KJC Korea
Journal Central

This paper analyzes the contents of seven statements of religious leaders published in the COVID-19 crisis from the perspective of disaster humanities. The summary of the analysis are as follows. First, all statements recognized and defined COVID-19 as a disaster and crisis. Second, as a response to COVID-19 they prioritized cooperation with government policies and emphasized religious response methods, namely helping and praying for their neighbors. Third, in the message to believers and officials(priests, monks, pastors, and etc.), the request for religious life occupies the main content, and tried to give the belief that COVID-19 can be overcomed. Fourth, the attitudes toward the government are mostly positive, and only Protestant pastoral letters show a negative attitude towards strong preventive measures such as the closure of religious facilities. Each religious statement uses the vocabulary of the religion in greetings, titles, and year marks. The closing remarks of all the statements end with asking for prayers to overcome COVID-19. In the end, it can be said that the biggest content characteristic of religious discourse is that humans, who are weak beings, pray to the absolute being in the face of disaster.

The purpose of this study is to establish the concept of disaster literacy and to lay the foundation for the formation of disaster literacy discourse by presenting constituent factors. And from the perspective defined in this way, I tried to critically review the text structure and language usage patterns of the regular briefing related to COVID-19 by the Central Disease Control Headquarters. Ultimately, this study attempted to find ways to improve the use of disaster language that fostered disaster literacy capabilities in public areas. This study first defined disaster literacy based on previous studies and clarified the factors constituting disaster literacy to prepare a literacy measurement tool. Through this, this study emphasized that in the case of disaster literacy, the stages of disaster development are diverse, and the contents of the required literacy should be changed according to the phase of the disaster. In this paper, disaster literacy was defined in this way in three dimensions, and based on that point of view, text analysis was conducted on 190 regular briefings related to COVID-19 by the Central Disease Control Headquarters. Through this, this study attempted to examine the structural aspects of the texts, examine the characteristics of the language used in each structure, and derive improvements.

The purpose of this study is to examine that the vowel harmony for conjugated form in Wanju dialect appears differently in southern and northern regions. Until now, Wanju has been regarded as the same dialect area as Jeonju. However, some studies have mentioned that the Wanju dialect differs geographically. To examine this, this article divides the boundaries between the southern and northern Wanju, and analyzes the data of the elderly at each point. In particular, the vowel harmony pattern that appears in the conjugated forme was analyzed. This is because vowel harmony is the main criterion for dividing the Jeollabuk-do dialect into the southeast and northwest. Therefore, it was considered useful to check the difference between the dialects of the southern and northern Wanju. The vowel harmony patterns of type 1 (when the vowel of the stem is 'a, æ') were different in the southern and northern regions of Wanju. This was generally consistent with the characteristics of the southeastern and northwest regions of Jeollabuk-do, respectively. And, type 2(when the vowel of the stem is 'o, ø') maintained the characteristics of the Jeollabuk-do dialect in both the southern and northern Wanju. In addition, it was interpreted that the vowel harmony of p-irregular verb shows the process of assimilating the vowel harmony pattern of the southern part of Wanju to the northern characteristics.

This paper analyzed the language of Native Haenyeo in the western regions of Wando-gun in grammatically, phonologically, lexically. In the Particle, if dialect type and standard language type coexist, there were locative case markers ‘-eseo’, Instrumental Case ‘-eulo’, Auxiliary particle ‘mada’, ‘buteo’. if there is only dialect type, there were Genitive case markers ‘ui’, locative case marker ‘ega’, Comparative case marker ‘cheoleom’, ‘mankeum’. In the Connective ending, if dialect type and standard language type coexist, there were ‘-eunikka’, ‘-eumyeon’. if there is only dialect type, there were ‘-eumyeonseo’, ‘-eulyeogo’, ‘-ji’. I have analyzed the language of Haenyeo phonologically, it was not different from the Wando dialect. In the vowel assimilation, in the case of two syllable stems, Bogildo Haenyeo appeared only ‘i+eo→yeo’ type. and Soando and Chuzado Haenyeo were coexisted with the ‘i+eo→e’ type and the ‘i+eo→yeo’ type. Compared to Wando dialect data, it can be estimated that the ‘i+eo→ yeo’ type is becoming more common in western Haenyeo. The w-glide formation was found in data from three regions of haenyeo. When the vowel of the stem syllable was ‘오’, the form in which the glide formation occurred and the form in which the glide ‘w’ was eliminated coexisted. and When the vowel of the stem syllable was ‘우’, the two forms will coexist. but the form 118 韓國言語文學 第122 輯 in which the glide formation occurred was more common. The y-glide formation appeared in the data of haenyeo in three regions, Bogildo Haenyeo appeared only ‘i+eo→yeo’ type. and Soando and Chuzado Haenyeo were coexisted with the ‘i+eo→e’ type and the ‘i+eo→yeo’ type. Like the Wando dialect, the ‘i+eo→yeo’ type is likely to be more common after glide formation. I have analyzed the language of Haenyeo lexically. The western Haenyeo wad only called ‘Haenyeo’ and unlike Jeju Haenyeo, the high-skilled Haenyeo was called ‘Yeongja, Meoguli’ and the low-skilled Haenyeo was called ‘Banga’. Regarding the sea environment, in Bogildo island they works in the sand sea, in Soando island they works in the gravel sea, and in Chujado island they works in the ttenseom island. the vocabulary influenced by Jeju haenyeo was used, such as ‘meodeul’ or ‘neonji’. Regarding the sea space, Soando Haenyeo data showed ‘golaeyeo’ and ‘ungtong-gae’. Regarding working tools, the western haenyeo called the nets that contain seafood collected from the sea ‘mang-ali, mangsali, meongseoli, heongseoli’, and this is no different from Jeju Haenyeo. The harvesting tool was called ‘homu, kkalkku, kkakkuli’ and the tool that picks up abalone wad called the ‘pichang, binchang’. This seems to be influenced by Jeju Haenyeo. As a secondary tool, ‘dulumbag, dulbag’ are used for Haenyeo to rely or swim on the surface of the sea. this is different from Jeju Haenyeo. Soando Haenyeo called the line connecting the net and the anchor stone ‘ttasbae’.

This study aims to design a place-based literary experience centered on literature museum education through theoretical and practical exploration of the place-based literary experience. To this end, literature research on the concept of place-based literature education (PBE), theoretical research on placeability in literary experiences, and program case studies of overseas literature museums based on place-based education were adopted as research methodologies. This article aims to define the concept of place-based literary experience as follows. It is an experience that makes certain places in the community a source of literary sense and learning, experiences the overlapping of places in the work, places in the real space, and interpreted and imagined places, and ultimately engages deeply in local literature, culture, and issues through these literary places. In addition, the characteristics of these literary experiences were explored by dividing them into three categories: sensory, multilayer, and collective, and examples of place-based literary experiences of overseas literature museums were analyzed according to the category. Activities and application plans for each category of sensitivity, multilayer, and collectivity were proposed.

This study started with a question about the background and factors, paying attention to the phenomenon that today's <Sangchungok(賞春曲)> education continues to shrink. Despite the high interest and many discussions in the field of Korean literature on <Sangchungok(賞春曲)>, the search for educational value has not been sufficiently carried out by focusing on substantive investigations such as the issue of authenticity of the author and the controversy over the first work of the Gasa(歌辭). A solution was sought in consciousness. To this end, by examining the actual situation in the textbooks of <Sangchungok(賞春曲)> diachronically, <Sangchungok(賞春曲)> secured a dominant position in the early textbooks, but it was confirmed that it was continuously withdrawn and excluded. This led to the conclusion that it was necessary to explore new educational values and qualities beyond the level of literary history. Then, through the research discourse of <Sangchungok(賞春曲)>, the research history focused on the origins of lyrics and the author's authenticity was critically reviewed, and the need for a new research methodology to lead the search for educational qualities was raised. The act-theory was born out of this necessity, and attempted a new approach and understanding of the controversy over the origin of lyrics and the authenticity of the author in the interrelationships of literature and society and literature and human subjects, respectively. In Chapter 4, it was proposed to expand the scope of education of <Sangchungok (賞春曲)> beyond the literary history. Education such as 'the essence of literature(literature and humanity, society)', 'reception and production of literature(literature and society)', and 'attitude toward literature(literature and humanity)' Indicators and horizons were designed, and specific educational contents were explored. This shift in perspective and approach was expected to bring about a change in research and education while arousing new interest in <Sangchungok(賞春曲)>.

The poet, Oh Soon-taek pursues beauty, purity, and brightness, features of human’s nature in his children’s poetry. There are frangrances and sounds on the foundation of the beauty, purity, and brightness. He makes his readers dream new things and opens an entry for them to experience new world of imagination, through olfactory and auditory images. Fresh airy embodiment provides readers invigoration, definitely. Therefore, this study aims to analyze olfactory and auditory languages focusing on the entire poems of Oh Soon-taek and to trace airy imagination expressed in his children’s poetry. Though the poetic words related to fragrances are not signified in the poet’s works, he is not afraid of trying freely to olfactoryize hearing and to auditoryize olfaction. In addition, he is a subject who experiences more diverse auditory illusions than actual hearing and nature is like a mouth containing every auditory element to him. As mentioned above, the poet puts richly attractive fragrances and sounds in nature with his own imagination, and they are tied in his fantasy world as embodiment of infinite words and images in spite of no forms. Like this, Oh Soon-taek’s poetry showing the images of hearing and olfaction at the same time awake all things and make them live and breathe. There are fun as well as philosophy of life in the poet’s works. They open our eyes to forgotten realities and show freedom when feeling lightness from the materials offering happiness of small things. This is well expressed in Bell Sounds which hopes “all the sounds in the world will be pure like first cry of a newborn baby.” Sounds have no weight. Many things are put down, and then, there is a clean sound. How much this poem resounds! When reading the poet Oh Soon-taek’s poetry, our ears become clean. When we would rather hear it than read it through eyes, we seem to hear pure and bright sounds in the world. In addition, his collection of poems expressing love with fragrances contains lots of perfumes of flowers, grasses, and trees, awaking his readers’ olfactory sense. Someone says sounds last longest and fragrances last for a long and long time. His children’s poems reflecting universality of human emotions will be remembered as sounds or as fragrances to us.

This article has contemplated the significance of home cooking appearing from the text of <I Eat with My Mom Every Day>, a record of home care by a son of 60 years old who nursed his mother in her 90s for 9 years. Under this article, the home cooking means the dishes that are personally cooked by the son who had the nursing of his mother. Two conspicuously impressive matters during this nursing period are fact that the son who was turning into his own senior years folded up his social life to personally take on the nursing of his mother and the fact that he personally learned and developed cooking in contemplating of his mother’s health during the period in a way of taking care of their meals. He began his nursing for fulfilling his filial duty or ethical obligation as a son, and for the purpose of practicing Banpojihyo, he naturally learned how to cook and it has become the only way of communication with his mother since there was no other way of communication due to his mother suffering from the senile dementia. His mother who was really good at cooking retrieved her sharpness of yester years only during the mealtime as she expressed all phases of life through food, and she came up with her sharp critiques with clear pros and cons. While exchanging such dialogue and sensitivity, the author was able to wipe off his adverse emotion of regrets, resentment, anger or the like arising during the time of nursing. Furthermore, his passion and immersion on cooking ventilated sentiment and purified emotion and it also functioned as the catalyst to cure the devasted mind and body, namely, restoring the wounded mind. While living along with his mother in a space of apartment, the author had to accept the distance away from his social activities, including ordinary exchanges with his own family and this part was led to the decline of self-esteem and self-efficacy. However, he was able to recover his status unexpectedly for engaging in diverse activities through a way out in cooking. As such, the motivation for him to start cooking was to serve his mother well, but with the time of nursing prolonging, his endeavor paved the way of communication with his mother who the normal dialogue would be difficult as well as a salvation for himself, and this article has analyzed the text by paying attention to such points.

After the death of the race, Haseo Kim In-hoo left his government post at the age of 36 and returned to his hometown after a short five-year retirement life, concentrating on his studies and fostering younger students. Social politics at that time caused great disappointment to Kim In-hoo, but he did not stay there and worked in literature at Sunchang Jeomam Village to fulfill his bigger dream. Hunmongjae is a lecture space built by Haseo Kim In-hoo in 1548 to train his juniors after entering Jeomam Village with his family. For Haseo, this place was as meaningful as Pilamseowon Confucian Academy in Jangseong, but unfortunately, there are very few records of Hunmongjae. In this article, based on the rare records, we examined how Kim In-hoo built Hunmongjae in Sunchang and conducted lectures, and analyzed several poems that correspond to three of the 28 works of Eoam Japyeong. Kim In-hoo understood filial piety as the foundation of humanity, and said that filial piety toward parents in human life is the most desperate of the ethics set by heaven. After Kim In-hoo stepped down from his government post, he tried to support his parents by serving them in nature. While he was serving as a government official, he expressed his gratitude to heaven for the health of his parents in his hometown through poetry. The love of nature has become a disease beyond appreciation to Kim In-hoo. The disease of attachment to nature was naturally expressed in poetry. While the body was actually suffering from the disease, it was unable to shake off the mind of natural prostitution, so it was expressed in poetry that it was only looking forward to getting better. For Kim In-hoo, the disease that misses nature was also a cure for overcoming the disease of the body. After Kim In-hoo returned to his hometown, he attached his heart to nature and imitated his feelings into plum blossoms to reveal his pure heart and portray a fairy tale in nature. It was recognized that cultivating and singing plum blossoms in nature is a way to cultivate the mind and body, and it was intended to form a poetic image of natural objects. This is the characteristic element of Kim In-hoo's work, which he sang while living a leisurely life away from nature. As a representative poet of Honam Poetry, Kim In-hoo created natural poems such as "Sosaewon 48 Young" and "Myeonangjeong 30 Young." In particular, "Eoam Japyeong," which reveals his life as it is in nature awareness, and "Chilgye 10yeong," show the extraordinary and high artistry of poetry writing. In Jeomam Village, Kim In-hoo tried to enjoy the customs of nature by learning the logic of heaven in nature, away from the many party disputes that had made him difficult. Kim In-hoo's achievements in various literary works in Jeomam Village show this aspect well.

The purpose of this paper is to reveal the genealogy of the Hongdo narrative by understanding the relationship between the works of the Hongdo narrative line that have been handed down for over 300 years, from 「紅桃」in Yu Mongin's 􋺷於于野談􋺸 in 1621 to the present day. According to the order of appearance of each work, this paper examines the relationship network between the works by comparing them with the works of the Hongdo narrative line up to that point. Thus, the genealogy of the Hongdo narrative was finally completed. In addition, this study found two characteristic phenomena in the genealogy of the Hongdo epic. One is the fact that Jang Ji-yeon's 「鄭生妻紅桃」(1916) had a much greater influence on the post-modern Hongdo-gye narrative works than Yu Mongin's 「紅桃」(1621). The other is the phenomenon of continuous genre bargaining.

The main goal of this paper is to examine in terms of work theory that Singyehujeon was created through the epic variation of Kimhakgongjeon. To this end, the plots and narrative characteristics of Kimhakgongjeon and Singyehujeon, and the principle of the narrative and the correlation between the two works were reviewed. Based on this, the value of the two works and the significance of literary history were pointed out. First, Kimhakgongjeon and Singyehujeon have homogeneity in major plots, but the distinction between the two works has expanded by using auxiliary plots in Singyehujeon. If the former is a single plot that secures the narrative portion through the enlargement of the scene, the latter is a multiple plot that satisfies the narrative portion through pixel borrowing. If the former blocked the variation at the inflection point of the narrative to become a single plot, the latter proceeded with the variation at the inflection point to have the editorial narrative character of the plural plot. Second, through the narrative principles of Kimhakgongjeon and Singyehujeon, the problem of the precedence of creation was confirmed. Kimhakgongjeon is a Korean novel based on the existing narrative. Therefore, the circular narrative worked with centripetal force, so the expansion of the narrative did not occur. On the other hand, Singyehujeon borrowed various existing pixels with the addition of an auxiliary plot, and centrifugal force worked importantly. Therefore, it is understood that Singyehujeon, which adds a commercial character, was created in the simple narrative Kimhakgongjeon. Third, the value of the two works and the significance of literary history are noteworthy. When the two works were built, new-style novels appeared and were competing with classical novels. Then, a modern novel that surpassed these two appeared and tried to find a new way out. It is a group of novel works based on Chuno-narrative that can confirm such changes in detail. In other words, they include “Kimhakgongjeon," which is woven into a single plot using traditional narratives, ”Singyehujeon," which changed it from a commercial purpose to a stratified plot, and "Tangeumdae," which was recreated by changing the novel technique based on them. Therefore, it can be seen that they are a useful group of works to track the flow of Korean novel history. In this regard, it is worth noting their novel value and the significance of novel history.