• Journal of Korean Library and Information Science Society
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• v.36 no.3
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• pp.65-83
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• 2005

Researches on the actual condition of the management of reading circles at 1991, 1999 and the third 2004 are analyzed and compared mutually in order to observe the process of development of reading circles because the management of reading circles in public libraries play an important role in activating reading activity. Public libraries increase twice in number than first research and take interest in the management of reading circles to activate reading activity, so public libraries are in full activity to organize and manage reading circles by themself, secure a budget for reading circles and supply spaces for reading activity constructively. However, development of the reading activity program and positioning of experts in management of reading circles have been remained as non solved problems.

• Journal of the Korean Society for Library and Information Science
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• v.40 no.3
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• pp.53-71
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• 2006

The purpose of this study is to investigate how the different types of reading instruction programs and reading methods influenced the creative ability and the self-directed learning ability, They were divided into two groups. Class A was taught to use 'The Author-Reader-Inquirer Cycle'. which concentrated on the writing-centered reading program model. Class B was taught to use 'The Literature Circles'. which concentrated on the speaking and listening-centered reading program model. After reading instruction. the creative ability and the self-directed learning ability increased. The writing-centered reading instruction was more effective than the speaking and listening-centered reading instruction. The reading instruction during the long-period was more effective than that during the short-period. The 'intensive reading' among the reading methods had a significant influence on the creative ability and the self-directed learning ability.

• Journal of Korean Library and Information Science Society
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• v.9
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• pp.63-83
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• 1982

Among many open libraries under the rule of the Japanese imperialism, only the railroad library as the character of special library under the control of the Japanese Government General is remarkable for having opened its facilities to outsiders as well as the interior users. This study tries a) To look into what were the colonial background, aim and motive of the establishment of the railroad library under the Japanese rule, b) To analyze its activities and the change of its organization, c) And to find out its vestiges an the effects which it has on our country's library circles. The following are the result: A. The railroad library under the rule of the Japanese imperialism functioned as a public library by the outside book's circulation rather than the interior using. B. The outsiders were qualified to use it only when they got the joint guarantee for the city resident, which means that the o n.0, pportunity of the circulation was not free for the Koreans rather than the Japanese. C. From the aspect of collections, technical books such as natural science, and reference ones tended to be collected, and their whole composition was focused on the materials for the Japan-Korea identification scheme and development of the national spirit as the Japanese empire's subjects. D. In the respect of its organization, all the clerical employees, as well as the chief librarian were composed of the Japanese. Although the Koreans were in principle prohibited from working there, a few of them were employed as guard or servant as the China-Japan War was close to the end. E. The area of the outside book's, circulation service was expanded throughout the whole region along the railroad connecting Pusan with Manchuria. Such a service activity which contained several meanings, was tried by means of culture's books, circuit's books, train's books, hotel's books, mind's development books and reader's reading books etc. F. Such matters as the limitation on book circulating and the quantity of circulation book, the paid circulation and the partial restriction on free circulation mean the wartime system under the rule of the Japanese imperialism and also a n.0, ppeared as a factor of hampering the Koreans from getting accustomed to using library, which has affected them until now. G. The noticeable thing in the service activity is shown in attempting the diversified and positive way of service like free circulation in order to solidify the attitude of the Koreans toward war by organizing mind's development books as well as culture's books with the China-Japan War. H. On the other hand, it can not be passed over that the diversified service activity of the railroad library played a role of bridge in turning of today's library circles of ours to the modernization.

• Lingua Humanitatis
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• v.1 no.1
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• pp.141-157
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• 2001

In his discussion of some desirable tuning points in comparative literary studies, Henry H. H. Remark has emphasized the importance of literary approach to other forms of art. Understanding the significance of such a method of comparative literature, the present study focusses on three contemporary Korean poets who have transferred Mark Chagall′s paintings into their poetry: Youngtae Kim, Chunsoo Kim, and Sunghun Lee. They are usually evaluated as surrealist/modernist in our literary circles. In transforming Chagall′s paintings into his poems, Youngtae Kim has incorporated a variety of surrealist mosaic techniques such as montage and collage. The resultant peculiarity of his poetry makes it hard to lay bare the correspondence or similarities between his poetic world and the world of Chagall′s artistry. It is nonetheless possible to see how Kim, as a poet and painter, had interpreted Chagall′s world with a bird′s-eye view of it. Chunsoo Kim′s "Snow Falling on the Village of Chagall" relates specially to one of Chagall′s paintings, "I and My Village." The present study has taken notice of this correlation in sorting out some basic elements of poetic transfiguration. One of the techniques employed in the poem under discussion is that of juxtaposing the Russian village of Chagall and the Korean village the poet visualizes, with the effect of putting two national traditions in contrast. A reading of the poem reveals that it is not so much the result of a detailed analysis of the painting as a revival of its lingering impression as a whole. In Sunghun Lee′s poetry, surrealist techniques are again a hallmark. But his method of transferring the images of the paintings into his poems falls somewhere between those of Youngtae Kim′s and Chunsoo Kim′s: it is akin to the ′bird′s-eye method′ of the former and shares the impressionistic touch with the latter, but at the same time Lee is analytical by disposition and opts for concrete descriptions. ′Love,′ ′farm,′ and ′time′ are the keywords that are brought under discussion in the present study. There is a growing demand in the current international comparative literary studies for broadening the area of comparative literature. This study hopes to be a small contribution to endorsing the importance of comparative approach to fine arts.

• Cross-Cultural Studies
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• v.52
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• pp.133-164
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• 2018

This purpose of this paper is to focus on anti-Japanese literature and pro-Japanese literature skills among Korean literary history written in Japan, and to observe the differences between Korean and Japanese perception surrounding anti-Japanese and pro-Japanese literature. Analyzed texts are "Taste Korean Literature" by Saegusa Dosikatsu and "The Footsteps of Modern Literature of Chosun" by Shirakawa Yutaka, the earnest modern Korean literary historians written from the perspective of Japanese writers, and though there's no overall written history of literature, they were seen through with the perspective of Omura Masuo, at the forefront of Japanese researchers in modern and contemporary Korean literature. The main results of the review are as follow: First, In Korean literary history by Japan, the frame "pro-Japanese literature" is clearly embedded. It is clearly distinctive from the aspect of China or North Korea, and though it follows the narration system of South Korean literature, it also forms the breaking (turning) point of anti-Japanese and pro-Japanese literature relative to anti-Japanese and pro-Japanese literature. Second, even if it follows the narration system of South Korean literature, that question was constantly raised on existing Korean academic evaluation of anti-Japanese and pro-Japanese literature, and different interpretations of reading were practiced. For example, Korean academic circles highly regard literature of writers such as Kim, Jong han or Lee, Seok hoon, while Korean academics do not place much importance on Lee, Gwang Soo's pro-Japanese elements that are important. The third point is that generous marks are credited to writers with outstanding Japanese or to Japanese creative writing. As a result, they dissolve internal logic in different pro-Japanese collaborators such as Chang, Hyuk Ju, Kim, Sa Ryang, Lee, Seok hoon, or Kim, Yong Jae by melting the same "Japanese literature" in a cage. The last point is reading different inner thoughts of Kim, Jong-han or Lee, Seok-hoon unlike outspoken pro-Japanese collaborators such as Lee, Gwang soo, Jang, Hyuk Joo or Kim, Yong je. These points require more in-depth analysis, and will be continued in follow-up tasks.

• (The) Research of the performance art and culture
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• no.32
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• pp.549-594
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• 2016

This research focuses on 'dramaturgical' performance among all the acts of a director who constructs an artistic structure. This is, specifically, the dramaturgical acts that a director comes to perform in the process of dramatizing a novel. This paper aims to suggest a new kind of approach for productive interaction between drama theory and practice, not only by documenting the process of creation but also by moulding theoretical basis on acts of a director. As you all know, creative acts in practice so far have rarely been considered as subject and purpose of academic study. Even some lucky plays and directors had to settle for fragmentary review. That's mainly because Korean theatrical circles confine the way of recording the whole process of drama in practice only to a piecemeal review of performance. As a result, there have been very few cases of observing comtemporary plays under the historical background of drama. In this regard, this paper desires to raise a question, 'is productive interaction between drama theory and creative practice possible?' and to find the answer. If what is described in this paper can have worth beyond a mere record of creative acts, it may establish theoretical grounds on interpreting the play stage of this era by reading, in the contexts of drama history, a director's dramaturgical performing acts to dramatize a novel. The researcher of this paper, as a director of a theater troupe like a human and artistic community, adapted "Crime and Punishment" by Dostoevsky into four plays. They are , , , , and completed in 2009, 2011, 2012, and 2014, respectively as an independent theatric work having no connections to each other in story. Not only because the four plays share the same novel as its origin but also because an identical system is applied to dramatization of the novel, it gives an opportunity to focus on and perceive the role of the director. During the process of dramatiztion, the director, the researcher of this paper, carried all the duties, such as selecting a text, approaching the text theoretically and academically, adapting it for drama, picking out appropriate episodes. This paper defines all these acts as dramaturgical performing acts. In this sense, this paper can also be seen as a documentary of 'acts' performed during the process of dramatization.