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The old Korean songs are handed down by translation in classical chinese, and they have 4 lines of verse that is composed of 4 chinese letters each line. These form of verse reflected the form of old Korean folk songs, because ancient men distinguished between own songs and chinese songs. So chinese poems as lyrical verse were wrote by nuns who lived in China, otherwise chinese poems written in domestic had diplomatic purposes. The statute for chinese poetry was already accepted in ancient Korea. But chinese poetry wasn’t enjoyed as lyrical verse, because Hyang-ga(鄕歌) which was a traditional poetry of silla(新羅). Hyang-ga were competing and exclusive relationship with chinese poetry. Meanwhile, for though chinese poetry had different content and form each period, most poetry was always Sung-si(聲詩) which chanted by song. But as requisite for song was cast off in Sung(宋) dynasty, chinese poetry became Do-si(徒詩) without requisite for song. And Sino-Korean poetry was formated in this time, because chinese poetry was not chinese song any more.

Between Sokyo and Hyangga, have been discussed in a manner that you can assume that Relation, focus on the differences in the background of the work. This article has a variance that is comparison from the side of Sokyo and configuration of line, but rather, it is a point that there be a two axis poetry history by the action of the difference. Hyangga while trying to relatively free Shigyo configuration based on customs and meaning of writers through the line too long or intermediate line of short first, Sokyo iterative Len row and quantity similar by placing, and a configuration more regular in the field of Music. If you look at the Sokyo and word length, Hyangga attempt to voice stand deeply sinking vibrates to Sokyo. On the other hand, Jeongeupsa is composed of 3 stages, there is a current affairs in conjunction with the personality of Baekjegayo as Engen of Sokyo.

This study is on the composition of early Chosun's novel, The story of Choichiwon in the context of prayer for rain. Choichiwon is a historical figure who lived in late Shlla. In the folk story he is the son of golden pig. Some literature of 15th and 16th tells the golden pig's legend had been before the novel. I inferred the cultural meaning of golden pig from the prayer for rain and the link between Choichiwon and golden pig from the Jakjegun myth. The story of Choichiwon borrowed the folk tales that are linked to the prayer for rain, while the hero is characterized as the bearer of Confucian. In the novel Choichiwon is a son of Choichung who is a famous Confucian scholar, and a great Confucian. So the folk culture of golden pig's legend and the noble culture of Confucianism give rise to the strained relation. This odd coexistance can be explained in the context of early Chosun's ritual for rain that had been transformed by Confucian.

This paper examined the historical function of the trickster figure and the tales in which he appears. In particular, it attempted to provide an answer to the question of why seemingly negative tales were continuously handed down when they ran afoul of the ethical and moral value systems supported by the social order. It was in part a reaction to Jonathan Gotschall’s claim in The Storytelling Animal that narrative plays a morally supportive role, and in part an attempt to come to a deeper understanding of the trickster tale. I first discussed scholarly opinions in the West on the trickster’s dual or ambiguous nature and then introduced the concept of liminality as the trickster’s defining feature. This was followed by an examination of the trickster’s practicality, an examination that dealt with the question of what sort of evolutionary practicality could trickster tales have if they did not reinforce moral values and thereby also reinforce the social order. Native American tricksters and the Scandinavian trickster deity Loki were offered as examples, but the main focus of the discussion was the Korean tale of the clever servant who deceived his master. This tale can be seen as one that deals with class conflict, but there are other victim’s of the servant’s wiles besides the master: lower-class characters such as a common woman and a passerby down on his luck. This shows that the trickster here is not a lower-class hero who defies his upper-class master, but a liminal figure who seeks to bring down the entire social structure. This desire is an expression of the understanding that it is only possible to create a new world once the old world has been torn down. Finally, I also examined in brief some recorded tales and a novel that deal with the same themes and characters, showing how the trickster may be imagined differently depending on the author’s social values. Ultimately, the strong opposition to the social structure seen in tricksters in oral tales like that of the clever servant is a result of the historical function they play as pathfinders to the creation of a new world.

Urban-Humanities have focused on the city-life as the rapid progress of urbanization. In the field of urban literature the literary aspects of urbanism has been investigated. In literature urbanism generally has been understood in two ways. First, urbanism is recognized as everyday urban phenomenon or as modernity in a general sense. In this way, urban experiences itself and literary aspects produced from impact of it are emphasized. Second, urbanism refers to the urban characteristics as a form of capitalism that is spatially embodied, in a more restricted sense. In this sense, urban studies is a work that explores moving mechanisms of capitalism. Therefore, the study of urban literature researches aesthetic modernity which was born between the modern subject and the capitalistic, cultural urbanism. Urban humanities shares a critical mind referred to spacial, cultural and sensual turn with various fields of humanities. Among them, the most noteworthy “turn” in the field of literature is the sensual turn. In this paper, auditory and olfactory turn shown in modern Korean literature was reviewed and analyzed. Study of urban literature will be able to get help from study of literary modernity, cultural study in literature, landscape study of cultural geography, study of Seoul literature, locality study and so on. The same issue that the crises of humanities must be overcome is one of the characteristics in these studies. Theses methodologies have plenty of implications for the study of urban literature, none the less it will be undesirable to understand ‘turn’ as ‘alternative.’ If the ‘turn’ could be accepted as a expanding denotation and as a deeping the critical mind, the risks of conflicting with existing research will be removed. Interdisciplinary research and comparative literary studies will be helpful for understanding urbanization and standardization occurred in transnational scale. And it will also be helpful for building a post-modern urban culture and literature.

This paper is a study on the process of awareness formation and knowledge accumulation about Toyotomi Hideyoshi in the records of literary scholars who had been to Japan as Korean emissaries. Within Choson, there was a very weak understanding about who was Hideyoshi. On the other hand, the Choson literary scholars who had been to Japan as emissaries and those literary writers who were living in Japan as prisoners very well knew about who was Hideyoshi and how did the Japanese perceive him. This paper diachronically investigated as to how the understanding about Hideyoshi was formed by examining ‘Sahangrok’ (diaries written by Korean emissaries to Japan) in time-line sequence. Firstly, this paper looked into the formation process of positive awareness about Hideyoshi. Above all, they recorded that there were Japanese who applauded the political contribution of Hideyoshi as he had united Japan and had a strict governance over it. It was discovered that after Hideyoshi died, the Japanese built a shrine for him and apotheosized him as a god. Also, the emissaries held in high esteem the political contribution of Hideyoshi and compared him with Xian YU; the first Qin Emperor. Secondly, this paper examined the negative understanding about Hideyoshi. The emissaries who experienced Japan during the reign of Toyotomi described that he was significantly a tyrant and that Japanese too hated him. They recorded that even during the Edo period, Japanese were still having resentment against the harsh political regime of Hideyoshi and Japanese themselves thought that Choson invasion by Hideyoshi was wrong because the Japanese subjects had also suffered pain due to it. Thirdly, this paper checked the knowledge accumulation process about Daibutsu temple that was built by Hideyoshi for setting up a huge Buddha statue. There is Mimi-zuka (The Ear Mound; a burial site of the nose and ears of Choson people cut during Choson invasion by Japan) just in front of this temple and in the year 1719, the emissaries rejected the Japanese proposal of holding a party at Daibutsu temple. After this incident, the emissaries minutely researched about what kind of place was Daibutsu temple. Won-Jung geo sharply pointed out the religious practice of Japan in which Shinto religious worship was carried at Daibutsu temple. There could be a considerable knowledge accumulation about Hideyoshi through the experiences of emissaries in Japan and accordingly, the perception about Japan also changed. Initially, the emissaries were seeing Hideyoshi as ‘An enemy with whom one cannot live under one sky’ but gradually as the knowledge about Hideyoshi increased, he was perceived with a comparatively colder approach.

The Namin poets' tradition of a hundred rhymes elegy come from Hiam Chae Paeng-yoon's poem had condoled with Songgok Yi Seo-woo in the early eighteenth century is a great queer event in the history of Sino-Korean poetry. The existence of a hundred rhymes elegy become known written by Namin poets only. But the fact that a work by a Noron poet was solemnly is worth notice. <The Elegy for the Keonneung> is a hundred rhymes elegy written by Seokjae Yun Haeng-im. This poem is worth checking for the reason of a work written by Noronsipa poet and also that of a condoling the King Jeongjo clearly. This thesis is a research for translation with notes and a critical study for characteristics of form and contents in it. By checking formal apparatus, meaning structure and expressive merits, this long poem as seven letters Baeyeul is worth being estimated an excellent work with fulfilling the nessesary conditions for not only as an general elegy but also as a monody for condoling a great king.

<So Hyun Sung Rok> appeared at the mid-to-late of the 17th century as roman-fleuve's early work. We should take this times into consideration with <So Hyun Sung Rok>’s consciousness of the family. From the mid-to-late of the 17th century downward the institution of the family has been changed. The changes were interlinked with the entire spectrum of social system’s change. It were individually under ways, and it’s difficult for setting up the order the causal. In these historical backdrop, <So Hyun Sung Rok> exemplified the formation of family. And it was possible, courtesy of succession to patriarchal rights between mother and daughter. The constituent of family were both maternal line and the male line, it is not by following the system of the late of Chosun Dinasty. These aspects are distinctions between <So Hyun Sung Rok> as roman-fleuve's early work and later works.

JeoJaDo (JeoJa-Island) is known for some songs or poems written by literatis. Besides, it is famous that best poets including Choi Kyong Chang and Baek Kwang Hoon wrote plenty of poems about JeoJa-Do as they often visited BongEunsa (Bong Eun Temple) which is just near JeoJa–Do in 16th century. Especially in 17th century, poets including Koo Yong and Heo Hwae had their beautiful villas there so that lots of poets including Lee An Nool and Kwon Pil enjoyed visiting there. Later, Kim Chang Hup and Heo Gyuk had villas there and JeoJa–Do became one of the famous attraction in vicinity of HanGang (Han River). By the way, MoRaeTop where JungRangChon (JungRang River) and Han – Gang meet is described as the location of Jeo Ja – Do in some studies and dictionaries. Until 17th century, Jeo Ja – Do was located in Sam Sung Dong and known as Moo Dong - Do (Moo Dong – Island) since there was a rock called Moo Dong - Do (Moo Dong – Rock) according to literature written in Cho Sun dynasty. Around 18th century, people recognized Jeo Ja – Do and Moo Dong – Do as difference places, considering Mu Dong – Do as some part of Jam Sil. Then, a map that showed Jeo Ja – Do located in front of Ddook island appeared in 19th century and that was similar to how people in modern times think where Jeo Ja – Do is. In early 20th century, Mu Dong – Do referred to the area where Jeo Ja – Do in Sam Sung Dong was located in prior period.

Four steps in composition was originally a term to refer to a writing technique[章法] comprising Eugyeong[意境, artistic vista] of jeolgu[絶句] in Sino-Korean Poetry. Afterwards, it has widely been accepted as one of typical methods to make up the content of all the writing including prose. The purpose of this article is to examine the characteristics of writing methods in four steps in composition. Gigu[起句], which is said to be the beginning usually stands out less, and in this case, Seunggu[承句] follows suit. If Gigu stands out, balance must be achieved by making Seunggu lengthy and solemn. In either case, Seunggu as a rule delivers the feeling of poetic concept being completed. That's why the unexpectedness of Jeongu[轉句] is made more effective. Jeongu, which turns poetic concept into new direction, has the feature of new beginning. Since it elicits new poetic concept, though seeming to be completed in Gigu and Seunggu, should consist of new Eugyeong regardless of Gi‧Seung. Gyeolgu[結句] should have the characteristics of both Sumisanggwan[首尾相關] and implication. Not only must the content of Gi‧Seung and Jeon be made closely related but also Eugyeong of Gyeolgu ought to be composed so that the diverse interpretation can be possible for the themes to have overtones.

This paper was aimed at exploring with performing patterns of storyteller in the late of Choseon Dynasty, which based on foreigner's records. There are not a few records to describe precisely the scene of fiction reading, the performance of storyteller and the Pansori's performance. However, foreigners failed to distinguish between the appearance of reading the novel aloud and pansori singing. That's because the way of actual performance was similar. They were entertainers to be able to talk, sing and act professionally in common. Storyteller and fiction reader had a show in a similar way to the pansori performers. Professional storyteller's stories were one of sources that gave a considerable impact on the formation of pansori's original contents. One of Pansori's formation was caused to add to special song's techniques and musical elements on the original story of professional storyteller. And later pansori was made by 'play song', which meet the demands of the 18～19th centuries and a sense of audience. While the novel was read by a professional storyteller who learned the ways of recitation from memory with the form of so-called 'story songs'. The general public also enjoyed generally the recitation and reading aloud in life, which is not required in the form of special arts. Recitation of novel and story song which enjoyed easily in life were unique storytelling way to respond to demand of professionality, time and interest by readers of the day.

This study focus on the question about ‘Legend is based on tragic beauty.’ And we suggest sublime as an esthetic category in korean legend. Because korean legend has a strong mythical characteristic, and sublime is wider category than tragic beauty. For this purpose, we choose the work, Jangjamot Legend. Taboo in Jangjamot Legend is twofold and transcendental with holiness and uncleanness. So, Breaking taboo is also twofold and transcendental. The behavior that daughter-in-law of sincerity looks back is holy and uncleanness. That is a contact with the holiness. So, that must be understood from the point of sublime instead of tragic beauty. Legend is similar in sublime as an esthetic category to myth. But it is different in the way of expression with myth. Myth consolidate holiness and uncleanness with holiness as the center. On the other hand, legend consolidate holiness and uncleanness with uncleanness as the center. So, we can suggest that legend is based on sublime as an esthetic category.