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<Choi Chi-won> has the form as the picture in frame. The experience of the hero is so fantastic that it is distinct with real life. So it seems like picture in the frame. In picture of this work the hero have the fantastic love with unreal women. So at first they surprise because the unreal beautiful women want to love with him at first sight. But with meetings, he understand the reason why the women want to love with him. And he know that the sexual and social desire of the heroine are caused by pressure of the sex moral of that society. And after this experience he too understand that in real world though he desire love with those fantastic women he can not accomplish. So we can say <Choi Chi-won> is the novels in which the hero underst -and the real meaning of the sexual and social desire of himself with his fantastic experience. It means that the writer and reader not only project their sexual and social desire to <Choi Chi-won>, but also introspect the real meaning of their desires.

The objective of this study is to explore the possibility of discourse on conditions for the formation of ghosts. Here, memory indicates ‘the accumulation of relations’ and ghosts are formed based on memory, namely, relations that a community has accumulated. Because ghosts absorb more incidents than humans, their scope of time is much wider than humans. With the potency, ghosts exercise their power upon fortune and misfortune, and foretell the future. On the other hand, the spatial range of ghosts’ activities agrees with the scope of belief upon which a village community is established. In particular, the violence of human ghosts is associated with stories behind community history, that is, the past that people want to forget, and it works as a power that demolishes the community. The memory has so strong static continuity that it may be understood as spatiality, but establishes identity across the com- munity and bears the dynamics of discourse resisting against external powers.

This paper was planned under macroscopic aim which was to research certain aspects of Boyi acception and historical context of critic discourse on Boyi in Joseon era. Boyi Liezhuan of Shiji written by Simaqian was the most text read through Joseon era. This diligently reading could brought political critic on Boyi Liezhuan and various debates surrounding Boyi. The study on these critics and discourses can be good windows to understand not only aspects of Boyi but also that time. Therefore this paper made an analytical text with Boyiron written by Yeonam Park Jiwon standing on center of debate. Then this paper reconsidered discussions done until now and read Park Jiwon’s consc- iousness directivity. So this paper revealed a certain aspect Boyi discourse and Boyi acception in the late Joseon. That time, Jeong On, Kim Sisuep, Yoon Gi, Oh Jaesun, Song Munhuem, Park Jaega, Sung Haeeung etc consisting of historical context on Boyi discourses representing Boyi theory, tried new reading through putting Boyi argument of Park Jiwon into Boyi discourse. Meanwhile researchers understood Yeonam’s Boyiron in political contexts that was the conquer the north and Bukhak. However Yeonam’s Boyiron and Yeonam’s the conquer the north argument were not close each other and were not found critical intention on Boyi. As a result, discussing Boyiron only in the field of the conquer the north and Bukhak could not exist. Also it closely related established discourses surrounding Boyi. Yeonam combined understanding generally on Boyi through Boyiron with not unilinear understanding of his time but various understanding. He noticed relation Boyi and King Mu in vertical structure in the first volume and focused relation Boyi and Mija, Bigan, Gija and Taegong in horizontal structure in the second volume. Through this, he solved two important problems become controversy and accur- ately located position of Boyi on two dimensional coordinate. Which overcame contradiction between justification and revolution. Which combined differences of the ruler and the ruled’s relation represented for Miji, Bigan, Gija, Boyi, Taegong etc and ethos ruling this relation without conflict. Park JIwon’s such directivity consistently influenced his use of life centered on endurance. The macroscopic aim set in this paper is into these result, which can draw additional conclusion like followings. Many people such as Yoon Gi, Oh Jaesun, Song Munhuem, Park Jaega, Sung Haeeung etc participated in Boyi discourses and mass produced various critics. These critics mainly dealt with justification and revolution, ethos ruling the ruler and the ruled’s relation, and patience. The range of these critics can help to reveal category of Boyi acception and the directivity and more.

It has been a important matter that the narrative of <Byungangsoiga> was not organic. I intended to explain the structure of <Byungangsoiga> as a literal discourse about sexuality. There was fear for sex and sexual desire of community where Ongnuy was thrown out and Byungangsoi was killed. Because of the fear that a man could not defend himself from a sexual woman, and at last the community must be destroyed, Ongnyu must be expelled from her community. They have treated her a monster and as the same way Byungangsoi was punished. Byungangsoi's powerful sexuality was treated as a sign of social unsoundness. So the communities punished them not for the guilty of present but for the danger of future. There was a tension between the desire of individual and the violence of community in the second half of <Byungangsoiga>. Byungangsoi did not give up his sexual tenacity with dying. So his death did not mean the success of punishment. Instead his death showed the violence of the community and obtained the cause of resistance. It was through the moral dilemma that the resistance was realized. For the funeral service, Ongnyu the wife of Byungangsoi had to have sexual relationship with a strange man. In this dilemma, the dogma of moral standard was deconstructed. By the way, the scene of the funeral was very fun and cheerful. Because the curse of Byungangsoi was against the power of community, the social hierarchy was destroyed and the festival was held in the equality of the curse.

This study examines reading experiences of the first part of the 20th century with 『연의각(Yeonuigak)』which is a kind of <흥부전>(Heungbuje- on)」. 『연의각』 has several strategies that let the readers be sentimental emotion. And the readers come to be sensory and playing because of puns and songs. Add to that, the text has some keynotes which give common morals to readers when they compose meanings. The result suggest that the readers are emotional․sensory․acceptant. The sensory structures of 『연의각』 show the novels of 20th centuries are synthetic media when the urban messes have little means to play.

This study discussed the literary direction of sijos during the mid and late 18th century based on Gogeumgagok, an sijo-anthology published in those days. Gogeumgagok does not disclose clearly its compiler and compilation as well as its communication. Therefore, in order to underst -and the enjoyment of music and literature based on this anthology, we have to draw a big picture by weaving information such as the selection and arrangement of poems in the anthology and clues derived from long and short poems. Assuming these difficulties, the author explored two ways in this study. One was drawing the entire image of Dangaisipmok elaborately. For this purpose, this study examined what works are arranged under what theme, what works are not classified adequately, and how such wrong placements are related to the compiler’s intention. The other was examining the thematic orientation of works classified under each theme and analyzing how it is related with the general trends of sijo writing in those days. Through such an inductive content analysis, we found that themes preferred in sijos in those days were configured through the expression of more sensible and liberal emotions. This suggests the change of the normative world that sijo writers in those days tried to realize through sijo writing.

This study was prepared in order to explain feminine consciousness,which is being delivered through wife's change and concubine's shape,which are shown in a song titled <Keuneomeoni(the wife of the elder brother of one´s father)>, which is a typical song with material of concubine sung by common women. The song <Keuneomeoni> has ever been known already as a song that reveals feminine subjective conscious -ness through diverse and delicate discussions of scholars in the past. What this study notes includes a wife's change, which is indicated in a song, the characteristic of feminine consciousness, which is exposed this changing process, and the significance of raising its problem. In a song <Keuneomeoni>, a wife's behavior and mental change are progressed as follows. Waiting for a husband → getting angry after waiting, visiting a concubine → changing mind after seeing concubine,returning home → lamenting, suiciding, being glad after listening to news on concubine's death. Through these three kinds of narrative progression, a wife's change can be known. First of all, anger, which was stirred by a sense of loss that long waiting brought, leads to behavior of visiting concubine's house. The wife's behavior of visiting concubine's house leads to a mental change as saying of being enough to do so with facing concubine again. After then, the wife is still revealing the reservations and feelings with showing diverse conclusions such as lamenting, missing, suiciding, or imagining concubine's death after returning home again. Even the concubine, who appears in a song, appears with leisurely and bountiful image unlike the social stature of being possessed in reality,and treats and entertains Keuneomeoni(the wife of the elder brother of one´s father) very kindly, who visited with extreme sense of anger. The concubine's this shape reflects double sight of wife, who looks at the concubine. It is captured self-consciousness, which was adapted to masculine desire, in comparison with her miserable appearance, along with recognition that the concubine is existence who needs to treat her very kindly. Also, the concubine's colorful household furniture, which is indicated in a song, can be seen as literary rhetorical device, which speaks for the wife's falsely mind. In a song titled <Keuneomeoni>, the specific worry and conflict are being indicated on how a woman needs to proceed with living by being adjusted to the reality that masculine oppression is justified. The aspect of this conflict makes diverse conclusions mentioned with sticking to the reservations in its boundary to the end. The presentation of a problem,which is being delivered through feminine consciousness of hanging around the boundary of conflict and compromise, was just the expression of subjective self-consciousness in powerful woman.

This paper focused on the "Sa(詞)" literature trend and historical background in 19th century. Since the mid-19th century some author started to create a lots of "Sa". From the end of the Goryeo dynasty to beginning of the Joseon dynasty, the "Sa" was created continuously. But the "Sa" started to have a great vogue at 19th century, such as including "Sa" in a collection of literary works. People was constant in using "Si_Yo(詩餘)", which means basic concept of "Sa" has been built. And this "Si_Yo" word also means there were great effort to organize this "Sa"_literature in poem_literature category. We can fine The first background of The Vogue in 19th century from "Ga_Chang(歌唱)" literature in 18th century. From end of 18th century, "Ga_Chang" was developed and was combined with other literature. So "Ga_Chang" became a genre which can express various emotions. This "Ga_Chang" gave opportunity for various "Sa" creation. The second background is the "SA" Vogue in the China. At this time, there were a lot of introduction of books. And writers exchanged their thoughts. For last background, writers shared their creations by the letter and "Cha_Un_Sa(次韻詞)". This sharing made writer group and gave opportu -nity for various "Sa" creations. This paper couldn't show the individual works or the detail analysis. but this paper will explain the overall "SA" trend in 19th century.

The purpose of the thesis is to study the aspects of communication showed in a story that has been passed on orally. Here the main intention of the study was to find out the ways of interpreting "meta-narration". The chapter 2 dealt with the relation between fictional world and real world. In a conclusion, this paper found out that "textualization of context" appeared in a story that has been passed on orally. The chapter 3 dealt with the response of the audience throughout immersion. As a result, the paper found out that immersion of the audience must pass through the naive 'gaze' of a child.

Pansori has aesthetic characteristics of ‘moving people to tears and moving people to laughter’, and this can be explained by the repetition and replacement of pathos and humor. Pathos and humor belong to aesthetic categories that cannot exist together and if they coexist, the aesthetic sensibility of each is revealed as it is, and this is similar to the aesthetic consciousness that is realized through coexistence of fear and laughter that the grotesque possesses. However, there are clear differ -ences between the aesthetic concept of grotesque which the transmitted pansori has and that of grotesque which the transmission-lost pansori has. The grotesque of the transmitted pansori is used for realizing the cannibalistic world based on humorous world view of the people. In other words, this aesthetic concept, which can be called grotesque realism, attacks, belittles, and nullifies the view of value and ideology of the existing society and social contradictions and conflicts. The cannibalistic space makes the abstract and problematic ideologies that are deviated from the flesh and the earth be restored to the flesh and the earth. Accordingly, the transmitted pansori has the cannibalistic ending and the grotesque appeared therein provides the opportunity to prepare for a new world order, and obtains the regenerative meaning. However, the grotesque that appears in the transmission-lost pansori is different. The narration of the transmission-lost pansori, which the negative features of characters develop, contains grotesque images in itself, and at the same time, it also contains the conflicts, which cannot be solved fundamentally, that the grotesque has. The grotesque aesthetics of the transmission-lost pansori is the object to be overcome itself. In other words, the absurdity and estrangement and the problems and conflicts themselves that are revealed through this become the objects to be attacked by the grotesque. Particularly, the flesh that appears in the transmission-lost pansori is all negative. They are either ill or greatly hurt, or reveal extremely abnormal features. The meaning that such images arouse can be explained as the fact that they do not conceal the contradictions and conflicts of society at that time and depict them in new ways called grotesque.

This essay tries to show the central issues in the studies of the 19th century novels and then to consider the prospective way to see those novels. For this purpose, I firstly attempted to describe the map of the history of the 19th century novels with consideration of works, authors, reading publics and media. In the previous studies on the history of the 19th century novels, the issue of the authors' social status and their world-views in Korean classical novels in Chinese character had been mainly focussed. One exemplary study of this trend is found in the study on Oksooki, where the writer, Simneungsook 's status in his society and his world-view were focussed. The emergence of Korean classical novels written in Chinese character is significant in that it was a new phenomenon in the history of the 19th century novels. But in the aspect of popularity, it shows some limits. Therefore the historical meaning of Korean classical novels in Chinese character will be fully understood when they are studied with consideration of both the relation with other kinds of novels such as full length novels written in Korean language and hero novels, and the context where the lending novels or the bang-gak novels began to be circulated as a commodity. The prospective study of the history of the 19th century novels is expected to extend in an enlarged framework involving the consideration of the relationship among various kinds of novels such as Korean classical novels in Chinese character, full length novels written in Korean language, hero novels, Cheongi-soseol which focussed on love story, and Pansori novels, the relationship of authors, reading publics and media and the economic, political and social change in the 19th century.

This study attempted to examine how the evil thoughts and conducts in villain characters in Hyunmongssangryonggi (現夢雙龍記) reflect the writer's consciousness of his times. This work is remarkable in pres- enting lots of wicked practices by villain characters in a very shocking and sensational way. The most notable improper act in this work is crimes against the fundamental ethical codes in a fatherson relationship. In this work we can find the kind of son who tried to kill his own father either by himself or by an assassin whom he himself had employed. We can find also the kind of father who assures his own son as an assassin who tried to take away his own life. Besides, there is another father who petitioned to the king to allow his attempts to remove his son's name from the family register and to replace it with his grandson's name for the sake of his family's prosperity because he had thought his son was very improper. These kinds of practices between fathers and sons are rarely seen in the narrative conventions in classic novels and in the everyday life of a real world. But within the palace in Chosun dynasty, similar things happened. It was the dethroning of Queen Inmok by King Kwanhye, and the murder of the prince in a cruel way and the replacement of its place with his grandson by King Youngjo. In this sense, this work reminds us of this historical event. Given this contextual understanding, the evil practices of this work is worth analysing. For the analysis of how the evil acts are narrated in this work will show whether this work show the deep consciousness of the problems of his contemporary or it just tries to reflect the popular tastes. Generally the previous studies on the family saga of classic novels have been accumulated to some degrees, and Hyunmongssangryonggi also has been studied to help to understand its fundamental characteristics and contexts. Based on these previous studies, I think, it is time to try to evaluate the quality of an individual work. With this kind of consci- ousness, I analysed the villain characters' improper conducts of this work and came to conclude that this work is short of serious awareness to see the problems of his times and rather it tries to meet the popular taste like a well-made-play.

This paper have an intention of inspecting on the trends of the text-studies and indicating the vision of future, focussing on the Interpretation of <Guunmong>. It is a matter of common knowledge that the interpretation or re-writing of classical novel is very important to the read the korean novel. In matter of fact so many re-writing texts have been printed, but there are a few survey carried out. Text-studies is recognized as not the area of an essential study but an marginal study as well. Without re-writing text, contemporary communication to classical novel such as <Guunmong> is not possible. The study of text have an intention of the position of bibliographical study simultaneously whit the position of analytics. As a part of this studies, I suggest that the scholar who investigate text itself have to make the text as the model of example. The study of re-writing text and survey of interpretation to classical novel aims to make good text. I suggest here what the good text is, what the condition make good text. <Guunmong> is the most important novel in the side of history of novel and education of literature, so this study focuss on the <Guunmong>.

<Sookhyangjeon> is a fantasy novel which includes basic mythicalness. Sookhyang matured a lot spiritually and physically as she was rejected by her parents and lived through various hardships. The arduous journey is a process of acquiring goodness; acquisition of god-men's ability helped by a transcendental being and by a natural being. The process of acq -uiring goodness is a travel structure to Yosiyeon and turning back to the first. The road to Yosiyeon is the course of training for Sookhyang as a weak human to accomplish the doctrines of gods by the help of an assistant, after that, Sookhyang was able to attend the meeting of gods, Yosiyeon. After she truly knew that she was a fairy, her way back to the world is a process of achieving good deed by Sookhyang herself having character like immortals living on earth. Even if good deed adopts the way of gratitude, but it has more meaning than that. Sookhyang acquires life-saving healing power through good deed. The place where she has got goodness is from worldly to transcendent. Beings who she meet in the gaining goodness trip are a blue bird and deer as natural beings, and god-men as supernatural beings. It is not easy to interact or commune with natural beings in reality. It is the same about supernatural beings. So, the space where she meet with them is a kind of a fantasy world. A fantasy world reflects the lack of reality. The world created with a hope for protecting the weak and communication with nature has assumed an alternative space for a harsh and abusive life. The alternative space, by definition, is a dream world as a reward or an alternative for real life. At the same time, the space is the world that can communicate with supernatural world as it exists in real boundaries not in celestiality Sookhyang's character like god polished up her good deed and has been boosted after she became immortals living on earth through her gaining goodness trip. Goddess represented by Seowangmo usually has the power of vitalizing or healing. Sookhyang also has got this power by training for goodness and her good deed. Meanwhile, in the <Sookhyangjeon>, leading Yisun into fairy Margo's temtation, Sookhyang's travel routes recur because her healing power should be shared with her spouse, Yisun. It offered an opportunity for Yisun to cure the empress dowager when she hovered between life and death. Yisun's travel may look painful at the hands of gods, but actually it is a festival, gods help him and they enjoy together with him. The festival of gods and Yisun in heaven means that he got qualification as a god. So, after Yisun and Sookhyang passed the process of training and a good deed and cured the empress dowager, they can get on. As the healing power of myths has been passed down to epic songs of shamanism, it keeps its mythical prototype, so, the power of healing death show up by the woman herself. But as for a novel, it is cannot be free from the influence of socio-cultural environment of its matrix. It is understandable that Sookhyang has to do nothing but satisfied to assist Yisun, not to come to the center to save the empress dowager, that is the reflection of realities of the time when this novel was written.