2020, Vol.38, No.

A research on the cultural items of reading part in 『조선어교제문전(朝鮮語交際文典) Koreanische Konversations-Grammatik mit Lesestücken und Gesprächen』 by Andreas Eckardt

SungHee Lee | 2020, 38 | pp.7~35 | number of Cited : 2

Korean pronunciation education seen through Korean textbooks published in Japan in the late 19th to early 20th centuries -Focusing on Kana notation corresponding to Korean alphabet notation-

Kim, Junsoo , An， Kigyeong , Moon Kyoung Jin and 1 other persons | 2020, 38 | pp.37~84 | number of Cited : 1

The purpose of this study is to examine how the pronunciation of the Korean was presented and learned through Korean textbooks published in Japan in the late 19th and early 20th centuries. For this purpose, this study attempted to confirm the pattern in which Japanese learners learned phonological rules of the Korean by dividing into three types of notation related to phonological phenomena, centering on the Korean textbooks with both Korean alphabet notation and Kana notation. First, with regard to consonants, it was investigated how the Korean lenis, fortis, and aspirated consonants pronunciation patterns, which is not found in the Japanese consonant system, is presented in the Korean textbooks. For example, in 『Haneohoehwa』(1904), separate symbols (˚, ˋ) were used to mark the three Korean sounds - the lenis, fortis, and aspirated consonants - in Kana notation, which are not in the Japanese consonant system. Second, with the phonological changes of consonants, it was considered that learners were able to inductively learn the phonological rules of Korean through the type (ii), in which the phonological changes were not reflected in the Korean alphabet notation but the phonological changes were reflected in the Kana notation. Finally, with regard to vowels, this study examined the contents of how to present short vowels in Korean, which are not found in the Japanese vowel system, in the Korean textbooks. There are only 5 single vowels in Japanese, but there are up to 10 single vowels in Korean, so it was difficult for Japanese learners to learn the Korean vowel system. Therefore, in this study, we carefully reviewed how individual vowels of Korean are presented to learners in the Korean textbooks. Korean vowels that do not exist in Japanese were matched to Kana notation, which represents a Japanese vowel near the articulation position with the Korean vowels. In this case, additionally a phonetic and phonological explanation was presented because there are several Korean vowels corresponding to one Kana notation.

Korean vocabulary education through Korean language study book from the late 19th to early 20th century : Focusing on Korean language study books for English-speaking learners

Park, Sae Am | 2020, 38 | pp.85~106 | number of Cited : 0

The Patterns and Meanings of Childbirth-Related Tales

Youm, Wonhee | 2020, 38 | pp.109~140 | number of Cited : 0

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Yoon Seok-Jung and Chosun Ilbo During Japanese Occupation

jeong jin hyun | 2020, 38 | pp.141~168 | number of Cited : 2

This paper aims to restore the path of children’s literature history that Yoon Seok-Jung had taken to an intact state, by discovering and considering his works published in Chosun Ilbo during Japanese occupation. Yoon Seok-Jung had published nearly 70 works, including children’s songs(poems), children’s stories and scores published in Chosun Ilbo for 13 years from August 1927 to August 1940. Children’s songs published by Yoon Seok-Jung in Chosun Ilbo changed from fixed forms of 7.5 syllables to free verses before and after 1933. His children’s songs are mostly about descriptions of nature, family’s weary life and longing, compassion and consolation for objects, humor, difficulties in life when the country was lost and a will to overcome, ordinary lives and plays of children. Especially, ‘Aegidongyo’ that he published in the “Woorichaji” section in 1933 is characterized by simple contents and illustrations considering literacy of young children, and consists of songs with pictures. Starting 1933, Yoon Seok-Jung worked as a children’s story (children’s song) narrator for a ‘children’s program’ produced by Gyeongseong Broadcasting Station. Prior to broadcasting, he presented the openings of children’s stories to the newspaper for stimulating curiosity of young listeners and encouraging them to join. Moreover, he released ‘Aegidonghwa’ targeting young children like Aegidongyo. Aegidonghwa is characterized by brief stories and illustrations for young children, who lack literacy. Aegidonghwa is mostly based on instructive contents like obedience, wisdom and modesty, and feelings of warmth about childhood. The exchange with musicians was a crucial background factor for Yoon Seok-Jung to grow as a children’s song writer. Yoon Geuk- Young, Jeong Sun-Cheol and Park Tae-Won set children’s songs that Yoon Seok-Jung created as a juvenile literary writer to music, and this was a trigger for a broad promotion of his presence among the public. In addition to scores of general children’s songs, Yoon Seok-Jung created kindergarten songs and play songs for kinder- garteners to sing with dance routines. He also released folk songs to get over the pathetic reality of Joseon and letters about young children’s wishes to tell their others.

Translation and Cultural Barriers between “The Place Where the Harmonium Was” and “The Blind Calf”

Lee Young-Jun | 2020, 38 | pp.169~200 | number of Cited : 0

This essay examines how Korean literary works are transformed by the cultural context and customs of the Englishspeaking country. In order for Korean novels to be translated into English and published, it goes through the editing process of a local publishing editor. The publishing practices of AngloAmerican are very different from those of Korea, so editors frequently correct original works. In this editing act, the cultural customs and traditions of the society, which are accepted as natural norms in the publishing practices of English and American novels, operate. These cultural customs and traditions are naturally thought by locals, but Korean writers and readers with different cultural customs and traditions can take it shockingly. In order to understand these cultural barriers and the scene of conflict, this paper examines a case in which Shin Kyungsook’s short story “The Place Where a Harmonium Was” was translated into English. Among the three translations selected as examples, the versions published in domestic magazines generally tried to preserve the content and form of the original, but the work published in local American magazines severely deleted and transformed the original. Above all, the overall volume was reduced, and detailed devices of emotional expression were thoroughly ignored. Particularly, in the part where the volume is reduced, cultural differences are revealed decisively. The context of the important decision the protagonist makes comes from respect for the family, but the deletion from the original work from an individualistic point of view in Englishspeaking culture seems to be a serious problem even considering cultural differences. This editing act, which may be called cultural vandalism, is determined unilaterally without understanding the characteristics of Korean literary works by cultural differences. Therefore, the situation that the emphasis on the family community in Shin Kyungsook’s work is pointed out as sentimentalism by American critics or is largely deleted by editors of the Harvard Review is reconsidered a factor that should be seriously considered in the publication of English translations of Korean literature. Without careful consideration of the unique characteristics of Korean literature, many parts of Korean literature could be deleted or rejected by cultural barriers.

Female Subject and Abject Body Represented in Lee Yeon-ju’s Poetry

SeulA Chung | 2020, 38 | pp.201~240 | number of Cited : 6

This study analyzes the subjects of Lee Yeon-ju’s poetry in the view of Butler to identify them as “abject” beings who are abandoned in a society and discuss how “a being in progress” handles and represents the pain. In her poems, various body images not only simply reveal pain and death but also are manifested in multi-levels spanning females as victims, survivors, and the persons directly involved; moreover, the “abject” strategy adopted as the subjects’ way of understanding the world is in pursuit of clarifying it as practical resistance against real world through reappropriation of femininity in a new way. Furthermore, it is to improve the literary significance of Lee Yeon-ju’s poems in the history of Korean women’s poetry by examining her aesthetics making a difference with Choi Seung-ja in 1980s. Lee Yeon-ju’s poems challenge to Motherhood-Myth squarely but does not return to Kristeva’s semiotic chora of motherhood. While Choi Seung-ja’s early poems deal with pains and advance to the ethics of mourning through common senses, Lee Yeon-ju’s poems take issues on women’s conditions through suffering bodies. It reveals multi-layered women’s status under structure of discrimination mingled and overlapped with various conditions such as gender, race, country, and religion. Lee Yeon-ju’s poems obtain practicability by representing various women’s experiences, disclosing the identity of external suppression, and subverting femininity at the same time. The images of suffering bodies penetrate women’s experiences, not ignoring differences but revealing itself. In that it is a fundamental challenge to the definitions and conditions of women, it can be an effective way of resistance against power system that pursues nihility of differences. The resistance is related to the possibility of solidarity based on bodies through converting subject’s beings that can be named as ‘Poetics of Ashes,’ which is adopted at the second collection of her poetry. The meaning of Lee Yeon-ju’s poems is in that represents female subjects in the way of practice and resistance, and that is a fruit of women’s poems in the 1990s.

Escaping place and materiality of language on the poem

Shim Jae-hui | 2020, 38 | pp.241~270 | number of Cited : 1

This study is to examine how poetry builds materiality, focusing on the poems of Kim Jong-sam and Kim Chun-soo. The two poets wrote poems that could not be communicated in the 60s and 70s. These attempts by the two poets were meaningful and had a great influence on future current affairs. In general, the study of place looks at the intention of the poet projected on the place. It is close to phenomenological research. However, it is not easy to apply this method on the poems of Kim Jong-sam and Kim Chun-soo, So, I decided to pay attention to the place of language. The language must hold its place in order to achieve the purpose of expression. In this study, I will refer to the position which the language must keep by the rule as the place of language. In addition, the case where language is out of its position is defined as a escaping of place. Based on this premise, it is examined how the materiality of the poetic language is secured as a result of the intentional escaping of place. In poems of the two, the semantic context is destroyed. In the case of Kim Jong-sam, not only cannot the sentence be deciphered due to incomplete verbal behavior, and the context is not formed. There is no part of the sentence component, so you don't know what the phrase is trying to express. The remaining sentence elements, that is, poetic words, can be a crippled language, but they acquire materiality through the subtle movement of images. The languages of poetry approach ‘beauty without content’. The case of Kim Chun-soo is different from that of Kim Jong-sam. The making rule of sentence and even semantic paragraphs are destroyed. It is placed in the wrong position away from the agreed position. Languages do not interlock with each other and thus do not form the usual meaning. Languages are bound to be isolated from each other. However, through this unfamiliar combination that runs into the unique place of language. Kim Chun-soo’s poetic language is a way to acquire materiality.

A proposal about the storytelling of literary house as a cultural content - Based on the way to celebrate the writer Park Kyung-ri and her novel ‘Toji.’

kim yenie | 2020, 38 | pp.271~300 | number of Cited : 0

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For real celebrating the writer and achievements beyond perfunctory commemoration, it is necessary to stop idolizing certain writers and take a step further from the storytelling of the past, which only emphasized locality. That is why the spatial storytelling of existed literary houses needs to be discussed, focusing on the literature. Because of that reason, I analyze Park Kyung-ri and her novel ‘Toji’ literary house storytelling that is being celebrated in several places. ‘The House of Literature’ in Wonju’s Park Kyung-ri Literature Park shows successful achievements effectively in delivering a long novel to users by figurative visualization, selections, and summariza- tion in planning the storytelling of the novel ‘Toji,’ and providing unique esthetics experience of exhibition storytelling. However, it is difficult for users to stimulate interest in the writer and her works because the spatial storytelling to exhibit the writer’s life and keepsake ends up listing materials. Park Kyung-ri Literature House in Hadong has a variety and meaningful materials that only Hadong can have. However, it also has a problem to limit its effects because it has not explained the meaningful materials in general along with historical circumstances and conditions of the time. In the case of Hadong, it has the best condition for the spatial storytelling shown by the literature house’s external environment due to having the actual background of the novel ‘Toji,’ and the filming location of the drama ‘Toji.’ Lastly, in the case of Tongyeong’s Park Kyung-ri Memorial Hall, the difference from other literary houses is to introduce and exhibit Park Kyung-ri’s other works, including her representative work ‘Toji,’ because of aiming to highlight Tongyeong rather than other literary houses. In particular, the importance of “Daughters of Kim Yak-guk” becomes increasing for emphasizing the spatial storytelling of Tongyeong, and it causes the overall exhibition storytelling has become protruding and awkward. In my opinion, if the theme is limited to writers and Tongyeong, it could show a more effective spatial storytelling. What the literary house celebrates is the same as what it tells users about the writer and works. The planner should have professional knowledge of delivering the responses to users by focusing on the answers to those questions. That is why it needs a curator, has to have the theme, and directs the spatial storytelling flexibly by dividing permanent exhibition and special exhibition.

A Study on the transcribed Eonhaemun in the Wolchondusi(月村杜詩)

Kim Seong Ju | 2020, 38 | pp.301~326 | number of Cited : 0

A Study on Korean textbook Haneoipmun(韓語入門) in the early modern period

Lee Sang Hyeok | 2020, 38 | pp.327~358 | number of Cited : 0

Change of Distribution of the Allomorphs of the Ending {-sʌb}

PARK POOJA | 2020, 38 | pp.359~388 | number of Cited : 4

This paper examined the distribution environments of the allomorphs and the ending {-sʌb}, which appeared in early modern Korean, with the aim to examine its changes. This paper first analyzed the distribution environments of the allomorphs of the ending {-sʌb}, which are ‘-sʌb,’ ‘-ʌb,’ and ‘-jʌb,’ by century, from the seventeenth to nineteenth century. The changes found in the distribution of the allomorphs were as follows. First, the environment in which ‘-jʌb’ was realized in the nineteenth century was replaced with the allomorph ending of ‘-sʌb,’ which showed that the simplification of the allomorph ‘-jʌb’ to ‘-sʌb’ took place in the nineteenth century. The time difference with the pre-final ending was caused as the changes in the pre-final ending in the eighteenth century led to the simplification of the allomorph ending ‘-jʌb’ to ‘-sʌb’ under the same environment. The nineteenth century was thus a period when the allomorph of the ending ‘-sʌb’ was simplified into its allomorph ‘-sʌb.’ Second, although records do not confirm which allomorphs of either ‘-sʌb’ or ‘-ʌb’ were distributed after /n/ and /m/, it is highly likely that it was ‘-sʌb’ that was realized. In other words, the allomorph ‘-ʌb’ had already been reduced to be distributed after vowels and /r/, and was thus simplified into ‘-sʌb’ after /n/ and /m/, where ‘-ʌb’ would have been originally distributed. Third, the reaction, through which ‘-jʌb’ would have coexisted in the distribution environment for ‘-sʌb,’ did not take place in the endings. While it was because the allomorph ‘-jʌb’ lacked the power, as it originated from the addressee-honorific pre-final ending {-sʌb-}, this paper also posited that in the case of the endings, the allomorph ‘-jʌb’ disappeared faster than the pre-final ending.

A Study on Storytelling Guidance in Self-expressive Writing Education - Focusing on ego-identity establishment and ‘event’ composition

Kim, Se jun | 2020, 38 | pp.389~418 | number of Cited : 4

Longitudinal study on the development of relative adnominal clause of beginner-level Korean learners

LEE, SUNYOUNG , Choi, Eun Ji | 2020, 38 | pp.419~446 | number of Cited : 1

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2020, Vol.38, No.