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This study pointed out that the study of "yongsaeum(龍巳吟)" by Choi Hyun, a talented person, has remained only in superficial analysis of works, and tried to find out the timing and momentum of creating "yongsaeum(龍巳吟)" by specifically revealing the volunteer army activities performed by Choi Hyun during the Imjin War. This paper argued that Choi Hyun's "yongsaeum(龍巳吟)" was created for the purpose of gathering private citizens more actively and raising volunteer army activities thanks to Kim Sung-il's unprecedented achievements. As a result of looking at the relationship between Choi Hyun and Kim Sung-il and sequentially stepping on the time that took place in their volunteer army activities, the creation period of "yongsaeum(龍巳吟)" was ahead of the second Battle of Jinjuseong in 1593, and was created for the purpose of urging the residents of Yeongnam to work harder. After the first Battle of Jinju, there were many difficulties in mobilizing righteous army. Accordingly, by examining the public sentiment of the local people, criticism, sympathy, and role fulfillment from the perspective of the Yeongnam private people were released from "yongsaeum(龍 巳吟)". While praising the courage of those who died righteously to urge the will to raise the righteous army, efforts to find improvement by placing the most urgent problem issues from the perspective of the current local people in the association can be seen. And part of the effort was specifically practiced by Choi Hyun as a bureaucrat. In order to maximize the effect of active promotion of righteous army to the Yeongnam family and the people, Choi Hyun chose the lyrics style. The lyrics are in the form of a four-tone continuum, with no limit to the length and are easy to access to readers. In other words, Choi Hyun embodied the contents of Kim Seong-il's Janggye through the lyrics style to help Kim Seong-il's volunteer army activities. In short, Choi Hyun's "Wasinum" can be said to be a practical literature that contains the will to practice comparable to Kim Seong-il's first literature and Janggye.

Today, a significant number of legends and historical remains related to Choi Chi-won persist in the vicinity of Ssanggyesa Temple in Mt.Jirisan. This study aims to clarify the specific details of Choi Chi-won's connection to the Hadong area, including the timing, locations, and the nature of his life and activities during his stay. First, the primary connection between Choi Chi-won and the Hadong area is related to the establishment of the Jingamseonsabi(Stele of Buddhist Master Jingam). The stele, for which he personally composed the epitaph and performed the calligraphy, was erected in July 887. Based on this, it is inferred that Choi Chi-won stayed at Ssanggyesa Temple for approximately one year starting from 886 to carry out the royal command to draft the inscription and oversee the monument's construction. His traces from this period are evidenced not only by the stele but also through the Ssanggye-seokmun calligraphy, oral traditions surrounding Cheonghangnu and Palyeongnu pavilions, his classical poem “To Monk Howon”, and various legends such as those of Hwanhakdae, Munchangdae and Jeonggeumcheon. Second, Choi Chi-won’s subsequent connection to Hadong is tied to his seclusion in Mt.Jirisan. In 894, while serving as the magistrate of Cheollyeong-gun (present-day Hamyang), he proposed the Simu Sip-yeojo(Ten Urgent Points of Reform) to Queen Jinseong. However, when his reforms were thwarted by the opposition of the nobility, he resigned from his post and chose a life of seclusion. It is recorded that from around October 895, he traveled through mountains and rivers, composing poetry and appreciating nature. By synthesizing regional legends and the spatial characteristics of various historical sites in Hadong, this study suggests that the period of his seclusion in the Hadong area began around 896. While living in seclusion in the Hwagae-dongcheon of Mt.Jirisan, Choi Chi-won traveled to nearby sites to soothe his sorrows and enjoy a life of refined leisure.

The characters appearing in the drama “MIJI(미지)'s Seoul” can be seen as individuals who have become socialized organically in the neoliberal era, representing the socialized concept of ‘youth’ that has become relative. Miji, who lives in her hometown doing various part-time jobs without a steady c areer, and Mirae, who got a job at a financial public corporation in Seoul, can at first glance be regard ed as models of failure and success in a life of each fending for themselves. However, when Mirae stru ggles with workplace harassment, Miji, who ‘lives out’ Mirae's life at her Seoul job, can be reinterpret ed not as a dropout of the survivalist generation but as a practitioner of self-care. This article examine s the youth narrative of interdependence depicted in the drama “MIJI(미지)'s Seoul” through the len s of the recently active millennial discourse and the agenda of care. This drama presents a new social i magination where individuals survive and resolve the conditions of individualized uncertainty and ali enation through mutual self-care. Here, the ‘self’ functions as a metaphor that simultaneously expose s the problematic nature of individuals accustomed to developmentalism and growth-oriented values in Korean society while proposing ethical values.