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In this article, I tried to explain the relation between Yadam and Kyounghwasejok(京華世族). There are many Yadam anthology editors who belong to Kyounghwasejok. Imbang(任埅), Immae(任邁), Lee Hyipeong(李羲平), Lee Wyonmoung(李源命), Lee Hyonki(李玄綺) belong to Kyounghwasejok. No Myongheom(盧命欽) and Seo Yuyeong(徐有英) don't belong to Kyounghwasejok, but they are closely related to the people of Kyounghwasejok Imbang, Immae, Lee Hyipeong, Lee Wyonmoung represented the cultural experience of their own group in the boundary of their own class. By comparison, Lee Hyonki showed a very critical perspective toward the world view of Kyounghwasejok in their own ordinary life boundary. No Myongheom was faithful in portraying the mood of the storytelling space of Hong Bonghan's family. Seo Yuyeong was eager to represent the inclination of the members of Hong Sanhan's family who had strong aspiration towards literature. Yadam as the representative literary genre of Late Chosun Dynasty was based on the experience of people in Late Chosun society. But Yadam anthologies whose editors had intimate relationship with Kyounghwasejok moved to the opposite direction of reality where benevolence and destiny had crucial power. This change was caused by the world view of Kyounhwasejok. On the contrary, An Seokgeong who edited Sapgyomanrok and Lee Donyun who edited Paksochonwha din't belong to Kyounghwasejok. They empathized the hegemonical ideology. Specially, they discriminated the peoples who participated in the political rebellion. Yadam as a narrative genre began to accept the importance of human desire and acknowledge the necessity of fulfilling the desire. However, in the process of recording by the editors of Kyounghwasejok, Yadam's contents and form were transformed. Destiny and benevolence became overestimated. As Kyounghwasejok participated in the recording and editing Yadam, these kinds of change appeared. As a result, the conflict between desire and destiny, human being and superior being, secular and unworldliness emerged as a significant part in Yadam anthology.

In this study, the author led the discussion with the object of exploring the position of Kyunghwa-Sajok-rich noble families living in Seoul- in the context of sijo history during the 18th century. For an vivid understanding of spaces for Kyunghwa-Sajok to enjoy sijos, this study attempted to explain the introduction of new music for sijo singing and the character of enjoyment gathering. During this period, sakdaeyeop appeared as vocal music for singing sijos. Although jungdaeyeop, which had been sung since the 17th century, and sakdaeyeop coexisted, sakdaeyeop became dominant over time. As this music was high‐toned and fast, it was far from chidojieum-the music for cultivating people's mind and harmonizing the law of nature- of traditional music for literati. There was a conflict over the introduction of sakdaeyeop inside the class enjoying sijos, but as many of Kyunghwa-Sajok and singers enjoyed geumjo sakdaeyeop, sijo singing made progress. Kyunghwa-Sajok enjoyed sijos(songs) actively as art lovers, performance sponsors, and patrons. While the former were appreciators with high‐level musical sense and created the culture of enjoying songs among colleague literati, the latter associated with singers actively and led larger scale performances. In the course of enjoyment, Kyunghwa-Sajok played the role of the base for creating and communicating works in the spaces for enjoying sijos, and contributed to the spread of songs and the culture in Seoul.

This study is on the relation between reading novel and noble of Seoul in 18th century. For this purpose, I analyzed two lists of novels. One was written by Yun-Dukhee(尹德熙) and the other by Prince Sado(思悼世子). Also I surveyed the diary of Yu-Manjoo(兪晩柱). These data say that noblemen of Seoul in 18th century enjoyed chinese novels and in the chinese novels the proportion of human nature novels increased in late 18th century. To trace the reading novels of noblewomen, I analyzed the list of novel in the back of Okwonjaehapkiyeon(옥원재합기연), the Korean novel, too. Different from noblemen, noblewomen did not enjoyed Chinese human nature novels, but enjoyed Chinese historical novels, and they preferred for korean novel to translated Chinese novels. Some scholars supposed that in 18th century noblewomen got the novles from rental shop, but I think that the customers of book rental shop were the lower class women, and noblewomen got the novels in their own family. There was imbalance between reading novel and writing novel of noblemen. They were the enthusiastic novel readers, but they did not have the desire for writing. I supposed it was because of their abundant life. They had the possibility in real life, so had no desire to realize in fiction. On the other hand, women of upper class are thought to be the writer of Korean novel. In the culture of reading Korean novel, the reader was not separated from writer, So the readers could write stories more easily.

This essay is to review Kim, Chang-hyup(金昌協)'s prose criticism, and through that, to devise some specific writing guidelines which is useful to today's composition curriculum. Kim, Chang-hyup(金昌協), as a distinguished scholar and a good writer in 17th Joseon Dynasty, criticized an imitative writing custom called Yongsa(用事), and advanced an alternative methods considering prose writing characteristics. The Yongsa(用事) is a method of conventional composition that quotes or modifies former text in expressions level, for using it, the common writers in the Joseon Dynasty must memorize a great many phrase and sentence in various classics. Kim, Chang-hyup(金昌協) thought that the writing based on Yongsa(用事) made a lot of mistake when quote former classical text, and had been attended by evil effects of imitation. So he roundly criticized the imitative writing custom and raised a writing methods which is suitable for the prose itself. He suggested that the prose writer had to learn the method on ‘fixing a central themes’ and ‘arranging paragraphs’, not imitating the expression of it from a great work, especially the Sagi(史記) which had been become a canon in the history of prose writing. By analyzing his literary criticism about several classical prose work writtin by Kim, Chang-hyup(金昌協), I set before each five detailed guidelines on ‘fixing a subject’ and ‘composing paragraphs’ at this essay, and had in place an available guidelines nowaday which is applying the classic literary criticism at the same time.

In this thesis, I studied on the literary and musical origin of Hwanggyesa(黃鷄詞). The lyrics of Hwanggyesa(黃鷄詞) include various phrases which originated from a number of separate songs. Among the various phrases in this song, about six phrases turn up in many different version, and three of them originated from Goryeogayo(高麗歌謠). In addition 'synthesization', the compositional method of this song and the chorus which don't match the lyrical meaning of this song are also the characteristics of some works of Goryeogayo(高麗歌謠). Hwanggyesa(黃鷄詞) is closely related to Goryeogayo(高麗歌謠) musically too. Hwanggyesa(黃鷄詞) is similar to Cheongsanbyeolgok(靑山別曲) in various musical aspects such as the periodic structure, the rhythm of the janggu drum, the scale and the melody. The music of Cheongsanbyeolgok(靑山別曲), like that of Hwanggyesa (黃鷄詞), is believed to have the periodic structure that is a way of singing by which we sing several different stanzas to one melody repeatedly. The janggu rhythm of Cheongsanbyeolgok(靑山別曲) can be changed to the form similar to that of Hwanggyesa(黃鷄詞) through appropriate adjustments of some musical elements on the scores. The score of Hwanggyesa(黃鷄詞) corresponds exactly with that of Cheongsanbyeolgok(靑山別曲) and the melodies of the one and the other are too much alike in the majority of the score. Through these various facts, we can learn that Hwanggyesa(黃鷄詞) succeeded to Goryeogayo(高麗歌謠) in the literary and musical sides all.

In Confucian society, filial piety is largely classified into two categories; one is supporting one's parents during their lifetime, and the other is performing funeral service and ancestor memorial rites after their death. This paper researched what would be the future of oral transmission depending on the change of bearers' viewpoints and philosophy, especially about the 'folktales related to ancestor memorial rites'. This study had been proceeded as follows. I had some students, being at college or graduate school, appreciate the 'folktales related to ancestor memorial rites' and make descriptions of their impressions. And then, I compared their various impressions and interpretations found in the descriptions with the storytellers' messages in the folktale versions they narrated orally. As the result, I found there is a great difference between two. The students, that is, the new generation do not agree with the sense of values Confucian ideology, that the story tellers emphasize in their folktale versions. For example, the students all pointed out serious problems and absurdity of the facts issued from male-oriented lineage succession and the notion of preferring a son to a daughter. Briefly speaking, the future of oral transmission of the 'folktales related to ancestor memorial rites' is not good. Because it seems that the most bearers, who should hand over Korean folktales in the future, would not willingly transmit 'the folktales related to ancestor memorial rites'.

The paper on the Jungoeilbo 1929 년 15 July to 6 November, "The theory and practice of orally narrated children's story" in the title series (1 -18 days) to introduce a with a soft Yeon Seong Heum's theory and practice of orally narrated children's story. Yeon Seong Heum's theory and practice of orally narrated children's story is applied to the theory and practice are well assimilated by choosing some for the children to practice how to do oral on whether details of the case has to be informed through. Children's story to children educational, psychological impact, and cruel or sad or scary stories or good stories to show when orally narrated children's story. Yeon Seong Heum's theory and practice of orally narrated children's story the most important thing in a discussion of ductility above Yeon Seong Heum is an individual has a theory of a Children's story. Bang Jeong Hwan the world began in 1922 Gaebyeok whether it is the individual spreading through the assimilation theory would work if a limited category of soft Well the whole story through the assimilation theory has been presented. Based on this theory and the real story oral screening should be done in the field emphasize assimilation. Yeon Seong Heum's a funny soft stories, stories with tears, I'm talking about effective verbal brutality in the field are advised not to talk in detail. The East and West, regardless of commonality with stepmother story was mentioned. Yeon Seong Heum's theory and practice of orally narrated children's story how flexible the theory and practice of storytelling in the fairy tale with him to the scene by combining theoretical and practical oral in the field of self-information viewers need to present concrete contribution to the storytelling part of the practical use highly was. However, the soft Hmm stance on the theory and practice of storytelling at the time, considering the circumstances, the Western theory of storytelling in Japan under the influence of storytelling can be free, but as for this part is left to the challenges of the future.

The purpose of this paper is to introduce an anthology of Joseon Dynasty poems. This anthology is supposed to be transcribed by Han kwang-wi(韓光瑋) who was a writer in late Joseon Dynasty. The anthology have characteristics as follows; first, this anthology is composed two part. One is Lee byeong-yeon(李秉淵)'s poems, and the other is Choi seong-dae(崔成大)'s poems. and other writer's poems are selected among two writer's poems. Total number of poems is 742. The selected writers are mostly person who lived in 18th century. Second, this anthology provide various informations about creative activities of writers who lived in 18th Joseon Dynasty. Third, this anthology is one of the most early works that shows 並世意識. 並世意識 means thought that regards contemporaries' writings as important. Forth, this anthology shows a sound basis on the intercourse of Lee byeong-yeon(李秉淵) and chinese writer Wi jeong-hui(魏廷喜). The last, this anthology provides a broaden view about literal activities of writers who lived in 18th Joseon Dynasty.