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This study was to find out how the unity of will could be realized through sex in the Korean novels which were written in the special period of the 1920's through 1930's which were under Japanese colonial rule and modernization. Erich Fromm's philosophical speculation was a good criterion to clarify this kind of process. The right way to forward the truth of unity was the very matured love that Erich Fromm talked about. Matured love is to feel the unity in the circumstances the parties respect another's individuality. However, at that time, many people were exposed to poverty due to Japanese colonial policies. Under these circumstances, prostitution, one way of solution out of poverty, was mixed with the desire lay behind unconsciousness and this resulted in destruction in the end. Characters of Boknea in Gamja (Potato) and Chunho's wife in the novel of Sonagi (A sudden shower) were created at that time. Modern women and men could not be free from sex ideology deeply rooted in traditional Confucianism and predominance of men. Therefore, in the process of moving forward to the true unity, some people fell in love with in the novels. Some examples are that Yeonsil who fell in love in the novel of >Kim Yeonsil Jeon< and Young Chae who decided to commit suicide because of purity complex in the novel of >Mujeong<. Even, there appeared a character like Soonok in the novel who sanctify sex. However, they found their identity in the end and their actions were proved as transitional phenomenon taking place between the gap of unity and want by showing their will of true unity. Also, there is a character in the novel who agrees the process of unity based on respect for the other sex. Youngshin and Donghyuk in the novel of >Sangroksu< are those examples. It can be said that the love realized by them shows the truth of unity.
In recent years, the undead have been on the rise in films. Zombies and vampires are taking center stage and raking in money in record amounts. Resident Evil moved on to its fourth installment, 28 Days Later morphed into 28 Weeks Later, and 30 Days of Night is scoring some serious box office attention. George Romero, the king of the undead film, released his latest Land of the Dead, fourth in the Night of the Living Dead, Dawn of the Dead, and Day of the Dead series. There has even been an updated remake of Dawn of the Dead where the zombies transform from the shambling mounds of the past to the hyperdrive zombies of today. But what makes these films, so focused upon the living dead, so popular? Are we attracted to the undead because we, as Americans, are morphing into a society of necrophiles? Or are we already a society of necrophiles simply searching for an outlet? By examining the genre with an eye to Erich Fromm’s concept of necrophilia in a mechanized world, a new trend reveals itself. According to Fromm, as the world becomes more and more mechanized, humans become more and more disassociated from their selves, creating a move from biophilia to necrophilia. As we become inured to social ills and violence, it’s a small step from being distanced from life to being attracted to death. If the trend continues, the undead in films will be mere reflections of the undead in a mechanized world. Art imitates life. In the case of the undead in film, art imitates death. And who doesn’t love art?