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This paper tried to reveal how Sadaebu of the 18th century accepted Chinyoungrye(親迎禮) and how this perception was reflected in women's lives by analyzing records of those days such as haengjang(行狀) which were kind of biographies of Yangban, jemun(祭文), epitaphs inscribed on tombs, and women's autobiographical writings. Focussing on the women's respective relationship to their parental home and their husbands' home, I wanted to show how norms of those days attempted to define women's identity, and how women themselves saw what they were. Scholars who developed the discourse of 예(禮) at those times mentioned that Chinyoungrye was rarely practiced in ordinary lives, and only in the royal family it was followed because of high cost and inconveniences. Generally young couples started their marriage life in brides' parental home. And there were found many cases where only wives kept to live in their parental home. On the other hand, the records which had intended to afford moral lessons to women constructed women's lives focussing only on their husbands' home. Sadaebu tried to discipline women to obey to the will of their in-laws and to make this discipline as a norm for women. Through this study I found that patriarchal system of family based on Jongbub(宗法) was not thoroughly established in the 18th century and two conflicting tendencies co-existed in women's lives. This argument was made based on yangban(兩班), the aristocratic class of those times. Therefore more investigation of individual cases of ordinary lives is needed for more extensive and accurate picture of women's lives in the 18th century.

Hoi Dang Jang Suk Young(晦堂 張錫英) is a independence fighter in the 19th and 20th century of Chosun Dynasty. He was a representative scholar in the 20th century of Jo-seon Korea. It is thought that a study of Hoi Dang Jang Suk Young(晦堂 張錫英)'s literature is needed for discovering general history of Sion-Korean literature in the 20th century. This view point affected on the development of this essay. He was struggled with an Japanese imperialism. The other side, he regarded his cognition and thinking in the same light as traditional cognition and thinking. I think that the trend of study of the that period has been concentrated in people who struggled with an Japanese imperialism. In the end, based on the study of Hoi Dang Jang Suk Young(晦堂 張錫英), general characteristics of literary phenomenon by traditional highbrow in the 19th and 20th century also could be examined.

This research, which is about Whajeonga, intended to examine the meanings of play experience. Through Whajeonga, the research investigated female's consciousness of dreaming to escape from daily life, especially focusing on food and drinks they enjoy. In playing space it is essential to have a sense of emotional freedom, out of their daily standards. It is making and feasting on their food that gives the enjoyment of running contrary to the social standards. Food do not hold a practical meaning in Sadaeboo Gasa, in contrast to female playing space. Also alcoholic drinks in female playng space allows females to experience drinking culture in other ways, further allowing them to look back at themselves. Thus, enjoyment through playing comes from pleasance of self-sufficiency, which is formed in friendly bonds between them.

This essay inquire into the deviation and that character of Paengduk-Umi (뺑덕어미) & Geitong-Umi(괴똥어미) who is representative of a new man's character, who influenced the prevailing state of society. Simchungga(<심청가>), Yongbuga(<용부가>), Boksunwhaumga(<복선화음가>)'s bad type women departed from women's reality. They refuse social, familial cannon and restraint that oppressed an instinct of man. But they were not manifested an instinct in the raw. They only gave off an intemperate wants. They not only tumbled to a marriage system but also did the immoral acts. They were avaricious, lazy, lewd, and used wastefully. Their women not leaded a stirring life, only them´s daily life as a consumer and had enjoyment. Simchungga(<심청가>), Yongbuga(<용부가>), Boksunwhaumga(<복선화음가>)'s writers and readers keep watch and ward this dad type women. They stood no the wasteful and lazy women. That writers and readers not go through leg bail from women's daily life. They thought that women must be wise and virtuous, that women must be diligent, that women must rise household economy from poverty. One side people criticize women as the subject of consumption but then cage in the house women as the subject of production.

In Wang nung Jeon, principal episode was made with folktales. Gu ryong dam type(AT.738) and Jin ga jaing ju type is that. These are making a story in different dimensions. Former's subject is protect and recover of royal authority. It is common with Wang nung Jeon's subject. So, the former is act in subjective dimension. The latter forming a penitent episode. With this, It configure a Confucian's principle of moral culture in literary form. Both are coincidence with Wang nung Jeon's subject and idea and it make them to take a part in Wang nung Jeon. In conclusion, transcend a Genre, equality of narrative direction make a possibility of narrative usefulness.

Today, the importance of stories and storytelling is increasing day by day. It is a matter of common knowledge that in the area of cultural contents the stories are very important. Stories themselves that are the cultural contents and the form and the source to be used in the development of cultural contents. The cultural contents of the story as the stories of hero are the most actively being used. From the myth as the beginning of story to the movies, comics, animation, games, and various contents of modern culture, we could meet many heroes. At first, the hero was a hero in every story. Once in the trend of the development of democracy and the development of rational thinking, people did not want heroes. But in an era of crisis and conflict, surely the hero has emerged and always people have been waiting for the hero save themselves. The hero of the stories show the common pattern; birth, growth, conflict, success. And the stories have the structure of adventure and quest. That is a universal desire and the result of the mythic-archetypal imagination of the people. Heroes can travel the two different worlds and overcome the laws of the each worlds. The marked feature of the heroes, the ambivalent character is the driving force to change the world and to create a culture. People have the chance to enter the new and energetic world from the old and dead world by the heroes. Heroes are not just main character in stories, but cultural hero in today's digital age.

The purpose of the current study is to discuss how to enhance readability of Korean long piece novels. Surplus dialogues evoke readers' sympathy emotionally while having the readers get absorbed in the world of text and feel a sense of distance on the other hand. Reproduction of various images of women represents layered desire of women in noble families. Although Korean long piece novel seems that it focuses on creating a lady of refined manners superficially, images of women who want to escape from Confucianism are also reproduced. Internal narration makes a reader feel self-pity by reflecting the reader's emotion on a heroine's feeling. Character description satisfies aesthetic senses of women in noble families. Both a hero and a heroine are described in ideological images, which represents ideal ideology for beauty of women in noble families. Correlations of Korean long piece novels are described with mutual relationships between characters and contents in different two works. Readers can improve readability through analysis reading thanks to mutually related narration.

The cross fire to <Chuiyu-boobeokjeong-ki>―on the one hand it is social criticism or resistance not to make a compromise and on the other it's the concentration upon Taoism or escapism―is caused by Kim, si-seop's borderline consciousness. Either the borderline consciousness is not the mutual concession or the vague stretching over the two different territory. This is not just between the physical area, it stands on its own after coming from doings, situations, consciousness and every possible fields. When we apply the common way of reading to the writings presupposing borderline consciousness, it is apprehended that we take the wrong sow by the ear or underestimate it on account of its ambiguity. <Chuiyu-boobeokjeong-ki> features borderline consciousness. So we need to cut loose from a conventional reading to appreciate an esthetic sense it creats. For this reason, we define the new concept 'space boundary zone' as the kernel of a borderline consciousness. Space boundary zone is a special room having various overlapping time slots in one physical space. Time slots show historicity―it inosculates past and present―in the space boundary zone and a man in that place becomes history. While a man in the time slot goes through various time layers simultaneously, he especially feels sympathy for allied situation to his circumstances. Boobeokjeong is the place where there is a space boundary zone. They pass through 'Chui(醉)', a margin between consciousness and unconsciousness and 'Yu(遊)', routine and deviation in entering space boundary zone. Hong-saeng never stop feeling a sensation of pleasure when he get drunken, his dim consciousness drove him to the Boobeokjeong as his taking a stroll on the river. Ascending a river means Boobeokjeong is above where he used to be, the above is the heavens as for space and also the past as for the time. Consequently, Boobeokjeong is an actual place in history as well as a dreamscape with a fantasy of the heaven. He present writer concentrates on eliciting a lamentation of the rise and fall, connecting from the lunar world or the fairly land with Dangun, the founding father of the Korean nation, Kija and Dongmyungwang. Hong-saeng's realistic grief in Boobeokjeong is linked up with his historical sorrow. His poem displays the feeling of sorrow. He rises to the climax facing one part of a time layer, he makes an image Miss Ki, the his historical shape of ego. Cantillation between Hong-saeng and Miss Ki is the conversation from one ego to another, their poems never make a separate scenery but one esthetic feeling as a whole. A Hong-saeng's poem full of sorrows exposes his loneliness, Miss Ki combines Hong-saeng's grief with the image of the heaven and express surrealistic landscape of the Boobeokjeong. As for the last poem, Hong-saeng laid a poetic theme before Miss Ki and she responds in singing including the process of the first brush at the Boobeokjeong and their separation. A highly elated sorrow still survive to the end, Miss Ki vanished into thin air. At that time Boobeokjeong got changed from space boundary zone to reality, Hong-saeng had a dim consciousness through the momentary tremor of consciousness. After this, Hong-saeng underwent the floating of consciousness due to his loneliness of self-effacement, he was to be an aide of Kyeonu in the heaven and finally he found his way out. We can see much chance of communicating with each other, Hong-saeng and Miss Ki. The writer of <Chuiyu-boobeokjeong-ki> is anxious for a mate, a truthful relation can communicate with each other sincerely and self-pity and affection for incomplete ego. And an upward movement of space―from Pyeongyang to Boobeokjeong and from Boobeokjeong to the heaven―shows an uprush of a longing and unbearable sadness.

Princess marriage is a frequent marriage obstacle in classic novel. This paper found the motif combining usage of princess marriage and discusses significance of princess marriage. In <Gu Un Mong>, seperation with parents motif which dominantly combines to princess marriage motif shows individual ability of hero and functions family growth. In <So Hyun Sung Rok>, command and imprisonment from king motif which dominantly combines to princess marriage motif shows conflicts between royal authority and subject right and emphasize Confucianism - decorum. And In <Yussi Samdaerok>, false charge and reproaching oneself motif which dominantly combines to princess marriage motif emphasize passiveness and submission of woman and protect of patriarch's ideology.

This article focused on that life stories can conversably be capable with the discourse strategy. Life experiences which are fragmentarily and individually existed structuralize the past life through the re-organized process to life stories. During the process to make stories, regular principles are existed, and order of focused, assisted and inserted stories is central point. Life stories are divided into three stories; focused stories which are kernel of stories and lead life stories with the standard, assisted stories which support focused stories and make abundant stories, and inserted stories which discreetly appeared according to certain environment during leaving the context. The discourse strategy which organized life gives structural stability and literary completion to life stories. Also, life stories can be functioned as not disposable stories but remembered and traditional stories.

The purpose of the study was to make a close inquiry into structure of poetic aspect in Ssanghwajeom not getting an interest from the existing researches on Ssanghwajeom, and to examine meaning of subject matters in Ssanghwajeom on the basis of understanding about the basic frame of Ssanghwajeom. The results were as follows. The structure of poetic aspect in Ssanghwajeom repeating the same structure every stanza was set up readers to feel fun by imagining sexual behaviors in the work which made suggestive expressions, showed events of space between lines and presented phrases adding to the fun giving a hint of situations related to sexual relations. The subject matters of Ssanghwajeom presented on the basis of the above structure of poetic aspect are closely arranged to make readers imagine and enjoy unusual sexual behaviors based on realistic background, stealing a secret glance at them and rumors. As above, Ssanghwajeom made readers enjoy the fun from sexual talks by making reciprocal action between its structure of poetic aspect and its subject matters over the total work.