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The purpose of this paper is to classify the constructions corresponding to particles(CCPs.) in Korean more closely and to view the entire system of the CCPs. Many of the items in the CCPs have very similar meanings and functions and coexist with subtle differences in meaning. Although a macroscopic classification system based on grammatical functions is used, a micro classification system based on the subtle difference in meaning of the individual constructions should also be established. Therefore, this paper attempts to analyze the hierarchical agglomerative clustering based on the extraction of the binding patterns of the individual CCPs related items. As a result, they are largely classified into [causal chain] and [purpose-means] and the [causal chain] constructions were classified into [Time], [Cause], [Path], [Reason]. And the [Purpose - Means] constructions were classified as [purpose], [means], [tool].

This study aims to investigate the aspect of realization of a pleonastic stem ‘sim-’(植) which is used in the rural societies with less population movement, and explain it in a dialectology way. The foregoing is to analyze the differences by generation·gender that are social variables in the use of language among community members and examine from dialectology point of view how it is related with linguistic variation. Historically, stem that means ‘植’ was an irregular stem that changes to ‘sik-󰁀simu-’, but was simplified as the stem ‘sim-’ in contemporary Korean. Unlike standard language, however, it was shown as diverse varieties such as ‘sunggu-, singgu-, singgi-, sumu-, sum-, sim-’ in the regional dialect of Yeongam. This study aimed to predict a stream which variations will be used as main stem in the regional dialect of Yeongam in the future by considering why so many variations are used for a same meaning, and what are the variations. Variations of the stem ‘sim-’ are in the regional dialect of Yeongam showing a difference in factors by generation·gender. In generations, the stem ‘sunggu-, sim-’ are mainly used in their 70s or older, whereas the stem ‘sim-, sum-’ are used less than in their 60s. In genders, the female speakers in their 70s or older use the stem ‘sunggu-’, but male speakers use the stem ‘sim-’. As for less than in their 60s, female speakers use the stem ‘sim-’, whereas male speakers use the stem ‘sum-’. Therefore, the stem that means ‘植’ will become ‘sim-, sum-' and those stem will have a difference by gender in the regional dialect of Yeongam after a shift in generations is made entirely.

Through the study of sub-dialect, Korean phonology has been revealed to some extent, but there is a lot of room for complement. In this study, I would like to refine the study of Korean phonology by expanding the survey items. Other than the fact that certain phonological phenomena exist in certain areas, I want to broaden the research items to morphological and word boundaries. Targeting synchronic phonological processes, I would like to emphasize various tonal phenomena including glottalization, addition of ‘n’, and deletion of stem final ‘a’

This study intended to examine the combinative aspects of ‘마란(maran)’ from ancient Korean to modern Korean and the syntactic characteristics and meanings of ‘마란(maran)’ mainly in middle Korean. In ancient Korean and earlier middle Korean, ‘마란(maran)’ is mostly combined with the final ending. However, it is distinguished from other words as it also appeared to be combined with pre-final ending in some cases. ‘마란(maran)’ in late middle Korean was combined with endings that were related with statements including rhetorical interrogative sentence, declarative sentence, and exclamative sentence. The translated and non-translated materials of modern Korean shows the combining with final endings such as ‘-지(-ji)’ and ‘마란(manan)’ in the late 19th century in addition to the characteristics of late middle Korean. Letters written in middle Korean and modern Korean show the types of endings combined with ‘마란(maran)’ in a much greater variety compared with translated materials. The interrogative final ending combined with ‘마란(maran)’ had syntactic restriction of combining the pre-final ending, ‘-리-(-ri-)’ whereas there were no restriction on the subject and the sentence ending of the sentences preceding or following ‘마란(maran).’ ‘마란(maran)’ had been mainly used to express presupposition, concession, and contrasting. The basic meaning of ‘마란(maran)’ can be defined as a presupposition as it had been used as a premise in most cases from the 15th century to the 19th century. Other meanings such as concession and contrasting appeared to have been derived from the meaning of presupposition.

This paper aims to elucidate the possibility of quotative verb ‘ha-’ deletion and explain the syntactic and semantic characteristics in quotative connective sentences. Connective endings are divided into two groups according to whether they permit quotation verb ‘ha-’ deletion in connective sentences. Quotation contraction means the phenomenon that connective endings are associated to the final endings of the quoted clauses. Firstly, the reason why the quotation verb ‘ha-’ can be deleted was discussed through the general principles of fusion. The deletion of ‘ha-’ originated from the comprehensive meaning of the verb. The high frequency and light burden in meaning and orality which are the characteristics triggerring fusion are the attributes of ‘ha-’. Some connective endings which permit ‘ha-’ deletion in quotative connective sentences have the meanings by which semantic relations come into existence between quoted clauses and following clauses just by the basic meaning of endings without the quotation verb ‘ha-’. And some other endings having the meaning of simultaneity can delete the ‘ha-’ too. Connective endings which satisfy these conditions must be used in spoken language. Some characteristics of quotative connective constructions are examined : original hearers in contracted constructions cannot appear; connective ending ‘-go(고)’ cannot be contracted; the range of meaning in some polysemantic endings is narrowed.

In this thesis, I aim at investing the form of Love Sijo in perspective with emotion and education meaning of the form. The result is as follow. The form of Love Sijo in perspective with emotion : The emotion is the poetic narrator's attitude toward the conflict. The kind of poetic narrator's attitude is two. The first is that the poetic narrator is positive about the other party or negative about the other party. The second is that the poetic narrator expresses one's conflict or resolve one's conflict. The form of Love Sijo in perspective with emotion is two kinds. The first form is 'object → expression', the second form is 'conflict → expression'. In 'conflict → expression', there are 'conflict → progress expression' and 'conflict → change expression'. In 'conflict → progress expression' form, conflict and expression are the progressive relation. In 'conflict → change expression' form, conflict and expression are the changing relation. The education meaning of the form : In 'object → expression', the poetic narrator recognize the relation between object and oneself or recognize the meaning of object in love. After recognizing, the poetic narrator expresses emotion. In 'conflict → expression', the poetic narrator introspects ego by question and answer in the inner, by concluding and opposing conclusion. After introspecting, the poetic narrator expresses emotion. The education meaning of the form in Love Sijo is that the reader can gain the ability of recognizing and introspecting.

This paper analyzed the persuasive strategies that appeared in the papers of the ‘Sangseolue(상서류)’, and searched for ways to use them in speech and writing education. The persuasion strategies revealed in the papers can be divided into two major categories. First, a paradox that strongly appeals to his argument and a supplementary note to support it is the harmonized strategies that make effective use of sentences that are aimed at the superiors Second, it is a strategy that focuses on the admonition. In the admonition, there is the emotion in the relation of appealing to the affection and appealing to the opponent, and the content that the opponent can sympathize with, that can be revealed the strategy of the self-admiration. The persuasion strategies of these documents can broaden the scope of examples of Korean language education related to the persuasion which is mainly used for speech and advertisement. In addition, the short paradox and long expressive persuasion expression method can be utilized as a constitutional component of the contents composition which uses the perfect control in the expression education of persuasion. In addition, specific praise and humility are highly valuable as persuasive education contents that lead to empathy and gain empathy with respect to the credibility of speaker by appropriately using emotional persuasion strategy. In other words, the papers provide guidelines for persuasive speech and writing education based on the "relationship" between the speaker and the listener, which should ultimately be pursued in education.

The 『Midang Seo Jeong-ju Complete Edition』 compiled by Eunhangnamu is designed in celebration of the one-hundredth anniversary of the birth of Midang Seo Jeong-ju. It is the third complete edition following the 『Complete Edition of Seo Jeong-ju Literature』(1972) published by Iljisa and the 『Corpus of Midang Poetry 』(1983·1991·1994) and 『Midang Autobiography』(1994) published by Minumsa. Starting with the five-volumed complete edition in June 2015, two volumes of autobiography were published in February 2016. The aim of this study is to examine the processes of confirming the originals of the 6th volume titled ‘Childhood Autobiography’ of the 『Midaong Seo Jeong-ju Complete Edition』 compiled by Eunhangnamu and the 7th volume titled ‘Literary Autobiography’ of the 『Midang Seo Jeong-ju Complete Edition』. This article analyzed the problems of the existing texts of Midaong Seo Jeong-ju autobiography and established the process of confirming the original of new Seo Jeong-ju autobiography, in the light of the social and cultural context, the author and readers. It is obvious that the works for the new complete edition require a fierce inquiry on the printed versions for confirmation of the original, not a direct transcription of types from the old one and must be based on a delicate consideration between the author’s expression and readers’ acceptance. The 6th volume titled ‘Childhood Autobiography’ of the 『Midaong Seo Jeong-ju Complete Edition』 published by Eunhangnamu and the 7th volume titled ‘Literary Autobiography’ of the 『Midang Seo Jeong-ju Complete Edition』 are the most advanced and sincerest texts, which complement the problems of the existing printed versions, from the perspective of academic history and publication culture. The settlement process of this autobiography deserves to be remembered as an important example of an edition research, since it reveals a variety of problems to pay attention to, for settlement of complete editions of Korean literary writers.

This article explores the mourning of memorial poems. For this purpose, this study examined the aspect of literary mourning about the political and social death-events before and after the twenties. The object of this study is the death of the 4・19 Revolution, the death of 5・18 democratization movement, the death of former President Roh Moo-hyun and the sinking of Sewol. The memorial poems of the 4・19 and 5・18 maintains the objective distance from death through private mourning. In this process, the memorial poems emphasize the death-event of the memorial object and reveals the mourning by expressing the injustice of the death-event strongly. This is because these deaths were regarded as direct sacrifices by violent politics. In other words, such memorial poems strengthen the sense of confrontation with unjust political power through mourning. The memorial poems of the twentieth century show the convergence of the emotions that the memorialists sympathize with the memorial object in the public mourning. These deaths seem to have led to empathic mourning of the memorialists in that they were not directly involved in the unjust power but occurred in tacit consent and acquiescence. On the back of these, the memorialists are also under the impression that they are potential victims. For this reason, mourning at the memorial poems of the twentieth century are being expressed in a way that wants to change the political and social topography.

The newspapers in the transitional modern period claim the enlightenment they have as the front, and so does the enlightenment in the newspaper advertisements. This study sought to understand the meaning of such rhetoric of enlightenment and the reason it occurred. The newspapers in the transitional modern period frequently referred to the western culture when discussing enlightenment. That is due to the thought that it was 'westernization'='justice.' On this background, there was first, an international situation that would have to be equal with the Western powers in haste to modernization, second, the domestic situation surrounding the ordinance prohibiting topknots and the ordinance changing different clothes. On the other hand, the Imperial Japanese had anticipated the consumption of Western goods due to the ripple effect caused by the ordinance prohibiting topknots. Imperial Japanese companies repeatedly showed advertisements in the image of "an oriental man wearing a suit and a hat" as a symbol of "civilization" that had already been typified in the home country of Japan in the Meiji Restoration period. And it was settled in Joseon as a model of 'civilization' and 'flowering.' The newspapers in the transitional modern period telegraph the enlightenment idea of 'westernization'='justice' (that should be so). And sometimes they discuss enlightenment in the material aspect of 'Western culture'='justice' (what should be accepted). In this process, the advertisement uses the enlightenment of the newspaper to generate a modulated formula called 'Western things'='what to buy.' And the formula was used as a camouflage to sell goods by Imperial Japan companies. There was no desperation for the enlightenment of the Joseon people, but there was merely a for prof it purpose that matched the propensity of the readers.

Based on the fact that Kim Kwang-kyun confessed "After the Modernity of the 「Inner city」" in his second poetry, only the psalms corresponding to the 『Flashlight』 and the third part of 『Port of call』 are limited to Kim's modernism poetry. And the psalms that reveal the death consciousness and absence of dwelling in the 『Port of call』 are regarded as experimental lyric poems in the "uninterrupted experimental process". Through these psalms, I examined the aspects of lyricism that play a role as a transit point for Kim Kwang-kyun in the future. It is a self-seeking desire to establish a new lyric in the 'modern world of the catastrophic' which is the 'lyric' that he wants to embed in his poetry. 'Modern times of catastrophe' refers to the time of war and death, where naturalistic lyricism became impossible. And the path that Kim Kwang-kyun tried to go on was Kim Kwang-kyun's unique methodology of new poetry. As Kim Kwang-kyun reveald in his critical essay 「Dispute of lyric poetry」 complied the 'dispute of new generation' in the early 1940's, that way is "poetry will raise the critical spirit of reality" and "morphology" can project both "content" and "form" Kim Kwang-kyun was a realist who built his own poetry world while maintaining the necessity of 'other lyricism' demanded by the present age by observing the methodological view of modern lyric poetry in the Korean context. It is the main significance of this paper to refrain from the limited revaluation in the 1930s modernism standard, and to prepare a diverse criticism line of Kim Kwang-kyun's poetry in the future.

A positive interest in literary space was triggered by the agenda on ‘spatial form’ which Joseph Frank counted as the most significant feature of modern literature. Literary space is not a background element but a key clue for the constitutional thinking on literary phenomena. Spatial thinking is a way of cross-domain mapping and of deconstructing territories of substantial objects. So the spatial thinking of literature is designed with the perspective of constitutional notions on the dynamic mechanism in literary phenomena. From substitutional story to interactive discourse, from make-believe of actual world to simulation of virtual-real universe, from analog nature bound by linear time to digital text by segmental signal circuit and the like, literary phases would be shifted to the spatial dimensions. And the cause-and-effect logic could be substituted to the metaphoric processing for the creation of new image schema by mapping various concepts in different domains. Blend of cross-domain genre is an attractive index of spatial thinking of literature nowadays.

This writing investigated aspects of representation and meaning of rehabilitation of prostituted women appearing in novels during the liberation period. Many prostituted women such as prostitute, Gisaeng, concubine, waitress, barmaid, and Yangkongju are reproduced in novels during the liberation period. The basic cause why they unavoidably had to sell sex was the hardships of life but the ins and outs of their selling sex were varied as much as their strange fates. Meantime, circumstances were set up that prostituted women who were forced to sell sex by men were successful in rehabilitation without exception and lived their new lives while women who voluntarily selected prostitution lived their lives inertly. They had not only desire for salvation but also will of rehabilitation and all of them had helpers in common. This means that it was impossible for them to reach rehabilitation and salvage in their own strength during reality in the liberation period. In this respect, through women who were successful in rehabilitation, novels during the liberation period paradoxically shows universal aspect of most impossible rehabilitation in reality. In particular, prostituted women under pressure existed as victims by patriarchal men and as allegory of tragedy of nation occupied by Japanese force. Therefore, liberation from reality of forced prostitution means not only 'liberation' from Japanese imperialism but also 'liberation' from patriarchal authority and institutional oppression. That is why this period was the only time when stories of many women who succeeded in their escape from prostitution during the liberation period were intensively made into works.

Choi In-hoon's「Ship of nirvana-Ondal 2」(1969) was rarely addressed in his literary studies and in general literary studies, though it was the first time that he created the entire work as a play. 「Where, to be what being, shall we meet?」, changing its title from「Ondal」 which is the first part of the series, has established itself as his official first play, repeating public performances. This article studies on this drama in terms of the attempt of the one act play filled with discussions and the complement of the previous one. By concentrating on the political reality that was set only on a faint background in his previous work on the theme of 'mysterious bondage', this sequel is expanding the scope of the 'Ondal' series. This paper also explores the relevance of this play with other works in the overall context of Choi In-hoon 's literature with the main focus on novels. Focusing on the 'Prince' among the characters, I look for a shared point in Choi In-hoon's literature world as to how the process of free thought based on Buddhist imagination leaves frustration and traces.

The purpose of this study is to classify juvenile literature into material, that is, theme, since 2000 's, to escape genre style and genre style of juvenile literature. The division of juvenile literature into material aspects is based on Warren's literary classification criteria. What I have noticed in my inner form is to deepen the interpretation of the contents of juvenile literature with various voices, without greatly disturbing the universal character of juvenile literature called 'growth story' of existing youth. What does it mean in Juvenile literature? And focuses on comparing and exploring the motifs and materials of the narrative style. In other words, he focused on the expressionistic concept to understand the true intention and central idea that the artist intends to say in the work in the Juvenile literature. However, in relation to the problem of 'non-purity' of the genre, it is rather a position to reject the prejudice of the fixed and schematic system and recognize the inclusion of various genres within a work. While acknowledging that it is inevitable for many genre elements to interact with one another in the work, the classification criteria of the genre are clarified and the genre is divided into the most appropriate genre of the criteria when classifying it. As a result of sharing the representative novel genres of youth literature as 'genres', the core material of youth novels is not the diversity without the intersection but the 'what' . Therefore, juvenile literature as the 'genre' literature is the most meaningful literary literature. As a 'escape genre', youth literature is not a breakdown of existing genres, but a variation or combination of genres that the text possesses. It has been confirmed that the historical novels in the escape genre style of juvenile novels are based on historical events and include the ecological, environmental, ethnic, and minorities (including sex minorities), which are social problems of today. Efforts to scrutinize Juvenile literature can be resolved through genre research. This is the reason for the Juvenile literature as a meaning of the escape genre style beyond the existing genre style of Juvenile literature as a dynamic point of view. It can be a driving force to see.

This study is the result to analyze the current 11 types of Literature textbook which is used as learning materials in the high school through the textbook examination in August 2013. As the analysis texts, The Harmonium in My Memory and Sopyonje as the screenplay selected. In this study, 'collection method', 'reason for selection', and 'learning activity' were separated for each work, and their characteristics were analyzed separately. And this study tried to diagnose the problems of current textbook system by comparing the results. Although the strengths and weaknesses of the method of collecting textbooks are evident, it is difficult to conceal the prejudice of the collection system and the absence of relevant knowledge in the whole point of view. The most urgent problem is that they have to choose the appropriate sanctions and disregard the inevitable and professional views on the teaching curriculum.

This study discusses irony reading education for modern novels. The irony education so far has been an education that requires intuitively grasping the ironic meaning without setting procedural steps. To overcome this problem, this study identifies procedural steps, judgments, and clues to read irony. The irony reading is performed through four steps such as rejecting literal meaning, attempting to interpret and elaborate alternatives, deciding on author's beliefs, and choosing a new meaning consistent with author's beliefs. At this point, the reader should make four judgments such as judging against literal meaning, judging where the author is standing, judging whether the reconstructed building is worthwhile, and judging whether the author's ironic technology is valid. The learner must use these five types of clues to go through these stages and perform judgments. They are direct clues presented by the author, erroneous utterances of the speaker, conflicts of facts presented within the work, conflicts in style, and conflicts in beliefs, etc.