2018, Vol.69, No.69

The Direction and New Model of KSL Curriculum for Deaf Adults

Youn Soeg Min | 2018, 69(69) | pp.1~40 | number of Cited : 2

The direction of the dictionary compilation in the digital age

Lee Tae Yeong | 2018, 69(69) | pp.41~67 | number of Cited : 6

A Study on Different Manuscript Versions of <Geochangga>

Kim Dohyoung | 2018, 69(69) | pp.69~99 | number of Cited : 2

A Study on Cheongsaekjji, an Art Magazine in the Transition Period - In connection with socialism realism theory and the cultivation of popular culture in the late 1930s

sohyunkim | 2018, 69(69) | pp.101~132 | number of Cited : 0

The contemplation of placeness in Park Jaesam’s early Poetry

kim won kyung | 2018, 69(69) | pp.133~158 | number of Cited : 2

A Study on Possibility of Youth Poetry ‒Focusing on creative aesthetics

Moon, Shin | 2018, 69(69) | pp.159~186 | number of Cited : 7

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This article examines the aesthetic characteristics of youth poetry that is actively being created from 2010. This is a preliminary assessment of whether or not the youth poetry, which appears as a literary phenomenon, can form a new literary discourse. Therefore, if we can produce the aesthetic sense of youth in the aspect of creative aesthetics, it is not only a mere phenomenon but also a possibility to communicate with important literary discourse in the 21st century. The reason why youth poetry phenomenon is important is that teenagers are beginning to be recognized as the subject of literary discourse. This is a phenomenon that occurs when adolescence is recognized as an independent world rather than as a preliminary stage for adulthood. Behind that, there is a new attempt to escape the universal perception that adolescence is immature, and there is a premise that the adolescent world is not a sub-world of the established world but an independent world. Therefore, youth poetry can be accepted as literary discourse when it has its own aesthetic sense. Before examining the aesthetic characteristics of youth poetry, this article suggests that the goal should be to discover the physical and mental 'anxiety' in adolescence and to share it socially beyond individual dimensions. This is a poetic exposition of anxiety, an important feature of adolescence. Through this process, youth poetry will be able to communicate with the inner circle of the youth and empathize with the youth world. In pursuit of these goals, youth poetry has shown that romantic longing is a central theme and that the contradictions of the youth world are being resolved in the 'other world'. The 'other world' mentioned here is a world that exists beyond the ready-made (adult) world that affects the youth world and exists in the imagination that young people are romantically admired. In order to express such a world, youth poetry adopts negative expression as a methodology. Negative in teenagers encompasses both the adolescent and adult worlds. Youth poetry admires the 'other world' through the denial of the world and creates its identity in the context of 'other world'. Of course, it is unreasonable to determine 'the phenomenon of youth poetry' as 'discourse of youth poetry'. Therefore, when the youth phenomenon of the present time is examined carefully and the essence of the youth poetry and the point where the youth poetry is aimed at can be found out from behind, the youth poetry can be a 'genre' have.

A Study on Translocality of Drifting People in Lee Yong-ak's Poetry

Song-Ji seon | 2018, 69(69) | pp.187~211 | number of Cited : 5

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The study on the translocality of Lee Yong-ak’s poems allows one to consider the boundary implications implicit in diasporic life of the drifting people during the Japanese colonial period in association with the political and social confusion at the time. The translocality serves as a concept that interprets the cross-boundary phenomenon of Yong-ak’s poems, which is hard to explain from the existing dichotomic demarcation and to reason the power mechanism that allows the drifting people of the time to face the reality and seek hope. The 'north' or ‘northern region’ that appears as a central space in the Lee Yong-ak’s poetic world stretches its reach beyond his hometown and the Duman River to Manchuria and the Yeonhea Ju. Therefore, the Duman River and the Yeonhea Ju hold translocal meanings as a transboundary northern continent. The drifting people who travelled around a backwater of North Hamgyeong Province, lived outside the boundary of 'people' or 'nation' but rather in the transnational space of the north while continuously crossing the border. This study intends to examine the translocal life of the drifting people through the Dumen River as a boundary and the Yeonhea Ju as an alternative land. To the drifting people, the Duman River was a crossroad that they had to go through on their way to finding a new life. Crossing the river, which is basically crossing the border, was a dangerous attempt but seeking to reach the land across the river was the last option for their survival. Lee Yong-ak's father and relatives create a translocal network between their hometown and the Yeonhea Ju. Such network is built in close contact with the locals within a nation regardless of the counties of Korea and Russia. In addition, the hometown and the Yeonhea Ju feature translocal characteristics that embrace and enjoy the culture and the locality of the both regions instead of the disconnected memory and nostalgia. The hybrid identities of the drifting people are a result of the process of migration from their place of origin to a new destination, which is an essential element of the Lee Yong-ak’s literary world. The translocal perspective, in this regard, gives rise to meaningful results in interpreting the migration (migrating people). The circumstances today that allow the active and easy mobility of people and things both in reality and in virtual world make us understand the various phenomena that occur at local boundaries. This brings out the meanings latent in the local as a new territory that traverses the local boundaries and speaks of the placeness of the local by the macroscopic and structural driver of the globalization era and the identities of the people who live in there.

Beyond the traditional direction of orientation and modern orientation –Garam Lee Byeong-gi's Modern consciousness -

Lee Kyeong ae | 2018, 69(69) | pp.213~246 | number of Cited : 6

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The Melancholy and Cultural Modernity in Lee, Tae-Jun's Literature

Yeonhee Jeong | 2018, 69(69) | pp.249~276 | number of Cited : 1

World of Kim Gyo-seon's Critiques

Myoungpyo Choi | 2018, 69(69) | pp.277~300 | number of Cited : 0

Kim Gyo-seon is a critice who came from North Korea during the Korean War. After the ceasefire, he served as professor of the Department of Korean Literature of Joseon National University. His works were culminated with two reviews of literature by restoring the literary critiques in the Jeonbuk region where it experienced chaotic state after the War. However, studies on him have largely been succinct and minimal. Therefore, this article is conducted on his critique world with the following outcome. First, Kim Gyo-seon adopted critical methodology in new criticism as a professor. Thanks to this effort, he sustained practical critique with the focus on interpreting the works rather than the theory-oriented critique. Due to his influence, those critiques from Jeonbuk National University have continued the tradition of placing great effort in detailed reading of work products. Second, Kim Gyo-seon placed importance of appreciation in entire phases to fully understand the literature works. His appreciation theory was the reactionary movement on the critiques at the time when reading of the works was neglected as the sector was fallen into the theories of the western sector. The sophisticated reading of works that he emphasized was misunderstood for impressive critique, but it refrained from the comprehensive understanding by intuition that it is reasonable to consider as an aesthetic approach. Third, Kim Gyo-seon sought for the literary origin for the insecure perception settled in the basis of pragmatism that was popular after the War. Lee Sang Who was chosen as the subject was able to take his place as the pioneer that commenced the anxiety literature of Korea because it is attributable to his endeavors. It was expanded at later days in psychological novel, conceptual novel or the like with deepening critical depth. And, forth, Kim Gyo-seon rendered utmost encouragement for authors from Jeonbuk. He broadly introduced the works of local authors with his critiques in a way of helping them to set themselves firmly in the literary circle.

A Study on the Excavation of Poetry in Seo Jeong-ju - from the time of liberation to the period of the Korean War

Ha Chae Hyun , Hwang, Taemuk | 2018, 69(69) | pp.301~327 | number of Cited : 1

The Direction of Novel Education of Building Narrative of Experience as Self -expression ‒On the basis of viewpoints of art and literature works of Choi, Seo-Hae ‒

Kim Mi-Ae , Jeon han sung | 2018, 69(69) | pp.329~362 | number of Cited : 1

How Literature Education Called Digital Literacy?

Ryu Su-yeol , Lee Jeesun | 2018, 69(69) | pp.363~394 | number of Cited : 7

KJCKorea
Journal Central

Korean Language and Literature 2023 KCI Impact Factor : 0.47

2018, Vol.69, No.69