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The purpose of this paper is to reveal that it brings any change at the people to tell or listen a story. For the purpose, I take Oral Narratives having a different additional story in it as a target. Text of story in story shows the process of talking to us. and Changes after the story are showed. In this paper, ‘motivation to the story’ and ‘join the game’ are seen to be associated with each other. There are two kinds of improvisation and planning in motivations to the story. Improvisation is associated with deviation from daily life, refection and killing time. The improvised story goes something similar to connecting them to each other. On the other hand, the planned story controlls capriciousness by a rule of story. A typical story is a story about a bet. There are rules to win a bet, in the story. Despite the rule, the play is interesting because of the surprising progress. Rules of play is allowed to continue after the end of the play. Finally, the utility of the story is as follows. First, the story provides satisfaction. Satisfaction will endure the frustration of human experience in real life. Second, the story changes a painful experience to interpret state. Third, the rules of the game to deny the everyday norm is that the new order can change the world.

Most of existing studies about entertainment culture -- especially adult entertainment culture -- which take classic literature and works of art as their subject are focusing on their appearance and significance since 18th century. However, as many of them describe the culture to have developed more ‘relatively’ and ‘earnestly’ than precedent era, the question arises that what was the development of entertainment of mid-late 17th century like. Thus, this study examined the entertainment culture perceived by people of mid-late 17th century -- for it was the ‘transition period’ to ‘late Choseon Dynasty true to the name’, between Japanese Invasion of Korea in 1592 and the Second Manchu war of 1636 and 18th century -- and what can be understood through the culture, as Sohyeonseong-rok, a 17th century's Korean classical long Novel, its subject. Not only aiming to confirm that the games and hobbies reproduce the entertainment culture of the time, but this study also focused on the appearance and significance of the fact that there existed cultural tendencies and preferences with which various plays and hobbies could be imagined, accepted, and described in the same forms as in the novel. In chapter 2, the appearance of entertainment culture from the work is examined with division into two categories of ‘consumptive leisure activities inside and outside the house’ and ‘hobbies of collecting and growing luxury items’. And in chapter 3, based on what was dealt with in chapter 2, entertainment culture from Sohyeonseongrok is understood to be significant, owing to its internal function which gives various colors by strongly exposing worldly desire and taste at the back of ideology. With an external focus on the work, unlike existing arguments that interest in extravagance and pleasure raised its head only after 18th century in Choseon society, the novel gets its significance from the fact that it clearly shows the desire of upper classes of mid-late 17th century to enjoy extravagance and pleasure without being bound to frugality.

Writers’ preference of floriculture has a long history, but it was limited to the Four Gracious Plants, plantain, and lotus, all of which symbolize classical scholars’ sprits. In particular, writers based on neo-Confucianism regarded raising flowers as means of cultivating their personality and moral character. After the late Chosun dynasty, the flower hobby that raises flowers and appreciates them esthetic objects was in vogue, and then enhanced interest in flower books. However, a new perspective to differentiate the previous viewpoint of flower emerged in the early seventeenth century. In particular, after the Imjin War, diplomatic activities between the Chosun and Ming dynasties were activated, and writers who were in the front line of diplomacy had a leading role in the floriculture. Writers such as Lee jeong-gui(李廷龜), Huh Gyun(許筠), Lee soo-gwang(李睟光) got flowers from Ming, and raised them in Chosun. They were interested in the floriculture while seeing flower books through reference books and a series of books which were in vogue in the era of Ming. These phenomena were limited to only a few writers, but different from the fact that contemporary writers observed and recorded flowers. The imports of varieties of Ming and Ching dynasties’ reference books and a series of books as well as influences of Realist School of Confucianism played a major role in the prosperity of the floriculture the late Chosun dynasty. Before these factors, direct experiences and inflows of many books through diplomacy with the Ming dynasty after the Imjin War helped several writers start the floriculture. This trend continued to the mid and late seventeenth century, and eventually was in vogue in the eighteenth century. In the early seventeenth century the floriculture was so limited to several writers that it is not considered a major trend. It was meaningful as a phenomenon that led to communication between the Chosun and Ming dynasties and then transferred knowledge in real time. If the eighteenth century’s floriculture implies that the Ming dynasty’s fashion one hundred years ago affected the Chosun dynasty, the early seventeenth century’s floriculture has a meaning that it was a real time cultural communication between the Chosun and Ming dynasties.

‘Touhu,’ a game of putting arrows in a bottle, has been regarded as a game for elite since it was recorded in the classic book Liji 禮記. It has been for a long time visualized variously as responding to scholar’s interest. There are three kinds of image of touhu. The first image is about the implements of touhu, hu壺 of bottle and shi矢 of arrows. It shows the clear change into more decorative one. Secondly, some images of touhu were interpreted as images related to famous lines of literature. Yi Man-su, a scholar of the late Joseon, made sixty-images of ‘touhuge’ that show special shapes of a bottle and arrows after a player’s putting arrows toward the bottle in the touhu game. Yi named sixty touhuge, comparing the number of arrows with similar lines of classical poems in a playful and pedantic way. This way became popular in the Ming China. Touhu-stamps that scholars of late Joseon enjoyed are decorated with classical poem or famous phrases. Lastly, several paintings of late Joseon portray touhu-game as a main theme. One of the paintings shows Si Ma-guang, a great scholar who arranged the rule of touhu. In other many paintings, schloars are playing touhu in elegant ways. Touhu also became a theme in genre paintings or folk paintings. In a folk painting, a wonderful hu is displayed as an expensive antiques.

Intellectual achievement and fun is indispensable for leading a life. Both of these seem different one, these two factors can bring the most ideal effect when harmony. Therefore, in this paper, through the example of learning to achieve educational effects and fun at the same time when literature harmony with game, seeking literature functioned as game, game functioned as literature and explores the process of its development. People in Joseon Dynasty figure out a way to enjoy the landscape and nature in the vicinity of his house. How to do this by having enjoyed the conduct of the concept of Wayu(臥遊) to enjoy nature in a room or a house subject to the Joseon Dynasty Wayu is to represent three types of miniature mountain(假山,Gasan), landscapes painting(山水畵,SanSooHwa), travelogue(遊記錄,YouGiRok) can. Three types of Wayu above evolved to the conduct that express the appreciation in literary manner over the just appreciation. They also enjoyed the act of creating games of virtual trip, which was represented by both 「NamSeungDo」, board game of creating poetry touring scenic beauty, and 「ShangYoungDo」, board game of creating poetry with imaginary journey to find and visit where classic literature was born. This was how the two board games that make learning and play accordingly to achieve harmony with the intellectual achievement of the human pursuit of fun at the same time. In particular, 「ShangYoungDo」 has a special feature that no one can play itself except the literature. So the study on the relationship between ShangYoungDo and playing(game) to help play was a new approach to discover another function of classic literature and an opportunity to establish new perspective to look the classic literature to play with the fun and excitement which generally considered being seriously. Also a new function of literature called “fusion of science(學) and entertainment(遊興)” is discovered making up the classics and play the harmony. It is also an opportunity to discover the role of traditional game able to draw literary development and to boost intellectual level over the just fun pursue.

This study comprehends the meaning of Book of Songs and Invitatory accommodated in the Chinese poems of Songgang, Jeong Cheol and examines the view of nature of Confucian scholar represented in his Chinese poems. As a result, I could understand that he quoted Chinese history and tales and contents of the Confucian classics and renewed literary works of Chinese writers in order to enrich the contents of his literary works. However, some of his works were accused of imitation. The distinction between the quotation and renewal made in this study will serve as a momentum to fix the error of the existing studies which confused the quotation with renewal. The view of nature of Confucian scholar does not only see the characteristics of natural materials in the Western point of view but also reargues it in the Confucian scholar's point of view. The view of nature of Confucian scholar is related with the political view of taking up public office, human life such as taking the way of moral laws, and connecting the beauty of landscape of nature with the reality. The view of nature of Confucian scholar reflected on the Chinese poems of Songgang contained the yearning for his king of lord, patriotism, and loyalty. He showed the feature of patriotism and loyalty by entering government service in the national crisis, but in the meantime, he showed wrong faction with excessive yearning for his king of lord. Therefore, it would be necessary to reveal that if the literature of Songgang expostulated the faults of the king according to thorough literary view of Confucian scholar, had an affection for benevolent persons and embraced the public, or hid the others' weakness and revealed their virtue to the world in the viewpoint of classical scholar's mind.

The purpose of this paper is to discuss the distinctive features of the multi-layered intertext narrative construction of Yuhyogongseonhaengnok from intertextual perspectives and explore their effect upon the reading process. The precedent texts of Yuhyogongseonhaengnok are The Narratives of Usun and The History of Myeonghyojong. The main story of Yuhyogongseonhaengnok, Yuyeon's narrative constructs the story of Yuyeon's filial piety and friendship based on Usun's story of filial piety and friendship in The Narratives of Usun. The sub-story of Yuhyogongseonhaengnok, the Prince's narrative constructs the Prince's story of a wise king based on Usun's story of a wise king in The Narratives of Usun and King Hyojong's story of a wise king depicted in The History of Myeonghyojong. In this regard, Yuyeon's narrative as a story of filial piety and friendship and the Prince's narrative as a story of a wise king are an integration of precedent texts in a complementary relation. Reproducing Usun's and Myeonhyojong's comparable narratives, the Prince's narrative as a story of a wise king makes Yuhyogongseonhaengnok a multi-layer intertext. This multi-layer intertext narrative construction of Yuhyogongseonhaengnok takes certain effects upon the reading process. In the first place, readers of Yuhyogongseonhaengnok have their intellectual communication activated with the text. They look for reciprocated elements in the precedent and the subsequent texts, during which process the readers are engaged in intellectual reading activities. In the second reading process, readers train their self-awareness by adopting the ethical values of the time as their faith. In the third reading process of Yuhyogongseonhaengnok, readers take a double-sided attitude of empathy and criticism towards the sense of filial piety and friendship and the concept of a wise king.

Pansori novels share a distinctive qualification in discourse, which is distinguished from other traditional narrative body, such as the expansion of description part or full of verbal statements. Such qualification in discourse is closely related to the matter of time, from a point of view that Pansori novels are also descriptive narrative. Then, this unique management method of time suggests the need to regard Pansori novels as spatial narrative. The space dealt with in this research is a kind of a psychological space formed in inner consciousness of the characters of the play and readers as well. This is a different level of concept from the physical backgrounds and places of the story. It is common to have a parallel narrative structure in Pansori novels. Moreover, the novels often spend relatively too much time on description, providing only little information. These descriptive features contribute to vitalize spatial situations. This research deepens understanding on descriptive qualification in Pansori novels as it regards the one of the most representative Pansori novels, Yeolnyeo Chunhyangsujeolga, as spatial narrative. Especially the passage between Love Song and Farewell Song is a critical part. The spatial situation is highlighted here and furthermore, meaningful value or awareness intention of Pansori novels as spatial narrative is suggested. It is obviously found that temporal tension is weak if the passage between Love Song and Farewell Song is compared with before and behind of each song. With this, the space is vitalized. Readers are often provided time to spare psychologically, which allows the readers to assimilate to the characters of the story when the spaces are vitalized in general. However, from the realistic approach, Love Song and Farewell Song part are needed to be highlighted since it is difficult not only to take readers’ attention but also to engage emotion. It is because the description narrative, in which two main characters are falling in love with each other and realistic obstacles of difference in social position between Chunhyang and Mongyong is developed, is too abridged for readers to follow the main characters’ passionate love and sorrow. In this case, Pansori novels rather make the readers keep emotion that is formed by readers’ recognition based on each spaced narrative than persuade them through external logic verified by combination of narrative units.

This study examines perception of school by women in modernization age, by focusing on gyubanggasa created in the time, <Saengjogamguga>. Beginning to be established at the end of 19th century, school was a product of modern system, where knowledge and culture was educated. Therefore the keyword “School” in this age reflects the passion of women for knowledge, as well as understanding of public system and desire for social activity. In <Saengjogamguga>, where the writer Sa-ho Lee looks back at her life, she as a woman of old age understands school in standpoint of a female student. School, an aspect forming the social customs of the time, was one of new cultural elements in comparison to the ‘old ways’. School was understood as a symbol that could be identified with the existence of female student, a new woman. Consequently school was perceived as a place combined with social life, such as free love and divorce, resulting people to look at school in ethical point of view. At the same time, being conscious of existence of female student was also awakening intellectual desire and awareness of relative deficiency. As a result, school as an idea was overwhelmed by the symbol of female student existence, and people had double perspective when understanding school. Because of this, emergence of school did not have significant influence in consciousness of Old Women, but it did not cause stagnation of their craving for social activity. Women of old generation was symbol of sacrifice and obedience, and was understood as stagnant female. Especially in the 1930s, under wartime mobilization system of imperialism, virtue of wise mother and good wife was purposely encouraged. However, Old Women intended to realize their individual social recognition while maintaining the collective value of tradition and family. Consequently they expressed social responsibility and anti-Japan consciousness. This is different aspect from wise mother/good wife trapped inside private area, or sacrificial maternity as a means.

This paper considers the several levels and the distinctive features of violating the taboo in korean traditional narratives. In the pursuit of this purpose, I tried to distinguish the five dimensions of violating the taboo. The five dimensions of violating the taboo are 1. strengthening of the sacredness, 2. challenges and setbacks for human limitations, 3. virtual realization of desire, 4. challenge for contemporary order and 5. relieve and alleviate the conflict and mitigation of entropy, The violation of taboo have a complex relationship. It is, for example, ‘heavenly order and realistic order’, ‘challenges and frustrations’, ‘oughtness and desire’ and ‘positive and negative function’. The meaning of violating the taboo is ambivalent. Violating the taboo is violation of the order but at the same time, on some occasion it creates an order. In order to understand violating the taboo in korean traditional narratives, it should be considered its dynamic and multiple meanings of violating the taboo.