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Thls study is to review the disputes presented in the devices for Korean folktale classification and to prepare its solution. Below is the order of process of discussion. First, I inspected the outcomes and limitations of each classification device of folktales, observing current classifying works of Korean folktales. I examined classification device especially in <Classdied collection of Korean foketales by types>, which actually classifies and organizes folktales materials recorded in 韓國口碑文學大系 An Outline of Korean folklore> Although this classification device is recognized as the most excellent system for its logical and systematic work at present, it is criticized on its lack of practicality and numerous fallacies in folktale classification results. In order to solve this problem, I examined the classification device in <朝鮮朝文獻說話輯要 chosun-jo Munhun Sulhwajipyo>. This is the classification of written folktales not oral ones, of which advantage is that tales could be searched by subjects. At present, I am conducting special project at <韓國精神文化硏究院 The Academy of Korean Studies>, which is the work of dissolution and indexing of <An Outline of Korean folktale literature>. This project includes the tasks of classifying folktales by subjects and of creating database with the indexes collected from each tale materials. The completion of this task in 2005 overcoming the limitations of <classified collection of Korean tales by types> will be a big help to utilize tale materials in <An Outline of Korean folklore >

This is a critical article on a article of Prof. Jeong Myeong-gi(2001). He had suggested some new opinions on the history of Grculating Libraries in pre-modern period, but I could not agree some of them. Here are the results of my opinion below. 1. The circulating libraries of Choseon had taken a huge change in early 20 century(approximate1y 1895-1915). 2. It was the most important change the printed novels, not manuscript novels, had been the main items of circulating libraries. 3. The printed novels had made circulating libraries smaller. 4. The small market was enough to maintain the small circulating libraries. So the circulating libraries could be spreaded out to small city, countryside.

This study is a critical investigation of the Joseon-pung 朝鮮風 or Joseon-si 朝鮮時, the keyword in the 18th century's history of Cino-Korean poetry. At first, I made a critical assessment of the former study, and found out the fallacy and issue of former discussion. Recently, I'd attempted to bring out a new concept of Joseon-pung. You can see the summary of this study with next some articles. Firstly, most of former study on the Joseon-pung have stressed national subjecthood, so they interpreted of thier own accord. Therefore they could not catch the historical meaning. Secondly, if we want to dscuss the speciality of national culture with Joseon-pung, we must recognize the relationship between the change of Chinese literature and Joseon's. On this base, we can investigate the meaning of 18th century's Joseon-pung. Thirdly, I can say the mean of Joseon-pung as a poem group seeing the ground of nation society and consciousness of thier own. Forthly, with my opinion, I can present the variable features of Joseon-pung, like as a dimension of a ego, a dimension of society, a dimension of state. I said the word Joseon-pung is the keyword for explaning the phenomenon of 18th century's Cino-Korean poetry. Other former opinion says the word like as national subjecthood, but I said the word means the poetry of expressed the variety of nation people.

The issue of interpreting 17th century sijo has been the most controversial subject in the study of poetry in recent years. This paper aims to comprehend the core of the controversy over 17th century sijo by highlighting the methodological problems that lie at the heart of this controversy, and to offer an outlook and suggest future tasks accordingly. In chapter 2, the progress of the controversy was divided into three areas : the issue of interpreting materialistic pleasure in "Eobusasisa," the issue of the anti-neo-Confucianist and Taoist character of Shin Heum's sijo, and the issues surrounding the category and development of rural sijo. Most up-and-coming scholars have continuously focused on the break and changes in world view in 17th century sijo that are distinctly different from those of 16th century sijo. The criticism that the over-eagerness to analyze the changes in 17th century poetry has led to errors and excessive generalization in the interpretation of other works is becoming more persuasive. In chapter 3, the methodological foundation of this controversy was examined. As a result, it was discovered that the up-and-coming scholars were criticized because, although they professed to follow literary-sociological methodology, in their actual arguments they have adopted a traditional structuralist methodology. In addition, it was pointed out that the criticism of the opinions of the up-and-coming scholars by leading scholars is identical to the hermeneutical scholar's criticism of structuralism. Based on the dscussion above, chapter 4 seeks a way to reconciliate the conflicting methodological premises. In order to explain the antinomy of 17th century sijo, it was judged that a mere careful reading of the intent of the subject is insufficient. The aspects of the clash of world views in 17th century sijo will already be reflected in the language of the work, between neo-Confucianism and anti-neo-Confucianism, or perhaps between medieval and post-medieval, and so it is necessary to raise interest in the linguistic characteristics of these works.

The goal of this paper is to examine how Korean songs of the early twentieth century developed, primarily through a discussion of genres. More specifically, the goal is to take the lyrics of the songs collected on records from 1907, when the first commercial record was recorded, to just before liberation in 1945, divide them into genres, examine which specific genres were predominant in which era, and seek the reason for this in social history. The songs introduced through records, as is widely known, were not just popular songs. The records of the day contained traditional songs such as folk songs and conventional songs such as pansori and japga as well as the popular songs. Traditional songs, conventional songs, and popular songs can be again divided into narrative, didactic, theatrical, and lyric genres. Narrative songs include pansori, didactic songs include japga, theatrical songs include manyo(comic songs), and lyric songs include folk songs, sinminyo(new folk songs), and trot. Examining the development of Korean songs according to era, it can be said that dtdactic and narrative songs were predominant from 1907 to the 1920s. However, with the advent in 1932 of "Hwangseongeui jeok," a popular song in the true meaning of the term, lyric songs became more dominant than other genres. This can be called the start of the era of popular songs as lyric songs. Theatrical songs, along with lyric songs, continued to be introduced, but they appeared more as jokes and nonsense in the theatrical sense rather than as songs. The composition of Korean songs in the early 20th century can be divided into two general periods, the early period and the later period. During the early period, narrative songs and didactic songs were dominant, while theatrical songs and lyric songs had a respectable position in the later period. The work that serves as the dividing point between these two periods is the 1932 song "Hwangseongeui jeok." It can be seen that the periodic background of modern times and colonialism and the "discovery of the self' that took root during that time were at work behind the advent of tbs son of lyrical song. Examining the literary genres of Korean songs is another way of looking more deeply at the composition and aspects of development of Korean songs in the early 20th century. Furthermore, by examining each of the genres within the overall composition of "songs," we have taken the first step in solving the problem of the genre classification of japga, which has been a controversial issue. It was also seen how didactic songs and narrative songs gave way to lyric songs, by examining the actual works against the background of that period. This task is important in that it lays the foundation for determining how popular songs will develop in future generations. This paper is significant in that it actively treats Korean songs as a subject of literary study and in that it discusses the composition and development of Korean songs through the literary genres of Korean songs.

ChungHongMyung(鄭弘溟) acted for a poet in the middle Chosun(朝鮮) dynasty. He was unfortunate, so comforted oneself with liquor, friends and poetry. He made the poetical circles with fellows, received Reactionism(復古主詢) that maintained ChunHoo-ChilJa(前後七子) in Ming(明) dynasty. The point of opinions is recovery spirit of The Book of Odes(詩經) that have something in common with the poetics of Zhu-Xi(朱熹). As a result, the paragon of their poems retroacted to old times, Han-Wei(漢魏)․High Tang(盛唐). So he prefered to the Old Style Poetry(古詩), applied to expressions of WenXuan(文選). In Old Style Poetry(古詩), he represented own natural feelings. Some sequences of quatrain(連作絶句詩) were represents of private love and acceptance of private sentiment as a part of the conversion of the ballads(樂府).