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This thesis was conducted to understand the current status of researches regarding Korean modern drama and criticism published in Korean Language and Literature and to suggest assignments and prospects of future research in celebration of the 50th anniversary of "The Korean Language & Literature Society". First, the 21 articles pertaining to Korean modern drama were classified into work theory, writer theory, theater theory, and drama history to be investigated. The results confirmed productive changes such as inheritance of traditional genre, influence of western pattern, acceptance of various modern media, and diversification of research methodology. Next, the 61 articles concerning Korean modern literarycriticism were divided into articles before 1990 and articles after 1990 to be evaluated. As results, encouraging changes were observed, including increased quantity of published articles every year and expansion of study subjects, strengthened recognition and diversification on literarycriticism methodology, and reinforced perceptions on modern literary history. In the future, it is expected that all the Korean modern drama and criticism studies can accomplish academic developments through the expansion of study scope as well as diversification of methodology.

This essay aims to examine the history of interpretation of Koran modern poetry appeared in the Journal, Korean Language and Literature which the Korean Language and Literature Society has published for 50 years. This Journal contains 204 articles on Korean modern poetry. The main purpose of this essay is to overview them, and to survey the trend and urgent problems in the studies of Korean modern poetry. First, this essay analyzed general research trends in the sphere of Korean modern poetry by database working. On this base, the various objects of study and the research methodologies are categorized. Second, the meaningful research achievements in each category was introduced. In this process, the main question at issue was suggested about the studies of Korean modern poetry, especially connected with the changes in Korean modern poetry and its educational circumstance. Last, several proposals about the future Korean poetry research were made：“diversification of objects of study”,“more challenging research viewpoint”and “the sharing of critical mind about public reader's reception of modernpoetry”.

This thesis is composed for classifying the history of studies on Korean modern novels and short stories publicated in 『Korean Language & Literature』 no.1~82. For 50 years, 1,583 pieces were publicated in 『Korean Language & Literature』 and 278 pieces of paper were on Korean modern novels and short stories. These 278 pieces were rearranged, following the publishing time of novels that each paper dealed with. In these 278 pieces of papers applied various methods for studying Korean modern novels and short stories from the time of enlightenment to 1990's ; text-linguistics, lexicology, narratology, psycho-analysis, sociology, feminism, post-structuralism, post-colonialism etc.. So the members of the Society for Korean Language & Literature have framed the semantic web of Korean modern literature finely though there are the areas not yet dealt with by the scholars. I believe that the areas will be dealt with soon or later, so the study of Korean modern literature, especially Korean modern novels and short stories, will make further progress.

This paper has two purposes：One is to examine the differences of two Korean progressive markers ‘-go itta’(-고 있다), ‘-neun joongida’(-는 중이다), the other is to illuminate the grammaticalization of the two progressive form, and to explain the differences between the two forms by ‘-neun joongida’ construction's property triggering the sister-member situations which is due to the etymological meaning of ‘joong’(middle). The two progressive aspect forms differ in allowing time adverb, in negative sentences, and in resultative aspects etc. I discussed the grammaticalization of the two types. ‘-Go itta’ was grammaticalized by the manner schema(X stays in Y manner), and ‘-neun joongida’ was grammaticalized by the locative schema(X is at Y). The meanings of grammaticalized forms are affected by the etymology of elements of the form. ‘Joong’(middle) in the ‘-neun joongida’ construction presupposes the other parts which are not middle pragmatically. Therefore in ‘-neun joongida’ progressive form presupposes the other situations which are the sister members of it, so in ‘-neun joongida’ sentences the V1 situations functions as figure and it's sister-members function as ground. Resultantly all the differences between the two progressive forms can be explained by the facts that the later presupposes the sister-members which has time span in the whole situation as ground.

One of the most representative data for modern traditional toponyms is ‘Hangukjimyeongchongram’ written in the 1970's. Most of data recorded in ‘Jiriji’ or other documents is using Chinese character toponyms with Gun and Hyeon-based or larger units, but ‘Hangukjimyeongchongram’ includes all traditional endemic toponyms transcribed for broad-scale areas. In the ‘Joseonjijijaryo’, however, contains Korean transcription for traditional toponyms with Myeon-based or smaller units approximately 60 years before ‘Hangukjimyeongchongram’. ‘Joseonjijijaryo’ (in the 1910's) is one of the oldest toponym documents transcribed in Korean, including traditional toponyms. It is very valuable data since it shows correspondences between Hangeul toponyms (Eeonmun section) and Chinese character toponyms (Jimyeong section). In this article, 639 kinds of toponyms for Hoedeok-gun, Jinjam-gun, and Hyeonnae-myeon of Gongju-gun, corresponding to Daejoen of the present, written in ‘Joseonjijijaryo’ were researched to study the transcription characteristics including s-series Hapyongbyeongseo, the use of disappeared characters such as /ㆍ/, misspelling transcription, final consonant (a supporting floor part of Korean characters structure) transcription, the inter-siot(ㅅ) transcription, the borrowing letters transcription, the transcription for reorganization of Sino-Korean word, the transcription reflecting phonological phenomenon, the length transcription, and the diphthong transcription below sibilant such as ㅅ(s),ㅈ(ʧ), and ㅊ(ʧh) as well as their meanings. Ultimately, the study for transcription characteristics of Daejeon toponym is a prerequisite for the research for toponym morpheme analysis of Dajeon toponym. In addition, ‘Joseonjijijaryo’ have some limitations. At first, traditional toponyms are not precisely transcribed. Although most of town toponyms is specifically transcribed, other toponyms are not so. Especially, valley, rock, and street toponyms cannot be found at all. This data has been also evaluated as ‘uncompleted’ in ‘You Jaeyoung’(1994：828) because some places are concretely transcribed, some places are roughly described, and some Dos (including Hamgyeong-do, Jeollabuk-do, Pyeonganbuk-do, and Gyeonggi-do) are totally omitted. Secondly, detail information of each toponym cannot be found as well. Partially, the note section(備考) describes where the toponyms suggested with assort classification(種別) are located. Therefore, only fundamental forms of toponym can be deduced if Chinese character toponyms are corresponding to Hangeul toponyms. This article suggests two proposals to resolve the limitations; Korean linguistic characteristics of modern toponym in the early 20 century should be officially confirmed through toponym data analysis based on the transcription features of ‘Joseonjijijaryo’ and the diachronic research should be carried out for traditional toponyms in the relations with toponym data such as ‘Joseonjijiaryo’ and ‘Hangukjimyeongchongram’ and modern data including ‘Daejeon Jimyeongji’(1994). Then, it can be said that the characteristics of Daejeon toponym are truly identified.

This research observed the relevance between listening and other language skills in Korean language teaching, especially analyze the relevance between post-listening activities and other activities in currently used teaching materials. Analysis result pointed out that post-listening task in currently used teaching material did not show much relevance with other teaching skills. To begin with, the teaching activities in the intermediate teaching materials varied a lot, however, in the beginning level and the advanced level materials there were much fewer. Furthermore, the teaching activities were all of single kind in general. Finally, post-listening activities were mainly related to oral practice. This study found out that Korean language textbooks did not practice language skill integration much although many post-listening activities were developed and skill integration was recommended. It also claimed that in order to achieve a more efficient integrated teaching purpose, various listening practice and relevant activities should be employed in the textbooks.

In Korean several classes of verbs construct ambiguous sentences in the case of combining with ‘-go itda’. The two meanings of ‘-go itda’ are ‘progressive’ and ‘static’. We call the ‘-go itda’ of the former meaning ‘-go itda1’, and we name ‘-go itda’ of the latter meaning ‘-go itda2’. In this study we classified the verbs into 6 subclasses based on their meanings. The 5 subclasses are the taking & possession verbs, physical taking verbs, wearing verbs, pose verbs, opening & closing verbs. And the last subclass consists of just one verb ‘memorize’. The verbs among above 6 subclasses represent the ‘progressive’ meaning by combining with ‘-go itda1’ and reveal the ‘static’ meaning by combining with ‘-go itda2’ in Korean. Otherwise, in Chinese the verbs similar to the Korean verbs of 6 subclasses in meaning, don't produce ambiguous sentence. For in Chinese the aspectual meaning of ‘progressive’ is revealed through ‘在zai’ and that of ‘static’ is realized through ‘着zhe’. We can expect that Korean ‘-go itda1’ responds to ‘在zai’, and ‘-go itda2’ to ‘着zhe’ in Chinese. But it is not always applied to all verbs. Most of the verbs in 6 subclasses show one-to-one responding, but several verbs correspond to one of them. We call the former group of verbs A class, and the latter group B class, and divided again the B class into 2, B1 and B2. ‘-Go itda1’ which corresponds with Chinese ‘在zai’ is the B1 Class, and ‘-go itda2’ which only corresponds with Chinese ‘着zhe’ is the B2 class. ‘Memorize’ and ‘strip’ are in the B1 class, pose verbs are in the B2 class, the rests are in the A class. And we dealt with the topic of getting rid of ambiguity in the ‘-go itda’ construction.

In this paper introduced the life of the story-teller Sim I-ban who migrated with his mother and younger brother from Russia to Uzbekistan in 1937 year and researched contents and oral-statement mode of the folk-tales which he state orally during for us to field-work in Siongo. And also examined aspects about for the episodes and the motifs how to be inserted and refracted in his folk-tales for transmitting. He was very excellent a story-teller to be well-known to Siongo residences of Koreans-Uzbekistan. He used various styles and rhetoric of the expressions and dominated the story place. Even though he didn't remember transmitting history about his folk-tales, the type of his stories was various like a fun story, complete story, folklore story, real story, old-novel story, Russian folk-story etc. Especially among his folk-tales <the blind thing is fault(먼 것이 흠)>, <The second wife to kill a child by one’s former wife (전실 자식 죽인 계모)>, <a destiny to die by a tiger(호환당할 운명)>, <a firewood seller and a nymph(나무꾼과 선녀)>, <a filial daughter Sim Chung(효녀 심청)> and <Heungbu and Nolbu(흥부와 놀부)> etc. were excellent works. In this paper we examined for the episodes and motifs to be inserted and refracted in his folk-tales to hand-down from our folk-tales. The thing to share same emotion and traditional culture is very important view-point to recover Identification between Korean-Uzbekistan and Korean.

This study aims to speculate on aspects of Ryomrakpung presented in poetry by Na Do-Gyu, one of Honam's literary people of the 19th century, what characteristics the poetry has, and what meaning it has in the history of Chinese poetry. Volumes 1 and 2 of 『Dukam Manrok』, a collection of Na Do-Gyu's poetry, include a total of 299 poems with 234 themes, among which those of the Ryomrakpung style were selected and their characteristics and aspects were defined in the study. Na Do-Gyu's Ryomrakpung style poetry is roughly categorized into three types：poems that describe what he realized and reasoned after he read Chinese classics; those which give intentions on how to live; and those which explain morals Na Do-Gyu can see or realize and reason on through the observation of things. Poems of the first type are 「Gyong-cha-hwa-dam-seo-sunseang-dok- yeok-si」 and 「Dok-ju-yeok」. Mr. Na discussed reasons for the universe in the two poems, but they are not literary as they explain the reasons. Examples of the second type are 「Hwa-o-jung-ham-gyon-ki-gye-soo」I, 「Park-chang- soo-lee-si-gyon-you-wol-lee-il-soo-seo-gyom-lee-si-sa-ji」II (Vol. 1), 「Yayoung」, and 「Dok-seo-gak-piri-saek-chon-jo-in-ki-ing-seong-sul-sa-gyon-hoi」II (vol. 2). Through these poems, we can understand the attitude Mr, Na had at the time. He considered the basic nature given to humans as important and suggested that the purpose of studying is to recover our nature. Also he emphasized that humans are compelled to follow the circulatory order given by heaven, and had an attitude to accept the destiny given to himself while being satisfied and pleased with it. Examples of the third type are 「Gan- hwa-eum」, 「Gangheung」 (Vol. 1 of the collection), 「Gwanmul」, and 「Jeung- im-ki-seo-suk-gyu」I (Vol. 2 of the collection). These are certainly representative of his style. Here the author emphasized the circulatory principle of nature through natural things and that natural things have an innate natures. Such thoughts were derived from his attitude to view things in terms of things instead of in terms of humans. That is, it is suggested that he did not inject subjective ideas into natural things. The conclusion is that Na Do-Gyu's Ryomrakpung style poetry is not different from Ryomrakpung style poetry created since the late Goryo Period, and it inherited the trend of poetry continuing the development of Confucianism in the Joseon Period.

This writing diagnoses the psychological disorder found in a writer Wei-han Jo’s self-narrative. The self-narrative was written when Wei-han Jo wrote a novel called 「Choicheokjeon」. This writing also examines how the narrative of life is revealed and transformed as an aspect in the novel, and how this aspect is applied to cure the psychological disorder. First, with an examination of Wei-han Jo’s self-narrative, the sign of psychological trauma in the narrative is diagnosed. Then, in a perspective of self-healing, this writing examines how Wei-han Jo performs revelation the self-narrative and revives of the self-narrative as an aspect in the process of his writing. First, in a self-healing through revelation of the self-narrative, two distinctly distinguished and concentrated parts of self-narrative are discussed. The parts of self-narrative are related to his unstable mental state and sign of psychological disorder. One is a memory of war in Namwon, and another is a wandering of foreign countries. Wei-han Jo’s family’s experience of war in Namwon corresponds to the scene of Cheok Choi’s family’s experience of war in Namwon. Also, Wei-han Jo expresses his desire by making his characters wader through the whole are of East Asia. Wei-han Jo naturally purifies the emotion by expressing properly conscientized his menial trauma through his writing and heals himself with a vicarious pleasure. He gets a vicarious pleasure by expressing his desire of wandering foreign countries by making characters to wander the foreign countries. Secondly, in a self-healing through the modification of the self-narrative, modified aspect of the self-narrative, which is about suicide and a life in seclusion, is mostly discussed. The suicide and the life in seclusion are most extremely expressed forms of depression appeared in Wei-han Jo’s self- narrative. Wei-han Jo experienced the limit of the life in seclusion which avoids the reality, and modified the problem of the self-narrative by viewing his decision on the life in seclusion with objective viewpoint. He also tried to modify the self-narrative and of society by tenaciously thinking about the suicide and life of Okyeong with a viewpoint of family’s returning alive and union. He reveals that he heals himself in the process of modification of the self-narrative.

This paper studies the Jeonju-Palkyoung’s poems. SoSang-PalKyoung’s poems describe a real scenery at the first time. As time passed by SoSang-PalKyoung’s poems changed a ideation and standardization. So SoSang-PalKyoung’s poems became a representative poem of a nature poem of the season. Since passed from Chinese to Korea, SoSang-PalKyoung’s poems produce a suitable poem for each the districts. Today, It is a Palkyoung(八景), Sibkyoung(十景), Samsibeekyoung(三十二景) in Jeonju. In the first half year of the Joseon Dynasty, Seo geo-jeong and Gu bong-ryeong sang the ‘paehyang(沛鄕：全州)’ where a spectacular view of the Jeonju. But it had become clear that while it is far from today Jeonju-PalKyoung. As the Jeolla-do observe Corp, Jo su-sam sang the eight spectacular view of the Jeonju in the late Joseon dynasty,From the Japanese occupation to now, Jeonju-PalKyoung shift changing from place to place and across time. This change provide proof for Palkyoung's shift due to changes in the space and the time. That is to say, Palkyoung change due to changes in the space and the time in the future.

Kim Ji-ha's collection of poems titled A Black mountain and a White room 1- Part 2 ‘A Black mountain-in the Mooreung Valley’ sets a scene in Mt. Doo-ta, Donghae Si, Gangwon-Do. 13 poems in the collection are significant in the sense that Kim Ji-ha first captured the literary space after leaving prison in December, 1980, and they were not adjusted, touched and polished off by his dictation. Kim Ji-ha who was a symbol of a fighter for democracy, and experienced existent extremes of ‘passing’ and ‘killing’ approaches the history of horrible pains and passing in the Mooreung Valley, Mt. Doo-ta through an anarchic viewpoint of the sense of Nihil and resistance in the Part 2. Facing the crippled history offetters, Kim Ji-ha showed the aspect of the will to overcome them and pledge, for he wrote poems with not an idea of Mt. Doo-ta but its vitality. For Kim Ji-ha, the history of killing is only not to move away from the human world. The poet’s will that he can be born again as a real being emerges as a poetic diction of ‘water’ in the end of many poems. ‘Water’ represents the life thought that has to experience when the blood history in the Mooreung Valley, Mt. Doo-ta is converted into a new being. Thus, ‘water’ is a manifestation of vitality that Kim Ji-ha aims. The present being for returning to the life represents the life thought that has to experience when the blood history in the Mooreung Valley, Mt. Doo-ta is converted into a new being. Kim Ji-ha condenses a solution to the sad history of Mt. Doo-taand further of Korea as ‘the wave of life.’ This is in direct contact with his opinion that a confrontation between killing and saving is the life movement. He who desires a freedom of transcendental world meditates the meaning of life through ‘Black mountain’ after experiencing death. This life thought is to care about the life of the community beyond looking after oneself. As people are a living being, life has a wish, and they experience the polishing of life for the wish. In short, Kim Ji-ha's collection of poems titled A Black mountain and a White room 1- Part 2 ‘A Black mountain-in the Mooreung Valley’ that sets a scene in Mt. Doo-ta is significant in the sense that they reflect the poet’s trace of suppressed life, and Mt. Doo-ta is a captured space in atime of tribulation of our generation. Moreover, Kim Ji-ha's poems about Mt. Doo-ta are important, because they are in direct contact withthe life movement that he has consistently pursued.

The poetic world of Park, Myung-Yong is based upon the 4 mental levels. The first level is ‘the labyrinth or finding a way in the foggy area’, which is derived from the fact that he regards everyday reality as an unexplainable and obscure consciousness. His way of recognizing the reality as a confusion and the unknowable means that the reality itself is so for him. But he never gives up and tries continuously to find the truth. The second level is ‘the semiotic network of nature or things’. The nature and things of his poems draw our attention as they are almost always with the Oriental spirit which is based on the world-view of personification. The most significant thing among the things in his poems is the ‘river’. The river in his poems works even as a logic to recognize the truth or the wisdom. The third level is ‘the world of small and trivial things’. They mean the alienated and deserted things which include not only the natural world or things. They also embrace our lives in general and the psychological presence of the poet himself. In his poetry, he perceives the order and the principles of life through interest and sympathy in them. The fourth level is ‘the great freedom or the will to transcendence’ where he hopes to reach by way of reflection on which his sentimental peculiarity is based on. The fourth level presupposes the overcoming of the death, that is, the practice of life and love.

This paper would like to emphasize that you should be watching Lee Yuksa's literature from a variety of perspectives. His literature in terms of the historical, ideological, and aesthetic appreciation of different perspectives. One of the conditions of work Whatsoever good diversity of interpretation. The diversity of interpretations is established from an emphasis on the actual role of the reader rather than the writer and the text. Literary works will be accommodated by the actual readers of the living environment, tastes, and generations. What about, for example, did not under Japanese rule, the historical experience of young readers? And his literary ethnic discourse, or discourse level resistance to only listen, they do not want. Fortunately, his major works that are not tied to the historical reality, viewing is possible. His works are closely linked in terms of intertextuality castle, as the possibility of multiple interpretations. His major work, such as “Dusk”, "Wilderness", “Green grapes”, “Mountaintop”, “Flower” have the layered meanings. This paper from the perspective of ‘Homo Aestheticus’, his work will be appreciated. His work is to keep the common pursuit of the aesthetic world of the self-consciousness of the artist. These characters are related to the fact that the reality of his experience was never beautiful. So reading his literary aesthetic reading and historically it is not exclusive. On the other hand, in order to secure his literary diversity must be accommodated in the literature with more scalability works. His literary work more actively to the movies, dramas, musicals, etc., should be transformed. In addition, you also need to have a lot of interest in his literary dimensions of the local culture.

This paper aims to analyze the aspects of psychological variables reflected from the author's biographical effects and the changing process of the author's consciousness in the literary work. The results of the analysis of the author's consciousness are as follows：The aspects of the author's consciousness are classified into two types. The first one is the aspect of conflict with which the protagonist Sung-Chil is faced when he embarked on his new life in Seoul after he left his hometown. This conflict starts from his success he was planning to achieve when he left his hometown. Such a success is expected to be achieved after he made a huge amount of money. To achieve a goal, Sung-Chil did many things as an employee of Jin-Sung Inn and Ja-Sung Mechanics, as a shoe-shining boy, or as a loan broker. Such a hardship and maladaptation result from his poor preparedness for his life. Second, while in Seoul, his sense of value conflicts with his previous one of value. At the same time, a kind of mammonism, that is, he is too attached to money, can be found. The conflict of the sense of value which Sung-Chil undergoes is rooted not only in his cultural behavior of Confusianism, but also in the gap between the traditional value and the value of modern capitalism. Sung-Chil's money-oriented behavior is attributed to the trend of the times when he lives：rapid development of economy, transition to industrialism, expansion of urban culture, change of the social structure, etc.

This paper thoroughly examined reality corresponding aspects through the poet which written in the Liberation Period by Seol Jeong-sik. The set of expressions during the world can see know that he recognize critically the reality at the time, has made a poetic shape of the point of view of knowledge seekers by human responsibility. He creates poems through the narrative form of creative expression for reality corresponding aspects. Can set dietary narrative form of a number of creative and critical awareness about the reality of the liberation period, it embodies the poetic realism was planning to reveal the poetic. He realistically reflect the reality of the contemporary time frame focused on the creation of a narrative form. The narrative structure of time effective representation is reflected in the reality of the historical events. Set of expressions for the Liberation Period in reality a reality criticism of the composition through the inner aspect of the confession appears. The contradictory emotions of loss or poetic subject through a new resolution in the confession specimens shows the cross. The access to these ambivalent emotions, self-confessed had the knowledge to recognize the reality of human anguish and the future of the nation he wants to shape a poetic attitude. Will like this is a test piece for the future outlook of ethnic tone prophetic prompting a new resolve. It can be seen as the set of expressions during the poet's life and literary commitment to constantly the national testimony was antagonistic in the gap between the ideal and the reality. His poems also reflect the objective reality of these poetic structure can be evaluated by the shape of a portion of aesthetic realism accomplished. The poem of Seol Jeong-sik fierce reality of ethnic literary shaping of the national poet of modern suggests will be able to be positioned in the field of the Liberation Period of ideological confrontation.