KJC Korea
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This study aims methodology of construction of Korean Sign Language Dictionary of Terminology, reflecting characteristics of Korean Sign Language. For this purpose, this study surveyed Specialty fields and terminology to construct dictionary. Specifically In this survey with Deaf peoples, this study selected ‘bowling’ and ‘soccer’ to specialty fields to construct dictionary. And this study collected terminology for establishment of methodology. This study established of methodology to construction of dictionary with collecting terminology. Especially, this study aimed methodology that composed of macro structure, related to selection·description·arrangement of headword, and micro structure, related to interpretation. In conclusion, We insist that Korean Sign Language Dictionary of Terminology must reflect characteristics of Korean Sign Language.

Songgubong is a person in the mid-Choseon Dynasty, but he is a person who is exalted as a teacher of four generations. However, the life of Songbong was a series of trials of 'returning' due to the environment and political changes born in prestige. There was also a political upheaval in the era where he lived, such as a Sinsamuok, Kichukoksa the beginning of Parts. Songgubong also shared his friendship with YulGon, Sounhorn in his life. This paper examines the narrative style of the Songgwon legend, who was a real person of the Choseon Dynasty, and examines the historical meaning of the Gubong legend. In this paper, 40 pieces of Songbong were analyzed. So I made 20 pixels and 5 narrative types. The basic form of the Songgwangbong legend is 'the exchange between the man and the gongbong - the complaints of the surrounding men - Songbongbang face to face and overwhelming'. This basic type is expanded to an anger that strengthens Songbong's greatness, an anecdote that worsens Songbong's desire, and an anger that emphasizes the misery of Songbongbong. Following the basic type and the extended type, the comprehensive type is combined with the active play. Actually, Songbong was in exile and could not participate in the war. However, the legendary Songbong is short enough to shorten the duration of the imprisonment, or to give the Turtle Ship to Yi Soon Shin. The story of the ending of the Imran in a few months if it has been used properly has been handed down on the Internet. Song Hyung-bong, who is a politically talented person, plays an active role as a novi in the story. Songbong is a "hero" who escapes from the constraint of "novi" and interacts with them in a similar way, controlling them with "eyes" and charisma. Song Jung - bong 's performance succumbs to Lee Yong Song and controls Yulgok and Yi Soon Shin. In addition, the legend of Jinan, which can be said to be the scene of Ogasaki, is still handed down to the dignity of Songbong. The evaluation of the Songbong who made a stroke of the company is interpreted as a political sacrifice in narrative. Compared to the spiritual virtue of the person who interacted with him, the marriage, and Jungchol, Songbong was the one who was able to withstand the years of vigor due to the occasional ox. The meaning of the Songgwon legend in the Conflict is that, apart from the partisan lessons that had to be taken from the existing records, the people are worshiping him as the epitome of the great weak which is excluded from real power. I hope that this legend will make it possible to look at the existing evaluation from a new angle.

The purpose of this study is to find out the composition, development, transmission and the meaning of the New Love Song in Pansori Chunghyangga. The results are as below. The New Love Song is composed of three parts of Jangdan(Korean musical meter), Jinyangjo, Jungmori and Jungjungmori. Each parts of the New love Song represents the two values of the duration and renewal of tradition in various ways. The New Love Song was made by Korean Traditional Music Institute around 1945. Lately a evidence was introduced that the song was continuously revised in later period by Kim Yeonsu and Im Chungaeng. The New Love Song was not made from a certain version but mostly created. And the song remains in Gayageum accompanied Pansori and Pansori theatre. This means that the song was originally made for Pansori theatre but afterwards it was accepted by Pansori style recordings and Gayageum accompanied Pansori. The meaning of love in the New Love Song is a love of ‘now’, ‘here’ and ‘night’. Night means a time of liberation without the repression of moral and custom. During this time they can make a physically free relationship. In the New Love Song, the singing of lasting of night is the expression of the willingness to perpetuate their moment of love.

This study aims at focussing on that there is difference in the scope and object of the terms about ‘three Jang six Gu[3章6句]’ and ‘the first Gu of Jongjang[終章1句]’, which are the key concepts to account for the fixed form of Sijo[時調]. I set a goal to solve the problem by tracing the historical origin. In the process of analyzing the materials of the Sijo[時 調] study of the beginning stage, I clarify that the ‘first Gu of Jongjang [終章1句]’ is a meter unit based on syllabic meter of three letters while the Gu[句] of ‘three Jang six Gu[3章6句]’ is a unit to have one meaning. I arrive at a conclusion that there have been a variety of Gu[句] concepts in Sijo[時調], for example, six Gu[6句], twelve Gu[12句], and eight Gu[8 句], and they are derived from different backgrounds and awareness one another. I try to solve the problem through distinguishing meters and units of meaning by adding terms and concepts like foot, Madi and Tomak, in addition to existing Gu[句]. I conclude that new understanding is needed beyond the characteristics of meters because the first Madi of Jongjang [終章] functions as the essence of Sijo esthetics. I especially pay attention to the truth that the first Madi of Jongjang[終章] applies to an independent Jang in Kagok-chang[歌曲唱] and look into the effect and function in the meaning dimension. Accordingly, I suggest that there should be an attempt to explain the esthetic effect of the first Madi of Jongjang as a new perspective and concept like Kagok-chang[歌曲唱]. I hope that this study might examine and criticize the outcome of the Sijo research academically which was conventionally accepted and kept for the most part in the meanwhile and could be a little chance to be embodied to appropriate theories and terms about the explanations of Sijo[時調] which were stated in the abstract and normative dimension.

This study examines the consciousness of the so-called ‘urban poetry’ in this period when the city has begun to be treated as a poetic object in terms of ‘space’ and ‘relation.’ Thus, I examine the methodology of aesthetic criticism of urban poetry in terms of cognitive linguistics. This approach will enable more advanced discussion beyond the superficial analysis shown by the existing studies on urban poetry. The city is obviously a violent base for capitalism and reigning political power to impose its order, while on the other hand, such a reign through the dispersion of power has made the city a space of ‘aperture.’ This is what the city refers to as a ‘texture’ in the metaphor of text, the etymology of the word ‘text.’ Cities can always be read new, and urban poetry has been and will continue to respond to such a possibility by reading against the city's ‘aperture.’ In this sense, poetry of poems on the 1980s and 1990s should be read as a product of the city, and at the same time as an attempt of creative appropriation for the city. Therefore, a deeper understanding of the poetic strategy that it shows can broaden the horizons we experience and imagine about the city.

This paper considers the grotesque poetry in relation to the pathological phenomenon and negativity of city civilization. In short, since the 1990's, the aspect of consciousness appearing in the reappearance of city civilization has been illuminated from the perspective of grotesque poetry. Grotesque is an effective way to critically reveal the contradictions and misconceptions of reality. Negative Civilization Criticism of reality was understood as a violation of existing order, the dissolution of normality, and the prospect of a new world through the overthrow of the dominant reality principle. The city of Grotesque reproduces the negative image of the post-modern city. This is an act in which the poetic subject critically recognizes the brilliant appearance of cities and civilizations and the dystopian prospect in the utopian fantasy. This behavior comes from the despair and frustration of death and fear, desire and anxiety, alienation and oppression, anti-humanism and objectification. This apocalyptic world view can be understood as a resistance to perceive the negativity of urban civilization and to seek for overcome while critically reflecting on it. This is a common aspect of poetry that perceives city and civilization as apocalyptic world and critically recognizes it. The grotesque poetic perception and representation of post-modern urban civilization enables the microscopic observation, criticism, negation and reflection on the ideology of the reality principle that dominates everyday life and the dominant mode of life. This can be understood as an act of looking at another perspective through negative perception and critical perception of the present reality, accompanied by criticism of reality principle and normality of existing order, resistance, violation and abduction, imagination of provocation and wickedness. Because the fluoridation peeks into the workings of the micro-power that dominates the urban civilization and enables its negative perception and critical perception.

This paper aims to analyze the experiences and sensations of the Space appeared in The Theater of the youth. Space is the place of everyday life and the way humans relate to the world. From this point on, this paper aims to analyze the spatial experiences of the colonial era in the The Theater of the youth and consider how the memories of the colonies are reproduced. Thus, we intend to explore the desires and reasons of the colonial culture of the colonial era. Tokyo is set to be the center of culture in this novel. As a result, the rest of the cities are stuck in the periphery. Tokyo is portrayed as a cultural center and a romantic relationship. In an epic narrative of romance, it is portrayed as a rehabilitating space. And in the case of mystery, the city's urban spatial experience is experienced in the structure of a similar place in the Western metropolis. Beijing is portrayed as an old-developed city. It is a chaotic and dangerous place, reflecting the complex Chinese political situation. The Korean society of the Liberation of Korea replaces the desire for modern culture or Western culture with a political issue. Baek Young-min and Oh You-kyung, who served as a sophisticated cultural instructor during the colonial period, committed suicide. Their suicide symbolized the demise of modern culture and the sense of sensualness. The Theater of the youth forms an alibi for resistance by introducing an epic narrative of anti-Japanese against colonial memory. In particular, Shin Seong-ho's book, “The Flowing Youth” is a hint at the  The Theater of the youth. This is the author's ventriloquism, which is to say that although it was released to survive, it did not submit internally to the colonial regime. In addition, the reenactments of memories related to pro-Japanese Koreans are designed to analyze the logic or philosophy of pro-Japanese collaborators. It is also the beginning of the term to form the semantic structure of the romantic novel.

This paper examines the trend of the new discussion of the Simhun research that has been emphasized since the 2000s. The new discussions and achievements of the Simhun study are gathered into the culmination of the texts related to Simhun, film and multimedia, feminine, narrative form, and ideology. The following is summarized. In the 'Biography and the Bibliography', researcher discussed about the period of stay in China, the discovery of new works, and the controversy over the bibliography of ‘the last of the emperor’. In the aspect of 'poetry research & experience in China', an empirical examination of the entire poem has been made, but the issue of 'how to view the aesthetics of Simhun Sijo' and the issue of the total number remains. In addition, 'How to look at the meaning of stay in China played an important point in interpreting Simhoun’s poem. 'Cinema and Multimedia' is the newest and most abundant field of discussion since the 2000s. Research focusing on the ‘filmmaker’ Simhun and his exploring movies, movie novels, and criticism of the film led to discussions such as "mutual textuality, popularity, artistry, professionalism, and enlightenment." In 'Women's Prize & Narrative Style', the gender issue in the novel Siminhun is newly illuminated from the viewpoint of 'old woman, modern girl, comradeship love', and the modern novel model. In ‘Christianity and ideological origin’, it is noted that the sacrificial spirit and the enlightenment of Simhun are discussed in relation to Christianity or the Murohusen’s thought. It is an important field of study because he confessed that Simhun often refers to a person who is presumed to be a real person in his work and refers to the surrounding model in his creation. A more integrated view and detailed analysis are needed for the characters and actual models of the novels as well as poetry. In the Simhun study, Children's literature and translation novel seems to be a new research task to be carried out in the future.

Criticizing the frame of One Source Multi Use, I focused on the ‘trans-media storytelling’ toward media convergence to analyze ‘filming of novel’. The previous studies on trans-media storytelling have been theoretical approaches and analyzed the foreign cases because various media platforms and trans-media contents in Korea have been just started. That's why we need to research the filming of novel with the frame of trans-media storytelling and examine the possibilities of scalability of story. Memoir of a Murderer written by Kim Young-ha is a kind of ‘problem-based storytelling’ and can arouse a variety of imagination. Memoir of a Murderer written by Kim Young-ha, Memoir of a Murderer produced by Won Shin-yeon, Another Memory produced by Won Shin-yeon are the typical examples of trans-media storytelling in terms of story scalability. These different works sharing the motif ‘a murderer with alzheimer's disease’ created the different three stories and voices arguing the interpretations. The trans-media storytelling in filming of novel can expand the field of story and create multilayered perspectives.

In the first half of the 1950s, there were over 10 literary coterie magazines in Jeonju. But so far, no bronze paper has been found, so the exact aspects have not been confirmed. The original manuscript was introduced by exploring the 'Nampung', 'Yeonbi', 'Pungto', 'PungtoYesul' literary coterie magazines published in Jeonju. This paper reveals the aspects and characteristics of literature in the Jeonju area in the 1950s by reading its literary coterie magazines. The attempt is aimed at displaying the topography of Jeonju literature in the 1950s and laying the groundwork for the history of literature in the magazine part of Jeonju. As a follow-up, this article aims to explore the literary circles in Jeonju since the 1950s and help form a fair discussion on local literature.

This study proposes 'Problem Presenting Learning(PPL)' as an alternative learning model for modern poetry education. Endless questioning is an essential element in 'doing literature' and PPL could help it to be realized. Because PPL is based on critical minds of learners in a class and is not aimed to a certain answer. By PPL Learners can chose poems which telling their own problem and can discuss that problem together in classes. This model that allows plural problems and speakers is different from existing models which are related to top-down angle. Thus PPL could make a classroom an critical-field as a community.

This thesis examines the characteristics of the curriculum of Ontario in Canada, which has mainly dealt with the media literacy in the native language education, and compared it with the curriculum of the Korean language course in 2015, focusing on contents related to film education in particular. The research method was focused on content organization and categorization system, introduction time of content, contents factor after sorting film education contents extracted from curriculum of two countries. The native language curriculum in Ontario, Canada, showed the following characteristics: 1. The verbal communication skills set up 'viewing' and 'representing' together with existing listening, speaking, reading, and writing. 2. "Media Literacy" in elementary school, and "Media Studies" in secondary school are important subjects in education. 3. Achievement standards are structured in a very specific way by level. 4. Educational goals and learning contents of “Media Literacy/Studies” are very specific and systematic. 5. The content of the film itself is enriched with the knowledge and functions of the format, customs, techniques, and characteristics. On the other hand, Korean language education curriculum focuses on 'using' movies rather than 'about' movies. Therefore, in this article, I suggest some directions for improvement of film education contents of our curriculum with reference to Canadian curriculum in order to activate film education. 1. It should be composed of actual film education content to develop understanding and application ability about film. 2. It is necessary to ensure the sequentiality of contents of education so that contents of film education can be evenly seen from elementary school to high school. 3. Make sure that the various cognitive functions are linked to each other as well as the meta-cognitive activities that check and control the effects of each stage of learning. 4. We must also emphasize the activities that produce films. 5. A specialized research institute for film education should be established.

This study examined the present status and direction of the education of ‘self’ related writing. In order for the ‘self' related writing to become a separate area in colleges, the specific goals and roles related to this should be clearly set. The discussion focusing on two points was carried out. The first is the formulation of terms, and the second is the evaluation criteria. It is decided to be shared that the common elements to converge the contents of existing studies are ‘self’ and ‘narrative’, and that expression and understanding, exploration and reflection, achievement and effectiveness of healing and practicality also originate in the “story” of self. So, we proposed to use it as ‘self narrative writing’. In addition, evaluation criterion is needed to achieve differentiation and deepening of self narrative writing in colleges. Discussions on the evaluation of university writing education are not made in earnest compared to other areas. In the case of self narrative writing, as the application of the evaluation may be more difficult, and the contents of self‐experience and reflection have their own unique characteristics, evaluation criteria need to be prepared separately. With a focus on oneself, based on understanding of the inner self and understanding of the world around oneself, it is expected that self narrative writing education, which suggests ways of communicating with other worlds is will be able to play a role to confirm the value and identity of human nature along with the flow of the fourth industrial revolution.