KJC Korea
Journal Central

The current honorific systems are divided into subjects, objects and listeners. Subjects’ honorification uses the word ending ‘-si’, objects’ honorification uses special vocabulary and the listeners’ honorification is constructed by using the word ending to express the speaker's intention to do so. It can be mentioned to be a manifestation system from an object-oriented perspective. This paper attempts to establish a user-centered honorific system, on the premise that the origin of the controversy raised in modern honorific research comes from this perspective. As well known, the issues of honorification that the honorable subject of "-si" cannot be limited to the subject alone, the reality problem of Apjonbeop, the justification of formal/informal setting in listeners’ honorification and the exclusion of listeners' rating system following the ongoing extinction of "-hao" and "-hagae" have been presented. In this regard, I would like to address the above issues by raising the basic question, "Why is honorification required?" As a result, I came to the idea that the speaker connects '-si' to the word ending when the person, who is expected to be respectful, participates in the conversation or is mentioned in the topic. In other words, '-si' is used not only to the subject but also to use the honorific to listeners. In this context, the speaker uses the honorific to take a verbal attitude, consistent with the listener’s age or social position. Therefore, it was taken into consideration the formality or familiarity after considering how much honorific/non-honorific the listener is. There have been discussions on establishing honorification of user-centered, this paper differs from the previous discussions in that it attempts to establish principles and criteria for honorification of subjects, listeners, and objects.

The purpose of this research was to reveal various characteristics of indirect quotative constructions which were used in Korean language education textbooks in the aspect of language use. In order to accomplish this research purpose, it was examined how indirect quotative constructions were suggested as target grammatical items and how they were used in dialogues and texts in the textbooks. Data sources were from five series of Korean textbooks which are widely used in famous Korean language education institutes. The findings of data analysis showed that indirect quotative constructions were suggested as target grammatical items in upper beginner level or lower intermediate level of Korean textbooks. The explanations were focusing on meaning of speech report and ending forms of the quote. The situations which indirect quotative constructions were used for or their usages were not explained. The examples, practices, and activities were mostly based on situation where speech of the 3rd party was stated. In the dialogues and texts of Korean textbooks, indirect quotative constructions were mostly used in foregrounding speech contents. Those used for foregrounding speech act were rare, and those used for expressing attitude of speaker along with speech report were not found. Lastly, implications for the textbook adjustment were also discussed.

「Simsimdanghanhwa」 is a Chinese-written short story contained in An Seok-gyeong’s 『Sapgyomanrok』 consisting of total six tales of characters like Moon Cheon-sang, Jo Gwang-jo, Gwon Pil, Lee Ja-ui, Min Jeong-jung, and Kim In-hu (Jeong Cheol). This study first examines the narrative structure of each tale and meaning of the character sketches and considers thematic consciousness that the writer intended to deliver ultimately based on that. This work is equipped with a complex structure in which six anecdotes and critical remarks are mingled, and with this complex structure, it reveals thematic consciousness. At the end of each individual story, the author makes a critical remark to evaluate the character, and through that critical remark, the readers come to ruminate on the person’s life. Also, as the six cases are organized with characters in different circumstances while being associated with the common subject matter, the readers get to go through the process to discover the theme on their own naturally comparing the cases. In the first half, three persons are seonbi devoted to their own ‘faith’, and the values they pursue and their deeds coincide. Moon Cheon-sang and Jo Gwang-jo are the characters making other people die being too immersed into following their principles while Gwon Pil is evaluated as a person causing the same result but maintaining his own faith. In the latter half, three persons are associated with the matter of ‘hypocrisy (外飾)’; therefore, the values they pursue do not coincide with their own deeds. Lee Ja-ui is criticized as a character representing seonbi that are hypocritical, and Min Jeong-jung is a person pursuing authority being sunk under distorted self-conviction. Kim In-hu and Jeong Cheol reveal the case that follow scholars imitate only the appearance of senior scholars to bring about negative results. With its six tales, 「Simsimdanghanhwa」 draws discussion about ‘seonbi’s righteous behavior’. The writer warns about adherence to principles with no consideration on others and double-faced hypocrisy to deceive oneself and others, too.

Both Choicheokjeon and Kimyoungchuljeon show not only the characteristics of contents such as experience of war, separation of family, and life as a prisoner, but also a common feature of narrative that is converged into the main characters’ homecoming. Even though those two works are similar to each other, one shows the optimistic and romantic perception of the world, and the other shows the pessimistic perception of the world. This is originated from the placeness of hometown and foreign land. In both works, the ‘foreign land’ is similarly shown as an external place that cannot be deeply assimilated. In Choicheokjeon, it shows the nature of ‘placelessness’ that does not realize the placeness at all. Just like Hangju of Choicheokjeon or Deungju of Kimyoungchuljeon, the inside of those places is experienced as a wanderer as the main characters’ identity is still aiming for the hometown. In case of Geonju of Kimyoungchuljeon, it is shown in the form of ‘topophobia’ of the land of death describing the pains of life as a prisoner. Meanwhile, the images of ‘hometown’ are very conflicting in both works. In Choicheokjeon, all the separated family members get reunited in their hometown Namwon, and here, Namwon is shown as topophilia of the place for healing and restoration. Meanwhile, in Kimyoungchuljeon, the hometown is a place for suffering. Youngchul who was captive as a prisoner of war came back to his hometown for his ideological belief in which he should carry on his family line by going back home’. However, his hometown has been already devastated without any warm imageability. Thus, he is suffering from psychological and economic pains that are even worse than his life as a prisoner in China. Eventually, the perception of the world in Choicheokjeon and Kimyoungchuljeon is originated from differences in this sense of place. Even though the foreign land is considered similar as an external place in both works, the foreign land of Choicheokjeon highlights the externality as a wanderer rather than the land of death for the life as a prisoner, and the foreign land of Kimyoungchuljeon shows not only the externality as a wanderer, but also the nature of ‘topophobia’ of Geonju. Also, in Choicheokjeon, the hometown hints the strong nature of topophilia, and in Kimyoungchuljeon, the hometown is the ‘land of suffering’ that cannot be left anymore as a ‘wanderer’. Through this distinctive sense of place, one is expressing the romantic and optimistic perception of the world while the other is effectively expressing the pessimistic perception of the world.

This article examines the literary excesses that appear in Byeongangsoetaryeong. First, we examined the causes of literary excesses and examined the aspects of excesses. Based on this, we have pointed out the effects and limitations of literary excesses. The cause of literary excess can be determined by considering the characteristics of Pansori novel. The type of pansori novel can be divided into three main types. First, a type of structure with centripetal and centrifugal force, they accepted the needs of the upper and lower class, but used the former as centrifugal force. These include Pansori-gye, which is currently being transferred as a ‘chang’(唱). Next, the type of structure in which the interests of the lower class act as centripetal force has a characteristic that focuses on a single subject. Pansori novel which is no longer sung is the case. Finally, the type of structure that centrifugal force is centered can be characterized by the extreme handling of the target. This includes Byeongangsoetaryeong, which cannot be passed down to performances or novels. If the centrifugal force is strong, the story can be pushed to the extreme at any time because it is not checked by the centripetal force. This is the reason why Byeongangsoetaryeong showed literary excesses. There are four main points to identify literary excesses. First, there is a plethora of attacks on men by women. A beautiful woman, Ongnyeo, who removes all men who are obsessed with sexual desire and be the example. The love affair between men and women is also overrepresented. This is the case for Ongnyeo and Byeongangsoe, who lost their base of life, marry themselves and carry out their candid love affairs repeatedly. And Byeongangsoe who ventured a method of burning with attacking higher class is an excessive response not only in those days, but also in our present situation. Finally, it is excessive to devote the largest amount to thoroughly discipline Byeongangsoe. To drive characters of the same class with Byeongangsoe to death cannot but be called a excessive discipline at that. One can guess the effect and limitations of literary excesses. Byeongangsoetaryeong is a pansori piece with the greatest centrifugal force due to lack of moral or ethical centripetal power. The action of such centrifugal force triggered a literary surplus. The effects of literary excesses allowed the producer and distributor of this work to maximize its desire to express itself. Next, the method of literature was newly changed, placing more emphasis on performance rather than novelty, with regard on material and topic. The limit of literary excesses is that there was a limit to the content or expression that generated sympathy from the readers. As a result, the reader's ability to empathize is diminished and the foundation for existence is destroyed. This is why this work was omitted from novel as well as performance.

In novels by Kim Yi Seol, familial relationship is developed based on a plot of ‘mother-daughter’. It is opposed to ‘Family Romance’ of S. Freud, which is unfold on a basis of the Oedipean relation between ‘father and son’. The feminist defiance to a normal family centered on a man, which has become prominent since 2000, is being realized as the ‘Feminist Family Romance’. In other words, in novels by Kim Yi Seol, female characters maintain the relationship of non-separation with their mother from whom they were forced to be separated to go into paternal order and stay in ‘semiosphere chora’. Making a crack in ‘The Symbolic’ centered on father, they also show the flexibility to reject idealization of maternity at the same time. (Chap. 2). In addition, as for the relation with their father (husband), they not desire but reject them. Therefore, even if a female body comes to arrive at abjection, they disturb ‘The Symbolic’ while actively struggling against the violent reality.(Chap. 3) As such, daughters who are not isolated from their mother and reject their father become a mother themselves(daughter-mother) or remain as the daughter of the mother(mother-daughter), sharing the female identity. Hence, rather than the vertical dominance shown from the Oedipean relation between father and son, they show the horizontal solidarity centered on the sisterhood.(Chap. 4). In such a context, ‘Feminist Family Romance’ which conducted the feminist appropriation of the existing family romance reveals Intersectionality, in which two voices made by mother and daughter interact with each other. Accordingly, Feminist Family Romance of Kim Yi Seol has significance in that it embodied the historicity and politicality of the feminist family that has been left out so far.

Sowol's newly appeared “Streets of Seoul” is a problem work that has given many suggestions to Sowol and our current affairs. It is because it shows an individual's walk through the modern times exceptionally, and foresaw the path of modernism, one of the big topics of the podium. As pointed out, Sowol's early work, The Streets of Seoul, provides a basis that can be explained in one aspect of modernity. That is the image of tflaneur. The promenade is a motif and image that represents the distance between the self and the world that roams the city. The appearance of a huge city or an anonymous public deviates the harmony between the self and the world, and turns the landscape that enters the artist's sight into an inexplicable monster. The emergence of the flaneur also comes from this background of the city, which requires critical thinking to return the alienated self from the world to a healthy state. This self-conscious person is a flaneur. The walk in Sowol's “Streets of Seoul” or “Seoul Night” was exactly the same as the flaneur.

This study analyzes the case of multiple narration in hyperfiction works. Hyperfiction is narrative text based on a ‘unit’ and the ‘hyperlink’ that connects it, multiple narration is a narrative technique which two or more narrators participates in storytelling. The works to be analyzed are hyperfictions that were recently created based on the blog platform in Korea. Of these works, ‘God of Others’, created in 2019, is a good representation of the evilness hidden inside of human beings by strategically utilizing the technique of multiple narration. This study conceptualizes the complex multiple narrative structure of hyperfiction as a multiaxial structural model. The multiaxial structure of hyperfiction is a structure in which there are axes composed of several linearly arranged units, and each unit existing on each axis can be connected to units in other axes. The recent hyperfiction works created in Korea are mostly biaxial or triaxial hyper narratives, while ‘God of Others’ is analyzed as a work with a 7-axis structure. As ‘God of Others’ is complex in structure, there are many aspects of the narrators. ‘God of Others’ is a story about three Sociopath-like murderers and their surrounding victims. The narratives of the victims are described through external focalization, and the narratives of offenders such as Min Seung, Jun Ho and Yoon Ah are described through internal focalization. The narratives of the victims are conveyed through extremely objective and activist descriptors, and the narratives of the perpetrators through special aspects of the descriptors with limited vision. ‘God of Others’ strategically utilizes multiple narration to escape the solid physicality of modern printing fiction and acquire a changeable body of hyper narrative.

The purpose of this study was to investigate the war memories of Lee Kang-baek's Chilsanri and their representation patterns. Created in the changing social and cultural topography of South Korea in the latter half of the 1980s when people had full desire for a democratic society even under the oppression of the times, this work restores the memories and scars of individuals, who were forced to remain silent and forget by the state's violence and suppression institutionalized since the Korean War, anew on the stage. With this work, Lee tried to express actively his intention of healing the deaths and wounds that had not been mourned properly, on the theatrical stage. In this context, the present study examined the work beyond the old formal and aesthetic discussions from the perspective of theatrical and literary practice to "seek healing and mourning" through the "representation and restoration of memories" reflected in the work. Lee reorganizes "Chilsanri," a "space of memories" excluded from the official history, and makes it present on the stage, restoring the "suppressed and buried reality" on the text surface. He also restores the voice of the "subaltern" that has been discarded and excluded in the modern history of Korea through the reproduction of these suppressed memories. Lee tries to restore the memories of the Korean War in the swamp of oblivion and mourn and heal the deaths not remembered in history through the "reproduction of war memories." Such efforts are to reflect on the scars and pain of the Korean War, which still continue in the Korean society" together and overcome the contradictions of the divide between North and South Korea. His attempts are his "literary practice" beyond simple theatrical reproduction.

The purpose of this paper is to develop PBL teaching model in a college writing classes for foreign students and to introduce examples of applying it to teaching. J University’s college writing class is the first basic general education class that foreign students experience after they enter the regular university program. They have to acquire writing theories without being proficient in Korean, and they have to submit a considerable amount of final writing pieces. collaborative learning with other foreign students who are in the same situation helps them learn self-directed while making up for their poor writing skills. When developing a PBL teaching model, instructors should take full account of students conditions and should design the lessons after sufficient preparation. Instructors focused on improving students' language skills before PBL began, on improving students' writing skills after the PBL began. From the individual reflection process, it was possible to confirm that they had performed team learning with their colleagues although the problem was somewhat difficult and that the PBLs were sufficiently helpful in improving the writing skills.