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Catholicism of Gusang aims at ‘religious ideology’ rather than ‘artistic aesthetics’. His discourse of Catholicism is developed by allusions of the Bible. He shows the world recognition as binary oppositions. Namely, these examples are ‘abstract indicators’ such as ‘love’, ‘justice’ and ‘eternity’ and ‘humble reality’ with ‘sin’, ‘greed’ and ‘injustice’. The poet extracts the concept of ‘shame’ from this, here ‘shame’ means ‘conscience.’ Gusang discourses the concept because of the corruption of reality. The raven in his series of poetry, The Raven ｢ ｣ represents the voice of the prophet who criticizes Greed and injustice of fetishism of South Korea since the 1970s. The raven’s role is to criticize the contemporary reality, as well as the poet himself. ‘The cross’ shows existential anguish dramatically. The cross is the point of contact intersecting horizontality and verticality, heaven and earth. Gusang understands the reality of this land and alleges ‘volitional subject’ “I also must go alone”. These subject stems from ‘ethical subject’. The poet speaks highly of volitional subject and the road means comprehending “the reality of the Word". Therefore, “I, smaller than a grain of sand”, will experience and testify the ‘reality’ of the world, The act of recognizing the reality means experiencing the presence of God, The poet speaks more highly of ‘ethical subject’ more than ‘lyrical subject’ and tries to match Poetry and life. Thus, he tried to reach the holistic existence. His poetry Pursued the union of ‘poetic ego’ and ‘existential ego’ and put more values on salvation of the existence than artistic salvation, thus, left big footsteps to heighten the ideology of modern korean poetry.

This study explored correlations between tense and subject, focused on Kim Jong-sam's poems of Gardner(1953), Background Sound(196) and Landscape(1982). The study found that in those three poems spanning thirty years, Kim Jong-sam had consistently used representation method in which tense were utilized in a subtle way and the poet's subjective intervention and sentiments were reserved. This worked as a cause of why his poetry world was appraised as that of 'aesthetics without contents', silence and blank. Analysis of Gardner(1953), Background Sound(196) and Landscape(1982) demonstrated that such was the results of his elaborately intended language above all. Silence, as a way of existence where clouds, a child and death exist, is a background sound from which meaning of infinite eternity and purity comes from. The background sound is implicitly space of void and death where eternity of clouds and pure world of the child appear, as well as space of blank papers on which the poet writes pure poetry. Through that hill and silence of blank paper, the poet pursues eternity and pure world of clouds, a child and death. As such, language of Kim Jong-sam’s poetry is not the casual result, but the outcome of intentional poetic effects and subject through his consistent use of representation method in which tense were utilized in a subtle way, and the poet’s subjective intervention and sentiments were reserved. And it is the source of aesthetics of his poetry world called ‘aesthetics without contents’, silence and blank. Kim Jong-sam’s poems, which complete death of poetic subject through description and subtle use of tense, are pure poetry where the language alludes existence itself and exists independently and purely to be generated.

The womb is the most powerful part of the body that defines womenkind. It is a divine part of the body in which a birth of a new life takes place. But at the same time as it is seen as the means of reproduction, woman’s body is tend to be exploited as an object. Because of such dispute, in contemporary Korean feminism poetry womb is interpreted in newly ways. First, womb in the female feminism poetry is the origin of human species and at the same time it is represented as the cave of death and birth. A vivid healthy wave of the amniotic fluid and noble abject revealed how womb becomes the ground of life and origin of species. Second, abortion and still birth metamorphose the ruined dystopia of our world. Polluted earth, stillbirth babies, aborted womb all symbolizes the violence and agony of modern times. Abortion in feminism poetry implies the spirit of resistance in today’s patriarchal system and describes how womb cannot become a comfortable and cozy place of the new birth. Thirdly, womb writes down its own herstory with the appearance of a new womb. Mothers and their daughters form their female union through the ideology of womb. Feminim poetry denies the value of menstruation as a way of reproduction, but redefines it as a completion with menopause. Women’s womb is the most powerful space that come within the purview of social norms of sexuality and cultural identity, and at the same time it is the place where personal’s experience and desire is most vividly acted. Feminism poetry could be designated as the scene where new herstory is recorded as it rediscovers and reevaluates the history of womb in women’s independent perspective.

Some people would answer that they write for making money, and other people would write for being famous. It is not an exception to past Korean writers. Especially, during Jo-sun dynasty, the principle is considered as critical rule for people at that time. They are all educated persons because their writing skill. These persons were called as gentle men, known as Sunbee, who educated literature, philosophy, and history based on poetry, calligraphy, and paintings. They did care of making sentences with study pointing on philosophy and history and recognized the sentence as a bowl of idea. All Sunbee tried to make an effort to behave all knowledge they knew because they believed that it is meaningful when they bring knowledge they have learned in behaviors(學行一致). They also drew a line between public and private matters and lived frugally. Moreover, they tried to have a mind of contribution for solving public problems first(先公後私). They kept their principle, fighting for stronger but protecting for weaker, for being better persons(抑强扶弱). All Sunbee could be called ancient professional writers. Therefore, current Korean writers should concern to imitate them for writing with Sunbee spirit because it may be fairly said that the ultimate goal of writing for writers is the realization of Sunbee spirit.

This study amis to shed new light on the poet, Lee Jin-eon, who has faded into the mists of poetry history of anarchist literature since 1920s. Lee Jin-eon published a poetry book titled ‘Melancholy in Travel Routes’ at Hanseong Books in 1933, in which his works claiming to stand for anarchism were featured. The anarchism constituted one of the mainstays of the proletarian literature along with the Marxist literature in the poetry history of 1920s. However, after being defeated in the dispute with Marxists, the domain of anarchism was reduced, which resulted in the little importance within the history of Korean literature. Lee Jin-eon’s poetry book titled ‘Melancholy in Travel Routes’ may be regarded as an outcome of materialization of his ideological conviction as an anarchist. On the other hand, the value of his works is focused on the literary completeness of the works, as well as the scarcity of anarchist literature. Though the anarchist literature aims at the ideology of proletarian literature, it is different from the Marxist literature in the way that it pursues the artistic value of works as well. Lee Jin-eon may be regarded as a poet who has created remarkable literary works in which the goal of anarchist literature has been realized better than any other literary works written by others. The poems of Lee, which are aimed at anarchist literature, reveal the unwavering convictional goals. However, his poems with such tendencies have achieved literary accomplishment at the level higher than certain levels required for literary works without being downgraded to the level of manifesto. In this manner, Lee Jin-eon is definitely regarded as a poet who has achieved a considerable accomplishment as a literary person of anarchism by devoting himself to artistic accomplishment, as well as moving toward his conviction-oriented goal.

This article is to examine YANG Myung Moon and his poem 『SongGa』 published in North Korea at the liberation period. The purpose is to know how Pure literary writers in North Korean under social, political, and cultural circumstances in the liberation period of North Korea, experienced the frustration in their pointing spot of literature, and moreover, how the outcome and process did appear to compromise and accept the external pressure. The meaning of this study does not stop just to consider YANG Myung Moon and his literary choice as a writer in North Korea at the time of liberation. It is expected that this will be the opportunity to continue further related investigation of writers in North Korea under the similar circumstance, inferring their choices and paths who did not assimilate or could not agree with the ideology.

The moment when the Korean national word ‘Min Jok’ started to be used in modern concept was earlier than 1905 or later. That time, the enlightenment period's neo-Confusian intellectuals were committed to forming national narratives and demonstrating willful spirits to make their country safe from other races' oppression by way of protesting against the oppression of Japanese imperialism. One of the most important things that they did for national narratives and subversive freedom of oppression, through their historical narratives of Korean heroes, is to awaken Korean people’s national consciousness benumbed or distorted by the imperialists' colonial strategies and to heal it. Shin also tried to maintain national spirit in spite of loss of national sovereignty. The focus of the national discourse in the early modern Korea was on the restoration of national culture in order to be free from ‘Sino centrism’, China’s policy to emphasize its political-cultural-racial superiorities neglecting its boundaries. However, the attempt in early modern Korea put its focus on freedom from the Chinese centrists’ culture, not from the Japanese colonists’. In this tendency, what the nationalist Shin also regarded China as a colonist and produced the subversive discourse of its centrism shows his postcolonial perspectives to heal oppressed Koreans. This study explores the contextual relation of Shin's thought and narrative centering around historic and biographic novels, such as <The Lives of Eul Ji Moon Duk>, <The Lives of Lee Soon Shin>, and <The Lives of a Chief Commander Choi>. These lives of Shin's early own writing, through the process of recreating heroic narratives, shows that the writer distinctively reflects the voice of subversive discourse on his writing.

The purpose of this study will be trying to read from a slightly different angle 『Old garden』 the existing discussion so far. Hwang Seok Young reveals an extension to the problem of consciousness literature from the 1970s through the novelreporter the independence and the work has been completed without looking at the novel. Hwang’s attention was from the 70s, working class, displaced, and recognized as a citizen of the world, and that has been strengthened in this novel. And the researches of his novels was based on Whang’s novel subject as his view point. But recently Hwang’s subject is changed to divided world and diaspora etc. And recent researches about his novel was changed as his novel. But in this paper was focused on his fundamental questions- the absurdity of the world and how to solve it. So this paper was noted intellectuals. In this paper, intellectuals how to do it in literature to visualize when the end of a popular struggle investigate whether structured and unnecessary absurdity of reality in reality still a struggle to be. As utopian space that is interpreted the ‘galmoe’ applies Chapter 2, based on a recognition of the reality of the subject intellectuals to the deportation and exile of the ‘space’ rather reading will be intellectuals reveal the subject of the reality that awareness of issues to look at what is chapter 3 and chapter 4 of the novel by looking at the aesthetics of fiction with this novel aspects of the internal structure of the subject of consciousness Hwang Seok Young shows that most effectively maximize moving.

Recently, it has been debated about the issues on the relationships between the ‘literature and society’, ‘literature and politics’, ‘literature and community’ which has been ignored in the 1990’s Korea. It showed that the issues on the relationships between the literature and the reality needs to be reformed and reconstructed according to the change of the political conditions. Even though the world after the human(/the end of the world) was represented as ruins or a paradise by the apocalyptic imagination in Korean novel, apocalyptic imagination means actively intervene in the reality and literary practice in these days Korean reality. This research focused on the tendency that Korean novel contained the imagination of destruction, the image of degeneration, and the despair and emptiness. Based on this research, I reviewed that space for the possibility of political subject and restore/salvation of a new legislative principals/subjects (demos) through the apocalyptic imagination in novels. Specifically, I argued that requests for critically reviewing the boundaries of the community itself through the characteristics of the apocalyptic imagination in the novel of Park Min-gyu(박민규), Kim Sung-jung(김성중), Bae Ji-young(배지영) that is the end of consciousness without anger or despair, helplessness and passivity of the 'survivors'. Apocalyptic imagination in the novel of Pyun Hye-young(편혜영) was illuminated the complete fragmentation of the community due to the isolation and separation of an individual and then it showed paradoxically request for a new community caused by the absence of the political. Finally, I confirmed that necessity for decoding the message of 'strange world' which was a imagination of the end of the world through their novels.

For the last several years, KAP(Korean as an Academic Purpose) learners have been enormously extended. As KAP learners' needs have been highly arising, the significance of efficient KAP curriculum is emphasized. Especially, writing of an academic thesis has been commonly pointed out as one of the most difficult academic tasks in KAP curriculum by KAP learners because of its difficult academic literacy. It is high time for learner-oriented directions for writing of an academic thesis to be suggested in KAP. The purpose of this study is to examine a text producer's opinion-expressed discourses(OED) appeared in KAP learners' theses and to find its characteristics according to the degree of performative strength, so to suggest effective educational directions in writing an academic thesis in KAP. The reasons why this study would concentrate on OED are summarized as followings. Firstly, OED is fundamentally related to the purpose of text production, which is to insist an text-producer's academic opinion and to persuade text-receivers to accept it. Secondly, unlike unmarked descriptive discourses regarding general facts, OED in the academic thesis is generally presented with various marked expressions accompanying academic literacy, which are to be trained. Finally, effective learner-oriented education can be possible when it is suggested based upon analysis of learners' language itself. For the sake of this analysis, OED in KAP learners' theses are collected and are divided into strong expressions and weak expressions by the degree of performative strength. Outstanding characteristics of each OED also are examined. Furthermore, these characteristics are compared with those of Korean text producers. On the basis of this comparison, educational directions in writing an academic thesis for KAP learners are suggested.

In the age of digital information, effective development of creation materials based on creative and mental activity is the foundation of national development. The base of digital culture contents is to mix science technology, digital technology and humanity and arts. In this situation, application of Korean modern poems that are relatively stagnant is considered to be urgent. This research is to find methods to apply Korean modern poems to cultural contents through investigating specific ways which make readers have better access to modern poems. The first method is to improve accessibility using QR code. Sticking QR codes to poems on the screen doors of Seoul Metro and connecting these QR codes to smart phones, which offers information about the poems such as introducing poets, appreciating other poems, reciting poems and related music and books, will make readers have better access to alienated modern poems. The second method is to enhance friendliness through developing smart phone application. As music listeners download their favorite music from various Apps, readers can select their favorite poet's poem and read it as an e-book or can appreciate poems through poets', radio actors', or singers' voice, which will enhance friendliness of modern poems. The third method is to enhance publicity using rhymes of poems and hip hops. Traditional ways of reciting poems make young generation feel distant. In this situation, Kim Kyung Ju's attempt to hold a concert reading poems through rap and reading rap through poems is considered to be a good one which can broaden reading group. It is necessary to develop new programs which can widen the belt of young and old generation's consensus and to broaden the domain of poetry. This research is to connect readers and poems and by doing so, readers will be able to have more poetic and emotional healing opportunity.