2026, Vol., No.133

A Preliminary Study on Baseball Broadcast Terminology Used by a Public Broadcaster from the Perspective of Public Language - Focusing on KBS Broadcast Discourse in Game 1 of the 2025 Korean Series -

Park, Won-ho | 2026, (133) | pp.1~29 | number of Cited : 0

Analyzing Korean Language History Units in Textbooks Based on the 2022 Revised National Curriculum - Toward Improving Korean Language Culture History Education -

Yang, Young-hee | 2026, (133) | pp.31~54 | number of Cited : 0

A Study on Linguistic Clichés in Reflective Essays by Highly AI-Dependent College Writers

Lee, Yeon-jeong | 2026, (133) | pp.55~92 | number of Cited : 0

The Forming a Relationship Conflict and the Characteristics of Women’s Perception in <Changranhoyeonrok> - ‘Jang,hee’-‘Han,nanhee’ relationship centered on -

Kim, Tae-young | 2026, (133) | pp.93~115 | number of Cited : 0

The narrative of <ChanlanhoYeonrok>, which features the male protagonist Jang- hee and the female protagonist Han Nan-hee, can be seen as a story of conflict, revenge, and reconciliation between the two families of Jang and Han when examined from a broad perspective. However, if you look closely inside, the conflict between the two families does not become the main subject of the narrative. Starting with the conflict between male and female characters who have become married without knowing each other, the narrative continues around the conflict and the conflicts arising from it. Usually, the relationship between the male and female protagonists is established by exchanging gifts on the premise of marriage between families, and when each child gets married, the marriage is carried out through the offerings. However, in <ChanlanhoYeonrok>, the patriarch Hanje, who represents a woman’s family, writes down the family information of a man who should marry and the daughter-in-law on the arm of his daughter, who is still young, and notifies the man's family. This violent enforcement of a relationship triggers a conflict as it coincides with the character of the heroine whose original sex is not docile. Furthermore, it reveals a contradiction between the female protagonist’s duty to keep her trust in the object of her connection and the perception of maintaining her original sex, which is narrow and accidental rather than virtue. In particular, the transformation of the male protagonist into a female character in Janghee is a point that is not easily seen in other Korean literature works. In order to escape the danger of personal safety, male protagonists rarely change women’s clothes, as they experience changing their status to a female protagonist's maid in the female protagonist’s family. However, in <ChanlanhoYeonrok>, the male protagonist changes gender to female as a way to escape the crisis in his family and develops a narrative hiding in the heroine's house, observing the object that must be connected from the perspective of “femalefemale” and showing a unique pattern of connection and conflict. The above pattern not only provides an opportunity to look at the relationship between <ChanlanHoYeonrok> from a new perspective, but also increases the weight of the narrative centered on female characters by choosing a method of placing the male protagonist in the same gender as the female protagonist. Therefore, the incident of the male protagonist’s female life placed in the <Chanlan HoYeonrok> has the effect of revealing the female perception that can be confirmed in the conflict between the male and female protagonists in three dimensions from a woman’s point of view. Rather than emphasizing the ideal moral idea of following the ethics and norms of the time, the narrative of <ChangranhoYeonrok> is important in that it highlights the perceptions of conflict and life through characters who are faithful to realistic emotions, shows starkly the process of solving them, and reveals discrimination.

Aspects and Literary Significance of Visitors to the Transcendent World in 『GeumoSinhwa』 and 『GijaeGiui』

Kim, Hyun-hwa | 2026, (133) | pp.117~138 | number of Cited : 0

Regional Literary Characteristics Reflected in the Immortal Tales of Hwang Yun-seok

Bae, A-Young | 2026, (133) | pp.139~170 | number of Cited : 0

A Study on the Deviance of Female Characters in Gyenyeo-gasa and Its Significance

Yoon, Byung-yong | 2026, (133) | pp.171~201 | number of Cited : 0

The Canonization of “Camellias” and “Spring, Spring” - Literary Historiography and Publishing History from the 1930s to the 1950s -

Kim, You-dong | 2026, (133) | pp.203~235 | number of Cited : 0

This study aims to investigate the origins of the canonization of “Camellias” [Dongbaekkkot] and “Spring, Spring”[Bombom], two rural narratives of the 1930s widely regarded for their regional lyricism, as the representative works of Kim Yu-jeong. Today, the view that “Spring, Spring” and “Camellias” are Kim Yu-jeong’s representative works is almost taken for granted. These two stories have long been familiar to readers not only through school textbooks but also through the titles of collected editions published by various presses. During Kim’s lifetime, however, such a perception was far from universal. While “Sudden Shower” [Sonakbi], Kim’s debut work selected in the Chosun Ilbo New Year Literary Contest, enjoyed particular prominence, a number of other works likewise competed for the status of his representative work, leaving the issue unsettled. What factors produced the gap between contemporary and present-day perceptions, and through what process did it emerge? To answer these questions, this article examines the evolution of literary-historical perceptions of Kim Yu-jeong from the 1930s through the 1950s, together with the publication history of selected and collected editions of his works. The findings indicate that two periods were particularly significant in the canonization of “Camellias” and “Spring, Spring”: (1) the approximately two years following Kim Yu-jeong’s death in March 1937, and (2) the years between 1955 and 1960. During the first period, Lee Tae-jun identified “Spring, Spring” as Kim’s representative work, while Modern Joseon Literature Collection, Vol. 2, which included “Spring, Spring” as the representative text, and Camellias, a selected collection of Kim’s works, were published. These developments laid the groundwork for and accelerated the canonization process. During the second period, “Camellias” and “Spring, Spring”, having already secured their status as representative works, came to legitimize interpretations of Kim Yu-jeong’s literature through the lens of humor, while this framework in turn further reinforced the canonical status of the two stories. Nearly every selected or collected edition of Kim Yu-jeong’s works published between 1938 and 1960 included either “Spring, Spring” or “Camellias”. Although sporadic objections to the designation of these works as representative texts occasionally emerged, the canonical status of the two stories has remained comparatively stable and continues to this day. Yet by confining Kim Yu-jeong’s literary world to regional lyricism or humor, we may lose sight of the wildness, passion, satire, and irony that contemporary critics of the 1930s discerned in his writing. It is hoped that this study, by revealing the historical contingency of canon formation, will contribute to a renewed appreciation of the richness and diversity of Kim Yu-jeong’s literary world.

A Study on Intertextuality in Heo Su-kyeong’s Poetry

Park, Eun-seon | 2026, (133) | pp.237~295 | number of Cited : 0

The Representation of Clothing and the Distribution of Identity - Focusing on Kim Soom’s Okinawa Spy -

Park, Shin-hye , Kim, Tae-soo | 2026, (133) | pp.297~318 | number of Cited : 0

Media Aesthetics in the Age of Technological Generation - Focusing on Memory, Impulse, and Value -

Lee, Yong-wook | 2026, (133) | pp.319~382 | number of Cited : 0

This paper argues that generative artificial intelligence constitutes a media condition that cannot be reduced to technological reproduction or technological editing. Whereas reproduction distributed identical copies and editing dynamically rearranged existing data, technological generation organizes knowledge through an asymmetrical interaction between a human agent, who sets purposes and bears judgment and responsibility, and a generative system, which produces outputs conditionally from learned statistical distributions. The paper examines this transformation through the categories of memory, impulse, and value. First, drawing on Bernard Stiegler’s theory of tertiary retention, it defines the dialogic reconfiguration of memory not as an exchange between two equivalent memories but as a relational transformation of human memory triggered by probabilistic machine output. Second, it reconstructs Friedrich Schiller’s play drive as an emergent impulse composed of a generative motive and a resonant motive. Third, it reworks Walter Benjamin’s aura into Artura, a relational and processual form of aesthetic presence grounded in relational originality rather than in the material presence of an original. Artura is distinguished from digital aura, synthetic or postdigital aura, and the algorithmic sublime. Its distinctive explanatory power lies in identifying when traces of a generative process become legible, produce interpretive friction, and reorganize a viewer’s memory, sensation, and judgment. This distinction also clarifies the difference between participatory Artura, which may arise within the process of generation, and receptive Artura, which may arise for viewers who did not participate in that process. A limited analysis of Refik Anadol’s Unsupervised-Machine Hallucinations-MoMA demonstrates that immersive spectacle or algorithmic awe alone does not constitute Artura. Artura emerges only when generative conditions are critically apprehended and transformed into a new constellation of judgment. The paper concludes that media aesthetics in the age of technological generation should analyze not only generated artifacts but also the asymmetrical relations, visible frictions, and human responsibilities through which those artifacts are produced and received.

Narratives of Diasporic Suffering and Resistance

Lim, Mi-jin | 2026, (133) | pp.383~405 | number of Cited : 0

A Study on the Necessity and Direction of Publishing an Authoritative Edition of “The Silence of Nim” - Focusing on the Significance of Publication and Issues of Textual Variants and Orthography -

Jeon, Han-sung | 2026, (133) | pp.407~439 | number of Cited : 0

The purpose of this study is to reexamine the aesthetic significance of the publication of The Silence of Nim in relation to the unique characteristics of Korean poetry in the 1920s, and to clarify the theoretical justification and direction for publishing an authoritative edition by identifying the forms of poetic distortion inherent in issues of edition and orthography. Published in 1926, The Silence of Nim is a monumental collection of poetry that explores the individual’s inner identity through the Korean language and the form of prose poetry amidst the realities of colonial rule. It overcame the limitations of contemporary Enlightenment literature and presented a new aesthetic paradigm for modern Korean free verse. However, the hundreds of editions currently in circulation have been arbitrarily edited without rigorous verification of the original text, severely distorting the multilayered symbolism and unique poetic rhythm that Han Yong-un sought to create. Accordingly, this paper compares and analyzes major editionsincluding the 1926 first edition by Hoedong Seogwan, the Hanseong Tosobo edition, the Jinmyeong Munhwasa edition, the Singu Munhwasa edition, and the Taehaksa edition-to identify six types of errors evident in Korean orthography, style, spacing, punctuation, vocabulary, and poetic form. In particular, this paper critically discusses, from the perspective of “the materiality of the text,” the damage to “visual poetics” caused by arbitrarily correcting intentional punctuation restraint-thereby closing off the openness of thought-and the phenomenon of destroying poetic rhythm through arbitrary line breaks dictated by page layout. Based on this, the paper asserts that the publication of an authoritative edition of The Silence of Nim is a critical task that goes beyond mere bibliographical correction of typographical errors to restore the theoretical foundation of Manhae’s poetics to its original form, and proposes specific publication criteria and practical directions for this endeavor.

An Analysis of Peer Feedback Patterns and Discourse Structures in University Students’ Speech Presentations - Focusing on Performance Elements and Convergent and Divergent Feedback Characteristics -

Kim, Yune-jung | 2026, (133) | pp.441~472 | number of Cited : 0

This study investigated the characteristics of peer feedback on university students’ speech presentations by examining performance elements, statement types, discourse structures, and patterns of convergent and divergent feedback. A total of 514 peer feedback comments collected from a university communication course were segmented into 797 meaning units and analyzed using qualitative content analysis with frequency analysis. The results showed that peer feedback primarily focused on nonverbal performance, followed by content and organization, interaction, emotion and attitude, and improvement suggestions. Among the nonverbal elements, students most frequently commented on voice volume, eye contact, speech rate, and gestures. Observation-based statements were the most common, indicating that students tended to evaluate directly observable performance rather than provide interpretive or prescriptive comments. Regarding feedback orientation, positive feedback accounted for the largest proportion, followed by mixed feedback combining praise and criticism, and corrective feedback. Analysis of convergent and divergent feedback revealed that convergence occurred mainly in observable performance elements such as voice, content organization, audience interaction, and recurring weaknesses including script dependence. In contrast, divergence emerged when evaluators interpreted the same performance differently or attended to different performance elements. Divergence was particularly evident in judgments of emotion and attitude, where confidence and nervousness were interpreted differently by individual evaluators. Discourse analysis further showed that peer feedback frequently adopted a praise–criticism structure in which positive comments preceded negative evaluations. In many cases, praise functioned as a politeness strategy that mitigated criticism rather than serving as the main evaluative focus. These findings suggest that peer feedback functions as both an evaluative and an interpersonal discourse practice. The study highlights the importance of distinguishing observation from interpretation, providing explicit feedback training, and developing structured peer feedback frameworks. The findings also offer implications for speech education and for designing complementary feedback systems integrating peer, instructor, and AI-assisted feedback.

Admission Practices for International Students at Korean Universities and Their Implications for Higher Education

Kim, Ji-young | 2026, (133) | pp.473~493 | number of Cited : 0

Automated Scoring of the Content and Task Fulfillment Domain in L2 Korean Writing Assessment

Baek, Jae-pa | 2026, (133) | pp.495~516 | number of Cited : 0

A Study on Design Principles for Generative AI-Based Korean Language Classes

An, Sung-min | 2026, (133) | pp.517~551 | number of Cited : 0

This study aims to derive design principles for generative AI-based Korean language classes based on the perceptions and needs of foreign learners of Korean. To this end, responses to four open-ended questions were analyzed from a survey of 150 foreign learners enrolled at a science and engineering university. The numbers of respondents were 107 for difficulties experienced in learning Korean, 95 for the types of learning support expected from generative AI, 75 for concerns about the use of AI, and 33 for additional opinions on AI-assisted Korean language classes. The responses were divided into meaning units and categorized, and responses containing more than one idea were coded into multiple categories. The results showed that vocabulary limitations and memorization were the most frequently reported difficulties in learning Korean, followed by grammar and usage, sentence construction and writing, speaking, pronunciation and listening, learning materials, review and time constraints, and natural expressions and cultural context. Regarding the support expected from generative AI, learners frequently mentioned vocabulary, translation and expression support, sentence correction and writing feedback, grammar explanations, and personalized learning materials and plans. The most prominent concern was overdependence on AI and the resulting reduction in learners’ thinking and practice. Other concerns included the scope and regulation of AI use, response accuracy, plagiarism and assignment ethics, reduced face-to-face interaction, and the naturalness and level appropriateness of AI-generated responses. In the additional comments, learners emphasized that AI should be used selectively according to specific purposes and situations, while also recognizing its potential for post-class review, personalized learning, and preparation for real-life situations. Based on these findings and theoretical discussions of scaffolding, self-regulated learning, AI feedback literacy, and teacher-guided technology integration, this study proposes seven design principles: prioritizing learner output, providing explanation-centered feedback, comparing and reviewing AI feedback, linking pre-class, in-class, and post-class learning, using AI for real-life situations, ensuring ethical use, and integrating AI through teacher guidance. Generative AI-based Korean language classes should be designed as a process that moves from learners’ initial production to AI-generated feedback and explanations, learner comparison and review, teacher feedback, and learner revision and reproduction. Within this structure, generative AI can function not as a substitute for learner performance, but as a learning resource that supports language production and revision, review, and real-life practice both inside and outside the classroom.

A Study on the Design Principles of a Web-Based Supplementary Textbook Linked to a Published Korean Textbook - Focusing on a Case of Code-Generating AI-Assisted Authoring -

Woo, Tae-gyun | 2026, (133) | pp.553~580 | number of Cited : 0

A Study on Classical Literature Education Using Response-Centered Teaching and Learning Methods - Focusing on “Readings in Korean Classical Novels” -

Yoon, Bo-yoon | 2026, (133) | pp.581~614 | number of Cited : 0

Response-centered teaching and learning seeks the meaning of literature not in the text itself, but in its relationship with the reader. In order to avoid the one-sided transmission of knowledge by professors in university literature classes and to place learners as the main actors in the class, I designed and implemented classes utilizing response-centered teaching and learning methods. The learning goal of “Readings in Korean Classical Novels” is to appreciate various classical novels and promote a broad understanding of classical novels. To enjoy classical novels as literature, students must be able to appreciate the works and actively participate in class to discover their own meaning. Therefore, instructors should not focus on classes that convey theories, but should mainly focus on discussion activities between learners and between instructors and learners. The course was structured using a response-centered teaching method, including a preparatory stage, reading class, presentation class, and advanced class. The preparatory stage is a preparatory process for forming a response. When the instructor provides a classic novel text, the learner reads the novel as a preview and organizes his or her thoughts. The reading class is a stage where students and instructors read classic novels together, expressing their reactions and engaging in discussion. The presentation class is a step to clarify the response, and students listen to the group presentations and write an activity sheet. Advanced classes are designed to enhance the level of response, and compare and organize the responses derived from the preparation stage, reading class, and presentation class. The implications of utilizing response-centered teaching and learning methods in classical literature education at universities are as follows. First, university students can shed their preconceived notions about classical literature and easily access works, thereby incorporating classical literature into their daily lives. Learners can recognize classical literature not only as academic subjects but also as works they can enjoy in their daily lives, enabling them to continue reading. Second, university students develop an ability to independently appreciate literature. They realize that their own responses are the most important criteria for appreciating literary works, fostering the ability to proactively engage in literary appreciation. Third, university students can lead new trends based on classical literature. Learners who incorporate classical literature into their daily lives can uncover hidden material within it and produce high-quality content.

Discourse Construction Patterns in Post-Presentation Question -and-Answer Sessions in Korean for Academic Purposes Textbooks - Focusing on Leech’s Politeness Principle -

Hyeong, Jae-yeon | 2026, (133) | pp.615~647 | number of Cited : 0

An Eye-Tracking Study of Korean Language Learners’ Grammar Input Processing - Focusing on the Processing Priority of Form-Focused and Meaning-Focused Information -

Hong, An-na , Bae, Jin-ju , Kim, Gyu-ree | 2026, (133) | pp.649~669 | number of Cited : 0

KJCKorea
Journal Central

Korean Language & Literature 2025 KCI Impact Factor : 0.59

2026, Vol., No.133