Earticle

The daily life of mythical society differs from that of modern society or modernity. I call it mythical life, and found that it is very unique in comparison with modern daily life by examining a few myths of Jeju-island. <Chonjiwang-bonpuri(myth of the king heaven-earth)>,the creation myth of Jeju-island, shows the order of this universe and the ethics of our living in this world. The heaven controls 'isung(this world)' and 'jeosung(other world)', and 'isung' is composed of the Nature, Human and Living Creature. It is not the Human but the Nature that controls the other parts of this world, and the Nature is controled by the God of Heaven. Therefore, we can says that <Chonjiwang-bonpuri> shows the status of the Human in this universe and this world, and the ideal type of mythical life. Moreover, <Chonjiwang-bonpuri> says that the appearance of king-man is forbidden in this world by showing that 'Sumyong janja', who had a lust for power to human, was punished by 'Chonjiwang(the king of heaven-earth)'. The king is not the man but the God. The desire of man to govern or rule over this world, which is a important feature of modernity, is not allowed in myth and mythical universe. I think that this is the uniqueness of mythical ethics differs from that of modern's. By the way, in a communal society based on mythical principles and ethics, how can the human's experience in real world be made into myths? I examined <Chilsung-bonpuri>(myth of 'Chilsung'; a myth about the god of wealth)> for example. I focused on the fact that 'Chilsung' is a god has a body of snake but a snake is tabooed in Jeju-island. The people of mythical society desire the power of snake like as rebirth and immortality -maybe, this character of snake comes from its sloughing habit- that bring about wealth and fertility, but a snake is the animal which is forbidden to enter the human's world. So, people thought out the snake 'god' who can control and enter the universe of themselves. In this case, we can say that the operation of <Chilsung-bonpuri> is to explain that their desires can be satisfied without confhcts with their mythical life. Briefly speaking, in a mythical society, myths show the principles of daily life and satisfy the desires occurring in daily life.

This paper examined the role and significance of the everyday in the history Hanmun (written Chinese) poetry. Yet the concept of the everyday and the methods of applying it have not yet been clearly established in the field of literature. Accordingly, this paper defined the basic concept of the everyday as "things which are essential to the composition of life" and focused the discussion on what it contributes internally in Hanmun poems. The following points were covered in the discussion. Firstly, with regard to the extent to which the everyday appears in Hanmun poems, light was cast on the various aspects of the 18th century spread of the everyday, which had been introduced into Hanmun poetry relatively rarely up until the end of the 17th century. This phenomenon in and of itself suggested a change in the history of literature, and can be interpreted as meaning that poets found it increasingly more difficult to avoid confronting the everyday as time went on. Secondly, with regard to the internal contributions of the everyday, light was cast on the various possibilities based on actual works. That is, the various states of the everyday were investigated, including the everyday as a prerequisite for consecration, the everyday as a comfortable friend of life, the everyday as an ideal that seeks a restoration of that which was lost, the everyday as an aesthetic object, and the everyday as an important subject in the world of life. Thirdly, with regard to the transformation of the everyday into a poetic style, it was seen that it developed as a new poetic style in the 18th century in particular. Represented by the "critical style of the everyday" that united the everyday and miscellaneous poems, the "journal-style poetic form" that applied the everyday to poetry through the journal form, and the "epistolary-style poetic form" that combined letters and the everyday, developments of the everyday as a new poetic style were valuable efforts that produced new styles and content in Korean Hanmun poetry. There are a number of possible methods of explaining the relationship between the everyday and literature. Yet if we consider the core nature of these works, the points examined in this paper can make significant contributions to the study of the history of Hanmun poetry. However, there are still many works that were not examined in this paper, and these are full of possibilities and await new research.

This thesis pointed on the daily characteristics on Sadaebu-gasa(사대부가사) in 18 - 19th century. Especially this thesis pays attention to the theme of old age, women, family out of various daily characteristics. And for the purpose of this thesis three sadaebu writers in 18 - 19th C. were selected.: Gu Gang(구강), Hong Won-jang(홍원장), and Wi Baek-gyu.(위백규). The three writers are classified Capital Sadaebu(경화사족), Youngnam countryside Sadaebu(영남향촌사족), and Honam countryside Sadaebu(호남향촌사족) respectively in accordance with the class Gu Gang handed down the works of 『Bugsaegog(북새곡)』, and fourteen works were recorded in them. Hong Won-jang handed down two works which was named <Sangsimhwajenga(상심화전가)><Johwajenga(조화전가)>in 『Jabrok(잡록)』worked by a woman writer, Andong Kwonssi(안동권씨). Wi Baek-gyu handed down <Jahoyga(자화가> in his the works 『Jonjaejip(존재집』. As a result of study on the works of three Sadaebu writers, the composure and the contemplation are appeared on the works of Gu Gang, and the humor and the sorrow are appeared on the works of Hong Won-jang. Also the sorrow and the Confucian ideology are appeared on the work of Wi Baek-gyu.

This paper tries to investigate the routineness appearing in the five Pansori works transmitted so far, and find its meaning. Pansori often approaches the audience by revealing routineness as familiarity and repetition, when the audiences greatly express sympathy with the situations in the play because they are frequently observed in neighbors. Especially, the insertion of related songs contributes to the enhancement of sympathy. Thus, the representation of routine in Pansori can be said to be a mechanism for sympathy aiming the audiences, who live a similar life with the characters in the play. However, more significant in the view at that time are the routine as survive, and the routine revealed as a problem of the real through the destruction by the external power. We it becomes a play in <Heungbo-ga>, the routine in <Jeokbyeok-ga> exists in the memory to be reminded by nameless soldiers. In the latter, the routine destroyed by the external power, and thus revealed as a problem of the real is depicted. The routine depicted in this way must contain significant questions.

This thesis is an inquiry into daily life and meaning of the late Joseon literary man's diary, letter, etc. Yoon Choi-sik and Yek presented the daily routine of the late Joseon literary man. Em Young and Yu Man-ju wrote down the attitude of keeping a diary. Their recordings stressed on self-examination and encouragement. Writings of Kim Chang-beup, Min U-sam, Choi Heung-won, Lee Deok-mu, Park Je-ga reflected disorder of Samjeong and the attitude of a governor, the aim and effect of Segye, article on the process and expense of a funeral ceremony, the style of Shim Sa-jeong's paintings and criticism of those days painting style, new discoveries from window paper and gravel.

The affinity of women and common life is well known. 'Ihis thesis examines the aesthetics of 'common narrative' on the story of Hyeonssiyangwoonssangninki, Okwonjaehapkiyeon,and Wanwolhyemaengyeon. 'Common narrative' is shown in the grand part of wife's making play on husband and the family of husband's taking part with daughter-in-law. In these common narratives the hope and desire of women in agony under the patriarchal system of the time place. It is presented in the form of making play on and embarrassing men, occasionally by women oneself and occasionally in the conspiracy with family of husband. The tight rope dancing between common reality of the time and the desire of getting out of common life is the aesthetics of river novels of the latter period of Chosun Dynasty. Women of the time might dream another common life over the real common through these common narratives of the novels.

This paper is an investigation of the dailiness of Hyang-ga through the new document of the Shih's history, Hwarangsegi. The noble classes' intensive passion for love is well documented in Hwarangsegi. The noblest classes were worshiped as gods by people. The love acts in noble society were encouraged for reasons of maintenance and succession of the divinity. From perspective of social hierarchy, upper classes were serviced sexually by lower classes. The society's network was built on sex services. Everyone in the Dynasty admired beautiful women and men, so beauty held the highest value. This indulgence in sex could not break the society's order. Because noble classes held fidelity to the divinity of the royalty and idea of great love which was combined with social morals. Hyang-ga could be explained by conventions and consciousness of love in that age. Songsadabam-ga and Cheongjo-ga have a direct relationship with the love conventions of a noble society. Though Seodong-yo, Heonhwa-ga, and Cheoyong-ga were authored by those who did not belong to a noble society, they nevertheless show the same love conventions. In addition to love conventions, the distinctiveness of daily life of Shilla is reflected in Hyang-ga works.

There is a concept called 'the middle ages a→ transference times → the modern age' suggested as one of the viewpoints understanding Korean (literature) history. Th concept is the viewpoint that sets up one historical come like 'the middle ages → the modern ages' and restores all phenomena to a by-product of this course. But the thought of Su-un and Jung-san, and recognition of a mystique expressed through literature didn't have that course as like existing interpretation. They looked at more fundamental point. They viewed the utopia, return of the beginning, overpassing the existing system based on a class distinction and plundering and the power of west and western learning marching on with a cannon and Jam at the head. At this point, these people's thought was the rediscovery and reappraisal of a universe of mythos that everything was in balance. This reappraisal has an antimodern status, although it was not intented. And as for today's point after 100 years passed, it has a post-modern value, instead. This is the core of recognition of a mystique that Su-un and Jung-san legends have.

The goal of this paper is to examine the aspects of Kwon Seop's creation of Gasa, as seen in "Yeongsambyeolgok" and "Dotongga", and their meaning in terms of literary history. In general in literary works, the author's attitude and methods of expression as he or she regards the subject differ according to the space in which the work was created, and Kwon Seop's "Yeongsambyeolgok " and "Dotongga" are good subjects for understandmg the aspects of the creative space and the author's attitude and expressions. "Yeongsambyeolgok" deviates from a realistic space and expresses lyrical sensibilities regarding scenery seen in the space of a journey, which is a space of departure. The author establishes a character who speaks for the author's own inner world, expands scenes by vividly describing the subject at hand, and achieves literary form primarily in the Korean vernacular script through metaphors, symbols, and exaggeration. On the other hand, "Dotongga" shows a reasonable and critical voice that speaks of a chaotic reality experienced within a realistic space. That is, he boldly confronts the chaotic reality, discussing the history of "Dotong" ("the tradition of ethics") in the first part and lamenting and worrying about reality in the second part, using primarily Sino-Korean characters and plain diction. In terms of form, the two works share the form of "four-foot continuous form". Yet in terms of content, "Yeongsambyeolgok" can be said to have carried on the orthodoxy of "Gasa literature", but "Dotongga" is narrated in plain diction with almost no literary form, and so it is doubtful whether it can be included in the category of "Gasa literature". The reason is that the "four-foot continuous form" does not guarantee literariness. From this point of view, it is impossible to see "Dotongga" as carrying on the "orthodoxy of Gasa literature", but we can see the work as utilizing "conventions of Gasa literature" such as the title and form. From this point of view, the aspects of Kwon Seop's creation of Gasa as seen through "Yeongsamdyeolgok" and "Dotongga" point out the need for research into the aspects of the development of Gasa and the genre of Gasa itself to deal separately with Gasa that carry on the "orthodoxy of Gasa literature" and vernacular Korean textual forms (such as tales of woe, descriptions of Confucian virtues, religious doctrines, letters, etc.) that utilize the "conventions of Gasa literature" in everyday life.

Gwon pil(權韠) and Yi An-nd(李安訥)were the most famous poets in Mongneungseongse(穆陵盛世) They has kept company with each other from young ages. Their fdes were both famous, because their ancestors were great poets & writers. In Adng Gwon Family(安東權門), Gwon Geun(權近) and Gwon Byeok(權擘) were great writes. Yi Eui-mu(李宜茂), Yi haeng(李荇) were also famous poets in Deoksu Yi Family(德水李門.) Two familes were noblest in early Joseon dynasty, but had declined in 16th century. Gwon Pil and Yi An-nul applied for Gwageo(科擧) in young ages, but both failed. Gwon has never applied again, but Yi passed in 1599. Yi spent all life as civil officer from that time. Gwon and Yi criticized Songsi(宋詩) and recognized Seongdangsi(盛唐侍) as a good model together, but their poetical style and technique were so different. Gwon studied all of poetical style, not discriminate Dangpung(唐風) and Songpung(宋風). Yi was so eager for studying Hanyu(韓愈) and Dubo(杜甫). And he devoted himself to training poetical techniques. Critics of those days criticized that Gwon's poetry were too dry, and Yi's poetry were too monotonous. But Gwon and Yi succeeded to make new poetic styles, so it is obvious that they were important poets of Mongneungseongse.

This paper examined the birthplace of Pansori and the formation process of the twelve Pansori works in view of the adaptation of folk songs. Folk songs included in Pansori were created through the borrowing of southwestern Korean folk songs. Yet they were not continuously created in this manner, and after a period of time songs that had already been established as folk songs included in Pansori were adapted and used in other works. According to the results of research on the channels through which folk songs were borrowed, we can determine that Pansori originated in southwestern Korea. Also, it is inferred that the twelve works mentioned in Song Man-jae's Gwanubui, were comprised of works that took shape in southwestern Korea and works that were newly created in Seoul.