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It is universal that all women in shamainsm myth later become goddess because they are sacrificed for specific something and the sacrifice are used to restore a normal state, to point an ideal state. So we can pray to solve problem to the goddess that already had experienced and had settled like that problem. Through like this myth, we can understand a female-centered myth ideology unlike a male-centered myth ideology. That is, the male-centered myth ideology grasped in family as an aspect of a daily life has a pressure force, a female-centered myth ideology pursuit a tolerative power. And the myth that has these distinctions control family community in our life in exactly reality through sacred narrative.

This study is on the every day life reflected in roman-fleuve of Joseon, especially in Wanwoel-Hwaimaengyuen(완월회맹연). In Wanwoel, the narrative focuses on the character's family and their every day life. The flow of time and organization of space, and character's daily work is discoursed in detail. Regardless of its historical setting Ming dynasty, the daily life reflected in Wanwoel, is similar to the real life of Joseon's people. But they is not exactly same, because it is not history, but fiction. The every life of Wanwoel is not the real life, but the life that Joseon's people wanted to live. Contrary to modern novel in that daily life reflects estranged life of an individual, Joseon's novel narrates the daily life in that a individual is tied up to family, so a individual in Joseon's novel is happy. The difference is not just from the difference of age of generation. The basic cause is the difference of function of novel. Roman-fleuve of Joseon was not literati's work, but was solace or good pastime like modern film or soap-drama.

The purpose of this study is to reveal the nature of everyday life in Myojimyong(epitaph) and Chemun(ceremonial writing) for the dead woman in the Late Joseon. Particulary this study pays attention to the correlation between everyday life and social ethos, and pays attention to changes of literary style in accordance with new angles on woman's everyday life. There were great changes in the realem of the prose in the Late Joseon. Epitaph and ceremonial writing for the dead in the Late Joseon showed new styles differant from those of the past which had been written for practical purpose by the noble men. Particulary there were great changes in epitaphs and ceremonial writings for the dead woman written by her family. Those changes were based on a flexible understanding of women's everyday life. Many writers had discribed typical women's life according to dogmatic Way of Confucian ideas in epitaphs and ceremonial writings for the dead woman. In those works women's everyday life which had no connection with dogmatic Way of Confucian ideas had been ignored usually. However some writers recallected women's everyday life which had no connection with dogmatic Way of Confucian ideas or disagreed with dogmatic Way of Confucian ideas, and brough out their sadness lyrically. It apears to be based on a new understanding on the function of epitaph and ceremonial writing. Represntive writers are Kim Chang-Hyop(김창협), Kim Chang-Hup(김창흡), Bak Ji-Won(박지원), Yi Kwang-Sa(이광사) etc.

In the Joseon Sijo(시조) and Gasa(가사) literature led by author from Sarim(사림) class 'Home life' is transposed into repeated life embodying the natural figure(normative order relationship) between a human being and the world. The author's consciousness defined by this way has something in common with the sense that we have to retrieve the natural figure of existence and criticize the 'Allteglichkeit(everyday-ness)' of the public in the western modern philosophy. More deeply speaking, the discussion of the western modern philosophy is the core in the one of our medieval ages. Undoubtedly in the Joseon Sijo and Gasa literature 'Home life' transposed through the feminine figure and voice had based on the consciousness of the life having the 'Allteglichkeit' and also we could confirm that there was the movement to deviate from the transposed home life. Against the male author's consciousness from Sarim class trying to give the value on the natural and essential life, the movement came from the consciousness that the life aspect having 'Allteglichkeit' which they dismisses as the valueless and meaningless thing in their home life is more valuable and meaningful.

The group of Singing Gasa(歌唱歌詞) in the late Joseon dynasty which have the tendency of Japga(雜歌) is composed of <Gilgunak(길軍樂)>, <Baekgusa(白鷗詞)>, <Maewhaga(梅花歌)>, <Whanggyesa(黃鷄詞)>, <Suyangsanga(首陽山歌)> and so on. This thesis ascertained the truth that <Gilgunak>, <Baekgusa>, <Maewhaga> is similar to <Ssangwhageom(雙花點)>, <Hanlimbyulgok(翰林別曲)>, <Seogyungbyulgok(西京別曲)> which had been sung from Koryo(高麗) dynasty. The similarity is found not only in the words but also in the melody. So it is right to call the tendency of Japga which is revealed in this group of Singing Gasa(歌唱歌詞) as that of Koryogayo(高麗歌謠). And this group of Singing Gasa have important meaning in several respects. First, they prove the singing tradition of Gasa which has continued for a long time. Secondly, they play the mediating role connecting Koryogayo with Japga in the history of Korean ancient poetry. Thirdly, they can help us when we guess the musical form of Singing Gasa in the early Joseon dynasty and try to recover the music of songs which was collected in the ancient music book like Daeakhubo(大樂後譜) or Siyonghyangakbo(時用鄕樂譜).

This paper examined what sort of strategic narrative was used in the hangeul saga novel, Myeonghaengjeonguirok(명행정의록), in order to raise the status of novels in the late Joseon period. Since its origin, the novel had been continuously denounced because it was not fact, but gradually this fictitiousness was recognized and then accepted. Yet the fact that the novel was fundamentally not based on fact acted as a stumbling block to the active acceptance of the novel's value until the concept of the modern novel, which accepted this fictitiousness as the essence of the novel, became standard. If we reexamine from the point of view of the classical novel author this understanding of the novel's fictitiousness as falsehood, we see that, in one way or another, a breakthrough was necessary in the creative process. In order to solve this problem, the author of Myeonghaengjeonguirok expressed the emptiness of the narrative of history through an analogy between the narrative of Boeungiurok(보은기우록: the prequel to Myeonghaengjeonguirok) and the narrative of history. And on the premise of this narrative of history, the author insists that Myeonghaengjeonguirok contains unrecorded facts of history. Concerning history whose authority is officially recognized as a record of past facts, Myeonghaengjeonguirok shows that historical records are not at all the entirety of actual past events. Through this, Myeonghaengjeonguirok goes beyond the reality unrecorded by history to prove that the novel can demonstrate the principles of operation of a transcendental life and recognize a broader world.

This article examines the trajectory of discourse on filiality that arose in response to changes in the concept and constitution of the family during the Chosŏn and the way in which popular discourse contested hegemonic discourse on gender and hierarchy. It argues that whereas the prescriptive works reconcile the tension between filial emotions and filial values through an ideology of harmony in which emotions, either through extension or transference, are made to correspond to values, popular narratives such as Jeok Seongeui jeon, Sim Cheong ga, Jeok Seongeui jeon, and Bari gongju either reject the premise of harmony or when they uphold it, it is through the valorization of emotion. Seeing fictional narratives as embodying 'structures of contemporary feelings', the article also suggests that these vernacular narratives are an evolving 'langue' of a wide spectrum of people who coped with changes in the family and that as such, they were constituents of changes.