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This paper analyzes the original form of a healer, focusing on the relationship between Bari and Chilsung in Hwang Seok-young’s novel Baridegi, which modernly recreates Baridegi, and suggests what a meaningful wounded healer should be like even today, when healing and healing are becoming a hot topic. In the novel Baridegi, a character named Chilsung appears, embodied in the form of a puppy, a human-friendly and cute animal. In this article, Chilsung sees the character as Bari’s wounded “inner child” and intensively analyzes how the wounded “inner child” in Bari is transforming into a phenomenal “inner child” through the process of internal maturity and integration. The reason why we paid attention to the relationship between Bari and Chilsung in this paper is that the protagonist of Hwang Seok-young’s novel 󰡔Baridegi󰡕, including the shamanic of <Baridegi>, is a character with a wound called “abandoned”, and Bari, the protagonist in the story, is effectively healing these wounds and being reborn as a wounded healer. Abandoned right after birth can also be seen as a great “hurt” in which existence itself is denied, and Bari is not buried in these wounds from birth, but rather, heals himself through interaction with the existence of Chilsung and is showing great achievement in being reborn as a true healer expressed in the form of a grandmother. In order to effectively analyze the process of changing the interaction between Bari and Chilsung to the appearance of a grandmother, who is a true healer, in this paper, Henri Nouwen used the concept of a “wounded healer” presented in his book The of Wounded healer. And the concept of “inner child” proposed by Karl Gustav Jung was substituted into the Chilsung character and analyzed. Through the interaction with Chilsung, which can also be seen as Bari’s “inner child,” the process of Bari being reborn as a “wounded healer” by looking at his wounds objectively and healing them was analyzed using the above concepts. In addition, the difference between the grandmother character and the Chilsung character, two important characters in the process of the wounded inner child being reborn as a wounded healer, was noted and analyzed. Chilsung is a dog raised by Bari and is a character with the same wounds as Bari’s ‘遺棄’. Chilsung is depicted as a character who familiarly interacts with Bari with a cute, bright and cheerful image. On the other hand, although the grandmother takes care of Bari, she did not give Bari unconditional love from the beginning. The grandmother helps Bari through direct words, but this grandmother’s appearance was seen as a somewhat distant and rigid relationship rather than the relationship between Chilsung and Bari. In this paper, it was analyzed that the Chilsung character emphasized in Hwang Seok-young’s novel 󰡔Baridegi󰡕 was the author’s intention to unravel the heavy theme consciousness of pain and difficulties in life more friendly and brighter than the shamanic of <Baridegi>. These days, when healing and healing are emerging as keywords, shedding light on what a true healer’s prototype is like in classical literature works allows us to look into what a meaningful healer should look like even today. Furthermore, just as no one in the world has been born and lived unscathed, the enlightenment of the process of transforming the wounded into the existence of healing the other injured can also be seen as meaningful to the injured and those who are contemplating what to do with the healer.

Yuchungryuljeon(劉忠烈傳) is regarded as a work that gives priority value to family unity and prosperity. The view that family narratives have their own status separated from national narratives can be seen as influenced by the blood-familisim of modern standards, which distinguishes them from the state-familism of traditional society, which regarded family and state as harmonious coexistence. Both blood-familism and state-familisim are supported in Yuchungryuljeon, and the priority is different according to the characters. Through the loyal patriarchal figures such as Yusim and Kangheeju, the belief in state-familism is promoted as a positive value, but the negative view of its realistic helplessness is also revealed. Through female characters such as Mrs. Zhang and Mrs. So, the realistic utility of blood-familism is revealed, but the risk of conflict and division caused by it is bounded. The two types of characters reflect the limitations of state-familism and blood-familism respectively. On the other hand, the specialty of Yuchungryul is due to the fact that he is a person with dual identity who lives both in the heavenly and earthly worlds. The celestial self gives Yuchungryul an independent personality that transcends blood relations and the basis of a powerful ruling ability that enables the reconstruction of the state. Through the abilities and freedoms given by the heavenly world, Yuchungryul breaks the limits of the terrestrial state and the blood group and promotes a change that integrates the two types of familism. In Yuchungryuljeon, the coexistence of the heavenly world and the earthly world is interpreted as a product of a sense of balance that aims to change reality and continue its existing value. In the situation of the 19th century when the crisis of nation aggravated burden of blood family and the abandonment of politics based on bloodshed worsend crisis of the state, the meaning of the state and the blood family was challenged and the means of recovering the state and blood family was asked by novel readers, to which Yuchungryuljeon contains the result of exploration.

This paper examines the characteristics of Lee Gwang-Su’s(李光洙, 1892∼1950) way of enjoying Sijo and the change in perception in the early 1920s, focusing on 『Geumgangsan Yugi』(1924). Previous studies on his travel essay have focused on analyzing the specific aspects of how Lee Gwang-Su’s actions and changes in his state of mind in the early 1920s were embodied in literary works. However, there has been no specific discussion on the fact that Lee Gwang-Su included creative Sijos in his travel essay. 『GeumgangsanYugi』(1924) is an early work among the texts related to Lee Gwang-Su’s Sijo and Sijo theory. These texts tend to be concentrated in the mid- to late 1920s. As you know, there was a Sijo revival movement during this period. The Sijo revival movement focused on establishing the status of Sijo as national literature and exploring the possibility of Sijo as modern poetry by establishing the standard form of Sijo. Therefore, these aspects are reflected in Lee Gwang-Su’s Sijo and Sijo theory published in the mid- to late-1920s. Previous studies have also focused on and these and discussed them. Lee Gwang-Su’s 『GeumgangsanYugi』(1924) is a travel essay published before the Sijo revival movement. It contains more than 120 Sijos, and when compared to Sijos published sporadically in various media in the 1910s, it has a certain clustering. The general cases in which he utilized Sijo in this travel essay include abbreviating the plot of the content described in prose, honestly expressing his feelings during the mountaineering process, organizing and expressing emotions, objectively conveying information considering the reader, and maximizing the sense of presence through auditory description. There are two things to note about the process of Lee Gwang-Su’s creating Sijo. One is that he enjoys Sijo based on the oral act of impromptu recitation. The other is that he sometimes omits the last verse of Sijo and sometimes does not. The second case was the flow of transition from Sijo as a song to Sijo as literature. In particular, Choi Nam-Seon(崔南善, 1890∼1957) in the 1910s and 1920s attempted to include Sijo in the realm of literature, and in this process, he paid attention to the form of Sijo creation that was complete up to the last verse of Sijo. Sijo with the last verse gradually appeared rather than the form with the last verse omitted. However, Lee Gwang-Su did not show a clear path like Choi Nam-Seon. The basic way Lee Gwang-Su enjoyed Sijo was based on the oral culture of singing with the mouth and listening with the ears. It would not have been easy for Lee Gwang-Su to replace this way of enjoying that had been naturally ingrained in him for a long time with literature written in letters and read with the eyes in a short period of time. Considering these circumstances, Lee Gwang-Su’s various attempts at the last verse of Sijo in the mid-1910s and early 1920s can be said to be a transitional period to recognize Sijo as literature instead of songs. The significance of Lee Gwang-Su’s creative Sijo in the mid-1910s and early 1920s can be thought of as a period in which he sought ways to transform Sijo into literature while retaining the attributes of songs, rather than setting the category of Sijo as songs or literature and mechanically distinguishing them.