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The purpose of this study is to examine the accuracy of the meaning of words related to ‘hangwa’ in the Korean dictionary and to identify the dialect type of each word. They called it ‘Gwajeongnyu’, ‘Gwajeul’ and ‘Jogwa’, but later they were introduced from China’s Han Dynasty. The Korean-language dictionary is confusing the names of Korean fruits. In the Korean-language dictionary, Hangwa means ‘a kind of Yumilgwa family,’ which is used by some as a generic term for traditional Korean snacks, including ‘Yumilgwa’. According to the meaning of the Korean dictionary, Hangwa = Yumilgwa = Milgwa = Yugwa = Sanja = Yakgwa = Gwajul = Chasugwa’ is described as almost similar. The systematization of the Korean candy is as follows. Hangwa = Gwajul = Gwajeongnyu = Jogwa Yumilgwa = Yakgwa Yugwa = Sanja The proverb ‘empty Gangjeong’ is the Finger Gangjeong. The old word "Kwajyul," or "hangwa," is widely used in South Chungcheong Province’s Yesan, Samcheok, Gangneung, Taebaek and Hamgyeong-do, and Pyeongan-do. In Hamgyeong-do, the word "Gwajeulsal" "Bapgwajul" "Buntanggwajul" is used. In North Jeolla-do, the onomatopoeia and mimetic words, which is crumbled and broken, and "Bushigae, Buseugae, and Busugae" are used. In the contact area of Namwon, Inwol, Ayeong, and Unbong of North Jeolla-do, the area where you dress when you make Yugwa is called Barksang and Bopsang. Barksang and Bopsang are words that have changed from Barksan.

In the modern language, ‘-eodaga’ and ‘-eoseo’ are described as conjunctional ending presenting time based order relationship of antecedent and postcedent clauses in terms of meaning perspective. It is necessary to clearly look into its meaning and usage as their meanings are similarly described and their usage may overlap depending on the language environment. Hence, this research looks into how ‘-eodaga’ and ‘-eoseo’are used from the medieval age as well as their syntactic characteristics. Afterwards, it also tries to compare use of these two conjunctive ending. The ‘-eodaga’ is a conjunctive ending which allows sequential happening of the following action based on the preceding action. This also has a meaning of ‘movement’ towards a thing or subject. A sentence connected by ‘-eoseo’ shows sequential and continuous action and status but depending on the following sentence, it could be simply a sentence implying preceding action or status or others. Furthermore, this is used differently except the case when subject and object of antecedent and postcedent clauses with transitive verb are the same. In case of ‘-eodaga’ this is a form of ‘gajyeodaga,’ ‘deryeodaga’ and ‘mosyeodaga’ that is used as an idiom in modern language. However, for ‘-eoseo’ if this is not combined with ‘deri-’ but used together with verb such as ‘mosi-’ and ‘gajii-’ this implies the meaning and cause of the following sentence. The ‘-eodaga’ can be used with auxiliary predicate ‘not(du)-’, ‘ju-’ but ‘-eoseo’ cannot. For ‘-eoseo’ is a precedent predicate which can be used together with transitive verb as well as intransitive verb and adjective. Those sentences connected by ‘-eoseo’ can make antecedent clause as a tool or method of the postcedent clause. Furthermore, this changes verb that cannot be the object of the postcedent clause into antecedent verb when combined with ‘masi-, samki-, ’deuliki-, ‘meok-,’ and ‘eobsae-.’

The issue raised in this paper is that existing guidelines for morphological analysis are lacking in terms of conceptual organization and utility. The problem is as follows. A mixture of word-formation theory and syntax, Less classification independence, etc. Morphological analysis, as a base work and basic process, is then linked to the morph-sense tagged corpus, syntactic corpus, and other discourse corpus. So that's important. The Sejong Guidelines can be improved as follows. First, the concept of syntactic words is used as an analysis criterion. In addition, consider the division of lexical and functional categories. Second, Procedurally separates the analysis above and below the syntactic word. Thus it distinguishes between syntactic and morphological levels. Third, the syntactic level is used as the basic analysis step, and the morphological level is used as the additional analysis step. Thus, the analysis is dualized to increase flexibility and substantiveness in corpus construction and use. The main reasons for setting the morphological level as additional steps are as follows. Difficulties in component analysis, lack of utility. On the other hand, the terminal tag can be used as it is. Doing so also allows for linkage with previously established corpus. This article presents the results of this discussion into the word analysis marker.

This research is aimed at examining the educational meaning of the Linguistic culture of Paja and Chamseol, which is our own Linguistic culture, and proposing specific Korean language education measures to utilize them. Paja and Chamseol have two main linguistic cultural educational meanings. First, we improve our cognitive ability to our own Linguistic culture. It can improve the ability of learners to be creative because it can enhance the ability to observe the language itself and apply it to current language life. Second, exert a constructive influence on emotional ability in Linguistic culture life. The power of the words of Paja and Chamseol increases the positive effect and self-understanding ability in life. Also, you can learn and improve your problem-solving skills, such as alertness to words and careful behavior. It also helps learners improve their thinking skills, focus and persistence. Paja and Chamseol can be used in two ways in Korean language education. First, it enables the communicative education of traditional and present language culture. Therefore, he proposed to educate students by speaking, listening, reading and writing in terms of the language skills of high school Korean. Second, you can have integrated and converged education of traditional language culture. It proposed to integrate publicly with adjacent areas in the literature subject of high school elective subjects and to educate them to engage in converging dynamic thinking.

The purpose of this paper is to examine the identity of the Holocaustism generation, the human-acter of hyper-connected society, and to investigate the ideological character of the post-Confucian ideology of the network-space, on the premise that both the recovery and the establishment of ethics are the role of human education. It is to consider why education is needed and what role it should play in the sincerity of the humanities education. Matter and spirit are not contradiction and opposition, but interlocking and complementary. The technological revolution of a Hyper connected society is a network revolution, and the “connection” of matter and spirit embodied a new social structure. In order to grasp the new daily life and social structure brought about by the Hyper connected society in which holistic and panopticism coexist and antagonize, the identity of network-space must be clearly identified. The Post Confucian ideology of network-space is a reverse mirroring resulting from the opposition to the Confucian ideology of everyday-space. The problem is that the dislike and hate that this reverse mirroring shows is not just a reaction to Confucian thought but extends to the network-space ethical mechanism, affecting the thinking and behavior of networked individuals. If I am convinced that my actions are correct, the mechanism for calling them is ethical. This is why the de-Confucian ideology of network-space is not just a matter of space but a problem of our society as a whole. Confucian ideology and post-Confucian ideology are both ethical and moral issues. Ethics and morals are the subject of humanities education. This is why, as the hyper-connected society accelerates, humanities education should be emphasized and its weight should increase. The knowledge community of the Hyper connected society has been given a new task, an effort to reinterpret, transform, and develop traditional Confucian ideas from the perspective of network-space and networked individuals. It is clear why the ethics of things should be the heart of humanities education. This is because the ethics of non-human actors are just as important in the Hyper connected network-space as human- actor ethics. If either side loses ethics, the connectivity of the network can quickly destroy it. The dual drive that seeks equality in difference is the network-space ethical attitude that can overcome the exclusive dichotomy of acknowledging and correcting the difference. The role of humanities education in a Hyper connected society is clear. We must restore humanity and humanity and combine our Confucian traditions with network-space to express humanity of coexistence and coexistence. It will be the first step to find out the seriousness of humanities education that will lead the new era.

The purpose of this thesis is to categorize spaces selected in the poetry of Yun Dong-ju and to examine world perceptions and poetic consciousness projected within them. The perceptions of people occur from detailed experiences of subjects and they believe that the emotions and memories of subjects projected onto particular spaces are connected with a poetic consciousness regarding one’s self and the world. Space is always directed towards people and detailed analyses of people are valuable in that they reveal human imagination and awareness systems that exist within. Spaces that are cut off in the poetry of Yun Dong-ju are described as spaces that are cut off from the outside, in which no one but the narrator appears. In spaces such as “a well”, “a mirror”, and “a room”, only the narrator exists and others cannot be seen. In cut-off spaces where everything is blocked off, the subject establishes the narrator who is left alone, displaying shyness and a sense of alienation. However, instead of stopping there, a thorough process of self-reflection is experienced and this leads to mental maturity. Unlike universal emotions, open spaces such as “streets”, “hills”, and “stations” do not signify freedom but induce a form of tragic awareness and a drifting consciousness of the world. This seems to result from the life of the poet and the situation of the times and acts as a reason for why the subject wanders, unable to stay in one place. Of spaces selected in the poetry of Yun Dong-ju, there are spaces in which conflicting forms of poetic consciousness are expressed according to different situations to reveal the confused universal consciousness of the subject. In other words, public spaces and private spaces become mixed and desperate perceptions and orientations towards ideal worlds regarding identical spaces merge, revealing a double consciousness. However, by passing through negative and desperate universal consciousness and revealing orientations towards spaces of reconciliation and a hopeful world, the strong will of the subject to search for “a new world” can be verified.

The research on Park In-whan and his poems so far has resulted in considering his works as the transitional tendency, which contained the limitations of postwar modernism, including excessive sentimentalism, superficial affect, depression, and nihilism. While it is true that Park’s poems of his early days generally showed “realistic political nature”, discerning or appraising the overall characteristics of Park’s poems based on the poetic transformation of a limited period should be refrained from taking place. Moreover, reviewing Park’s work with the context of a specific trend should also be put to an end. It should also be reconsidered that no proper consensus has been reached in terms of the period classification of Park In-whan’s literature. The necessity for finalizing the category of Park’s early works especially exists in the specification of the time of Park’s debut, which could be done through the comparison between the publication theory at “Gukjesinbo” and at “Jayusinmun”. This research attempts to secure the significance of A Street and A Fault in the poetic world of Park In-whan, through the review of the theory of the initial publication of A Street , and through the comparison study between A Fault and A Chanson of Misfortune. Park In-whan himself had introduced A Street to his fellow writers as his debut work. In case of A Fault , although it was the first published work, Park put it within the category of his early works in Seonsijib (Sanhojang, 1955), and made it lose its authority as the “first published work” through adaption. The reduction of the anxiety factor, which occurred due to his elimination of verse 7 during adaption, should be paid special attention. Just as A Street ended with hope, Park’s earlier works can be appraised as the poems that presented not only despair and depression, but also the places that can not be reached, and that materialized the “spirit of freedom” of the people of the period with unreachable places.

The book Partizan, written by Yoo, Gi-soo, is a long novel which described reflectively the situation of Korean war and new colonization through partizans who had been worked around Jirisan mountain. As diasporas those partizans had been connected with the unconverted long-term political prisoners and the victims of the guilt-by-association system. Jirisan mountain is a site of trace, where partizans fought against a punitive expedition. And it is a buried place of partizans who struggled for homeland unification. The writer, Yoo Gi-soo wrote this novel through oral histories of the executives of partizans. He thought that the right path to a unified nation relied on remembering partizans. Therefore, Partizan could be called a kind of counter narratives, because it pushed to inspect a collective memory which was distorted and suppressed by the state or the people in power for maintaining regime.

Mirok Li's <Der Yalu Fließt>, <Kamp um den Sohn>, and <Pflicht des Sohnes> deal with similar times, spaces, and events from the perspectives of the father, mother, and son, respectively. If we consider the literary characteristic of Li as ‘the aesthetics of hometown and nostalgia’, the difference of narrative should be regarded as the author's intention to look at the nostalgia's retrospective identity in three ways of memory. Through this difference of narrative, the author reconstructs childhood and creates memories of his hometown. The representation of his hometown, created through the literary works of his hometown, remembers his hometown, and becomes a social memory that goes beyond personal memory. It was engraved as a representation of the pre-modern Joseon facing the modernization (Western), which is why the Germans became enthusiastic about <Der Yalu Fließt>. If a simple collection of facts of the past is not a memory but a reconstruction through imagination, the image of the hometown is created through the narrative of the memory of the hometown. Li's literature, which thought it was the value of literature to create a representation of innocence through non-partisanness and non-tendency, was able to comfort Germans in crisis while stabilizing the memory of the Vaterland through collective memory.

Before and after the late 1920s, silent films were the most advanced medium for colonial enjoyment of culture. At this time, film novels emerged as a means to overcome the limitations of silent films. The film novels were popular before and after the 1930s and they could be divided into ones that have the characteristics of scenarios for film production and adaptation of the contents of movies already screened. Park Lu-weol’s film novels mostly correspond to the latter. Park’s works were distinctive in that he attempted to adapt to new elements by not only copying or reproducing the narrative of the original film. In particular, this distinction stands out in the process of adapting two films directed by Kim Young-hwan to two film novels in 1930. This paper intends to analyze film and movie novels “The three friends” and “The song of a young man” from the perspective of media conversion. Park Lu-weol adapted two films by Kim Young-hwan into film novel and published a book of the same name in the Youngchang publisher in 1930. The film novels, “The three friends” and “The song of a young man” were texts that symbolize the characteristics of the genre of film novel. In the process of adapting the narrative of the original film, it was characteristic in that it showed a variation of the way of adding elements and motifs different from the original. Film novel usually inherit or abbreviate the narrative of the film, but not in the case of “The three friends” and “The song of a young man”. The purpose of this paper is to examine the intertextual characteristics of “The three friends” and “The song of a young man” and the intention and effect of media conversion, focusing on the relationship between film author and director Kim Young-hwan and film novelist Park Lu-weol.

The purpose of this study was to prepare student-centered based class teaching methods that will develop the competencies of Korean language subject curriculum through process-centered evaluation integrating ‘curriculum - teaching – evaluation.’ In order to accomplish this research purpose, the listening and speaking areas of the revised Korean language education curriculum in 2015 were examined, and the theme of ‘a guide person in my life’ was set after being extracted the elements of the contents which overlapped with the achievement standards of the other areas. After re-organizing the achievement standards in accordance with this topic and reconstructing the contents of the teaching, the course was implemented for the 3rd graders of the middle school. The findings showed that the students had creative and convergent thought while thinking about the subject, investigating and organizing the data, and experiencing a new learning process, and they showed a high sense of accomplishment after the end of the class. Instructional implications for the classroom and suggestions for further study were also discussed. It is meaningful that this lecture suggests the possibilities that the Korean language education can fulfill the role of establishing the identity of the Korean language subject, and fostering the ability demanded by the future society.

In humans, imitation is the driving force and the foundation of civilization. Therefore, humans, as “immune people,” always have the desire to be like or more than others. However, violence occurs when the subject of this desire is paired with a carrier of desire. The narrative of violence by this copycat desire is embodied in the leantymand and in accordance with violence by bad reciprocity, purifying violence and scapegoat mechanisms. In the case of a person who has suffered physical or mental violence, the narrative therapy significance of violence caused by copycat desires has been given, as it can lay the foundation for his or her re-discovery of self-doubt from anxiety and depression in the process of making a sympathetic projection of the violent narrative. In this article, we divided the process of narrative therapy using the narrative of violence by mimetic desires into ‘treatment introduction: understanding and interpretation of the narrative of the work,’ ‘treatment development: empathy for the narrative of the work and awakening of the mental injury’, ‘treatment enhancement: expressing the mental injury as one’s own,’ and ‘treatment finishing: expressing the assessment of past mental injury and equanimity.’

This article examines the characteristics of modern novels/film education in North Korea, targeting textbooks and guidebooks for high school <Korean Language and Literature> according to the current 2013 revised curriculum of North Korea. The characteristics of North Korea's literary education and modern novel/film education are as follows. In order to cultivate loyal talents who contribute to the country through the <Korean Language and Literature> course, North Korea fosters ideological education and revolutionary sentiment, focusing on literary works. It is for educational purposes to get enough mastery. North Korea's 『Korean Language and Literature』textbooks are organized around themes and have a more substantial and systematic unit structure than before. The higher the grade, the bigger the proportion of novels, and the bigger the volume. Also, there were more works after the liberation than those before the liberation, and the world masterpieces also used works based on the early capitalist era. Almost all of the subjects of the work can be converged with loyalty to the family of Kim Il-sung and his country. In the background of the events of the times, ordinary figures grow as socialist heroes, works depicting their achievements, and works focusing on science and technology and hard work. The selection of these works was based on North Korean history and literary history. North Korea also focused heavily on genre knowledge and the author's literary work. In addition, North Korea was pursuing various educational activities related to film by considering it as an educational sanction. Learning activities are developed through ‘acquisition of knowledge → activity of various languages through literary works → formation of attitudes.’ Integrated language literacy. It is hoped that such a textbook inquiry can be a useful reference for designing literature education after the reunification of the two Koreas.