The poems by Kim Yo-seop raise the completion degree of his embodied works through the clear sensuous beauty and dynamic imagination. The imagination which Kim's poems represent maintains the unification of sensibility, presenting markedly and merging together the impression of the contradistinctive world. His impression is condensed by the composition such as the contrast and fusion between red and white colors, and between horizontal and vertical worlds. Through this imagination, the poet seems to project the optimistic perception full of reconciliation and coexistence. Throughout the "light" image, while Kim Yo-seop projects the genesis of the universe and the eternity of its providence, he also projects the nobility of human spirit. They are projected on the base of the creation of the universe, God's words, reason as the archetypical symbolism of light. This indicates that the characteristics the imagination of Kim's poems shows are based on the mythical imagination. The spacial composition of the clear sense and the world of the mythical imagination are the main characteristics of the modernism. Thus, this thesis confirms that Kim Yo-seop's poems are the main harvest which enriches the extent and content of the modernism relating to Korean modern poems.

At the Mountain, a collection of poems by Song-gi Han, deals with the theme of separation and the various representations of anxieties that it entails. The poems trace the endeavors of the 'self' to escape personal anxieties of separation. To achieve this, the poet turns to 'the symbolic order,' primarily relying on the displacement and compression of objects of libido to facets of nature. Furthermore, he favors the sky, the sea, and the absolute other (which represent 'the real order,' lying beyond 'the symbolic order') as he attempts to transcend the bounds of reality. The poets strategem of poetry writing reflects his positive efforts to preserve the self by suppressing and sublimating his libido, which seeks to break into his world of reality. The conclusions of this study will undoubtedly open up the poet's subsequent poetics works to interesting interpretative possibilities. In addition, the implications of this study will hopefully foreground the function of poetry writing in tackling the dehumanization of modern society to which we are a part.

If it can be said that the "SETAE"(세태) Novels, in accordance with the propounded principles of literary naturalism, have a tendency to take interest in the dark sides of life, Song Byeong-su is none other than the writer who faithfully follows the tendency. His main focus lies on individual's everyday ordinary lives with, if ever, little interest in society and history: ideals indispensable for historical advancement are missing in his works. Rather, they are full of lack of ideals in which a trivialist vision blossoms. Instead of rejecting presenting pictures replete with the ideals of life, he through providing the individuals and extremely trivial themes to the reader, he requires us to share the universal human sufferings found in society and view society critically as an arena where lots of bloodings, struggles, sufferings and injustices still exist. Thus, we call Song a writer who committed himself to the mission of "untrivializing the trivial." In this vein, this article categorizes Song's works under heading of "SETAE(세태) Novels" and studies their characteristics as 세태 Novels. For the detailed analytical purpose, this article divides his works into two groups of works: while the works dealing with many facets of lives during the Korean War, in which the author's compassion toward the wretched war-stricken people's lives are being demonstrated belong to the first group, the works dealing with the post War lives belong to the second group. The second group is also subcategorized into two small groups: the first group takes interest in the people's lives connected with the war both directly and indirectly, in which the veterans returned from the battlefield are struggling to adjust themselves to society, and the war widows and orphans's make efforts for survival. Whereas, the second group focuses on the lives of people who are immune to trauma inflicted from the war, in which various social problems emerge: poor people trade their conscience for small amount of money, jobless people cannot marry due to poverty, conflicts between generations and ethical depravity deepen, and "the strong still keep devouring the weak."

The novel of Ha Geun-chan is mainly composed of the story of the Korean nation being victimized by the June 25th war of Korea (the Korean War), a war of aggression of Japan. His novel, however, has a sense of humor and warmth. Because of those things if we criticize his novel in a point of view of modernism, the meaning and value are not revealed well. Therefore this study deals with new explication of his work in a point of view of his work expressing the image of mythologic thought. The mythological world view of his work is used to truly describe the historical life and experience of Korean farm people. Besides the use of metonymy which is rhetorical language of emersion is showed in his work. This also relates to mythological thought This study focused explication which mythological thought and related images implied in his novel. The subjects of analysis are mainly the way of war understood, the wounded body of novel characters, the unhappy life of women, the endeavor for the reunion of the community and so forth. His novel is not said war is the creature of politics. This view is equal to the thought of those who experienced war. The returned characters who are wounded mean they are humans who lost the power of labor and propagation. The love and marriage which women characters didn't achieve are an aspect of being victimized by war. The ordeal of women is connected the national ordeals. There are people only victimized in his novel. They, however, are not weak. They have mythologic world view which they think the continued existence and bond are more important than the personal happiness. Ha Geun-chan's literary is a realism novel which describes the life of the people who overcame the violence of the modern nation.

Son-soheui is a novelist of Korea. Critics to study Korean literature did not study her novel. Because history of literature composes of to be selected with to be excluded. and she has the ideology taboo which as follows. First, She is from Hamgyeong-Do of North Korea and a Hamgyeong-Do's christian. She had a socialistic personality before the liberation. above all, she is uninterested in formal aspect. Her will that told her thoughts or idea to her novel's readers has strong, and so she wasn't interest in aesthetic structure. In 40's Son-soheui's novels tends to socialism cause of her socialistic thoughts. She drawn people who lost the place to go and wandered through her novels. And She wrote actively as thought that must punish the pro-Japanese in Japanese imperialism colony. She spreads to peministic contention in the novels. But after Korean war-korean divided to people who cross the river and people who remained, she who remained felt the crisis consciousness. So her novels begin to be changed. She removed a social ideology disposition from the novels, and she treated the small- narrow problems in the novels, for example, problems about a couple's love and immorality of a couple, wedding etc. In addition, she did not to see reality situation. wrote the lyric or fantastic works. It will be because the writer must live in a society inside which forces Bangongjuui(similar to the anti-communism) attention. And the writer wanted to be the nice subject who listen carefully to speaking.

The purpose of this paper is to define the tone of the modern Korean poetry, to decide the fundamental form of it and to inspect its reiteration and transformation. The tone is not the expression of the subjective attitude showing a speaker's emotional state. It is reflective of objective situations in relation of poetic objects. Even if the definition of the tone has been appreciated, I judge that the existing definition is meaningless as it is allowed unlimited classification and incomplete by reason of overlooking poetic situations. In this, I found out that five types of the fundamental forms of the tone, which are “satire”, “praise”, “sympathy”, “reflection” and a “humor” based on relations between poetic subjects and objects and I clarified that reason. These five types conflict each other and generate various changed forms. It is caused by force of irony(paradox included). Irony is a pair of analogy that is a principle organizing a system. Irony, which makes a system disrupt and split, is a necessary condition in complicated poetic situations and power-driven spaces. This study gives you useful concepts in that it helps to inspect the tone throughout all poetic situations and confirm a fundamental form of the poetical relation, to examine its variations and formal expansion and to investigate irony, paradox, an allusion and parody in the context of the tone. As a result of analysis, I expect to renew the definition of the tone of poetry and link a study on the tone of poetry with a study on the poetic consciousness in relation to poetic subjects.

The poetry of Ha Jong O pays attention to drastic diaspora phenomenon of our society. He expresses the wounds suffering by immigrant workers, especially immigrant women married to Korean male. By doing that, he critically introspects the attitude called colonialism operating in our society such as discrimination and suppression, management and being under the control, plundering and exploitation. This manuscript illuminated the poetry of Ha Jong O as focusing to diaspora which attracts an interest in the scopes of recent literature discussion. these days, dispersion is the international social phenomenon that is experienced universally in various places. the demography of new internationalism under systems of globalized capitalism is a history of a post-national migration. Especially, the increase in problems raised by immigrant female workers married to Korean and foreign worker ratio is the factors to amplify an interest regarding diaspora in the literature of our society. Ha Jong O's 『Factories without borders』and 『Asian-Korean』are remarkable works where he, in earnest, touched the problems and issues raised in immigrant female workers married to Korean and foreign worker in his works. Above all, it is very remarkable and needs to be payed attention strongly because he poetized the minority called such as immigrant workers and immigrant female workers married to Korean to the front. Diaspora has close connection with supernational economic logic under late capitalism system. Also, it shall be understood under the connection with the drastic differentiation process of race and class in the late capitalism which is integrated by the drastic increases of immigrant worker ratio and female immigrant workers married to Korea. Therefore, an interest in low ranked subjects who belong to the outskirt of society in terms of race, gender, class, and cultures shown in Ha Jong O's poetry can be evaluated as an forward-looking practical understanding of alternatives against our society. Because of the ideas, the poetry of Ha Jong O rises a question concerning the social values of literature, and provides a foothold where we can introspect the present and future of labor literature and ethnic literature.

In this study, I considered poems of Yoon Dong-ju on the linkage of Christianism and responses to the reality, since the source of Yoon's poems was a longing for homeland and his life in Gando. His poems also well encapsulated the life under Japanese colonial. Yoon Dong-ju was a descendant of the diasporas who escaped to Gando from Japanese usurpation and tribulations. Christianism and diasporic nationalism:Korean ancestors' ironic life in Gando is highlighted. They had to live with Chinese nationality, however, they were still aliens in every sector of the society. Displaced diasporas and dualism of Bukgando: diasporas' psychological conflicts from Yoon's works are underlined. He showed strong ethical consciousnessand forward-looking nationalism against the brutal and unstable reality under the Japanese colonial. Bukgando in Yoon's poem implicates the hometown and lost Eden where we must return. Paradise in the bible and return to Eden: In Yoon's poem, poetic motive is the Garden of Eden or paradise, in other words his poetic motive was the Book of Genesis. In that regard, it can be interpreted that the desire to return to his hometown implicates a longing to return to the spiritual home by transcendingphysical existence. This striving will is well representing the strong desire to rise above the dark reality toward new world.

Most of Kim Jong-sam’s poems have an aesthetic structure with unconscious desire revealed. This article lightens the essence of Kim Jong-sam’s poems with a psychoanalysis of Sigmund Freud and Jacques Lacan. This article explains the feature of aspect of unconsciousness shown in Kim Jong-sam’s poems as "lack", "fantasy" and "repetition." The reason of going away in Kim Jong-sam’s poems can be found in "lack" remained as an empty place in the symbolic. Opened half but closed half at the same time, in other words, being lack let the persona of Kim Jong-sam's poems go into a journey of desire toward the real, "the world behind the door." However, ‘the world behind the door’ implemented in Kim Jong-sam’s poems were only possible in fantasy because it was impossible for the subject of the symbolic to meet the real directly. The fantasy is meaningful as replacement made by the desire toward the real of persona who can’t meet the real directly in Kim Jong-sam’s poems. In this, the fantasy assumes a part of lack. Thus the persona repeats its journey toward the world behind the door recognizing its lack when the world behind the door is implemented as fantasy. This journey is circulated repeatedly around the "lack," not as dialectical and causational journey. It is described with the word "again." Here, the persona of Kim Jong-sam’s poems is a man with sense of ‘ignorance’, not knowing the ways to solve the "lack." And the things derived from these features are the problems such as an incomplete structure of statement, fantasy and absence exposed in Kim Jong-sam’s poems.

The purpose of this study was to investigate the fantasy, which was one of the aesthetic characteristics of Kim Jong-sam's poetry, in his poems. Fantasy connotes a variety of meanings in literature and is often called by different names such as fancy, reverie, and daydream. In this study, fantasy was used as the term with which to analyze the poet's works based on the theory by Freud since literary works were not fantastic epic art of various kinds describing unrealistic materials or events but the unconscious expressions of the desires that didn't exist in reality and were suppressed psychologically where they emerged visibly. Taking those perspectives, discussions were made as follows; first, there are the poet's original experiences and fantasy world where reality meets with fantasy. The poet escapes to the inner world by using a range of psychological mechanisms with a distance derived from the gap between reality and his fantasy. Even in such a case, his original experiences serve as the storage room for his works. Going through a series of events including the country's taking back its independence, splitting into two Koreas, and fighting in war, he loses his place to find peace, and his experiences settle down as his imagination. Second, he embodies a distant world from reality as a medium to bring an ideal fantasy world in his projections of real space and Utopia. They are mostly his works written in omission and control, which are his signature writing styles. The objects who led a similar life to his are replaced or identified by him via defense mechanism. Especially, music exercises the power of imagination to lead the works and plays a role of striking harmony between the two heterogeneous worlds. And third, the biggest portion of his poetry is taken up by his works in the late period, when he suffers from his drinking habit, poverty, and disease and has death right around the corner. He wrote poems in which he embodied the disappearance of beings in beautiful images. But inside the poems are the overlapping images of his original experiences, punishment ceremony, and disappearing time, which work together to offer fantasy themes. So far, the aesthetic characteristics of his poems were examined from the perspective of fantasy. In the study, it's suggested that his original experiences and imagination hidden in his consciousness played a huge mediating role, which, however, seems only the tip of the iceberg. In future, there should be ongoing researches on the status and aesthetic values of his poetry and on the parts that didn't get solved in the study.

The discussion of Shim Yeon-Su's literary works has increased since they were opened to the public in July 2000. Compared with the period when his name was not widely known, the fruits of this new study have been substantial. In spite of that, the study of his works should continue, so to further clarify his place in the history of Korean literature. We need to calm the excitement and expectation with which we met his works at first, and should now discuss them on their relative merits alone. It is in this context that I have focused on the poet's life wider and deeper than in previous studies. This included using data in『Samchuk Shim's Genealogy(三陟沈氏世譜)』, an interview with his younger brother and the exiting results of the previous study. I chose Shim's last work in reference to the creation date which was written at the end of his original works, the order of binding and the traces left on them from polishing. Using this information, I have tried to find a way to solve problems which happened when we have tried to analyze his works in the past.

This thesis discusses the teaching on poetry and the historical criticism. The historical criticism is the most methods to apply to the fields of the teaching on poetry of the middle & high school, Korea. But a misuse of the historical criticism often leads even the interpretational error of a poem. In the Chapter II, the thesis discusses the teaching of poems and poets in the 1920s. The Korean poetry showed the beginning of the modern poetry in earnest in 1920. When teaching the poetries of Kim So Wol, Han Yong Woon, and Lee Sang Hwa who engaged in creative work of poetries, they have made frequent use of the historical criticism. But, we must not apply the historical criticism to these poets' works without reservation In the Chapter III, the thesis discusses the teaching of poems and poets in the 1930s. The Korean poetry showed the various good fruits in the 1930s. When teaching the poetries of Jeong Ji Yong, Baek Seok, Seo Jeong Ju and so on, the historical criticism was applied with importance. If we applied the historical criticism in detail the poets' poem could be well understood. In the Chapter Ⅳ, the thesis discusses the teaching of poems and poets in the 1940s. The Korean poetry showed the poor fruits in the 1940s. When teaching the poetries of Yoon Dong Ju, Lee Yuk Sa, Park Mog Wol, Jo Ji Hoon and so forth, the historical criticism was applied with importance. But especially when the teacher teaches the poetries of Chungrok school they must avoid an excessive historicism. They accept that the historical criticism is important for the teaching on poetry in the fields through all ages. The teachers were able to develop a desirable model for the teaching on poetry by teaching poetry through such criticisms. They will be able to do the teaching on poetry through the historical criticism to use the best position.

This treatise is about rules of versification in the mutual relation between Sijo literature and music, targeting Sijo Foot, Sijo song, and Gak and rhythm of Gagok. The mutual relation of Sijo and Sijo song is following. The 1st Foot of first and middle verses in a Sijo is arranged in the 5th rhythm of the 1st Gak in a Sijo song and the 2nd Foot is in the 8th rhythm of the 2nd Gak, and the 3rd one in the 5th rhythm of the 3rd Gak. However, three fourths of the 4th Foot is set in the 5th rhythm of the 4th Gak and the rest of quarter is arranged in the 8th rhythm of the 5th Gak. The 1st and the 2nd Foot of the last verse is arranged in the 1st and the 2nd Gak, and concerning the 3rd Foot, three fourths of it is placed in the 3rd Gak and the rest is in the 4th Gak. In sum, Foot and Gak are partly in unison. The 1st, 2nd, and the 3rd Foot of the first and middle verses and the 1st and the 2nd one of the last verse in a Sijo accord with the 1st, 2nd, and the 3rd Gak of the first and middle verses and the 1st and the 2nd Gak of the last verse in a Sijo song each. Moreover, syllables in the 4th Foot of the fist and middle verses in a Sijo and syllables in the 3rd Foot of the last verse are divided into the 4th and the 5th Gak of the first and middle verses and the 3rd and the 4th Gak of the last verse in a Sijo song, necessarily corresponding each Foot in a Sijo to each Gak in a Sijo song. I believe that those correspondences of Foot and Gak indirectly prove that a Sijo has Foot-rhythm even in a Sijo song. The relation between the Sijo and the Gagok is the following. In a Gagok, only the 1st and the 3rd Foot of the first verse and the 1st and the 2nd of the middle verse in a Sijo are matched Gaks in a Gagok. That means the rate of Foot-Gak matching is relatively low compared to the one of Foot-Gak in a Sijo and a Sijo song. There are three cases that shows the relation between the Foot in a Sijo and the Gak in a Gagok is that one Foot finishes with two or threes Gaks, or two Feet with three Gaks. A Gagok divides three verses in a Sijo into five verses, relocating four Feet of the first, middle, and the last verses in a Sijo in a Gagok- the 1st verse in a Sijo to the 4th Gak, the 2nd to the 3rd, the 3rd to the 5th, the 4th to the 3rd, and the 5th to the 6th. The Foot in a Sijo and the Gak in a Gagok are correspondent in part, and each Foot always finishes with a Gak. The rate of Foot-Gak matching is relatively low, however, the Gagok is the same in point of always finishing the Foot with the Gak. Somewhat I feel uneasy about it, I believe that correspondent of Foot and Gak and completion of Foot with Gak show that a Sijo has the Foot rhythm in a roundabout way.

This study is about develovement of Remembrance Story(후일담 소설). They are appeared in process which revolutional times of 1980's turn to consumptional times of 1990's. The period of 1980's was different from that of 1990's. So literary tendencies that represent this two times were so oppositional. It is the Remembrance Story that make up for this break. Remembrance Story had been a bridge of history of litterature by retrospective descriptting 1980's times In consist of new reality of 1990's. This means already limits and a possibilties in Remembrance Story. If we review limits and inner logics in Remembrance Stories, we are able to derive new tendencies of 2000s' new stories. The novelists are searching for possibilities of new connection beyond Identify(period of 1980's) and Orther(period of 1990's) in the stories of a new century. Because this new possibility of connection gets accompiishment by getting over old connection, we need to search for Remembrance Stories again.

I have developed these sentences on the critical position with reference to the Practicality of Literature that is raising an issue as a device to break through the Crisis of Literature. Since it is obvious fact that the Crisis of Literature today had been brought due to the development and its expansion of the electronic civilizational technology or imagery industry, the raising an issue of Industrialization as the plan for breaking through the Crisis of Literature is wrong direction. Even though it is the desperate countermeasure in compliance with the change of the times, as far as its purpose was not clearly defined, it is difficult to achieve the anticipated results. Because, when the purpose of literature becomes different likely as the below-noted, its results appear as contrastive: •Pursuit of Profits → Estrangement of Human-being/ Impersonalization ⇒ Road to Crisis of Human-being •Human-being Itself → Standard for Human-being/ Recovery of the Dignity ⇒ Road to Restoration of Human-being Considering of such process, I intend to emphasize for the literary writers to perceive certainly the ordinary truth that enables to revive both Literature and Human-being when Literature cherishes the most literature-like feature. In the flood of the occidental culture and the material civilization, if the matter of grasp evidently at Self Identity is required before anything else for modern people who lost the self identity, and are wavering within the confusion of the sense of values, this writer is on confident that the very literature/poetry could do the function of responding index substantially to this requirement.

The optimistic vision of folktale and its aesthetic consciousness, elegance and humor, are brought out differently but clearly in Korean fantastic children's storys which draws folktale into its own works. Like as, the tragic truth and tragic beauty are appeared in children's storys which use lesends for its own storymaking, and the transcendental value and sublime beauty are presented in children's storys which draws myth into its own storymaking. Because of their immaturity, it is not easy for children to become familiar with tragic truth and tragic beauty of legend or transcendental value and sublime beauty of myth. That is the reason why the transfomation of legends and myths into children's storys have not been done as frequently as folk tales. But such difficulties can be overcome by concrete characterization as in the case of 'Oseam'. Those difficulties also can be removed by creation of double heroes as in the case of ' The Country of Roije' some writers of fantastic children's story bring out fantastic motifs of folklores into their own works to make extend time and space. The other writers put more sophisticated themes in their works by weaving and editing a few folklores. This paper is written under the strong belief that it is very important to accept and transform folklores into fantastic children's storys for the progress of modern Korean children's literature. But more works are needed as examples to verify this paper's point. that remains as a future task.

This essay is about typical type of the model of the male and female which shown in the Internet novels and Image and discussions. Also, Include Neo-Gender. About the model of the female, first of all, Guiyeoni type characters from the Internet romance novel such as The Guy was nice or The lure of wolf, written by teenager author GuiyeonNi. Those characters are not likely to neogender which is progressive personality. But likely to Cinderella complex characters which represent pure-hearted schoolgirl’s fantasy. On the other hand, the characters from Twenties writer, Ji Suhyeon’s novel such as My name is Kim Sam-Soon, or Lee Seonmi’s novel Coffee Prince are not likely to Cinderella complex character women. They carve out a fortune themselves and awaken their independent as a woman. The writers shows in their novel Contrasexual or likely to Nonsexual characters, which are part of Neogender and The writers use the homosexual concept and The women characters in their novel are break out from the Male Centered mind about the women’s physical weakness. And after all of these conceptions, they lead great reflections from the readers or the audience. Hypertext novel, Digital Gubo 2001’s main female character, Gubo is professional woman, based from her knowledge and intelligence capabilities and shows active work. By her character, the writer shows Neogendered female model but the novel did not spotlighted by readers or netizens. About the Model of the Male, first of all, here are the advent of the 'ul-jjang'(good looking) and the meaning of 'ul-jjang'. The main characters from Guiyeoni’s novel The Guy was nice or The lure of wolf, and Choi Suwan’s novel, Tutoring a person of the same age, and Lee Hetnim’s novel My ill-mannered lover, are all 'mom-jjang'(good shape) or 'ul-jjang'(good looking). Besides their inborn characteristic of ul-jjang, they also have Macho character which are likely to male chauvinism but by the age or social position, they are above the high school student and they are highly interested in fashion and their appearance. They do not show their superiority by the violence but by the social advantages or management ability. Also They created new image and lead the trend not by the movie but by the main characters from the TV drama such as My name is Kim Sam-Soon or Coffee Prince. The message from the digital generation is men’s male models or women’s female models come from the communication each other and love. Also no matter by consciously or unconsciously, it is about the sexual identification and sexual part.

Samples with the author who the novel literature which boils and movie art put in respectively and is views of the world and two media of director searches an aesthetics the thing clear criticize sentiment being joyful, provides family lower part, in the one example this blue "Insect talk" of the original work which gives comes the movie which Director Lee Chang Dong dramatizes investigated it in the center. novel "Insect talk" was converted with movie and what kind of element was added and are dramatized, with the such conversion middle author to observe the message which is genuine director conveys respectively from their works is what, tried. From because narration which delivers the message of novel these. Director Lee Chang Dong what periodic with flowing from conversion process of dramatization, is in order presenting with the interpretation which is a blue chivalrous robber who it looks in the face a subject and is new to look better. movies "Secret Sunshine" about the viewpoint of interpretation is very various. With Sin of the movie which treats the human being and one woman buys or the movie which treats one life, to be interpreted with the subject which movie etc. manages the problem of the individual and the group between is various. When by the way one artistic style also being born again with different style, if the thing before more receives the response of masses and to clear that place the nearly same reason exists. The mind comes to be convenient from modern Christian religious insides the bell where kicked with, to approach in future and the new monody which gropes a new Christian religious belief the gain and loss which is accurate about the periodic subject where the one movie which compromises each other last scene this window motion the Western theory is proposing the ceremony which is original with character, in evening twilight of the solution and to show to be participating is to show. reads the message of the rescue which also movie insides and forgiveness and being understood and must understand in order going from that only as the frame of the rise which is a reconciliation where is not the forgiveness, sees. Including the spirit of the fusion will be able to plan being understood and an upper lifestyle with other style aims the accident which is original the quality of the contents which, sees through the author psychiatry which corresponds hereupon is because reading the message of Director Lee Chang Dong which practices a story creation with the imaginative power which is abundant.

The result of consideration for the paradox of reality politics appeared on〈A biography of Esq Huh〉by an analysis of conflicts among characters is as follows. I used a method of the actantiel model based on the semiotic theory for a clear investigation. The author insists that the wisest method to solve the social․political structural contradiction be not the conflict between the haves(the power class and the wealth) and the have-nots (the poor), but instead of it, it had better relax the tension between two groups by 'reconciliation' and 'embrace' and it is necessary to pose a trying attitude and have a new recognition on the reality. This means that the only method to untie the knot of the social and political's vicious circle must start from the notice of reality and the reform by 'Minjung(the populace).' The author thought that the reform is that Minjung gather their voice of resistance and power, and criticize the rotten reality of the power class or the wealth and must warn them not to be repeated such the contradiction any more and persuade and lead them to introspect their behaviors. Furthermore, the author represents that the truthful social reform can be achieved when 'reconciliation' and 'embrace' influenced the powerful and the wealth, not the 'punishment' and 'termination', and they take directly part in the action. Namely, he makes those people of which social power is low, but reality recognition is high, to play a role in punishing and retrieving the superior class in social power. It means that if those who has the social power, but little reality recognition, experience 'the course of awareness' and they co-participate in the reformation of society, the bigger reformation can be achieved. Among the existed dramas in 1970's, which represented that the powerful class led the social reform, we can find that the author's reality recognition had been changed than before based on his point of view that the reform must be achieved by Minjung. On the other hand, if we examine the reason of his point of view's change related to his elite consciousness, we can find some point of agreement that Minjung who performed the social reformation among are also the educated ones. We, therefore, found that his elite awareness which consistently underlay in all of his works still influenced on this work. Besides, his reality participating politics has its meaning in his ideality about the social reformation. Moreover, he suggested that to tune up the chaos situation which occurred by the absence of the politics, most of all, Minjung must have self-awareness and recognition, and the methodology is that the reform must start from the intelligent people among the public, such as Esq. Huh. So to speak, he stirred up Minjung's awareness by enlightening in order that those who had lost their chance for revival in alienated status and society, co-try and co-exist in the Society. In the end, the author concluded that the truthful social reform is to attempt the new recognition of the society with the 'reconciliation' and 'embrace', and to try to lead the public to participate in establishing a new ideal nation. We conclude that the work describes well the point of view that only the reform that start from both the party(the populace `and people who have the new awareness of the society between the rotten power status and the wealth) can surely prepare the watershed, which leads the truthful social and political reform and also well holds the reason of his participation in the reality politics.

In late 1970s, the mass literature has changed because of the rise of new literature according to the change of korea's social character. Because of drastic phenomenon of leaving the land and the industrialization, the factory worker produced in large quantities. As this overlap with intellectual literature, the memo and reportage that are based on experience of the worker themselves are joined. This has significant meaning that the subject of producing appears to the subject of literature, and also it is very important because it accelerates the subject debate of the race literature and play important role of the race literature. In late 1970s, pointing the limitation of degradation of the emotional intellectual literature, mass literature becomes the vitamin of the race literature. However, these literature are neglected completely in the history of contemporary literature and the frame of debating meaning and self-examination of the race literature. Therefore, In this writing the examination of the theory of race literature should be examined based on fine examination. Without the various creation of the mass, dealing with the theory of race literature is just reconfirming the defeatistic thought, is far from creative discourse and creation of the alternatives. In that meaning, the important problem of the theory of race literature is the problem of practicing subject, so I try to examine closely and clarify the result and limitation. The valuation of the theory of race literature at that time should begin at objective validity.