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The purpose of this article is to examine how the reflective questions of posthumanism, which dream of a new image of humanity and new relationships between living things on Earth, are embodied in tales. Specifically, by examining the otherness of the toad and the toad bride that appear in <The Tale of the Toad Groom>, I attempted to reflect on what human attitudes should be toward strangers. The toad in the story is an ambivalent being who cannot be incorporated into human society, but is depicted as a being that has no will to be incorporated and rather seeks to preserve its own identity. In the end, the toad, which reveals itself as a celestial being and returns to the sky, depicts the image of a stranger who will never be reconciled. The woman who accepts this toad as her groom takes off its skin and wanders around looking for the missing toad. Toad bride voluntarily leaves the society he belongs to, is deprived of his membership rights, and faces the logic of 'give and take'. Despite this situation, toad bride faithfully walks toward her goal of reuniting with the toad because already she accepts the toad groom as a specific and individual being. This article revealed The toad's heavenly qualities and outstanding appearance in the narrative world represents that in human society where attention is paid to the abstract value of 'humanity', visible interaction, and agreed upon communication patterns rather than essence of hunam individual. In addition, in this paper found on through the attitudes of the toad bride who provides absolute hospitality to others, we were able to recall the critical awareness of posthumanism, which seeks to reestablish the relationship between beings on earth.

As a way to understand the narrative meaning of psychological novels and their effects in detail, this paper tried to read "Cheongun-silok" by paying attention to the concept of "body," not the concept of "mind," which had been attracting attention in psychological novels. "Cheongun-silok" carries on the tradition of psychological novels, but it is safe to call them "body novels" and used the human material body as the basis for the composition of the person, space, and plot. This narrative composition was possible amid a rich combination of knowledge about the two dimensions of the mind: the mind as a material organ that sends blood throughout the body and controls the flow of energy, and it was revealed that it was expressed as an observational discourse based on interest in the body as a material in the transition to a material-centered society in the 19th century. As a physicalized narrative of the mind, "Cheongun-silok" has a receptive effect that leads to strong self-directivity and reflection. This is the cause of deriving a playful effect as well as an effect that helps a realistic understanding of the abstract and ideological mind cultivation theory. In this respect, "Cheongun-silok", a psychological novel that is a 'physicalized narrative', is clearly created by accepting the theoretical method of understanding the mind achieved by the ancestors in the scriptures of Confucianism, but that is not all. Here, as the creation and enjoyment of the narrative, the contents of the party's observation and experience of Confucian scholars themselves living with a material body are reflected together, and concerns about the way they live as 'rational animals' in the changing social environment are included. Moreover, in terms of its narrative acceptance, it is meaningful as a complex text that conveys not only lessons but also laughter and fun.

This paper examines the essential meaning of the abstract concept of "filial piety" in premodern society and explores the diverse responses and behaviors that emerged from this shared value among its members. It particularly focuses on the behavioral guidelines established between the declarative maxim from Xiaojing(孝經) that states, "The body, hair, and skin are received from one's parents, and one must not dare to harm them, as this is the beginning of filial piety," and the rule that emotions should be tempered, as expressed in the phrase "Joy without excess, sorrow without injury." Through this framework, the paper questions whether the modern understanding of filial piety, as a legacy from premodern times, has been fully inherited and developed in contemporary society. Additionally, the study considers how unusual and contentious cases that deviate from typical examples of filial piety should be evaluated. By exploring the complex nature of filial piety in premodern society, the paper highlights various instances where subtle divergences in perspectives arise and intersect. In particular, it focuses on the life and death of Yi Jeong-gu, an 18th-century figure from late Chosŏn, and the collection of mourning texts dedicated to him, Jeman(祭挽). Born posthumously, Yi Jeong-gu lost his mother at a young age and lived in constant longing for his parents. He ultimately ended his life by throwing himself into a river at the age of 28. The debate over whether his death fell within the bounds of filial piety sparked considerable discussion at the time, with differing opinions from those who mourned him and those who did not, as evidenced by the mourning records in Jeman. Through the analysis of Yi Jeong-gu's life and death, this study sheds light on the complexity of filial piety in premodern society and the various perceptions surrounding it. By reassessing the core understanding of filial piety, it aims to examine the continuity and discontinuity of the concept between premodern and modern times.