Earticle

The aim of this paper is to argue that Korean relative clauses cannot be distinguished from other noun-modifying clauses in terms of syntax. There are various kinds of noun-modifying clauses that can't be included in relatives or complements. ‘gap’, the typical relativization strategy in Korean, may be found not only in relatives also other noun-modifying clauses. Moreover, there are cases that seemingly have gaps but it's not possible to move the head noun into the gap. The so-called internally -headed clauses in Korean are quite different from ones in other language, and are used in very restricted circumstances. These all phenomena suggest that there is just single noun-modifying clauses in Korean.

This paper studies the world lmage and will of the speaker de noted by the space of Baekseokjeong and Imgyeongieong of resp ectively in Baekseokjeongbyeolgok and Gwangjuimgyeongjeongpalgyeong written by Shingyo Gasa. The space of Baekseokjeong in Baekseokjeong Byeolgok and Imgyeongjeong in Gwangjuimgyeongjeongpalgyeong are both co -nstructed by eight scenic elements. The former constructs an i deal Confucian world and a Nakdo(乐道) life by describing a har monious and peaceful life of common people. Different from this, the latter demonstrates an ideal secluded world where Gunja(君 子) could pursue a solitude life through natural environment in r emote places and a simple life on his own. Moreover, both ‘Baekseok’ and ‘imgyeong’ have a connotation of self-improvement. Therefore, it can be inferred that Baekseokjeongbyeolgok denotes space for self-improvement and waiting for an opportunity, Gwangjuim Palgyeong signifies a space of self-improvement and reclusiveness. This difference between the two can be attributed to the political climate and Shingyo’s experience of a governmental official. In 1690, a year after National Disorder, Shingyo got a position in government by recommendation. As a member of Namin Party, Shingyo took this as a great chance to make some remarkable achievements as he had long been ambitious to do. Baekseokjeongbyeolgok is a reflection of this ambition and his waiting for an opportunity to fulfill his ambition by demonstrating an ideal Confucian world. However, Shingyo failed to be promoted to the central government as he expected even after nine years of government service. This failure made him realize that he was not accustomed to the strives between parties, so he chose to resign in 1699 when the Seoin came to power again. Years after his resignation when he became too aged to fulfill his ambitions as he had wanted, he wrote Gwangjuimgyeongjeongpalgyeong in which he revealed his determination to be secluded and self-improved as a Gunja.

<Love What is this>, <Winter Sonata> and <Dae Jang Guem> are the most successful Korean dramas abroad. Recently, <My Love from a Star> which has been newly caused the Korean drama boom in China begins to succeed the abroad success of Korean dramas. According to the common opinion of Korea and Chinese researchers, the cause of the great success of the Korean drama seems that they were well represented the traditional values such as familism or filial piety. However, unlike the previous three dramas the last is not applied to the logic. These four dramas stand out traditional narrative grammar to mediate a common contradiction and the protagonist to aspire to premodern society’s value or attitude. <Love What is this> is seeking the coexistence of men and women under the antinomic situation and collision of family values between the modern and pre-modern. The male protagonist of <Winter Sonata> is a combination of incompatible qualities and this drama extremely seeks to romantic idealism and stereotypic exotericism. <Dae Jang Geum> actively utilizes the fact of history as background and simultaneously introduces the traditional female heroic narrative into the most powerful male’s world. By doing so, this drama stands out fictional imagination. <My Love from a Star> is based on the assumption both impossibility in on time and space and describes the extraordinary encounter and love between a man and alien beings from outer space. In addition to this, the hero and heroine of the Drama are in the latest fashion and have sophisticated qualities but they have a conservative and traditional values at the same time. The success of these dramas show that our lives are often exposed to the contradictions and we hope to escape from the situations and heal the wounds in this world through well packaged traditional narratives.

It is generally held by scholars at both home and abroad that most words are acquired by metaphors which are important signs and ways for semantic changes. Thus, in acquisition of Korean words, learners are encouraged to have a basic understanding of conceptual metaphors and then have an overall command of all words with the cognitive approaches of conceptual metaphors. Moreover, they are supposed to make full use of their mature mind to understand the words. In this way, not only will learners be developed in their way of thinking in Korean language, but also they will become more efficient in words acquisition.

필자는 이 논문에서 ｢남염부주지｣에 나타난 염부주(지옥) 형상의 특징에 대해서 살펴보았다. 논의를 요약하면 다음과 같다. ｢남염부주지｣에서는 염부주가 벗어날 길이 없는 뜨거운 불의 城, 극심한 고통을 겪어야 할 곳이라고 말하고 있다. 하지만 그와 동시에 염부주는 염왕이 君師로서 백성들에게 교화(덕화와 예교)를 베풀어 그들이 전생에서 잘못한 바를 깨닫고 새로운 존재로, 至善한 존재로 거듭나게 하는 공간이라고 했다. ｢남염부주지｣에서는 아무리 죄질이 나쁜 “시역간흉의 무리”라고 하더라도 교화를 통해 至善에 이르게 된다고 했다. 인간 본성의 선함을 확신한다는 말이다. 염부주에서는 유교의 덕과 예에 입각한 교화가 이루어진다고 했다. 덕과 예는 현세와 내세를 일관하는 至高의 가치라는 말이다. 한편 염부주에서는 고립된 개인에게 형벌이 가해지는 것이 아니라 사회적 관계망 속에서 형벌과 교화가 동시에 주어진다고 했다. 그래서 처벌과 교화, 즉 刑德을 兼用하는 君師인 염왕이 이상적인 통치자로 그려진다. 요컨대 인성의 선함을 회복할 수 있다는 믿음, 덕과 예의 초월적 가치 인정, 君師의 刑德에 따라 운용되는 사회를 이상화하는 점 - 이 세 가지는 작가 김시습이 가지고 있던 유교적 사고방식이라고 할 수 있다. 지옥을 설정하고, ‘설령 지옥에서라도’ 이 세 가지는 변함없이 유지된다고 말하고 있다. 바로 이 점이 ｢남염부주지｣의 독자적인 설정이다. 염부주의 백성은 서로 어울려 君師인 염왕의 처벌과 교화를 받으면서 본성의 선함을 회복하고 있는 중이기 때문에 고통을 겪으면서도 때로 서로 웃고 이야기할 수 있는 것이다.

In this paper, characteristics of appearance of hell shown in ｢Namyeombujujj(南炎浮洲志)｣ had been told and it is summarized as follows. In ｢Namyeombujujj｣, Yeombuju(炎浮洲) is described as a castle of hot fire where nobody can escape from and a place where one should suffer extreme pain. But at the same time, Yeombuju is a place where King of hell educates people so that people can realize faults of the past life and be born again as a new and best being. In ｢Namyeombujujj｣, even a person who committed vice in the past life can reach the highest good through edification. This means that human nature is good. It is said that edification based on virtue and courtesy of Confucianism is made in Yeombuju. Virtue and courtesy is the best value of all period of present and next world. On the other hand, in Yeombuju, punishment is not added to isolated individual but punishment and edification is given at the same time in the midst of social relational network. So King of hell is described as an ideal governor who can use punishment and edification, that is, law and virtue. In short, it can be said that Kim Si-seup, an author had Confucian thinking like these - belief in possibility to recover human nature, recognition of transcendental value of punishment and edification, pursuit of idealized society operated by punishment and edification of King as a teacher of people. He assumes hell and said that 'even in the hell,' these three points are maintained without change. This is the very unique setting of ｢Namyeombujujj｣. People in Yeombuju get along together and receive punishment and edification from King of hell. As they are recovering human good nature in this process, they can sometimes smile and talk together even in the pain.

This paper aims to clarify the semantic-formal characteristics of the paradigmatic blends and to distinguish the blends from the abbreviation in present-day Korean. In the semantic-formal aspects blends is different from the clipped word and initialism. Blends have no the original form, blend’s meaning is not the same as the compositional meaning of source words. But the clipped word and initialism have the original forms and the former has the same meaning as the latter. Despite these differences between blends and clipped word/initialism, the comparative object of Korean blends must be not clipped word/initialism but abbreviation. Because there are the many different types of abbreviations that don’t belong to clipped word/initialism in present-day Korean. Accordingly clipped word/initialism is only the subtype of abbreviation. This paper argues that the concept of syntagmatic blends which is suggested in 노명희(2010) has not the logical basis in present-day Korean Grammar. A so-called syntagmatic blends have the original form and the same meaning as the original form as if abbreviation does. In English blends is formed of the compounding of the larger units than letter but abbreviation is made of the combination of letter units. Because these two of English is different in the formal aspects, the concept of syntagmatic blend can be established in English grammar. But in Korean all of blends and abbreviation are made of compounding of syllables or larger units than syllables. In Korean these two are not distinct in formal aspect. Accordingly concept like a so-called syntagmatic blends which is suggested in 노명희(2010) must be discard. And this paper insist that the real status of so-called syntagmatic blend is a subtype of abbreviation in present-day Korean.

The aim of this thesis is to analysis <Something written by Blood> of Son Chang-seop with absurdity of the philosophy suggested by Albert Camus to find out the absurdity concept and correspondence aspects in this work. Even though the word 'absurdity' of his works was appeared among some thesis, but the studies could not find many-sided definition because the studies were done in the narrow view point of 'post war'. Thus the author thinks that the 'absurdity' in the works of Son Chang-seop means not only real lives but also essence of life, and thus tries to seek for the deep concept created as the essence by Son through his pursuit of real nature of life. Albert Camus's absurdity means 'strangeness' naturally and this is made when two objects were compared, not isolated object or event. This strangeness comes from the relations between me and the outside, me and others, and me and myself. He emphasized to have the attitude of consideration in order to understand the meaning of absurdity, and suggested the resistance, liberation, and passion as the attitude of corresponding with absurdity. The author found out the special feature of absurdity suggested by Albert Camus, and the strangeness appearing relations between me and the outside, me and others, and me and myself in this text through the detailed study. Self-consciousness of existence, passion for living as the corresponding with absurdity were expressed. As a result, the images of absurdity on human beings, and the will to correspond with this absurdity were found in this text.

This study analyzed the patterns of memory restruction in Sunisamchon by Hyeon Gi-yeong, which was the starting point of ‘April Third Incident in Jeju’ literature, focusing on his historical perspective, which refers to his attitude as a writer to read the reality in the eyes of non ideologial approach. In Sunisamchon, Hyeon reveals the truth of April Third Incident in Jeju hidden behind the official history through the status of the memories based on the “decentered spirit of margin” along with the individual and collective memories suppressed under the government's official memories. All the characters of the story are about people that personally experienced April Third Incident in Jeju. Refusing to accept the government's official memories, they call the memories of April Third Incident in Jeju to find the correct substance of “resistance” instead of “riot.” The death of Sunisamchon triggers the personal memories of April Third Incident in Jeju among the local subjects. The process of finding the cause of her death goes in line with the narrative of the memories finding historical truth against the official memories. The results of their exploration allow the readers to read the truth of April Third Incident in Jeju through vivid memories as the truth cannot be confirmed in the official cause of death and official history. There is the common practical significance in the memory acts of the people, whose memories of April Third Incident in Jeju are not just some substance in storage but resistant memories against official memories with activity of being reorganized according to time. The landscape of the room on the day of memorial service offers an indicator to examine the operating patterns of such memories. The memories of the happenings are reorganized more multi-layered than the government's official memories and have a different voice from the official history. In addition, they maintain an ongoing pattern to some degree in spite of time passage and changes of situations, explicitly showing the false image of the ideology covered by the official history and the destructive power of violence of April Third Incident in Jeju imposed on individuals. At a time when nobody had been held accountable for the massacre by the government's violence with the truth covered and manipulated even after 30 years from the event, Sunisamchon makes a wish for the repose of the undeserved deaths with an official joint memorial service and talks about the hope of reorganizing the identity cut and destroyed by ideology.