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This paper starts from the question of the formation process for modern poetry in Korea. We tried to clarify the relationship between Sowol’s ballad poet and Seodo ballad in order to find the evidence that the modern poetry in Korea occurred spontaneously, beyond the traditional approach of acceptance and transplantation of foreign literature in this paper. Korean poetry after modernization was estimated to the stylish modern poetry in 1920s throughout Changa or Sinchaesi. Choi Nam Sean’s Sinchasi accepted Japan’s movement of Sinchaesi to domestic. Kim Eak and Ju Yo Han accepted French Symbolism poetry and inaugurate a new poetry way. These statements seems to be reasonable in terms of formal logic. These claims is that they get the new format to Korean sentiment. Recently, aside from these discussions, researchers who study Korean ballad and traditional music have found the influence of ballad in the poetry of Kim Sowol and Ju Yo Han. The selfdevelopment in formation of Korean modern poetry was in progress throughout utilization and transformation of traditional ballad instead of transplantation for the poetry of the west or Japan. In this paper we investigate literary validity and academical development potential for their claims based on papers and texts proposed by researchers who studied Korean ballad after 2010. Especially Jeon Young Ju’s paper entitled “relationship between Ju Yo Han’s Bulnori and Susimga ed., Hankuk Eumbanhak, vol. 20, 2010” requires attention because she explains the relationship between Ju Yo Han’s Bulnori and traditional ballad that existing criticism has ignored. Therefore we investigated the principle of creation and narrative style for Seodosory and Bulnori based on Changakjipseong edited by literary critic, Ha Eung Baek. In this paper, we tried to probe that Kim Sowol’s masterpiece, 「Azaleas」was transfiguration of Seodo ballad, <Yong Byun Ga> and 「Mother and syster」was effected by <Ginari>. Also we tried to examine closely that his 「Money, mind, rice and field」utilized <Jajinnanbong-Ga> and 「Money song」was exquisite reborn of <Jajinari>. Study on Sowol’s poetry is ongoing to continue. However the concrete and empirical research why Sowol was called as a ballad poet at that time and comparative study between that time’s ballad and Sowol’s poetry were not explored field comparatively. Therefore we drew a comparison between traditional ballad, mainly Seodosori and Sowol’s poetry based on the research results for ballad and traditional music, specifically in terms of morphological point of view. Besides it, much part of Sowol’s poetry is expected to have close correlation with Seodo ballad. If this study is to be earnest. it is needed to comparative study with Pyungan-do ballad at that times. However we left it as a follow-up study. Therefore we remark our research is starting studies in order to elucidate the correlation in earnest between Sowol’s poetry and ballad. If this study enlarges from simple morphological comparison to several points of view such as theme of poetry, principle of creation, functional concernment of Sowol’s life and so on, the true acquaintance of Sowol’s poetry can be revealed. Also it can be empirically reveal the functional influence with traditional ballad at the start of our modern poetry.

The purpose of this study is to consider the meaning of locality in the poetry of Park Yongrae and Han Sunggi. Both Park Yongrae who was born and raised in Chungcheong and Han Sunggi who wasn’t born but lived in Chungcheong for 40 years shows off their abundant sensibility of locality and implications of their lives in their poems. The concrete meanings of locality in Park Yongrae’s poems are as follows. Gongju, Gangkyeong, Busosan are presented as the locality of loss. A cattle fair in Gongju and marketplace in Gangkyeong that were sharply decayed stand for the dreariness they lost everything. The Busosan of his hometown shows the sense of loss by representing his sister who died young as a siberian chrysanthemum. Oryu-dong, Chaeunsan, Hwangsan signify the locality of selfdiscovery. Identifying himself with “coins in Oryu-dong”, he regarded himself as an immature grown-up who didn’t establish his own identity. He felt a grief as he realized himself as an adult who is in a state of deep torpor with his hands and feet tied up while looking at the scarecrow in Chaeunsan. In Hwangsan, he perceived himself as a catfish blind in one eye. Mountains, fields, and countryside represent the locality of aboriginality and vitality. With his poetry was characterized by abundant use of aural imagery such as bell ringing and wind whistling, the writer focused on aboriginality and vitality in his poems. In the local of countryside, he portrayed the fierceness of élan vital through the sound of crickets which survived severe cold in the winter. The paths let him hear the unaware voices of his inside. The specific meanings of locality in Han Sunggi’s poems are as follows. The trails and paths in his poems symbolize the locality of confusion. Paths mean the place that darkness began, and this was the beginning of his path to self-discovery. Islands imply the locality of introspection. With the experiences of living in secluded islands such as Sinjindo, Mado, and Gaido, he could take time for self-examination. Mountains, fields, and countryside present the locality of oneness with nature. At dusk or at dawn, he experienced that darkness or lightness was united with him all the way. Paradoxically, the sound of rain made him feel a sense of oneness with the silence. Futhermore, he was in the state of being one with flowers and frogs, which was no distinction between the subject and the object. As I mentioned earlier, the locality of Chungcheong has the significant meaning that gives creative and unique perspectives and aboriginal mythos that is helpful and meaningful to create the poetry. This study is an attempt for a further study by enlarging the scope of adaptation of locality in the literature.

Kim, Hyun-seung is both a poet and Christian. His poems throughout the entire period of his life show the religious imagination, and have particularly so many allusive expressions to biblical passages. In addition, the transcendental imagination can be found in the religious imagination. This paper would classify the aspects of the religious imagination in his poems into the allusive imagination and transcendental imagination. Allusion as a deformation of symbol is one of metaphors that punctuates writer’s intention directly or indirectly by quoting wellknown sentences, phrases, or names of persons. Sources of allusion become the subjects or themes of modern poetry, and the formal structures of works, and then have been stimulating an imagination of modern poets. The available sources of allusion have many facets over the East and West. Biblical allusions in Kim, Hyun-seung’s poems, which is based on the religious imagination, make certain figurative contexts by overlapping new meanings. His allusion as a sort of being juxtaposed combination─‘clothes of shyness’, ‘poverty’, ‘tears’, for example, would help to expand or elevate the subject by arranging itself in a harmonious relationship or conversely in a relationship of conflict for content. The concept of transcendence generally refers to the point beyond a certain area or critical situation. In other words, it means that human beings always being exist in here now naturally free oneself from here now. Also, it is to exist outside of the world of perception and experience in a dimension of consciousness. The key point of transcendence is to go forward an ultimate world through the transition of existence. In his poems, the space of transcendental imagination to the celestial is an area in ‘sky’, ‘clouds’, etc, and the space of ground is a boundary between the celestial and underground, such as ‘horizon’, ‘cliffs’, ‘branches of trees’, etc, and then the underground is the space in a tomb or cave. Consequently he is a poet who pursue the eternity through transcendental imagination which could cross different spaces, that is, sky and earth, this world and the other world.

The poem written by Kim Soo-young is the result of much deliberation of transforming the elaboration of perspectives learned in modern life to the elaboration of love/revolution and the elaboration of writing poetry. This process is not a one-directional advancement, but is in the mode of a complex and irregular movement. The elaborations of Kim Soo-young’s perspectives unfolds by switching from the visual delusion techniques, which is the order of modern urban life, and ‘seeing perspectives’ that sagaciously looks squarely at objects, life and the world. The side effects of visual delusion and the slump of seeing perspectives is imprinted by the physical and mental fatigue and depression of the ‘seeing object’, and the longing for rest. Kim Soo-young comes up with the “technique of opening and closing eyes” in response to the fatigue and depression and provides the turning point for changing visual delusion to seeing perspectives. Kim Soo-young’s elaboration of perspectives undergoes selfrenewal through the ‘technique of opening and closing eyes’, and it changes and expands to inspiration, which is a perspectives beyond perspectives, and a perspectives that embodies all senses. The ‘instance of perspectives’ where all existence becomes an eye and opens, can be said to be the most evolved form of the elaboration of perspectives. This is the point of ‘seeing without being deceived’ the modern abyss, which was compared to ‘darkness’, ‘abyss’ and ‘gods’, and the point of returning to the world of modern life holding fast to such perspectives. By persevering through this division-balance, Kim Soo-young’s elaboration of perspectives develops into a pan-sensual dimension that interacts with the senses of feeling and hearing and it contributes in the modifying and complimenting of the modern paradigm focused on perspectives. This was the secret behind the success of changing Kim Soo-young’s ‘elaboration of perspectives’ to the ‘elaboration of love’ and ‘elaboration of revolution’.

Art material differ only in poetry and dance was born in a primitive place. Comprehensive early primitive art body art, which was one moment in their trail and came, and came back in recent years, which combines experimental phenomena taking place, this scenario during the dance as a dance and try to become united, forming the flow. Scenarios analyzed in this paper, the dance of the kim young-tae poems is plain. gentle lyricism of his dance at the script and music and movement are two.『Feeling that the poem was exposed type of work, the type of material for the music, including many types of behavior can be classified into three categories, and specificity of poetic montage, collage techniques, including techniques used depaysement are analyzed that, the same elements can be kim young tae’ Dance scenario poems set aside on the grounds are giving.『It is implemented as the city of kim young-tae’ Dance scenario and modern experimental technique for montage, collage, and through depaysement technique enlarges the world of poetic description are placed.『kim young-tae said in this paper to analyze the type and specificity of the kim young-tae’s Dance scenario, the combination of poetry and strengthened in the historical flow of poetry and dance will be an excellent model for coexistence. It is the analysis of this study area and the long road to walk on their own unique genre of art that they can co-exist in overcoming differences and analyzing the evidence because an attempt.『The remaining problem is the script as we dance poems profound symbolism and artistry of dance for the more sophisticated and specialized as an artist and a state of deep symbolism is featuring a report spread.『Most of the poetry of kim young-tae’s dance scenario shows higher level topics, but more indepth universe, nature and God to the world beyond the proceeds, you hear a look at the peak of the art vibration and ringing of joy and passion we will be able to capture. This study is based on the outstanding forward memorable, many studies done of my heart I look forward to.

This study aims to looks at Oh Gyu Won’s 『Car in the Tree』, a collection of his children’s poems, through ‘Raw Image Poetics.’ It also analyzes how images of nature, important poetic subjects in his early and later poems, are expressed in his children’s poems. As is well known, Oh Kyu Won is a modernist poet, and in his later days, worked to explore the essential natures of his subjects through ‘Raw Image Poetics.’ He looked at objects not as significates perceived in its relation to human beings but through their essential natures. Oh Gyu Won’s poems for children are similar to the ‘Raw Image Poetics’ that he aimed for in his later years. These poems did not interpret and make judgments on subjects and events. As in ‘Raw Image Poetics,’ Oh Gyu Won’s poems for children looks and aims to ecreate the essence natures of poetic subjects. Oh Kyu Won’s poems for children do not adopt an enlightening attitude or attempt to interpret the world. Like ‘Raw Image Poetics,’ his poems simply presents a new world based on the essential natures of subjects. Als, through ‘Raw Images,’ his poems display the extremes of transparent language, and his poems for children work to only display the essential natures of subjects and events. Oh Kyu Won’s poems for children actively display an interest and feeling for nature. It could be that perception of nature is not special in children’s poems. However, Oh Kyu Won’s nature has a different aspect than the usual nature, perceived as a subject of beauty and comfort. He shunned perceiving nature through its relation with human beings and worked to look at nature’s essence. Oh Kyu Won’s perception of nature appears in his children’s poems. Nature in his children’s poems are similar not to the tragic nature of his early years but to the nature of his later years, closer to its essence through the language of ransparency. Oh Kyu Won is a poet whose modernist aspect has been emphasized, but he also displays great skill in his interest and perception of nature. The perception of nature shown in his children’s poems combine with characteristics of ‘Raw Image Poetics’ to form a poetic world with greater depth.

This paper attempts to understand the different location of the modernity unveiling itself in a conflicting way between the enlightened discourse and the texts in novels, analyzing the modern subjects in “Moojeong” or analyzing the modern subjects in “Moojeong” by limiting them to the problem of “gazing subject”. Lee, Gwang Soo materializes “gazing method” in the modern epistemology learned in his novel in a literary way, and reproduces and transforms the behaviors of figures and the events to images, configuring space and time based on logics. What this paper focuses on is the problematic emergence of a new subject of gaze between the infinite narrative authority and the status of a narrator as an enlightened subject. A birth of a subject of gaze as a voyeur represented as the gaze of a figure Lee, Hyeong Sik, is implicated in the problem of modernity, which highlights the modern narrative form where the problem of gaze and focusing emerge in full scale and one aspect of visual media perception, and unveils another modern problem, the politics of male gaze simultaneously. The antinomy resulted from the subject of male gaze, Hyeong Sik’s making women the object of sexual spectacle can be an aesthetic location which shows the antinomy which fails to separate the ideology in the past from the new ethics surrounding romaic and noble love. Reconstructing memories based on panoramic gaze is the borrowing of ‘a form of motion picture’, showing modern gaze structure of visual media facilitating the gazing of reality with transparent and direct gaze. The reconstruction of panoramic memories shows a narrative ability to summarize and reconstruct the past based on the gaze structure of the subject of present perception. Memories reveal themselves as ‘visual spectacle’ reconstructed based on present gaze rather than have the authority of identity as the origin of the present. The gaze structure of the subject of narration with a sense of the chosen people and a sense of superiority about Chosun people under the Japanese ruling in ‘“Moojeong” has the limitations in revealing the duality and the dynamism of modernity. It is natural that the enlightened passion for ‘people’ and ‘community’ shown by the public discourse in “Moojeong” has the similarity with ‘imperial gaze’ on Chosun’s reality from ‘outside’. Combined with the appropriateness that the life of Chosun under the Japanese ruling can be rescued by the civilization of an empire, the ideology of ‘modern nation-state’ as the expansion of modern subject is structurally intertwined with the externality of the gaze on the people of a colonized country. In the last scene of this novel, all the conflicts are resolved at once and ended with a hope for new civilization, yet it is ideological way to stitch up the contradictory location of the modern subject in this novel. Accepting being called ‘nation’, an imagined community and obeying ‘state’ without any doubt about symbolic order and institutional power imported from an empire, this novel turns away from the self-contradiction and the inherent division in which ‘nation’ and ‘state’ are the origin of oppression, not the liberation of subjects. The irony of the subjects in “Moojeong” is the subjects which cannot realize the duality of ‘colony/modernity’ cannot think of the colonialism with a critical mind from the ideology of an empire calling themselves and the aesthetic location shows the contradiction most sharply. Paradoxically speaking, the contradictory attitudes of the subjects of gaze in this novel towards women and a community can be an important location of the aesthetic modernity in this novel. What is unveiled in “Moojeong” is not the complete accomplishment of enlightened subjects and modern subjects, but the contradictions between the subject of male gaze and patriotic subjects, and the contradiction between imperial gaze and communal subjects. This is a place which shows the aesthetic political limitations of “Moojeong” clearly and is a place in which the antinomical modernity of “Moojeong” in which the complete accomplishment of the enlightened ideology is frustrated and the personal desire rises. Thinking of “Moojeong” as a point that makes the flesh of modern novels not as enlightened remarks, this contradiction and irony construct the aesthetic modernity of “Moojeong” in a paradoxical way. The self-calling “”Moojeong” mourning the world for ages” in the last sentence of “Moojeong” can be referred to as false of enlightened subjects which do see through how deeply the relics of the past and the colonialism are rooted in the discourse of subjects, yet the personal desire of modern people start this falsehood. “Moojeong” can be referred to as a text of the predicament of literary subjects which can neither become enlightened subjects in complete signification, nor the transparent observers, nor the candid speakers of personal desire. The modern subjects of “Moojeong” accomplish the enlightened narration in a way of concealing the contradictions and conflicts with its such huge ideology rather than takes the risk of perceiving the falsehood of the stereotyped ideology and the contradictions surrounding the issues relating to ‘love’ and ‘nations’ and reconstructing them, so the modern subjects of “Moojeong” become incomplete and contradictory. Nevertheless the modernity shown by the subjects of gaze in “Moojeong” is a location of personal desire revealed in different ways beyond the world of the enlightened communal ideology and the tragic fate. The subjects of gaze in “Moojeong” is problematic in that it reveals ‘the placement of desire’ unveiling itself between enlightened locutionary behaviors. This is a space the place to reveal the principle of identity with a flesh of a novel, not with ethical appropriateness. The fissure between the enlightened ideology unveiling itself in the problems of the subjects of gaze and the embodiment of fictional language reveals the self-contradiction of modern ideology in the direction different from the intention of the author, Lee, Gwang Soo, and this is the paradoxical achievement of the aesthetic modernity of “Moojeong”. The achievement pertains to the dynamics of the texts “Moojeong” as a certain origin propelling Korean modern literature rather than to the literary achievement of Lee, Gwang Soo. The literary prestige of “Moojeong” is not the system of discourse, the national enlightenment, yet is realized by the falsehood and the betrayal of texts derailing from that. The modernity as contradiction of “Moojeong” serves a literary momentum towards the aesthetic modernity when the literary autonomy of post-enlightenment by Kim, Dong In and the self-reflective gaze of observer by Yeom, Dong Seop emerge. This is the mediating significance of the texts ‘Moojeong” which is different from the novels in the 1920s and the n ovels in the time of enlightenment.

The consistent characteristics penetrating Lee Kwang-soo’s literature and thought is the outweighed logic. He emphasized the outweighed logic by the theory of social evolution in 1910’s and the theory of education in 1920~1930’s but he didn’t abandon the theory of cultivate capacity. Looked at the japanese invasion of China in late-1930, Lee realized that the theory of education is a illusion. Since then, it seemed he embraced Buddhism and after found the transcendental world such as a transition of life and Next life in Buddhism, he put a arbitrary construction on ‘the theory of Japan and Joseon are One(內鮮一體論)’. That means he accepted the doctrine of samsara(metempsychosis) as a best way to gratify one’s desire that can’t gratified in reality. He was a nationalist from the point of view he tried to establish the powerful country by building up national strength but he was a anti-nationalist from the point of view he overdid own’s inferiority in ‘On National Reconstruction(民族改造論)’ Since Ahn, Chang-ho’s absence, Lee Kwang-su lead to selfdestruction with lost all sense of direction as a egghead in colonial times. He admit to failure enlightenment of the races himself when he saw a prisoner who dead as gluttony and over-excrete. After that, he would be hope to change one of the public a multiracial empire he abnegate to the idea of a homogeneous race as a pure lineage. Kayama Mitsuo(香山光郞) is new his family name and first mame it shows his delusions to be a royal family and then the progenitor.

Lee is commonly known to have western aesthetic consciousness. But I notice his works in Japanese and the meaning of writhing in Japanese in the view of diglossia. In the late colonial era, Korean writers couldn’t write in their mother tongue and Hangul for Japanese colonial cultural policy. So they should had written in Japanese about Korean people’s life, culture, nature, etc. Japanese authorities permitted to write in Korean about only justification of Japan’s colonial rule and militarism. Colonial government sought to Joseonness(Korean like things) to remove it, Korean writers looked for it to confirm their ethnic identity. This was a very ironic situation for Korean writers. According to above, the issue of making tradition as one of nation-building processes is significant in the field of Korean modern literature study, especially ‘writing in Japanese’ and ‘national literature’ in the late colonial era. At that time, a case happened that ‘a kisaeng put on a antique crown’, as this had been revealed newspapers and intellectuals become angry. That is, they regarded the crown as one of cultural properties of Joseon. I think that the reflection of the case was one of evidences of the spread and growing of social consciousness. Lee took the case as a motif for his Japanese novel 「The Elegant Light」. It is a story about a sword made in Goguryeo era. I think that Lee wanted to show that colonial Joseon people began to aware sociocultural and economic exchangeable values of ancient artifacts. As we know, at the same times many colonial intellectuals got to know modern nation-state system, too. At this point, some issues are raised, for example ethno-nationalism, colonialism, orientalism, ethnic identity, cultural capital, national literature, etc. This paper explores how are these issues represented to Lee’s critical awareness on social problems in his Japanese novel The Elegant Light and some columns. His times that Lee understood was in a bud stage of Joseon’s social cognition on indigenous tradition. Nevertheless, The Elegant Light shows successfully his aesthetic consciousness like his other works.

The immediate postwar period of 1954 to opening of a new era of April 19, 1960 is considered to be ‘The postwar period of anxiousness and societal chaos’ when discussing Korean contemporary history. Serial novels in a newspaper at this period were responsible for providing national education to citizens to provide victims of war with spirit and work as a catalyst to building a new country. The press during this period used a mixture of democracy, capitalism, and liberalism, all of which occurred frequently and were in frequent use in serial novels in a newspaper. Furthermore, the mixture of these terms was so much interconnected to descriptions of the public that it had a tendency to gain popularity, as if it were in fashion. The postwar period of serial novels in a newspaper were mostly on romance and society which was shaped by the cultural landscape of after the war. It is mostly based on the upper-middle ruling class’ aspect of life in a city setting, a point quite unfamiliar where the life in reality at that time was very much impoverished. Open-mindedness for mammonism, Characters’ expression of desire for social greed in building a new country, corrupted government that hushes-up the past for political cooperation and on these bases a reckless, voracious ‘quixotic’ character that is portrayed as person assisting in constructing a new country are all of which that put serial novels in a newspaper in concern, as it was some sort of a buffer zone and a mediator between the authority of the government and the public. This occurrence can be considered as the result of favoring the uppermiddle class which had authority on the press, the characteristic on the depiction of popular novels, binary structure of genuine literature and popular literature, and harsh life conditions of well-liked authors. In addition, it can also be thought as the development of individual characters that appear with sensitivity in 1960’s literature, Characters with emotional basis that have separated from the remains of ideology in serial novels in a newspaper. In a nutshell, serial novels in a newspaper partly served in the emergence of aspiration for emotions and individual values that grew during the postwar period which went beyond political and national discussions

A farewell address by Oh Jeong-Hee is about the main character, Jung Ok’s going to the cemetery with her mother on “the Buddhist All Souls Day”. In this simple story line, this novel has a complicated time structure inside. This novel as it goes by changes into a puzzle, and after all that it makes readers think about what was the farewell address. This writing reveals that how anachrony aspect could’ve connected to symbol which a farewell address, through analysis of its time structure. The novel made up of by 26 paragraphs-15 of present paragraphs, 8 of flashback paragraphs, 3 of imaginative paragraphs. The present paragraphs go with Jeong-Ok, and flashback paragraphs go with husband’s story looked by Jeong-Ok’s view of point, imaginative paragraphs consist of the husband that build up with Jeong-Ok’s imagination. The feature of the anachrony of the novel is imagination’s interference in between present and flashback. And the imagination takes a role that erases the boundary of present and flashback. As a result, readers feel confuse in their linear idea of time, and start to ask the meaning of time. In A farewell address, it is not the cause and effect trigger that connects past and present, but it is a simultaneity. The husband who would along with Jeong-Ok, in the Cemetery Park, and outside of the house, he attained the simultaneity as he stood close to both life and death. Construct such simultaneity is through the symbol which is a farewell address. The farewell address is not the words that give to the people who nearer death. The farewell address is the farewell address to the linear idea of time. A farewell address let readers put all the pieces of husband-puzzle together, and also let them ask the meaning of life again by deconstruction of boundary of life and death.

This study set out to focus its research efforts on time order and anachronies in Paroho. In Paroho, narrative time is the time for analepses. In this novel, narrative time is the time of treatment that a character in the story faces her pain and heals and recovers herself through self-confession. In the story’s time, the most important period of time is the past. The recollection method of Paroho is the method that reminds motive which equally exists in narrative time and story’s period of time. In character’s complex consciousness like tangled spider web and repetitive movement of period of time, this recollection method gives implied order to the whole of the narration, so narrative consistency exists. In this novel, time and place’s arrangement is carefully arranged to have an harmony with the contents of description. Paroho which is the most salient space and also is the title of the novel, is symbol of pain, and at the same time Paroho is the valuable space which has a bright artifact under there. Drained Paroho which is an space for character’s self-discovery and recovery is arranged to narrative time. In case of time when a character feels dispair and frustration, Paroho filled with water which damaged nature and is buried thousands of people called dark history arranged to story’s period of time. Different time and place of same space are used effectively. Although analepses is the key point of story, analepses description is started as late as possible. Because painful past analepses are necessarily described by a character, but at the same time painful past analepses are most difficult description to a character. Thus the delay of analepses gives time that a character faces her experience straightly. In addition, the delay of analepses reflects a character’s mind that she can not release her past easily. However once analepses are started, analepses are usually realistic and has considerable contents of description. Using the delay of analepses description and realistic, long sentences of analepses description, novelist’s narration technique which controls the mentality of character who does analepses and reflects the character’s attitude is notable. Prolepses used in Paroho are external prolepses which are supposition from the past period of time than internal prolepses which commonly use. In this novel, external prolepses are used for explanation of past event’s inside facts or character’s innermost feelings. So the role of internal prolepses are replaced by external prolepses. In Paroho, internal prolepses which generally give suggestion are used for false suggestion. This prolepses are mostly used for trick in a detective novel. Whether this trick is intended trick propleses or not, as a result, this internal prolepses is trick propleses. In this way, general(internal) prolepses are used unusually and anomalously.

Ever since Korea became a divided country, The Korean Residents Association in Japan(TKRAIJ) and The pro-Pyoungyang Federation of Korean(TPPFOK) cannot help being hostile to each other. The antagonism became aggravated when some of the Korean-Japanese forced sent back to North-Korea. This study has started with own curiosity that any Korean-Japanese writer would write the antagonism between the two-party as a material for a novel. There are 3 novels are found-a short stories Remaining by the dead person by Lee-He Sung, A Memorial Service and At the risk of Night-a novel, by Yang-Sug Il. This study has limited in finding through the fictions but is enough to form some idea how the antagonism has reconciled between the two-party. Yang-Myung Shim said that the meaning of Remaining by the dead person is a journey of reconciling two brothers, one is from The Korean Residents Association in Japan, and the other is The pro-Pyoungyang Federation of Korean, through ‘a joint funeral’. Yang has missed the point which is the brothers, eventually, are reconciled by ‘a joint funeral’ but it didn’t mean that happened the same to the two-party. Song-Hwa Choon said that the meaning of that story is “The legacy from the late father for the brothers could extend to a cause of national reconciliation.” Even though ‘a joint funeral’ seems very remarkable event, however, the cause of national reconciliation turned out meaningless. The ending part of the story failed to show complete reconciliation is remained to our regret. A short story A Memorial Service express that the reason why twoparty became as mutual enemies is there was no way to communicate each other. As for a long time Korea is remained as a divided country, the two-party slandered and abused each other naturally. Yang-Sug Il indicated on his work through the characters arguments the antagonism between the two-party is wrong. He also indicated that it is so shameful Korean-Japanese Community in Japan is divided into two-party and confronted each other. On Young-Sug Il’s At the risk of Night is an anti-communist novel. The novel shows that the real state of affairs of repatriation to the North and their propaganda and how miserable real life is in north Korea. He sublated that such as North Korea is wrong and/or South Korea is right. He blamed Kim Il Sung’s statue and the North’s Juche(self-reliance) theory and North Korea people living status as slaves. At the same time, he also indicated that freedom and equality is not guaranteed in South Korea so is not a paradise either. He, as an author, said that in the novel “Under any type of political system, the true nature of power is all the same.” Through 3-novel, we could say that Lee-Hee Sung and Yang-Sug Il have negative view towards to the two-party: The Korean Residents Association in Japan and The pro-Pyoungyang Federation of Korean. Seeking reconciliation between the two-party seems not easy under the divided-country with idealogical different political system. Discord between the two-party seemed not to be ended and was the source of trouble to the writers.

The purpose of this thesis is to study Tae-Yong Jung’s earlier literary criticism with attention to the origin of his criticism and to turn out the achievement and limitation in view of criticism history. In addition, the analysis of his criticism in the context of Independence period and the 1950s were investigated and reconstructed in the meaning of criticism history. Tae-Yong Jung’s earlier literary criticism were oriented closer at the national reality and life and were to reconstruct ‘the national literature’ through full-fledged practice criticism. His early criticism sought the best ways to explore the goals of national literature, out of the conflict of Left-wing and right-wing, medium wave after the liberation. They overcame lack of ‘ethnic’ and ‘reality’ in the 1950s criticism. In particular, his criticism emphasized the subjective perception and Showed the balanced perspective on the ‘literary’ and ‘reality’. Furthermore, his practice criticism analyzed and evaluated insightfully contemporary literature as well as the past literature in point of literary history. they presented the future direction of Korea Literature. On the other hand, because Tae-Yong Jung emphasized the reality or the life of the nation, he was underestimated the young writers and critics in the 1950s, Sang Lee, gi-rim Kim. Also he revealed the real attitude of practical criticism compared to other established literary critics, but he was less professional than young critics had excellent literary theory. These critical awareness and practice had left many achievements Through ongoing critical activity. Many achievements from Tae-Yong Jung’s earlier literary criticism have influence on criticism these days and should not be overlooked with the importance of critical history.

Ranging from Chinese records in late Joseon Dynasty to traditional fairy tales enjoyed by many children today, the story of ‘Lady Nokjok’ has been reenacted by various narrative genres, and the reproduction of ‘Lady Nokjok’ narratives have been made both in South and North Korea after the division of Korean peninsula. The reason why Koreans could pass down the story of ‘Laday Nokjok’ over generations is the prototypical images of our nation in the story per se. Various mythical motives presented in the story are the clues connected to these images. This study took note of the fact that the story of ‘Lady Nokjok’ is a narrative document that clearly shows the changes of genre from folk tale to traditional fairy tale. As the narrative origin of what today’s children read is folk tale, awareness on the narrative essence of original folk tale could be the basis for creation and understanding of traditional fairy tale. Neglecting the intrinsic features of original narratives, it is impossible to put the concept of traditional fairy tale to the works that rely on author’s creative logic and imagination. Therefore, it is necessary to contemplate upon the aspects of dramatization in original folk tale in order to understand the meaning of traditional fairy tale properly. ‘Lady Nokjok’ narrative is exploited in this study. ‘Lady Nokjok’ narrative is a story enriched with mythical characteristics. Lady Nokjok that have deer feet is a half man and half beast that gave birth to seven to twelve sons at a time. She is a holy character that reenacts the sacredness on the basis of prolific and beastlike features. She proves herself to be the Great Mother that controls life and death by crating their son who violated a taboo and throwing them into the sea. Her deity offers a variety of mythical sources to ‘Lady Nokjok’ narratives. The result of study on the aspects of accepting ‘Lady Nokjok’ narrative shows a unique structure that shows author’s awareness on the genre of traditional fairy tale. Park Youngman’s 「12 Generals and 3,000 Soldiers」 faithfully reenacts mythical characteristics of ‘Lady Nokjok’ narratives. However, Lady Nokjok’s ‘act of throwing off sons in the sea’, which reveals her hierarchical status as a goddess is replaced by floating her sons in the sea to escape them from a danger of murder. This is a dramatic modification of original narrative on the judgment that a story of murdering one’s own sons is not appropriate for young children. Kim Sangdeok’s 「Septuplets」 aims at the narrative of fairy tale, eliminating any legendary elements of original story. Considering that ‘Lady Nokjok’ narrative has keenly communicated with the locals with the origins of relics and locations in Pyeongyang and Anju, Kim’s story that fails to suggest any legendary elements seem to lack in narrative context. Lim Seokjae’s 「12 Generals and 3,000 Soldiers」 tries to amplify mythical characters as much as possible. A part of Lim’s story that shows the reason of maternal and child separation adds mythical motives and extends the space of sacredness to fields and mountains so as to expand mythicalness. Such story is designed to primarily express essential characters of ‘Lady Nokjok’ narratives. Choi Harim’s 「Lady Nokjok and Septuplets」 considerably dilutes either mythical or fantastic features and includes realistic incidents. Therefore, it has problems in the method of creating traditional fairy tales that has folk tale as its original narrative, as the essense of ‘Lady Nokjok’ narrative is tarnished in some ways. As stated, ‘Lady Nokjok’ narratives suggest the issues of carefully considering the relevancy in the method of creation in the context of folk tale, the original narrative of the story. Further discussions are needed for the works covered in this study. The story of ‘Lady Nokjok’ has great mythical characteristics and is also a rare story of heroine. We can find the values of our old stories from the story. Therefore, further efforts shall be required to reenact ‘Lady Nokjok’ narrative in various literary genres so that this story could step up to a national narrative in a foreseeable future.