KJC Korea
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After the COVID-19 pandemic, the ‘metaverse’ has emerged as an important topic in various fields of our society. Translated into ‘transcendent world’ or ‘virtual world’ in Korean, this term reproduces various activities of people similar to reality in a virtual space that seems to have copied the real world. In this context, discussions on metaverse utilization are already actively underway in various fields. In this paper, the role and tasks of Korean classical literature in the metaverse world have been discussed. On the contrary, it is also a discussion about how to use the metaverse in Korean classical literature. To this end, this paper first discussed the changes in the learning environment and the problem of learning subjects that the digital generation faced. Unlike the past, the digital generation has positioned itself as a ‘learning subject’ rather than a ‘educational object’, and has the characteristic of becoming a ‘content producer’ rather than a ‘content consumer’. Next, based on these characteristics, the role and tasks of Korean classical literature in the metaverse era were examined. First, on the premise of accurately interpreting and understanding individual works of classical literature, the reasons for moving from the sharing of universal emotions to personal acceptance were discussed. Next, considering the characteristics that variations and processing are easy in the metaverse world, the possibility of using classical literature as a learning material was examined. The concept of the metaverse is not yet familiar to everyone. In particular, it is an even more unfamiliar concept to classical literature majors. However, it is necessary to make efforts to enhance the modern value and utility of classical literature by using a platform familiar to the digital generation.

This paper examined that classical literature is a valuable text that can building up Verstand just because it is old. The reasons for this are the following three. First, I wondered if the value of classical literature was coming to an end. Second, some pre-modern literature that does not have a status as classics may have excessive meaning. Third, it is difficult to prepare lectures at universities because the number of works with classical status is small among pre-modern literature. As a response to this, the following discussions were conducted in this paper. Chapter 1 established a justification for discussing the value of classical literature by diagnosing the reality of the decline in the status of classics. Chapter 2 focused on the problem of the value of classical literature. The actual appreciation results of Song Soon(宋純)’s Sijo work “Managing a Decade”(십년을 경영하여〜) were analyzed. The analysis results are as follows. The difference in the literary environment is involved in the temporal distance between the reader and the work. This results in differences in language texture. This difference has a characteristic that acts to make the reader understand the familiar concept formed in the good deed. Chapter 3 examines the meaning of the analysis results in Chapter 2 in Kant’s concept of Verstand. As a result of the review, it was found that the reader’s Verstand was built up in the process of appreciating classical works. The building up of Versatnd was caused by the reader’s efforts to understand the language of ‘Then, There, His/Her’ in order to reduce the distance from the language of work, ‘Now, Here, My’. The degree of Building up depends on the degree of effort. The following topics were demonstrated by the discussion of this paper. Classical literature is valuable as a text that can build up Verstand just because it is old. The reason is that classical literature works were produced in a different literary environment of ‘Then, There, His/Her’, which is far from the era of ‘Now, Here, My’ of the reader. The difference in language texture itself, which is caused by old age, is the foundation for building up Verstand so that the world can be viewed in various ways. As a result, the following three problems were solved. The first is the problem that researchers give excessive meaning to some pre-modern literature. The second is the difficulty of selecting works for instructors to lecture in the educational field. The third is anxiety about selecting. The perception of this value of classical literature will serve as an opportunity for the center of classical literature to shift somewhat to old literature.

First, in the field of related search terms, it is as poor as ‘Chunhyangjeon’ that is directly related to Korean classical novels. Except for educational materials, about 『the classic novel Odyssey』 appears on the first screen, and as for videos, popularized videos do not appear except for educational materials. Related news is also not receiving attention except for distributing press releases. Books related to classical novels also mentioned the degree of publications of institutions that distribute press releases. In particular, from January 1, 2021 to August 16, 2022, there were no books related to classical novels on Kyobo Bookstore’s best seller list. Second, in bookstores, both classical novel theory books and popular books were already missing from bookshelves. It proves that the keyword “classical novel” is gradually being erased from the public’s eyes. In the survey, the degree of overall awareness of classical novels was low. The reading volume of classical novels was very insufficient, and the reading tendency was simple. However, what is hopeful is that there were many demands for popular books and lecture programs related to classical novels. Third, Lim Chi-kyun’s lecture on royal novels during the Joseon Dynasty was very well received by the students and showed very high satisfaction in the satisfaction survey. In the case of videos produced for “the Story of Yedeok Teacher”, they paid more attention to life than the keyword of classical fiction. Fourth, through Lee Hu Nam’s 『Monsters』, there are contents that he learned various classical novels through interesting monster and its image. This directly showed the possibility of character development based on the imageization of classical novels. Through online reactions to Shin Byung-joo and Noh Dae-hwan’s 『History Travel in Classical Fiction』 the positive effect of connecting classical novels to historical and cultural phenomena of the Joseon Dynasty could be confirmed. Through this analysis, there were not many areas where classical fiction majors could directly contribute to popularization. It was found that translating classical novels into modern languages is important, and YouTube video production, publication of a popular book, and operation of lecture programs are the most realistic methods.

This article presents a method for how to educate the emotion of ‘love’ using classical novels in liberal arts classes at universities. Classical novels were difficult for modern readers to enjoy due to barriers to entry such as archaic words and Chinese characters, stereotypes of “no fun”, and other cultural customs due to differences in the times. In order to overcome this situation, this article proposed to instrumentally deal with classical novels in liberal arts classes at universities. Instrumental handling of classical novels means that they are free to read classical novels and ‘misread’ them to open a place of thought. This also means that classical novels are consumed in terms of fun. If liberal arts classes are aimed at improving critical thinking rather than conveying knowledge, it is also meaningful to use classical novels in this way, and students may have an opportunity to be interested in classical novels. In order to handle classical novels instrumentally, accessibility must be improved through translation and students must be motivated to read. Therefore, this article suggested to students how to read classical novels through the theme of ‘love’ in liberal arts classes. In the class, classical novels were used as a tool to look into the emotion of ‘love’. This is based on what Erich Fromm calls ‘The Art of Loving’. In other words, love is an object to study and learn, and it will be used as a tool to indirectly experience love for students in their 20s through classical novels. The class was divided into three parts: “What is love?” “The event surrounding love,” “Love and deviance,” and with the instructor’s lecture, students formed a group of presentations and personal assignments. This composition can be carried out differently depending on the instructor’s intention.

This paper examins the reality of whether the literacy of the current liberal arts classroom is in a state where narrative and classical literature can be read or rewritten using it. To this end, various communication beyond traditional meanings such as text, oral, video, and digital, and the system in which these communication are combined are viewed as media in a broad sense, and these rules of media writing are defined as literacy. As a result of examining students’ literacy and media literacy in detail through the examples of liberal arts classes at each university, substitution (metaphor), which is the main axis of language, is suppressed in each university, and the principle of contiguity(metonymy) preceding substitution in Chinese literature classes is suppressed. In the SNS space mainly used by them, excessive metaphors and broken metonymy were seen, simplifying complex situations into abstract problems or reducing them to peripheral problems by fragmenting only a part of the whole. As such, the classroom is a place where various media coexist, imitate each other, negotiate, and collide. Existing analog literacy alone cannot describe the media literacy of classroom, and instructors cannot stay with analog literacy only. The instructor’s literacy should not be limited to transfer, interpretation, enlightenment, or prescription. We should think of learners as tribes and foreign language speakers, exchange new literacy with them, and translate, create, and produce. Clear information delivery and the pursuit of computable language, on the contrary, the phenomenon of failure to reach language and fragmentation of language is a new linguistic disease in an automated society. The practicality of liberal arts, education, and humanities lies in the ‘surplus’ of non-practical language, not practical language, and language, not clear and transparent. It is necessary to invent meta-language that connects instructors, students, and mouths, and restore the poetic function of language.

This study aims to read the meaning of life and death culturally anew, focusing on the narrative of women’s death in Shaman myths. In shaman myths, death and resurrection events after death occur only in women (goddess). There is always death in the life of a woman who lives as a family member of a daughter, wife, and mother. Women’s death situations and the process of solving problems vary from myth to myth. However, women in myths are performing a common task in that they face a death incident while playing a role as a family member. In addition, the common narrative structure of ‘life → death → life’ can be confirmed in the process of a woman’s life leading to death and a series of events leading to another life after death. However, there is always a middle term between ‘non-life’ and ‘non-death’ in the narrative from life to death and the narrative from death to life. From this, a new cultural reading of life/death could be explored. As a result of analyzing the narrative structure and narrative method of women’s death, the women of myths are resolving the contradiction between living and dead life. Such death is not a tragic event that signifies the end of life, but shows the continuity of life in that it becomes an immortal existence that never dies as death. In this respect, the death of a woman in shaman myths is understood as a sacred event that leads to belief in the immortality of a divine being. Women face death as a mechanism to resolve the deficiencies given to life. Through this, you can read the myth of enabling filling with emptiness. It is natural for women in shaman myths to become the protagonists of cultural creation in that they rule the human world by traversing the lives of this and the afterlife. However, the cultural meaning and logic of the myths inherent in the death of women have not received much attention because of the male god’s activities shown in the myths. Death functions as an inevitable narrative device that heralds the emergence of a new goddess, and contributes to reading a new culture in that it causes an expansion of the perception of life/death.

“Geumsan Mongyurok” is a unique structure in which the letters between the two spirits, which are divided due to the preservation and opening of Geumsan Mountain, account for more than half of the works. The difference between the positions of the two spirits who show conflict over the preservation and opening of Geumsan Mountain is main contents. Although Oh Yeon-ong is the main character, he is a person who is not directly related to the incident, and maintains an objective attitude toward the dispute between the two characters outside the case. Oh Yeon-ong, who has read all of their letters, evaluates both the narrow Geumsan godly lord and the Noryangsubu’s attitude to embrace everything, but he suggests solutions only with very short remarks. Here, what he claims short but strong is the intention of ‘mediation’. Although it is a short ending, Kim Myeon-woon expressed his reflection and spiritual orientation through Mongyurok. It is easy to think that mediation is an esoteric moral sermon, but it is related to balancing life in the era of extremes. He also said that it is not to make a compromise after thinking roughly, but to think fiercely and ask for the best conclusion to come out of the human world. In th`is way, Mongyurok in the 19th century can be said to be a unique work in the periphery that did not guarantee popularity in the development of a huge novel history during this period, but it can be evaluated as a unique and vital literature that showed the diversity and abundance of epic literature. The problem consciousness of local intellectuals in the 19th century can be found to be meaningful in that it specifically shows the personal and social situation facing the time and teaches lessons through the combination of narrative and editorial.