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Aspects of Daily Characteristics on Sadaebu-gasa in 18～19th Century - Keep an Eye on the Theme of Old Age, Women, Family Park, Kyeong-ju This thesis pointed on the daily characteristics on Sadaebu-gasa(사대부가사) in 18～19th century. Especially this thesis pays attention to the theme of old age, women, family out of various daily characteristics. And for the purpose of this thesis three sadaebu writers in 18～19th C. were selected.: Gu Gang(구강), Hong Won-jang(홍원장), and Wi Baek-gyu(위백규). The three writers are classified Capital Sadaebu(경화사족), Youngnam countryside Sadaebu(영남향촌사족), and Honam countryside Sadaebu(호남향촌사족) respectively in accordance with the class. Gu Gang handed down the works of ꡔBugsaegog(북새곡)ꡕ, and fourteen works were recorded in them. Hong Won-jang handed down two works which was named <Sangsimhwajenga(상심화전가)> <Johwajenga(조화전가)> in ꡔJabrok(잡록)ꡕ worked by a woman writer, Andong Kwonssi(안동권씨). Wi Baek-gyu handed down <Jahoyga(자회가)> in his the works ꡔJonjaejip(존재집)ꡕ. As a result of study on the works of three Sadaebu writers, the composure and the contemplation are appeared on the works of Gu Gang, and the humor and the sorrow are appeared on the works of Hong Won-jang. Also the sorrow and the Confucian ideology are appeared on the work of Wi Baek-gyu.

The Routineness Appearing in Pansori Jeong, Choong-kwon This paper tries to investigate the routineness appearing in the five Pansori works transmitted so far, and find its meaning. Pansori often approaches the audience by revealing routineness as familiarity and repetition, when the audiences greatly express sympathy with the situations in the play because they are frequently observed in neighbors. Especially, the insertion of related songs contributes to the enhancement of sympathy. Thus, the representation of routine in Pansori can be said to be a mechanism for sympathy aiming the audiences, who live a similar life with the characters in the play. However, more significant in the view at that time are the routine as survive, and the routine revealed as a problem of the real through the destruction by the external power. While it becomes a play in <Heungbo-ga>, the routine in <Jeokbyeok-ga> exists in the memory to be reminded by nameless soldiers. In the latter, the routine destroyed by the external power, and thus revealed as a problem of the real is depicted. The routine depicted in this way must contain significant questions.

A Study on Daily Life and the Meaning Of the Late Joseon Literary Man Kim, Nam-ki This thesis is an inquiry into daily life and meaning of the late Joseon literary man's diary, letter, etc. Yoon Choi-sik and Shim Yek presented the daily routine of the late Joseon literary man. Yim Young and Yu Man-ju wrote down the attitude of keeping a diary. Their recordings stressed on self-examination and encouragement. Writings of Kim Chang-heup, Min U-sam, Choi Heung-won, Lee Deok-mu, Park Je-ga reflected disorder of Samjeong and the attitude of a governor, the aim and effect of Segye, article on the process and expense of a funeral ceremony, the style of Shim Sa-jeong's paintings and criticism of those days painting style, new discoveries from window paper and gravel.

Aesthetics of ‘Common Narrative’ on the River Novels - Rope Dancing Between the Common and Uncommon Han, Gil-yeon The affinity of women and common life is well known. This thesis examines the aesthetics of ‘common narrative’ on the story of Hyeonssiyangwoongssangninki, Okwonjaehapkiyeon, and Wanwolhyemaengyeon. ‘Common narrative’ is shown in the grand part of wife’s making play on husband and the family of husband’s taking part with daughter-in-law. In these common narratives the hope and desire of women in agony under the patriarchal system of the time place. It is presented in the form of making play on and embarrassing men, occasionally by women oneself and occasionally in the conspiracy with family of husband. The tight rope dancing between common reality of the time and the desire of getting out of common life is the aesthetics of river novels of the latter period of Chosun Dynasty. Women of the time might dream another common life over the real common through these common narratives of the novels.

Love in Noble Society of the Shilla and Dailiness of Hyang-ga Shin, Jae-hong This paper is an investigation of the dailiness of Hyang-ga through the new document of the Shilla’s history, Hwarangsegi. The noble classes’ intensive passion for love is well documented in Hwarangsegi. The noblest classes were worshiped as gods by people. The love acts in noble society were encouraged for reasons of maintenance and succession of the divinity. From perspective of social hierarchy, upper classes were serviced sexually by lower classes. The society’s network was built on sex services. Everyone in the Dynasty admired beautiful women and men, so beauty held the highest value. This indulgence in sex could not break the society’s order. Because noble classes held fidelity to the divinity of the royalty and idea of great love which was combined with social morals. Hyang-ga could be explained by conventions and consciousness of love in that age. Songsadaham-ga and Cheongjo-ga have a direct relationship with the love conventions of a noble society. Though Seodong-yo, Heonhwa-ga, and Cheoyong-ga were authored by those who did not belong to a noble society, they nevertheless show the same love conventions. In addition to love conventions, the distinctiveness of daily life of Shilla is reflected in Hyang-ga works.

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The Companionship and Literature of Gwon Pil(權韠) and Yi An-nul(李安訥) Gu, Bon-hyun Gwon Pil(權韠) and Yi An-nul(李安訥) were the most famous poets in Mongneungseongse(穆陵盛世). They has kept company with each other from young ages. Their families were both famous, because their ancestors were great poets & writers. In Andong Gwon Family(安東權門), Gwon Geun(權近) and Gwon Byeok(權擘) were great writes. Yi Eui-mu(李宜茂), Yi Haeng(李荇) were also famous poets in Deoksu Yi Family(德水李門). Two familes were noblest in early Joseon dynasty, but had declined in 16th century. Gwon Pil and Yi An-nul applied for Gwageo(科擧) in young ages, but both failed. Gwon has never applied again, but Yi passed in 1599. Yi spent all life as civil officer from that time. Gwon and Yi criticized Songsi(宋詩) and recognized Seongdangsi(盛唐詩) as a good model together, but their poetical style and technique were so different. Gwon studied all of poetical style, not discriminate Dangpung(唐風) and Songpung(宋風). Yi was so eager for studying Hanyu(韓愈) and Dubo(杜甫). And he devoted himself to training poetical techniques. Critics of those days criticized that Gwon’s poetry were too dry, and Yi’s poetry were too monotonous. But Gwon and Yi succeeded to make new poetic styles, so it is obvious that they were important poets of Mongneungseongse.

Some Issues in Pansori History Examined in View of the Adaptation of Folk Songs Yi, Yu-jin This paper examined the birthplace of Pansori and the formation process of the twelve Pansori works in view of the adaptation of folk songs. Folk songs included in Pansori were created through the borrowing of southwestern Korean folk songs. Yet they were not continuously created in this manner, and after a period of time songs that had already been established as folk songs included in Pansori were adapted and used in other works. According to the results of research on the channels through which folk songs were borrowed, we can determine that Pansori originated in southwestern Korea. Also, it is inferred that the twelve works mentioned in Song Man-jae’s Gwanuhui, were comprised of works that took shape in southwestern Korea and works that were newly created in Seoul.