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The purpose of this paper is to find out what the relationship is among a series of events and what they represent on the structure of each happening. First of all, to understand a narrative structure of this story, it has to be organized with the story of Hun who is the subject of self recognition. Then it tells that it is all about narrative structure of human natured awareness. Those orderly arranged events are formed to the centripetal structure of the meaning by the relationship of transposition confrontation. The centripetal structure of the meaning represents the aspects of both inside and outside of human nature. One is about inside human nature that destroys the law of causality. The other is a historical chain that is the result of understanding rationality. In other wards, a farmer tournament that gives rise to conflict between Hun and the reality is arranged in the center of the centripetal structure. There is an action of Ojacnyu towards Hun. This action of Ojacnyu who loves Hun and is determined to die for Hun's safety is the event which makes the private lyric and the historical narrative be harmonized. This is the quilting point making changes among the happenings and the fixed point of meaning which gives consistency to pieces of meaning which are the changes depends upon the situation. However, the consistency of meaning in the ordered narrative which is focused between the misconception and self consciousness of Hun who is the focalizator is in the awareness of Hun. There is a recognition conversion of ParkHun from the space of those quilting points. Parkhun who is the character always maintaining the objective view but never involved in the event as the writer is recognized his self-existing limitation because of misconception. Changes of awareness about human being can be happened by self-consciousness. So that Hun becomes free from the narrow mined rational view which is taken from the morality of the contrary idea. He then recognizes the nature of life and death, and symbolization of co-existence of Dusyub and Ojacnyu. Hun finally finds his human nature that he accepts positively and can make his own idea of the new relationship.

In this article, I focused on analyzing cultural codes expressed in Kim Nam-chun's full-length novel <Due-Ha>. Especially, I considered the meaning of the social transformation which is caused by customs and by inflow of the foreign-made goods and the foreign ideas in this novel that began to make a rush for this country after opening the port to the foreign. In so far as 'custom' is not simply a representation of the cross section of society but a embodiment of the total apparatus of society, it also implies the historical meaning. Moreover, this is because the inflow of new civilization does not imply simple change of life but imply social transformation with conversion of consciousness. Among various customs expressed in <Dae-Ha>, the factors which are the key to understand this novel are 'the custom of marriage', 'the Dano festival-Big sports day'. 'the foreign-made goods' and 'the christian idea.' Through analyzing the meaning of these factors, I found the fact that there is not simple inclination to be intended to 'the new' but critical reception of 'the new' with attachment to 'the old' in this novel. In addition, I found that transitional phases disordered is sufficiently reflected on the transformation of custom, which is expanded into the problem of national identity beyond the simple change of custom. Finally, the fact that in this novel the new culture and the new civilization with popular curiosity on them, which could not healthily take root in the traditional system of values, is described as 'frivolity', 'flighty' and 'secularized popularity' can be conceived of reflecting the consciousness of the author that tried to regard the national intention laid on the crossroad for choice in the era of enlightenment as not uncritical inclination to 'the new civilization' but critical reception of it under the traditional context.

In this thesis, it will examine critically in existing theory history of Chui In Hoon's novel <Kwang-Jang(광장)>, and consider the relation with the 'father' prologue through this thesis. There were many attempts to clarify the <Kwang-Jang(광장)> which became an issue since it was published. However, it is true that most of the arguments lay the main stress on divided diagrams of the subject of division and the square/chamber. Moreover, applying the Lacan's theory schematically, the results of the relatively recent study also has reduced the various meaning which the novel has. Noticing this point, this manuscript get hold of the <Kwang-Jang(광장)> which the main character's ambition, willing to form the 'self characteristic', is how to encounter with the social situation and conflict in the work(novel) through 'father searching'. The 'father' who appears as a material literary work(writing1 shouldn't be understood only as a simple material dimension, but to be read as a various symbol that consists the reality because of the oncoming generation, 'father searching' is a ideology point of view to know as a 'father name'. because it is a way to check self identity. Moreover, the area of the 'the symbolic' which is established as the 'father 'name' is closely related to the part of the ideology. It shows that the meaning of the <Kwang-Jang(광장)> is both the keypoint and the aquire of the ideology critic. Moreover, through the main character who finds his father and deny him himself. It shows that the story of (Kwang-Jang(%%)) is basically related to the imagine

The purpose of this paper is to compare and analyze the relationship between the literary work that is revealed focusing on the life of Choiyongsin who is an actual model of a main character, Chaeyoungsin and the real world. As we know, although <Sangroksu(常綠樹)> is the novel written by Simhun, it is a record of a peasant movement that was managed by YMCA which was a protestant movement that was led by the press such as DongA and Chosunilbo. So that <Sangroksu(常綠樹)> is a peasant literature. Also it is a literature of enlightenment, even it can be a religious literature. Because of those, first, it is summarized that the organization of YMCA and processing of the movement to know the phases of the times as the background of <Sangroksu(常綠樹)>. Second, it is examined about background of the literary work, especially the parts, which describe about a main character, Chaeyoungsin, are the imagination based on the truth of the real world or embellishments that are founded by testimony. Third, it is searched that who Chaeyoungsin was and what kind of life she had by verbal evidences of witnesses and the records. Forth, it is shaped into a chart that shows similarities and differences between Choiyongsin and a main character, Chaeyoungsin who is modeled after Choiyongsin. In addition that it is inferred that whom Barkdonghyuk a fiancee of Chaeyoungsin- is modeled after. At the same time, it is analogized about similarities between Bakdonghyuk and Kimhakjun- an actual fiancee. Simhun, the author, explains the significance of existence of Christian in <Sangroksu(常綠樹)>. Choiyongsin, an actual character, took a part in the field of a needy peasant throwing upher position even the wealth and social vested right that she had. It is meaning that she lived up to the faith that is comprehended as the death of the Cross and resurrection of Jesus Christ. So that her life recorded by author appeared as a paragon of the Christianity. In conclusion that, it is believed that it is very important work to feel a deep impression during studying the life of characters who lived in the way they chose or as what they wanted to be and to understand the gap of an actual world and written expressions especially in the literature based on an actual eve.

It is not worth rediscussing that we need to study the classical literatures based on the primary data more than anything else. Also, we should be more careful with uncritical acceptance of the contents of the primary data, because it may very much cause another misunderstanding. [Kyobang Gayo] is an important research material for comparing between and studying the local and central arts and cultures in the late period of Chosun dynasty, that is, in the later 19th century. Though 'music' as a form of composite arts which coalesce songs, dances, and musical instrument performed at the royal court has been transferred relatively in details through Uigywe and Holgi, the counterpart music performed at Gyobang of local government office has been rarely documented. In this sense, the [Kyobang Gayo], a record of the songs, dances, and musical instruments performed at Kyobang of government office in Jinju area by Jung, Hyun-seok, is an invaluable historical material, and particularly the illustrations of its performance method are more worth studying. Besides, this has a thread of connection with the present performance as a prior stage of our contemporary arts. Among the contents of the [Kyobang Gayo], the errors in compilation, a flaw in a gem, may hinder us from understanding it much. Thus, this paper seeks to give proper understanding of songs, dances, and musical instruments of local government office Kyobang in the late period of Chosun dynasty by correcting these errors centering around the lied. It refers to [Gyobang Gayo], Bogo Publishing Co., edited by Jung, Hyun-seok and translated and annotated by Sung, Moo-kyung, in 2002.

This thesis is an analytic study on the history of the existing researches about the Koryo songs. The research history about the Koryo songs has been over 80 years until now. The Koryo song is one of the most important fields in the Korean classical poetry, in light of its historic meaning. However, the deep and synthetic study on it has not been accomplished. I have started this study under the consciousness of the points at issue. The study of the first stage was to find out, arrange and make out the textual materials with groping theories of its genre and textual criticism. In the second stage, many researchers tried to apply the more deepened textual criticism and formal approach. Many achievements through the research methods(analytical criticism, formalism, and dramatics) appeared in the period. The methodology of the second period was deepened and diversified still more in the third stage. The new approaches in the linguistic understanding were made, many studies under the structural methodology were accomplished. The new meaning of the Koryo songs and their social background came to light by the analytical criticism and positivism. One of the research achievements in this period is to disclose the fact that the Koryo songs have very complex background of formation, enjoyment class, and traditional structures. The research realm of the Koryo songs was extended largely, under the reception of the new methodology for the foreign countries in the 4th stage. In this period, an analytical methods about the texts and the new points of view about the classical poetry were introduced.