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It was frequently occurred that literati in pre-modern period wrote poems to broaden the intellectual interchange and to form political groups. This paper is to survey the cases that literati during the late Goryeo-early Joseon period performed Bun-un(分韻) at literary coteries' activities. Bun-un was highly regarded as it was frequently perfomed at literary coteries' activities. It was also useful to practice verse writing. In Korea, the Bun-un tradition began around the middle of Goryeo, and prevailed in the late Goryeo as Gwa-geo(科擧, civil service literary examination) started to be fulfilled regularly. It became very usual consequently that they exercised to rhyme out poems readily as Gwa-bu(科賦) was highly valued at Gwa-geo, and as a result groups that could write and enjoy poems using Bun-un were naturally formed. The preface composed by Lee Jehyeon(李齊賢) for Si-chuk(詩軸, a roll of pomes) of Bun-un Yeon-jang(分韻聯章) suggests that not a few such groups existed at that time and they played a important part in political and literary activities as well. To summarize this paper is the same as follows. (1) In the late Goryeo-early Joseon period, to perform Bun-un Yeon-jang at farewell parties for those who went local government posts or returned home after finishing Gwa-geo, was regularized and it lasted until the late Joseon period. (2) In the late Goryeo period, there were cases that Bun-un Yeon-jang was performed at parties for Jwa-ju(座主, examiner), but Myeongjokhoe(名簇會) by Jwa-ju and Mun-saeng(門生, pupil) began to decrease as Huesi(會試) system was established in Joseon dynasty. (3) In the late Goryeo period, there were also cases that Bun-un Yeon-jang was performed by Buddhist monks, but these cases disappeared as religious oppression for Buddism began at the beginnig of Joseon dynasty. (4) In the late Goryeo-early Joseon period, there were cases that government officials wrote poems using Bun-un keeping harmony with poems in praise for kings, but these cases disappeared since early Joseon period. (5) In the late Goryeo-early Joseon period, there were also cases that one edited a collection of poems or of Bun-un Yeon-jang while visiting the tombs of his father or mother since he or she had been dead. From the middle of Joseon dynasty, literati had lots of chances to exercise Bun-un as literary coteries' activities increased, and it remarkably flourished in the late Joseon dynasty. It is assumed that there would be lots of cases of Bun-un Gu-ho(口呼) and Yeon-jang at that period. It is notable that literary coteries' activities practicing Bun-un had lots of meaning more than they appeared.

This study pay attention to 'go' in roman fleuve on cultural history. Generally 'go' in roman fleuve is a daily leisure in the upper classes. Though they recognized that 'go' is not what women may do, women took lead in 'go' and predominated over men. This corresponds that roman fleuve had the upper classes women as the target audience. Aspects of playing go in roman fleuve reflected a variety of views in the late chosun. It seems that a short match time, interest in victory or defeat and so on reflected the 'sunjangbaduk''s peculiarities. Concurrently 'go' in roman fleuve stay away from betting, it seems to be aware that 'Sadaebu' had critical eyes at play go for stakes. This corresponds that they edified and instructed cultures with roman fleuve.

This paper aims to investigate the aspect of the relation between literature and social history, with focusing on the new and various characters in the narrative-oriented gasa texts of the Late Choseon. Main targets to analyze are the female characters in YongBuGa(용부가), BokSeonHwaEumGa(복선화음가), DenDongEoMiHwaJeonGa(덴동어미화전가), NoCheoNyeoGa(노처녀가), SinGaJeon(신가전). The females in the texts experience troubles and crises related with each one's marriage, go through channels to overcome or depart from it, and arrive at the end of reward and punishment. Based on it, I can interpret the ideal and the desire of gasa's enjoying group of those days. The enjoying group showed an ambivalent attitude about the reality elements such as wealthy and labor, raised the problem of stability and settlement in a community, and emphasized the responsibility of the independent life to follow the fortunes and to know one's place. The phenomenon itself that female characters stood out in the late gasa is worth noticing. The narrative elements in the texts of the character-oriented gasa have different functions and qualities than what are in the works of novel do. The readers of novel appreciate a work based upon the premise of typicality, but the readers of gasa appreciate a work to understand and empathize the realistic elements and the reality of the character. The character-oriented gasa is a good literary example that a traditional poetry form didn't stay at an immobilized frame but respond to the changes required by the real society.

“Jeokjiga” written by Samyeon Kim Chang-heup is a long piece seven letters archaistic poem which has an old fashioned and new style looks together. The stroke of the whole work is experienced and robust, but has a not excellent appearance requiring for its style and material. By the reason of several demerits it can not be regarded as an excellent piece. “Jeokjiga” written by Yaksan O Kwang-woon is also a long piece seven letters archaistic poem that has an older fashioned than Samyeon's and a new fashioned appearance at the same time. It has surpass looks not only in contents but also in sprit and rhetoric thoroughly. Its special merit is in the description by adjusting the focus on specific situation by leaving out narrative plots partly, and has excellent stroke with variation of spirit and tone of the work. “Saryongdae” written by Yigye Hong Yangho is also a long piece seven letters archaistic poem that is sought after a new style on the whole. The merits of this work are a excellent narration of body, variation of stroke and rhethoric magnificence. Yigye's work is slightly openhearted appearance than Yaksan's, has better variation of stroke and magnificence of literary embellishments than Samyeon's.

This article investigated the characteristics of the Chanonggu series in Jiryoungrok volume 6 by Lee Hyoungsang. The Chanonggu series borrowed Kang Heemaeng's Nonggu, which was one of the most popular poems in Lee Hyoungsang's time. However, the Chanonggu series did not only imitate an existing famous work but also contained their own characteristics through the modification of the classical work. In this series, Lee Hyoungsang reorganized the chapters of the original text and created a different structure from it. He also modified the contents of the original text, intensifying didactic parts and diversifying literary features. Such modifications enabled the Chanonggu series to reflect the author's social circumstances, when the edification of people was more urgent in the deteriorating situation of rural areas. With these formal and content characteristics, the Chanonggu series could also make an influence on Nonggawollyoungga, an important poetic work of the late Joseon era. In conclusion, the Chanonggu series was not a mere imitation of a classical poem but a meaningful work that contained timeliness as well as literary value, achieving a certain status in Korean literary history.

Anthologies of Neunghogwan(凌壺觀) Lee Insang(李麟祥, 1710∼1760) exist in several versions including Neunghojip(凌壺集), which is the printed edition(刊本), and Noesanggwango(雷象觀藁), which is the surviving manuscript(筆寫本) belonging to the descendent family. Examining Neunghojip and Noesanggwango side by side reveals that, in addition to the fact that Noesanggwango embodies the literary world of Lee Insang more comprehensively, Neunghojip excludes important parts of his literary world. Therefore, this study examined what parts were omitted in Neunghojip, and why such omissions occurred. Omissions of certain parts of Noesanggwango in editing Neunghojip seemed to have been based on principles which I categorized into four: “suppression of the characteristics as a concubine’s son”, “exclusion of reference to Toegye(退溪)”, “elimination of Taoist(道仙的) tendencies”, and “reduction of the tastes for material goods and illustrated calligraphy(書畵器物)”. The editor of Neunghojip, Yoon Myeon-dong(尹冕東, 1720∼1790), did not fabricate the characteristics of the author, but delicately modified his true personality by marginalizing the four aspects through editing. By doing so, Yoon Myeon-dong aimed to project his own class and factional perspectives on the edition of Neunghojip, to embody the ideology of the nobility, and ultimately to acclaim(顯彰) him as the ideal loyalist out of office(義理型 處士). Such editorial perspective, propelled primarily by his personal urge, corresponded with the atmosphere of the time, which was a period of royal succession from King Yeongjo to King Jeongjo. As a result, Yoon could complete the publication with the financial support from Kim Jongsu(金鍾秀, 1728∼1799), who represented the core political group at the time.

This paper analyzes the characters Wi Bo-Hyung and Li Sa-Won as represented in the novel, Chunsoosuk. First defining the two characters as hero figures, this paper takes the perspective that the two characters are figures whom the novel’s main theme have been projected unto. Based upon this idea, this paper investigates the writer consciousness of Chunsoosuk, as well as its status within the history of literature. Wi Bo-Hyung, born with the requirements of an aristocratic hero figure, is actually a figure who is critical about the ways of the mundane world. However, the fact that he is fated to pursue wealth and honor in the mundane world by the virtue of his status makes his life a tragic one. Therefore, whenever he encounters problems due to the corruptions of the mundane world, he agonizes over them mentally and psychologically, rather than trying to solve the problems. The image of this character’s inability to make a choice, falling into distress, etc. can be described as the image of a troubled hero figure. Li Sa-Won is a character whose life’s meanings lie in his goal to live together with his parents. However, destiny keeps deterring the achievement of such a goal on his part, and whenever his hope is crushed he becomes sad and emotional. This reveals that he lacks a more realistic understanding of the world. This character can be defined as a weak hero figure. Li Sa-Won’s life is similar to that of Wi Bo-Hyung in that they each live a life that cannot be controlled by their own will. Chunsoosuk, which ends with the reductive images of the hero figure, the negative view of the world and its tragic resolutions, is the product of the writer’s observations on the changing ways of life and the world that were taking place at the time the writer was writing the novel. Here, both Wi Bo-Hyung’s and Li Sa-Won’s attitude of refusing to confront reality, seems to be a reflection of the reality of the times in which the problems of the mundane ways world were seriously ill yet without remedy. In other words, the novel is limited in that it cannot suggest any solution, but is meaningful in that it brings the problems to the forefront. In this sense, Chunsoosuk can be thought of as a novel that stands on the borderline between literati novels and peasant novels.

I pondered on how and in what ways to develop our characters and moral imagination by reading the Korean Tiger story, <the magic cloth-wrapper a tiger offered>. The story is about the very poor-man destined to be punished by reason of having a pee and pooh everywhere in the mountain in winter. But the tiger, who was dispatched by the Mountain-God to punish the offender, only to care for him and eventually helped him out to get married and be rich. It was because the tiger was deeply moved to hear that the poor-man talked to himself worrying about the tiger's feeling cold. Ever since then, the tiger had repeatedly observed that he expressed his sympathy of the tiger. At last, the tiger impressed by his empathy with the tiger, made up its mind to help him rich. So, the poor-man could cure the sick daughter of a rich man owing to the magic cloth-wrapper which the tiger had provide for him, and consequently he got married to her to be rich and lived happily ever after. In this story, I observed the aspect of communication and feeling empathy presented between the tiger and the poor-man. In fact, the poor-man could be exempted from punishment by the Mountain-God because he had voluntarily expressed his sympathy with the tiger. And the tiger practiced its "Ethic of care" for him by the mutual understanding and communication between them. This storyline has very important meaning which can be applied to our modern social life. Especially, I would emboss the tiger's carrying out "Ethic of care" showed to the poor-man. I supposed communication, feeling empathy and "Ethic of care" are very necessary for the happiness of our community today. That is, the story shows us we all in our community can be happy only when the social concept should become widely accepted in the community, that the administrative subject and the citizen are "we" who cooperate in harmony for our common interests and happiness. In conclusion, this paper could prove this story is a work of great educational value, that can let the students know about the ethics of community by effectively arousing their moral imagination.