KJC Korea
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This article examines how migrants from Ming(明) were treated and represented in Joseon Dynasty through the records of them which had been written by the Joseon intellectuals and the descendants of migrants in that period. Though the number of immigrants who came from other countries like Japan and became naturalized was not small from the beginning of the Joseon Dynasty, it was in the late Joseon Dynasty when immigrants rapidly increased. Most of them were descendants of the Ming soldiers who came to Joseon as supporters during the Imjin War, or people who came because they disobeyed Ching or displaced persons from Yodong area after the fall of Ming. The Joseon people named them Hwangjoin or Hwangjoumin, and treated them with respect based on the theory of Jonjou(尊周). These people were even allowed to serve public service and the Joseon Dynasty left records of them. But the displaced persons from Ming were not recognized by the intellectuals of the Joseon Dynasty and failed to engage in the upper society of the Joseon Dynasty. This article suggests that the representations of Kang Se-jak(康世爵) and Guljeo(屈姐) and the language problems they had faced significantly revealed the location of displaced persons from Ming. Kang Se-jak could not properly communicate in the Korean language, and Guljeo herself was not rightly named. Kang Se-jak could not learn the Korean language while he forgot the Chinese language. Though he was able to write the Chinese, he couldn’t speak any language properly between the old native language and the new language. This situation showed his location at the border of the language, and the life on the border. Considering this, we can't say that Kang Se-jak lived a life as a subject. Guljeo, losing his original name and called by a similar name, also couldn’t live a life as a subject. Some other displaced persons from Ming besides Kang Se-jak and Guljeo were found to be positioned as middle though they were economically needy. In this situation, some descendants of the displaced persons from Ming tried writing records of their forefathers’ stories of immigration and settlement. These records were regarded by Joseon intellectuals as the counter-narrative about the displaced persons from Ming against those which were written by Joseon intellectuals. But ironically, the narrative by the descendants from Ming’s migrants was only to strengthen the boundary between inside and outside by focusing on their own identity.

This article rereads the works of literature related to portraits of the late 19th and early 20th centuries, focusing on the penetration of the times that threatened and replaced traditional images and descriptive frames. As a result, it has been confirmed that portrait-related literature of this period had been reborn as a conflicting image between tradition and modern boundaries, and the instantity of photography was thought to contribute to the introduction of modernity into portrait literature. Even though the characters and words of the genre of traditional portrait self-praise during this period were maintained, there were interfered in the self-praise of the portrait by the changing culture and customs, the changing aspect of the times like an exile experience, and the uniqueness of the ego, appearance, and spatial representation. This was not a conscious attempt or a deliberate transformation by intellectual writers who were trying to break away from the existing self-praise grammar, but it could be meaningful that the dynamic social image of this time had fueled changes and diversity in the content of self-praise.

This study aims at comparing <Haedogyogeosa>, a recently identified Manchurian exile gasa, with <Buntongga>, to examine the similarities and differences between the way the female and male authors perceived reality and expressed their perceptions in the form of a gasa while living in the border area of Manchuria. This study focused on the points of contact and differences between the authors' perceptions of reality and expressive aesthetics, in order to approach the two works in a more three-dimensional way. However, the two works basically share commonalities in that the authors strove to endure their harsh reality by converting their agony into the gasas and communicating with the world in the midst of the extreme situation that forced them to exile to Manchuria and all the subsequent sufferings. However, <Buntongga>, which was created based on Confucian notions or historical consciousness that were valued among men, mainly features didactic and abstract expressions, whereas <Haedogyogeosa>, which addresses to female readers around the author, shows differences in the way of expressing the hope of national independence compared with <Buntongga>, which is based on ideological imagination. The differences seen in the two works have significance in that they allow us to examine, from an integrated viewpoint and in a complimentary way, the historical consciousness of the authors who tried to share their aspiration for national independence with others and society at the same time, as well as to express their inner sufferings.

This article examines the ideological and narrative origins that make up the characters of Korean long novels. Specifically, with the focus on the family novel series, <Wanwolhoemaengyeon(玩月會盟宴)>, we discussed the process of forming the central figure as a fusion of Confucianism and Taoism by focusing on the aspect of acceptance and the narrative origin. <Wanwolhoemaengyeon> uses the descendants of Cheong Myung-do, who was the initiator of New Confucianism, as the main family. The main character, the male protagonist, is basically a Confucian military figure. Among them, in the case of Cheongjam, which leads the narrative from the beginning to the end of the work, it not only highlights the Taoist image of “Shin Seon(神仙)” in the first appearance, but in the second half, it introduces the past life history, which was the official in the heavens. It is a historical figure, descended from Cheong Myeong-do, and cosmologically set as the successor of Mun Chang-sung. Munchangseong has a narrative that begins with the image of the heavenly celestial body and transforms into a deity called Munchang empire. Munchangseong is the representative deity of Taoism, and is widely accepted by the upper classes of Joseon society, as well as by Ming and Qing. In addition to the image of Sungmun(崇文, Admiring academics), he confirmed the idea of ​​“Chunghyo(loyalty and filial piety)” based on “Hyo(filial piety)”, which was emphasized by the Joseon Dynasty. 'Chunghyo' in the narrative of the Jaedong empire, which is embraced in the process of personalization and deification of Munchangseong, is emphasized. This can be confirmed in the Taoist scriptures containing the narrative of the Changchang empire. The acceptance of Mun Chang-sung's story elements can be said to be a task in which the high-novel Confucian narrative world embraces the Taoist narrative world with great importance. In addition, the Gunja(good man)-type figure is an ideological fusion-type man who made a narration of Confucian values ​​and Taoist imagination, which seems to reflect the desires of the peoples who wished for a transcendental position on moral superiority.

This article analyzed the weaving technique of the discourse of ‘Sipjanga’, a scene of Chunhyang's punishment, which is one of the highlights in Chunhyang-jeon, and then revealed the functional meaning of it. ‘Sipjanga’, the essential part of Chunhyang-jeon provides an intense description of Chunhyang’s protest against unjust orders of a new magistrate, Byun Hakdo. It depicts scenes in which he orders Chunhyang to be flogged and she voices against him in a fit of rage; and it is a major part of ‘Sipjanga’. At this moment, Chunhyang's speech calls attention as it consists of a unique narrative format; when the commander flogs Chunhyang one by one, she repeatedly asserts her chastity and exposes the injustice of Byun’s compulsion by using the number of floggings as alliteration. This discourse of ‘Sipjanga’ unfolds amid the intersection of two axes of the reason: a metonymic combination of number-related words and a metaphorical choice of body-related concepts. The metonymic discourse method, which develops by using numbers, meets the narrative meaning of Chunhyang's resistance to the situation where the violence of Byun is inflicted; and the metaphorical discourse method, which seeks to understand the extreme pain of flogging and the psychology of that time from the perspective of the ‘body’, seems to be produced in a process of vertical inference hinged on Confucian reasoning systems or value orientation. As these two techniques of discourse intersect, ‘Sipjanga’ makes readers remember the narrative meaning for a long time, revealing Chunhyang's pain in the situation of punishment in objective figures, and at the same time, it makes easier to sympathize with Chunhyang and be immersed in the narrative, expressing her feelings through embodiment. For this reason, it is assumed that the unique technique of "Sipjanga," which maximizes the amusement of Chunhyang-jeon could have remained unchanged despite the variation in the content of many different versions. Therefore, this research is meaningful in that it attempts to explore the context of meaning through linguistic form and content, which has not been actively addressed in the previous study of Chunhyang-jeon.

This paper examined and explored the trend and the meaning contained in it in <JoSsiSamDaeRok>, noting that Seol-Gang, a representative figure for "male villain" of <JoSsiSamDaeRok> which is one of the Korean full-length classical novels; he committes evil because of the feeling of jealousy. <JoSsiSamDaeRok> is one of the Korean full-length classical novels believed to have been created around the 18th century, featuring the stories of the children of the twin brothers, Jo Moo and Jo Seong. The person who commits the most persistent and heinous misdeeds in this work is Seol-Gang, who is jealous of his friend, Yoo-Hyun, the son of Jo Seong. He is jealous of his friend's family, ability and marriage, and tries to kill his friend and plots to do harm to the friend's wife. However, the plan does not go as planned, and he just collapses, being punished and repented, and in the process, his friend's virtues are highlighted. By setting up such a jealous character, this novel describes the subtle psychology of jealousy, the emotion that ordinary people can feel, and expresses human nature to induce reflection on it. In addition, by setting the male villain as a jealous person, the narratives, characters, and spaces are extended to those outside the family and various interesting elements are created to add to the fun of the work.

Kim Sam Bul is one of the scholars who established the foundation of ‘Joseon Literature’ in modern literature through the educational programs of Yeonhui University in the colonial period and Seoul National University after Korea’s independence, and is a scholar who left clear traces of the research on the texts of ‘Gasa(one of the traditional verses and songs of Joseon)’, ‘Pansori(the traditional storytelling song of Joseon)’, and historical research on Korean literature. This essay analyzes Kim Sam Bul's result of the study of ‘Pansori’ and his design for the history of ‘Joseon Literature’ through his annotation of Korean Classical Literature, research on Shin Jae Hyo's ‘Pansori Saseol’ which was his graduation thesis on Seoul National University, and description of Pansori on his studies on ‘Joseon Literature’ which was written after his defection to North Korea. Therefore, in this article, the influence and traces of him on studies on Korean Pansori and classical literature history is examined. Kim Sam Bul's research on Korean literature has been marginalized and erased from the history of Korean literature. However, his studies have been handed down to the present day through evolutionary descriptions of the history of Korean Literature and Pansori studies. Kim Sam bul's studies on Korean literature and design for the history of ‘Joseon Literature’ have to be studied in order to reflect on the studies of Korean literature that was distorted by the colonization and the division of Korea and to rebuild the history of Korean literature with the aim of true decolonization.