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This study explores other possibilities for history of literature throughcritical understanding of it. There are many cases of literary that attemptto compose the modern Korean literature in a historical way. However,the conventional modern (contemporary) literary history seems unable toescape from the two strong theories:〈 New Literary History〉of Lim Hwaand〈 History of Korean Literature〉of Kim Hyeon and Kim Yunshik. Fora new paradigm to be established in literary history, there has to be areflective point to fundamentally criticize the common structuraltopography of these two theories. In the literary history of both Lim and Kim, literary product cannot bea dynamic element in history but the socioeconomic factors surroundingliterature deducts its modernity. Its premise is that socioeconomic modernelements precede historical narrative and those elements determined thecurrent of literary history. The literary history that does not directlyquestion the institutional and aesthetic system including the question offormation of modern genres, cannot help but rely on the masternarrative, that is, socioeconomic modernity and philosophy of history. It means modernity is at the center of this ideology. If so, it is important to understand the scope of modernity within the scope of‘event’apart from generalization and homogenization. To understandthe modern time as an event means looking at it as a space whereindividuality is revealed, instead of converting it as a transcendentalschema and exemplary case. Rather than the structural discussion inmaster narrative that historical facts in literary history are all eitherpursuing a stage or short of a stage, it helps understand different andindividual modernity. Literary history is not a story that follows asingular direction but a space that reveals the specificity of ‘differentmodernity.’Now countless and small, plural literary histories could be proposed ata different level from the predominant history. The reason for calling theliterary history that deviates from one literary history a“ literary historyof difference”is because it reveals modernity as a difference rather thanuniversal modernity and is based on the difference of individual texts. This perception reveals spaces of unpredictable transitions in literaryhistory without structuralizing it. These points of transitions form thehistorical topography surrounding the question of‘ small modernity’andcan be called‘ smaller literary histories.’

This article appeared in the 1950s, postwar Korean poetry at the ruinsconsciousness of the natural aspects looked at in relation. At this time,Nature is impression and praise, but the violence of the times, or issubject to one Sense of barrenness and relevant. Park, In-Hwan after the war, based on the real experience of naturedeficiency is presented, and The ‘life’and ‘death’shows. It appears tohave anticipated anxiety. To protect themselves psychologically‘ defensemechanisms’are trying to find. Destroyed according to the routineaspects of the poetic subject shows their fear. Poetry of his Incompetenceand absence lack of target,‘ Impractical’and‘ despair’is represented. Kim Soo-Young a ‘routine’in the symbolic life tragically repressednatural systems is presented. In the history of disturbing the normalgrieving, he appears between depression status and experience wereimplemented image. Fatigue and boredom in his poetry the tragic targettired of the subject and the‘ depressed’and‘ helplessness’in the face isrepresented by aspects. It is a new subject is like trying to find a sense oftime. Historical situations and case he witnessed in the work of theunconscious is revealed. But, Awareness of the target at different layers are oriented than the new awareness. Jeon Bong-Geon is war experience of‘ Birthplace’image, the meaningof the existential nature dealt with. Poetic subject he says the state ishurled into a deserted area, and ‘Alienation’and ‘irrelevant’ to theexperience. However, the reality of the self, and a glimpse of cleavage islikely to recover. Also, after originating in the ruins of the power ofsensual pain and wound healing, and tried to overcome. Since the 1950s,according to the explicit intention to visualize the before and afterexperience of critical self-consciousness to overcome the resistance wastransformed into sensory oriented. Poet of the above three people went through the experience of war andthe nature of the metaphorical or symbolic representation technique was. The poet’s imagination, combined with conscious and unconscious isprojected on the image. Repressed unconscious due to the reality andneeds of divided self ventilation, natural transition is revealed in theimage intact.

Poet Lee Hyeongki has created a world of poem with his uniquegrammar and fresh images. His aggressive poem spirit that is shownfrom the analysis is equivalent to painful permeation through cold objectsand phenomenon. This thesis focuses on his subject consciousness andembodiment of senses. He established his notion of poem as the vision of process. Selfawarenessof a poem is expressed as a desperate dream. Therefore,cacophony with the inevitable world has to be on the premise. He seesthrough the world with deep insight of anguish and shows sharp images. The subject is incarnated by a way of direct speech and it expands thecomprehensive meaning of the subject and such emotions likedisharmony, contradiction, despair, falsehood are embodied by usingserious and vivid images. Also by using grammar that overcomes a limitand shows immortality and borrowing according images, he expresses asolemn image of a poem with a clear insight. It promotes a poetic escapefrom recognition of reality that anxiety of extinction resulted fromlimitation can be a part of hallucination, and from a sense of grief or futility brought by the reality. And it helps readers to confront the limit ofovercome and it incessantly guides the sense that elaborates aboutimmortality which is more than just a limit. On one hand, the focus of the poem consciousness is expanded into anextraneous intuition and then expressed as a cold-hearted reaction. Inside a painful sense of consciousness resulted from awareness, anextraneous image formed by a strange penetration keeps bringing aboutan association that calls in creative thinking. The poet creates a peculiardynamic world with an exotic identity expansion of a sense andpromotion of delaying thinking. He embraces it as an active subjectaccepted by irregularity and dissolution, not an objective result’s passiveawareness produced by time and space order. This is his fundamentalpoem spirit and acts as an important tool for poem imagery. Andtechniques and criteria do not go beyond a certain limit and are appliedto a poem effectively. The elements show sharp characteristics. Cold andnegative images such as animosity, anger, murderous intent, death areused as main elements. Due to his poetic attitude, elements that aresuppressed in our daily lives turn into something meaningful. Itcontemplates relations of poetic world that give different images andfeelings, thus creating meanings. Also the consciousness of poem develops into deep contemplation aboutdeficit-orientation. A dream, so-called vision of process as a poetic study,is a limit of reality and deficit which is a complex. The poet’s deficitorientedaspiration is built on the foundation of processing as one of waysto understand the world. In his poem, the vocabularies that are used assubject-oriented key words such as futility, desperation, solitude,destruction are produced from the deficit. Holding on to and becomingobsessed with these is a sort of effort that is made in order to reach the absoluteness of a dream. It becomes his another pride and it is fulfillmentof carrying out the poet and poem’s bonafide conditions. However, theprocess is equal to worry, frustration, and heartbreak. It is finding thecorridor of existence, and at the same time it’s bring about the fruit ofsincere creation. The poet’s consciousness of aim is introspection aboutunderstanding human existence.

A poet aesthetically embodies an actual experience, imagination orconception through an image. The image is an indicator of a poet’sthought, a poem’s subject and its meaning as well as a booster forconcreteness of poetic expression. The image in poems becomes a symbolof a poet’ s consciousness by being used continually and repetitively. Lee sung-sun was born as the oldest son among two sons and onedaughter in Go-sung, Gang -won do in 1941. Since he started his literarycareer with‘ A Poet’s Screen’in『 Culture Criticism』in 1970, he has triedto recover the personal identity and discern an original order of spacethrough a oneness with nature. A memory of home, which one’s trace of life indwell in, remains in one’s mind for ever as a faint afterimage. Lee’s poems connote a memory andlonging for his hometown with his grandmother, mother, and father. Hisgrandmother’s love for him left a warm memory with a scenary ofcountryside. His mother was a person who loved to listen to sound ofnature. This made the poet embrace nature naturally and melt into it inhis life. His father offered the underlying foothold for Lee’s poetry in thathe made a decisive opportunity to communicate with nature and become conscious of beauty of nature. Lee’s house in his life, which he enjoyed peace of mind, was ecofriendly. He stayed mainly in Mt. Seorak from dawn to night. The poetwho dreamed of a unity with nature cognized nature as home throughcommunion with nature and meditation about it. A poet realizes that nature is the poet himself not by regarding natureas a subject but by communing with nature. Lee sung-sun tried to findhis own identity in the space by unifying with nature and space in hisdream house. His eco-friendly life dreamed a oneness with nature andhis poetic world shows a union of nature, space and him.

This thesis is trying to analyze the Yum Sang Sub’s novel(I-Sim), it’sfocused on love motive by narrater. The narrator of this text developed astory to compare love lines between Chungyung and Changho alsobetween Yong-ae and Changho. So main story line is a kind of love story. Love affair between Chungyung and Chawya contains some elements oflove as dignity, shyness, shame which Chungyung want to hide. That isalso an evidence of love story. According to title, the double mentality is affected her in two ways. Thepangs of conscience should not control fallen desire. But It fell her intodeeper depravity. Most of characters around Chungyung are so called vulgar persons. Bythe way, her smoldering resentment burst into flame. As a result,Chungyung was on the brink of ruin by Changyu, Jawya and Changho. And It was nothing but a reflection of phases of the times. In modernworld, main characters practiced their desire as a value of modern world,then Chungyung became a slave of money and sex. Some discussions above means 〈I-Sim〉is a kind of love story withrealism novel not a popular novel. I would say that this text is love story than popular novel. Because the author did not adjust his opinions andbehavior to please public readers. So〈 I-Sim〉is a kind of love story of therealistic method. Because the love motive is main episode. Also there are some new ways to analyze this text. Reanalyzing ironicalcharacter who the more he want to resist against depravity, the deeper itleaded her into depravity. But love affair between Changho and Yong-aeshows us a positive aspect of this text for the future.

Park Tae-Won who attracted attention as a flag bearer of modernismliterature in the modern times of Korea by describing ‘Gyeongseong’inthe 1930s using a modernological methodology in One Day of NovelistMr. Gu Bo(1934) and Riverside Scenery(1937) was reborn as the bestrealism author in North Korea by publishing historical sagas one afteranother after defecting to North Korea in 1950 such as Are EnlightenedMountains and Streams Being Brightened(1965~66), The Gabo PeasantWar(1977~86). A novel that is mentioned as a definite representativework among Park Tae-Won’s works after his defection to North Korea isThe Gabo Peasant War which is the last work of the author. The GaboPeasant War can be said to be a historical saga worthy of close attentionin this epoch of ours in which the heroic activities of Jeon Bong-Jun andOh Sang-Min who systematically led a peasant revolution from thebottom against feudal ruling powers and foreign powers centering onregions such as Gobu and Jeonju were embodies with full tension. Thispaper is intended to examine The Gabo Peasant War centering on majorplaces in it, in particular, ‘Seoul’among them that provides branchpoints of the progress of narrations. The movements of the ruling powersin the Late Period of Chosun and foreign powers made around ‘Seoul’immediately after the port opening and the processes of peasants’armedforces’resistance against the powers and their revolution form a majorpart of the work. Therefore, the space termed ‘ Seoul’can be said to be abridgehead that presents the context of the times which were thebeginning of modern times as well as the moment of the composition ofthe novel. In addition, Park Tae-Won is ruminating his memory of‘ hometown’remaining in his inner side even after the flow of the time ofseveral decades after his defection to North Korea by reproducing thescenery of ‘Seoul’that had been completely captured by the author’seyes that were like a camera as his native place and a subject of‘modernology’as it was in the novel with his shining linguistic sense. Assuch, ‘Seoul’occupies a certain position as an internal moment thatleads the constructive flows of the novel and a place in which Park Tae-Won’s modernistic creation techniques are implemented. Taking note ofsuch composite spatiality of ‘Seoul’, this paper is intended to firstexamine the appearance of Seoul that has been concretely reproduced inThe Gabo Peasant War in a‘ modernological methodology’by associatingit with the surrounding circumstances and situations at that time. Thereafter, the historical events turbulent around Seoul that act asinevitable moments that support the constructive flows of the entire novelby organically interlocking with the process of development of the novelwill be examined. The modernological narrations about ‘Seoul’as a major space of TheGabo Peasant War are not simply the descriptions of the customs of thetimes or the reproduction of internal scenery that becomes a subject withobservers’eyes but act as inevitable internal moments to draw thehistorical event termed‘ Donghak peasantry revolution’.

The purpose of this study is to determine the space representation in「Geun」, a Novel by Kim Seung-Ok. This novel is consist of core events thatthe one is to bury the partisan’s body, the other is to plot to raping by turnsYoon-hui. The former is concerned with consciousness of paternal age asideology of anti-communist and reification of the capitalism. The spacerepresentation is the defense corps headquarters and brickyard. The latter is concerned with consciousness of the younger generation as alack of spiritual value. As a result protagonist is required to establish theirvalue system by paternal age. And protagonist is forfeited their purity bythe younger generation. The space representation is a house for sale.

In Sacred Spring(2012) by Kang Seok-gyeong, the spaces are alwaysthe Greek and Roman relics. Consisting of 18 letters, the novel describesa journey of the protagonist who used to be a stage actress and one daywas thrown into the field of mythology. In the novel, the author borrowsmythical places and original mythological texts and plays variations ofvarious pixels toward the topic, thus reinforcing the narrative effects. In the novel, space changes serve as an important device to entailcharacter changes. In Kang’s novels, there is a pattern of expanding thestage space according to the expansion of a character’s internalconsciousness. She borrows a lot of outside worlds called foreign countriesin such a case. In Sacred Spring, space travel is a critical mechanism. The relics ofGreek civilization, which is borrowed as a background space of the novel,are the spaces that symbolically match the divinity of the ideal worldsought after by the main character, who reflects upon her life byidentifying with the characters of myths and plays at the Greekmythological relics, the birth place of play. The main character, who is a retired stage actress at the age of 60, hits the road to see her sonSubori(Peter) that has become a priest. Her internal pilgrimage that ispiled up one on another in the middle of the ancient relics is embodied asa novel in the travel account format with a structure of complex layerswith such narratives as the sad feelings and thoughts of human historyfossilized in history and civilization. In the early novels of Kang, the characters assume a closed space ofhome and struggle in it in order to escape from the ironic institutions andabsurd customs. In her later works, the characters borrow the travelmotif and expand and move the space, thus solving problems. “Will fortranscendence”for the secular world and “return to the archetypes”torestore the human nature through the characters’internal adventures onthe stage of Earth are the topics that Kang has consistently pursued inher works including Sacred Spring. The orientation of human nature sought after in her novels can beregarded as a type of work with similar patterns boiled down to the issueof fundamental existence. The novel examined in the present study,however, illustrates that the author reflects her intentions or especiallythe meanings of pixels in mythology to solve the difficult issues of thehuman world as reflective searches when approaching the mythical worldvia travel, a route open to the outside world. Sacred Spring well demonstrates the author’s capacity to reflect on andexplore the inner world of man as she deepens the depth of her thinkingby utilizing her knowledge about humanism and art in general. It is awork that intensively addresses the issues of life and salvation andcompletion and transcendence among artist-type characters that theauthor has long investigated.

This essay looks into the positionality of migrant women, particularythat of ‘migrant mothers’, within the process of recent transition intomulticultural society in korean context. The task of the essay is toanalyse the discourse of multiculture represented 2000s korean imagenarrative. The focus of this study is the communicative ethic aboutmigrant women and migrant mother. The analysis showed two aspect of the discourse of multiculture on2000s korean novel. The women who migrate to get married are visuallystared at by men from the start of the match- making process and areasked as the wife and daughter-in-law to abide by the patriarchal familysystem and asked to provide the body obediently. They are objectified forbody and sexuality. It was the author’s primary concern to learn theperceived images of migrant workers by Korean novel as well asideological effects arising from such images. The reason, which caused theauthor to pay extra attention to this subject, is because the perceivedimages of migrant workers created through representation of Korean literature are not only prejudiced or biased but also recognized by generalpublic as if they were true. The task of the essay is to analyse the discourse of multiculturerepresented some movie. The authenticity which appeal to human thingis represented as comminicative ethic. It leadl to discover the humanthing which could understand the otherness and communicate with openmind. The empathy and understanding of the pain revealed in the narrativesof such invoke the sentimental understanding of diverse cultures andawareness as citizens from the readers.

Korean novels in the 2000s have the tendency to depict marriagemigrant women as innocent victims of Korean capitalism. Female figures,who are not able to settle down due to infertility, abortion, avoidance ofpregnancy, or pregnancy with sexual violence, cannot but be driven toextreme situations and face with such tragic results as murder, suicideand being killed. This kind of formalization of marriage migrant womenderives from writer’s negative attitudes towards international marriagewhich is carried out by instrumental purpose. Perspectives that areinclined to sympathy and compassion upon marriage migrant womenmake writers create figures as‘ others.’ Seo Seong-ran’s 「Paprika」depicts marriage migrant women’sexistential problems via heterogeneous perspectives of Chu Yen, whoresolutely carried out marriage migrant to realize her expectation anddesire for better life, and Jung Il, a typical Korean farmer. Marriage migrant women, who are alienated by different language,residential environment and lifestyle, are the subjects of sexual desire,suffer from the obligation and suppression of reproduction of husband’sfamily, and the work they have to carry out as a housekeeper and worker, hurt badly with Korean people’s discriminatory perspectiveswhich regard them as pitiful women who were sold out by their povertystrickencountry, and then become‘ others.’ Suppression, alienation anddiscriminatory perspectives make marriage migrant women anxiousabout their identity and cause many problems for them to settle down inKorea. 「Paprika」grasps and depicts routine violence, marriage migrantwomen suffer from, and then presents their urgent existential problems,thus pointing out the fact that they are not alienated ‘others’butcompanions, we have to live with.

Applying the method of mystery in the creation process of childrenliterature has received much spotlight recently. The focus is on the factthat it contributes to procuring diversity in children literature. mysteryshares high affinity and possibility of application with children literatureas it originates from riddles in old tales. The value of mystery in children literature can be organized into thefollowing three categories. First, Proactive problem-solving skills. This isa different concept from didactic literature that has been emphasized byexisting children literature. More specifically, it can be summed up asautonomous problem solving attitude, focus on mystery and scientificknowledge, and resolution through communication and cooperation. Examples of literary pieces that reflect such values are Ghost HuntingDetective Bang-goo and Monster Catching Detective Bang-goo. Second, the emphasis of the play. mystery is recognized as a form of agame to children. This effect is amplified by being connected to the secretthat is put forth in the story. Children become interested in the process ofsolving the secret and form a bond while sharing the secret. Moreover games are related to activities that provide identity reaffirmation andbasis for growth. Pluto Secret Organization and Twenty Quiz Detectiveand Magician are examples of pieces that belong to such category. Third, Promotion of fusion. Literature can be easily integrated withdifferent areas. mystery especially has close connections with humanities,social sciences, and logic. Daenggi Hair Detective Kim Yeongseo is anexample of an integrative piece that combines history and mystery. Through history the educational purpose was achieved and throughmystery the recreational purpose was realized. Edutainment Contentshas attempted to diversify the value of integration and the‘ No Binson’series is a primary example. Although its artistic achievement is unclear,it is meaningful in that one can affirm the potential of integration ofscience, history, and art. The application possibility of the values mentioned is the following. Mostimportantly, it can be applied in children literature. Furthermore, it can beproduced into cartoon and animation. Lastly, it can highlight the value ofrecreation and be applied into a play, musical, performance, or theme park.

Korean the illustrated story books do not have a long history. In thelate 1960’s, foreign the illustrated story books were introduced to Koreawhile Korean the illustrated story books started to be published in thebeginning of 1980’s. In 2000, Korean the illustrated story books werepublished in wide range. Since then, the study of the Korean theillustrated story books have been eagerly required in children literarycircles. Accordingly, this thesis studies a Korean the illustrated story booknamed as “Gang-A-Ji, Dong”, which was a result of collaborationbetween a writer, Mr. Kwon Jeong-Saeng, and an illustrator Mr. JeongSeung-Gak. “Gang-A-Ji, Dong”was written as a child book in 1969 at first. Afterthat, Kwon and Jeong revised it and published as a the illustrated storybook in 1996. After that “Gang-A-Ji, Dong”became a steady sellerbeloved by Korean children. The republished “Gang-A-Ji, Dong”republished was not just improved in understanding and clarity of itscontent but recreated as a book which stimulated children’s imaginationthrough a changed style from children’s book to the illustrated story book by Jeong. It became a wonderful work resulted from interaction betweenwriting and picture. This thesis, firstly, deals with the recreation of“ Gang-A-Ji, Dong”onthe side of writing and picture. Secondly, it studies how the theme,background, character and plot of “Gang-A-Ji, Dong”was based on acertain emotion and ideologies from the various views of inmulseongdongi ron(人物性 同異論: The Debate over the Similarity or Differencesbetween the Morality of Humans and Animals), Taoism, andChristianity. Through the analysis of “Gang-A-Ji, Dong”we can figureout that the author’s viewpoint in literature is based on severalphilosophies such as inmulseong dongi ron, Taoism, Christianity and soon. “Gang-A-Ji, Dong”could become a steady seller because it wascreated based on the writer’s life, emotion and religion. Through thisstudy, we look forward to publishing many Korean the illustrated storybooks which help children achieve their dreams.

Kim Sooyoung holds a unique position in the history of Korean modernpoetry. His experiences of being in the North Korean army during theKorean War, escaping the army, staying at a prison camp, and beingreleased from the prison camp dramatically have a great value as ahumanistic story. Into the 21st century, four pieces of data with specificachievements and thoughts of Kim Sooyoung during the period of theKorean War and the early stage of the division of the Korean peninsulahave been released. This paper presents the meaning and value of thedata by accepting them from the perspective of storytelling.

This study set out to investigate what kind of changes would happenwhen the form uniqueness of Oh Jeong-hee’s novels was transferred to avideo medium and what was their interpretative implication. Many critics have paid attention to the combinations of intense imagesin her novels. The image sequence has been a consistent element of herexpressive characteristics in her works since her early novels. The densityof images and the resulting autonomy from narrative make her novelsdifficult and, at the same time, distinguish them from others. One of the noteworthy characteristics revealed in the process of herunique imagery being moved onto the film of Director Choi Wee-an isthat the image sequence is replaced by a series of events and visualrepresentations to mediate them. The imagery of her novel is visualizedwith specific objects in the movie, based on which many differentrepresentations are coming in all because of the medium characteristics of movie. Video language that emphasizes visual experiences demandsconcrete and physical media based on the material images of objects. Game of evening builds a narrative based on the unique mediumcharacteristics of movie and through the reinterpretation process by thedirector. While the original novel presents the daughter’ s narrative witha focus on the internal psychology of the main character in the stream ofconsciousness, the movie focuses on the portrait of the head of the familywho loses his family and then drives them toward ruin. Another part where the director’s unique interpretative perspective isobserved is the father’s desire to objectify his daughter. The excessivesexual metaphors and their events in the movie are closely related to thedesire hidden in the images of the original novel and disclose what wasomitted or hidden in the novel. The movie Game of evening reads the intention and theme of theoriginal novel in depth and captures the unique characteristics andsymbolic systems of Oh’s novels, thus shedding new light onto theoriginal novel. At the same time, it shows very unique criticalinterpretations and creative transformations in the way the events arepresented and the theme is delivered through the way.