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The purpose of this thesis is to consider a characteristic of ‘JA’ as an interjection and the function of it as a discourse mark in everyday Korean language. ‘JA’ function as an interjection in sentence, also its faculty is changed its meaning and function by the intonation or situation. The discourse function of ‘JA’, the discourse mark is various as “the beginning of discourse, diversion of topic, concentrate of attention, play the time” by the situation. ‘JA’ is unnecessary in meaning of sentence, but it is a necessary linguistic form to communicate the purpose or intention of discourse to the listener with effective.

In this study, I understand that the double writings of the aspirated consonants have the same root, but they went through the process of selecting the writing types consecutively. This study focused on phonological phenomena, the recognition of correspondence, and the phonetic features under my assumption that each phonetic form has three writing forms. I founded that the ‘ㅅ’ of ‘ㅅ+ㅊ’ in the type(2) was realized [t┓] not only in the modern Korean but also in the middle age Korean. Moreover, I founded that ‘ㅈ, ㅊ, auxiliary ㅅ(or sai si-ot)’ were realized [t┓] from 15 century, and I also analyzed that ‘ㅅ+ㅊ’ is composed of two phonetic values [t┓] and [cˊ]. In contrast, the ‘ㅊ=ㅅ+ㅎ’ type appears at ‘Oryunjeonbieonhae(1721)’. I understand that the examples such as ‘빗히, 빗히로다, 낫낫히’ are combined with the subjective particle ‘이’, predicative particle ‘이다’, adverb derived suffix ‘-이’ respectively and situated in the palatalization environment at the same time. 【Abstracts】 48 이 논문은 2008년 5월 25일에 투고되었으며, 2008년 7월 8일에 심사 완료 되어 8월 10일에 게재가 확정되었음. In my view, above three examples were influenced by the over-correction of the palatalization. On the other hand, I found that the examples ‘빗, 빗헤, 것흐로, 것, 갓셔, 걷흐로만’ were influenced by the re-structuralization in relation to the non-phonological reasons. Therefore, with the above reasons, I assume that ‘ㅅ+ㅎ’, the type(3) of ‘ㅊ’, is not corresponding to ‘ㅊ’, but ‘ㅌ’. In short, it would be possible to correct the combined writings by three types and suggest their phonetic reality as follows; [표]

This article studies difficult Korean consonants, in particular, stops, liquid, and geminate consonants to English native people who are learning Korean. In section Ⅱ, the authors scrutinize the discrepancies in perception and production of Korean stops, liquid and geminate sounds between English speakers learning English and native Koreans by means of the analyses of the experiments’ results. The results of the experiments claim that orthography, morphemes, phonological rules as well as sounds themselves are all important and that teachers teaching Korean sounds to foreigners should consider all the relevant factors in teaching Korean sounds. Section Ⅲ is an important section because it gives us several tips of how to teach Korean sounds and phonological processes to English speaking people learning Korean.

說周知，現代韓國語的“및”作爲連接兩個或者幾個名詞句（NP）的接續 副詞，其用法相對單純。但是上溯到中世國語，我們不難發現“및”的分布情況 和意義與現代韓國語存在較大的差異。“및”是諺解漢文時直譯漢文“及”造成的 結果。 因此本文以直譯特點突出的≪小學諺解≫爲例，詳細闡明了中世國語中 的“및”的分布情況和意義。根據“및”前後連接的成分的關系，或者由“및”引導 的分句和後面分句的關系，將“및”的分布情況分成對等型（A型）和從屬型（B 型）兩種類型。對等型中又根據連接成分的性質分成名詞句對等型和動詞句對 等型。從屬型中根據“및”引導的分句後面連接的成分不同分爲助詞從屬型和語 尾從屬型。現代韓國語的“및”表示“包括，包含”的意思。在中世國語中也能發 現這種用法。但是中世國語中的“및”還能表示“選擇”和“到達某一時間”的意 思。這種用法和現代韓國語異。當然這也是由於“및”是直譯漢文“及”而造成 的結果。

The aim of this paper is to examine a cause of deletion appearance of /어/ in Gim-je Areal Dialect, explain a cause by analogical extension. It appears the initial sound of a syllable of an ending of a word deletion appearance of /어/ after a part open syllable a stem(or pre-final ending)‘어’ 계 in Gim-je Areal Dialect. It doesn’t appear an ending of a word /어/ when preceding a vowel ‘이, 위, 외, 으, 우, 오’ .There’s mainly appear in Jeonbuk Dialect, it confirmed a word deletion appearance of /어/ of an ending of, especially preceding an element /이/, in Jeonnam, Chungnam, Kyeongsang Dialect. The result showed that deletion of /어/ after vowel /이/ inside of morpheme and its boundary was due to replacement process as it is. Also, endings that /어/ was already deleted after /이/ eventually, adopted the deletion even after other vowels besides /이/ as of analogical extension

<Soksamiingok> is the old form of Korean verse which was created by Lee Jin-yoo(李眞儒, 1669-1730) when he was sent into exile, and <Bukchanga> is also the old Korean verse created by Lee Kwang-myung (李匡明, 1701-1778) during his banishment. Lee Jin-yoo and Lee Kwang-myung were the uncle and the nephew. Lee Jin-you, the uncle, was banished because he was defeated in a party dispute, and he died from torture when he was caught again after the banishment. As he was branded as a traitor after 25 years from his death his nephews including Lee Kwang-myung were banished too. <Soksamiingok> has the same form with the former term of the Choseon Dynasty’s Korean verse, Gasa, to pine for the king. However its matter is the record of empirical fact so that it leads the new tendency of the late period of the Choseon Dynasty’s Gasa which is to pine for the king. emphasizing the suffering of the individual by exile rather than the political inclination.

This paper focuses on an aspect of the continuity and the change of Maeul-kut that have performed in Jeongup. In this paper, Maeul-kut is treated as agricultural custom. The season of Maeul-kut in Jeongup is the 15th of January and the first of February according to the lunar calendar. Baekjung custom on the 15th of July has been continuing in Jeongup. The continuity and the change of Maeul-kut of Jeongup may be considered as follows : forms of Maeul-kut, behaviors that consist of Maeul-kut, time and place, performers, the subdivisions of the seasons and so on. The cause of the change are related to the change of villagers’ recognition to tradition and rural life. And new custom according to the solar calendar such as ‘invented commemoration day’ supported by township is worthy of notice. All the changes are the result that the old culture adapted to the realities.

A thesis adapted by Lee Haejo in 1912 and made for research aiming at the Okjunghwa(옥중화), Gangsangryeon(강상련), Yeon’uigak(연의각) and Touigan(토의간) which were published serially in the Maeilsinbo which is a newspaper. In this research, the development and meanings of these works were considered. The writer understood that Lee Haejo has not carried Pansori as it was but instead he adapted the work and concentrated on its reason and understanding of the intention for the adaptation. Through this research, the writer can conclude that Lee Haejo had had eliminated the problems that have occurred in the transmission process of Pansori while exhibiting consciousness on its desirable components. In accordance with this conclusion, in order to solve the matters of concern, Lee Haejo had deleted unnecessary parts and added only those that are important in the original work. As a conclusion, through this research, it can be said that Lee Haejo was an individual who, even had had illuminism recognition, had not unconditionally reduced any value from traditional things, otherwise had had preserved their peculiar characteristics. At the same time, the point that Lee Haejo had positively found a way for this work and its readers to meet through various means of understanding, it can be known that Lee Haejo was a person who provided an extensively wide perspective about Pansori and classical novels.

Choi Seung-Ja started her literary career through writing ‘Love of this time’ and four other poems in quarterly publication magazine ‘literature and intelligence’ in 1979. She has been considered a poet who opened a new prospect in the field of poetic expression by making a new attempt through abandoning the existing female poets’ traditional lyric expression and suggesting a new viewpoint on facing the facts. The purpose of this study is to help understand Choi Seung-Ja’s poems through studying death and alienation expressed in her poems. Her representative writing methods are as follows. First, she uses the image of death to depict love. She makes use of the detailed death image to bring the memory of already-gone painful love to the present. She also calls attention to the meaning of love which is painful but still ongoing by regenerating the present aspects of love as factual and detailed image. Second, she incarnates the consciousness of poems by the image of body. One of the remarkable features which appear in Choi’s poems is to express her vision of poems through physical thought and image about bodies. As for a poet, a body is not outward appearance of the mind, but concrete reality on which life is based. We cannot communicate with the outer world without through bodies. Choi regards a body as truth which cannot be erased and the only way to meet the world. A poet deepens the reality of truth which he or she desires by the use of body image. Third, she deepens themes using the negative speech. In many cases, poets describe ironically the tragic awareness of the present situation and existence, which is a way of exaggerating the poetic meaning effectively by opposite expressions of what they really want to say. Choi not only accepts this ironical expression as an antinomic statement but also reflects her attitude toward life in which she wants to get over such a confusing situation. I hope this study of Choi Seung-Ja’s methods of expressing the consciousness of poems will help understand poets’ mind.

This paper investigates the poem written by Jeong Ji-yong “Glass Window-1” through methodology of cognitive sementics. Cognitive sementics is a literary research method for attaining to creative understanding through construction of and investigation on subjective meaning by the cognitive subject; the cognitive subject cognize the meaning of language according to his subjective perspective, not according to a fixed code. What has been hitherto argued may be summed up as following. According to the analysis on overall links between metaphor and icon, input space for nature includes “steam of breath”, “pitch-dark night”, “water-soaked star” and “mountain bird”, and input space for man includes “speaker” and “me.” Hybrid space of the entire text consists of sadness, mental pain and farewell sentiment which can be felt when poetic object “flew away”, which were taken from input space for objective, and behavior of object and tears which were taken from input space. “Glass window” has two meanings in the poem written by Jeong Ji-yong. First, glass reflects inner and outer landscape, and also plays a role in connecting inner space with outer landscape. As Glass window functions as a frame, it makes outer landscape which is the object of desire into a piece of picture. The poetic speaker craves for outer landscape, that is, the object of desire through glass window. Second, glass does duty as mirror. The poetic speaker puts his feeling and situation that he cannot communicate with outer world as he was locked in a room into a glass window. Glass window plays a role as a mirror which shows the feeling of poetic speaker, and maximizes his sorrow and condition. This poem uses metaphor such as “Emotion is a material”, “Life is a journey” and “Nature is a man.” These image schemas have complementary relation one another, create hybrid space, and extend the image to emotional area, not to speak of physical action

The moderners have many diseases. They are various in forms, and especially related to mental illnesses. Thus, various kinds of remedies are required for the moderners, who have raised their intellectual and economic levels. Simple interviews and repeated medication are limited, and also have long mental and physical sequelae even after a perfect cure. Therefore, it would be recommendable to attempt art therapy collectively and actively, to rehabilitate patients. Among the art therapies, the literary therapy is especially expected to have a special effect when considering its features. Methodologies of literary therapy mentioned here are expressed in too great a latitude, so it should be complemented more. However, it is surely more effective to approach with scientific and professional theory, rather than with weak theoretical basis. In this context, I took Kim Yoo-jeong’s novels as a subject of my analysis, to see the device and effect of laughter, with an application of the viewpoint of literary therapy, and its possibility in consideration. Thus, this piece of writing is attempting to study the application of the viewpoint of literary therapy, and its possibility, through the device of laughter represented in Kim Yoo-jeong’s novels, ‘Bom Bom’ and ‘Dongbaekkot.’