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This article aims to examine the social context in which the Princess Bari epic came to be regarded as a canonical epic text representative of Korea. The way in which this shamanistic epic was reexamined to become one of the representative myths of Korea aptly illustrates how a text is established as a canonical work within society. This process involves the rediscovery and reinterpretation of the meaning of certain elements of the text within the given social and cultural context. The canonization process of the Princess Bari myth can be divided into four phases. The first phase, dating to the 1960~70s, witnessed the intensive study of oral literature and shamanistic epics amidst the widening social interest in traditional folk culture. In the second phase, dating to the 1980~90s, active attempts to reinterpret the Princess Bari myth took place within both the academic and arts communities, particularly amidst a heated interest in feminism. The fact that the heroine is an oppressed being within a patriarchical society, the fact that it is a worthless and abandoned daughter that is considered to be the only being that can heal an unwell society, and the fact that gut rituals and shamanistic epics are female gendered cultural forms all came to be actively reconsidered and imbued with meaning as a result of the feminist influence. In the third phase, the Princess Bari myth came to be included in Korean literature textbooks according to the 7th national curriculum standard. This was due to the spread of feminism within society, as well as the result of the academic community's continued research into the literary traditions of Korea. The inclusion of the Princess Bari myth within the national curriculum was an acknowledgement of the importance of the myth as a canonical text, as well as an event which acted to reproduce its importance as such a classic. Finally, since the beginning of the 21st century, the Princess Bari myth has come to be widely consumed by the public following its active representation in various forms, such as publishing, theatre and film, following the flourishing of the cultural contents industry.

Lee In-Sang’s A Taoist Immortal as Swordsman has been interpreted as a portrait of the artist himself, or as a portrait of Yu Hu who was given the painting. From a critical viewpoint on those two interpretations, this paper attempted a new interpretation with an emphasis on the relationship between the artist and the presentee.

The purpose of this paper is to get the integrated viewpoint that presume gisaeng(geisha) as the subject of writing and enjoying Saseol-sijo. For this, this study considers the social and economic context of prevalence of Saseol-sijo first, and how the adult entertainment space is described in Saseol-sijo. And Using Luce Irigaray's concept of 'gaze', this study analyzes the narrator's character in Saseol-sijo works which sing love and sexual love. From this, We know that ‘the female gaze’ is fundamentally opposite to ‘the male gaze’, so the former cannot be reduced to the latter. Through discussion like this, We also infer gisaeng(geisha)’s having played a role in the writing and enjoying Saseol-sijo works in which woman narrator sing a love and sexual love. To clarify this inference is reasonable, this paper compares Saseol-sijo and Yuefu-min’ge in Ming dynasty of China.

In this study, it is to seek critical discussions aimed at meaning of poetry that resolved around 'an essay on poetry', 'criticism of poetry', and 'versification'. In an essay of poetry of 'setting up meaning' and 'Eonoeui', it mentioned a difficulty of setting poetry's meaning. So we can find aspects that focused on convey of poetry's implicative meaning. In meaning-series view of criticism, it said that the most important criteria of poetry is complying analysis and evaluation of poetry's meaning. Also, In versification of meaning-research, it said that we have to accumulative knowledge, enlarge our experiences, and make attitude to love people with open mind to the world. And then, we have to make an effort to research meaning of poetry. So we can write a good poem.

Unyeong-jeon begins with the sentence, "Mansion Sooseong was the mansion of Prince Anpyeong in the past". Mansion Sooseong is the main space of the novel. But Prince Anpyeong's mansion had not been called Mansion Sooseong in his days. The name '壽成宮' has been used after Prince Anpyeong was died for treason and his mansion was handed over to the royal concubines of King Moonjong. Mansion Sooseong was written as 壽聖宮, too. 壽聖宮 is found in the document of Chosun period, but it is the false report of Palace Ingyeong. The writer join Mansion Sooseongs and Palace Ingyeong for he intended the overlapping of two images, Prince Anpyeong and palace. As Mansion Sooseong is the palace in Unyeong-jeon, the maids of Mansion Sooseong is represented as the court lady. They cannot go out freely, cannot meet another man but Prince Anpyeong, and can't marry. However this image of court lady is unreal. There is difference between the women of Unyeong-jeon and real court lady of Chosun. I infer the unreal image of this novel from the Songs of court lady, some kind of Chinese Music Bureau poetry, because I can find the image of incarcerated court lady in the Songs of court lady. Besides, many songs of court lady is written in female narrator's first person like Unyeong-jeon. So I think Unyeong-jeon was written in the Songs literary tradition of Chinese Music Bureau poetry and romantic novel of Chosun.

The Chosun Yadam is universal in that Chosum Yadam accepted and transformed the old narratives and utilized the framing structure. On the other hand Chosun Yadam is idiosyncratic in that it has Chosun ideology and all the characteristics of the transition from the medieval into the modern, just like the Decameron and Samuon, Yipak. The editors of Chosum Yadam made loose interventions in the process of gathering and recording the oral Yadam stories. Consequently Chosun Yadam contains not only the world view of the editors but also their individual and class ideology. On the contrary, the writers of Decameron, Samuon and Yipak, made active intervention in editing process with the intention of reinventing works. The looseness of narrative form of Yadam was appropriate to accept diverse viewpoints. Narrating self experiences in Chosun Yadam is one the most prominent characteristics that separates Yadam from foreign narratives. This narrative method is more suitable for incorporating and fictionalizing actual experiences. Through the narrative form, Chosun Yadam was able to acquire the broad narrative world that mingles real and imaginary experiences. In reality though, that narrative form had not been much utilized due to the lack of writers Optimism, Perseverance, and neighborly friendship are ideas that penetrate Chosun Yadam. Patriarchical familism is at the center of its foundation. Familism helps trust and support among family members distinctively inscribed in Yadam, becoming the cornerstone that generate a variety of values in Chosun Yadam. Popular ideals of the people and Confucius ideology of the Sadaebu coexist in Yadam. In Chosun Yadam Confucius ideology of the Sadaebu works along with internalized Confucius ideology of the people. Globalization of Yadam requires two distinctive tasks. First, we should make Yadam global literature by translating them into foreign languages. Then it can be easily transformed into a variety of cultural contents. Second, narrative discourse of Yadam should be introduced into the universal narrative discourse

Yu Manju, a gentry man living in Seoul of the second half of the 18th century, had been continued the character(especially Hangul) mediated communication with women within his family. And he recorded the contents of the communication in his diary Heumyoung. This records show that Hangul writing of women was useful means of gender communication within the gentry. Yu Manju wrote down the reading scene of his female relatives. They were reading aloud various novels and travelogues written in Hangul . In this scene, we can find the typical character culture of the gentry women in 18th century Seoul. Yu Manju exchanged correspondence with his two niece of contrasting economic situation and gave each of them papers, writing brushes and ink sticks equally. This means that the female gentry were reading and writing in everyday life regardless of the rich and the poor. The main using character of the gentry man of 18th century Choseon including Yu Manju' is Chinese character. So he wrote a diary in Chinese character. But he frequently communicated with women, the main users of Hangul. This was a background of his sporadic writing in Hangul. He unconsciously used Hangul in writing about the illness of his beloved son. Both of an exquisite user of native language and aesthetic writer, he translated into his spoken language into the written language Sino-Korean carefully. In this process, he found the impossibility of the translation. This is the reason why some Hangul words of aesthetic and emotional implications like "meoheulmeoheul머흘머흘" remain in his Chinese handwritten diary.

The aim of this paper is to examine the urbanization of seoul on modernizing period and the characters of discourses about lewd women. Especially poetic texts on the Daehanmaeilsinbo(大韓每日申報) are under discussion in this paper. The characters of lewd women in poetic texts on the Daehanmaeilsinbo are as follows. The first, lewd women are often described as women adorned with fancy clothes and put on heavy make-up. They waste money and act lasciviously. The second, lewd women are often described as women on the street. They look on something or wander the streets. The third, lewd women are often described as women who threaten hygiene. They are described morbid and dirty. These characters of lewd women have to do with the negative female characters in late chosun. Among the negative female characters, lewdness is magnified as a considerable controversy. Men of enlightenment and patriotism in early 20th thought that every woman had to be virtuous for modern nation-building. However we can find differential views in discourses about enlightenment that seem like inflexible at first appearances.

This study observed the characteristics shown in the experiences and method of speaking of the men and women in the stories that tell historical experiences by using the experiences of the Korean War gathered in field surveys as the material. Regarding the same historical events, this study observed how men and women had different experiences each other and they have given different meanings to the experiences. There was a serious difference that could not be overlooked between men and women shown in the main documents of Korean War experiences. To sum up the main points of the difference, the women have shouldered the heavy responsibilities of their families and lives. In contrast, the men generally have taken care of themselves and moved around in the war. Women in the war always had families such as their husbands, children and in-laws and struggled to take care of them. On the other hand, this study showed that the men regarded others including their families as secondary, and then concentrated their attentions and behaviors on their own survival and progresses. In remembering and telling about the war, the women remembered their families and the people around them, and told about 'hardships' related to them. In comparison, the men put themselves in the core of the stories, and would remember and narrate them as if their war experiences were interesting the 'heroic exploits.' This difference has shown that internal divisions of life between men and women were extremely big. The problem is how it will be possible to break down and transcend the barrier called the narrative of division, or division of narrative. For this, it is necessary to focus on the 'narrative of tolerance' working on the women's lives that have embraced their families with their minds and bodies as 'the other side of them.' It can be said that true communication and integration will be made only after opening their closed minds and bodies and cuddle their families, neighbor and people in this world, and achieving openness and integration inside themselves. Of course, it is required for the profound remorse for 'division inside us' that lies between the life and perception.

김태준은 고전 문학에 대한 총체적 인식, 고전 연구의 시대적 의의, 비판적 자기 인식, 고전의 정당한 인식과 계승, 고전 연구의 현재적 가치와 미래적 전망, 민중적 삶에의 기여, 자본주의에 대한 비판적 거리, 사회사적 문학 연구 방법 및 이론의 정립, 보편성과 특수성에 대한 변증법적 사고, 고전 연구와 저널리즘의 관계 설정 등의 문제와 관련하여 많은 화두를 던지고 있는 ‘살아 있는 텍스트’이다. 요컨대 김태준에게 국문학 연구는 운동성을 갖는 행위이다. 즉, 사상운동의 일환이다. 이제 ‘인문학의 위기’는 새삼스러운 말이 아니게 되어 버렸다. 그 위기 속에서 한국학 연구는 그나마 여러 가지 국가적 지원을 받고 있다. 그러나 이대로 좋은가? 사실 한국학을 포함하여 인문학이 위기에 처한 가장 근본적인 이유는, 시대 현실에 대한 대응력 내지 통찰력을 잃고 파편화․쇄말화된 데 있지 않은가? 즉, 운동성을 상실했기 때문 아닌가? 현실과의 긴장 속에서 시대적 요구에 부응하는 의제를 스스로 설정하고 그에 대한 대답을 논리화․체계화하지 못한다면, 역사적 방향성을 갖는 자기 정립을 하지 못한다면, 한국학 연구는 미래적 전망을 갖기 힘들지 않은가? 김태준은 이런 근원적인 반성을 하게 한다. 이런 견지에서 『김태준 문학사론 선집』은 여전히 ‘재발견’을 기다리고 있다. 이 책은 현재로서는 유일한 김태준 선집으로, 김태준의 다양한 연구 업적을 접근 가능하게 한 공로가 인정된다. 다만 중요한 논문이 일부 누락된 것은 아쉬운 점으로 남는다. 특히 김태준의 대표작인 「『춘향전』의 현대적 해석」이 빠진 것은 큰 흠이다. 그밖에 「이조말의 민원시(民怨詩)」, 「조선의 여류 문학」 등 애민시와 여성 문학에 대한 선구적 업적이 수록되지 않은 것도 흠이라 하겠다. 필자 생각으로는, 기왕에 교주본이 나온 『증보 조선소설사』를 제외시키고 그 대신 누락된 글들을 추가했더라면, 김태준의 주요 연구들을 더 풍부하고 다채롭게 재인식하는 데 도움이 되지 않았을까 한다.