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Ssanghwajeom is a popular song performed by the court, and Ssanghwagok, recorded as “Sokching-Ssanghwajeom” in Siyonghyang-Bo, is taken as the first part to inform the beginning and purpose of the performance, along with Dangakjeongjae’s role of “Jinguho” and “Chi-Eo”, and to convey long-lasting wishes to the King. The lyric heterogeneity of Ssanghwagok and Ssanghwajeom, which have not been explained so far, is an inconsistency caused by Ssanghwagok as the first performance of Ssanghwajeom and Ssanghwagok, which is free from content organicity. In other words, the complete prototype of Ssanghwajeom can be reconstructed into a total of five chapters, with Ssanghwagok attached to the beginning. The rest of the content of Ssanghwajeom is organized in the same format from Chapter 1 to 4 of the same repertoire, focusing on the content that “the main character was caught by the wrist (by the owner of a specific place).” In the case of Chapter 2, it is translated into Goryeo-sa under the name of Samjang, and the connection between Samjang and Saryong can be easily expanded to the connection with the Ssanghwajeom depending on the similarity of form and theme. As a result, the themes of Ssanghwajeom can be seen as “false rumors” and “spread by everyone.” In addition, based on this basis, approaching the lyrics of Ssanghwajeom and its interpretation will narrow the scope of interpretation to some extent for some difficult phrases, including Choheung-gu of the “Daroreo-Geodireo” type. This corresponds to a functional phrase meaning “expansion” and “diffusion” of rumors, and is also in line with the core of Ssanghwajeom related to Saryong in the sense of “increasingly gaining weight and spreading out of control.” Focusing on this, the core narrative of Ssanghwajeom expands and spreads the first event of “caught by the wrist” to rumors related to a “a place to sleep”, and completes a repertoire that leads to a blatant description of sexual analogy. That is, Ssanghwajeom has Ssanghwagok as a narrative to mark the beginning of performance, and sings the same theme in the same structure from chapters 1 to 4 with a dramatic nuance.

This study analyzed Shimcheongjeon focusing on the relationship between the disabled and the guardians. In chapter 1, the necessity of discussion for the relationship between the disabled and the guardian was emphasized from various angles. In chapter 2, Koda which shows the relationship between the disabled and the guardian is analyzed. Like the deaf parents and non-disabled daughters of the movie Koda, non-disabled people often take the incompetence of the disabled and the sacrifice of the disabled and the guardians as time goes by. The daughter of the non-disabled daughter, who is responsible for communicating with the world alone, gives up singing and college for her family and tries to sacrifice. In chapter 3, I have demonstrated that Shim Chung as a guardian is not a filial daughter but an excessive guardian who thinks that I should not be there. This overprotection of the caregivers hinders the independence of the disabled and makes the disabled more incompetent. In Chapter 4, I saw the sacrifice again from the perspective of the disabled and the guardian, and I saw the happy ending of the ending that Shim Chung became the empress and Shim Hak-gyu opened his eyes as the illusion of the disabled and the guardian.

This paper tried to examine the possibility of the role that Korean classic narrative works can play in the study of post-humanism, which has the essence of exploring the relationship between artificial intelligence (machine) and humans. Through Agamben’s concept of ‘use of the bodies’, I explore the aspect and meaning of establishing a relationship between human beings and non-human beings represented by artificial human robots and avatars in the coming age of artificial intelligence. In addition, I tried to help understanding by taking YiSaengGyuJang-Jeon(李生窺墻傳) and OngGoJip-Jeon as examples. The ancient Greek philosophers saw the ‘use of the bodies’ as ‘the use of the body of a slave’. In this way, non-human beings with bodies are historically no different from ‘slaves’ with instrumentalities that are ‘used and thrown away’. ‘Workers’ in modern industrial settings, machines in modern science, and artificial intelligence robots or avatars in the age of artificial intelligence are tools or technologies that have intimacy with the human body. Non-human beings in the form of machines or human beings have strong assisting properties (tools) as human assistants, but therefore their ‘potential’ is also strong. The ‘potentiality’ of non-human beings is important in that it ultimately leads to the ‘humanity’ issue of how close a machine (non-human beings) can be to a human and how to view the relationship between the two. The narrative setting in which the deceased Choi-Rang(崔娘) uses a fake body to maintain a relationship with the human YiSaeng(李生) in YiSaengGyuJang-Jeon is useful for understanding the relationship between avatars and humans in the virtual reality(=Meta-verse) space. Useful for these classic narrative works are meaningful in that they are the result of aestheticizing and assuming the potential that it is possible apart from the reality of the assumption that non-human beings feel emotions, and putting situations that will occur when that potential situation becomes a reality in a thought experiment. In addition, the narrative that distinguishes the real from the fake like OngGoJip-Jeon is a valuable clue to understanding ontology and human identity in the relationship between real humans and non-humans. When a human being becomes the object of ‘use’, it’s like acknowledging that humanity is another name for ‘the possibility that I can eventually be someone else’. It is necessary to dismantle the various hierarchies produced by the dual divisions of humans and non-humans, mind and body, etc., keeping in mind the other value of ‘use’ of bodies, namely ‘potentiality’. It is important to find a way to coexist not only with others who have been neglected until now, but also with various hybrid beings that will appear in the near future. When we read the classic narrative anew from the point of view of the ‘use’ of bodies, we can be provided with another perspective to explore the existence of human beings in the future society.

Banghanlimjeon has been noted, because it has no male character and the marriage between two women. In view of the genre convention of heroine narrative, it has been antithetically evaluated. However, there are two problems: 1)The marriage between two women is the motif commonly found in Heroine Narrative. 2)Banghanlimjeon is discussed without specific standards of the genre convention of heroine narrative. In fact, if there are motifs generally used between the narratives, it’s possible to assume that these belong in the same category. Actually, there are primary motifs & narrative patterns in the heroine narrative. It means Banghanlimjeon is based on the genre convention of heroine narrative. However, the changes of bond order and position of primary motifs in the epic make differences. The important thing, these changes are caused by an author who has a critical mind. It is supported by using same-sex marriage and setting antagonist, Joo Yu-Rang, who has a typical character in the heroine narrative. Above all, Yeong Hye-bing is recreated from the female characters who are ruled out of marriage. She comes out of them who are reproduced by the patriarchal system and Confucianism. With this, the same-sex marriage is becoming a solidarity between women who want to live each gender role without patriarchal control. In the end, Banghanlimjeon is created by an author who has a critical mind of the genre convention of heroine narrative.

A classic in geomancy (known as “p’ungsu” in Korean and “fengshui” in Chinese) is Guo Pu’s Zangjing (葬經) or the Book of Burial. The book contains an important discussion on the nature of vital energy (saenggi: 生氣) and why it can be mysteriously transmitted to a living descendant. It argues that the relationships between deceased ancestors and their living descendants are like those between the tree branches and the tree trunk. Thus, the power of vital energy can be delivered from the ancestor in a gravesite to their living descendants. The explanation of vital energy in Zangjing is vague and metaphysical and is therefore difficult for a commoner to comprehend. That is perhaps why a clever geomancer might have produced a folk narrative on the subject in order to enlighten commoners about the transmission of vital energy from an ancestral grave to a living descendant. The legend of “the geomancer who recognised the auspicious site that will produce a prime minister” expounded the geomantic principle of vital energy without using any technical geomantic terms or jargons. A son in the legend became a prime minister, thanks to his biological father’s bones being placed in an auspicious grave site. However, when an eye socket of his father’s skull was attacked by a stick or a bundle of pine leaves, the son (the incumbent prime minister) suffered terrible pain in his eyes. When those foreign materials were removed from the skull, the pain in the eyes of the prime minister subsided. The legend effectively illustrated in an entertaining manner on how the deceased father’s bones affected the living son’s wellbeing. Out of the eight different versions of folk narratives dealing with the relationships between the deceased father’s grave and living son, seven versions did not contain a love story in them and simply focused on how the wellbeing of the father’s skull influenced the wellbeing of the living son. However, one folk narrative from Ch’ungch’ŏng Province included a love story in it. I classify this legend with a love story as an evolution from a legend to a folktale. Thus, one can witness an evolution of a folk narrative from a solemn geomantic theory in Zangjing to a legend and then to a folktale by incorporating a love story. Korean folk narratives dealings with geomantic topics are numerous in numbers and provide rich resources for the study of Korean culture, history and traditional society.

Seodangseonsaengjip(西堂先生集), introduced in this paper, is a collection of manuscripts written by Lee Deoksoo, that owns the Kyujanggak Institute for Korean Studies at Seoul National University. The name of the collection of literary works will be ‘Gyujanggak script Seodangseonsaengjip’ to distinguish it from other manuscripts. This collection of works was possessed by Lee Geunjo, a descendant of Lee Deoksoo’s family. The Gyujanggak script Seodangseonsaengjip is valuable in that it is not only well-organized, but also contains a wealth of poetry by Lee Deoksoo. It is also noteworthy that it includes Jangsiyeonhaengrok(掌試燕行錄), which is difficult to find in other literary collections. Therefore, the collection of works can be said to be the best version of Lee Deoksoo. In the future, it is expected that this collection of works will be actively used in the research of Lee Deoksoo by providing the Internet original text viewing service and photo prints.

The Qing Dynasty of the 19th century, where Kim, Jeong-hee, lived, was at the height of textual criticism. Kim, Jeong-hee, visited the Qing Dynasty and established a private relationship with Weng, Fang-gang(翁方綱) and Ruan, Yuan(阮元), who were famous scholars at the time, and actively accepted the academic achievements of the Qing Dynasty. Silsagusisheol(實事求是說) is an important work that shows Kim, Jeong-hee’s academic tendency, and many studies have been conducted so far, but it is regrettable that the influence relationship with Qing Dynasty scholarship has not been properly investigated. In particular, it is thought that previous studies have not yet discussed in depth how Weng, fang-gang, who directly guided Kim Jeong-hee’s study, was a person in Qing Dynasty textual criticism, and in what ways Kim Jeong-hee’s studies lie in succession or influence with Joseon studies and Qing studies at the time. With this awareness of the problem, this paper examined Kim, Jeong-hee’s perspective on historical studies in comparison with Weng, Fang-gang and its relevance to Qingdai Studies, focusing on the Silsagusisheol, which is evaluated as an article that shows Kim, Jeong-hee’s tendency to historical studies. Weng, Fang-gang was a person who lived in the heyday of Qing Dynasty textual criticism, and although he was deeply influenced by it, his position in Qing Dynasty academia was not a historical scholar, but a Neo-Confucianism scholar, and he criticized and rejected representative scholars of textual criticism. Kim, Jeong-hee, showed an attitude to actively accept the research results of textual criticism, but his attitude toward explanations of words in ancient books and loyalty is basically no different from Weng, Fang-gang. His Silsagusisheol is an article that emphasizes explanations of words in ancient books, but reveals that it is only a way to express loyalty. In addition, it is difficult to say that the attitude of presiding over the orthodox status of Confucian classics and oriental scholar Zheng, Xuan(鄭玄) while emphasizing Neo-Confucianism is a true practical attitude, and it tends to be biased toward Neo-Confucianism rather than textual criticism.

The purpose of this paper is to elaborate the relevant situations of “Joseon” and “Japan” in Isyou Nihonden(『異稱日本傳』). This book was compiled by the scholar Matsushita Kenrin(松下見林) in the Edo era. Kenrin had written and compiled in various fields, including history, Shinto(神道), emperor’s mausoleum, customs, official history, Japanese linguistics, bibliography, Shijing(詩經), medicine, enlightenment pedagogy. However, all of his achievements were aimed at “Japanese research,” and there was a strong Japanese-centered academic tendency. Article 529 of articles related to Japan was included in the Isyou Nihonden. All were quoted from 15 ancient books of the Joseon. In addition, according to the contained literature and items, there are about 252 Anseol(按說) expressing the author’s historical or subjective views. Japan’s historical image is represented by Japanese pirates through articles related to Japan in the documented Joseon. Their images had come to be seen as extortionate and uncivilized. In response to these records, Kenrin(見林) chosed an academic form called Anseol to respond. He denied some of the records in the Joseon literature and tried to correct them from the standpoint of his country. He also attempted to despise Joseon and raise Japan’s status through the Anseol. Kenrin’s view of Joseon was radical and extreme. Compared to Japanese scholars who were active at the same time, the biggest characteristic of the Kenrin’s perception of Joseon was that it was closely attached to the Joseon literature. His method of historical examination had a poor side. However, it was meaningful that Japanese intellectuals at that time showed a different side of their perception of Joseon.