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This article is a trial for understanding the poetic image of the hallucination in a some poems of LeeSang. In spite of a lot of studying on the poems of LeeSang, the poetic image of the hallucination in the poems of him has not yet been properly investigated. The hallucination in the psychoanalysis is different from the phantasy. The phantasy covers up the lack of the subject and the Other. That is the screen which protects the crack of ‘the Symbol’. The subject learns the desire and is made up the whole in the phantasy. It is connected with the imagination. But the hallucination does not know the dialectic of the subject-the other and taboo in‘ the Symbol’. It belongs to ‘the Real’. The subject do not regulates that. The poetic image of the hallucination in the poems of LeeSang is represented by a self-regulation and cut(cutting) body against the subject as the whole of the consciousness. This image is the poetic symptom which show us the subject as the One that can not be composed. And it show us how to do totality with failures. In the poems of LeeSang, the poetic subject always fails in the One. It is closely related with the subject in the psychoanalysis. With Lacan, it is not enough to say the subject’s identity is all the way constitutively truncated, dispersed because of the intrusion of an irreducible outside. The point is rather that the subject is nothing but the name for this multilation, for this impossibility of the substance to realise itself fully, to achieve its full identity with itself. And in Lacanian theory, this irreducible outside, this foreign body, this intruder that prevents the full constitution of the subject and to which subject is strictly correlative, has precise name. In its very ontological (non)status, the subject is the negative of the strange body which prevents substance from achieving identity with itself. In addition to, the subject of the poems of him face up to his split body. In spite of his extream fear, he gazes his trauma. With Lacan or Zizek, this gaze means that the subject identifies himself not with phantasy but with symptom. They say that it is“ crossing the phantasy”. These poetic images are related to a specific character of the poetic irony in the poems of LeeSang. The irony in the modern poetry is a mark of the split of the World; namely “the ontological lack”. Finally, we can relate the spilt of the subject in his poems with that. This study minutely analyzes his some poems with this new angle.

I investigated the relationship between fairly tale-imagination and narrativity in Beak seok’s poems. It was researched three aspects as follows. Firstly, I looked into his poems that contained a tale. And then, I defined tales that embodied in fairly tale-fantasy. Secondly, I analyzed the original tale which was contributed to embody fairy tale-imagination. Tables to be reveal in Beak’s poems was ‘living and death, the world of sacredness and original customs of a race. With being beyond ordinary awareness level, those represented attributes of humans. These tales contributed dreamy world of the innocence of childhood. Thirdly, a child narrator and an adult narrator to appear in Beak’s poems played a role separately. I paid attention that an adult narrator to hidden in text, expecially, was alike storyteller. This is a important clue which Beak seok’s poems embodied fairy tale-imagination. As mentioned above to consider three aspect, I proved that Beak seok’s poems accepted fairy tale of a narrative genre and highlighted significance in poetic-history.

Kim ChunSoo’s poetry, though harshly self-conscious, often seems to be subordinate to his poetics. This can account for the critical opinion that, even when Kim’s outstanding position taken in the history of Korean poetry is well accepted, his poetry itself is often read as a redundant commentary for his poetry, or a surplus explanation on his argument. When Korean poetry is classified into the poetry of “word on meaning”and that of“ playing-on-word”based on Kim’s own terms, the poet definitely set himself up for latter. Therefore the criticism on Kim’s poetry divides into opposing standpoints, inevitably leading the essential question of what poetry is. Through his poetry, Kim ChunSoo constantly questioned himself that whether it is possible for poetry to be written in existing language: His early poems aroused the question of the meaning slipping through the gap between the signified and the signifier, and then continued its poetic pursuit to Nonsense Poetry trying to extend the gap and eliminating the meaning or conception. In his later poems, the poet acknowledged the cause of Nonsense Poetry’s failure and concluded his pursuit in shifting to the Poetry of Meaning. The poet deeply engaged in the pursuit of the existence: In early poems he maintains the relative ontology by signifying the existence through language (=Naming)and after that, he eliminates the meaning from language, breaking off from the signifiers. The remains are the signified, sound and rhythm full of the reverberation of the existence: in other word, a pure world of the signified. This is the essence of Nonsense Poetry breaking off the chain of meaning and reaching for the world of absolute pureness. The poetic subject in Kim ChunSoo’s poetry is disintegrated in this very context: Though the subject between enunciation and the enunciated is vaguely distinct in early poems, it is radically disintegrated in the stage of Nonsense poetry. Nevertheless, with the poet’s admitting that it is still a task to intervene the freedom and the ‘unrestrainable’quality the language holds in itself. He pursuits the language of paradox: The language firmly asserts its existence by the absence of it, seeking for the overflowing sense of existence from the ‘sign’, ‘trace’, ‘vestige’, ‘relics’of the flickering moment of existence. The poet consequently seeks for the sense of existence of absence, and in other words it is a language for the absent rather than the ones actually exists, the invisible than the visible, and which is not presented hither but still not thoroughly absent. He expresses his poetic cognition of Poetry of Meaning in the metapoetry. His poetic journey, limit of Nonsense Poetry, the dilatation of his poetry, the final meaning of life and poetry, reasons for poetry are revealed through the metapoetry and ultimately he develops the poetics of Usefulness of Uselessness(無用之用) and his thesis on art.

This paper aims to identify a death-consciousness shown in Kim Soo-yeong’s poetry. To Kim Soo-yeong, death is a continuous theme and topic of literature. Basically, he perceives death as one of the forms of silence. Silence is communication from the absence of a response, and, at the same time, a different form of grief and alienation. Such a death-consciousness of Kim Soo-yeong is further concretized through a poetic motif, namely, face. To Kim Soo-yeong, face is a place of consciousness that internalizes an essence, and it also serves as a measure of value that predicts and confronts death. Also, Kim Soo-yeong even further extends the sense of alienation toward death through fatigue and the sense of loss due to urban living. The sense of alienation is also closely coupled with an emotion called monologue, and, ultimately, it stems from the awareness of self-denial by a poet who perceives everything in daily life as an enemy. Such an awareness of self-denial is a transformation of contradictory love that needs to recognize enemies rather as a partner. Self-denial started from the concept of an enemy is one side of death Kim Soo-yeong wants to pursue ultimately. Enemies in her work make a poet lonely, but rather it serves as a medium to make her death-consciousness clear. This explains that a poet’s desire works nervously so grief and alienation are transmitted to death. Kim Soo-yeong’s self-denial brings about the result of contradictory love that rather should be perceived as a companion being through enemies. In addition, love is a symbol of one’s belief that it is one of the expressions of desire, and simultaneously, spreads to death, according to Kim Soo-yeong. To him, a desire contrasted with love enables the switch with his fatalistic death. The secrecy of a flower, which is embodied at this moment, well represents the extinctive consciousness of the poet. In particular, seeds in work is a material to show a poet’s desires for fulfilling a narrator’s lack from death. Through a flower, desires are creating organic relationship with Kim Soo-yeong’s death-consciousness and entering live silence immanent in Kim Soo-yeong’s overall work. Grief, alienation, and the awareness of denial as such eventually end up being an aesthetic feature called death, and they accomplish an important literary field in Kim Soo-yeong’s literature.

In a sense that the landscape, which was revealed in Oh Gyu-won’s poetry, was revived in language, it will be said to be a result of linguistic distribution, which was reconstructed elaborately. A problem about distribution is what brought about a change in character and contents of poetry according to a poet’s eye movement. First of all, when a poet looks out on a long distance, the choice in object and the principle in exclusion are distinctly revealed in the landscape of poetry. Landscape is reconstructed amid linguistic order. However, there is no place in which poetic subject will intervene. Movement to a short distance is linked to psychological intimacy. Activity of objects shows specific aspect. Exchange between subjects and objects are begun. As this is shown to be intervention of the subject, it comes to grant a meaning to phenomenon of object or to reveal the certain analytical decision. This change is possible when relationship between poet and objects is made with horizontal relationship, not with hierarchical one. Irony occurs here. When observing object in a short distance and reviving this, the intervention of the subject increases. On the other hand, it is a fact that a poet oneself as the subject of recognition is being gradually reduced. This is recognition as saying that a human being is also existence of forming the universe, namely, a kind of selfexpansion. The subject of intervening in a piece of work and the selfrecognition as saying that oneself is just one constituent in the universe elicit poetic tension. This fact also suggests that Oh Gyu-won’s poetry comprehends the critical perception and the civilizationally critical elements on the eye of modern subject. It results from a point that is making a place of coexistence with objects while minimizing the subject, not the consciousness of trying to take a view of, to analyze, and to judge object in the human-subject position.

This study is on the view that poetry education would be accomplished only by associating the comprehension of a poetic text and appreciating with a producing new text. Modern poetry can be classified into subject, language and object oriented poetry by writing-subject’s view. This classification can be explained as a suitable image characteristic for each oriented poetry. Among the classification, this study suggests a series of education process which purpose is to produce new text by associating the understanding of characteristic of subject-oriented poetry and analyzing·interpreting a following poetic text as a reading process through the understanding of characteristic of subject-oriented imagery. This process is suggested through educational process model that explains the poetry-writing associated the process of ‘reading text’ with the process of ‘subject-oriented poetry-writing.’and This study also shows the practical examples about applying of this theory on site education. The reading process and creating new text takes 8 steps. The reading process is performed in the sequence of ‘selection of text’, ‘inquiry of reading hypothesis’, ‘concrete application of reading system’, ‘hypothesis testing’, ‘overall reading and signifying of text’,‘ selection of poetic object in created text’,‘ yielding creative text and reviewing of created text.’The last three steps are the specific poetry creating process. This process needs detailed flowchart and contents. These flows and contents follow ‘the testing of poetic language of reading-text’, ‘the selection of poetic object’, ‘the creating poem & prose of experience’, ‘the simple image of poetic object’, ‘the simple image of poetic object’, ‘the image of associations & illusions’, ‘the comprehensive composing of poem and titling’, ‘the yielding new poetic text’, and ‘the modification and completion of creation.’ The subject-oriented poem has to show the writing-subject’s inner reflection. The writing-subjects is needed not only to mature his spirit but also to consider and settle his view of life into something through poetic experience. Nevertheless, the reading process of poetic text using‘ image’, can generate interest of imagery.

Many reviewers recognized a value of individuality in Choi, In Ho’ s story, but on the other hand brought up a question of a poor historical consciousness in his novel. The present writer agreed to their appreciation and considered its proximate cause in this paper. Firstly, what to be confirmed in the result is distrust to the multitude recognized by Choi, In Ho, the author. The author represents that the multitude is a barbarous actor to deprive an individual liberty to bring undue pressure upon others, or a crowd of people in the world full of worldly desire and lack of enlightenment rather than theme to improve an irrational life actively. Choi, In Ho, the author looks at such a multitude from a cold point of view thoroughly. The author deserted a social duty as an intellectual to the multitude because of such a reason. Many intellectuals in the Korean history of convulsions enlighten the multitude and made an effort to solve a social difficult problem by being jointly with them. But, it is difficult that Choi, In Ho’s story finds such figures except Mr. Choi of [a barbarian]. It is all they can do to abandon such a real problem instead of an effort to improve it. In there, it has to make a premise of the bitters of the times suffered by people who passed through a rough Korean history.“ Craving for life to have a strong hold on life like weeds”for them comes before everything else. The present writer thinks that it is an attitude of existential-life that a private life takes precedence of a public or community interest. Also, the present writer thinks that Choi, In Ho as a liberation age who had war experience and had to live under the homeless parents was not able to have free play from conditions of such a difficult life. And also the present writer thinks that such factors had appeared on the outside of his work due to lack of his historical consciousness.

This theme will be an opportunity to see from Han Gang, Pyun Hey-Young, Park Hung-Sue, and Kim Tae-yong’s novels a scene of ecology that intensely breathes in Korean young novels, which are produced despite the holistic global crisis in the 2000s, and to check the present and future of Korean novels through this. As has been broadly verified, the ecological crisis originated from the course of modernization. The progression oriented industrialization and its driving force, scientific technology are products of the reason, which is separated from the body. Modernity represents the rationality based on the reason and the view of world concentrating on the human being. As modern literature generally realizes such a system of the modern in content and form, the ecological and the modern literary crises form a weird community sharing a common destiny. The human’s blind attachment to modernization brings about an ecological end, which means the end of nature, and of the world. Not to mention humans, history, and literature, there will have been nothing left. The world that the past literature supported with imagination will not gain energy, and then endangered Homo Oecologicuses will float on the gloomy and ruinous earth. From the last century’s novels that were created by writers like Yeom Sangseop, O Yeong-su, Jo Se-hi, Lee Mun-gu, Kim Won-il, and Yun Hu-myeong etc., we can see such aspects in which the great ideologies progressed world-historically and ecological elements in industrialization adaptively percolate. On the other hand, in the 21st century’s novels created by young Korean writers including Baek Min-seok, Han Gang, Cheon Un-yeong, Phun Hey-Young etc., ecology works characteristically in tandem with the fragmented and itemized subject matters that they intend to. This is especially prominent in novels by the young writers－Han Gang, Pyun Hey- Young, Park Hung-Sue, and Kim Tae-yong. Han Gang dreams of the ecological metamorphosis, Pyun Hey-Young concentrates the destruction of the human and nature, and their grotesque transformations with cruel hard?gore techniques, Park Hung-Sue and Kim Tae-yong use the method of paranoia and fantasy. The novel, which has breathed together with the mankind so far, cannot be satisfied with the function of entertainment is that the 21st century’s young Korean writers including Han Gang, Pyun Hey- Young, Park Hung-Sue, and Kim Tae-yong are connecting themselves with ecology with powerful vital energies that overthrow the ethos of modernization while creating new aesthetics of the novel now.

Yeuseun Guen’s 「I believe in Love」address love -mankind’s’ universal desire and keep an eye on the variable“ crossing each other” interwoven between sujet, objet and médiateur du désir. This paper inquires into the changeability of désir-love, the characteristics of narrative structure which drives the text, and the descriptive aspect of concealment mechanism. Text is structured by pattern. in unmatched love, showing strategy, bi-emotion. These pattern have many interpretation to the readers. The change of object to desire - distance - reveal that love is an emotional repeating ebbs and flow and variation, not eternal one. 「I believe in Love」presents three romances; that of the narrator’s, that of the woman the narrator loved, and that of her friend. The interiorization, ‘love story of narrator’s’drives the exteriorization, ‘those of the other two’; thereby redoubling the richness in stories and multiplicity of meaning. Moreover, the open plot contains functions to suggest the universal property of the following three qualities: changeability of desire; complexity of life; and desire named love. Reminiscence style in 「I believe in Love」to wind off the stories of three characters aims basically at open narrative structure. The openness of plot in text unveils the changeability of desire, the complexity of life and the psychological attitude and point-of-view of narrator who transfers the former two. That is, the narrative attached to the text gets beyond the simple storyline and contains the function to force meeting and parting between characters, thereby acting as a motif to widen the story. The unique romance novel arrive at conclusion, There is no unchanged in life and love. Life is story and opened space. This suggests that writer’s design and interpretation of the texts could be accomplished only by readers’participation. Meanwhile frequent change of time seems to imply writer’s design; that life is narrative itself; that there exist countless forms of love and broken-heart inherent in life. In other words, beneath the presupposition-’I Believe in Love”- lies the truth as simple as daylight『, Love will change』

Ahn Minyoung who is famous for his Sijo “Maewhasa”was very active on writing poetic songs in the late half 19th century and has been regarded as one of the important figures in the Korean poetic song history. His achievements are summed up as “Gagokwonryu”, which is a collection of his own and many other authors’works and “Keumokchongbu”, a collection of his own works. “Keumok chongbu”is a personal collection which classified 181 works by tunes. Ahn Minyoung, a musical artist of 19th century, shows the real romantic pursuits, in which he expresses songs of love with kiseangs. This study searches for the way how to activate cultural contents of sijos, which are relatively stagnant in the 21st century cultural contents market, by revealing and reviving Ahn Minyoung and many other musical artists and their images during Chosun Dynasty.

School class model based on digital textbook shows the school education of near future. The change to digital textbook for overcoming the problems of existing book type textbook should induce the result of school education successfully by meeting its expectation. For this, specialists of each subject area should have deep concerns and make best efforts to develop and to apply digital textbook fit to due subject. In realizing digital literature textbook, it is absolutely natural to consider the essence of literature itself. Digital literature textbook should not damage literary properties but moreover, should play a role to extend literary value and area. Digital textbook has the goal and function to realize student-focused class activity and self-leading learning. In order that literature education satisfies these(goal&function), new design is needed in the aspect of existing contents, further more education course. Realizing digital literature textbook should not only create new education media but also become a chance to construct paradigm and contents system of new literary education. Therefore, this study intends to make this as starting point of discussion about digital textbook which will start from literature area in future by considering the meaning & necessity of digital literature textbook and system constructing plan.