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This article introduces Kumwonjip錦園集 for the first time and tries to compare it with another version, Hodongseorakgi in the Yonsei University Library to reveal their characteristics, and then analyzes and reviews them together with the records related to Kumwon. Kumwonjip, which is in the Ewha Womans University Library, contains Hodongseorakgi, two poems of Kumwon and a poem of Jukseo竹西 with the introduction of Jukseo. What is noticeable about Kumwonjip is that its Hodongseorakgi tells about Kumaeng錦鶯, a courtesan who was never mentioned in the Hodongseorakgi in the Yonsei University Library. Another important thing is that Kumwonjip does not include any reviews of the female poets like Uncho, Jukseo, and Kyungchun who were gathered with Kumwon in Samhojeong. While the preface of Hodongseorakgi in the Ewha Womans University Library and the preface of Hodongseorakgi in the Yonsei University Library are similar in purpose, they show differences in quantity and content. The preface of Hodongseorakgi in the Ewha Womans University criticizes women's regulations and expresses the idea that outstanding achievements and actions of women are important, praising women such as Queen Jindeok and Heonanseolheon who have made outstanding achievements in literature. On the other hand, the preface of Hodongseorakgi in the Yonsei University Library quotes the Chinese testimony or the Confucian scriptures, and explains why people travel, why women cannot travel, and why they want to travel. These two prefaces also shows difference in the phrases and expressions. Considering these, it follows that Hodongseorakgi in the Ewha Womans University might copy another version other than Hodongseorakgi in the Yonsei University Library and it might be written after the death of Kumwon. While the records of Kumwon written by male writers in the 19th century focus on the life of Kumwon as a courtesan, the writings by Kumwon herself and her family do not tell about the life of a courtesan. Kumwonjip and Hodongseorakgi in the Yonsei University Library also seem to reflect these trends.

This study is planned to consider the arbor poetry of Gollyun Choe Changdae (1669~1720), one of the key figures of Soron who worked actively in the late 17th century till the early 18th century and find the periodic meanings of his arbor poetry. First, paying attention to the time when Choe Changdae created his arbor poetry and the background of his creation, this article has examined what the arbor meant to Choe Changdae. Considering the time when Choe Changdae created his arbor poetry and the background of his creation, we can see that most of the poems were written when he was with his family or relatives, including his father Choe Seokjeong, uncle Choe Seokhang, maternal uncle Lee Inyeop, maternal cousin Lee Hagon, or close friends like Hong Setae or Lee Hayeong. This fact allows us to conclude that for Choe Changdae, the arbor was space where he could see and be with his family or relatives. Next, focusing on the fact that Choe Changdae created his arbor poetry in the form of Yue-fu poetry (樂府詩) which can be hardly found in arbor poetry written by previous literary persons, this paper has examined two pieces of poems, <Choyeondaega> and <Moonwoljeongga>, written as Yue-fu poetry. Choe Changdae wrote his poems about the feelings he had in the arbor more freely with unique expressions and contents getting out of imitating or sticking to an old tradition using Yue-fu poetry. Here, the arbor was recognized by Choe Changdae as the space of Jarak (自樂) to find pleasure on one’s own. From the latter half of the 17th century, there was a noticeable trend that the arbor was regarded as space to enjoy everyday life personally, and the space of Jarak was stressed. One of the new trends of Chinese poetry in the 18th century is to pursue one’s personality and try new things, and this kind of aspect is found in various ways such as a poem’s contents, lyricism, the choice of poetic styles, or writing styles. Part of that can be found in Choe Changdae writing his arbor poetry as Yue-fu poetry. As written above, Choe Changdae’s arbor poetry not only shows us his changed consciousness about the arbor in the late 17th century but also lets us glance at the new trend of Chinese poetry in the 18th century.

The current study discussed the multi-layered characteristics and meaning of the death of Bang Sojeo in <Bangssijeon>, which is a Korean-version story that makes a part of <Yusaengjeon>, a fictional bibliographical love story in the 19th Century. In <Baengssijeon>, Bang Sojeo's death has multi-layered characteristics including tragedy in that she kills herself in a carriage for faith, a fantasy in that she revives around the graveyard after a sexual intercourse, and entertainment in that she participates in deceiving parents. The multi- layered character has the following meaning: the sexual suppression of the ideology that demands fidelity leads to the tragedy of suicide and it is distorted by the fantasy of revival after a sexual intercourse. And again, the entertainment of deceiving parents distorts the ideology of familial devotion. In this respect, <Bangssijeon>, unlike <Yusaengjeon>, is similar to heroic novels, transformed into an epic of a love story of a devoted woman with no heroic story and was mainly enjoyed by women as it distorted the suppression of contemporary women of the time using various rules of bibliographical novels.

The purpose of this study is to re-examine Jangkkijeon, with a special focus on the character of ‘Kkaturi’ as the victim of the story. Kkaturi had been exposed to multiple and repetitive violence, which were personal, structural, and cultural. In this regard, reading Jangkkijeon as a narrative of the victim might give new meaning to some of the endings of this piece which were considered unimportant or unusual. Furthermore, exploring how the violence affected Kkaturi’s mind and life would be helpful to understand the lives of victims of violence. In some versions of this piece, such as Jangseogak(藏書閣)’s and Lee subong’s versions, Kkaturi committed ‘reflexive violence’ to her own life. In these versions, she submitted to the threats of a violent Jangkki or put herself to death. Even if these endings are unexpected and shocking, it should be noted that they show serious and insightful recognition on the tragedy of violence. Meanwhile, in the Korea Univ.’s version, Kkaturi got married again to another Jangkki, named Jangdoryeong, who was with disabilities. This ending shows us a new perspective for her life through the solidarity of the two weak creatures, Kkaturi and Jangdoryeong. More attention needs to be paid to the various endings of Jangkkijeon presented in different versions.

This thesis was aimed at focusing on the selection of women who choose to become Taoistic monks in the latter part of the Joseon Dynasty. Those who suffered hardships in the family chose to become a sanctuary as an alternative to overcoming hardship. Thus, I divided the story into a deliberate reason and a training course. First of all, I found the reason why two women decided to become Taoists in this novel. Therefore, it analyzed what death meant to them. And I looked at their efforts to become Taoistic monks. The tenets of Taoism in the late Joseon Dynasty are focused on making good progress by practicing good deeds, reconciliating and buliding a virtue. As stated in the preamble, the aim of this study was to focus on how this novel was accepted in the form of Taoism in terms of how it was accepted. And finally, I analyzed that the female characters posed a question to the reader through a story, which makes it meaningful to ask readers to think about real life that exists on the back of a fantastic solution.

This study rereads and rewrites Samkukyusa with the concept of “supplement” from Jacques Derrida. So far, critical readings of Samkukyusa in traditional literary criticism: Historicsm, Formalism, and Structuralism seem to project some codes on works of literature, which were established not from the interior of literary works but from the exterior. This article tries to demonstrate these codes came from outside of literary works, so that it will be called external codes. Rereading and rewriting Samkukyusa with “supplement” will deconstruct binary oppositions, especially Sacred(sin-yi, 神異) vs Buddism(bul, 弗). That is the important and main oppositions which preceding studies have used to impose on Samkuyusa. Rereading and rewriting of Samkuyusa can be presented in a model which consists of several stages of reading and writing. This model is not definitive but only hypothetical so it will be different when rereading and rewriting discover and deconstruct other external codes. This is because external codes of the literary works are not only one. In addition, the objects of deconstructive reading could be not the external signifier system as well as the external signified system. Rereading and rewriting Samkukyusa does not mean to destroy or denial of the literary values. All the literary text as well as Samkukyusa do not inherit those kinds of values. If it seems it has some, that is derived from the process for the canonizing and from struggles in the literature as discursive field and institution. Therefore, if rereading Samkukyusa could rewrite something new and something generative, which is not the transcendental value or unchangeable value of the canon, but the canonization itself. According to Derrida, that is the chain of supplements and the rewriting of Samkuyusa. As long as rereading Samkuyusa is both the decanonization and the re-canonization, rereading could be rewriting.

This article briefly examined S/Z, which is regarded as "Roland Barthes's Best Work." This paper imitated the way Roland Barthes had read/wrote text in order to read ‘The Heungbeop’ of The Heritage of the Three States. This is not a search for facts written in the text, but a rewriting of the process of 'structuring' facts. In Chapter 3, I found that ‘The Heungbeop’ considers people, events, places, and times in a responsive relationship as the truth or the reality. In Chapter 4, I found that the space of the Three Kingdoms had been transmigrated in succession. In Chapter 5, I reviewed the concept of boundaries shown in ‘The Heungbeop’. As a result, I found that the act of building a temple meant setting boundaries and clearing boundaries of Buddha Land. In conclusion, facing the end and the beginning of the law is the performative function of ‘The Heungbeop’. Through this text, Il-yeon expressed the absence of the law and at the same time wanted to bring about the existence of the law.

The status of Korean literature is not high in the realistic situations of educational institutions abroad. Mostly, it is located in the surrounding position as a part of Korean language education, and even the classical literature, which is far from the local learners in time and space, is often considered as an exception. However, if Korean studies, linguistics, and Korean literature require acquiring knowledge as independent majors, it is impossible to abandon the obligation to educate classical literature for difficult reasons. Therefore, there is a need for a way for students to overcome the absolute challenges of 'distance with learners' and gain knowledge of classical literature. In this regard, the Department of Korean Language and Literature, TR Istanbul University, designed a total of five semesters of curriculum to educate Korean classical literature and applied it to actual education. This paper is to look into the curriculum and to measure its success to find future improvements. The core of the curriculum is to improve the educational outcome by minimizing the disparity of time and space that local learners will feel for Korean classical literature, and recognizing the classical literature as the object of appreciation rather than the object of memorization. Now, looking back at the success of the first round of curriculum graduates, it is successful to make students accept Korean classical literature as an object of appreciation and understand that it embodies human and other universal life. On the other hand, some complementary points were identified. It was necessary to publish local customized textbooks and collections of classical literature. In addition, it was confirmed that measures should be prepared to increase the concentration of theoretical lectures while minimizing the burden on students.