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Through this article, I want to examine the relationship between Jeongeupsa and Jeongeup's local culture, and to shed light on its works and the cultural and historical status of the area. It is not certain when Jeongeupsa is formed, whether Baekje or Goryeo. However, other Baekje pieces of Goryeo Dynasty that introduce this work are also more than half of them after the Unified Silla Period. Therefore, the date of formation of Jeongeupsa cannot be regarded as Baekje solely based on it. Rather, we should pay attention to the characteristics of the locality, female writers and the themes of love shown in these Baekje books. These are the things that Baekjeyo shares with the Goryeosokyo, in contrast to Silla Hyanga's central, masculine and religious orientation in the Seoul metropolitan area. In addition to Jeongeupsa, the Baekje Kingdom of the Three Kingdoms passed on its own tradition of contrasting with its flavor to the Goryeosokyo. As the foundation of Jeongeupsa in Jeongeup area, stone pagodas and ancient tombs need to be reconsidered. Five of the 37 existing Baekje-style stone pagodas remain in Jeongeup, the largest single area. It also appears evenly in the 11th and 14th centuries, revealing that Jeongeup was continuing the homogeneity of Baekje until this time. And through the remnants of Mahan culture reflected in many ancient tombs, you can see that Jeongeup's cultural identity spans Mahan and Baekje. Now beyond the debate over the creation period of Jeongeupsa, we need to pay more attention to its identity as a cultural heritage in Jeongeup.

The research object of this paper is the Yeamunji(藝文志) in private history book “Headongyeoksa(海東繹史)”, “Dongkuktongji(東國通志)” and “Dongkuksipji(東國十志)” in 19th century Joseon. From the angle of compiling mode, this paper expounds the Compiling Characteristics and significance of these Yeamunjis. Originally, Yeamunji had a certain standardized compilation mode in the traditional Chinese history books. However, compared with the traditional Yeamunji, the three Yeamunji compiled by Joseon in the 19th century showed a new look in the classification system. The results of examining the classification system of these three Yeamunji s are as follows. There is a special classification system in "Headongyeoksa’s Yeamunji", while "Dongkuktongji’s Yeamunji" and "Dongkuksipji’s Yeamunji" adopt a modified classification system. Such a classification can be seen as the general feature of Yeamunji in the 19th century Joseon private history books. Therefore, this paper defines it as a new classification system. In addition, the reason for the emergence of this new classification system can be found in the compilation of "Yuso(類書)" popular in the 17th century. In the 17th century, there were some bibliographic contents in the Yuso, which can be regarded as the rudiments of "Yeamunji" in the late Joseon Dynasty. Another important feature is that, compared with the traditional Yeamunji , these three 19th century Joseon Yeamunji contained a large number of Chinese poems and articles. The purpose of collecting Chinese poems and articles in Yeamunji is to enrich the content of Yeamunji. In other words, in order to enrich the narrative content of cultural history, a large number of Chinese poems and articles are included in the Yeamunji. If a Yeamunji is famous for its rich content, it means that the culture of the era it records is very prosperous. Moreover, through the collection of Chinese poems and articles, we can see that the compilers of historical books attach great importance to the consciousness of literature compilation, and they had the concept of "supplement historical materials with Chinese poems and articles(以詩文補史)". In fact, the fact that the new system of classification and the collection of Chinese poems and articles are the result of the fact that the historiographers wanted to know the history of their own country independently. Han chi-yun(韓致奫), the compiler of “Headongyeoksa”, Park joo-jong(朴周鍾), the compiler of “Dongkuktongji” and Bae Sang-hyun(裴象鉉) the compiler of “Dongkuksipji”. All three of them hoped to narrate the cultural history of their country through the compilation of Yeamunji, and clarify that their culture had a long history and rich content. They tried to re understand and re evaluate the cultural history of Joseon. However, although they all had their own consciousness of historical compilation, and they all pursued independence in their respective historical narration, they still had limitations in getting rid of China's cultural relic system. Due to the far-reaching relationship between Joseon culture and history and Chinese cultural relics, Joseon’s Yeamunji also included Chinese books. Although they recorded Chinese books as an independent project, they ended up juxtaposing them with Joseon books. As a result, the Yeamunji in Joseon had become a historical record of cultural exchange. Even so, in the 19th century, in the history books compiled by the Joseon private, Yeamunji had become an important record of Joseon’s culture history.

This paper is the first attempt at examining the characteristics and the significance of the pyeongjeom criticism(評點批評) in Yeonseok(燕石) written by Yu Eon-ho(兪彦鎬,1730∼1796). The argument of this paper is based primarily on analysis of the only existing manuscript copy of Yeonseok(燕石), which is currently stored in Jangseogak library, and also uses secondary information provided by another researcher regarding other newly discovered materials related to Yeonseok to scrutinize the background of the pyeongjeom criticism in Yeonseok and prove that the writers behind this pyeongjeom criticism are Park Ji-won(朴趾源,1737∼1805) and Yoo Han-joon(俞漢雋, 1732∼1811). The criticism presented in Yeonseok can be generally divided into two categories. One is ‘Kwonjeom’(圈點)(emphatic dots), and the other is ‘Pyeong-eoh’(評語)(critical words and phrases). The pyeongjeom criticism can also be distinguished by colour. Red is used to mark the criticism composed by Park Ji-won and blue is used to mark the criticism by Yoo Han-joon. The characteristics of the kwonjeom and pyeong- eoh used in Yeonseok can also be found in the Ming dynasty’s representative book of pyeongjeom criticism Selected Works of Writings by the Top Eight Great Writers of the Tang and Song Dynasties(唐宋八大家文鈔), written by Mao Kun(茅坤), and in the pyeongjeom criticism that circulated in the late 18th century of the Chosun Dynasty. However, even while sharing similar methods as these other examples, the pyeongjeom criticism in Yeonseok also has its own distinctive character. This thesis sheds light on both the shared methods and the distinctive aspects of the pyeongjeom criticism in Yeonseok. After analyzing the general features of kwonjeom and pyeong-eoh, this paper examines the way they function and interact within the text of Yeonseok. As kwonjeom is conveyed semiotically, it is difficult to decode its meaning, so many studies dealing with pyeongjem criticism have overlooked its function. However, this thesis evaluates the use of kwonjeom from the perspective of viewing it as a unique form of criticism and thereby demonstrates that Park Ji-won and Yoo Han-joon’s use of the kwonjeom can be considered as a dialogic effort. In regard to pyeong-eoh, this study examines how the critics Park Ji-won and Yoo Han-joon use their own writing from previous compositions as critical comments. This is especially true for Park Ji-won’s criticism. As a result, the pyeongjeom criticism in Yeonseok can be considered a unique style of criticism that engages in a dialogue with its subject text rather than offering a simple assessment, resembling the style of criticism practiced by a little later by writers like Lee Deok-mu(李德懋, 1741∼1793) and Lee Eui-jun(李義駿, 1738∼1798) in Cheongseongjapgi(靑城雜記) and Punseok-Kohyupjip(楓石鼓篋集). In conclusion, Yeonseok can be considered a means for gaining a sense of the historical and literary significance of the interactive style of pyeongjeom criticism which became popular practice in the late 18th century between Chosun literatures as well as an authoritative source of reference for gaining an understanding of Park Ji-won and Yoo Han-joon’s prose criticism and their critical demeanour and inclinations.

Human attitudes toward nature are well reflected in some geomancy tales in Korea. This paper analyzed and explained four Korean geomancy tales-The Legend of Song Siyŏl’s grave in a geomantic landscape suggestive of an army general’s commanding posture, The Legend of the geomantic beehive landscape, The Legend of the progenitor of the Sŏ family from Talsŏng, The Legend of Queen Sim who was born after the making of a grave at an auspicious site. In the first two legends people function as natural elements in order to make up the shortcomings of a geomantic landscape. In the remaining two stories people’s charitable deeds towards nature were treated as if they were actually charitable deeds towards human beings. Regarding (1) nature as an extension of humanity and (2) human beings as an integral part of nature is a particular aspect of traditional Korean attitudes toward nature.

The Joson dynasty had been employed a policy of civilian government. It was based on the ground of the Confucianism. In this way, the Joson dynasty had been discriminated against military officer, in favor of civil official. That was the representative policy that civil service had the superiority to military service. The military officer in the Joson dynasty had been recognized the five imagery which is the manly man, chivalry, patriotic martyr, good governor, virtuous man. The imagery of the manly man mainly had been expressed in his boyhood. The imagery of the chivalry, patriotic martyr, good governor had been revealed selectively after going into government service. On the other hand, the imagery of the virtuous man was the general and ideological point. Therefore these five imagery have showed the internal aspect that is naturally, practically, ideologically distinctive quality. And then it is rated these five imagery because they have been situated the military officer's position among the yangban, the two upper classes of the Joson dynasty. Additionally, these five imagery provide a criterion which have interpreted the confrontation between the military officer and civil official.

The paper was written to explore the archetypes of Korean storytelling. To solve this problem, we want to compare mutually remade dramas in Korea, China and Japan. The original story is shared but the story or structure of progress will be extracted depending on the state in which it is produced, and the extracted differences will be related to classical fiction. The TV dramas <Boys Over Flowers> and <Mother> were selected as the main subjects of analysis. Based on a Japanese cartoon, <Boys Over Flowers> was all made into dramas in Korea, Japan, China and Taiwan, and in China, a new version of the drama was produced and aired in 2018. Drama production started in Taiwan, but it has been extremely popular and talked about throughout Japan and Korea. Mother is also based on a Japanese drama, which has been praised as a well-made drama remade by Korea. We will compare them by country, extract the differences and compare them with the epic features of Joseon-era novels. These tasks will be divided into aspects such as how

This paper is study of Hangul jeonjeok(典籍) in the Hwaseong Municipal Folk Museum. This Hangul jeonjeok(典籍) donated from four noble families who lived from generation to generation in Hwaseong. This paper examined the form and content of these materials. As s result. Noble families in Hwaseong mainly enjoyed books that contained ethical content. and valued the book with the contents of the magic formula. Next. this article discussed more important material separately. Yeolnyeojeon(『列女傳』) can help confirm the existence of female transcriber and study the written ethics book. Daewangdaebijoen Unkyo(『대왕대비전 언교』) is worth the original. Jeongso(『精所』) is the magic book of the Hangul manuscript. This material is useful in identifying the popularization of magic in the late Joseon Dynasty.

Musin Rebellion(戊申亂) is one of the most important affair in the hiotory of 18th Century Joseon. On the occasion of this rebellion King Yeongjo reorganized the taxation and examination system, but he had to keep his eyes on the public discourse. Because it was clear that this rebellion put forward a dangerous argument that implied doubts about the legitimacy of the king. While the king praised many public figures, he compiled a book with official opinions, suck as Gamlanrok(勘亂錄) and Cheneuisogam(闡義昭鑑). Although some might have disagreed with the descriptions in these texts, no documentary works containing full-scale counterargument against the Gamlanrok was published during the Joseon Dynasty. Instead, texts to supplement Gamlanrok with its own intentions from the perspective of the faction, family or region appeared, including Namjeongilrok(南征日錄) and Honamjeleuirok(湖南節義錄). These texts seem to be official records led by the state, but in reality they are not nationally recognized and bear the mark of highlighting or exaggerating the achievements of a particular individual or group. It also sometimes contains suspicious statements about whether they are true or not. At the end of the Joseon Dynasty, Musin Rebellion turned into an object of fictionalization. A case in point is the Sasangdang-Silok-munjip(四尙堂實錄文集) which features a biography about the achievements of the powerful man and great general Yi manyu. In this book, editor or writter changed other people's exploits to those of Yi Manyu, and sometimes added elements of legend and fiction. The fact that this work has not yet been published shows that there is a limit to the social acceptance of such fiction, but nevertheless, it is certainly a new change to show the face of fiction that would have been difficult to tolerate before. However, the similar texts did not produce much, which is believed to be due to the fact that Musin Rebellion was inconsistent with the new concerns of the time. At least it cannot be evaluated as a successful reinterpretation or reconstruction of this rebellion.