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Chunhyangjeon, the story of Chunhyang, had been enjoyed as the popular novel and entertainment until 1910’s. But after 1920’s when the ‘literary for people’ was claimed and the scholars from Keijo Imperial University studied it, Chunhyangjeon became accepted as academic subject and classical novel. In those days, although different opinions had been held, the 84-page block book printed in Jeonju was recognized as the original and best text. The textbooks for high school made after liberation were affected by canon that had been consisted during Japanese colonial era, so Chunhyangjeon in the 84-page block book was regarded as the national classic until 1980’s. During that period textbooks contained the part of the story from ‘the departure of secret royal inspectors’ to ‘the chunhyang in prison’ because they set a high value on the resistance of people as the agent of history. However the text and the part of Chunhyangjeon was changed after 1990’s when the status of Chunhyangjeon as national classic has been weakened. Since 2000’s, Chunhyangjeon in textbook is contained not to show the national tradition but to show the cultural continuity. So now we are asked to reestablish the value of Chunhyangjeon.

In this study, I trace back the early stage of recreating classical Chosun novels into modern publication, through investigating the translation of Choonhyang-Jeon (春香傳) by Japanese writers in early 20th century. Of particular interest are the works by Nakarai Tosui(半井桃水) in 1882, by Takahashi Toru(高橋亨) in 1910, and by Hosoi Hajime(細井肇) in 1921, the last one being titled as Kwanghanru-Ki (廣寒樓記). These translated editions were created in the political background of Japan's economic invasion, annexation of Korea, and 3.1 Independence Movement. They were recreated for the purpose of understanding the culture and spirit of Chosun and transformed accordingly. The erotic elements of the original version were abbreviated and the traditional values such as the fidelity and filial piety were stressed. As a result, the social criticism and the entertaining aspects of the original version were diminished, reflecting the contrasting view of the Japanese from that of Chosun. Since 1920's, Choonhyang-Jeon was recognized as a classic by Chosun writers and this appears to reflect those Japanese translations in part. It remains to be uncovered how Choonhyang-Jeon developed and got recognized by Chosun and Japanese writers in contrasting manner through the time-space of modern era.

This article is to consider the current stage of translation into chinese, acceptance & the academic research of ‘Chunhyangjeon(춘향전)’ which is famous for representative classical story of Korea. Especially, ‘Chunhyangjeon’ was dramatically introduced to Chinese people through the performance of Yue drama ‘Chunhyangjeon’ in 1954, and then the study on ‘Chunhyangjeon’ was begun in earnst by Chinese researchers. This article is significant for examining the current stage of the research regarding ‘Chunhyangjeon’ through both doctoral and master’s theses and papers proposed in China. Such researches and essays, which include 1 doctoral thesis, 14 master’s theses, and about 46 excerpts from various academic journals, mainly focus on the characteristics of protagonists, language expressions, central theme, ethnic consciousness, and overall comparison of these aspects to those of Chinese literature or culture. As most of them have used comparative literature approach in researches of one of the most famous Korean classics, it is clear that since China-centered perspective already dominated the mainstream and Korea still plays a little role, a limit has been set along the outcome which may possibly be achieved in the future.

The purpose of this paper is considered how to be taken or to be changed in the popular song records which related to <Chunhyangjeon>. Even though There are not many songs, popular songs use <Chunhyangjeon> as materials. There are two ways to accept <Chunhyangjeon>: One is the reenactment of <Chunhyangjeon>, Another is the twist of <Chunhyangjeon>. The reenactment of <Chunhyangjeon> is the appearance of the original <Chunhyangjeon>. On the other hand, the twist of <Chunhyangjeon> is the reconstruction of <Chunhyangjeon>. Depending on the era, the reenactment and twist of <Chunhyangjeon> are different in popular songs. In short, the popular songs in the Japanese colonial period focused on the reenactment of <Chunhyangjeon> mainly. However, the popular songs in the era after Korean liberation focused on the twist of <Chunhyangjeon> mostly. The popular songs of <Chunhyangjeon> are not successful than the movie, <Chunhyangjeon>. There are two acceptances of <Chunhyangjeon> in modern times. One is the modern transformation of Pansori, <Chunhyangjeon>. Another is the acceptance <Chunhyangjeon> in popular songs. These songs admit <Chunhyangjeon> In material aspects. Finally, this is performed to the making familiar strategy.

The movies based on the novels Chunhyangjun(春香傳) has been produced 18 times so far. Nevertheless, most of them have very similar mise-en-Scène and plots of original novel Chunhyangjun. This paper argues the social condition and spectatorship that made those movies box office success. The first silent movie Chunhyangjun, in spite of being directed by a Japanese director, were received in the social atmosphere of national literature discourse and were involved with the agenda of standardizing premodern novels. Talkie Chunhyangjun of 1935 were supported by discourses of romantic free love and attracted attention of widely various audience from intellectuals to lower class audience. In the late 1950s, after Korean war, several movies Chunhyangjun were made again at the atmosphere of searching cultural identity of nation state and national tradition. Especially, Chunhyangjun of 1955 and two movies Chunhyangjun of 1961 bears the marks of referring to previous movies as far as can be called fetishism of patterned tradition. In movies Chunhayngjun of North Korea, the characters and mise-en-Scène were adjusted partially to socialism. However, it was not quite different from previous movies made in colonial period. Movies Chunhyangjun after liberation and division of Korea, was made not pursuing innovation and newness but familiarity. Therefore, it might be said that the audience of Movies Chunhyangjun had very special spectatorship to feel a sense of communal spirit by watching Movies Chunhyangjun.

In this thesis, I aim at investigation at the reception context and the lesson in Seowanga(서왕가). The result is as follows. The reception context of Seowanga(서왕가) : Seowanga(서왕가) is included in Yembulbogwonmun(염불보권문) Yembuljakbeop(염불작법). Yembulbogwonmun(염불보권문) is the book of propagating Buddhism to people. Yembuljakbeop(염불작법) is the third part in Yembulbogwonmun(염불보권문) and include the various Buddhist prayer. As these fact, we know that reception context of Seowanga(서왕가) is propagating Buddhism to people and chanting a Buddhist prayer in Buddhist ritual. The lesson in Seowanga(서왕가) : There are three part in Seowanga(서왕가). The first part is a disciplinant's monologue. A disciplinant monologize about his life of agony and achieving spiritual enlightenment. The second part is a disciplinant's delivering a message. A disciplinant deliver the message of agony and achieving spiritual enlightenment. The third part is a people's monologue. A people monologize about his life of achieving spiritual enlightenment. One reception context of Seowanga(서왕가) is propagating Buddhism to people. So Seowanga(서왕가) must be easy empathized by people. The people empathize with Seowanga(서왕가) through a people's monologue and the life of agony-achieving spiritual enlightenment. The other reception context of Seowanga(서왕가) is chanting a Buddhist prayer in Buddhist ritual. So Seowanga(서왕가) must be easy empathized by Buddhist monk. The Buddhist monk empathize with Seowanga(서왕가) through a disciplinant's monologue and the life of agony-achieving spiritual enlightenment.

Honggildongjeon has been cited as a work of heroic novels that have a ‘life of a hero’ structure. However, Honggildongjeon is heterogeneous with heroic novels. Heroic novels consist of a dual structure of Cheonsanggye(celestial world) and Jisanggye(terrestrial world). The protagonist of heroic novels comes down from Cheonsanggye, and reaps victory with the help of assistants who pass the celestial order. In contrast, Honggildongjeon has no description of Cheonsanggye. The protagonist Honggildong is not a character from Cheonsanggye, and the work has no celestial assistant helping him. In the ending, Honggildong fails to solve the problem of discrimination in the country, and leaves for islands across the sea. The protagonist and the ending of Honggildongjeon are similar to hermit novels(逸士小說). The protagonists of hermit novels don’t come from Cheonsanggye. They are competent but fail to achieve victory against the contradictions of society and disappear in the end. This study revealed the characteristics of the Honggildongjeon as a work of hermit novels. Commonly accepted view about the type of Honggildongjeon may need to be changed.

Tallo-Shi歎老詩 is a poem on a subject of sighing with age. The purpose of this paper is to study about Korean Tallo-shi that has been discussed recently and to clarify the feature of Yun Ki尹愭(1741～1826)′s Sino-Korean classical poem. It would be natural for people who experience symptom of aging to get a shock. Some people deny being old and bemoan consistently by getting older and some people try to accept it positively. These attitudes towards being old emerge in literature as well. They used to take one′s gray hair, hair loss, falling out of teeth and malfunction of eyesight, hearing, memory and energy as an object of sighing. And they took these physical change as an opportunity of inner study or enjoyed the leisure of their old age. Yun Ki used to bemoan by catching symptoms of aging but turned to positive attitude about getting aged. Bai Juyi白居易(772～846) was the one who had an effect on that change. Yun Ki used to say that he respected and quoted frequently poems that Bai Juyi wrote in his old age. Yun Ki tried to emulate Bai Juyi′s positive attitude towards getting aged and enjoying old age. He reflected actively that he could finally enjoy being free when he got old on his works. However Yun Ki was not able to enjoy his life like Bai Juyi did, therefore his works were not like Bai Juyi′s poem. The reasons are as following: First, Yun Ki had no friend to spend time with and expressed his loneliness through his poems. Second, He was no longer able to go on a trip since his energy fell off while Bai Juyi enjoyed his old age with his companions. Third, he had no money to drink, and even failed to keep pot boiling. It caused him to feel depressed. He could only console himself satisfying that he was at leisure and obviously it was not voluntary acceptance.

Huang Juezi is a famous statesman and scholar in the Qing Dynasty of China. He urged for the elimination of corruption and prohibiting opium. In China, his upright character and bold counsel earned great reputation for him. Huang Juezi was willing to make friends. At that time he made a lot of Joseon scholars friends since he showde initiative and positive attitude. During 1834-1846, the Josean diplomatic corps returning from Qing reported to the throne. In the Huang Juezi’s In Joseon envoys’ reports, they concentrated on issues such as Qing government's attitude towards elimination of corruption, Han and Manchu treatment etc. However no mention of Huang Juezi’s opinions on prohibiting opium and his role in the Opium War. There were many Joseon literati who made friends with Huang Juezi. This paper mainly explores the relationship between Huang Juezi and the Joseon literati in 19th century, like high office Huang Juezi showed his collection to Joseon literati and asked them to give some recommendations. He also gave the Takbonto them as a present. When he holded a poetry, Huang Juezi and the Joseon literati wrote poems back and forth to each other. Huang Juezi had a strong friendship with The communication between Joseon literati and Huang Juezi was focused on culture. They valued the appearance of each other as a literati.

Dong Wenhuan, a bureaucratic literati of the Qing Dynasty,wrote 8 poems about autumn recollections in 1861. In the serial versifying to the poems,there are 10 Chosun literati’s works.In this paper, it called "ChuHoeChangWhaShi(秋懷唱和詩)". The Chosun literati were Lee Wonmyeong, Lee Yongsuk, Park Yeongbo, Park Bongbin, Lym Chihak, Lee Sangjeok, Joe Hwirim, Kim Yunsik, Byoun Wongyu, Shim Yeonggyeong etc. Dong Wenhuan’s first poem expressed the motif of lamentation for autumn. The uncertainty of nature in this poem carried over to the uncertainty of life. Chosun literati’s ChuHoeChangWhaShi expressed the responsive chord by chanting the same material or using the same words as Dong Wenhuan’s first poem. For classic example, Lym Chihak’s work sublimated resonance on autumnal lamentation by using allusion. Dong Wenhuan's second ChuHoeChangWhaShi tended to otherworldly mind. And this inclination also got resonance from the Chosun literati.For example, Lee Wonmyeong's poem was expressed the responsive chord by using the same words and chanting the same material as Dong Wenhuan's second poem. In addition, there were different features in the Chosun literati's ChuHoeChangWhaShi from Dong Wenhuan's. This kind of the pomes can be divided into three categories. The first one is making friend poetry and missing friend poetry. The second poetry can be called ‘exert oneself pome’ which showed desire of academic exchange. The third one was chanted special feelings about autumn according to personal creation of Chosun literati. Chosun literati’s ChuHoeChangWhaShi not only inherited autumnal lamentation of the traditional poetry, but also showed innovative features. They introduced new content into the ancient poetry creation in the new era. Chosun literati and Dong Wenhuan’s ChuHoeChangWhaShi not only played a historical role in ancient poetry creation of 19th century, but also showed us the communion between Korea and China during that period, which exerted a great influence on the history of the Korean-Chinese literature communication in the 19th century.

In this thesis, I explore correlativity between Oral Formulae Theory (口碑公式句 理論) and Rhetoric of Chinese Classical Prose (漢文 散文) focusing on 《Dongsanggi (東廂記)》 of Lee Ok (李鈺, 1760-1815). To put it more concretely, I examine how 《Dongsanggi (東廂記)》 observe genre of the Yuan Dynasty period Dramas (元雜劇) such as 《Xixiangji (西廂記)》, and use Formulae of Traditional Oral Literature. By analyzing the case of 《Dongsanggi (東廂記)》, I argue Literary achievements in the Medieval literature are partially caused by editorial capacity to arrange and compose preceding Formulae Data than an creative and original language ability.