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The analytic object of this treatise is the Kim Young-ha’s {A Ttreatise on Quiz show}. The critical mind of this treatise is the search and investigation of identity and meaning of the text through the frame of growth narrative of existencism generation. Because ups and downs of fortune of Min soo who functions narrative subject of this treatise shows landscape of existencism generation most vividly. In relation to the critical mind, this treatise concentrated to the argument which forcused on the narrative strategy of space fixation. Concretely, this treatise analysed that Min soo’s growth and self-discovery have a close connection to the critical mind of a writer to the life of existencism generation. Emotion of anxiety and fear dominates inside of Min soo who has no distinct breakthrough and long-term plan of life. Min soo who ruminates anxiety and fear toss about space such as convenience store, company, old book storeexamination academy for the way of life. These spaces stimulates and stirs growth and self-discovery to the Min soo through shock and confusion. The Writer reflected the critical mind to the existencism generation through Min soo’s growth and self-discovery. The fact which Min soo confirms through growth and self-discovery of company life seldem exist world outside which was controlled by money and emulation. The Writer suggested a portrait of 21th century’s korean youth through Min soo’s growth and self-discovery.

The pre-existing studies have evaluated that novels by Na Do Hyang represent romanticism and sentimentalism of Korean literature in 1920s. H owever, new aspects of 'disgust' may be emphasized when examined in t erms of the Structure of Feeling meaning a "dominant feeling having a g reat effect on experience and action of certain period and generation". Th e reason why is that a feeling of disgust is a complex construct embraci ng the emotional/reasonable, specific/universal and individual/social. In par ticular, his first novel 『Hwanee』shows a variety of aspects of disgus t. Firstly, disgust manifests itself as adherence to vigilance of purity non -contaminated from the dirty. Since, disgust is the very 'fear of contami nation' by characters who regard a secular and sexual snob as an ani mal and separate them from him. Secondly, disgust manifests itself as an physical and filthy image related to a female body. However, it shows mi sogyny by males for female characters who lost their virginity and desire for recovering such a loss at the same time. Thirdly, it aims to ensure t he morality through disgust linking with tears. The reason why is that e very character wants to be raised to the sublime being by shedding tears at their tragic situations. Through these aspects of disgust, novels by Na Do Hyang show the active modern ideology for keeping up with the times as a modern individual rather than unproductive feelings of the morbid and fragile youth in the colonial era.(*)

This study focuses on initiation structure of contemporary Korean novel. Especially initiation structure is one of rites of passage in myths. In order to clarify, contemporary Korean novel’s initiation structure, this paper analyzed the various symbols employed in Lee Cheong Jun’s 「Snowy Road(눈길)」. As symbolism in story has a close connection with the concept of archetype, I accommodated archetypal criticism to analyze the works in the paper. So this paper started by viewing the concept of symbolism of house and road. House and road of 「Snowy Road(눈길)」symbolized death and rebirth of characters.

In this paper, we examine the emotions of melancholy and allegories in Kim Yu-jung's self narrative. Kim Yu-jung thought of himself as a depressed person and seemed to be well aware of the melancholy. Depression was a sickness of the author's mind, but it was also the driving force of passionate writing. The relationship between melancholy and allegory in Kim Yu-jung's self-narrative "toad" and "life companion" is understood from this point of view. The two protagonists of self narration emerge as representations of depression, and in their allegorical intuition, Ok-hwa("toad"), Na Myeung-ju and mother("life companion") are objects of depressive identification. The letter is a sequel to the hero's persistent passion for her, and it becomes an allegorical form with an arbitrary meaning separated from its original meaning. The unusual narrative situation of the appearance of two voices of self narratives is related to the characteristics of depression associated with excessive reflection. Excessive contemplation implies a relentless attitude toward oneself. The voice of the reason and the voice of the emotion relentlessly express the confused heterogeneous feelings and contradictory behaviors of the depressed person. Also, the confrontation between persistent enthusiasmand endless decadence leads to panic and ironic sadness, which are followed by mad violence and a tragic catastrophe. It is difficult to grasp self-reflection in melancholiker's emotions as a subject with total, harmonious and complete identity. Even if self-reflection reaches the process of unification through the process of dialectic, it is the sum of a moment and the object of the skeptical. It is premised on the process of infinite dialectic. Rather, in the process of infinite dialectic, the temporal sum collapses, resulting in meaninglessness and emptiness. Contradictory ambivalence and contradiction, the fundamental nature of melancholy, make it possible to skept and deny the possibility of a single reflection. In this sense, the melancholider's self-consciousness of "life companions" is closely related to the modern consciousness that denies the total ideal of classicalism. According to Kristeva, the era of witnessing the fall of religious and political idols is a particularly beneficial time for melancholy. In times of crisis, depression takes the initiative, tells self-story, creates self-pedigree, and produces self-representations and knowledge. Kim Yu-jung, who lived in the era of colonialism as an intellectual, lived in this era of crisis and could have looked at reality and self in depressed emotions. "Toad" and "life companion" are self narrative texts that can be read in the same context. Especially Two text is equal value to proposition that allegory subject are melancholiker.

The significance of the Cloud Dream of Nine is clearly emerged when we look into the work with an allegorical interpretation on a political issue mingled with the 19th of April and the 16th of May in the early 1960s. Such events actually happened over a period of a year and can be told pivotal historical incidents in the early 1960s of South Korea. However these two historic events are displayed at the same time in CDN. The 19th of April is experienced to Dok Go-MIn, the protagonist as a forgotten revolution in the narrative structure in which the temporal order has been dismissed. Choi In-Hoon apprehends the April Revolution as a source of ‘history’ since he has figured out that an energy is immanent as well as being ‘cosmopolitan’ within the sprit of the 19th of April. Such cosmopolitan communicates with the ‘sovereign individual’ in sense. 'Dok Go-MIn' represents the birth of the ‘sovereign individual’embodied life in person, in CDN, than he accepts social norms and compulsions. Dok Go-Min is now inaugurated as a sleepwalker and is excavated as a degenerated troglodyte. He then become an allegory on a forgotten revolution per se. Hence it can be significant that a certain era imputes symptoms of pathology and regression of the time to an individual. The CDN, in particular, incubates a clandestine message that the 19th of April revolution can be deserved as a part of ‘history’ and itventilates the intervention of introspective subject about the time as well. Therefore, in these respects, Choi In-Hoon's CDN has an unusual literary meaning.

Park Sa Hyung’s「Namchoga」during the Joseon Dynasty, (cigarette) lyrics include the work of the first. Everyday symbol of objects to lyrics as a great literary material features of life and his artistic atmosphere of deep anguish off to advantage. Work as well. Rather than just a cigarette for the cult of going namcho namcho disease deaths of overcoming the crisis through the empirical and practical experience of the writers get a new life. To have this work because it is made based on real meaning is big. The writer namcho found utopia through a fresh world, and it will soon not of filial piety's life, a transcription of a human life, based on respect of life.See the ideals of the author and in implementing the human world from the 「Namchoga」.

This study is to arrange the content of classic literature education targeting taboo motif. First, this study examined the goal and significance of classic literature education targeting taboo motifs. Then, after establishing the concept of classic works and considering the meaning of taboo motif, the importance of classic literature education was drawn relating to the goal of Korean language education. Finally, the content of classic literature education targeting taboo motifs was systemized by knowledge, performance, experience, and attitude. The results of this study are as follows. For knowledge, activities by which learners can understand the concept and traits of taboo motif in classis works are provided through forms of taboo language. For performance, some activities are recommended for learners to understanding the process of verbalizing of taboo motifs in the legend ‘Jang-ja Pond’ and applyingthem in a real world. For experience, activities that express the learners' own experience relating to conflict between desire of human beings and social norms are drawn. For attitude, activities giving the opportunities that learners can set their own attitude about the conflict. All of those activities will be helpful for learners to reflect the attitude and perspectives of life through conflicts of interests with the aspects of knowledge, performance, experience, and attitude. It will eventually fitinto the goal of Korean language education which is to inherit and develop traditional heritage.

I researched the grammatical morphemes of the Gurye dialect and the morphemes used differently by the generation difference. They speak the dialect 'yeogeu/yeo' instead of 'yeogi', 'geo' instead of 'geogi', 'jeogeu' instead of 'jeogi'. But now the 60s people do not use the dialects. The sentence honorific and final endings of the dialect except '-o' are used such as the standard word. And ths 60s use the same morphemes with the dialect but the 10s vividly use the unformal honorific endings '-a, -ayo, seyo'. The connective ending '-nikka' is used in the dialect as '-kke', but in the 60s, the 10s the '-kke' is not used now. The auxiliary verb '-beorida' is used in the dialect as '-bburida', but in the 60s, the 10s the '-bburida' is not used now. There are different the dialect adverbs with the standard adverbs. They are 'mongttang, pertteuk, etc. In the adverbs 'mongttang, pertteuk, heobeolnage' are not used in the 60s and the 10s. The adverbs used inthe 60s but not used in the 10s are 'bodosi, mudamsi, doige'. The adverbs which are used in the 60s and the 10s by now are 'kkeutteokheomyun, tukheomyn'.

The purpose of this paper is to describe the syntax structure and meanings of 'nokta' in the 15th century and to examine its syntax structure and meanings diachronically. Also this paper is to examine relations of its meanings in the 15th century, and extension of its meanings, a characteristics of meaning. 'nokta' basically has a syntax structures of 'NP-i nokta', ‘NPpl-i (seoreu) nokta’, 'NP1-i NP2-e nokta'(NP1․NP2: abstract noun) in the 15th century. By the way 'NPpl' appears in form of 'N1N2' on 'NPpl-i (seoreu) nokta' in the 15th century. Also new sentence structure, 'NP1-i NP2-ege nokta'(NP1․NP2: human noun) appears the first half of the 20th century. And 'NP' of 'NP-i nokta' is human noun in this time. 'nokta' has the four meanings of [become a liquid], [disappear], [become one], [keep its original form] in the 15th century. 'nokta' has many senses with this meanings as the center. It has more meaning of [be seduced] in the 18th century. And 'nokta' has the semantic features of [disappearance] and [change].

Unrounding is a phenomenon that a rounded vowel becomes a non-rounded vowel losing its roundedness. This study is going to deal with the changes of ‘ㅚ>ㅢ’ and ‘ㅟ>ㅢ’ that took place in the 17-18th century. Unrounding of ‘ㅚ>ㅢ’ and ‘ㅟ>ㅢ’ mostly occurred in syllables with no anlaut during the 17-18th century. Up until now, unrounding has been explained mainly with the spread of becoming rounded vowels that took place in the 17th century or dissimilation attributed to the property of roundedness. This study, however, has found that unrounding of ‘ㅚ, ㅟ>ㅢ’ that occurred in the 17-18th century was not attributed to the phonetic environment of roundedness and this phenomenon did occur very widely and mostly in syllables with no phonological condition. At that time, ‘ㅚ’ and ‘ㅟ’ should have been falling diphthongs, but it is noticeable that the change is a phenomenon hard to be found in simple vowels, ‘ㅗ’ or ‘ㅜ’. Particularly with the fact that the simple vowel, ‘ㅗ’, became a non-rounded vowel, not as ‘ㅗ>ㅡ’ but as ‘ㅗ>ㅓ’ (ex. poʃən>pəsən), it is hard to determine unrounding in ‘ㅚ, ㅟ>ㅢ’ is a secondary characteristic of unrounding in ‘ㅗ, ㅜ>ㅡ’. In the period that unrounding occurred after the first-step change of ‘ㆍ>ㅡ’, because the non-anlaut position is a weak syllable, it seems that even if there was no distinct phonetic condition, such unrounding could be applied.

The purpose of this study is to investigate the degree of systematization of Korean cultural education by sorting out and analyzing the Korean cultural contents in Korean textbooks for academic purpose, based on the recognition of importance of Korean cultural education in Korean language education. The need for cultural education in Korean language education for academic purpose is increasing with the significant increase in the number of the international undergraduate students in korean universities. Although this need is prevalent, it is still not enough to learn about Korean culture from current Korean textbooks for academic purpose because there is not an approved standard to select the essential cultural items for Korean language education and to present them in the textbooks. This study tries to examine how Korean cultural education is going by sorting out and analyzing comparatively the Korean cultural contents in Korean textbooks for advanced course and undergraduate course. The result suggests some points to be modified or improved in Korean cultural education for academic purpose. This study is significant as it recognizes the importance of cultural education in Korean language education for academic purpose and attempts to analyze the vast real-world data. The result of this study is expected to provide informations on anticipated future studies in Korean language education for academic purpose for the international undergraduate students. Another expectation is that there will be many other studies in Korean cultural education for academic purpose as how to present various Korean cultural contents and how to teach the detail contents for proficient communication in Korean language of the international undergraduate students.

This study began with the awareness that for college writing, a liberal art that requires the ability to think comprehensively, learners’ level needs to be considered in establishing educational objectives and constructing educational content. The reason is that using the same teaching materials and content is likely to make it difficult to arouse motivation and maintain interest of learners who display a large difference in terms of learning ability. And college English and college mathematics courses have already adopted level-differentiated instruction, and there are some cases in which its effectiveness has been proved. The subjects of the study were learners at C University, which had adopted a process-type model in writing education. And the learners’ learning achievements were analyzed according to the ability assessment index in order to assess learners’ performances with the education content and learners’ achievement of class objectives at the each stage. The analysis was intended to find differences in learning achievements between students from different levels and discover a discriminant point, thus predicting the possibility to manage a level-differentiated class. Analysis groups were classified into the upper group and the lower group; their learning achievements were analyzed by comparing the assessment results values of performance tasks at each stage of writing process such as selecting a subject, structuring, writing the introduction, and final version. The results of the comparison did not correspond with the hypothesis that a discriminant point or element would be discovered between upper and lower groups. No big difference was found between the two groups in terms of selecting a subject and structuring, and the lower group even got a higher average value in structuring. However, at a stage of writing sentences, there was an apparent different between upper and lower groups. Consequently, it confirmed that the ability to write is ultimately about writing sentences and storytelling. And these competencies can be developed only through routinized reading (books). It has remained a problem how to relate reading to the class curriculum for college writing education. And instructors need to deliberate on why they think the difficulties of managing a class originate from the difference in scholastic ability between upper and lower groups.

The object of this study is to correct the expression of guessing which is an abuse of ‘gatta(to be same)' and to find a teaching method. These days, university students abuse the expression of guessing. ‘Gatta(to be same)' may be the best example of this. This description is a passive sense from the sidelines. In other words, university students reserve their judgment and they didn't accept responsibility for their writing and speaking. Guessing is a judgment for a propositions, the guessing without the judgment should not do. If a student dose not want to judge, they are onlooker in academic writing. Such a tendency is shown whether in Seoul Metropolitan Area or in regional blocks, and this trend shows no sign of abating. Therefore, I presented a teaching method of a three-step process. It goes as follows; 1)the grammatical nature that ‘~wa(와)’ can not come to complementary words, 2)the argument of judgment is absent, and 3)it is gathered in the meaning of 'truth' in the semantic aspect. In conclusion, this study highlighted that the students have to deep thinking on writing. It is the essence of a writing education.

The purpose of this study is to analyze the prologues and epilogues of classical Chinese literary works considering they are the results of reading activities, and to gain implications as to reading education today. The prologues and epilogues in the old days were closeed to make a book report rather than the definition of writing modern day prologues and epilogues since those activities were intended to a write for the author of a book after reading it. Against this backdrop, this paper has analyzed prologues and epilogues written by Yeonam Park Ji-won that feature new and unique content and style while showing universal characteristics, based on which three different methods of reading have been obtained. The study has found ‘self-motivated reading’ where a reader takes the lead and overwhelms the content of a book with a clear critical and subjective mindset, ‘reading of integrity’ that enables a reader to read a book with upright character and integrity beyond the boundary of knowledge with elements of integrity, including human nature(情), righteousness(正), and manners(禮) taken as the method of reading, and ‘reading as extended communications’ that allows a current reader to become a new writer and to seek communications with other potential readers. It indicates that these methods supplement the elements ignored by the existing reading methods presented in the official education curriculum and can expand to the scope of their application to cover the essence, direction and the attitude of reading as well as the method of reading.

This study primarily aims at probing into how <Jungkwajung(鄭瓜亭)> was accepted in Korean education so far. However, I want to make sure that the outcome of this study consists in clarifying diachronically educational awareness and judgment which affected the process of textbook inclusion rather than restoring the truth of the past or the history of textbook. That is to say, the ultimate objective of this study is checking the problems in relation to the choices of materials and inclusions in textbook, and providing the chances of new motivation and reflection in the present and the future Korean education. The premise is that textbooks are the substances that educational awareness is implemented and externalized and they carry out the function to reflect perspectives. <Jungkwajung(鄭瓜亭)> can be an effective material in that I raise a question about main causes of inclusion and exclusion as the work that had been only included continuously until the third curriculum. I examined closely special history of <Jungkwajung(鄭瓜亭)>. The work had been accepted early as the work to represent Goryeo(高麗) literature history by the record about the writer and the contexts of the work. However, the work disappeared in the textbook due to organization of textbooks as genres, advent of Goryeosokyo(高麗俗謠) and imperfection of songs of the line of Hyangga(鄕歌). I clarified the time when different educational approaches were attempted lately in not only changing genres but also tradition of Korean literature. Through the reception history of <Jungkwajung(鄭瓜亭)>, I arrived at the conclusion that textbook inclusion is the result of choices according to historical needs and prospects, and thus a variety of approaches and explorations about educational values of text.

'The Korean wave', became popular in China recently, makes the Chinese, especially young netizens, borrow Korean into Chinese. This happens most actively through Online media including Weibo. On the assumption of this fact, in this research divided the 'Korean borrowing phenomenon' into three parts-the lexicon, grammatical morpheme '-seupnida'-, and the sentences, examing the method and functions. The summary of detailed analysis results are as follows. First, the borrowing of Korean vocabulary is proceeding actively. Nouns are borrowed most widely. The borrowing pronouns, interjections, adjectives, and adverbs are also being observed. Among nouns, the borrowing Relative terms-oppa, eonni, nuna, hyeong, ajeossi, ajumma-were most frequent. Chinese netizens are borrowing these Korean relative terms after the Korean celebrities they love in order to close the distance with them. Besides the relative terms, common nouns such as 'nim', 'chingu', 'idol', 'leader' and newly coined terms are also being borrowed. Like relative terms, 'uri', the pronoun, was used in relations with Korean celebrities at the beginning, but nowadays its usage has been broadened. Among interjections, 'eomeo', 'aigo' are being frequently borrowed. And 'yeppeuda', 'meositda', 'masitda' are the most popular adjectives. As cases of borring adverb, 'neomu', 'jinjja', 'ppalli' are being observed. But their frequencies were less than that of noun. Second, another Korean borrowing case in Weibo is the borrowing of grammatical morpheme '-seupnida'. Chinese netizens usually use '-seupnida' when they mention Korea, Korean, Koreans, and the things related to Korea. At the beginning they used it when they degrade Korea, but nowadays they rarely do it. In Weibo, also there are cases which Chineses use '-seupnida' after the noun, verb, and a sentence. Beside the purpose of implying the things that was related to Korea, they use it for intention of respect function which Chinese language does not have. Third, Chinese netizens are borrowing simple Korean sentences such as 'Saranghaeyo', 'Gamsahapnida', 'Chukhahapnida'. These sentences are being used similar to native usages. But influenced by '-seupnida', expressions such as 'gamsaseupnida', 'chukhaseupnida' are often observed. Borrowed Korean seems to be used not only on online space but also on daily life without the internet. It is not affirmable, but as long as impact of 'Korean wave' is consistent, the Korean borrowing phenomenon can be intensified in the future.