KJC Korea
Journal Central

The purpose of this article is to explore two layers of death and its ritual meaning of “Degam-gut”, the shamanistic myth in Hamgyeong-do province. “Degam-gut” is performed not for the dead but for an ancestor in order to lay his(or her) spirit to rest. It is possible to find out the ritual meaning of “Degam-gut” by juxtaposing the narrative layer with performing layer. In “Degam-gut”, a ‘lack’ which leads the whole narrative is described of incomplete death of Jim Miryeon who is a defeated general died in the battlefield. The spatial structure is composed of two oppositive parts like ‘inside of Duman river/over the Duman river’, ‘life/death’, ‘complete/ incomplete’, ‘son/father’ and so on. Jim Daleon, a son of Jim Miryeon crosses the board of segmented space for his ‘revenge’. He finally succeeds to hold a funeral of his father. However, the problem is about the contagion of death which engenders a vicious circle of the violence. Jim Daleon’s suicide should be interpreted by this. He becomes a scapegoat burdening whole possibilities of harmful violence so that he consummates the myth of self-sacrifice in order to vent his father’s spite. When we juxtapose the narrative layer with performing layer of “Degam-gut”, the narrative of Jim Daleon’s revenge is a metaphor of the process that takes a good fortune of god of Degam without any harm by mourning an ancestor. A cultural geographical feature of Hamgyeong-do province could be summarized by two. One is there are usually lots of ancestors who cannot come back from the battlefield, and another is the god of Degam is regarded as an ancestor. Though “Dagam-gut” is not for the dead, it has its own ritual function, mourning an ancestor who did not die normally and bringing a god of Dagam without any danger into the ritual space of Mangmut-gut.

This paper examines the combination of ‘history’ and ‘fairy tale’ in Historical fairy tales written by Son Jin-tae’. I want to look at the characteristics of historical fairy tales focusing on the strategies and effects that Son Jin-tae has taken to communicate historical information to children. To do this, I first selected the texts, which are historical fairy tales, among the stories written by Son Jin-tae and examined how they relate to the original texts. Nam-chang created historical fairy tales by borrowing realistic folk tales, fantastic folk tales and myths. As a result, not only are they realistic or real stories, but also fictional or fantastical stories. Nonetheless, his historical fairy tales do not include proper nouns, years, and war situations which do not match the original text. The new discourses in his history fairy tales are the personality of characters. The characters are portrayed as persons with individual qualities such as masculine/feminine gender and strength/weakness. Nam-chang uses a supplementary means to convey history in an objective way. And he assumes the children as readers who are members of a family and have intellectual curiosity. In this sense, the historical story fairy tales of Son Jin-tae are cognitive ones that utilize communion functions to indicate history exactly.

This article aims to look at the linguistic humor expressions that appeared in Korean Mask play(가면극) and Chinese Nuo opera(나희). Since both the Korean mask drama and the Chinese Nuo opera were created under the influence of Uheui(우희), the tradition of satire and humor are considered to be continued. Therefore, humor expression is recognized as a very meaningful and important study of mask drama and Nuo opera. Coarse language in mask plays and Nuo opera are swear words and Youkdam(육담), and frequently used language plays include homophony, assonant and riddle. By analyzing the specific lines, swear words and Youkdam are categorized and compared, and the language homophony, assonant and riddles are examined considering the language characteristics of Korean and Chinese language. This research is meaningful because the linguistic humor expressions can be identified through the analysis of the lines of mask drama and Nuo opera.

The friendship between Turkey and Korea, which is expressed as “The Brother's Country”, is based on common historical experience of “Korean War” above all. The word “Kan kardeşim” means that “my brothers who shed blood together”, which refers to Koreans by the Turks, is suggestive of the significance of the memory of the war in their relationship itself. And this makes possible to imagine the situation in which the memories of the Turkish veterans who participated in the Korean War spread to the Turkish society and the friendly recognition was settled in the process. The problem is that memories of the war that form the foundation of friendship between two countries, and the Korean War veterans of Turkey, the subject of such memories are disappearing. Therefore, the researcher designed a field research study to accumulate the memories of Turkish war veterans of Turkey who were leading the friendly recognition of Korea by the form of oral life narratives. The purpose of this research is to examine the necessity and specific methods of such field research, contents to be investigated, and its implications and possibilities based on oral data secured through actual research.

<Imhwajeongyon>, or <Sasonggibong> is a family novel set in the Choseon Dynasty. This paper was given attention to the outstanding identity of female servant ‘Sukgawol’ as it moved on from <Imhwa- jeongyon>. Research perspectives and methods of looking at the characters in Choseon's classical novels need to be changed and expanded in response to the recent multicultural society. Expanding interest in non-mainstream, peripheral and othered existence was required, mainly in the center of the settled, mainstream characters. With this subject reflecting the times, I conducted a contemporary study on the character of “Sukgawol” in the family novel A First, we looked at the meaning of the study of family novels from a multicultural point of view, and secondly, we looked at the characteristics and meaning of Sukgawol, as an othered central figure. Third, the multicultural aspects viewed through “<Imhwajeongyon>” in “Sukgawol” were examined to see which components played a role in the formation of family novels. A series of epic acts of Sukgawol ultimately resulted in communication and harmony among members of the mainstream and central family, as the othered character was centered on the mainstream and central existence. Sakyamuni's Birthday, which marks the height of communication and integration, is meaningful in that it offers a model of a multicultural character from a multicultural perspective. The present study is meaningful in that it has tried <Imhwajeongyon> from a multicultural point of view whereas the earlier character study of ‘Sukgawol’ was piecemeal, partial and insufficient.

<Changnanhoyeollok> is the leading role of the male and female characters, Jang-hee and Han Nan-hee, who are the head of two families. It is one of the most popular Korean novels of the late Joseon Dynasty for its conflicts and various incidents caused by them. The study's overview of the work was made earlier in the day, which led to its comparison with other late Joseon Dynasty novels of similar type. However, it is still not easy to explore the narrative content in more detail through the motif used in the work. Therefore, among the various styles used in the work, I would like to consider the aspects of the motif shown in ‘Aenghyeol’. The application of ‘Aenghyeol motif’ here results in more in the conflict between male and female main characters than in displaying their chastity or purity. It is more prominent in function of the original ‘Aenghyeol motif’. Therefore, the purpose of this study is to observe the effect of utilizing a motif by paying attention to the use of the ‘Aenghyeol motif’ and to discover its meaning. The use of ‘Aenghyeol motif’ in Joseon Dynasty novels is not difficult to examine. The ‘Aenghyeol motif’ can show the house of women characters, birth year, arranged marriage, sexual purity and poor treatment. In <Changnanhoyeollok> the heroine's father inserts an impressionist's name in her daughter's arm as an aenghyeol. The effects of the widely-cautioned motif are explained below. The fact that they have chosen the wed ahead of time is not only symbolic of purity, but also visualized with the heroine's signature, is to visualize the side effects of forced marriage. It also suggests what will happen like son-in-law's joking on father-in-law. The bond between family and family suggests that it is also a factor in the development of the conflict between newly formed relationships. Thus, the singular event resulting from the insertion of an ‘Aenghyeol motif’ in an epic structure. The function and significance of this can be considered as more effective representations of the distinctive points of the work <Changnanhoyeollok>.

This thesis is designed to explain the meaning of the Female Troubleshooters of LimWhaJungYeon. They are Hwabinga, Yeohuijoo, Seokgawol. In the case of male troubleshooters, they must be perfect and overwhelming, so they solve the problem unilaterally. But female’s are different. Hwabinga solves her problems by herself to use her wits to cheat them who tried to marry her unreasonably. Her wits covered private and public sphere, which can forgive foolish rogues. This made Ms. Hwa famous for her great wisdom, and Yeonkwon, who took over as a secret royal inspector, was able to listen and gather data about her performance. It gave her a stable status in the Lim’s family. Yeohuijoo persuades her husband to accept Yeomijoo as his official wife with forgetting hatred and anger, as admonishing Mijoo of the ladies’ virtues. Her other issue is about the step family, who are stepbrother Yeoseongok and his mother Ms. So. Yeohuijoo is so courteous and magnanimous to hide their misdeeds and bad choices. While trying to solve these two problems, she obtains support and big trust from families, and at last, she becomes the most valuable person both at the Yeo and the Jung. Seokgawol uses tricks actively to solve the problems. It has 2 tracks of Seok’s performances. One is for people and the other is for herself. She tries to fulfill her wish of being a female ascetic for collecting good deed and appealing her will to others. LimWhaJungYeon puts emphasis on the solidarity and sympathy between women, and this can make female troubleshooters’ remarkable activities. The sense of bond between women is the ethics of LimWhaJungYeon.