李箱의 「烏瞰圖」 해석의 재고

심상욱(Sim Sang-uk) 韓國批評文學會 2009 批評文學 Vol.- No.33

This paper is to reconsider the interpretation of Yi Sang’s “Ogamdo”(烏瞰圖) in 1934 as 烏 being a crow. I think O(烏) is a mythical bird, as the messenger bird, Samjogo’(三足烏) in the Korean myth about traveling from the sun to the earth. Although previous researchers have expressed 烏 in 「烏瞰圖」 as a crow, what Yi Sang described in “Ogamdo” relates to the map of painting for looking down on the earth from the sky. In the 1930s, Yi Sang probably lived in severe violence and under tight Japaness rule and policy. During this period, he potentially thought the Korean myth had disappeared from Korean history into a Japanese myth caused by Japan’s colonial policy. Yi Sang became the last member of Guinhoi(九人會) and acted in various roles late in life. Through Guinhoe, he came to know a large amount of Western literary thoughts from abroad and created a variety of works, especially “Ogamdo”according to Joyce’s mythical narrative. In interpreting Ogamdo, a lot of studies have produced two problems: First, researchers do not take into account the confusion of the interpretation of “Ogamdo,” thinking 烏 to be a crow. Second, each poem of Ogamdo was published separately from the first to the last poem(15th). Therefore, researchers have interpreted them separately, not as a complete poem. I believe this is the major problem, As Kim, Ki-rim called Yi Sang “Jupiter,” Kim, Yun-sik asked for researchers “Why did Kim, Ki-rim call him “Jupiter”? This question is very important to know since both Kim, Ki-rim and Yi sang were Korean modernists in the 1930s. As we think of Yi Sang, we must consider Kim, Ki-rim’s “The Weather Chart”(氣象圖) written in 1935. As researchers have observed, this work, as an abortive imitor of Eliot, is a consequent failure in its making. However, Kim, Ki-rim was a pioneer for importing Western modernism in Korean Literature. This addition to Korean Literature affected Yi Sang as described in the urban life of “Ogamdo.” Jo Yong-man, a member of Guinhoe with Yi Sang, called the 1930s “the Age of Yi Sang.” Accordingly, we can understand the meaning of O(烏) in “Ogamdo” as not being a crow, but simply a Korean myth, Samjogo. And it also is truly necessary to interpret Ogamdo as a complete literary work, not as 15 individual poems.

성악 전공 학생의 가칭 시 음성의 SPR(Singing Power Ratio)에 관한 연구

조성미,정옥란,이상욱 한국음성과학회 2004 음성과학 Vol.11 No.4

This study attempted to provide a spectrum analysis for quantitative evaluation of singing voice quality of singing students rather than the presence or absence of the singer's formant. The regression analysis was used to analyse the relationship between ringing quality, SPR, and SPP of singing voice of college student subjects majoring in music. This study measured singing power ratio (SPR) in 41 singing students. Digital audio recordings were made in sung vowels for acoustic analyses. Each sample was judged by 1 experienced singing teacher and 4 voice pathologists on one semantic bipolar 7-point scales (ringing-dull). The results showed that the SPR and SPP had significant correlations with ringing Quality. The SPR had a significant relationship with ringing quality on singing voice in singing students. The SPR can be an important quantitative measurement for evaluating singing voice quality.

원행을묘정리의궤 중 조리면에서 본 죽상 . 미음상 및 현륭원에서의 상차림고

김상보,이성우,한복진 한국식생활문화학회 1989 韓國食生活文化學會誌 Vol.4 No.4

To analyze dialy meal of royal meal, studied Jook Soora Sang (Rice Gruel), Mieum Sang (Thin Gruel) and Bankwa Sang, Soora Sang in Hyun Neung Won were on record Wonheng Ulmyo Jungri Euigwae (1795). Historic book "Jungri Euigwae" described the king's visit to his father's royal tomb "Hyun Neung Won", during the domain of Cheung Jo, the 22nd king of Choson Dynasty. The results obtained from this study are as follows. Rice Gruel (Jook Soora Sang), taken before breakfast, was arranged the same as the Soora Sang. The table for thin gruel (Mieum) was arranged in three kinds of sets; one for thin gruel, the others for stewed meat (Goem) and sugared fruit (Jeong Kwa). The diet seems to have been quit scientific and restorative. Bankwa Sang and Soora Sang in Hyun Neung Won was arranged the same as the other Bankwa Sang and Soora Sang. Therefore setting the table of royal meal had a rule.

「街外街傳」과 「황무지」에 나타난 이상과 엘리엇의 제휴

심상욱(Shim Sang-wook) 韓國批評文學會 2011 批評文學 Vol.- No.39

이 논문은 이상 작품의 서구문학사조와의 관계에 초점을 맞춰 이상이 1936년에 발표한 「街外街傳」(가외가전)을 T. S. 엘리엇(T. S. Eliot)의 「황무지」(The Waste Land)와 비교하여 그 의미를 살펴보았다. 한국이 일본의 식민지로 있을 때 서구에서는 제임스 조이스가 ?율리시즈?를 창작하여 T.S. 엘리엇이 조이스의 작품이 신화기법으로 창작되었음을 밝혀 내 모더니즘의 중심과제로 등장해 있었다. 이러한 서구문학은 일본을 경유하여 유학파인 김기림, 정지용 등이 한국에 들여와 이상과 같은 한국 문인들에게 자극을 주었다. 엘리엇의 ‘신화기법’은 현대적인 것과 고대적인 것을 작품 속에 공존시킴으로서 흩어진 사건을 통합하는 방법이었지만, 이상은 한국의 신화와 동양사상에 대한 그의 지속적인 관심을 표현해 냈다. 이상은 식민지 치하에서 살지 않으면 안 되는 상황에서 편안한 대륙으로 암시된 고대 중국을 회상하면서 식민지 치하의 답답한 상황을 벗어나고자 하며, “손자(係子)도 탑재한 객차가 방을 피하나보다.”로 표현하여 중국을 원망하면서 한국의 삼족오 신화가 일본의 신화에 편입된 것을 일깨워 한국의 고유의 전통의식을 자극하고 있다. 엘리엇이 「황무지」에서 신화기법으로 현대문명의 위기를 그려낸 것처럼 이상은 「가외가전」에서 사라진 한국의 신화와 동양사상을 은유적으로 사용하여 한국의 식민지 상황을 그려냈다. 한국의 모더니즘을 주도했던 김기림이 이상을 한국의 ‘최후의 모더니스트’라고 지칭한 바와 같이 그의 ?가외가전?은 식민지 통치가 극에 달하고 있을 때 ‘서울의 모습’을 공개적으로는 말할 수 없어 ‘거리 밖의 이야기’로 그려낸 ‘폭로’적인 작품임을 알 수 있다. This paper is to examine an affiliation of Yi Sang and T. S. Eliot in Gawoigajeon(?街外街傳?) and The Waste Land written by them. For a Korean modernist Yi Sang, during the colonial period, potentially thought that the Korean myth had disappeared from Korean history into a Japanese myth caused by Japan’s colonial policy. He knew T. S. Eliot’s mythic narrative through Guinhoi and other sources. He became the last member of Guinhoi(九人會) and acted in various roles late in life. Through Guinhoi, he came to know a large amount of Western literary thoughts from abroad and created a variety of works, especially according to T. S. Eliot's mythic narrative explaining writing techniques of Joyce’s Ulysses. As Kim, Ki-rim called Yi Sang “Jupiter,” Kim, Yun-sik asked for researchers “Why did Kim, Ki-rim call him “Jupiter”? This question is very important to know Yi Sang, since both Kim, Ki-rim and Yi sang were Korean modernists in the1930s. I think it that both writers created their poems by Eliot’s mythic narrative technique. However, after Yi Sang’s death Kim Ki-rim called him Jupiter, the gratest god of the Greek-Roman myths. As we think of Yi Sang, we must consider Kim, Ki-rim’s The Weather Chart(氣象圖) written in 1935 with Yi Sang’s Gawoigajeon in 1936. ThoughKim was a pioneer for importing Western modernism in Korean Literature, Yi Sang was a representative practice writer written Gawoigajeon depicted the urbanSeoul by the Joycean mythic narrative in the colonial period.

백야 이상춘의 신소설 연구

배정상(Bae, Jeong-Sang) 부산대학교 한국민족문화연구소 2022 한국민족문화 Vol.81 No.-

백야 이상춘은 신소설 작가 중에서도 보기 드문 이력을 가진 흥미로운 인물이다. 그는 『박연폭포』와 『서해풍파』라는 꽤나 인상적인 작품을 저술했지만, 평생을 교사이자 국어학자로 살았다. 지금까지의 연구에서는 신소설 작가 이상춘이 『매일신보』와 『청춘』의 현상문예에 당선된 특별한 이력이 있다고 정리한 바 있다. 하지만 본 연구에서는 이러한 이상춘의 이력에 대한 오류를 바로잡고, 같은 시기 동일한 이름을 사용했던 두 명의 이상춘(李常春)이 존재했음을 처음으로 밝혀냈다. 신소설 작가이자 교육자였던 개성의 이상춘과 『매일신보』와 『청춘』의 현상문예 당선자이자 『매일신보』 기자였던 경성의 이상춘은 같은 이름을 사용했던 각기 다른 인물이었다. 신소설 작가 이상춘은 개성에서 태어나 한영서원에서 수학했으며, 이러한 경험은 그의 작품을 이해하는 데 중요한 토대가 된다. 『박연폭포』와 『서해풍파』는 고향인 개성을 주된 공간배경으로 삼고 이를 핍진하게 묘사하고 있으며, 작품 속 무대를 일본과 미국, 더 멀리 남극에까지 확장하고자 했다. 또한 한영서원에서 배운 근대 지식과 기독교 사상, 외국어 등은 작품 속 주제로 형상화 되었다. 한편, 택견 유단자와 매력적인 장애인 여주인공, 조선학과 항해학을 전공하고 남극탐험에 도전한 인물 등 이전의 신소설에서는 보기 드문 새로운 인물형상을 창조한 것도 중요한 특색이다. 이처럼 이상춘과 그가 남긴 신소설은 1910년대 신소설의 다채로운 성격을 이해하기 위한 의미 있는 사례가 된다. ‘Baekya’ Lee Sang-chun is an interesting character with a rare history among ‘Sinsosul’ writers. Although he wrote quite impressive works called ‘Bakyeonpogpo’ and ‘Seohaepungpa’, he spent his entire life as a school teacher and Korean language scholar. In the research so far, it has been summarized that ‘Sinsosul’ writer Lee Sang-chun has a special history of being selected for the prize-winning literary arts of ‘Maeil Shinbo’ and ‘cheongchun’. However, in this study, it was discovered for the first time that there were two Lee Sang-chun (李常春) who used the same name at the same time by correcting these errors in Lee Sang-chun’s history. Lee Sang-chun of ‘Gaeseong’, who was ‘Sinsosul’ and educator, and Sang-chun Lee of ‘Gyeongseong’, who won prizes for ‘Maeilsinbo’ and ‘cheongchun’ and ‘Maeilsinbo’ and reporter, were different people who used the same name. ‘Sinsosul’ writer Lee Sang-chun was born in Gaeseong and studied at ‘Hanyeongseowon’, and this experience is an important factor in understanding his work. ‘Bakyeonpogpo’ and ‘Seohaepungpa’ use his hometown ‘Gaeseong’ as the main spatial background and depict it richly, and he wanted to extend the stage in his works to Japan and the United States, and further to Antarctica. In addition, modern knowledge, Christian thought, and English learned at ‘Hanyeongseowon’ were embodied as themes in the work. Another important feature is the creation of a new character, which is rare in previous ‘Sinsosul’, such as ‘Taekkyeon’ master, an attractive female heroine with a disability, and a person who majored in shipbuilding and navigation and took on the challenge of exploring Antarctica. In this way, Lee Sang-chun and the ‘Sinsosul’ he left behind serve as meaningful examples for understanding the colorful aspect of the ‘Sinsosul’ of the 1910s.

북한소설 『군바바』에 나타난 ‘민족의식’

박태상(Park Tae-Sang) 동북아시아문화학회 2007 동북아시아문화학회 국제학술대회 발표자료집 Vol.- No.-

『Gunbaba』, written by Kim Hye-sung, a rising writer of North Korea, is a historical long-novel which is remarkably highlighting the characteristic of the independence and nationality of our people by standing a Josun military officer as a hero with a historical background of Josun which was dotted with a long spell of national ordeal such like the residence of the Japanese supervising Agent in 1906, the dismission of the Korean army in 1907, the Special Envoys of Hague, and the deposition of King Gojong. 『Gunbaba』 has a framwork of latitude of longitude of supporting characters such like Jock-song, Kwon Ki-hong, Kim Hui-sook, Yang Seol-hee, and Lee around a hero, Nam Sang-duk, a main character. This work is, so to speak, based on ' the First People of Josun', the ideology of 'nationalism', which was stressed by Kim Jeong-il, the chairman of the defence committee after he came to the force. This ideology was functioned as the driving force that caused the writing tendency such like the realistic works of the historical theme that were in great vogue in the North Korean society. Especially in one point, this work gives fun to the readers that it focuses on the nationalism by describing the various types in the decadent stage to the Japanese colonialism of the various kinds of characters, who had collaborated with the Japanese Imperialists in many ways, such as Kim Tae-jin, Lee Wan-yong, and Park Young-hyo of the day it shows. First of all, Nam Sang-duk, the hero, is actually described as a person with many troubles in the work. Nam Sang-duk, who graduated first from the Senior Military Academy and got appointed to a platoon commander of the Josun army, was continually playing a role as a trouble-maker. Without regard to his soldiership, he is engaged into some trouble between 'Cheongcheon Pub' which is operated by Kwon Soon-sil, his friend Kwon Ki-hong's elder sister and 'Sakura Coffee Shop' which is operated by a Japanese, Yoshiko and he is behind bars and then is released. In fact, it seems that the writer has intention in his mind that Nam Sang-duk, his hero, kept his foot in the trouble to make him <a sensible person>. Besides, the hero, Nam Sang-duk, deeply impressed by the Drive for National Debt Compensation of Yang Ki-tak, organized the Danyeonhoe in his Josun army and raised money to participate in the Drive for National Debt Compensation. Moreover, going on his way, he found a boy dying hit by the new train which first showed in Seoul and hurry to the doctor's office carrying him on his back and gave some portion of the fund for the Drive. After all, these activities of him seem to include the writer's purpose not only to show the patriotism of Nam Sang-duk but also to reveal the falseness and the oppression of the Japanese Militarism through the victim by the train, which is propagandized as the symbol of modernization and the point of the modem civilization which is propagandized by the Japanese Imperialism. Another one, Park Sung-hwan, the battalion commander, heard the news of the painful outcries of Yang Sung-hwan who had known the reality of the dismission of Josun army ordered by the Emperor' false will being forced by Lideungbakmun and his pro-Japanese Lee Wan-young, killed himself by a pistol. Nam Sang-duk, the hero, hearing the gun-sound and witnessing the scene of the suicide, dashed to the common soldiers, stimulated them, and resisted in arms. Nam Sang-duk, determined to die and with a bundle of explosive, rushed to the city gate where the Japanese machine-gun position and the fortress were lined up with and died a heroic death raising the morale of the rebel forces. These gallantry and intrepidity come to the victory in the end and they transfer to the esthetical category of 'heroism' and 'nobility' which the North Korean esthetics categorized. In 『Gunbaba』, there appears a peculiar assistant, Park jwa-su, who is set up a very

수학자 보재 이상설(李相卨)의 근대자연과학 수용 -『백승호초(百勝胡艸)』를 중심으로-

이상구 ( Sang Gu Lee ),박종윤 ( Chong Yun Park ),김채식 ( Chae Sik Kim ),이재화 ( Jae Hwa Lee ) 한국수학교육학회 2013 수학교육논문집 Vol.27 No.4

본 논문은 한국 근대수학교육의 아버지 이상설(李相卨, 1870-1917)이 자연과학―물리학―에 기여한 내용을 다루고있다. 이상설은 ?수리(數理)?를 쓴 시기를 전후하여, 같은 시기에 붓으로 총 8면에 걸쳐 『백승호초(百勝胡艸)』라는이름의 고전물리학 원고를 써서 남겼다. 분석결과 이 책의 원전은 1879년에 동경제대 의학부 교재로 발간된 『물리학(物理學)』이다. 이상설은 『백승호초』에서 먼저 개념을 정의하고, 일상에서 나타난 대표적 현상을 선록하여 한문으로번역하였고, 『물리학』의 전체 분량에서도 특히 ‘통유성(通有性)’에 중점을 두고 설명하였다. 동양에서 서양의 수리과학이 들어와야만 말할 수 있는 ‘질량보존의 법칙’, ‘타성(惰性, 관성)’과 같은 고전물리학의 중요개념을 포함하는 내용이 19세기 말에 이미 이 책에 소개된 것으로 보아 이상설은 당대의 다른 저술에서 보기 힘들 정도로 당시 일반물리학의 최고수준의 원서를 통해 최신 정보를 수용하고 전파하기 위하여 노력하였음을 볼 수 있다. Sang-Seol Lee(1870-1917) wrote a manuscript BaekSeungHoCho(百勝胡艸) in the late 19th century. BaekSeungHo-Cho was transcribed in classical Chinese from the 1879 Japanese book Physics(物理學) by Teizo Ihimori (1851-1916). Sang-Seol Lee, a famous independence activist, is also called Father of the Modern Mathematics Education of Korea,because of his early contribution to the modern mathematics education in the 19th century. In this paper, we introduce contents of his manuscript BaekSeungHoCho for the first time and discuss the significance of this book. Also, we show his constribution on the introduction to modern physics in the late 19th century Korea.

고전시가의 노래하기 전통과 현대시의 자유율

김학성 ( Kim Hak-sung ) 한국시가학회 2016 韓國 詩歌硏究 Vol.41 No.-

한국의 현대 자유시에서 가장 큰 문제점은 대중의 독자로부터 멀어져 읽히지 않는다는 것이다. 그 원인은 디지털 시대를 맞아 시의 소통방식이 달라진데 따른 글쓰기 방식의 달라짐이나, 시의 전문화에 따른 難解性 등 여러 가지가 있겠지만, 여기서는 무엇보다 자유시라는 이름으로 전통시가의 운율을 무시하고 친숙하지 않은 산문시를 남발함으로써 절대다수의 독자에게 서정적 共鳴의 감동을 주지 못한다는 데 가장 큰 요인이 있다고 보고논리를 전개했다. 한국의 전통시가는 언제나 `노래하기`라는 전통적인 운율을 바탕으로 감동을 주어왔다. 시의 본질이 `최소언어로 노래하기`라는 함축성과 친숙한 운율, 정제된 형식을 통해 혼돈에 질서를 부여하는 데 있기 때문이다. 그래서 정제된 형식에서 일탈을 하더라도 그 정형의 큰틀을 크게 벗어나지 않는 범위에서 이루어져 노래하기의 전통을 유지하며 계승해나갔다. 이와 달리 현대의 자유시는 어떤 類派의 傾向化된 흐름으로 가든, 개인의 고독한 내면으로 가든, 전통시가의 문화적 패러다임과 노래하기 전통에서 구축해온 시적리듬을 거부하고 그로부터 일탈하여 `자유시`라는 이름으로 시적 미감을 자유롭게 `개성적`으로 성취하려는 방향으로 나아갔다. 그로 인해 시에서 개성적 성취의 자유로움은 얻었으나 민족적감성에 호소하는 영혼의 울림, 곧 시적 감동의 면에서는 더욱 멀어져 가는 모습이 주류를 이루었다. 그 결과 다수 대중의 독자를 상실하게 된 것이다. Big serious problem of contemporary poetries in korea is that public reader don`t read those. These reasons are communication way is becoming different by differnce on writing, and becoming professinal and esotericism, whatever it is, free poetries ignore verse and rhythm of traditional poetries, abuse unfamiliar prose poem, because of these reason, most readers cannot feel impression of lyrical resonance. Traditional poetries in korea whenever give impression based on traditional verse by singing. Poetries`s essence is in implication and familiar verse `at least singing by language`, giving order to chaos by refined form. Therefore traditional poetries succeed singing tradition not overbecoming out from the set pattern. Otherwise, Contemporary free poetries ignore poetric rhythm which was constructed by cultural paradigm and singing tradition in traditional poetries, go forward to way which achieve freely characteristical poetry beauty as free poetry. Because of it, contemporary poetries get freedom to characteristical achievement, but lost soul resonance on national emotion, and became far from poetry`s affect. In result, they lost public readers.

발성법(發聲法)의 이론(理論)과 실제(實際)

김상두 ( Sang Doo Kim ) 건국대학교 교육연구소 1980 교사와 교육(구 교육논집) Vol.5 No.-

Voice production should be based on scientific principle. The science of voice production is a knowledge of certain phenomena of physical movements which are found under certain conditions to occur regularly and which produce certain definite effects. There is only one way to sing perfectly and that is the correct scientific way. All singing must of necessity be beautiful, first, last and always. Rather have it said that the voice is small and beautiful than loud and otherwise. The small beautifully placed voice is capable of portraying the full gamut of human emotions. Therefore, it is necessary to develop our own instrument, which is the vocal apparatus we rely upon to produce our own beautiful singing. When singing is most scientifically produced, and the voice soars out smothly, evenly and vibrantly with its resultant seeming effortless singing. The great fundamental objectives or principles in voice production are, proper posture, breath control, free tone, balanced, efficient ringing sonorous tone, and expressive and varied tone color. Proper posture is a fundamental for control and maximum success in any type of skill activity whether it be athletics or musical performance. Necessary physical development for singing begin with habituation of proper posture and continuss through breath development and strengthening of the vocal organs through singing and tonal exercises. Efficient daphragmatic-costal breath control is the great fundamental in singing. Breath control, or breath support, means to keep tone flowing evenly, freely and firmly. Freedom vitality, expressive tone color, variety, efficiency, sonority, and evenness in tonal production is also fundamental principle in singing. The first reguisite in tonal technic is freedom of production. It is vital that we learn to both hear and feel the difference between good and bad tone and, eventually, between the finest shades of discrimination.

1930년대 천도교의 반일민족통일전선운동에 관한 연구 -갑산ㆍ삼수ㆍ풍산ㆍ장백현 지역의 조국광복회를 중심으로-

성주현 ( Sung Ju Hyeon ) 한국민족운동사학회 2000 한국민족운동사연구 Vol.25 No.-

The Nation Unification Movement(hereafter called as the Movement) by Chondo-Gyo(天道敎) under the colony of Japan had been started from 1920s right after the March first Independence Movement on March 01, 1919 and developed until the end of 1930s. The exisiting study on the Movement concerning the Chondo-Gyo didn't get a few results with the Koryo Revolution Party Movement by Choi, DongHee, Kim, BongKook, Lee, DongKook, Lee, DongKoo, etc., the Shinkan Association Movement by the old family of ChondoGyo, the One Korea Party Movement by Shin, Sook, Choi, DongOh, Kang, JeHa, etc., the June 10 Movement, etc. in 1920s. However, in fact there is no study result in details regarding the ChondoGyo in the connection with the Movement by the members of “the Fahterlahd Restoration Associacion”(hereafter called as the FRA) in the late 1930s. Especially there is almost no spotlight on their members, organizations, activities, etc who participated in the Movement with the FRA. It needs a new cognition of the activities of the FRA at the point of struggle in arms and connection with Kim, II Sung who established North Korea. When the study result on the their activities was released, it was told that they made and developed Chondo-Gyo and the Movement but it was mostly focused on the truth and untruth of the Kim, II Sung’s activities, the establishing procedure and organization of the FRA, and the reconstruction of Communist Party. It has dealt with the connection with Choado-Gyo neglectfully or slightly. The summary on the foundation and activities of the FRA and the Movement by Chondo-Gyo are as following; First, Chondo-Gyo and the FRA had abandoned the strategy called as “Rank v. Rank” at the 7th Comintern Meeting in July 1935 and made the consolidation between Anti-Japanese and People Consciousness of Chondo-Gyo for the change to do make a stronger struggle against Japan. The 7th Comintern made a new policy, “ Change the 2nd troops of East-North People’s Revolution Army into the corps for the Chosun Independence from Japan” with the contents that the Chinese Communists made the Chosun communists do their revolutional struggle for our independence from Japan while they made the union force against the Japan for the Colonies in the East-North Asia. Also it is appointed to the Chondo-Gyo as the object of the Movement entirely. At that time, the communists had got hostility towards the Chondo-Gyo deeply because the Chondo-Gyo didn't do only their religious activities by itself and did have the line to compromise with Japan in the country. Nevertheless, it is the central role of the party against Japan that the FRA did the Movement with the Chondo-Gyo. Second, the both parties had the same line of the cognition of Chondo-Gyo and the straggle against Japan by Kim, II Sung and the People’ sense against Japan by Park, In Jin after the meeting twice. It is based on the realistic recognition under the control of Japan chat only Chondo-Gyo couldn’t succeed in expelling Japan from the country and keeping our people safe, and the FRA itself didn’t get the independence. Also the Chondo-Gyo believers( hereafter called as “the believers” ) in the areas did have the through spirit of People. The believers led by Park, In Jin were not the communists but it is enough possible to do the Movement with the FRA that they had the strong spirit against Japan with the top target for our independence. This spirit was established by Chondo-Gyo of itself, especially it remained continuously by the TongHak troops who had the experience or fighting against Japan during the Tonghak Revolution, fled from Japan and stayed in the areas. Park, In Jin listened to the general principle and announcement of the FRA during the talk with Kim, II Sung, he could take participate in the movement actively. In this point, Kim, Ii Sung could be expressed as ‘an progressive Chondo-Gyo believers'. Third, the believers did very aggressive activities in building the infrastructure after they joined the movement with the FRA. They organized the Wang Family Branch and the Temple Branch centering the Choado-Gyo temple in the Jangpaekhyun with their 17 towns, their areas and branches in mainly Kapsan-gun, Pungsan-gun, Samsoo-gun, Hyesan-gun in the country, and their corps in charge of production. The infrastructure of the Group was made at Jangpakhyun in Manchuria, the partial districts of Hamkyongnam-do and Pyongan-do in the current North Korea while the very nuclear structures were those of Jangpaekhyun, Kapsan, Pungsan, Samsoo districts. They were very important for the infrastructure concerning the Chondo-Gyo. Fourth, the Chondo-Gyo believers like Park, In Jin, Lee, Jeon Hwa, Lee, Kyong Woon, Lee, Chang Sun, etc. did enter the FRA and took participate in the Movement very actively. The leader, Park, In Jin, who controled the 5 branch temples in some parts of Jangpaekhyun, Kapsan, Pungsan, Samsoo, Hyesan, etc., did take the meeting with Kim, Il Sung and the representatives at each temple, then they mostly entered the FRA and did take participate in the struggle in arms against Japan with the East-North Union against Japan, too. But it is the limit that every Chondo-Gyo didn't join the movement successfully. Nevertheless, it is very important meaning that the believers at the districts of Hamkyongnam-do and Pyonganbuk-do with most of Chondo-Gyo did join the FRA and made the Movement against Japan with the FRA.