Earticle

In this study, I tried to examine the creative background of 『Gijae-gi-i』(기재기이) written by Sin Gwang-han(신광한), in order to know the process of Romantic fiction in the earlier period in Joseon dynasty. Sin Gwang-han, the auther of Gijae-gi-i, was a member of Hungu-pa.(훈구파) But his political view and inclination of consciousness were more like with Giho-sarim.(기호사림) His literary point of view as a scholar in retirement constitutes the principal subject of 『Gijae-gi-i』, which was groping the true sense of life values. 『Gijae-gi-i』(기재기이) shows various transfiguring potentialities of romantic fiction. It is not only the successor of 『Geumo-sinwha(금오신화)』, but also that of romantic fiction being piled one on another in the earlier age. 『Gijae-gi-i』, through escaping from the uncommunicative bondage of the former narrative literature, has a significant meaning which gives a notice of new change in the latter history of fiction.

This study is intended to tangiblize characters', especially female characters' repressive experiences in Oh Jung-hee's works and to explore how her strategy behind them appears in her works by citing both the theory of psychoanalysis and the framework of feministic critique in a bid to interpret the 'repression' mechanism, the major mechanism in her works. Publishing the first work, "Woman in Toyshop(l968), Oh Jung-hee made her debut in the literary world, and now continues the creative activities focusing mainly on the embodiment of female identity from that work to the recent work, "Bird"(1977). As her literature connotes complexity, ambiguity and symbolism which make the whole implications intangible, however, her works are not easy to understand. It is identified in the most controversial works, "The Word to Part", "Weaving Woman or "Sacrificial Rites", about which every critic makes different interpretation. Outlining the study results of her literature on the whole, we can see the study of the symbolism and ambiguity does not reach the satisfactory level. When her first editorial book, "The River of Fire(1977), was published, critics begin to take notice of her literature. Generally, in the early 1980's, the theme analysis about individual works is the main stream, but in the 1990's the whole approach to her literature begins to be activated increasingly. This owes mostly to the flourishing female literature which begins to become active in the late 1980's. As the most general approach to her literature, that is, the female-focusing critics, there are the studies about the identity, maternity and madness of female character, and the discussions focusing on female writing and female literary style. Besides the arguments respecting literary apparatus or technique, the most recent output is the debate which analyses chiefly modernity and gender consciousness, comparing her fictions and Park Whan-Seo's. Disability motive, fetal murder, and depressing sense about death appear frequently in her fictions, and they can be understood as the extremely hard resistant awareness of identity-losing and depressing female characters and the symptom symbolizing their refusal of the existing system. Due to this reasons, when we approach her fictions, the analysis of female characters whom she describes gains power as the necessary problem. Therefore, analysing chief mechanism, that is, depressing elements by means of the psychoanalysis and the feministic critic framework, and embodying the depressing experiences of characters in her fictions, I will examine how writer's strategy involved in the inside is formalized in her fictions. This approach is introduced to solve the problem that we cannot explain the complexity and symbolism of female identity by means of single approach because of the peculiarity of her literature refusing 'schematic framework'. And considering the fact that primitive injury incurred by the actual suppression of women applies to all areas including psychological, sexual and institutional, it will be explained in a psychological, sexual and socio-institutional suppression separately.

This paper examines the relationship between the printed book and the transcript of the novel <Chosaengwoieon>, the late Chosun period novel, and also examines the structural meaning, theme and the circumstances by analyzing the printed book in a fresh point of view. and the purpose of research on <Chosaengwonjeon> is presented as well as the existing research results are generally surveyed. In addition, the research method of this paper is presented. In Chapter 1, the different versions and the bibliography of both the printed book and the transcript are examined. In the first place, all kinds of a different versions of the printed book and transcript <Chosaengwonjeon> is enumerated. And the narrative structure of the printed book and transcript is analyzed. In Chapter 2, the comparison of the printed book and transcript <Chosaengwonjeon> of a different versions are examined. This examination includes the comparison of the printed book's with the transcript's characters, narrative structure and narration method, which shows the relationship of the both. The printed book has been evaluated as a Jaengchong family novel and the focus of research has been laying in the conflict between wives. But transcript has been evaluated as Kyemo family novel. And the two works are of different characters, narrative structure and narration method. As a result, the printed book and the transcript are not different versions but different novels. Accordingly the printed book must be named <Chojeongkyeongjeon>, and the transcript must be named <Chogisunjeon>. This research is the result of the overlooked part from the existing researches. But the comparison research on the ancient novel of similar time is insufficient, and the aesthetic interpretation of the work, the social and historical researches are required for the more sophisticated research.

Sahaengrok was one of the books about travel to write facts during the journey. The traveler wrote impressions of facts about the momentous parts of travel. Therefore time and space of geographical designation and fact which was made up during the journey was important thing to writer. Sahaengrok as an object of interest to 'Sadaebu' was concernly written in the late period of Choseon Dynasty. 'Yeonwonjigji', Kim Kyeong Seon's Sahaengrok being a matter of in this article, is not exception. Kim Kyeong Seon, the minister of literature in Choseon Dynasty, discharged the duties of resistering and supervising the line of journey. He recognized the problem of the journey reiterated between Choseon Dynasty and China. So to speak, preparing the journey repeatedly, the change of geographical designations, alien landscape and features on the historic events between two countries raised the problem including the former practice. On account of needing the guidebook, he gave birth to the 'Yeonwonjigji'. In the 'Gi' of the 'yeonwonjigji', he arranged the important parts of the journey between two countries. In the view of objectivity, he corrected the error of documents and arranged the various inheritance in the 'Gi' especially. He wrote it by the synthetic research to analyze the formerjourney record, historical documents and verbal message, not by his simple impressions. Therefore the 'Gi' was the core of the 'Yeonwonjigji'.

Among the existing literature of envoys' visit to Japan, as a work reflecting the situation immediately after Japanese Invasion of Korea in 1592 and intellectualsf recognition best, there is Kim, Seong-Il's 『Haesarok』. The period when Kim, Seong-Il visited Japan as an envoy in 1590 was the time when about 150 years had passed since severance of diplomatic relations between Joseon and Japan. During so long time, consciousness of Joseon people and Japanese was changed very much. Joseon people who could have stable foreign relations tried to recognize Japanese from the viewpoint of Sung Confucianism, but Japanese who united disrupted whole country tried to grope for equal relation to China. In spite of such difference in recognition between two countries, envoys' visit to Japan for communicative purpose continued and Japan revealed intention to request communication men worship of the powerful during such visit. For such reasons, both countries faced many troubles in the diplomatic aspect and even within communication men, there were troubles caused by different recognition. Even among such troubles, Kim, Seong-Il trying to observe diplomatic 'courtesy' and 'prestige' expressed his feelings literally. In this thesis, the researcher examined contents of Kim, Seong-Il's record of visit to Japan as an envoy in four aspects such as 'emphasis on righteousness and whole responsibility', 'emphasis on prestige through courtesy', 'recognition of the other side of the visits to Japan as an envoy' and 'recognition of culture as diplomatic functions'.

BarkGeumgangGeumgangsan'Yusanrok's writer and writing time are obvious, unlike the other two variant texts. This text has good quality. This text is written in pure Korean characters. Mr. Bark, Geumgang. the writer was an existent figure Bark, Jeong-Ki(1846-1907). He was a Confucian in his home town. It consists of two parts without epilogue. The main part consists of introduction about the concrete courses of Mt. Geumgang. The author exposed his personal feelings about every course. Like other texts, it relies on recording about objective facts. Otherwise, the parts of his own feelings based on the objective facts are very emotional. A large part of the emotion is from the Buddhist images. The name Geumgang was originated from Buddhism, and Mt. Geumgang itself was a Buddhist sacred precinct. From that point of view, we can understand the writer's approaching method to Mt. Geumgang.