2025, Vol., No.68

As the archetype of the healer, the shamanic of <Baridegi> -“Chilsung” in the Baridegi, Hwang Seok-young’s novel

KOO HYUNG YEOL | 2025, (68) | pp.5~48 | number of Cited : 0

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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.

Familism and Dualistic Worldview in Yuchungryuljeon(劉忠烈傳)

Kim, Suh-Yoon | 2025, (68) | pp.49~83 | number of Cited : 0

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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.

A Study on the Way Lee Gwang-Su Enjoyed Sijo and his Transition in Perception in the Early 1920s -Focusing on Sijos in 『GeumgangsanYugi』

KIMJOON | 2025, (68) | pp.85~121 | number of Cited : 0

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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.

The Encounter of Tradition and Modernity in Haedongyeomsa

Ryu Jeong Wol | 2025, (68) | pp.123~159 | number of Cited : 0

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Aspects and Meaning of ‘snake monster’ in space and place -with a Focus on Ishimi and Jikim-i

LEE YEJI | 2025, (68) | pp.161~206 | number of Cited : 0

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The purpose of this study is to reveal the connection between space and place in the representation of monster through a comparison of the snake monster ‘Isimi’ and ‘Jikim-i’, a type of Gasin. Ishimi is a Korean snake demon known by the alternative name of Imugi. However, in the Ishimi folktales that are passed down, Ishimi has a distinct hierarchy from Imugi and is perceived by people as a monster that should be ‘hunted’. This is because Ishimi has the animal nature of a ‘snake’, So, the name “Ishimi” is based on the fear of snakes. However, there is another entity that is equally animalized as a snake, and that is the ‘Jikim-i,’ a type of Gasin. The ‘Jikim-i’ is a type of ‘Upsin,’ a Gasin that protects the property of a house, and in the stories that are passed down, the ‘Jikim-i’ usually refers to a big snake. The guardian is the same animal, a snake, that protects the house and is considered a sacred being that should not leave the house, but there is a difference in how it is perceived by people. The difference between the name and level of recognition of Ishimi and Jikim-i, who share the same animal nature of ‘snake’, is related to the place where they exist. Ishimi appear mainly in natural ‘spaces’ and are perceived as threatening to people. Jikim-i, on the other hand, exist in ‘places of living,’ such as homes and villages, and are perceived as sacred. Space universally symbolizes freedom, and people feel a sense of openness in vast spaces. However, this sense of openness can also be intimidating. On the other hand, when space is given definition and meaning, it becomes a ‘place’, which is something people already recognize. These ‘places’ become something that people feel attached to, and they become tolerant of them. This sense of spatiality and place applies not only to spaces and places, but also to the beings that inhabit them. Ishimi appear in natural spaces such as mountains and caves, which are unknown ‘spaces’ that people do not know. Ishimi’s presence in these spaces reinforces people’s fear of the animal nature of snakes. On the other hand, Jikim-i’s presence is in places that people consider ‘meaningful,’ such as homes and villages. As a result, they are perceived as elements that make up the places that people are attached to. As a result, Jikim-i, whose animal form is a snake, is perceived as a sacred being who, unlike Ishimi, is ‘meaningful’ for protecting the home. These perceptions of space and place affect not only snake monster such as ishimi-Jikim-i, but also various representations of them, and the representations of yokai continue to change due to the changing perceptions of space and place in contemporary society.

A Study on the Patterns and Meaning of Twins in Korean full-length classical novels

Eunkyoung-Lee | 2025, (68) | pp.207~242 | number of Cited : 0

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This study focuses on how twins, who are currently often appeared to popular culture, have been produced in the Korean full-length classical novels and what they mean. The purpose of this study was to see the perceptions of the nobleman about twins born on the same day and living various lives. Focusing on the role of the twins in the relationship of many characters in the Korean full-length classical novels, the aspects were divided into the sides of the twins and the sides of the family. In terms of twins, the first is confrontation and conflict-type twins, which cause conflict between twins or other brothers due to twins. Second, a case of cooperative and complementary twins that join forces with each other to protect the country, or family from the enemies, or to overcome crisis. Third, independent and individual twins, who live individual lives because of different appearances and personalities, or because the environment in which they grew up is different. Each lives their own lives because they are not significantly affecting each other’s lives or because of separation. In terms of the family, the first is a case of the twin who registered as the descendant of the family relatively reduces the burden of the succession problem and continues the family. Second, it is a case of healing and recovery twins who heal pain and trauma by filling the void of the family. In the Korean full-length classical novels, which has the nobleman as its main readers, twins have the following meanings. First, in the Korean full-length classical novels, twins are recognized not only as symbols of the same nature that share the same genes but also as independents with different thoughts and qualities. It can be said that twins are not viewed in a dichotomy but are perceived complexly. Second, by featuring many twins in the Korean novel, it is well revealed not only the establishment of the family’s identity but also the will to prosper. Twins are symbols of family prosperity and also responsible for filling the fastest-dead family members. Third, the twins in the Korean full-length classical novels try to solidify the vertical order of patriarchy through twins who do not differ significantly in time. In other words, the Confucian order can be more emphasized through a narrative of twins who significantly change their position in the family than the other brothers.

A Study on Sŏ Yu-yŏng’s (徐有英) Journey Poems - Focusing on the Poems of Imhanjŏng (臨漢亭), Mount Kŭmgang (金剛山), and Songdo (松都)

MinHui Jin | 2025, (68) | pp.243~279 | number of Cited : 0

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The literary contributions of Sŏ Yu-yŏng (徐有英, 1801–1876?) hold an undisputedly prominent position in the history of 19th-century Korean literature, demonstrating remarkable breadth and sophistication. Furthermore, his life and social interactions provide valuable insights into the intellectual networks of his time. However, compared to studies on his novel Yukmidanggi (六美堂記) and his vernacular Kŭmkye P’ilt’am (錦溪筆談), research focusing on his poetic works remains notably underdeveloped. This paper investigates one aspect of Sŏ’s poetic work by analyzing his journey poems, particularly those found in Unko Sicho (雲皐詩抄). These poems exhibit three key characteristics. First, many belong to the Akpu (樂府) poetic tradition, including subcategories such as Haedong Akpu (海東樂府), Chukji sa (竹枝詞), and Chap’yŏng (雜詠). Second, from the perspective of travel literature, they can be categorized into observational travel accounts (kwanyu kihaeng, 觀遊紀行) and exile journeys (yup’ae kihaeng, 流配紀行). Third, these poems were often composed during poetry gatherings and involve fellow members of literary societies. The analysis examines a series of journey poems depicting Sŏ’s experiences visiting Imhanjŏng (臨漢亭), Mount Kŭmgang (金剛山), and Songdo (松都), representing his engagement with literary societies, observational travel, and exile journey. The Imhanjŏng poems reflect Sŏ’s participation in the Nam-Sa (南社) and his desire for “one who truly understands him” (chiaja, 知我者), both conveyed through specific locales. The poems from Mount Kŭmgang, composed during three journeys, reveal a literary worldview deeply influenced by Taoist influences from Silla (新羅) and Buddhist ideologies. Meanwhile, the poems from Songdo, written during his exile, emphasize regional identity and historical narratives over the scenic beauty of the landmarks, drawing a connection to Yu Tŭk-kong’s (柳得恭) Isib’il-to Hoegosi (二十一都懷古詩). This study fills a critical gap in scholarship by bringing attention to Sŏ Yu-yŏng’s poetic works, which have been largely overlooked. Furthermore, it contributes to reconstructing the literary and cultural activities of 19th-century Kyŏnghwa sejok (京華世族), particularly their participation in poetic societies such as the Nam-Sa. For the first time, Sŏ’s travel poetry is examined in detail, offering fresh insights into the places imbued with his profound thought and emotional depth. This paper also seeks to support further research on Sŏ’s attachment to and reflections on specific locations, enriching the broader understanding of 19th-century Korean literary culture.

The Emotional Spectrum of the ‘Yangban-owner’ about the Servants and the Network Physicality - Focusing on the Emotional Investigation and ‘Disease/Death’ Records of Shaemirok

Keysook Choe | 2025, (68) | pp.281~322 | number of Cited : 0

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This article analyzes the emotions and attitudes of yangban (elite literati) toward nobi (servants) based on the records related to nobi described in Oh Himun’s diary, Shaemirok, using the concept of emotional spectrum, and compares and analyzes the yangban’s attitudes and emotional representations toward nobi’s illness and death with those of yangban families. In doing so, it clarifies, through a textual interpretation methodology, that the nobi’s owners in the Chosǒn Dynasty formed connections in everyday, experiential, and emotional dimensions and constituted network-physicality. In the Chosǒn era, nobi were not merely auxiliary and objectified tools that helped the daily lives of their masters, the yangban, but rather served as an archived ‘device’ that maintained and connected the physical daily lives, information, ethics, manners, and emotions of the yangban (family). The feelings of the yangban as master toward nobi overlapped to some extent with the emotional reactions toward family or relatives, and were often expressed as empathetic feelings based on universal human homogeneity, but they were also expressed as feelings of hierarchy depending on social status and moral factors. The subject of emotions, yangban as owner of nobi, showed a tendency to secure the legitimacy of emotional expression by exercising moral and ethical judgment regarding the nobi’s breach of contract, non-performance of obligations or promises, delay in work, fraud, running away, lying, rudeness, impoliteness, and unsanitary behavior. Because the yangban shared their daily lives and life times with nobi, their feelings toward nobi were complex and mixed, with heterogeneous or ambivalent feelings intersecting. The nobles had complex feelings for the nobi they had spent a long time with, and they tended to integrate these feelings with their sense of care and responsibility as nobi owners. This study aims to deepen and expand the scope of Chosǒn history and culture by understanding the realistic and emotional dimension of the relationship between nobi and yangban as their owner that could not be approached solely through political, ideological, and academic understanding of the same status and gender as male yangban, by elucidating the reality of the network physicality that operated between nobi and yangban-owner, focusing on the emotional records that the masters recognized, experienced, and reproduced regarding nobi.

A Study on Yubongseonjeon - Focusing on the comparative research between the different versions and the review of related works

Hur, Soonwoo | 2025, (68) | pp.323~359 | number of Cited : 0

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This study was the subject of analysis of the classic novel Yubongseonjeon, which has not been discussed in detail. There was a mention of introducing Yubongseonjeon held in the Chungnam National University Library as a copy of Giyeonhoebongnok, but no specific research was conducted to compare it with Giyeonhoebongnok, perhaps because the Chungnam script Yubongseonjeon was a lost copy. Recently, I was additionally introduced to the Goryeong edition Yubongseonjeon, which has a record of being written by a 15-year-old girl, and I took this opportunity to review the contents of the Chungnam script and the Goryeong edition Yubongseonjeon. As a result, it was confirmed that this work was not related to the Giyeonhoebongnok. Although both the Chungnam script and the Goryeong script are not complete copies, they are expected to be able to make up for each other’s shortcomings so I worked on comparing the two books. As a result, it is highly likely that neither book is a draft, and that the Chungnam script is more inclined to accurately use vocabulary and convey information than the Goryeong script, and that the Goryeong script is interested in expressing emotions. It also confirmed that each book can complement the unclear parts of each book. Next, I thought about what kind of work can be considered to be related to Yubongseonjeon. As a result, I confirmed that Yubongseonjeon is related to the work of the Leedaebongjeon and its similar works, novels featuring female heroes, and briefly compared the narrative paragraphs of the works of the Yubongseonjeon, the Leedaebongjeon and Leebongbinjeon. In the case of the current Yubongseonjeon copy, both are jade copies, and the narrative development is not smooth, so it is difficult to see them as well-organized works. However, if a number of practice-level novels or imitative novels were created around the beginning of the 20th century, it will be possible to conduct research to understand the reality by considering them as a cultural phenomenon. Therefore, this study informs basic information on individual works Yubongseonjeon and understands the creation and enjoyment of classical novels from the end of the 19th century to the beginning of the 20th century. I would like to give significance to the fact that it has laid the foundation.

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The Research of the Korean Classic 2023 KCI Impact Factor : 0.9

2025, Vol., No.68