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The purpose of this study is to research novelistic imaginations through the aspects in which Manguibi(萬貴妃), a historical figure in Ming history(明史) is reproduced as narrative events and characters in classic novels. Historical records on Manguibi originate from Manryuk- yawhackpeon(萬曆野獲編), an unofficial history and an official Ming history. Records about Manguibi in the Manryuk-yawhackpeon has more fictional characteristics than that of Ming history. Novelistic imagination which fictionizes Manguibi is maximized in our classic novels. In Ruhwanghujeon(劉皇后傳), Narration of Manguibi is reproduced as a narrative frame which reinforces hardship of hero and heroine. In Yuhyogong-seonhaengnok(柳孝公善行錄) and Hawmunrok(花門錄), the narration of Manguibi is composed of secondary narrations. This secondary narration is reproduced to have the same relation with key narrations. In Leessihyomunrok(李氏孝門錄), It appears that Ms. Man, an evildoer character mimicking Manguibi is newly composed. Novelistic reproduction of Manguibi and character composition like these can be possible due to novelistic imagination which novelizes the history. The narrative frame which reinforces hardship of hero and heroine in Ruhwanghujeon and the character composition of Ms. Man in Leessihyomunrok result from amusing imagination to reproduce evil and desire. The amusing imagination in classic novel enables to create more reinforced narrations on female villains and the character itself than real history. The composition of the same relation frame between key and secondary narrations in Yuhyogong-seonhaengnok and Hawmunrok result from critical imagination which shows hostility against foolish patriarch and King. Clemency for Ms. Man in the ending of Yuhyogong- seonhaengnok, Hawmunrok, Leessihyomunrok, and Ruhwanghujeon indicates the intervention of ethical imagination which reflects ethical views of readers. Thus, the narration of historical records about Manguibi is reproduced because it is historical material which can trigger amusing imagination, critical imagination, and ethical imagination from classic novelists.

As the title suggests, <Yoohwagiyeon> is a Korean-language novel of the late Joseon Dynasty that contains a curious connection between 'Yu' and 'Hwa.' It is unique in that while the family of the heroine Yoo and the family of the heroine Hwa are at the forefront of the story, and it deals with the relationship between the hero and the ‘기녀’ in a high proportion. The relationship between a man and a woman in the work is a big part of the narrative structure of the work, and despite the hero's appearance of the hero, the occurrence and resolution of major events take place under the relationship between a man and a woman, not a special being. Therefore, the purpose of this paper is to find out about the effects of association between men and women of unique appearance, as well as the significant contribution of the introduction of <Yoohwagiyeon>. In the work, the main character not only has a flirting sin with the Taegeul Sunnyeo in his previous life, but also an unusual sin of seeing "sobyeon" at a banquet. This will result in a lack of sexual function in the present world, resulting in a much greater proportion of hardship. Therefore, the incident of "sobyeon" at a banquet in his previous life has expanded from the bizarre birth story of a male protagonist without genitalia to a story of hardship. It also becomes entangled in the bondage between men and women, serving as an extension of the narrative for the ‘ChunJungyeon’ and for the lack of sexual function. Also, in the work, not only is the association made up of ‘Cheonjeongyeon.’, the story of a fairy-tale that binds with the ‘기녀 Ok-lang’ also forms a large stem of the epic story. ‘기녀 Ok-rang’ has no previous relationship with ‘Yuchun’, but as ‘Ok-rang’ acts in a way that reveals his strong connection with ‘Yuchun’, his best friend, and it is comparable to that of ‘Yoochun’, a painter. The relationship between ‘Yuchun’ and ‘Ok-rang’ is significant in that they recognize Yoo's presence in the city council by showing a sense of recognition by Okrang, and then lead the case to solve it. Also, the relationship between Ok-rang and Yoo-chun is different from the relationship story in which a man with an upper hand, both physically and economically, approaches a ‘기녀’ with a beautiful charm and ends in a bond. The shape of Ok-rang is not easily accessible to men. It has a high profile, a high level of voice, and a visual acuity. It is a man who does not give side to other men's jokes. In the future, Ok-rang plays a role in solving the male lead's sexual deficiency, forming a story that is unique to <Yoohwagiyeon>. The epic does not solve the male sex organ deficiency problem with the element of illusions. Of course, the elements of the celestial system are inserted in the works. Although elements of the heavenly system have been placed in various places, they do not deviate from their role of keeping the relationship between a man and a woman unbreakable and their supporting roles to help the male lead portray his performance when he is active in the international arena. It is only the relationship between men and women that reveals the deficiency of ‘Yuchun’ and provides hardship and solves the deficiency. Only 'Ok-lang' is qualified. Therefore, looking at the relationship between men and women in the work is important in examining where the story of <Yoohwagiyeon>, which falls into a large category of hero novels, distinguishes itself from the characteristics of common hero novels.

This study examined the process of resolving the case and the ways of shaping themes centering on the suspicious crime narrative of Okseongmong. In Okseongmong's crime story, it was important to shape the resolution of the case itself. Criminal evidence was placed throughout the story to make reasoning possible. And repeated statements by different figures tolerate a variety of interpretations of the case and solve the case according to institutional procedures, without involving ethical judgment. This characteristic of the criminal narrative corresponds to the author's perception of the importance of reading fun and reliable stories. Individual experience in the criminal narrative is strictly limited to personal events and does not extend to community problems. This is in line with the turning of the reading process into a reader's personal activity of inferring events based on evidence. Such a significant change in the writing of novels became the basis for the translation and creation of crime novels in earnest since the 1910s.

‘Northern school of practical learning’ in this paper means those who were united around Park Ji-won and Hong Dae-yong in late 18th- century as being called ‘Yeonam group’, ‘Yeonam School’, ‘Damyeon group’, or ‘Damyeon party’ depending on researchers. They were teachers and students, seniors and juniors, and friends. The humane solidarity and hobbies they demonstrated and their attitudes and acts on the circumstances in their times remain in their literary works and artistic achievement and make us living in these days feel intellectual interest, beauty and impression. This paper investigated the life of the Northern school of practical learning around the series of ‘Baektap School’, the historical novel by Kim Tak-hwan and the approach and process restoring the historic and social direction. The travel to the Ching dynasty, academic exploration, communication and interactivity with the public as well as the intellectuals and the encounter with old territory and history by the Northern school of practical learning are converged into the record on the experience, that is, Record of Travels of Korean Embassies to China, and the experience ‘envoy to Ching’. The representative record is ‘Rehe Diary’ by Park Ji-won. This paper identified how people living in the 21stcentury meet the Northern school of practical learning by analyzing the essay on visiting the sites described in ‘Rehe Diary’. Through both approaches above, it was identified that the researchers and authors shoud sincerely deliberate the importance of the translation on the classics and what and how to be newly created.

I examined the features of the female character anecdote in a book written by Miam(眉巖) Yu Hui-chun(柳希春) during his exile, and revealed its significance and limitations. Compared with 『Sok-Monggu(續蒙求)』 and 『Monggu(蒙求)』, some differences are found in the way it chooses woman characters and embodies the theme. As a result, in the choice of female character anecdotes, only exemplary words and deeds of the upper-class women in China history are found in 『Sok-Monggu(續蒙求)』. And in 『Sok-Monggu(續蒙求)』, its theme was intended to present an ideal female image that conformed to the Confucian worldview. This is the difference from the point that『Monggu(蒙求)』 chooses anecdotes of women of various status, not just women of the upper class in China, and also at a point that 『Monggu(蒙求)』 describes a woman who has committed an evil deed in the anecdote.

The purpose of this article is to consider the two layers of Bongjong-sa foundation folktale and its direction of storytelling. Bongjong-sa became the UNESCO world heritage in 2018 and it functions as the matter of expressing the locality of Andong as a traditional culture city. The reason we have to focus on Bonjong-sa foundation folktale is that it shows the origin and identity of Bongjong-sa. Bongjong-sa foundation folktale consists of two layers of stories. One is the narrative that Buddhist monk Ui Sang flies the phoenix to Bongjong-sa, and the other is the narrative that Buddhist monk Neung In cultivates himself religiously in the cave and when he passes the test of heaven, fire lamp from heaven suddenly comes down. The phoenix is a symbol of the spread of Huayan school - Ui Sang is the progenitor of it. The fire lamp is the light which means the religious enlightenment of Huayan school. Bongjong-sa foundation folktale contains the process of spread and enlightenment of Huayan school of Buddhism with these two layers of stories. Storytelling means a dynamic process that extracting a story from a discourse, and making new discourse from that story. In this perspective, the possibility and direction of creating a new discourse of Bongjong-sa should be started from the motif of phoenix and lamp of heaven. Especially, lamp motif is more significant because it makes the space of light related to Mt. Cheondeung(lamp), the cave of Cheondeung and Bongjong-sa alive and also embraces a phoenix motif with the image that phoenix incubates the light of enlightenment. When we treat not only Bonjong-sa but also the cave of Cheondeung as one religious territory, a new discourse about Bongjong-sa could be created.

This discussion will examine the meaning of ‘God of Shamans’ in this mythical enjoyment group through the story of the three brotherhood being the shamanistic god in Chogongbonpul-i. In the secular world and the divine world, the threefold power or desire is contradictory. In the secular world, the three brothers try to do the job with excellent ability in their affairs, but they eventually fail. In the sacred world, the Three Brothers succeed in creating musical instruments and regenerating their mothers. In each world, the role of the father is also different between the interrupter and the helper. This difference makes it difficult to see that the three brothers transcended secularity or naturally carried out in the process of being Gods. They deny or cut off their secular abilities or qualities and become Gods. This is expressed in the text of the sentence as “They make a failure of their palja[八字].” If they are heroes, these religious heroes are not a accomplished heroes but a heroes who have denied a world. The story is about the birth of unconditional as a hero, and it is a story about the relationship between secular and religion, the relationship between human life and shamanism in secular life as a disconnected structure. In conclusion, this myth conveys or builds a dual message of tragedy and self- sufficiency, depending on the aspects of the disconnected structure of the text.

This inquiry analyzes about meanings and values of literary erotic-tale by sexual economy theory and semiotics. It could be suggested that certain types of erotic-tales exclusively relocate the grounds and actions among comprehensive sexual economy into a penis centric and hierarchical structure. Hence, sexual intercourse which is reciprocal and full of effectiveness might become penis-capitalist’s exploitation. To examine these, the models about the whole process that produces values from objectification and signification are constructed. One-sidedly, system that exchanges objectified woman molds the ideal type of woman which provides exchange value to man. And this value is for the increasing the phallocentric value by inter-mediate transference through sexual communication or ‘purchase’. So, this inquiry inferences the criteria and evaluation system of the process by concentrically collating sex depictions, remarks about the value of penis, sexual preconception, and examining signification processes related to them. Thereby, it is found that understandings about implicitly manufactured ‘impossible pleasure with disordered distribution’. It is observed that the telltale clues with which we could trace concealments and distortions about multiplicating process of sexual value, that is, value exploitation, evasion of responsibility conducted by penis-capitalist. In more serious cases, they gain sexual dysfunction(orgasmic disorder) that lose sexual generic satisfaction and distort or reduce appropriate ardour to others. And they have cognitive dissonances that interrupt the awareness to realize their coercion or additional violence in various ways. Consequently, we could get the understandings about penis-capitalism myth that regularly motivates sexual violence. And, the basis of Korean masculinities is arranged in the genealogical view, with consideration about sexual economy that is unreasonably considered as private and secret territory: the apathetic connivance excludes victims from the public realm and frustrate them. In addition, this approach provides the useful theoretical system to discussions about sexual labors and real influence of erotic texts.

Since the 1960s, entertainment and the contents of entertainment have been expanding in women' travel gasa. By the way, the women 's travel gasa in the 1950s provides an inflection point for this change. In this paper, focusing on <Yuramgi> which traveled to Haein temple in Gaya mountain in 1959, I analyzed how the beginning of the time that “enjoying” became important in the trip. The writer of the work <Yuramgi> expressed this trip as a picnic and reflected the character of the trip was settled into the leisure of everyday life that was able to leave with a light heart. While recreating the scenery and historic sites of the tourist resort of Kaya Mountain Haeinsa, the recreation of entertainment and events is prominent. Especially, it expresses emotions of conflict by dealing specifically with the emotional transition of 'I' through the description of casual events and entertainment. In 1950 's women' s travel gasa, new 'pungjeong' is highlighted along with 'pungryu' which was the traditional culture style. The pungjeong has significance as an active self-expression act of fascination and play. Now, the pursuit of pleasure reveals that it is fun to play well, which is in harmony with the consciousness to get rid of the weight of norms and to enjoy the emancipation. Along with this, my vision is becoming foreground. From the manifestations of conflicts and complaints that have been silent to subjective evaluations, I try to reveal my inner self in relation to myself. This reflects the awareness that my own enjoyment is important in travel.

This article was written to introduce three new works of Gyobang-Gasa and their writers. The Bukchon-ga(北遷歌), the headquarters of the Kyungpook National University Library, contains four Gasa and two Hangul memorial address in the order of (1) Bukchon-ga(北遷歌), (2) Hangul memorial address(제문), (3) Gagunui Suyun-ga(가군의 슈연가), (4) Baknamyi Suyun-gara(ᄇᆡᆨ남의 슈연가라), (5) Gachinui Suyun-gara(가친의 슈연가라), and (6) Hangul memorial address(제문). Of these, (3), (4), and (5) are the words that have not been known to the academic community until now. As a result of tracking the writer's identity, it was confirmed that (3) and (4) were written by the daughter of Lee Soo-hyung(李壽瀅, 1837~1907), and (5) was written by the daughter of her and Jeong Jae-kwan(鄭在寬). This work, which can grasp the identity of the writer in terms of the fact that most of the Gyobang family do not know the writer, has a special resource value. Moreover, it is very important to understand the genre of Gyobang-Gasa in that the mother and daughter created the lyrics and created and enjoyed the Gyeongsangnam-do Haman, not Gyeongsangbuk-do, well-known in the academic world.