Earticle

In response to the popularity of subjects integrating reading and writing, many universities are offering and operating such courses. Because of lack of materials for guiding such classes, however, there should be active relevant research and discussions. Thus, this study purposed to examine the operation of Classic Reading and Writing offered as a reading-writing integrated course at Ewha Womans’ University and to survey the students and their actual writings, expecting outcomes useful to set guidelines for reading-writing integrated classes. According to the results of the questionnaire survey, students wanted to expand their thoughts through reading classics, but the methods of reading texts and developing their writings were passive, focusing on the theme consciousness of the original texts. This suggests the need of the teacher’s guidance in interpreting classics, raising issues for expanding thoughts, etc. With regard to how to quote original texts and to add their interpretations, moreover, students were still poor as evidenced by the limited use of a few specific predicatives or failure to introduce various expressions different from their writing of academic essays, but it was encouraging that they seemed to be familiar with the conventional rules of academic essays as suggested by the adequate use of self-quoted phrases.

This study aims to analyze the realization and non-realization of subject and object markers in the Korean dialogues of female marriage-based immigrants. The dialogues are from ‘a multi-culture conflict between mother-in-law and daughter-in-law’ of EBS programme. The criteria of survey and analysis for use aspect of these case markers is composed by 3steps: synthesizing the former studies in according to the necessary and non-necessary realization conditions of subject and object markers, classifying them suitable for this study and applying the criterion to the dialogues of female marriage-based immigrants. As the result of examination on 19117 phases, 2,127 utterance units, there are 184 time of realization, 62time of natural non-realization and 114 time of ungrammatical non-realization in use of subject marker. The case of ungrammatical non-realization of subject marker appeared in conveying focus(84 time), contrast(27 time), making sentence with a predicate with many arguments(2 time) and using in the main sentence with a quotation. The ungrammatical non-realization of object maker found when it conveys focus(9 time) and contrast(5 time). Unusually, it did not show errors of over realization and substitution. Accordingly, female marriage-based immigrants commonly make errors on non-realization of subject and object markers. This reached awkward expression production and failure on meaning transmission occasionally. To this end, the realization and non-realization of case markers in oral language should be focused in Korean language education and researched the conditions of realization and non-realization of case markers.

With the development in the research in language education, there has been a continued interest in the error patterns exhibited by non-mother tongue learners of Korean. In the process it has been discovered that one major difference between mother tongue and non-mother tongue learners in the interpretation of concrete noun+ha- verb construction was false analogy. It’s important to note that this false analogy is due to the incorrect way the relevant vocabulary is presented in the textbooks for foreigners. This paper is a computational analysis of Korean verbs in which Noun+ha- is the analytical focus. I compare the ratio of the total number of verbs vis-à-vis Noun+ha- type verbs, and the ratio of Noun+ha- verbs vis-à-vis concrete noun+ha- compound verbs in 42 textbooks of beginning and intermediate levels that are currently in use in 10 institutions teaching Korean to non-mother tongue. I examine the extent of inclusion of concrete noun+haverbs as a function of levels, and compute the ratio of new and recurring words both in the main text and exercises as an index of the text’s level of difficulty. Following inferences can be drawn from the analysis: Texts with a greater frequency of Noun+ha- verbs have more Sino-Korean vocabulary; the degree of difficulty is higher if the text contains more N+ha- verbs than the Copula or Adjective construction and descriptive sentences. One important finding is that in most texts there was no systematic link between the Nouns+ha- verb and the concrete noun+ha- verbs. In conclusion I argue that it is necessary to teach the multiple functions of ha-verbs, and that it is imperative to teach more systematically and consistently the relation between the predicate noun+ha- type verbs and the concrete noun+hacompound type verbs.

This study looked upon the structure in linked Si-Jo Oryunga written by Rogye. The result of this study is as follow; 1. We understood the logical structure which is composed of introduction, main subject, and conclusion in four texts(Bujayuchin, Kunsinyueui, Bubuyubyeol, Hyeongjeyuae). 2. We understood the climactic structure in main subject of the logical structure above. 3. We understood the symmetrical structure which is the combination of the climactic structure and the anti-climactic structure in text(Chongron).

This study analyzed a novel's becoming a film with Deleuze's 'becoming' concept as a foundation for seeking a way for a novel and a film to acquire mutual valuable, artistic performances. Novel's becoming a film marks the point which a novel is changed at from previous itself after its meeting with a film, and at the same time marks the point that the film is changed at from previous itself after its meeting with a novel. Until now, the studies about the novel ｢Mr. Man-Deuk, Jo｣ and the film <I'm happy> have focused on the narrative differences being revealed from the media difference of novel and film, but this paper developed the research with more focusing on the theme aspect. Because that was considered to be a more appropriate research method in the creation's becoming a film, rather than the difference. In its beginning section, the novel ｢Mr. Man-Deuk, Jo｣ largely asks two questions: 'Does Mr. Man-Deuk, Jo want or doesn't want that (treating the delusion of grandeur)?' and 'It is up to Mr. Man-Deuk, Jo to make Dr. Min treating him as a real fortune or as a unfortune.' And the novel answers the two question through the section of conclusion and Dr. Min's speech. The film <I'm happy> tries to draw its thematic consciousness through its answer about the second question, 'It is up to Mr. Man-Deuk, Jo to go through the real matter after his treatment.' The film constructs a different narrative framework from that of the novel ｢Mr. Man-Deuk, Jo｣ by focusing on expanding the characters in order to draw such answer, and produces an expanded meaning structure rather than the meaning of film itself. And the expansion of characters draws Su-Gyeong and Man-Su's another conclusion. The film suggests an open ending different from the novel's closed ending, and makes the audience grasp the chain of symbols. The novel ｢Mr. Man-Deuk, Jo｣ could newly sew the chains of the symbols having floated through the film <I'm happy>'s creation of a new meaning structure, and that led to the expansion of meanings. Also, the film <I'm happy> could let the audience grasp the chains of symbols in open ending by getting the answer about the second question through the first question as the meaning structure focused on the novel ｢Mr. Man-Deuk, Jo｣.

This paper is to examine the effects of the space experiences on the space identity of a human being by analyzing the space experience of Yoon Hui-jung, the protagonist of the novel, A Trip to Moojin. ‘Moojin’ is a symbolic place which is reflecting Yoon Hui-jung’s inner world, and in which his ego identity is established, but is not a comfortable or easy place. To Hui-jung, Moojin is becoming a space which has lost its placeness, and in which lethargy and futility are being felt. The ‘small room’ is a space which plays a role protecting him from the outside violence or life crisis, but his small room is a place in which he loses his social ego by being isolated from the real life and which becomes the archetype of sense of guilt to torment him. On the contrary, the fog symbolically connotes his ontological conflicts together with the spatial characteristics of Moojin. It makes his view unclear, and with a strong force but with no clear identity, makes the distance far from others. That is, the fog has a function of severance. It can be said that the image of the fog represents his hidden desires and the duplicity in which he wants to deny the desires. He has made his own image of Moojin with his inner experience from his younger days, and has given the placeness to it, but it is nothing but the place of suffering. His experience of the ‘small room’ and the ‘fog’ only reminds him of Moojin as a chaotic and lethargic place. Moojin has already deprived him of his sense of place seeing that he does not stay in Moojin, but eventually returns to Seoul despite his self-retrospection.

Since the 50s through nowadays Lee Ho-cheol keep writing by the run, is unparalleled peculiar case in Korean after war literature. His concentrated studying embody North Korean refugee and portrait divided reality in those long working is somehow in contact with struggling himself in strange South Korean society. Therefore ultimate purpose in this research is studying which method he uses for aspects of embodies refugee and understand entire view of his literature. Beginning with the refuge from hometown in 50s, he gave his best for describe the life phase of refugees dropped into strange southern society pass 60s and 70s. And in that process through embody diverse aspects of refugee characters, continuing pursuit writer's aspects for conquest divided reality and pursue right directions for live. From the 80s and 90s up to the present, his authorial interests requests us continuously and intensively aware divided reality which is unavoidable origin influence.

Lee Sang released 28 poems written in Japanese in ‘Chosun and Architecture’ from 1931 to 1932. The series poems consist of six poems under the title of <Abnormal Reversible Reaction>, eight poems under the title of <Bird’s Eye View>, seven poems under the title of <Drawings of Third Angle> and seven poems under the title of <Architectural Infinite Hexahedron>. The difficulty experienced while working in the Japanese Government-General of Korea contributed to the series or line of the poems. The poem <Abnormal Reversible Reaction> expressed a yearning for Madame Charlotte Perriand, a French interior designer under the Japanese ruling. He described the situation surrounding him as 'Circle' and the effort to overcome the obstacle(circle) as 'straight line'. In <Fragmentary Landscapes>, he made a conclusion that “스틱크!(Lee Sang)” is “a snowscape which ▽ was finally exhumed and buried in.” It is interpreted as a pronouncement that Lee Sang can not go to France, considering the expression “he will forget the French woman symbolized as ‘▽’ by covering her with snow”. In <Game playing of ▽->, Lee Sang is looking for a woman of his dream, regretting her disappearance. He confesses that he is waiting for her telegram the vanished woman (▽) has yet to send. The “bent line” is a symbolic expression that he gave up going abroad(symbolized as ‘straight line’) because the line couldn't penetrate ‘circle’(obstacle), so it is bent and confined in ‘circle’ In <BOITEUX․BOITEUSE> the word ‘CROSS’ representing a cross can be read as evidence of torture. Arrested and tortured by the Japanese police due to ‘Incident X’ which occurred accidently, Lee Sang stricken with shock seemed to change the novel’s title to <December 12> in haste. He altered the novel’s plot so it now read “fleeing and returning home” and released poems written in Japanese to disguise his story and meaning. Lee Sang expressed his distorted fate under the Japanese colonial era as a “cripple”. The novel symbolizes two facts that he as a cripple was being falsely charged as an arsonist and expelled by the church he believed in. This paper is intended to reinterpret Lee Sang’s insufficiently interpreted poem <Hungerㅡ>. The poem is reinterpreted based on his daily and real life conditions at that time in 1931. It is believed that <Hungerㅡ> symbolizes ‘spiritual hunger and thirst' and hope and thirst for getting out of conflict and fight between two opponent parties. Lee Sang was expelled from the Japanese Government-General of Korea because he turned his back to Pro-Japanese Korean camp by denying a request of the Japanese Government-General of Korea. Lee Sang supported the independence movement group in Korea and the communist group upon their request. However, he was eventually broken away from those groups because he was falsely prejudged as having cooperated with Japanese police in the process of their mass arrest. Therefore, he was eager to escape from his position between the right and the left as well as the distress caused by being ostracized by the both groups. The agony was likely to result from the conflict between two rival parties, one is the nationalist camp and the left wing insisting on Korea's independence and the other is Pro-Japanese Korean camp and the right wing. The poem can be interpreted as a fervent hope for getting out of the agony.

This thesis aims to look into significance of literary imagination in the field of literature education. The important responsibilities of such imagination are discussed as the thesis focuses on innocence of childhood observed in poems written by Jeong Jiyong. When it comes to how to define innocence of childhood, it can be associated with raw experiences of learners from an angle of literature appreciation, and such experiences are regarded as these experiences which have been already kept deep inside the learners’ minds even before the learners would actually try to recall any of them on purpose. After all, innocence of childhood is a continuum of emotions of a learner oneself, and it grows the learner’s mature inner mind as leading one to work on more advanced reflective thinking. That is why the thesis sees innocence of childhood as a good chance for a learner to exercise one’s imagination. First of all, literary imagination found in Jeong’s poems appears in a form of innocence of childhood. Back then, Jeong was feeling scared and anxious about Japan as a colonist but he still came to overcome his negative inner world with the help of innocence of childhood. In particular, Jeong’s own fairy-tale factors such as the “blue bird“ or the ”colored bottles“ like ”red bottle and blue bottle“ proved how strong his childlike ego was, and readers of Jeong’s poems are encouraged to have a positive attitude toward the world. In addition, innocence of childhood in the poems of Jeong Jiyong help the readers look right into their inner minds and there, they face with true egos of theirs. In other words, as far as the poet believed, innocence of childhood was a process of how he would recognize himself through what he was talking about, and it helped the poet survive from senses of loneliness and sadness that he was going through in the colonial period. Such aspects of the innocence of childhood may depreciate values of the works when the readers fail to see even more of the works themselves. The aspects of innocence of childhood found in Jeong Jiyong’s poems should be handled with these practical principles of poetry education. Innocence of childhood basically reminds a reader of one’s raw experiences. To be specific, innocence of childhood invites learners to understand intrinsic values of their inner minds, and that is what gives the learners an opportunity for introspection in their lives. In the light of that, the thesis suggests that the learners should get into an ‘activity to convert these poetic situations into their own epics’. In the end, innocence of childhood leads the learners unconsciously to their epics, and through their raw experiences, the learners remind themselves of their inner minds. As a consequence, the learners finally find reasons for forming their more solid identities as working on reflective thinking. As you can infer from what has been described above, since innocence of childhood works closely with experiences of learners, any of you would hardly deny the significance of the learners’ imagination. To rephrase, not only does innocence of childhood help the learners’ chances for reflective thinking but it also inspires the learners to cultivate right, positive minds. This thesis, after all, argues that in terms of literary imagination, it makes a contribution to learners’ more confident identities and plus, it invites the learners to really think of what a true life is as guiding them to a life with value.

What appears to look incidental woman figures who has become the typical type and the others formed by male-centric perspective in the story of man from ancient Greece to modern literature in the tradition of literary history? And how can the female writer write her own story in writing against the patriarchal creator’s view which is the creator of text? Does female's writing indeed contain the possibility of writing to notice the transformation of the social and cultural structures? In this paper, we reflect on these issues through Mary Shelley's novel "Frankenstein or the Modern Prometheus" in the early 19th century and "Malina" by Ingeborg Bachmann, an Austrian writer in the mid-20th century. Mary Shelley's "Frankenstein or the Modern Prometheus" tells the story of the monster that was created by Dr. Frankenstein exploring the principles of life passed through three descriptors which are Frankenstein, the monster and Captain Walton conveying their stories to his sister. All three descriptors are males, and the anonymous writer published a novel. Each of these three descriptor with fundamental questions in mind has wandered the frontier zone of the ground and talks about off the existence of the creature in God which created Adam. In this regard, this novel is a story about a woman in a patriarchal world that has been ruled out as a heterogeneous presence and is confronted with the structured text alienation and anxiety as a female writer in the tradition of Western literature that has given the patriarchal authority to the writer as a creator of the text at the same time. The problem of female writer’s consciousness in the tradition of Western literature is treated as a main idea, a contemporary female writer of the mid-20th century, in Ingeborg Bachmann’s “Malina”. The author plans Malina as a person carrying the stories about the death of women and a female descriptor describes the process of handing over her stories to him in this novel. However, by the progresses of the novel, it becomes a process which is Malina the female descriptor 'I' is taking the male narrative perspective by coming out the rational and masculine female descriptor's other self. This work is the process itself of literature which is a female writer, as an author, makes her story a literary work, Being split into female descriptor and his male alter ego of the artist's narrative perspective can be understood as a division of losing their identity as women in a patriarchal and male-dominated patriarchal society and writer’s consciousness in western literary patriarchal tradition. In the final chapter, the female descriptor hands over her scattered memories, nightmare and writings to Malina, the reasonable superior masculine alter ego, and she defines this process as a violence and murder and disappeared. This novel criticizes and deconstructs western patriarchal society, patriarch of the western literary tradition and rationalism in the content and configuration.

One of the trends that emerged in South Korean literature after the travel liberalization policy in the 1990s was travel novels in the travelsettlement- travel structure, which indicates that the global community has entered the era of fluidity both in name and reality along with the creation of diaspora literature in the 2000s. In such travel novels, the travelers encounter or meet migrants of the Korean race from multicultural novels, realizing that the country has not yet escaped from the colonial situation and reality of division, which are wounds and agonies in the Korean history. North Korean defectors have a unique other-identity as Korean descent migrants along with the second- and third-generation migrant Goryeoins, ethnic Koreans living in China, and Zainichi people. They are treated as a minority in the countries where they are living and as a marginal or second class in South Korea, going through a difficult and brutal life of separation. Women of North Korean defector diaspora have dual otherness and are especially subjected to body, sex, and capital extortion, crime, fraud, and violence. This study examined The Wild Rose by Jeong Do-sang to figure out the foreigner awareness and other-identity of travelers and migrants. Previous studies on the novel conducted analysis with a focus on Chungshim(Mina, Soso, and Meina), a woman that defected North Korea. The novel, however, tells a story of "I," who is a traveler wandering around China after losing her son, meets diaspora women wandering along the streets-ethnic Koreans living in China, Han race, and North Korean defectors-, and shares grief and pain with them in a healing process. Meeting Mina, who has a hell-like mind and lives her life for survival after suffering unendurable despair and physical damage, and listening to her story about how she defected North Korea, "I" joins her in efforts to heal each other's wounds and moves from the issue of lost ego to that of national identity. Entering the multicultural age beyond borders, East Asia has faced a bunch of ethical issues raised by the sexual assault, separation hardship, and infringement on human rights of East Asian women and the mass production of Homo Sacer man. A lot of strangers receive unethical and inhumane treatments and are excluded from the community along the border boundaries among North Korea, South Korea, and China. The multicultural situations of the 21st century especially put female North Korean defectors, who have multiple otherness including "migration," "teenage girl," "East Asia," and "defection from North Korea," under harsh and excluding conditions. The migration process of Mina, who was subjected to treatments as an animal or object the moment she crossed the border, and her encounter with I, who lost a child, tell that we are currently living in the age of Homo Nomad full of travelers and migrants.

The article start from curiosity that I want to know changed space’s meaning from National Violence through Jo Jeong Rae’s Han River. I’m using a concept ‘the heterotopia of narrative space’ for define about the space’s remember and re-construct, changed space, Identity of space on text. Parallel and divisive space is a dynamic life form that generate new meaning and control human by human’s social movements. Seoul become democratic space for justice on 19.April.1960. but characters’ space become different space like experience fear, shyness, mortified oneself, cowardice. Character’s remember become carving remember by suppress, beating, torture on their body. Past pain reappear present experience in blind panopticon that is created remember Panopticon automate power, de-individuation and leave person under the field of visibility, characters recognize relation of power by oneself and come in boundary. They think that they were being watched or not, they were locked the obedience principle by discipline mechanism. but they try to overcome boundary with care for the self’s eyes in the points of support about authority. They insist that the resistance about national violence is justified sovereignty action and recognize new meaning of spaces as ethical identity. They make identity space through remember’s restructure, build life’s field in ‘the heterotopia of narrative space’ Character break fantastic image of space and make identity space in seoul. They let loose of the past as reconstruct their remembers and go to the new world and make identity space. Ilmin and Ilphyo brothers can’t take their positions as the involvement guilty system but they can take their position as use power of a capitalistic. Han Ingon who is a member of the national assembly, he want to go to right path but feel limits and recognize that the first how is settle about pro-japanese, he publish a pro-japanese biographical dictionary. Lee GyuBack who is a survivor on 19.April.1960. was ashamed and feel about shyness, helplessness, sense of shame in front of national authority as a public prosecutor and become a people lawyer. Characters make a rescue theirselves in violence space through care for the self’s eyes. These eyes start resistant about political authority. The violence space become de-obedience space, that is a open and real identity space. Character re-construct the past painful remember through new experience and take a position on open space. It is a active movement and has a identity space .

Korea and Mongolia, the two countries are geographically belong in Asia, however it is difficult to say neighboring countries. Because these two countries are far away and different on the culture and living conditions. Nevertheless, the two countries have continued for a long time cooperation, exchanges and the relationship of confrontation and conflict historically. As a result, there are still remaining interesting relationship between the two countries. In this article, I investigated a comparison of recognize and custom on the nature in Korea and Mongolia. On the basis of mutual understanding through the very limited range of materials. The difference of a recognize on the nature is due to the given survival environment and life condition. This is reflected in the wisdom of the two countries. The two countries also have been discovered similarities and differences in recognition on the natural custom with a focus on land and water. The attitude of preservation and assimilation on the nature is different from recognition of western people, thinking as the object of development and use, destroyed and transformed. To this end, the two countries have been retained to form a customs on a variety of land and water. Most of the differences between the two countries, due to the environment and life method. Essentially, though having the differences of phenomena, the two countries have the same point of view, such as the maintenance of tradition and experience. Which in turn can be seen as the expression of wisdom for survival.