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Gyeseojabrok, a historical storybook compiled by Lee Hee-pyeong (李羲平, 1772~1839) during the first half of the 19th century, is composed of a total of four volumes. Volume one is a record of Lee Hee-pyeong’s family history, his personal experiences, and the stories he heard during his tenure as a local official. This volume is distinctly different in character from volumes two to four, which consists of stories based on legends from the distant past. Considering that Lee Hee-pyeong placed his family history in the first volume, it is clear that he valued his family record narration in the compilation of the historical storybook. Gyeseo󰠀jabrok is a historical storybook compilation that also includes the recorder’s family history, and this family history is of such importance that it accounts for approximately a quarter of the book. Only Lee Hee-pyeong’s Gyeseojabrok has this characteristic among the extant unofficial historical storybooks, but this aspect was not considered important in the previous studies. Therefore, this study aims to examine the characteristics of Gyeseojabrok as a family narration, focusing on volume one, and suggest directions for the study of Yadam (Unofficial Historical Stories).

This paper attempts to reveal the characteristics of portrait panegyrics such as Kim Jong-hui and Shin Wi in the history of the portrait panegyrics. It does this by analyzing the description of appearance and the View on portrait. Such characteristics were established in the context of friendship and influence of Qing literary figures such as Weng Fang-gang and Oh Seung-lyang, during the same era. While there was a strong intention to evoke the image and text related to Su Shi’s portrait, there was little interest in the specific description about the appearance of the portrait of the Korean literary men. In addition, Chusa Kim Jeong-hui school’s portraits brought forward specific themes such as “spiritual resemblance” and “literary connection,” through the portraits. These show their significant origins based on the poetry and literature of Weng Fang-gang in the Qing Dynasty. Meanwhile, examples of works in this article, including the visualization of other names in painting and poetry, show that their View on portrait, which emphasizes symbols over appearance, had been simultaneously readopted and recreated in other ways in the Korean–Chinese literary world.

This paper discusses the validity of the terms, “Auto-biography (自傳)” and “Autobiographical Literature (自傳文學)” and proposes to use them as conceptual terms for the autobiographical narrative of Chinese literature. First, we comprehensively considered and compared its etymology, concepts, usage, and categories, using the words “Autobiography (自敍傳)” and “Auto-biography (自傳),” which are used most commonly by researchers. Thus, based on the tradition of terms, acceptability, flexibility, and universal usage in East Asia, we determined that it is more reasonable to use the word Auto-biography (自傳) than Autobiography (自敍傳). Next, we discussed the words “Self-Narrative (自己敍事)” and “Auto󰠀biographical Literature,” both of which comprehensively refer to the various writing styles of the recently expanding autobiography. “Self-Narrative” has the advantage of being able to cover all self-writing styles of Auto-biography (自傳), essays, letters, and diaries, but in reality, it is a different autobiographical writing style. Self-Narrative is an over-expanding interpretation of the concept and type of auto󰠀biography. However, “Autobiographical Literature (自傳文學)” follows the basic nature of Auto-biography(自傳) and has the advantage of being able to cover various styles due to the wide literary nature of Chinese literature. Therefore, it is appropriate as an advanced term for Auto-biography (自傳). Moreover, the term Auto-biography(自傳) is used in the same sense as modern Autobiography(自敍傳), and given the current tendency to understand autobiography as literary text, the term Autobiographical Literature(自傳文學) can be used sufficiently in modern literature.

Yumong-in was a governor and writer who left notable writings in various areas of Joseon’s politics and military, socio-economic, academic, ideological, and literary during the turmoil at home and abroad. Yumong-in went to China three times. There are a total of 24 documents left which Yumong-in wrote to the envoys to China. The document is not only extensive in content, but also shows the nomad’s perception. In this paper, the documents of a nomadic man were divided into five items, including pride and recognition of being talented but unhappy, recognition of the poor in sentences, criticism of the Bungdan system, perceptions related to Chinese affairs, governmental perceptions, and perceptions of the situation of the times. Yumong-in wrote many documents to the envoy leaving China at the time, and through his documents, he showed pride in his sentence and the recognition of the disadvantaged. There are many contents criticizing the Bungdang system in the nomad’s certificate. In the certificate written to Wolsa Lee, the psy󰠀chological state of a nomadic person who is troubled with the problems of friendship and Bung-dang. The nomad’s certificate provided meaningful information on the Chinese speculation system at the time. It looked at the selection of the members of envoys, the roles of each department, the procurement of speculative expenses, and the misconduct of the officer. It also confirmed the strong criticism of the nomads’ literary system and their desire to study in China. There were many practical ideas of introducing advanced civilizations in the documents of the nomads. You can confirm the nomad’s political perception in the request to learn to rule the country in China and return. In 『於于集』, there are 8 separate episodes which Yumong-in wrote to the envoys to China. I looked at 2 pieces. In the 送詩 in 1619, it was possible to confirm the change in perception of the situation of the nomadic times in a situation where the power of early Qing Dynasty became stronger.

<Jagirok> is a material that shows the deep “relationships among women,” which was uncommon in the men-centered Joseon society. This thesis examines the characteristics of the relationship between mothers and daughters, sisters, and mothers-in-laws and daughters-in-laws, as shown in <Jagirok>. The author’s mother was described as an “ideal person” in every aspect, including her appearance, character, and intellectual ability. The author’s mother was not only a “lifetime model” to the author, but also had a significant influence on her view of life. Within a few months of losing her mother, when she was only ten years old, the author had to accept a stepmother. The shock and sorrow had a decisive effect on the author, causing her to view of life negatively. Meanwhile, there was a strong “sense of solidarity” in her relationships with her elder sister and mother-in-law, as they shared “lifetime experiences.” The author and her elder sister shared a sense of exclusive solidarity from sharing grief and condolences after losing their mother. Later, the elder sister helped to care for her brother-in-law, which provided them with the opportunity to build a stronger sisterhood. In the author’s relationship with her mother-in-law, they felt a little bit of distance from each ther during the early days of the marriage. However, they gradually formed a sense of solidarity by jointly and implicitly responding to their irrational parents-in-law. After the death of her son and husband, the author actively stopped her mother-in-law’s suicide attempt and built a new relationship by sharing the position of women in the men-centered society. In the men-centered and patriarchal Joseon society, <Jagirok> emphasizes the importance of “women’s position and experiences,” maternal care, and sisterhood relationships. Moreover, it shows that a woman, through writing, could record and transmit memories about other women. This was something beyond the imagination and planning of patriarchy regarding relationships among women. <Jagirok’s> value as women’s literature may lie in this.

The purpose of this study was to examine the masculinity of Kim An-guk, the main character who is excluded from the traditional male image of the patriarchal system, and the socio-cultural meaning of “Kim An-guk” in “Dong-sang Gi-chan.” Through this study, I intended to reflect on the limitations of dichotomous thinking that distinguishes “normal” from “unnormal” through the so-called social standards. First, I looked at the aspect of Kim An-guk’s marginalized masculinity and the aspect of exclusion by hegemonic masculinity. Second, I examined the relationship between Kim An-guk and his wife Lee, who were excluded by hegemonic masculinity. The way Kim An-guk’s wife, Lee, drew his ability was somewhat unconventional in the traditional patriarchal standards. Behind that unconventional method was a solidarity based on mutual understanding between the marginalized masculinity and the femininity that was subordinated to the other, following the existing orderly system of patriarchal society. The way Kim An-guk succeeds in “Kim An-guk” and the changes in the perception of the others reveal the cracks in the values that hegemonic masculinity pursued. Kim An-guk, who will lead a family and further a patriarchal society as a patriarch, demonstrates his abilities in a completely different way from what had been thought to be an absolute method so far. In terms of hegemonic masculinity, the existing order system begins to crack in that Kim An-guk, who used a so-called “unnormal” method that did not conform to tradition, is qualified to lead a family and society as a patriarch. At a glance, the patriarchal order seems to be maintained solidly because it met the standards presented by the traditional patriarchal society. However, it acknowledges the limitations of the traditional patriarchal order, which had been dominated by hegemonic masculinity, which had been solidified by acknowledging ways that have not been done before and heterogeneous methods led by femininities. Now, there is no ‘normal’ method to define one absolute hegemonic masculinity and its hegemonic masculinity. “Kim An-guk” shows the mismatch between the ideal and reality that traditional masculinity aims for. Changes in the perception of marginalized masculinity will promote a new perception of the existing order that has kept the social system solid. It turns out that the existing traditional patriarchal order and the rules and methods for constructing it are, in fact, nothing but fiction. Masculinity faces the change.

This study examines the activity of Annie Baird, who visited Korea in 1891 and committed herself to missionary work in the country before her death in 1916, and her interest in literary mission expressed in early mission pamphlets and the fiction titled SaitPyuljeon. Annie Baird arrived in Korea in 1891 as a missionary of North Presbyterian Church. She carried out her missionary work in Busan and Daegu until 1897, when she moved to Pyongyang and continued proselytizing efforts. In particular, her work focused on literary and educational mission, and her perception and interest in this regard is carefully studied in Chapter 2. Annie Baird authored her Korean novel, SaitPyuljeon, well before she lived in the country for 10 years. The story is about a young girl name SaiitPyul(Morning Star for Korean), who was brave and devout enough to sacrifice herself to sow the seeds of faith in a religiously barren land. The fiction, as part of a mission pamphlet, takes the form of question and answer, which helps readers understand Christian doctrine easily. It also depicts day-to-day situations that are familiar to potential readers, thereby helping them easily relate to the story. In chapter 3, the fiction is broken down into two aspects, i.e. writing techniques and the contents, and analyzed separately. Thus far, SaitPyuljeon, written by Baird in 1899, was largely regarded simply as a preliminary work anticipating later works created by Annie Baird, including Daybreak in Korea, Go Young-Gyujeon. However, the fiction epitomizes her effort to create documents for missionary work that has far-reaching impact. Also, the story should be appreciated in its own right as an early-day missionary work document, especially given that it presents key Christian principles and the model Christian in a concise as well as detailed fashion.

In this paper the protagonist is “the person who anguished” and the meaning of his early death through the writer’s consciousness was explored, the Second coming of a Saint. “Yu-hyo-kong-sŏn-haeng-lok,” written during the late Cho-sŏn period, is a meaningful novel that illustrated the dominant ideologies and practical aspects of its era. Beyond focusing on the filial duty issues in the novel, I tried to examine the writer’s intention by analyzing the situation and selection of “Yu Yŏn.” Consequently, I have clarified in this paper that the writer had set up a corrupt time, extreme combinations of characters, and the elimination of the possibility of the mending villain. Additionally, the protagonist was revealed as one who anguished about “the right way of life.” Following this, I explored the choice of the protagonist, the narrative strategies used to emphasize his achievement, and the roleof the pain presented in the novel. Due to the desperate necessity, the writer summoned “Yu Yŏn” as the shape of a Saint in one’s ear. However, the severe pain and the early death of the protagonist can be interpreted as the writers’ criticism and the despair.