This study discusses the tradition-oriented trend of Kim-Dong-Ri and Hwang Soon-Won works in relation with modernism with reference to the Deleuze's discussion and attempts to find that the such a relation is out of the scope of dialectic principle. In chapter Ⅱ, it is reviewed that the world is considered to be a Plane' in their works and that Kim Dong-Ri and Hwang Soon-Won literarily figured such a world by narrowing the perspective distance in viewing the world. In the world where the perspective distance is gone away, it is found that the tradition and modrnism lie on the same horizon. In chapter Ⅲ, the relation between the tradition and modernisam is played with a variation on a theme through the composition of family triangle. That is to say, in Kim Dong-Ri's work, the relation between the tradition and modernism is unveiled Rhizomatic fashion(根莖的 分枝) through a motif 'incest between brother and sister' in the family triangle. Meanwhile, in Hwang Soon-Won's work, attention is paid to the Oedipus conflict in the family triangle. The figures tend to be re-sorted terrtorially and systematical relation. Based on this fact, the relation between the tradition and modernisam can be meaningfully divied in a tree-like fashion(樹木的 兩位). In chapter Ⅳ, the relation between the tradition and modernism viewed in chapter Ⅲ is found to be in a complementary relation with the narrative composition pattern of both writers. In Kim Dong-Ri's novel, the formal esthetics that is completed as based on the narrative composition through "memory" complementarily acts with the world of novel that is Rhizomatic. Meanwhile, Hwang Soon-Won's novel used the montage as a major narrative composition principle and adopts technical device "fractionation of time" to spread the tradition and modernism on a same horizon that coexist in a tree-like fashion.