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This study tries to analyze marriages of main characters in So Hyun Sung Rok, a work of the 17th century Chosun dynasty considering the relation with the acceptance of Jujagarai. The reason why I try to reinterpretate So Hyun Sung Rok, through focussing marriages is that the perception of marriages reflects how the relationship between men and wives, the relationship between husbands and wives and other familial relationships were perceived in those days. The historial and literary documents in the 17th century shows that the rule of Chinyoung in Jujagarai was not settled in those days and this is reflected in So Hyun Sung Rok which is told to represent the 17th century Chosun dynasty. In So Hyun Sung Rok, marriage following the rule of Chinyoung and marriage not following it are found at the same time. Marriage with the rule of Chinyoung was applies to daughters -in-law, and marriage without Chinyoung was applied to daughters. While it was natural that daughters-in-law should live in their husbands' house, daughters were allowed to live in their fathers' house. This phenomenon shows So Hyun Sung Rok followed not the principle of Confucianism but the desires of a mother, matron Yang who is the center of their family in this work. But we can not say that this work is a feminist work because the conclusive suggestion of this work is building a Confucian family. In this sense So Hyun Sung Rok is rather a work which tells Confucian secularism with the dream of building prosper family than a work of Confucian idealism.

<소현성록>은 혼인에 관련된 이야기가 중요한 부분을 이루고 있다. 본고는 작품 속에 드러나고 있는 다양한 혼인 형태와 그 의미에 대하여 살폈다. <소현성록>의 작가는 남성 개인이 여인을 만나 혼인하는 것을 가장 이상적인 형태로 생각하고 있다. 반면 가문끼리 정혼하는 가문혼에 대하여서는 비판적인 시각을 견지하고 있으며, 사회혼과 여성 중심의 개인혼에 대하여는 매우 부정적인 인식을 하고 있다. 특히 이러한 사회혼과 여성 개인혼에 대한 부정적인 의식은 여성의 죽음이나 출거 등으로 혼인의 결말을 맺는 것으로 드러내고 있다. 또한 이러한 혼인에 대해서는 그 서술 순서도 같게 함으로써 그 혼인에서 더 이상의 가능성을 생각하지 못하게 하기고 있다. 이로한 혼인은 결국 같은 결론밖에 나올 수 없다는 의미인 것이다. 이는 다양한 만남의 방식이 제기되고, 작품 전개에 따라 그 만남에서의 내용도 다채로우며 항상 행복한 결말로 끝이 나는 개인혼과는 대조적이다. 작품에서는 혼인의 배치를 적절하게 함으로써 이러한 의식을 효과적으로 드러내기도 하였다. 즉 맨 처음 소현성의 혼인에는 가문혼, 개인+가문 결합혼, 사회혼을 설정한 후 점차 가문혼은 관심에서 제외하여 나간다. 그리고는 개인+가문 결합혼과 개인+사회 결합혼을 긍정과 부정의 시각으로 양분하여 서술한 후, 운명의 경우에 가서 다시 한번 가문혼의 문제를 제기한 후 극단적인 개인혼을 그림으로써 작가 의식의 일단을 마무리하고 있다.<소현성록>은 개인혼을 염두에 두면서 여성 개인혼과 사회혼을 철저하게 부정한 작품이다. 개인혼을 염두에 둔 것은 당시 남성들의 소망을 반영한 것이라면, 여성 개인혼과 사회혼을 부정한 것은 당대 남성들의 의식이 투영된 결과라고 할 수 있다.

So-hyn-sung-rok is composed of two parts: the first part of the father's story and the second part of sons' story. This study aims to comparatively analyse these two parts focussing on their descriptions. Considering the descriptions of these two parts, two aspects are noticeable; the description of characters' outward appearance and the description of psychology and feelings of characters. In the first part of So-hyn-sung-rok, there found lots of descriptions of characters' external appearances and characters' good looks were directly related to characters' virtues, while characters' psychology was also realistically developed. On the other hand, in the second part of this novel which has been thought more dynamic work, psychological descriptions were reduced compared to the first part. Instead of psychological analysis, actions are more focussed and instead of descriptions of characters' feelings, the issue of observing Confucian manners is more importantly treated in the second part. This shows that the second part which has been regarded more free from Confucianism is also deeply influenced by Confucianism. This is related to the fact that the second part does not try to develop new narrative but relies on the conventions of the sub-genres of the Korean classic novels. It is no doubt that So-hyn-sung-rok is closely connected to the patriarchy of Chosun dynasty in the 17th century, and it is true of both parts. But closely examining these two parts' narratives, I found that the second part which has been thought to have more dynamics and free spirits developed more ideological narrative compared to the first part. Rather, the first part which had been thought to be more strict about Confucianism, showed more realistic narrative of various problems at that period, more seriously pursuing a literary work.

This article begins at the interest in characters of narrative classic literature. It is assured that especially, characters with an abnormal and insensible form of the body are focused to identify a process of their being accepted and admitted themselves and socially, and to find the meaning of the process. In narrative classic literature, 'a metamorphosis motif' is invoked as a way of escaping characters' disadvantageous origin due to their distorted and twisted form. A Metamorphosis with a mysterious and fantastic method allows the person to experience a change in his/her being at once and to make the person cope with the world positively. However, on the assumption that this article is premised on denoting the meaning beyond a simple 'body transformation,' the researcher focuses that a metamorphosis has greater possibility of being extended. In particular, the shift of perception serves to play an important part, both for the character who undergoes a transformation in the text and the reader who receives the text. That is, if readers are provided a chance to change their life through a shift of perception, although surreal events do not serve as a medium, it can be defined another form of a metamorphosis and the meaning. From this point of view, this article defines the meaning of a metamorphosis as conscious and unconscious acts on 'relating myself with objects' influencing across the live and being of humans. Especially, when a character's form of 'the body' appears to be unexpected distorted shape, relating 'myself' and 'objects' can be occurred by the metamorphosis of 'a shift of perception.' Likewise, if the meaning of a metamorphosis is extended, 'a metamorphosis' the fundamental desire of humans, can be implemented, whatever ways, in literature. This article gauges the possibility with a tale of Oejjogi.

Most of Women in the works by Lee, Kwangjung are the characters adhere to their principle. It seems that he has a unrelieved recognition of the woman by reason that he described the woman as virtuous one determinedly. But It could be find that there are the diverse voices and thoughts in his works of the woman as long as read the women's words carefully. Although the women's words appear in the sobs or don't appear on the surface of his works, there are (1)the voice of conflict with the filial piety[孝] and the virtue of woman[烈], (2)the voice of patriarch (3)the paradoxical woman's voice in it. These diverse voices are different from his own intention, but his sensibility and expression of the writer made it possible that women make a voice.

The primary objective of this study is to present the most significant perspective in interpreting <Seojaeyahoirok(書齋夜會錄)>. For this purpose, a question could be raised, which the existing studies' partial tendency of arbitrarily excluding the author's real situation in interpreting this work is suspicious. Instead of this, the essential principle of creation in literature-the author's mentality as a fundamental material of any work-could be recalled as a proper perspective. Thus, the theory of analytical psychology is applied for the methodology in this study. The narrative of <Seojaeyahoirok> is composed of personified four stationary friends, a paper, a pen, an ink and an inkstone. Each character could be proposed as the author's other self. That is, the author could reach the state of self-discovery in respectively scrutinizing the individual unconsciousness representing the four characters. The self-realization pursued in <Seojaeyahoirok> is not related to the concept of perfection linked with a special directivity. The author took great pains to how to evaluate himself as a proper man rather than set up the scrupulous strategy concerning about his social and political condition or the relationship with the king. The author, Shin Gwanghan, attempted not to obtain something, but to discover himself in order to recover and rearm the original mental state. Consequently, it can be presumably said that he tried to clearly demonstrate his ambiguous standpoint as long as he can, after return to the Court via this work.

This thesis which is about a remark used in a style criticism took Sihwa -chongrim(詩話叢林, 1712) compiled by Hong ManJong(洪萬宗, 1643- 1725) and his Sihwajip, Sohwasipyeong(小華詩評, 1675), as texts. The purpose of this thesis is to go over an aesthetic characteristics of a poetry and literary pleasure related ‘Gi’(奇) letter remarks. Poetry related to ‘Gi’ letter remark were discussed in the side of uniqueness of expression techniques and wonder from unreality. It can be said that the most important characteristics which could be pointed out from the work related to ‘Gi’ letter remark is particular. It can be seen in many kinds of types such as freshness, novelty, vagueness, and weirdness. Poetry of ‘Gi’ letter remark were related to literary pleasure. It is because that a poet is happy when he/she composes a poem. Literary pleasures given by poetry of ‘Gi’ letter remark are caused by originality that comes from creation of new expression and psychological catharsis that comes from liberal expressions of strange and unusual emotion.

This thesis focuses on how to study the Korean Classic Literatures in the crisis of humane studies and in the era of ever changing medias. It also tries to solve the problems of what to teach in the class. For that purpose, this thesis wants to find the connectedness between digital storytelling and the Korean classic literatures and wants to find the way to utilize them. This thesis does not intend to find the various aspects and functions of the classic literatures in the already finished culture contents or broadly commercially acknowledged contents. Rather, it tries to intensify the meanings and prospects of the works that are based on the less acknowledged classic literatures. Those are the works of the contents that have been discussed seriously in the class. This study has two parts : information storytelling and entertainment storytelling. The connection of information storytelling and classic literatures has been studied on the basis of 1) Establishment of Korea Literature Museum and 2) Characters that are rooted on the classic cultures. Future prospects of the storytelling and cultural contents that are based on the classic literatures are as follows: 1) A new establishment of digital contents that combined the information storytelling and entertainment storytelling. 2) A construction of data bank that is necessary to build a web museum that shows a various culture map with past and present Korea cultures. 3) Development of data bases that contain various materials of scenarios that are useful for many kinds of storytelling.