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As Baek, Rak-cheon(白樂天) referred “Kang-nam is great”, Kang-nam was the ideal place which had beautiful landscape, history, culture, even wealth and pleasure for writers in the Joseon Dynasty. Kang-nam was also a place that represented loyalty through Yee-Bee(二妃) and Gool-Won(屈原). In Choo-Hee’s(朱熹) <Mooyeedoga>(武夷櫂歌), Kang-nam was recognized as perfect place for rural life. The most important reason of cultural and geometric variations of Kang-nam in a lot of works in the Joseon Dynasty is, this place was an imagery that the writers had never experienced. However, before 1421 when Myung Dynasty transferred the capital to Beijing, Kang-nam was a historic place where the dynamics of the Korean Peninsula & China had occurred. In addition, it had a function as a port to import new culture and as a way for learning and seeking the truth. It also was a place where keen life stories were going on. Therefore, Kang-nam was not always an ideal place. It was rather recognized differently for writers as the dynamics of the Korean Peninsula & China, their attitude to China, and own situations.

In classical poetry, the word Gangnam, meaning to the south of Yangtze River, appears as various different names such as Gangsa, Sosanggang, Dongjungho, Chango etc. in which the most important feature of those areas lies in their nature of tragedy. And this symbolic space of tragedy appears frequently as a space longing for King or exile literature that depicts faithful subject, virtuous women as a main character. This imaginary space of Gangnam of such meaning appears mainly in the literature of Seoul yangban in Joseon Dynasty. As such it likely to reflects Shimsangjiri-the imaginative geography- of Seoul yangbans -noble men, who had been living over several centuries centered in Gyeongjeo (resident in Seoul)- Byelseo(resident outside Seoul). Furthermore, if it was related to the residential space of Seoul yangban, the original birth place of imaginative geography can be deemed to have come from center oriented directivity that yangban had at that point of age.

This paper primarily aimed to examine representation of West Lake in China that left its traces in Korean Chinese literature history and attempted to survey the phenomenon of cultural appropriation and its meaning through this. Accordingly, the cultural historic change process of West Lake in China was summarized in Section 2 ‘Overview of Human Geography of West Lake in China.’In the body part, I discussed representation [image] changes and the features of West Lake by appointing time from Late Goryeo Dynasty to Late Choson Dynasty. And then, in Section 3, I found out that West Lake has been shaped as a place led by the integrity of apricot flowers or space for entertainment by exploring the aspects of the Goryeo Dynasty. In Section 4 that covered the early days of the Choson Dynasty, I examined the aspect that West Lake Painting [Painting of West Lake in China] is enjoyed, crossing of West Lake of China and West Lake of Han River and differentiation process of apricot flower’s image. In Section 5 targeting the middle of the Choson Dynasty, we explored especially the aspect of highlighting patriot spatiality in addition to diversification of access to West Lake, deepening of envy. And then, targeting the late of Chosun Dynasty, I found out that familiarity on West Lake increased more, common topic of the history of Korean and Chinese literature and above all, the desire to implement West Lake in Korea by recognizing it as aesthetic space increased. In Section 7 corresponding to the conclusion, we ruminated the meaning and value of cultural appropriation through the case of West Lake. As a result, this study found out that West Lake has been historically remolded to the form corresponding to self-condition in the receptor and furthermore, we presented the thesis, ‘Creative departure can be started at the boundary of cultural appropriation’.

This study looked upon background and subject in <Wonpung> text, and three structure and subject in three text(<Chunhachudong> text, <Sinoseok> text <Wonpung+Chunhachudong+Sinoseok> text) of <Jeongapalgok> in the aspect of deviant stylistics. The result of study looked upon background and subject in <Wonpung> text is as follow;1. We understood that background time is the years living but working in farm. 2. We understood that background space is the farm living but working. 3. We understood that subject is the hope of rich year The result of study looked upon structure and subject in <Chunhachudong> text is as follow;1. We understood sequential structure in background time 2. We understood symmetrical structure in background space 3. We understood sequential/symmetrical structure in logic. 4. We understood that subject is the determination participating in the farm living through the experimental living in farm. The result of study looked upon structure and subject in <Sinoseok> text is as follow;1. We understood sequential/symmetrical structure in background time and background space and logic. 2. We understood that subject is the leading living and the pleasure in the farm living. The result of study looked upon structure and subject in <Wonpung+Chunhachudong+Sinoseok> text is as follow;1. We understood sequential/climactic structure in background time and logic. 2. We understood that subject is three step which lead to the leading living and the pleasure in the farm living.

The present paper contemplates translation of Korean Narrative Literature and suggests how it should be advanced. The paper contemplates requirements and things to consider for proper and effective translation. The paper also discusses which works of Classical Korean Narrative Literature should be translated and how they should be translated in order to be read by more foreigners so that Classical Korean Narrative Literature can emerge as World Literature. Newness will be added to the history of World Literature as translations of Classical Korean Narrative Literature are spreaded. Those translations will open a place of mutual culture comprehension and communication between Korea and the whole world.

<Sukyeong-nangja-jeon> is a Korean classical romance novel in the late Joseon Dynasty. A practical issues such as women's chastity, Gwageo, the examination to recruit officials during Joseon Dynasty, the institution of marriage are dealt heavily in <Sukyeong-nangja-jeon>. At the same time, the text is a fantastic. The following are examples of such cases. Two main characters are Taoistic angel from heaven. Their meeting has already been determined by the heaven. And the Body was stuck to the floor with a grudge. Sukyeong committed suicide in order to prove her innocence. But She was revived and she still looks alive. The body of Sukyeong is the most important element of the narrative conflict. Because two main characters, they broke the promise of three years without being able to put up with physical desire. Instead of going to the examination site, the hero, Seon-gun secretly came back to his lover twice. Physical desire is the key point in these action. However, this is not been noted. The meaning of the body is more important when the heroine committed suicide and she was revived. The purpose of this study is to look at the body image of <Sukyeong- nangja-jeon> and discuss the meaning of the body. The body image is the reality of sexual and maternal in the <Sukyeong -nangja-jeon>. And also the body was suppressed with extreme prejudice by the social ideology. So her body becomes an object. The body image of the text is to expose the absurdity of the feudal patriarchal society.

<Memoirs of the Lee Family> is a novel containing a series of taboo marriages. It offers one out of many types of marriage tales, especially relating to the marriages of half siblings. The novel consists of different marriage stories for males and females; for males there are stories about 'unspoken marriages that brought about discussions of closure', 'dual marriage between paternal siblings', and 'marriages through deceit', while for the females there are stories of 'marriage between second cousins' and 'marriage with a man that treats the woman as a maid'. These marriages are both stimulating and shocking, all having the similarity of being marriages that would be considered taboo. However, these taboo marriages are not portrayed just to erect interest, but to help the readers understand perceptions of marriage. This novel attempts to portray the tipping point of relatively stable looking normal marriages by showing the regret of the families, the relaxed perception of taboo marriages, and violent tendencies of ideal male characters. When the above is considered and focusing on types of taboo marriages, it can be said that <Memoirs of the Lee family> is a dynamic narration.

Unyeongjeon is a characteristic novel in respect to story-telling from the first-person view of a female narrator, and representing leading character of a court lady, and employing a Rahmennovelle structure. However, the above-mentioned features not only belong to Unyeongjeon, but were inherited from the traditional literary heritages of Romantic Jeon-gi novel and Mongyurok. Specifically, Unyeongjeon corresponds to both a Romantic Jeon-gi novel through Gimjinsa’s sexual desire and to Mongyurok through Yuyeong’s ambitions for success. By the 17th century, Romantic Jeon-gi novel tends to be a popular novel while disappearing allegorical tendency, because Mongyurok has already tightened its grip on the stylistic features of allegory from late in the 16th century to early in the 17th century. Unyeongjeon came into the world reflecting these currents of Korean novel history.

The 妓生(gisaeng) of 松都[Song-do, 開城(Gae-seong)] is rare in the story of 朝鮮(Joseon). The 松都妓生 is shown as a heroin in <明月亭>, the novel published in 1912. This novel shows the real aspects of 松都妓生 and the critical opinion about 妓生 of those times. Why 松都妓生 is appeared in <明月亭>? The first reason is relevant to the critical opinion about 妓生 of those times. Especially the 平壤妓生 was described as a wicked character in many novels at that time. Against that 松都 woman has been considered to be very faithful and modest while 平壤妓生 is very sensual. So making a heroin as a 松都妓生 could give her a positive image. The second reason is relevant to the critical aspects of <明月亭>. 妓生 in the 朝鮮 novel is generally 江南妓生 of Chinese or 平壤妓生 of 朝鮮, because those province was very luxurious and splendid. But <明月亭> is accusing of many problems of 妓生 business at that time, so the romantic mode of 江南 or 平壤 is not appropriate with <明月亭>. Meanwhile 開城 had no such romanic mode in connection with 妓生, and at that time 妓生 business was being started there. In these respect, 松都 is appropriate place to <明月亭>.

<Changsungamerok> supports the edification purpose plainly from its title and in its preface which emphasizes the loyalty and filial piety. Furthermore, this book interestingly represents that Hwajin practises 'Hyoje' and is given wealth and fame. Readers are impressed tacitly with Hwajin's 'Hyoje' and finally envy Hwajin. Especially, the resulting reward given to Hwajin, which is the succession of her son as a first son, gives the idea that the only practise of 'Hyoje' is the realization of ambition or key to living happily. This is, however, just an illusion, because in reality it is hard to practise 'Hyoje' like Hwajin, and, if practised, such a reward is not given as Hwajin receives. Nevertherless, <Changsungamerok> describes such a reward seems to be possible to get, and through this is elaborately hidden author's logic of 'separation', the vertical hierarchy under the name of practical piety, which realizes the ideology at the time. This thesis is unfolded on the premise that <Changsungamerok> is a book in which the upper class makes an effort to edify the citizen elaborately and secretly. It also gives careful consideration to how the discourse of 'Hyoje' acts as that of 'separation' of upper class, by analyzing the process of Hwajin's practice of 'Hyoje' and centering on its characterization, which can reveal the author's intention through edifying character in <Changsungamerok>.

This thesis investigated the characteristics and the meaning of Lee, jong-guk's 『Moossangjuhae Botongsinsik Cheok-dok(無雙註解 普通新式尺牘)』(1930) which has the value as the independent data among over 100 kinds of modern collection of cheok-dok. This was a part of the research on modern cheok-dok collection which was used as the textbook for writing letters in chinese characters in the early part of the modern times, intended to emphasize the meaning of this data with the meaningful and individual cheok-dok collection which revealed the writer's unique individuality and values. For this, the researcher analyzed the characteristics and the meaning which the content of the example sentences of the letter has, after checking the basic bibliography and analyzing the stylistic characteristics. Content characteristics of 『Botongsinsik Cheok-dok』 could be examined as three points as follows. First, reinforcement of central issue and argument, second, vivid and three-dimensional situation set-up, third, meta realization of the genre, cheok-dok, was revealed. That is, this text was the work which well showed the writer's recognition on genre and his individuality in a regard that it laid stress on the letters in Chinese and strongly expressed its belief in cheok-dok genre. Also, this text is a meaningful data model that shows a fact that the practical book as modern cheok-dok can develop as a text which contains changes of the times and the response to it.

This paper is a study on the aspects and its meanings of novel history in <Ssang-Ju-Gi-Yeon> of Seoul block printed. Seoul Block Printed <Ssang-Ju-Gi-Yeon> contain type of aristocratic hero-novels, love-novels. Type of aristocratic hero-novels love-novels are very popular from the mid-19th century to beginning of the 20th century. And Seoul block printed <Ssang-Ju-Gi-Yeon> of 33 sheets version have popularity. So Seoul block printed <Ssang-Ju-Gi-Yeon> was consistently able to have popularity from the mid-19th century to beginning of the 20th century. And Seoul block printed of 33 sheets version become original script of 32․22․16 sheets version and a printed book. These course is prescribe to popularization of Seoul block printed <Ssang-Ju-Gi-Yeon> in this paper. Seoul block printed of 33 sheets version and 32 sheets version are different from an end. But the end of 33․22․16 sheets version are sameness. And Seo Chen Hng and Wang Hye Ryun's narrative of love is strengthen in Seoul block printed <Ssang-Ju-Gi-Yeon> of 22 and 16 sheets version. And Seo Chen Hng's a heroic activity is reduced and aspects of love-novels are embossed in seoul block printed <Ssang-Ju-Gi-Yeon> of 22 and 16 sheets version. Also suffering of yang-ban women are strengthen in <Ssang-Ju-Gi-Yeon> of printed book and activities of lowly women are magnified. So conservatism of <Ssang-Ju-Gi-Yeon> is diminished in printed book more than Seoul block printed. Therefore popularity course of Seoul block printed <Ssang-Ju-Gi-Yeon> reveal transformation of popularity novel type and inclination. The type was changed from aristocratic hero-novels to love-novels. Aristocratic hero-novels is conservative. But love-novels is progressive. And popu- larity of Seoul block printed <Ssang-Ju-Gi-Yeon> cause printed book <Sam-Saeng-Gi-Yeon> and manuscript of <Ssang-Yeol-Ok-So-Rok> <Ssang-Yeol-Ok-So-Sam-Bong>.

The purpose of this thesis is to reveal the discourse structure of predictions in Kimunchongwha. It has not been known the author of Kimunchongwha. Instead of tracking historical origins, we will consider the discourse structure of Kimunchongwha, to investigate identity of narrative literature. In Kimunchongwha, most of tales is classified in predicting narratives. Predicting narratives mean that subject predict certain condition so that this prediction will be proved to the truth. These are normally objected to demonstrate the ability of predicting subject. However, the characters of discourse structure in Kimunchongwha are relatively marked. Most of all, the predictions are related to discursive readers: how they decode the message using their context. Because these predictions tend to not give reasonable clues for subjects, neither for discursive readers. Therefore, discursive readers decode and participate more actively with their context, acknowledge, predictions in Kimun- chongwha.