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The aim of this paper is to analyze the structure of the lyricism and the ethics in Jung Ho-sueng’s poems. There is an interaction between the description of feeling of a sorrow and the awareness of the ethics which is conspicuous characteristics of his poems. This fact would throws a light on writing a lylic poem. His poems are based on the consciousness of the Others and the poetic subject and lay the cornerstone of a building on the poetic ethics. The poetic subject is closely connected with the Others. It is surely to be a subject with the Others. In most cases the Others would be people in grief because of their poverty in his poetry. If the poetic subject don’t have this kind of consciousness, the subject will be fallen onto the one being shut in the narcissism. Expressly, The city of ‘Seoul’the poetic space of him is symbolized by this meaning about the relation of the subject and the Other. There is a territory of the lyricism. The lyricism is not territorialized. We can call this deterritorialization of the lyricism. How does this poet, Jung Ho-sueng, express the emotion? As like sadnesses or pleasures of life? How does he renew the feeling and how does he make that feeling into the poetic things? A sadness is not meant to itself in his poetry. His poems have the recognition of the sadness. This means that the sadness is not to loose the wholeness. This is the point what I want to analyze with the authority of “The Ethics”of Spinoza. The ethics in Jung Ho-sueng’s poems is different from the moral dichotomy like good and evil. He refuses the moral dichotomy but he wants to represent the life plentiful. Because of that reason, he regards the lyricism in the same as the ethics.

This article, focusing on orientation toward children’s mind forming the basis of Yoon Dong-ju’s poems, was intended to look for the children’s mind first beginning from children’s verses and through all the ordinary verses. First, the moment that Yoon Dong-ju got to write was examined, and it was predicted to be due to his consciousness of and interest in children. His literary works in which brothers or children appear the basis of such prediction. The speaker in his literary works sometimes views children as poor existence in the miserable age or recognizes them as imprudent existence. Such recognition sometimes made him view them as the targets to be illuminated. As an important list of the children’s mind indicating in Yoon Dong-ju’s children’s verses, first, there is nature-friendly children’s mind. The nature that children’s mind of his children’s verses represent is mostly heavenly elements, all of which contain the meaning of the world he is heading for and the meaning of longing. Such motives of children’s verses is accepted in his ordinary poems, representing the same symbolic meanings. In addition, ‘a bird’ frequently appear in his ordinary poems, which seems to result from the fact that he expanded and accepted the children’s mind moving toward the heavenly world. Second, there is children’s mind representing instinctive yearning. The subject of yearning in children’s verses is mostly mother, a sister, father and a hometown. Such yearning and the subject of yearning are equally accepted in his ordinary poems. Meanwhile, mother or motherhood is represented as ‘breast’and also gave the meaning of eternal life water and limitless love. Third, there is future-oriented children’s mind looking for hope in the dark. Hope was represented as ‘light’, ‘dawn’, and ‘baby’, and similarly accepted even in the ordinary poems. In here, there are poems that propose hope in the light-oriented way, but there are also poems saying more direct and actual hope in which the poetic speaker actively shows hope. Through this study, it was found that one of the reason Yoon Dongju’s poems have been loved till now is that they are based on the instinct children’s mind for which men basically head.

This thesis was inspected how the water in the space of narrative was regenerated in the comtemporary korean poetry and how it functioned in individual work. And further more it was studied how these works influenced to the modern korean poetry. It’s because Water is the most important image, and motif not only in korean narrative but also modern korean poetry. As the result of this study, the water in the space of narrative is a medium between the persona and the poet who accepts narrative and it provided the motif to open characteristic, poetic world of the poets and it became creative and dynamic material. In summary, ‘the sea’in ‘Cheoyongdanjang’of Kim Chunsu’s poetry, means the world of infancy before ‘realistic ego’is differentiate from this world, that is to say, it is‘ the recurrence to the mythological world.’ In this poem the poet thinks water is the mirror of the infancy and also the world of paramita, at the same time it is Utopian world found in the past. Kim Chunsu tried to fill up vacancies through the affluent maternal love of water which the sea contains and tried to restore his life disillusioned with the ideology conflict. Therefore, this type of water has the symbol of ‘maternal generosity’and ‘healing’. Kim Chunsu borrowed the water of Cheoyong narrative and made his object to pioneer and establish his poetic world after his middle years. The water contains the rebirth image which rises from the death in ‘The journey song of Baridaegi’in the Kang Eungyo’s poetry. The Pilgrimage of water in this poetry symbols the poetic narrator ego who is purified and cured and the water finally made affluent maternal sea erect. With this, the river water in ‘Yuhwa’of Kang Eungyo’s poem represents the ‘maternal generosity’and through this work, the poet did religious incantation which seeks for the will of life against the sea of futility The water shown in the ‘Madam Yuhwa’by Kim Hyesoon is the place of‘ punishment’and‘ death’, at the same time, it is the place of ‘rebirth’and ‘restoration’. It is because ‘Madam Yuhwa’gave birth to her son, Jumong through water. The water in this case equals to the mother placenta which protects life from death, and the suffering in this time plays a role of opening eyes of ‘Madam Yuhwa’s maternal love. Moreover this water becomes the material that make the poet write as the main body of a woman. That is to say, the woman deserted from men writes poems with the lips of river which entangled endlessly. Here is reflected the will of poet which recovers the life force of mother hurt. This work has strong meta character about writing as a woman subject; The poets in the early period of accepting narrative, from 1920 to 1950, informed the national unity and unified through narrative. But above all, these poets transformed classical narrative with more modern motif and made the korean poems more characteristic and affluent.

The rational attention person of past in law of rationality suppressed the imagination which listens and to tie a reason did. They thought an imagination with the fact that and absurd is irrational. But the imagination the storehouse which includes the historical whole of the human being is time and the space against. The imagination reached to today and was made to get the attention in the value and use. Also even paradigm of mind-set, substitution. Like this indication will be able to discover easily from the literary work. This means of our social communication from letter medium moves with image medium and to relate with a media environment. New generation the letter knowing and is because being familiar in the image. The imagination of poet with new perception combines an old experience and gets a new experience in brief instant. And continuously the imagining action which is repeated an experience and leads and combines synthesizes and as the unifying body of one side completed the work. The archetype structure which scholar France myth Lucian Boia presents 2000’s start widths led from this dissertation and researched. The archetype structure which he presents what kind of transcendental consciousness, altruism, unity, soul and future life, is escape etc. First ‘ transcendental consciousness’the new star box leads remains the world of the supernature and is a ceremony which discovers the truth which is surpass and basic. The second time ‘altruism’different existence, with the different societies are connected with one whole which becomes accomplished with same differences. The third, ‘unity’ homogeneous and understands, from the easy world lives in desire of the human being which desires, are the dialectic which distinguishes the relationship of the hitters. Fourth‘ soul and future life’the low of annular lifestyle metempsychosis is structure of the material world from the physical inside which is various.‘ Escapes’escape last from arrest, or, under creating boil the condition is a structure about desire of the human being. Imagination becomes motive power of creation fact, when the nonloach sees in the fact where the new image is the starting point of all creation activity is clear. 2000’s us current price orgin like this imagination makes and, is a world which is new. Like researching before and, the archetype structures of imagination 2000’s do as a favor our literary space abundantly. The worker who appears at 2000’ s young poets are subject of new literature, the work which observes the archetype structure of their imagination is very important.

Nowadays, many writings of the poetic versification have been published. However, it is very unsatisfactory that the theories in those books are not available to the classes of practical versification. Surely, the writing of poetry is not possible just only by the understanding and practice of metrical theories. The writing of poetry needs the consideration of some subjectiveness from each writers. Therefore, this study aims to survey the principle and method of experimental versification laying stress on the researcher’s experimental poetic theory. The students who want to write poems would comprehend the versification by reading writings of the established theories. Also, they find both the poetic insight and the ways to write poems through reading other writers’poems. And then they would complete their poem by various styles and figurations. Of course, this process is valuable in the established education of poetic writing because this is based on the theories. However, it is evident that the writer’s daily experience should be very important. In conclusion, we must comprehend what the writers think as a poetic insight during daily experience, and how they find the way to write. This is this article’s main goal.

In 1908, Hyecho’s travel book Wangocheonchukgukjeon found from a cavern in Dunhuang, China has five ‘Hansi’. He was a monk from Silla, korea. These poetry affords proof of his sensibilities: he was bathed in tears when he was faced with a pathetic matters and beamed with joy when a happy ones. In spite of being a monk retiring from the world, he was more sensible than any others as a poet. So, Jodomgil made mention of Hyecho’s poetry that the monk going to India to obtain a Buddhist canon couldn’t overcome both solitude and anguish as a man. Hyecho didn’t write about his own sufferings at all. To stay in India might be harder than China. There might be lots of hardship such as the problem of communication, the insufficiency of road construction, the discomfortable bed under a foreign sky, and the foreign meals and water against his appetite. With the snowstorm from a mountainous district as cold as hell and the sand storm from a very large desert, Hyecho put his sentiments into a poetry. Hyecho learned perfectly how to write a poetry consisting of five poetries per line and eight lines in total when he went to Dangnara to study. This kind of poetry was very famous over there. He could write this kind of poetry as good as the poets from Dangnara. However, this kind of his poetry has been excluded from the history of the classical literature. That should be corrected. As there are no ‘Hansi’in the history of the classical literature before Hyecho’s poetry, his poetry will be much more valuable in the history of Korean literature. ‘Hansi’consisting of five letters has artistic quality, the harmony between a scenery sketch and feeling, and the balance between a form and a content. In the history of the classical literature, his ‘Hansi’ should be dealt with.

The purpose of this essay is to observe the ‘contents’variation features of the first-person story 「the Female Disciple」. It should be preceded the understanding of the specificity of art form and unique characteristics for smooth variation between the different art forms. The narrator’attitude and position are the very important narrative elements. The narrator of 「the Female Disciple」is located in out of text. He Continue to be involved in the text. Therefore the readers must understand the his intend to interpret the textual content. The movie 「the Organ in My Heart」offers the intervention of narrator through ‘showing’. The narrator is located in out of text shows acts and psychological conflicts by diversifying the focalized person. And he is more concentrated narrators’s statements than the inside meaning of the narrator’s. As a result, It offers new meaning of text to create new events comparing to the novel. The musical「 the Organ in My Heart」exposes the perspectives and feeling of focalized persons overlapped with events in the text by narrative devices. For example, stage, song, dance, lighting and so on. It occasionally let to see event on the stage and character’s perspectives at the same time, the way of producing emphasizes overlapped perspectives. This way is represented by variety of the focalized persons. In conclusion, The way of the focalization is the very important method when the novel turns to movie or musical. Therefore ‘contents’variation features of 「the Female Disciple」is very important case that is considered the process of variation by changing the way of focalization.

Literary world means a space that stages the main events in literary works or that embraces the inclinational aspects of the subject or imaginations. A clear recognition of such a literary space is the first step towards understanding the essentials of literary texts and newly expanding the main contents of industry of literary contents . This essay aspires to remark the processes in which literary works of Korea create a fresh celebrity with regards to the local society, and hence maximise the profits from substantiality and non-substantiality; and it will also consider the possible potentials associated here. Literary world, primarily, is the object of the author and their literary works, as well as the product. In that sense, celebritising literary worlds would be a work that is extremely significant in the processes of creating literary contents. Shower (Sonaki), the famous short novel by Hwang, Sun-won, for instance, is an exemplary work that shows and confirms the creation of Sonaki village, Hwang Sunwon literary community, Yangpyeong and its fruition. Shower has featured in middle-school textbooks for over 40 years since its publication in 1953, and has been consistently reproduced as plays, cartoons, musical, TV drama, film and animation and has recently become a good example of one-source, multi-use with the creation of the literary community in June 2009. Such Literary Centre or Literary Town formation now becomes the most important content of literary world s methodology of celebrated sites. There are over 46 Literary Centres constructed in Korea to date in July 2009, and the morphology varies area-wise, characteristically and business purpose-wise in type. Although amongst them there are successful cases such as Chuncheon Kim Yujung Literary Town or Pyungchang Lee Hyosuk Literary Centre, in many cases they are failing to familiarise the site due to the lacking points such as similar businesses, limited publicity and inattentive maintenance. A celebritising of the literary world that centres on the Literary Centre can achieve the expected aim only by overcoming the problems stated by the most local societies: the absence of professional approach to literature, insufficient cooperation with the relationship with the locals and limited management of contents. The centres such as Lee Byungju Literary Centre of Ha-dong, Kim Donglee Literary Centre of Kyungjoo and Midang Poetic Literary Centre have a huge probability of success regarding the writer s fame or the literary idiosyncrasy. Therefore, various contents development is required in order to live up to the literature.

This paper is studying for the dramatization process of“ A visitor in sarang-bang and mother”under the purpose of researching the story creation methods by comparing the medium of text with the medium of image. Novel is completed by a point of view and a narration of speaker because it is a story written by language. The other hand, Movie makes a story with camera’s eye because it is made by scene. If you dramatize the novel, the change would appear in a point of view and a narration of speaker because of the peculiarity of medium. The novel “A visitor in sarang-bang and mother”has a specific point of view. When we compare novel with movie, we can confirm this point. Thanks to the ironical practical use of first person of view like this, this novel is completed stories of various aspect. That is to say, this novel show the realation of a visitor in sarang-bang and mother and the realation of a visitor in sarang-bang and ock-hee. In addition, this novel reveals a visitor in sarang-bang and mother’s contradictive state of mind and ock-hee’s desire and frustration parodoxically. The other hand, the movie “A visitor in sarang-bang and mother” can’t show a visitor in sarang-bang and mother’s contradictive state of mind, suggestion and summarized naration etc. The movie set up a maid and a egg seller’story as a sub plot in order to complement this point. It is accomplished irony by putting the frustrated relation of a visitor in sarang-bang and mother and the happy relation of a maid and a egg seller in a line. The comparison of novel and movie reveals the problem of dramatization skill and genre’s speciality. The study and investigation like this suggest the question of the day about the story creation methods because the medium of text and medium of image interchange in today activitly.

In recent years, there have been active discussions about the connections between narrative and media at the result of the soaring interest in the existing patterns of narrative in the rapidly changing cultural environment after the advent of diverse media. There is twopronged interest in the expansion or adaptation of narrative according to media transfer; one is about the cultural use of literary texts and their reproduction into useful contents, and the other is about the interactions between the literary and film description structure. Explorations of literary texts’usability as original works are related to the production of diverse cultural contents. In comparative studies between literary and film texts, a focus has been placed on the combinations of media and literature and the transference patterns, which are three; one is literature influencing film; another film influencing literature; and the other literature and film influencing each other. In this study, the investigator set out to examine the first pattern with The Story of A Worm by Lee Cheong-jun and Milyang by Lee Chang-dong and compare the original novel with the adapted movie. There can be many approaches toward comparative study between novel and film texts. When one is under the influence of the other, we can examine how the influenced text reorganizes the original text and how the influential relations are reflected. When moving a movie out of a novel, the director becomes the reader of the novel text and the producer of the movie text. He or she inevitably introduces his or her critical interpretations throughout the creative transformation process including adaptation and direction. Focusing on the adapted movie’s interpretative perspectives of the original novel and the ways they were revealed, the study tried to search for analysis methods to allow for compatibility in media and formats.

Until recently, literal works written by Korean-Japanese have been regarded ‘non-mainstream’or ‘frontier’in both Korea and Japan. However, with arrival of multi-cultural society and rising of the concepts such as ‘creole’and ‘diaspora,’the society began paying attention to Korean-Japanese as ‘important minority.’Thus, the importance of their literal works has been emphasized as well. In particular, as cultural interaction between Korea and Japan became more active, the literature by Korean-Japanese, which are mostly stories common in both countries, has been spotlighted as original sources for various cultural contents. In this study, the usability of Korean-Japanese literature was examine as cultural contents by analyzing a movie and a manga based on the novel called GO which was written by Kaneshiro Kazuki, who boasts the widest readership among other Korean-Japanese writers. The following is three major characteristics of the novel. The first, characteristic is its universal narrative structure. If the former Korean-Japanese literature were mostly about problems as a group such as ethnicity or ideology, GO has a more universal theme. It is about a problematic individual’s search for his identity. The second, characteristic is an interaction of sensibility through cultural art. The cultural art is common language among human beings which overcomes nationality or lineage. In this novel, characters communicate with its readers through sympathy toward cultural art, and this set-up therefore has its meaning. This also distinguishes the novel from other similar literal works which are mainly based on more rational ideas such as argumentation and accusation. The third, characteristic is a subjective consciousness awakened through daily life. A theme of this novel is discrimination against Korean-Japanese and how to deal with it. This theme itself is not original. However, this novel is original as it presents this theme through daily life such as love relationship. The novel GO has been adapted to two different cultural contents. One is a movie directed by Yukisada Isao in 2001 and the other is a manga by Yoshifumi Kondou in 2002. Even though both of them adapted the same story, their achievement turned out to be totally different. The movie version of GO successfully delivered the characteristics of its original novel. In particular, it keeps a balance between its universality and subjective consciousness. Its use of close relationship with cultural content is also appropriate. In order to emphasize these characteristics of the original novel, this movie was made to have a strong sense of teenager movie and this succeeded in gaining favorable response from general public. On the other hand, the manga version of the same novel was created to have characteristics of school drama. This kind of manga is often a love story between a scrappy boy and a model student. The manga version of GO is no exception. However, this manga failed to deliver the characteristics of the original novel as it attached too much to the grammar of its genre such as rebel and confrontation. As a result, it was unable to gain attention from readers.

We often hear that “There are classical literatures in well made contents.”and “Classical literatures are golden geese.”It seems that classical literatures work as the treasure houses in creating lots of cultural contents. Currently, there are hot debates on the reform of the obsolete system and innovation in the academic field of Korean literature. With the advent of multi channel era, we all begin to acknowledge the importance of the depth in the interpretations of the classical texts and the emotions and interests that those interpretations could invoke. The recognition of classical literatures as a laminated cultural and spiritual living and close examination of the identities are more important than treating them as a simple source for multi-use and counting their economic values. “Crisis in the humane studies”has implications that literatures are far from practical use and the industrial uses of literature studies are at its early stage. The creation of practical values by literary works and studies should it be measured only with the industrial or economical view point? Can it be done without the complete understanding of the classic texts and those who have enjoyed them? This thesis is based on my presentation and debates that presented on the regular seminar at the Society of Korean Literary Creative Writing. The theme of the seminar was long term interdisciplinary studies on the regional cultures with focus on the groping of methodologies of literary studies and examination of their meanings. This thesis tries to cultivate the insight of evaluating rough gems and reveal the process of transforming the raw ore into one well defined gem. This thesis tries to show the method and direction of creating contents that merge region, culture and literature under the regional storytelling and cultural map. The relationship between literature and regional culture can be said as inseparably coexist. Especially, since classic literatures are writings of the lives and characters of the anciitertimes, they wi live the roots and foundnd foundndregional cultures. Since some are disappeared and transformed, it would be difficult to reconstruct them act. It might end up by simply arranging the data of the old cultural remains and explanations of them. Isn’t there any reflections or problems in the attitude of scholars in studying classic literatures and cultures? Isn’t it that the study of classic works are inactive while the utilization of the works are active? It sometimes seems that characters are symbolized and used simply as means of regional festivals only for economical purposes. These are the issues that I want pursue in this thesis.

TV drama 「Kyungsook, Kyungsook’s father」is a drama, that showed real play and a sense of play at this time, play culture with rafferty’s rules and objectless overflows. This drama text is filled with merry plays. There are children’s play, folk play-ssireum, exorcism play, masque, play war, even change an ideology into the game in this drama text, and these plays make this text to the cheerful play place. A competition as the fundamental form of the play, is a main story structure of this drama. Competition games between characters are everyday competitions, that we compete against our surrounding people because of everyday trivial affair, not the competition, is based on dramatic complications. In connection with competition play, languages, by which attack opponents are used for the fun and enjoyment. So there are many language play like ridicule, jeer, abusive language, a play upon words and so on in this text. And these languages make characters’s situation into more comic play by method ‘alienation effect’to interrupt immersion of drama story. And background musics, inappropriate to characters’s hard life, and picture like cartoon also give prominence to the characteristic of drama’s play. TV drama 「Kyungsook, Kyungsook’s father」is a work, showed affirmative spirit and life force of our peoples, who overcame weight and suffering of the life through play spirit. It is a drama, showed the direction of TV drama through meeting of serious thinking and light play at this time, that rafferty’s rules and objectless are overflowing.

The literary work mentioned in Korean and Japanese Textbook has many similarity and difference. The following is the peculiarities compared from an angle of difference. 1. There are lots of onomatopoeic words and mimetic ones on children’s verse of Korea. Because that makes the children get subtly different feelings of language. In other words, Korea set a high value on education base on functionalism before relishing poems itself. But Japan value the literary work above everything else at aesthetic point of view. 2. Even nameless author is invited to Textbook in Korea. It thinks much of a text suited to teaching language. but in Japanese textbook, a summit-level one like Miyajawa Kenji and Kaneko Misuzu is mentioned. 3. A fairy tale in Korean textbook is realistic and, what is more, very instructive. but one in Japanese’is poetical and environmentfriendly. Both put a fable to good use to give occasion for motivation to study. 4. Fantastical stories of Korea are less than that of Japan. So, It caused want of imagination and dream. For this reason, children of Korea usually like animation of Japan. And in Japanese case, a fellowship of person to person is a smaller number than Korean one. What is worse, the traditional utopia of Japan is not inflated to the neighboring country. 5. The national language education of Korea and Japan has Asian flavor(worth). Both had better actualize pacifism in an area of the national language education through interchange between each other.

Literary is a human action to qualify better life and happiness to human. However, literary had failed to make people happy or improve quality of their life. Cognizing literary as a subject or result of analyzing and used in perspective of study of literary led it to the failure. As result, people are experiencing “destruction of literacy” and “devastation of life”. To restore literary and pursuit happiness, creation of literary has to be replaced at original perspective. In perspective of creation of literary is ‘emotional communications’, ‘consolations and therapy’, and‘ contract relationship’. Creation, research education and literary therapy are not separated categories in viewpoint of creation of literary. First of all, creation of literary and literary therapy are ① emotional language for intermediation, ② consider literary as human and share a thought which believe human is literary at the same time, ③ basic on the epic of text and epic of self, ④ foundation of comfort and recovery, ⑤ fiction and processing, determine a blank space are crucial elements, ⑥ pursuit good relationship and making a better quality life are in accord. The elements are applied to literary research and education of literary. Therefore, literary contains all activities, creation, research, education, and therapy, which has to be deal with ‘happiness of human’, and ‘improvement of quality of life’by through the ‘emotional communication’, ‘consolation and therapy’. and ‘contraction of relationship’that has to proceed to same goal.

The purpose of this paper is to shed light on the characteristics in Daejeon·Chungnam regional literature. Especially this paper gives attention to short stories in Jakgamadang which is an organ of Daejeon·Chungnam branch of‘ Writers Association of Korea’. This article scrutinizes the localty of Daejeon·Chungnam and its literary configurative aspect and meaning focusing Jakgamadang that has played the central role of literary activities in Daejeon· Chungnam region. The short stories which are published at Jakgamadang reflect the people’s daily lives. Specially Boryung (Daecheon) is a background of Daejeon·Chungnam regional literature, for example Seo-hee’s 「face on the see_, 「Beauty technology_, 「The yellow jacket_and 「White castle_. Above all the writers of Daejeon·Chungnam regional literature concern about resident’s lives at Daejeon·Chungnam region and describe daily lives of the lower middle class with Chungcheong dialect. The Chungcheong dialect shows inside of characters and represents pleasantry. Particularly Kang, Byung-Cheol and Kim, Jong-Kwang have an excellent command of a Chungcheong dialect.