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This paper examined the vocabulary of Kim Hae-song's song to understand the characteristics of vocabulary use in the lyrics of the 1930s. Kim Hae-song was a singer, songwriter, and performer representing the 1930s. Since he wrote lyrics in various fields regardless of the genre of music, he can grasp the phenomenon of language and culture in the 1930s through his vocabulary of lyrics. First, the use of vocabulary in Kim Hae-song's song was examined. The lyrics of Kim Hae-song's song have various vocabulary reflecting the language and cultural phenomena of the 1930s. In this era, traditionally, not only Chinese characters close to the superstrum and native languages corresponding to the substratum were mixed, but also Japanese was forced against one’s will. On the other hand, due to the influx of Western culture, Western languages, including English, have flooded in. The vocabulary of Kim Hae-song's lyrics also reflects the situation of the times, taking on complexity. In other words, native, Chinese, and foreign languages are used in combination in the lyrics of Kim Hae-song's song. Second, the vocabulary expression aspect of Kim Hae-song's song was examined. Kim Hae-song's lyrics were diverse by reflecting the language culture of the times. This is because it was necessary to select such a vocabulary and express the object convincingly. It can be divided into descriptive expressions of characters, figurative expressions of love, and playful expressions of objects. Descriptive expressions of characters were expressed as if they were describing characters aiming for old and new culture as in narrative literature. In the figurative expression of love, the expression of affection was not dealt directly, but the emotion of love was added to the image of the audiovisual by comparing it to the object. In the playful expression of the object, the lyrics are added with fun through the method of humor and joke. Third, the language-cultural phenomenon of the vocabulary of Kim Hae-song’s song was surveyed. Representative examples include the expansion of awareness of everyday language, universal use of negative expressions, and ambivalent attitudes toward old and new culture. It can be said that the expansion of awareness of everyday language was established when the words of the time encountered a new language. In the universal use of negative expressions, in a society at the time when old and new cultures were mixed, those who value tradition disapproved of admiring Western culture, and those who pursue Western culture could criticize those who adhere to traditional culture, so negative expressions were commonly used. The ambivalent attitude toward the object is generally treated negatively for tradition, but it is concentrated on women, and it is often positive for Western culture, and in that case, it is common to evaluate men positively.

If there is a problem that has emerged as a global disaster along with the COVID-19 pandemic, it is climate change. This is why the discourse of “climate crisis” has been actively conducted from various angles in recent years. Based on these facts, this study focused on analyzing the use of words related to climate change and how the ideological tendencies pursued by media companies correlate with climate issues, especially the "climate crisis" reports that have been increasingly used recently. The results of the study are summarized as follows. First, based on data from BIGKinds, a news big data analysis service provided by the Korea Press Promotion Foundation, it was confirmed that relatively various language variations have been appearing in climate change-related terms over the past 30 years, such as "climate change," "weather variation," "abnormal climate," "climate crisis," "climate disaster," and "extreme climate.“ Second, in our society, the term "climate change" has been used more frequently since the 2000s instead of "weather change" over the climate issue, which is markedly different in nature from natural fluctuations in the past, and "climate change" has been the most frequently used to date. Third, "climate change" showed a sudden upward curve in contrast to other years by showing 15,455 times in 2009 and 26,945 times in 2021. It was confirmed that there is a close correlation between the climate change cause discourse of "global warming" in 2009 and the climate change response discourse of "greenhouse gas reduction" and "carbon neutrality" in 2021. Fourth, the second most frequent vocabulary after "climate change" is "climate crisis," which has shown a total frequency of 33,827 over the past 30 years, and this phenomenon has appeared as a distinct trend, especially during the COVID-19 pandemic. Fifth, media reports that focus on highlighting the "climate crisis" issue have been confirmed to have a clear correlation with the ideological tendencies of media companies, and in newspaper editorials as well as general articles, liberal media companies are more actively approaching the "climate crisis" issue than conservative media companies.

The purpose of this study is to analyze the meaning of the Korean emotion word ‘겁(keop)’ by applying the NSM proposed by Wierzbicka. NSM is a very linguistically and culturally neutral approach and is known to be very useful for cross-cultural comparative research based on the ethnopragmatics. This study attempted to explain the meaning of ‘keop’ by constructing a cognitive scenario with an explanatory framework consisting of canon sentences based on semantic primitives that can be universally understood in any language and their combination, syntax. First, ‘keop’ (1) which expresses [fear] of physical damage or threats, ‘keop’ (2) which expresses the unknown [fear] of something bad that might happen, ‘keop’ (3) which expresses the anxiety that something bad might happen, ‘keop’ (4), which is expressed in [guilt] of doing something very bad, and ‘keop’ (5), which expresses [embarrassment] when something unexpected happens. This meaning of ‘keop’ can also be compared to the meaning of emotional words such as ‘fright, fear, dread, guilt, surprised’ in English. However, the English word for ‘keop’ cannot be found, and it can only be said to be an emotional key word that comes from the cultural background of the Korean language.

The fact that women in the Kim no-heon family have been creating Naebanggasa for generations is significant in that it led to the creation of modern Naebanggasa. Kim no-heon, whose pen name was Songseok, left behind a collection of works called 󰡔Songseokyugo󰡕. With his wife, Jeonju Yoo, he gave birth to four sons and two daughters. His wife, Jeonju Yoo, wrote Susimtan, his second daughter, Kim gi-rye, wrote Hoehongyeongchukga, and his granddaughter, Kim Seong-jong, wrote Susindonggyeongga. Susimtan is a work with a total of 114 lines and 231 phrases written by Jeonju Yoo in late spring of 1921 when she was 70 years old, lamenting the worries that settled in her heart. The root of her anxiety was, among other things, due to the fact that she had suffered from a disease in one of her legs, making my daily life become inconvenient. The work consists of 7 paragraphs. What is noteworthy in terms of the author's consciousness is that the location of her parents' house is conveyed from the perspective of aspect of geomantic theory of feng shui theory, and conveyed that his parents' family members are leading a comfortable life in a famous place. In terms of expression, it can be seen that various rhetorical techniques are used, including exclamatory endings. Hoehongyeongchukga is a song with a total of 106 lines and 201 phrases containing the contents of congratulating the party, when Kim no-heon and his wife held the wedding feast on March 17, 1927, their 60th wedding anniversary. The work consists of five paragraphs. Looking through her works, the author is identified as a woman with very high self-esteem, bright and energetic, and with a sense of honoring her family. In terms of her expression, she uses various rhetorical techniques alone or in combination to enhance her literary beauty. In addition, looking at the narrative of her work, it can be seen that she was influenced by Susimtan in the way she developed the poetic sentiment. Susindonggyeongga is a work of 98 lines and 191 phrases written by the author in 1912 celebrating the birthday party of her grandparents who celebrated their 60th birthday at the same age. The entire work consists of eight paragraphs. The author has a good sense of humor, and is a woman having a sense of honoring her family. In particular, through her works, the author's taoist consciousness is brought into focus. In terms of expression, it can be seen that she is enhancing her literary beauty through the use of various rhetorical techniques and word play. In addition, it is noticeable that she appropriately uses various poetic words cheering the atmosphere up throughout her work to convey the excitement of the party.

This article sheds light on the marginalization of elderly characters in Wan-Seo Park's novels about old age, a phenomenon attributed to their illness and disability. The elderly characters find themselves ensnared in the normative time path, helplessly subjected to the violence of preemptive attack and alienation imposed upon them. On the other hand, some people recognize aging as a disease and disability and even embrace their identity as a person with a disability. This article analyzes the intersectionality of aging and disability and explore the potential for resistance among those who confront discriminatory violence through temporal and affective lenses. In ｢Twilight｣, an elderly character is referred to as “old man" in a preemptive manner that compels them to acknowledge his shameful existence. Through this, it was affirmed that life in old age is governed by the impact of existential power, which preemptively controls and manages society and culture as a whole. In contrast, the characters in ｢Reunion of Evening｣ and ｢The Twilight at Dusk｣ derive the strength to embrace themselves by means of positivity and pride in their own bodies. This study has found that the affirmation of the ‘sick body’ and appropriation of the sense of heterogeneity or queerness within the community can be a means of resisting the violence of healing. Wan-Seo Park's novel about aging attempts to challenge the dominant system that excludes the sick elderly body by redefining the female body. Moreover, the suggestion is put forth that when the elderly body is acknowledged as an entity with its own temporality, the perception of disability identity in old age can undergo a transformation.

This study attempts to examine the reality of the Korean War Appearing in the Daejeon region based on the oral experiences of the generation that experienced the Korean War. In particular, by paying attention to 'Golryeonggol-valley' in the Daejeon region, through the meaning and imaginative geographies contained in a specific place that is narrated and reproduced through memory, this study explores the necessity and possibilities of Korean War topographic maps. Common elements of war experience stories that appear in oral narratives are as follows: 1) While you were studying, eating, or working at school, you suddenly heard that there was a war and that you had to evacuate, and you had to evacuate. 2) The North Korean People's Army that came first was not bad, and actually did well for the civilians. 3) Later, the North Korean People's Army ordered people to cook in private homes and plundered all household items and food, including all kinds of food and livestock. 4) That the North Korean People's Army brutally massacred soldiers' families, police families, village heads, district heads, etc. 5) Like farmhand laborers, people who suffered sadness in the neighborhood, walked around wearing red armbands, tyrannized the people in the neighborhood by telling them who in the neighborhood were family members of soldiers or police officers, or who served as village heads or district heads. 6) In Daejeon, they heard that the military and police killed many civilians. In particular, the well massacre of Daejeon Prison and the civilian massacre of Golryeonggol-valley (Sannae) related to the Bodo League are mentioned most heavily. The Korean War is not the same in all regions. Not describing the war situation uniformly can be said to be an effective approach in that it does not 'only' attribute the war to a single event. That is the reason the works of 'recording' the stories of people who directly experienced the Korean War through oral records, and reproducing and talking about the 'truth' of it through literary imagination are more necessary.

This paper focuses on the three Yeom siblings, who are the main characters in My Haebang Ilji, who represent their 20s and 30s, and show the difficulty of establishing personal relationships by being hurt and frustrated in their relationships with others. The failure to establish relationships in My Haebang Ilji reminds us of the problematic reality that young people in Korean society are currently experiencing. Accordingly, this paper explores the causes of impersonal and instrumental relationships reproduced in My Haebang Ilji, analyzes the instrumentalization patterns centered on the characters, and examines the characters' reactions and ways of overcoming them. To this end, we examined how the main characters of My Haebang Iljil are objectified as tools or means, through the way objectification is realized based on the relational theory of Martin Buber, a philosopher of human relations theory. Next, we examined the main characters' reactions to the instrumental relationship society and how each of them changes in their own way. The instrumental relationships shown in My Haebang Ilji can be seen to be derived from the negativity of reality, such as individualism, centralism, poor bonds of unstable irregular workers, and performanceism and materialism of the younger generation who have internalized infinite competition under the neoliberal economic system. In this instrumental relational society, the three siblings are hurt and frustrated, but they find their own true way of relating to each other, and show the possibility of liberation from non-subjective objectification. In the drama My Haebang Ilji, it was also shown that true relationship can begin when we face each other not as a thing, but as an I-you, that is, a person and a person. In the course of this study, we were able to see that the ontological concern about 'what is human existence' is ultimately replaced by the relationship between the characters in My Haebang Ilji and leads to an opportunity for dramatic reflection. Above all, the search for the spiritual values that we need to recover and a better place in life through dramatic imagination can be evaluated as providing an opportunity for reflection through television dramas.

Han Haun was recorded as the first poet with leprosy in Korean literary history. In recent years, scholars have focused on completeness due to criticism that the name "Poet of Hansen's Disease" can give preconceived notions about Han ha-un poetry. To understand the nature of his poetry, these studies have extensively described the disease, along with the political and historical characteristics of his poetry Though these studies have succeeded to provide affirmation to his ailing body research on his inner pain and the ways in which he could come to terms with it remains largely understudied. This paper noted the mentalization process to overcome psychological pain described in Han Haun poetry. by revealing that stability of his mother’s attachment and emotional support as the primary factors contributed to the process. In his poem, he clearly presented the ways in which he could overcome hardships in the extremely harshly circumstances. Han Haun’s poetry reflects his ways to objectifying and spiritualizing the suffering self. The poet gained power to endure pain and catharsis while writing poetry, and on the other hand, such a process was projected into the poem, which allowedg him to form a unique poetry world that cannot be found in other poets or poetry. Han ha-un's poetry and more detailed research, which could not be covered, are postponed to the next study.

This paper analyzes the tendency of desire in Squid Game. The dystopian world of Squid Game is a world of regression that arises from the boredom of the game's designer, Oh Il-nam, and the VIPs. From a psychoanalytic perspective, Squid Game can be seen as the emergence of the real as a metaphorical signifier of sainthome, caused by the depletion of jouissance. They are trying to recover the problem of loss of being as a stimulus by constructing a distorted world, socializing objects, and indulging in enjoyment from them. A series of attempts follow the logical structure of the Discourse of the Master. In particular, the way the game participants come to desire the game world is by destroying their humanity to cultivate ruthless competitive abilities and resocializing them by engaging in predatory gambling. Gambling is like a symptom that is forced on the weak in a polarized world. The tendency of desire itself is a criticism of this game world, which reflects the world, and at the same time a criticism of the polarized reality. O Il-nam, who makes people desire this world, is actually a person who is skeptical of the world's powerlessness. In contrast, Gi-hun eventually denies the position and achievement of the world created by O Il-nam. O Il-nam, who was a strong man in a polarized world and a transcendent other in a created world, but was struggling with the desire for stimulation, ended his life by asking Gi-hun, who did not give up his own existence, the value of human existence. This drama tried to avoid the hackneyed social participation stories through a symbolic and allegorical reflection of the polarized world, and attempted an ethical question about the problem of human desire that has reached an existential limit. This deserves to be evaluated as one of the merits of the Squid Game narrative.

This paper examines the formation process of an ethical subject and its meaning in Kim Hyang-sook's short stories, “Tunnel of Fire” (1988) and “Sound of Calling” (1986). What is important in the subjectification process of human existence is exploring its identity through relationships with others. The ‘ethical subject’ that Judith Butler focused on can be said to be a concept that shows how a subject can be formed through interaction with all others surrounding existence, that is, through address. If humans can be fundamentally constituted by relationships with others, then the subject is a vulnerable, dependent, opaque being. In order for an opaque subject to become an ethical subject, he or she must be able to acknowledge his or her limitations and adopt an open attitude toward the other, another ‘me.’ And ethics can be formed based on compassion and empathy toward them. As a result of analyzing Kim Hyang-sook's novel based on this concept of ethical subject, Unsuk in “Tunnel of Fire” is an opaque subject who is hurt by relationships with others and continues her life by them. In order for Unsuk to have a more expanded perspective on the world, speaking as an act must continue, and the bond of exchange with others must not be lost. However, in the novel, Unsuk expresses the pain of losing his son and the difficulty of talking to his daughter in a situation where even she does not understand him. Of course, silence is also a language that reveals sadness and pain, but it is difficult to view it as an attitude of ethical openness toward others. In the case of “Sounds of Calling,” Ungchondaek has continuously denied relationships with others. I thought I could gain peace of mind by not interacting with others. However, in response to her husband appearing in her dreams for the first time in thirty years, she shows change through her murmurs explaining her own life. Ungchondaek recognizes himself as a vulnerable subject through talking to him, and shows his transformation into an ethical subject by accepting a girl who has nowhere to go. Her crying at the end of the work adds to the sense of reality by showing that recognition and care for others is not easy.

This paper was written for the purpose of exploring educational directions for cultivating community and interpersonal competencies in the literature subject of the 2022 revised curriculum to be implemented in the future. To this end, Chapter 2 reviewed the ‘community’-related units and sanctions included in the 2015 revised Korean language curriculum Literature textbook, and Chapter 3 compared and reviewed the 2015 revised and 2022 revised ‘Literature’ subject curricula. In Chapter 2, despite its status, ‘community/interpersonal competency’ is briefly covered within the unit of ‘living literature’, and its content is also treated from the perspective of ‘self-reflection’ and ‘understanding of others’. Confirmed. This is closely related to the fact that the meaning and nature of the competency was set somewhat ambiguously. As a result of reviewing the 2022 revised curriculum in Chapter 3, it was confirmed that the approach to community and interpersonal competencies was clearly established across characteristics, goals, content system, and achievement standards when compared to the 2015 revision. Above all, it is noteworthy that community and interpersonal competencies are focused on participatory attitudes based on learner initiative. Therefore, when seeking specific educational methods according to the future curriculum, selection of works containing topics that can promote understanding of community problems through literature and participation in problem solving and detailed setting of specific educational methods for this purpose are necessary. This is needed. In particular, it is important to note that in the achievement criteria, ‘community’-related elements are separated from ‘living in literary activities’ and are specifically presented as ‘attitudes to understanding community problems and participating in problem solving.’ Therefore, in selecting the composition and sanctions of related units, a new direction that is different from the 2015 revised curriculum must be approached. The core competencies of the 2015 revised and 2022 revised Korean language curriculum are the same, and the overall outline of the content system is similar. Therefore, in the process of textbook writing and learning design according to the 2022 revised curriculum, it is highly likely that the current textbook content will be used as basic data for future textbook writing. However, it needs to be adjusted based on the results and performance of learning implemented in actual educational settings. Above all, activities and learning activities that focus on reading/appreciating works should be designed to reflect changed achievement standards and foster community and interpersonal competencies required in today’s era.