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Yoon I-hu's ‘Ilminga(逸民歌)’ is Ganghogasa(江湖歌辭), which is included in ‘Ji-am Diary(支庵日記)’, the author's handwriting diary. This work has neither received much attention from the academia for being a son of Yun Seon-do and a father of Yun Du-seo; nor been a subject for debate, even though in his diary, there were clues to presume the ‘Ilminga’s background and intention. The purpose of this study was to review the background and intentions in the ‘lminga’ creation in aspect of ‘Ji-am Diary’; and then analyzed the theme of ‘Ilminga’; and discussed its meaning. A member of Namin(南人), Yoon I-hu, who had underwent severe political ups and downs, created ‘Ilminga’, a song of his memories and poetic spirit in a island, Jukdo(竹島) letting him forget the world, create, recite and sing a poem and a song. In the first part of “述玉泉田家之樂”, he reminisced about why he immersed himself into Jukdo, building up a thatched cottage. In the latter half of “說竹島江湖之勝”, he seems to have tried to be a retired scholar just appreciating the Jukdo's nature as a Gaeoong(假漁翁) and forgetting the world. On the basis of the analysis, this work may be called ‘Ilmin's song’ containing his own conflict and anguish over the society where he had escaped due to the oppressive political reality in those days. While living in the nature of Jukdo, leaving the unclear reality, he revealed the consciousness of former Sadaebu(士大夫) and was not able to stop worrying about himself and the society, and the results show that his work has the self-explanatory characteristics saying why he chose such a life. The results also suggested that it is a work that provided the formal foundation of a kind of “Chodanggasa”, which had been actively created since the 18th century, preserving the former Sadaebu's consciousness and strengthening the self-explanatory characteristics.

The purpose of this study is to clarify the characteristics and significance of 『Sinjeung-Yuhap(新增類合)』 by comparing with 『Yuhap(類合)』. What I discovered as a feature of 『Sinjeung-Yuhap(新增類合)』is as follows. First, in formal aspects,『Sinjeung-Yuhap(新增類合)』 learned to study according to the level of the learner by dividing the numbers and presenting items. And『Sinjeung-Yuhap(新增類合)』 made it easy to learn using a rhyming word. Second, in terms of selecting Chinese characters, 『Sinjeung-Yuhap(新增類合)』 removed Chinese characters from the Buddhist scriptures and eliminated the words that were not used in the mid 16C Joseon Dynasty. And 『Sinjeung-Yuhap(新增類合)』s elected the words in real life and redeployed them into consideration. As a result, in『Sinjeung-Yuhap(新增類合)』, I was able to discern the significance of the Joseon Dynasty in the middle of the 16th century in terms of presenting a Neo-Confucianism worldview.

This article discusses the character confrontation of the <Yangban-jeon> based on the relationship between dignity and nobility. First, after looking at the characters of Bangkyeong-gak Oejeon based on the relationship between dignity and nobility, the disagreement of the dignity of social status and the nobility of mind were emphasized. Secondly, the confrontation between the characters of the <Yangaban- jeon> permeates each other between dignity, lowliness, integrity and vulgarity. It is a confrontation between Jeongseon yangban vs lowly rich, Jeongseon Yangbang vs reeve. As a result, it reveals a total mess where no one side can live off ordinarily, unlike other works from Bangkyeong-gak Oejeon where dignity and nobility are in a paradoxical relationship. Third, if we examine the yangban image in <Yangban-jeon> while looking at the whole composition even considering business contract documents, the name, the desire, and the shame that Park Ji-won insists in <A Debate on Honor> become important criteria.

This study examined the expectations of novel readers and its meanings in the early 20th century in a world created by monotheistic narratives of Baegnyeonjeon. This novel, which was a story that was enjoyed in the form of Yadam since the late 19th century, has been widely read in the early 20th century. Baegnyeonjeon was created as a novel, actively deploying Minor characters and expanding their role. As a result, Minor Character proved the value of the main character, proved morality, and led readers to have an optimistic view of their actions. Park Yil Yong, the male protagonist in the halo of the people around him, is a descendant of the fallen family, but he internalizes the motivation for success given by Baegnyeon and endures the success of traditional men. Baegnyeon, through her marriage, pursued a desire to acquire a proper nobility, and she also managed the treasury and became the landowner of the local village and equipped the house of the noble family of Seoul. The success of these couples, originally hoped for by Baegnyeon, follows the manner in which the descendants of the fallen village nobility chose to restore their social status from the end of the nineteenth century to the beginning of the twentieth century. However, this success was a very rare possibility for those who had difficulty in having a vision for the new environment, although it was hard to achieve in the time and system, but it was unforgivable. Baegnyeonjeon realizes the wishes of Yil Yong and Baegnyeon, and is in a position to open a dead end door to reality without breakthrough.

This study about Korean Classical long Novel <Chossisamdaerok> examines on its portrait of elderly people, especially focusing on the description on their bodies and emotions, thus investigates an aspect of the cognizance of the aged the novel carries. In oriental way of thinking, the meaning of aging tends to be sought from our minds first. But body and emotion can’t be overlooked to fully understand the aged. Korean Classical long Novel ls have been commonly understood to support an ideal and normative image of the aged that is mentally mature, while an examination on the description of <Chossisamdaerok> on them confirms that its view on the aged is not entirely normative. To understand its cognizance of the aged, this study concentrated upon its mentions of bodies of the aged which are described more healthy and vigorous than those of the young, and upon the frank description of the uncontrollable emotions of the aged. As the result, it can be said that in physical aspect, the novel sees the aged as vigorous ― instead of impuissant ―, and realistic beings who can preferentially follow bodily desires, and are as mentally immature as red-blooded youth. It can be also confirmed that it doesn’t entirely devaluate the experience and age of the aged just because they are unfinished beings who can’t meet the ideal expectation. Image of the aged in <Chossisamdaerok> as seen in physical aspect represents much as a vigilance against the understanding that fixates an ideal image of the aged and use it as a measure to evaluate and alienate them. It also has a significant meaning as a proof of the overall characteristic of <Chossisamdaerok> as a novel that is concerned about human nature and matters of individuals.

It is necessary to understand and coexist multicultural families that form a new home paradigm in Korea. Mutual communication and understanding among the members of multicultural families are key to the integration and settlement of multicultural society. The significance of the folktale education lies in cultivating a healthy multicultural family consciousness that respects mutual equality and difference while minimizing recognition gap between mainstream and other in the various spectrum of multiculturalism. In this paper, we discussed intercultural communication and understanding of multicultural families using folk tales. I tried to look into the tale of China and Vietnam, which are the most common in multicultural families, in their relationship with Korea. First, I examined the significance of folktale education for multicultural families. Next, I examined the folktales that seem to show similarities between Korea - China and Korea - Vietnam which can examine aspects of family consciousness between the two countries. Although they have similar narratives, family consciousness and family culture of both countries showed similarities and differences, and mutual cultural communication and understanding elements of multicultural family members were found. Family consciousness could be summarized by aspects such as affection, brotherhood, sisterhood, conjugal affection, conflict with half sister and stepmother, maternity, and family consciousness. This study is meaningful as a study of the use of narrative in the viewpoint of multiculturalism.

This study aims to clarify a cultural & educational significance in the text of <Barigongju> and the effectivity of the project-based learning in culture education through applying a real class to the advanced Korean learners. As a result of applying it to the actual lesson, the text of <Barigongju> drew learners' attention and interest, and was shown the evaluation result of being appropriate for culture education as a material of containing diverse cultures in Korea. In culture education, the project learning method made learners themselves available for internalizing with finding culture actively with escaping from the existing teaching method in which the given learning contents should be accepted unilaterally. In the process of performing the project, the learners could cultivate ability of surveying and analyzing the phenomenon of Korean culture, and could deeply understand about Korean culture. Also, through comparing Korean culture and own country's culture, the recognition of own country's culture could be newly made. The learners was capable of receiving diverse perspectives on culture while sharing information and opinion about cultures in many countries.

This paper examines the way of rewriting Korean Traditional Fairy Tales. For the purpose of it, it is needed to study literary method of story telling in Bang Jeonghwan and Ju Yoseob’s adaption. They were representatives from the time when standards for rewriting Korean traditional fairy Tales were established. First, this study explores the things which they adapted and the degree of adaption then the examines the ways of story telling. Bang Jeonghwan used to internal focalization and the method for drama. They make narrator to become transparent. At that time, as the information which is delivered by narrator is limited, readers tended to intense in the story. Whereas such a internal focalization is hardly seen in Ju Yoseob’s rewriting. Instead, Ju Yoseob often reported the psychology of characters using external focalization. He forwarded the narrator who told the comments. The psychology which is revealed by the commentary narrator, composed the personality of a character. The characters who have some personality are not founded in the traditional folk tales. Bang Jeonghwan and Ju Yoseob both call the readers. the readers who read Bang Jeonghwan’s adaption are ‘exploring reader’ who have strong curiosity but the readers who read Ju Yoseob’s are ‘empathetic reader’ who feel compassion. In this paper the ways of rewriting which is done by Bang Jeonghwan is named ‘intellectual style’ and Ju Yoseob is named ‘emotional style.’ After the distinction, this paper studies: what effect does this style have on their next work and what does this style say about the early part of rewriting folk tales.