since the materials were premised on lectures of 16 weeks for one semester, general writing was provided prior to the mid-term exam, and specialized writing for engineering departments was provided after it. The contents of the curriculum were designated for ‘Topic- Integrated Type’and ‘Problem-Solving Type’to be applied according to the characteristics of each chapter. The Part 3 was about understanding and practice of writings on technical topics, which was ‘Topic-Integrated Type’dealing with writings of exact expressions through reasonable thoughts. The Part 4 was‘ Problem-Solving Type’ which combined the knowledge on the majors of engineering departments and writing to create various ways of writing on technical topics. As mentioned above, the composition of writing materials for engineering departments was attempted. It seemed that there would be many aspects which should be modified and supplemented if an actual compiling of new writing materials were taken into an action. It is sure that writing education of a semester-lasting curriculum cannot improve students’writing ability remarkably. But, the development of education should be keep going on so that most students in engineering departments who have prejudice against writing may approach the field of writing more easily and they may get closer to the writing education needed for a better social career.