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This article explored if the morphological marker of the two languages in linguistic topology by comparing ‘morphological suffix’ of Russian as an inflectional language, and 'that' of Korean as an agglutinative language, and considering the two languages having no relations in system and typology can be combined together. Korean and Russian are morphological languages using morphological marker, the subject of intransitive verb and that of transitive verb take on same morphological marker, and the objective of transitive verb takes on different morphological mark, which is a dative language. Hereby, the argument was developed under the hypothesis that ‘morphological preposition’and ‘morphological ending’ as a means of expressing the morphological of each language may belong to the same category. However, it was found out that there were various limites though morphological ending indicating the word form of Russian nouns can be corresponded to the morphological of Korean language. Eventually, the morphological marker of the two languages can not belong to same category, but it is significant that attempting to seek new forms of morphological marker through comparison and contrast of the two languages having no relations in topology and system.

This study focused on the Korean verb ‘먹다’and Chinese verb ‘吃’and concentrated on the meaning of ‘먹다’ in the Korean standard dictionary and the meaning of ‘吃’ in the modern Chinese dictionary 。First we contrast the same meanings and different meanings of two words by listing forms. Then based on the theory of the cognitive linguistics, we searched and analyzed the mode of meaning expanding and found out the same mode expanding and the different mode expanding. The thesis can provide the new research methods of the polysemous word. and It will also be contributive to study the foreign language.

The purpose of this study aims to elaborate on the major narrative style of Lee Dalchung(李達衷, 1309-1385)’s prose through the prose analysis of his own work, ‘Jejengjip(霽亭集)’. He utilizes the method of narration such as ‘mixtup’(錯綜) and ‘explanation’(破題). The way of mixup(錯綜) is mainly used to give the strong alert to readers. To maximize the effect of ‘satire’(諷諫), it helps to embody the theme by selecting arguments and anti-arguments or positive and negative opinions and arranging synonym and antonym. Also, this is the proper way to deepen the meaning as well as to bring the clear and sharp impression to readers. Meanwhile, in the contexts of Seolche(說體) style requiring the logic process the specific means, explanation(破題) is preferred, drawing the meaning and definition of title directly plus investigating how to apply this meaning into the text. Here, the quotation is made actively use of, which means that mixup is referrd in Noneo(論語) and explanation, in Yeokkyeong (易經), Seokyeong(書經) and Sikyeong(詩經).

This paper aims to consider the current situation of studies on the local poetry in Chonbuk and find out its future task. For the purpose of achieving this goal, this paper set up the category of the local poetry in Chonbuk as viewpoint gazing on the local literature, limited the period and the objects,and considered its history of study including the current situation of studies. The local poetry in Chonbuk has not been studied properly but considered peripherally and fragmentally. That’s because the results of studies on most of local poets in Chonbuk hadn’t been accumulated except for several figures. In this point, the conceptual distance between central literature and local one could be confirmed, moreover the modern and modernity dissolved in political unconsciousness could be understood by tracing the distance. Therefore this paper, in which the poets of Chonbuk area are divided in two groups; ones before 1950 and the others after 1950, suggests the current situation of studies and the future task of the local poetry in Chonbuk.

This study aims to examine the loss of farmers’ places in connection with the reality in the time of industrialization described in 『Agricultural Affairs』 of SHIN Gyeongrim. In 1970’s, the industrialization led by the government resulted in a great change in the economic system from agriculture to manufacturing industry. In the process, a number of farmers left farm villages,their own hometown, and headed for a city. 『Agricultural Affairs』 of SHIN Gyeongrim reflects the actual circumstances of the farmers and agricultural areas in time. A person’s hometown symbolizes the mental root, not merely a physical environment. An agricultural area in the time of industrialization started to lose its foundation, and it lost the identity as a comfortable hometown. Farmers who were still living in a farmland lost the unity with the hometown, and yearned ‘Seoul’ out of a sense of defeat. However, the discord with hometown, the closest place, resulted in the loss of identity of human. Farmers started to be gathered at construction sites in 'Seoul' and nearby cities to find a job. The places where they found a new house were just instant and incidental. They could not become a genuine ‘home’ to continually keep their life in. Their living in a place away from home was mainly due to industrialization led by the government. Industrialization made people leave the birthplace and move out for skills and jobs. Such population mobility prevents people from settling in a certain place away from home as the second hometown, and makes them move continually. In the end, industrialization, the governing power so to speak, caused ‘No Place.’No place indicates a potential attitude that does not admit an environment or a place with no meaning. In other words, farmers were flooded away from a meaningful place to a meaningless ‘no place’ due to industrialization. They lost a ‘house’ that bears the genuine sense of place and went through self-alienation.

The aim of this study is to examine the novelistic acceptance of narrative and the meaning of Munyeodo. Munyeodo accepted the forms of narrative as frame story. So, Munyeodo is modern novel form but it adopted comfortable composition method by accepting the forms of narrative. Thus Munyeodo was easy to read a contemporary. For that reason, Munyeodo accorded fictional raconteur and listener’s role to narrator and reader. So, the twofold narrator of Munyeodo was given authority and ability of raconteur and the twofold reader of Munyeodo was liberally interpreted it. As a result, Munyeodo showed that our narrative culture faded away by modern civilization and also our valuable traditions were faced with extinction. In order to do that, Munyeodo gave authority to the inner story. The reader of Munyeodo had an fictional experience in the inner story space. With this constitution of Munyeodo, the reader of Munyeodo was being magnified and became co-operative and analytical reader, at the same time,unconstrained listener. Thus, the narrative of Munyeodo produced a diversity of meaning and was founded new transmission method by accepting fictional a wide audience.

A journey is associated with transcendental impulse or escape to get out of routines. A traveller leaving for roads gets to open new horizons of awareness through searching unfamiliar time and space. The journey like this, irrespective of whether it’s a real journey or a journey as a metaphor, is based as the internal form of modern narrative literature. A journey type-novel is the searching process of a hero’s desire. It is exposed by narration and language and in other words, by symbol. Narration is made up for a chain of incidents and these form meanings. Also, the psychology of a related character who is involved in incidents is narrated by symbol. As a result, the subject’s consciousness can be revealed through the analysis of narration and symbol. This thesis attempts to prove the alienation and desire of the subject with two axises of <A road to Tongdosa>, i.e narration and symbol. The hero leaves the journey because of the earnest desire for “her”. This journey process shows that his desire for her comes from a vague sense of longing for his mother. The process to confirm his being is the journey to Tongdosa. While on journey, the hero is confronted with the reality of his desire and the process is revealed by symbol. Based on Lacan’s theory, this paper analyzed the symbol where his consciousness arrives at. The hero wonders about the signifier's world. A alienated signifier’s destiny, who longs to meet the signified but not to meet is the same as that of the hero. A series of narrations hint at the possibility for the subject to overcome his alienation.

Kim Kwanggyun is a poetry presenting the 1930s. Kim emphasized ‘ideology of form’ in his poems and gave formativeness as an example. ‘Ideology of form’ sets its purpose on maximizing effects by stimulating the sensual aspects of a poem. This article has discussed representative poem,<Wasadeung>. As discussed in this article, the solitude and natural sorrow shown in <Wasadeung> is expressed through a plastic form. The characteristic of using themes in a plastic form appears in several poems including <Wasadeung>and this forms expressed through lyricism related to the theme of the poem.

『In the Sapyeong Station』 by Kwak, Jae-gu portrays the scene of a waiting room of a countryside station in a winter night. However, In the Sapyeong Station is a fictional simple-frame station. Moreover, despite thoroughly being a purely lyrical poem, unfortunate atmosphere of the times at a loss of words cast in the back. In that respect, this work possesses the sign of connectivity and severance. At the same time, it displays spatiality as the medium of coexistence in which images of country folks with warmth and tranquility appear vividly. Jeongdongjin Station by Kim, Young-nam expands romantically throughout. The poet congeals recognition of nature as the lyrical subject and the naturally occurring eruption of emotion into skillful and playful language. However, considering that complex sentiment of the modern is cast over the other side of the poem, the space for aesthetic ‘tension’ and ‘relaxation’ is composed. Moreover, emotions felt on the travels such as loneliness or worry, the sorrowful circumstances, are apprehended behind the description of playful expressions, giving rooms for the station to be understood as the space of nihilistic and aesthetic melancholy in the travels.

This study examined the issues of popularity in Kim Seung-ok’s adaptation and their meanings. A pure novelist Kim Seung Ok worked as a screen writer from 1967 to early 1980s, and especially in 1970s changed cutural typography his adaptation for popular fictions made up wide-spread popularity to lead the audience to feel sympathy. He started working with a new novelist and new film generation in 1970s. They were composed of young directors and writers who tried to demonstrate new ways of filmmaking. Their works were within the new cultural movement called ‘youth culture’ and ‘Yong Sang Shi Dae’ in the 1970s and were influenced by the western Cinema. Kim Seung Ok contributed this new movement with the adaptations of contemporary popular novels such as “Yeong-Ja’s Golden Days(1975)”, “Women on the street (1976)”and “Woman in Winter(1977)”His works appealed to the masses by a strengthening popularity and awaken their sensitivity. Such a capacity of the popularity have been the Melodramatic features with suffering of romantic love, suffering of women and happy ending. In other words, His works can satisfy the popular’s disire,and can fill up complements that novel itself is apt to lack. Eventually his adaptation provides intertextuality which get intimate with novel for the popular. According to analysis, his melodramatic element reflected the way of representing outlook of female subjectivity or the female gender in the modern society. And to investigate Kim’s adaptations in this way is a way of understanding our society of the day and modern subject in the 1970s.

The purpose of this research is to represent the methods of the narrative education in the multi-cultural age. The reason why the narrative text is able to be the topic centered in the multi-cultual understanding education is that the plot of narration is similar to the form of life and it causes the reciprocal action easily. In this research the multi-cultural factor is investigated based on the literary work 『Native Speaker』 by Chang-Rae Lee. This novel shows the process of finding the self-identity of Henry. Especially the cross section of American society is indicated through the language and the culture. In case of using this literary work is based on the cultural education understanding the text(counter-factual thinking), the relationship of individual experience(divergent thinking), investigating the negotiation of social community(corresponded thinking) should be considered.