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This research aimed at verifying that the close correlation between Yuefu(樂府) and Gagok(歌曲) took an important role in the appearance process of song books(Gajib 歌集), by paying attention to the stream of literary criticism as the historical background that brought song books(歌集) of the 18th century, such as 『Cheongguyoungeon (靑丘永言)』, 『Gogeumgagok (古今歌曲)』, etc. Accordingly, this research comprehended the process, appearance of Ming Dynasty (明代)’s Archaism (擬古主義) and transmission to Joseon(朝鮮) → Old style Yuefu(古樂府) movement of late 17th century → reflection on the old style Yuefu and raising of Truthful Poem literary theory → new understanding of the value of Yuefu and Gagok → occurrence of Korean song books(歌集) in the organic stream. In the process of illuminating the appearance of song books, this research particularly paid attention to Kim Chang-heup’s role. Kim Chang-heup’s respect for old style Yuefu(古樂府) influenced singing(歌唱) culture, which gradually made Yuefu and Gagok be closely perceived. Therefore, he can be said to be a significant mediating link to review the relation between the early 18th century Yuefu and Gagok. This research intended to study beyond the boundary(境界) between Korean classical poetry field and Sino-korean literature(漢文學) field. Some tasks can be comprehended with the complete actuality when being studied beyond the major and the region. The researcher wishes that this research could contribute to the research beyond the boundary of border and genre.

In this paper, based on the preface given to the Japanese writers by Shin Yuhan(申維翰), we examined the relationship between them and the perception of Japanese literary circles. At this time, in the Japanese literary circles, there was an increase in the atmosphere of seeking recognition of their literary level through the preface of the Tongshinsa(通信使). In this mood, Shin Yuhan also gave a lot of preface to the Japanese writers. Shin Yuhan gave preface to Toriyama Shiken(鳥山芝軒, 1655-1715), Irie Jakusui(入江若水, 1671-1729), Kinoshita Lanko(木下蘭皐, 1681-1752) Karakane Baisho(唐金梅所, 1675-1738). They have high poetry names in the present day, and are also distinguished characters in Japanese history of literature. Shin Yuhan formed a strong consensus on taste of Konunsa(古文辭) and poet of Tang(唐). Furthermore, he strongly expressed his intention to introduce Japanese literary works to Joseon(朝鮮). We can actually see the case in Dongguk University(東國大) 『日本鳥山氏詩稿』. Shin Yuhan did not distinguish 華夷 as a national or geographical standard, but formed mutual consensus on literary homogeneity. This shows the possibility that political prejudice can be resolved at the cultural levelbased. We can see here that the change of awareness toward Japan seen in Won-jungeo(元重擧), Park Jae-ga(朴齊家), Lee Duk-moo(李德懋), and Jung Yak-yong(丁若鏞) who are Shilhakja(實學者) of late Choseon period, is not done suddenly.

This study aimed to investigate a pattern of the self or an individual in the late Joseon Dynasty, based on Gi of a house created by transforming The Biography of the Six to One Layman by Ouyang Xiu. The Biography of the Six to One Layman is the biography that Ouyang Xiu wrote when he planned his life after his retirement from office. When the Gi of a house was created by transforming The Biography of the Six to One Layman, the space of a house was given to the biography and the identity of the self or an individual was defined through things in the space. This Gi appeared after the 18th century. This study analyzed the Gi, created by transforming The Biography of the Six to One Layman, to find out a pattern of Gi of space. By doing so, it investigated the reason why this phenomenon appeared in a specific period. The Gi created by transforming Ouyang Xiu’s The Biography of the Six to One Layman showed its identity of an individual through a space, where the individual and his possessions existed together. The reason why this phenomenon appeared in the late Jeseon Dynasty was closely related with the urban culture of that time. At that time literary men in the urban culture explained or described their antiquarian paintings and calligraphic works they had through their writings and paintings, most of which were focused on exposing their taste. However, the Gi transforming The Biography of the Six to One Layman, going further, tried to show the identity of the self or an individual through things loved by the writer. That is to say, He set a space where the possessions were put like a house or a study, and exposed the identity of an individual through Gi of the space. The Gi transforming The Biography of the Six to One Layman was to define an individual through things, in which a way of expressing an individual along with the urban culture was shown through a genre of Gi. It is significant because it shows a pattern of the way that describes an individual in the late Joseon Dynasty.

This paper analyzes narrative principles of a folktale called Kkongji dat bal judung-i dat bal. This story is widely known to modern people by the publication media which can interact well with people than the past. This paper also tries to get the point of the narrative principle and its topics that keeps uniqueness of this folktale type by solving structure that lead the common motif and event, and solution of the confrontation point. The narrative motif which imprint this folktale is the beast of Kkongji dat bal judung-i dat bal. When the main character leaves his mother and becomes independent, the impulsive processes of anxiety and fear that can not be solved by logical and rational thinking are expressed as the desire of gluttony. A structure which leads and resolves the story are considered as a method of question and answer, this method makes the main character to explore the Kkongji dat bal judung-i dat bal that gives him fears and rages. Through the method of question and answer, it confirms that the process of searching for the Kkongji dat bal judung-i dat bal is a process of exploring its hidden value through children's wit, patience, and tenacity. In this narrative principle, the story 'Kkongji dat bal judung-i dat bal' makes us to think about some kind of life topic. A large and unidentifiable Kkongji dat bal judung-i dat bal creates a destructive story that killed the mother horribly and can end all beings. However, this story points out that the son is attempt to eradicate the beast rather than discouraged by 'Kkongji dat bal judung-i dat bal's destructive behavior, and shows the process to get personal independence through a confrontation with the huge beast eating his mother. In other words, this story give us narrative topic of 'Will you stay in the fear and anxiety of destruction? or will you overcome those threats?', and suggests the direction of life that will not stay in frustration and destruction through the son's actions.

This study considered the general character of the exclamation that often appears in Korean old poetry. The exclamation contributes both to the form and content of poetry. Not only the meaningful function of poetic discourse, but also itself is a formal indicator. The exclamation is basically realized spoken. However, it appears in the work as a unified symbolic expression. This means that the exclamation is learned and customized by the enjoying group. Next, I looked at the aspects and characteristics of exclamation by genre. Based on this, I examined the continuing and changing aspects of korean old poetry. The continuing character is that the exclamation has contributed to the formal composition, meaning, and the rhythmic eff ect of the poem. Two aspects of change have been pointed out. First, the exclamation of a form similar to a spoken vowel changes over time as a form of vocabulary that has real meaning. Second, the frequency of use of the exclamation tends to decrease with the change of genre.

This paper analyzed Park Chang Sik’s Jap-jip. Jap-jip had the contents to educate the music theory by the dialogue, and also had function as the textbook. By several songs, Jap-jip tried to cultivate military education and enlightenment education together. Jap-jip contains “Korean soul” to encourage territorial consciousness and “Gunwonjulgyungchookga” to promote a sense of loyalism. The five national anthems in this Jap-jip show that the loyalism is superior to the territorial consciousness.

The purpose of this study is to rediscuss the creation period of Shinyubokjeon. Only its old printed book remains today. so it has been estimated that it was created in 1917 when its earliest publication Gwangmunseosi version came out. There is another estimation for its creation period that it was written after the Manchu War(1636) when there was a strong spirit of conquering the foreign enemies. The findings of the present study, however, raise a big possibility that there was its manuscript even before its old printed book, which indicates that there is no confirming the creation period of the novel based on the time of its old printed book. In addition, the novel presents a weakened consciousness of dignity toward Ming and a positive perception of the foreign intruder. So this study estimated that Shinyubokjeon was created in the middle or late 19th century by considering the perceptions of China.

This presentation focuses on Haengjang of mothers in the 17th and 18th century of Chosǒn Dynasty. Haengjang of mothers constitutes the majority of Haengjang of women during the Chosǒn period, and is rich in content. Women had to live under the rigid social restrictions in Chosǒn society, but Mother as the object of filial piety had a strong position within her family. As there are few writings about women from the time, Haengjang provides the richest source of information on women of Chosǒn. Besides Confucious virtue in Haengjang of mothers, there is another element that stands out. It is the description of Mother's righteousness. Righteousness, which is based on the subject's judgement about right and wrong, is a factor that seems distant from Budeok, one of Sadeok, which requires women to fulfill proper female duties. The Haengjang of mothers in the 17th and 18th century shows that quite a number of women made practical decisions based on their judgement on the political power and their sense of public justice. The Haengjang of mothers and grandmothers, not unlike that of wives, sisters or daughters, certainly includes the descriptions of female virtues such as gentle personality, weaving skills and frugality. Yet, what interests me in Haengjang of mothers and grandmothers is the description of the subject’s refinement and talents which are related to her private interests beyond proper female virtues. The analysis of the narrative style describing the subject's intelligence, refinement, interest, or talent would enable us to determine whether her actions and behaviors were to cultivate the Confucian virtues or to satisfy her personal interest and/or intellectual curiosity. If certain narratives are concluded as the latter, they would be meaningful sources with which we can examine women of Chosǒn as individuals. As there are little documents providing information on Chosǒn women as individuals, Haengjang can be a meaningful and important research material.