KJCKorea
Journal Central

〈Yukyeomgi〉 and 〈Chuimisamseonrok〉 deliver similar motifs through similar phrases. The two works each feature top-class sisters, including Seodal’s six daughters and Han Mu-je’s five daughters, and each of them was classified as “excellent vassel of the peaceful reign” and “the royal vassel of the urbulent age”. 〈Yukyeomgi〉 deals with “women’s honor” by illuminating the lives of female characters, and 〈Chuimisamseonrok〉 takes issue with the “marriage system” through disagreements between female characters. In 〈Yukyeomgi〉, Gwangyeom built Manghyangru tower and hung statues of her family. In 〈Chuimisamseonrok〉, Gwangmuje built Mangunru tower to reminisce his mother when he was a woman in his previous life. Princess Yeo-eup hung a picture of her mother, Huo Chengjun, and missed her. in the dreaming scene at the end of the novel, Gwang-yeom and Nal-yang, who enjoyed wealth lives, were invited to a banquet hosted by Xiwangmu(西王母) and the Great Jade Emperor. After waking up from their dreams, they recorded the content of dreams. In the above motifs, female characters’ attachment to their family members appears in common. In the late Joseon Dynasty, novels that reveal different values of women through the remarks of female characters appeared. Among them, similar phrases seen in <Yukyeomgi> and <Chuimisamseonrok> show the possibility that there was intertextuality between these works. <Yukyeomgi> and <Chuimisam󰠀seonrok> are works that reinterpret existing texts from the perspective of women. <Yukyeomgi> is a work that reinterprets Jingnan campaign from a woman’s point of view, and <Okhwangibong> series, which is including <Chuimisamseonrok>, is a work that reinterprets Huo Chengjun’s abdication from a woman’s point of view. A series of examples show the aspect that the woman readers of the late Joseon Dynasty expressed and delivered women’s consciousness through the fiction.

〈Yukyeomgi〉, 〈Chuimisamseonrok〉, 〈Okhwan Gibong〉, similarity, intertextuality