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Being a modernist as well as a specific stylist in korean world of poetry, Kim-Chunsu made angels ‘epistemological topic’by introducing‘ angels’in his poetic activities constantly and repeatedly for over 60 years . The first angel was ‘the angel of creation’, ‘the angel of transfiguration’as ‘the angel of childhood’that brings on changes to all things under the sun. The poet takes note of ‘the space of eternal silence’which the angel owns. This means it contains the dark fear of the Only Self in front of(facing) the world. It tells the epistemological ground of his early poetic world. The second angel of the poet accepts pantheistic angel of Rilke. It is not the symbol of the Christian, the one and only God, but the angel of the whole of creation scattered in all nature. It is a pantheistic angel of Rilke. but there is another aspect in the angel of Kim-Chunsu.: Namely, the angel of Rilke is the narcissistic being which is disconnected with a human being, on the other hand, the angel of Kim-Chunsu is the angel of mutual helping being who makes a little heart revive behind the back of the dead boy. Besides, there are ‘flames of world’and ‘a dead boy’and ‘night of darkness in the background of the angel Kim Chun-su had introduced. Therefore, Kim Chun-su had brought on an angel to grasp the limit and the tragedy of human being’s life through the relationship with the heavenly( eternal) existence. The third angel of the poet is‘ an angel whose whole body is made of eye’said by theologist Cestoff in Russian Orthodox Church. Therefore, the ‘angel’is a device to show the pain of the world, and transcendency of the heaven when it watches the death of Jesus. The poet also called Sonja ‘an angel’in the novel, 『Crime and Punishment 』of Dostoevsky to investigate the tragedy of human body and the transcendency surpassing the limit of human body. And the poet says the angel’s eye is still watching Raskolinikov. This is an allegory to reveal ontological uneasiness. for the subject standing in front of the world. The last angel as‘ the angel of everyday lives’became harmonious with all the past angels. Sometimes it appears with the shape of ‘the eye of the mirror’, it sometimes awakens him with the verse:“ there is the word,‘ Dear!’for me, instead of the word,‘ an angel.”『( two still objects』) An ideological(abstract) topic becomes harmonious in daily life. The angel covered with ideological skin leaves the cocoon and instead the voice of the subject is filled in the place. ‘The angel of everyday lives’speaks for his last criticism of poems. : Feeling is the truth.

The purpose of this study is to demonstrate that play aspects can be made by poems through regarding poems as a language play. The text, Choi, Dong-ho’s poem book called Dalma playing with a ball was selected. Languistic play aspects happens by means of the content of Zen poems written by Choi, Dong-ho and mutual matching of poems in form. Here the poet turns the element of theory of nonself into that of Zen, also transforming into the nature of language play. The poet shows play mechanism by writing poems in a Zen’s way. In this study, the Zen’s pattern shown in poems written by Choi, Dong-ho appears how each element of non-self theory gets embodied and how poem writing as part of Zen’s thinking process comes by play effect. Choi, Dong-ho’s poem writing is a process of poetic performance by the theory of non-self and O-on and an example borrowed by genre form and poetic language. Here play will be made by the process of poem-writing and expressing through O-on and Zen as a factor of performing non-self. Language play or language game called poems is a play pattern. The poetic narrator Choi, Dong-ho tries to study the teaching of Zen through Dalma, coupling with the process of Zen. That is, the poet seeks to get to Zen by poem writing, turning a sort of Zen’s thinking into poems. In other words, the Zen’s way of thinking of realizing truth is the gist of poem writing and the way of expressing is poems. So, poems written by Choi, Dong-ho reflects the way color is magnified into acceptance to imaging, also imaging into awareness. The process is called Zen’s way of thinking and turns the very process into the concrete text, poems. Threfore, poems written by Choi, Dong-ho can be regarded as the method and tool of thinking to get to Zen and language collection of realization as a symbol of thinking. The world of Color brings about a kind of stir in poet’s mind. The very process is acceptance according to O-on. The process of color, acceptance, imaging is connected with imaging, repetition, recurrence as a new meaning. The poet stirs through the object and thinks about it - That’s the way of thinking and writing poems. Besides, when disintegrating the compression of thinking is construed to a genre poetry, a language form, that shows the process of thinking and positively encourages the readers to think about it and ponder on it. That is a poem of thinking process and a poem as a result as well. Here poems which is a process and a result of thinking turns into a channel to the world to communicate well by describing in a literary way. Poem writing is a kind of performing and it is related to that of acceptance of the world, Color, imaging and awareness as well. The process appears as a performance, becoming poems. In poems written by Choi, Dong-ho, the process of color, acceptance, imaging, performance and awareness is seen. In his poems, Zen is a poem and a poem is a Zen. The content which he found is Zen, all of which is awareness of all being color and emptiness. The recurrent theory, according to Buddhism, is a world where entity and non-entity remains. In his poems, the recurrent view of the world forms the core of his poems. In particular, it’s surprising that the process of Zen’s thinking coincides with play. In addition, that playing rules are similar to spirit explains that poems are accorded with Zen in a structural way. In his poems, the consciousness or awareness that entity and nonentity are all the same meaning, enlarging into children’s play, fort de for-da in a prototypical same way. According to Zigmund Freud, children shows a sort of trick of bobbin by appearing or disappearing. What man regards entity as non-entity and vice versa is a process of Zen or poems. Therefore, poems written by Choi, Dong-ho are a play by Zen and Zen’s enjoyment turns into poems. In his poems, free and natural trait are found in the poem, Dalma’s playing with a ball. That is attributable to Zen’s way of thinking stemmed from Buddhism. In a sense, his poems are a process of Zen’s way of thinking. Besides, it causes the effect of play aspects.

A piece of text is a piece of mind. The mutual relationship between the writer and his text can be translated into a situation where composition and decomposition of desire and internal scars and the pain of ignition co-exist. Writing visualizes the sound of desire and, at the same time, reveals oppressed self-consciousness. Consequently, writing is revealing of desire and oppression while desire for discourse is a process of self-sensor for covert desire. A poem is an artistic act of turning internal hiding and concealment into methodological principles through refraction and distortion. Poetic truth is beauty revealed in the course of exploring the internal side of the poet who has appeared in disguise. Ko Eun's poem writing is heavily dependent on important turning points in Korean history. Simultaneously, his poems has close, internal corelation with the political situations derived from it. The Dialect of the Universe," Ko Eun's anthology of proses, has characteristics as follows. First, though he gives details how his internality, or poetic languages are formed in his proses, he tends to interpret his poem expost and endorse their existence. This suggests that he attempts to disclose his belief through writing which reveals his internal side and expresses his desire to be located at the center of politics by justifying his political senses. Second, he divides the course of his poem writing into three sections: early poems, participatory poems and intrinsic cycle after 1990s. The naming of intrinsic cycle by himself contains his desire to embrace more universal sense, including international senses, humanitarian and global meaning and human rights and life. Third, given that poem writing is a form that reveals his fate as a poet, Ko Eun will be remembered as a poet who has equalized poetic truth and political truth by corresponding political senses to systemic dimensions, which is nearly unprecedented in the history of Korea's poem literature.

This study presents an investigation into repetitions in Spirit of Wind by Oh Jeong-hee and analysis results about the repetitions of events, images, and materials. As for the repetitions of memories, the writer gave total 8 repetitions of the novel’s main event, which is the main character’s running away from home, which plays an immensely important role in stimulating the readers’interest in the story. The event was first regarded as one without any justifiable reason in the beginning of the story. As the narrative continued on with the repetitions of the event, however, clues emerged for the flow of the story. As for the repetitions of images, the writer repeated the description of the main character’s first memory engraved in mind over 7 times in total. Here, the repeating image became the most important motif in the story. As the motif was described in a repetitive manner, it gradually disclosed the reason for running away from home and the substance of the horrific accident. Finally as for the repetitions of materials, the writer repetitively depicted such materials as wind and cigarette 47 and 43 times, respectively. The two materials play a proper role in representing and explaining the main character’s psychology. Wind is the core symbol in the story. Using the diverse symbolisms of wind, the writer naturally implemented the core material into the narrative. Also depicted repeatedly, the cigarette represents the main character’s anxiety and abnormality. The novel describes events, motifs, and materials, which are the foundation of a novel, in a repetitive fashion, which means repetition is a depiction method to implement the novel and characterize it. In Spirit of Wind, repetitions are more than a mere depiction method and have organic connections with the novel’s form and content, thus being called a depiction method with a broad and vast network.

This thesis has been written for the purpose to clarify its true meaning, mainly by analysis the Discord Structure with regard to Lee Gyung-son’s Drama Boksanamu Baegin Jib(Cottage rooted by Peach Tree). At the point where it dramatizes the scenery that probable at a rural village, it would be classified as a Realism Work, and at the point where it is ending by her Death remaining unfulfilled the desire of the Heroine herself, its dramatic type is locating at the category of tragedy. As well, at the point since the primary factor that induces to the tragic ending with the heroine is related with the contradictoriness of the traditional society, the motif could be converged as the sociological significance that introspects it critically. In analysis the composition of this Work, it is known that the Writer’s dramatizing ability is reaching at a considerable level. Namely, in view when comparing it with the level of the day, the understanding degree about the dramatic technique of the Writer seems as considerably high level. For example, the point that classified on the stage into both thing to be exposed and thing to be hidden in accordance with the character of scene by dividing the stage into double sectors, also the point that by properly commanding of the attacking point, from the introductory part, not only the tension and discord are dramatically exposing well, but also a kind of analyzingdramatic technique was applied thereat, and the point that by properly utilizing the technique of Beforehand Suggestion, then secure the probability of the event and also endeavored to raise the dramatic persuasive power as its effect, and the point that it used Concealment Plot by treating the fact of the daughter’s suicide as a scene for which some child tells it, and at the final, let the daughter’s craving which persisted a marriage returns rather to her death that composes it as a tragic irony by let the stage-curtain down, thus those conspicuous points are not a little as above. In consideration on these characteristics, it deserves that the recognition with regard to this Work which was almost alienated until now from our drama history should be different. Though it is an One- Act Drama, even if comparing this Work with the other works of the latter part of 1920s, because it is particularly not inferior. Therefore, it is expecting that through this Thesis, an interest in Lee Gyung-son and his works would be stirred in the theatrical world. Especially, in view at the dimension of dramatizing artifice, it is confirmable that the Play was quite constituted with a considerably modern sensibility.

This study examined the trend for his novels. His concern about a work has been concentrated on the writer of sea novels because his novels are related with the creating pattern of the text. His novels have been also representative around the sea novel. Like this, the male worth and the female worth are contrary to each other in side of ecology, and these two worth create Han Seung- Won’s unique literary world by crashing and mixing each other. In his works, the male worth being aware of strong boundary makes a cruel story, but the female is connected with the chaos making the boundary incapacitate and advances towards the sea of experience. Like this, violent history, the consciousness for death and femininity as the origin of life among various factors were expressed remarkably in Han Seung-Won’s early novels. This study will be essential as the starting point in order to understand the world that he tries to reach finality via literature. The sea is his home for Han primarily, but is mother’s womb and maternity beyond home. Also, he has introduced the offing close to his home town off the shore into his novels for his entire life. Just as the mud flat and the sea are the lot of life for the women and men of a town off the shore, they are like a ever-springing fountain of his literature for Han. As such, most of the backgrounds of his works are the seashores of the South Sea, and their contents have to do with the stories of people who live there with the beaches as their lot. The reason why we feel that Han’s literary world has consistency is just for the reconstruction of similar native desire. In the sense that the sea is a universe of fate that shares his destiny for Han, the sea of his home is the arche-space of novelistic imagination for him. Thus it would be difficult to find out the richness of his literary work if we excluded the mythology of the sea of his home from his novels. Because of this, the meaning of Han’s novels in which he has incessant interest in and devotes endless affection to the sea of his home should be distinguished from that of other writers. Thus, it is the gist of this study what images the feature of the sea that is an object of contemplation at least for Han Seung-won is changed into along with the changes of the tendency of his work.

The northern Korean culture & art has been developed as a Juche literature as the juche ideology has been established in 1967. Accordingly, the theory of culture & art literature writing has been newly established, which is called as ‘culture & art revolution’that led to cinema revolution, opera revolution and drama revolution. In this process, the drama of Blood Ocean and Village Shrine that were created by Kim Il Sung in the anti-japanese revolution have been produced respectively in the revolutionary opera and drama. The revolutionary drama of Village Shrine was modernized from the play of Village Shrine that was created by Kim Il Sung in the antijapanese revolution, and recreated adequately by Juche ideology from the enlightened title of breaking superstition with production images such as bangchang and flow cubic stage art shown in the opera revolution. Also, it is the work adapted and performed first in the drama revolution, which built the border of ‘Village Shrine type revoluntionary drama’that leads the flow of northern Korean drama that will be appeared later. This paper intends to observe Village Shrine that is being the model of northern Korean drama including the whole consideration of the northern Korean drama, and to study the conflictual expression appeared in Village Shrine later. With this process, it intends to be the pillar to study the intrinsic chahe weristics of work further from the extrinsic characteristics of northern Korean drama.

Education of writing is one of the most important in our lives. However, it is difficult to touch the method for it. For writing well, we should not be a indolent to read the books efficiently rather than to read them formally. In other words, we have to read through them critically. By practicing to read them critically, we can improve an ability of writing. Our ancestors prefered to reading books loudly because they thought that it is the best way to have an ability of writing quickly. There is another way to be educated writing skill that we should choose good literatures because we can naturally use vocabularies from them for writing. Furthermore, we will have a strong feeling to try to write as them, which becomes the fundamental way of writing because we should learn the expression through good literatures by reading, writing, and thinking more. For writing well, we should consider rather what we write for than how we use a subject matter to write because a theme of writing is more precious than a subject matter of writing is. Moreover, for example, for not having grammatical errors, we have to practice to write an essay repeatedly and to remember good poems is also efficient for writing well because we can know easily the nuance and the meaning of implication of language. Also, if we learn what is a poem, we will have the valuable views to objects, for instance, “the island exists between persons/ the island where we want to visit.”from The Island of Hyen-Jong Jung that tells we are the life and ocean and gives allusion of the relationship between bird and us. A poem, closely related to the languages of each country, is the expression of own thought and sentiment of poet. Poetry is the language of the of the imaginations and the passions. It comes home to the bosoms of men. Poetry is the universal language which the heart holds with nature and itself. He, has a contempt for poetry cannot have much respect for himself. to understand a poem, we should know the nuance of language. It can be used by the usual language, but its definition is able to have more errors. The language of poem is aimed the significance of connotation than of denotation. A poem creates the images by the change of the language because the poet wants to appeal readers impressively by using experiences and thoughts. That’s why he or she represents poetic person and uses similes, symbols, ironic, and emphasis. By taking advantages of them, apoet exposes his or her poetic sentiments. Moreover, all the poems absolutely need the rhythm, which is related to the breath of human beings. Therefore, all the great poems long for the state of musics. Therefore, if we apply these method for writing essay and poem, we will visibly develop the skills of writing. This is what we can complete the fundamental of writing.

A concern that is possible to educate the Literary Creative Writing now becomes an essential problem. Since 44 universities and 24 graduate schools of Department of Literary Creative Writing are established study about education of Literary Creative Writing become very important now days. Creative writing is one of abilities that human has, so the education of Creative Writing should begins from the idea of making a soundness of one’s self when the education of Literary Creative Writing is being researched. Human who are health in mentally and physically, can creates a writing which has strong points. In fact, Literary Creative Writing is a way of identify one’s self, and also a process of it. First semester of 2010 year, there was a lecture about writing of self-discovery for both freshman and junior students in university. The lecture was classified in four sections: understanding of my self, aware of relationship with others, abandon one’s everything, design new model for me. The lecture satisfied the most students and they said the lecture would help them. The professors who are in rapport with students must teach them. However, to make an effective lecture, several conditions have to be improved which are, ⑴ ectures have to be established for courses for senior or graduating students in university ⑵ professor must teach the students who are in rapport with ⑶ classes which provide comfortable and unrestricted atmosphere must be formed. ⑷ maintain maximum 40 students in one class. ⑸ dispose classes that depend on number of students 6attempt to start the classes in the morning Professors also need to regard something that ⑴ must provide a purpose and goal for each time, ⑵ make sure that students know how to write a text in correct format ⑶ since the students finished the writing, ask them to write thoughts and effect of their own writing ⑷ their writing should contain a reality of contents

Jongja theory is the one that applies the literature theory of North Korea’s Juche Idea to the methodology of creative writing. In the literary circles in North Korea, Jongja theory is defined as the theory of Kim Jeong-Il, and as “the phenomenal event in literature history that has brought about a huge revolution in the development of literature theories and creative writing in literary works.” This thesis critically examined the core of Jongja Theory which has been discussed in North Korean literature. Jongja is defined in North Korean literary circles as follows.“ Jongja is the core of literary works and ideological kernel of living with the basis on which the writer’s basic issues and factors for figuration take root.” This researcher understood that such definition of the concept is mere enumeration of each element that is known as the structural element of literature rather than creative discovery defining the principles of creative writing. In other word, Jongja is just listing the material, theme, and ideology in one sentence. Jongja is regarded as “the core of literary works”, and the content of the core is defined as “the basic issue that the writer intends to tell”(i.e. theme) and “the basis on which factors for figuration take root”(material), and “the ideological kernel of living” (ideology) that is combined with the forms of literary works and is differentiated from ideology. This can be criticized that it is like‘ putting a fifth wheel on a coach’through the concept of “Jongja.”It can be said that creation of new language based on Juche Idea or desire for order of Juche Idea is reflected on this. This thesis examined the process in which Jongja theory was formed in the 1970s and has been settled as essential thesis of creative writing. It can be said that this is the process to trace the history of concepts. I traced how‘ the view of the leader’led by Kim Jeong-Il is reflected on Jongja theory in the course of canonizing ‘Jongja theory.’I have also revealed that a kind of biological language or agriculture centrism language has been reflected on Jongja theory, and the production of concepts in the manner of emphasizing materials, themes, and ideology has been intended. What draws our interest is that, despite the fact that establishing the theoretical issue in North Korean literature is consistent with epic literature, it is quoted far more in the lyric genre in actual application and commentary of literary works. Together with this, what can be examined critically is what kind of system of thought is placed in the ground of attitude of trying to regard literary works as an organic system. It is emphasized that Jongja is a ‘nucleus’and is a kind of latent form or possible form. The nucleus is combined with various factors (materials, themes, and ideology) and forms the characteristics of figuration. The core of such agricultural way of thinking is represented vividly in Kim Jeong- Woong’s expression that“ Jongja is what makes flowers bloom.”The thought that Jongja grows to be ‘a great literary work’is considerably botanical and hierarchical. In other words, the absolute value is given to the position of‘ Jongja’by defining that one literary work can have only one seed. This ultimately is consistent with the symbol imagined by the North Korean social system. It emphasizes the hierarchy of North Korean society by stressing the “prototype of artistic figuration”of literary works. In the core of the hierarchy,“ the leader”as the symbolic prototype of North Korean society is situated, and it can be understood that ‘Jongja theory’as the metaphorical system has been systematized by Kim Jeong-Il.