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The esthetic modernity brings with it a renewed understanding of the value of the artistic practice in an age that believes the social modernity as the holistic value. The concept of the esthetic modernity is very important in describing the disparity between social life and artistic practice, and the uniqueness of the artistic principles. While it is the critical attribute of art that desires to understand its own age, it also refers to the artistic epistemology as otherness. The temporality of art amounts to anti-temporality, for the esthetic quality that art presents to the social modernity positions itself as the mirror of life. The esthetic modernity ensures the continuity in the esthetic practice, while it builds the temporal validity and artistic esthetics on the integral perspective. For Ko Un who aggressively wants to put the social issues in his poetry, the esthetic modernity is significant as a new way of reading his poetry. For it is understood that such a perspective has contributed to the correction and resolution of the problems with the existing discussions that treat his poetry in a discontinued manner, splitting it into before and after 'the period of struggle'. The arguments that Ko Un's poetic development, moving through the postwar nihilism and the anti-dictatorship struggle, turns into estheticism with the 1990s separate the role of an educative intellectual and the poet and furthermore constitutes a fiction that derives from the dichotomy of theory and practice, belles lettres and engagement. The poet's poetic practice, when he becomes aware of the life of modern life, unfurls the horizon of the esthetic modernity, while in the democratic struggle in the 1980s he already reaches the 'poetic understanding of modernity' and coming into the 1990s, he attempted the internalization of modernity as his esthetic decision. With The Star of Father Country (1984) that is adjudged to establish a turning point from the inner freedom and his life as a free-spirited modernist to his aggressive understanding of the social questions, and with his poetry of the 1990s that is dominated by repentance, remorses, and discourses of recollection and reflection, Ko Un delimits the horizon of esthetic modernity as against the disruptive process of modernization. That is why Far-off Road (1999) is considered the most explicit esthetic decision that represents Ko Unof the 1990s.

The purpose of this study was to examine the key images of poems written by Kim Young-seok in an effort to shed light on how the images of his poems became significant. It's specifically meant to look into the image of a 'closed' road and that of an 'open' wind to discuss the changes of the poetic images and the poet's unique method of composition. The principle on which Kim Young-seok's poems were based was a paradox. The passages that the road is/one is made to look for another road indicates that the poet is looking for a road that doesn't exist. Likewise, the poet wrote that he would set 'fire' to 'ice,' and such a passion is a contradiction and paradox as well. One noteworthy fact here is that such a paradox never takes place in reality. His attitude of confrontation turned into that of endurance, and he got to negotiate with the world while he fought against it in the past. And there was a change in his poems in that process. In his poems, 'I' look at the world as a member of the universe and express his desire to participate in it, and the self continues to become smaller and smaller as it exists in unitary world(一如的世界), putting aside a dualistic world view. The shift of the image from a closed road to a wind implies that the poet wants to get out of a worldly life yet hopes to be reborn without denying it at the same time. Such a hope is embodied into the image of a wind, which serves to unveil an invisible world. This world can be seen only through the senses and intuition, not through logic or reasoning. Therefore wind becomes significant in his poems as a substantial thing that actually exists, is generated and functions in the world.

This study focuses on the attitude toward death and destiny of existence filled by ‘home cognition’ emphasizing the return to the home in Cho, Byung-hwa's latter period. His cognition of ‘a gaze at death and destiny’ has a unique characteristic across the Korean modern-style history of poetry about the home cognition. Before, the home cognition in Korean modern-style poems has dominantly related to the space cognition of desire for rural districts or rise above the world. The cognition was presented in the desperate poetic way with desire for recovery of their home, which is for making their national consciousness independent in the era of loss. From the view of the overall history of poetry, the home cognition in Cho, Byung-hwa's latter poems deserves to take notice in that his poems have consciousness of ‘a gaze at death and destiny of existence.’ In general, a poet’s creative sprit comes from his origin. The individual origin, which is referred as ‘home’, is indeed the root of the imaginative faculty and the poet operates his home as a power plant of imagination. In this plant, the poet merges his view of the world, the poetic speculation and consciousness of existence. The explosive energy of the inspiration from the merged complex becomes the poet’s consciousness for creation. Cho, Byung-hwa tells ‘existence and solitude’ and ‘eternity and daily’ as topics across his poems from the first collection <The useless inheritance>(1949) to his 50th collection <A Silent homecoming>(2000). Across his early and middle period, almost his poems came out of a tunnel of consciousness about ‘existence and solitude’. This consciousness was mostly expressed as the form of ‘travel’ or ‘letter’. The poems of ‘existence and solitude’ turned into ‘homecoming’ in his latter period. In the ‘homecoming’ poems, a gaze at a real life is included, which is observation through ‘eternity and sprit’ of the existence from the expression of ‘loneliness and solitude’. The consciousness dreaming the homecoming in the latter poems contains an attitude to take care of ‘destiny and death’ far from ‘existence and solitude’ which he had identified with his life and his poem in the past. In other hand, his home cognition comes out as a result of the pursuit of the consciousness returning to his origin in the space of ‘his mother’, ‘absolute silence’ and ‘a spiritual response to destiny.’ Especially, his cognition points to the world of absolute freedom from avarice and detachment. Consequently, his home cognition takes leave of the present world and follows his destiny in the space of ‘his mother’, ‘absolute silence.’ At the same time, the cognition swims with the rule of nature through the spiritual response and dreams of opening the mental horizon returning to ‘eternity’ and ‘the origin.’

As Ahn, Do-hyun won the prize with 「Nakdong River」in 1981 and with 「Jeon, Bong-jun Heading for Seoul」in 1984 , he officially began to write poems. Since the publication of his first collection of poems, 「Jeon, Bong-jun Heading for Seoul」, he has been actively writing, releasing poetry books and essay collections. Through his poems, he thinks highly of the existence of the nature and the worthiness of life, and embodies the organic relationship between the nature and human beings. He builds his world of poetry with his new language, discovering the meaning of love and lifeness from normal matters. This article focuses on investigating the meanings of his poems and poetic values based on the characteristics. His world of poems is approached especially on the center of secretions and excrement, dung in particular, which is main material. In his poems, dung is described as the product of sheer nature and is portrayed as the reality that contains philosophical meanings, not a dirty matter which is eliminated from the body. Dung has contrasting aspects, life and death and eating and defecating. Dung is a product of the nature which is formed, passing through the stomach and internal organs. Dung does not tell a lie as a product of the ature that cannot be operated by actions of civilization. Dung plays an important role in his poems, showing the way human beings are in harmony with the nature. Through this process, the meaning of love and lifeness is constructed in the poems. His poetic insight made literature results, keeping the balance of the nature and human beings and keeping the worthiness of life.

Sijo is Korea's native verse of fixed form which dates back to the Koryo period and, since then, has been brought to life till today. Especially, few or no studies have been made on the final stage of sijo creation, that is, elaboration. Thus, it is essential and critical in modern sijo to organize how to elaborate it. The purpose of this study is to propose some typical methods of modern sijo elaboration, better guiding the creation of modern sijo. This researcher hopes the study helps not only preserve the long tradition of sijo, but also set fundamentals for the popularization of that genre. This study takes some works of famous ancient and modern sijo as good examples of elaboration. Sijo works to be elaborated in this study are those created by students attending at the literary creation department of Dong-A university. This study proposes five main methods to elaborate modern sijo in the following. First, it is to increase or decrease the number of syllables if that number doesn't meet the fixed requirements of sijo form. According to those requirements, the first foot in the final verse of sijo should have 3 or more syllables and the second foot, 5 or more syllables. In case that a foot is difficult to be recognized as what it is because it has too many or too few syllables, those syllables should be reduced appropriately. Second, it is to create a poetic effect by changing order. In other words, it means interchanging between different feet, different phrases and between different chapters in order to effectively present the theme, sentiment and climate of sijo. Third, it is to make finer poetic words for effective literary representation. It may involve adding poetic words necessary for a poetic accomplishment, deleting unnecessary poetic words, changing or omitting postpositions, utilizing figures of speech and creating and expressing images in sensible manners. Fourth, it is to rearrange lines in order to extend the poetic significance of sijo and strengthen its modernity. Accordingly, the single three-line system frequently found in sijo should be changed to plural systems of different line numbers occasionally. In case that two many lines constitute sijo, they should be combined to be reduced. And fifth, it is to modify the title of sijo in accordance with its theme and the intent of its writer. It may include replacing Chinese characters or foreign words contained in the title with native Korean expressions, modifying abstract titles into concrete ones and changing ambiguous titles to definite ones. These methods of modern sijo elaboration actually provided some accomplishments in the students' sijo creation. First, students could accurately understand the proper form of sijo. Second, students completed their sijo works well enough to meet fixed requirements of sijo. And third, some of sijo works that the students created have been awarded for their excellence at many different literary contests.

As we saw through his novels until now, we knew that the texts of Park's novels were placed in giving effects each other. Autobiographic novels, popular novels and feminism novels have relations of intertextuality; that is to say, Framework of each textual situation and first experience, systems of storyline and unified structure, and the change of perception and pulled subjectivity in the aspects of discourse. The textuality that appears in an autobiographic novel is placed in the close relationships with elder brother's death. It means that the repetition by some transformation and difference through brother's death works at least as trauma in his novel - and also that the desperate situation during the war was set up to fixed frame. Especially transforming information of surrounding that death shows a fact that the writer's strategy which includes text product and acceptance is put in each process and the meaningful relationship of realizing textuality. In popular novels, the specific cases or behaviors such as sexual relationship, marriage and pregnance are collected by the network of case and effect. A series of cases in inner-form is organized by the transformation and absorption. At this moment, the main case is not only to lead a dynamic story but also to become a factor of revealing fake consciousness. Any case else which is drawing, delaying and isolating the case acts the accusation of social condition in desire as the concrete strategy about writer's discourse. Feminism novels are focused on not only getting out of patriarchal systemic home and androcentric thoughts but (also) daring self-support. The relationship with a mother-in-law, trouble with a husband and a suppression and so on, which are repeated many times by transformation and difference. These aspects are also unfold by author's plan to achieve intended a target in a process lost individuality, contradiction cognition, force of will of execution, previous of trial. Like this, looked into the textuality in implication of Park wan-seo's novels. We could know a fact that the nework in cause and effect of text which is repeated by diverergence and transformation was caused ultimately from writer's strategy to share the story with readers. As a reslut, it is concluded that text is a one process and a life having meanigful relation at the same time.

1997 one-act play "Pandora's box" to the <Korea Times> was the winner of the annual spring literary playwright Jang Seong-Hui her literary career as a playwright. Unlike earlier work, wounded and marginalized in society, had artificially drawn to the warm and compassionate perspective petit bourgeois life "underwater house" was recently released (2007), "Anti-Antigone" (2007), "dreams of dreams" (2008) the work of the actively expressed and at the same time reveals a new way of looking at the world as a woman, a writer on women's issues, the problem of onsciousness. In this paper, evaluation of the work accomplished-even point of a series of feminist work, Jang Seong-Hui there was a major opportunity to recognize and discover their own identity as a female playwright with "underwater house", "anti-Antigone" receiving "dreams of dreams" on the basis of 'feminine writing' from the masculine pole of the existing manners hazardous outgoing examine. Three works through Jang Seong-Hui traditional narrative structure was dismantled. And showed the woman's identity had been distorted by the patriarchal oppression of men as "feminine narration". This process, the work was to verify the identity of the voices of women and the experience of women in the eyes of women, while the lottery. Relegated to limit the value of women and penis-centered way of thinking and appeal, as well as the transition to the women of their anger as a source of creativity is a process.

This work is intended to investigate Jang Ho's poetic drama activities on the whole. The study results are summarized as follows. Jang Ho is a representative person who had strived to promote poetic drama by creating works and exploring theories for about 20 years since 1957. From the perspective of the history of poetic drama, he played decisive roles in keeping in existence the life of poetic drama, which was in the vacuum state from the 1940s to 1950s. Also, he broadcasted a radio poetic drama for the first time on December 28, 1961, through HLKV. And, he joined the process of forming 'Poetic Drama Research Association' in September 1959, and Poetic Drama Coterie in June 1963, which was created as a result of expending and reorganizing 'Poetic Drama Research Association'. On Oct. 21 and 22, 1963, at the 1st Poetic Drama Coterie Performance, he performed Port without the Sea 「」in National Theater. As a result, he was recorded as the first person who performed a poetic drama for the first time in Korea. Like this, he made diversified efforts to establish poetic drama and popularize poetry. But, the poetic drama performance ended up being a failure, and he fell into frustration. Accordingly, his dream that he wanted to realize through poetic drama was just half-achieved. That is, his half-success is in the point that he saved the falling poetic drama from crisis and maintained its existence after the 1960s, and his failure is in the point that he neither developed the poetic dram into the third composite arts with high dimension through the mixture of poetry and drama in order to popularize it, nor improved the spirit of the public who were worldly-minded. The biggest cause of his failure was that the genre of poetic drama was so strange to the public. Such a point caused a dramatic defect in his work from the standpoint of a writer, and led to the immaturity of directors and actors who didn't fully understand poetic drama performance from the standpoint of performance. In the aspect, poetic drama performance had the high possibility of failure at the outset. The circumstances led him to give up his deep attachment to poetic drama and to feel that want of it. In conclusion, although Jang Ho's deep interest in poetic drama and his intense activities were left unfinished, it is not fair to say that his ideal, attachment, great efforts were in vain. His artistic curiosity, imaginative power, and sense of duty are precious values that current artists should follow, and his services of overcoming the empty period of poetic drama and making it kept in existence up to now should be highly recognized.

The fantasy fairy tale 『Robot President of goblin’s kingdom』 symbolically shows men’s desire through the external conflict of robots and goblins The writer, through fantasy, lets children experience the self-expanding rite of passage and find the value of goblins and jewelry, naturally going beyond the adults’ earthly world. The goblins where Koreans’ lives are inherent, are the figures hoping to get free from reality-dominant world and they straighten up the distorted order using surprising instruments. This work also uses the social conflicts and earthly desires to upset this world. using fantasy. The coercion of dependency incurs cultural conflict and colonialization and becomes a source of conflict suppressing purity and individuality. Goblins, men, robots are the signs symbolizing diverse races and cultures and cannot be made identical with colonialization. Given the reality that scientific culture and diversity of cultures should be accepted, the writer upsets the colonialized reality which denies uniqueness of culture and tries to find a point of contract which is shared by each culture and emphasizes self-independence of each culture. 『Robot President of goblin’s kingdom』is an overcoming of the reality that western cultures and its scientific civilization dominate the Korean culture and it is done through Korean’s emotional background and nature friendliness inherent in goblins and that is to show everything should be transformed into self-led creative mode of life.

This essay show signifiant nations not Nation in the Kim, Ki-rim's critics of Liberation period(1945-1950). The Nation is transcendental and absolute signifiant, but nations is experienced and relative signifiant. In Kim, Ki-rim's critics, nations means that he thinks experienced and relative aspects of nation, such as nation's identification, variety of literacy task and method of literature nationalistic, and alternative idea against movement of the Right. Benedict Anderson and Prasenjit Duara thinks that what is nation, who discusses nation, and how say nation. Signifiant nation is imagined communities. So nation is not transcendental or absolute signifiant. But the literacy movement of the Right and the Left trusts ours nation only is true, and others nation is not true unconsciously. In the Kim, Ki-rim's critics, I research a aspect of imagined communities's identity. The signifiant nations is experienced and open concept, not transcendental and not-open. All people in the Kim, Ki-rim's critics is open concept. This thought is important. Many scholars think Kim, Ki-rim of Liberation period is the front of the literacy movement of and the Left, and Kim, Ki-rim writes the critics of the Left. We have to re-think Kim, Ki-rim. His critics defer from the critics of the Left. Nation in the critics of literacy movement of the Left is transcendental or absolute signifiant. Nation means the proletariat except the intellectuals. This nation is Nation. But nation in Kim, Ki-rim's critics is all people including the proletariat and the intellectuals. Kim, Ki-rim's nation is nations. Nations are experienced and open signifiant. Also nations in literature nationalistic is not single and uniform concept in the Kim, Ki-rim's critics, is plural and soft concept. Kim, Ki-rim insists literacy task and method is accounted in expressive and formed thing. Kim, Ki-rim looks at nations in literature nationalistic, and thinks that nations is different from Nation which used in the literacy movement of the Left. The literacy movement of the Left discusses that task of literature nationalistic serves in socialism revolution movement and method of literature nationalistic supports in political revolution movement only. But Kim, Ki-rim's literacy task and method in literature nationalistic is plural and soft. Kim, Ki-rim thinks that himself makes an alternative idea against the literacy movement of the Right and the Left. The literacy movement of the Right and the Left suggests transcendental and absolute Nation, but Kim, Ki-rim's nations are alternative. The literacy movement of the Right searches human himself who is transcendental and absolute being. Literature nationalistic of the Right treats this human being. This literature nationalistic shows transcendental and esthetic ideal. However Kim, Ki-rim announce human in moving man in socal and political reality. Man in Kim, Ki-rim's literature nationalistic is a kind of nations. The ideal in man is real. Thus nations in Kim, Ki-rim's literature nationalistic of Liberation period is experienced and relative signifiant, not transcendental and absolute signifiant in the literacy movement of the Right and the Left. We re-think Kim, Ki-rim's literature nationalistic of Liberation period.

This study aims at identifying the implications of Moo-young Lee’s “Novel Writing Skill,” a book about creative writing published in the Liberation Period of Korea, as part of studies on the system of modern literature education. Although the knowledge framework of “Korean Language and Literature” is established and communicated within social, economic and cultural boundaries, it is realized as practical and real “knowledge” in academia, like universities and academic societies. Around the Liberation Period, modern literature studies were regarded as peripheral while classics and Korean language studies were mainstreamed. Creative writing books of the Liberation Period are important research materials that demonstrate how journalism and academism bifurcated in their relations with the college education system and how they laid the foundation for literature theory publications. Among them, “Novel Writing Skill” of Lee is the first creative writing book published within the college education system. The book is particularly significant as a theory book created in the course of establishing the college education system as it was based on of the “Creative Writing” lecture of Seoul National University. His book theorized ethical value that emphasized purity and sophistication of literature, which were represented by South Korean writers of the time. When Lee discussed the fictional nature of novels, he put a higher priority on sincerity of the topics than completeness of narrative structures. His literary goal was enlightenment practices that eventually led to a standard of cultural writing. Lee’s enlightenment literature is a transformation of pure literature of then-South Korean writers in the course of institutionalizing literature studies as part of college education. To reiterate originality of literature separated from politics, they had to emphasize ethics and sophistication of literature; and consequently enlightenment literature became the core of Korean literature of the Liberation Period.

This research is on the meaning of self-reflection writing. Writing self-reflection problem is related to the socio-cultural environment, and to express their own experience. Life through imagination and memory reconfiguration. Human behavior is determined in accordance with the selection. Reflection is a matter of identity, through his life and social issues of the community is to worry. Writing self-reflection has become an individual's writing experience is to ommunicate with themselves and their community. This is expressed through his stories, narrative. And this is a memory structure and cognitive science in the process of reflection. Person's brain will understand and sympathize with the suffering of others. Writing self-reflection, reflects a desire to understand and sympathize with the suffering of others, and that you want to communicate. It is important to understand the suffering of others in the process of growth. Mirror neurons in the area of empathy to understand and communicate with others. In other words, it is not his only problem is that of identity to live in. Self worth is to categorize is going to make their own meaning within a social community. Self-reflection is to express the value of existence. Current reconstructed from past experience to create new meaning and introspective subject. The human mind is related to the brain and embodied cognitive. Cognitive phronesis explains the meaning of reflective self-reflection writing and reflective introspection. Self-reflection writing process of consilience writing. In other words, self-reflection writing is continuous and does not have a mechanical unity to express life, humanities, Brain Science, and includes the area of neuroscience. And a sympathetic sociology of consilience show all of the text. Human life is constantly being filled with lust and desire and urge to move. As such, any law cannot be described by. In particular, its own inner experience, and regardless of the individual's willingness to constantly strive to promote himself as the area value will be left. Self-reflection writing ever includes the type by mirror neurons and empathy. And unconsciously other social and cultural area is configured within the complex itself. Neuroscience is an area of empathy of the type listed on the mirror neuron formation.

‘Fusion’ is one of the most important issue in this society. Since the consistent professionalism after the modern era, communication of each field of society has been severed. The severance causes isolation. Fusion was suggested to overcome such limit, because it is a combination of different fields which is creative. The certain area that we can clearly see the trend of fusion in literature is ‘SF(Science Fiction)’. It pursuits combination of scientific imagination and art. Therefore, this study is to research possibility as creating method for new value with reflection of our contemporary change, focusing on the meaning of fusion implied in SF. SF was formed with modern civilization and has been developed with science. In the initial stage, the knowledge of natural science was mainly used. Since ‘New Wave’ in 1960s, social science has been introduced. Also, since ‘Cyber Punk’ in 1980s, cultural science was aggressively demanded. Likewise, in the field of SF, natural, social and cultural sciences has exchanged equally and created new value. Based on the above, I reviewed the possibility of Korean SF which agrees with the Fusion era. First, as an example of the fusion, Kim Tak-Hwan, a story-teller and Jeong Jae-Seung, a physicist created The Blind Watchmaker by cooperation. During the creation, the participation of scientist guarantees the objectivity of idea which is evaluated positively. Second, as an example of social science fusion, there is Tower by Bae Myeong-Hun. This work is focused on relationships that people make in a life background in the future, rather than just a future. Therefore, this is an allegory which alludes to future society by the present. Third, there is an example of Private Life of a Nation by Lee Eung-Jun for cultural science. This work shows two Korea's reunification, the virtual history, with ‘historical research methodology’. Through this set, the artist tells us that South and North Koreas did not consider each other seriously.

This paper is based on studying about teaching method of creative writing for film storytelling of the traditional culture contents. Storytelling is the most important requisite as the basis of all culture contents. But education plan of culture contents have been bent for study of technology field, education method of storytelling was short of professional study. The development of traditional culture contents is popular as we called this time is development age of traditional culture contents. The value of traditional literature has made more remarkable in this time, that special qualities like contingency and fantastic transcendence, dreamlike of myth and legend, are conspicuous. Most of box office hit films are film, that developed traditional culture or history to contents. But there are few manpower, who can recreate traditional culture to fit for modern and medium, and professional script writer or storytellers. This study suggested education method of creative writing of film storytelling, when when we plan to develop Pansori master singer contents and film storytelling for the purpose of popularization of Pansori, that is listed as a intangible cultural inheritance by UNESCO in 2003. So, this paper explained education method of creative writing of film storytelling, using team project approach for group work of film, and Stanislavski's 'Magic if' method. 'Magic if' method is in fact effective in operation of team project as well as creative writing of film storytelling.