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The importance of ocean has been increased as called 'the 21st century, the age of the ocean'. The ocean literatures and other history activities related to the ocean were not placed in the center of our history, but they have taken some great parts and begun historical turning points from time to time. In consequence, interpretation of our history in terms of the ocean is to recover our nation's identification and to complete the distorted history. This is a basic presentation regarding to the subject, 'history and culture of the coastal islands and East-Asia'. With comprehensive point of view, history and culture of Korean civilization and East Asia that has been shaped through the ocean have been studied. The ocean environment, the winds and the ocean currents, were observed as well as characteristics of the ocean culture and the traffic routes. Then the ancient history of East-Asia was outlined in terms of the land and the sea historical view and the East Asian-Mediterranean-sea model. The ocean areas are divided into groups, the yellow sea, the southern sea, the eastern sea, and the Tartary Sea, and then important facts in order of periods are explained. East Asian-Mediterranean-sea were separated by 4 to 5 ocean areas, most of them except the eastern sea were formed as inland-sea, short distance. These areas were interrelated each other doing their own historical activities, and associated with the lands building coordinated culture. The Korean peninsula was the core of East Asian-Mediterranean-sea geographically, which had a network connecting all the areas and the countries. The East Asian-Mediterranean-sea model is an commensal model which presents the necessity of East-Asia's cooperation and the methods. Meanwhile, it is a model that considers the unified Korea's position.

京畿海岸島嶼が東アジア歴史の一員として登場したのは青銅器時代からである。これを証明してくれるのが韓半島の西․南海岸を中心にした北の遼東、南の日本北九州、そして西の中国の東海岸一帯に広がる環黄海の様相で築造された支石墓社会である。青銅器時代を代表する支石墓社会がたとえひとつの政治集団ではなかったとしても、同一文化圈域と認定されることからも今日江華島で発見された支石墓を築造した人々は青銅器時代の東アジア文化圈域に含まれると言えよう。以降、韓国史が三韓時代に入って京畿海岸島嶼には󰡔三国志󰡕に国名が伝えられている馬韓54ヶ国の大石索国と小石索国が、そして仁川には聯盟長の位相を持った目支国が位置したと比定されることもある。しかしこの地域がより明確に歴史の前面に登場した時期は百済が首都を今のソウル一帯に定め、仁川の彌鄒忽とその前面の島を統合した以降からである。その後4世紀半ばから百済は京畿南部島嶼の徳積島などを径由して中国との間で使臣団を往来させ、北部島嶼の江華島を拠点に高句麗と対峙した結果、この地域の政治学面での重要度が高まることになる。しかし5世紀後半から6世紀半ばまで高句麗が漢江流域を占有していた間、この地域の政治学面の重要度はかなり縮小される。高句麗の立場からすればこの地域は邊境に属し、中国と使臣団を往来させるにも黄海道を利用した海路と遼東半島を経由する陸路を利用したからであった。しかし、6世紀半ば新羅が漢江流域を占有してからこの地域の政治学面の重要度は再び復活する。新羅が百済との密約を裏切ってでもこの地域を占有した理由が中国との直交易路を確保するための努力であったため、以前の百済と同じ状況が展開されたのである。なお以降、新羅は北の高句麗、西の百済、海の向こう南の日本からの軍事的圧力を耐えることしかなかった。このため、この地域を通じた中国との外交活動は重要になるほかなく、実質的な三国統一の軍事的基盤になった羅唐同盟もここを経由した金春秋の活躍によって成立したのである。百済と高句麗の滅亡後すぐに始まった羅唐戦争においても、新羅の水軍が京畿海岸と島嶼一帯で唐軍を逐出し、結局は新羅まで侵奪しようとする唐の野欲を挫くのに大きな役割を果たした。羅唐戦争で一時疎遠となった両国の葛藤が解消された8世紀半ば以降、この地域は既存の唐城鎭と共に江華島の血口鎭などが両国の使臣団往来の主な通路であり、新しく興起した民間交易の主要拠点として注目される。特に9世紀半ば東アジアの商圏を掌握した張保皐の淸海鎭が解体した後、京畿海岸島嶼はその重要性がさらに増し、後に高麗を開倉した王建家門が祖父代からの交易などを通して有力豪族に成長する地理的背景にもなった。またこの地域は新羅と中国を往来する使臣団の主な通路であったため、王建家門等の土着有力集団は他の地域より中央政府の最新情報と唐の最新文化により早く、より頻繁に接することができるという長所を有することができた。このような地政学的位置としての長所を持った京畿海岸島嶼と周辺一帯は最終的に、統一新羅が当時、東アジアの国際社会で渤海より上位の強国として位置づけられる最先端に位置しており、この役割を成功的に随行した。さらに進んで後代高麗から朝鮮へと王朝が変化しながら今日の韓国に至るまで近隣内陸に首都が位置することへある程度寄与した部分があり、また現在も京畿海岸島嶼の永宗島に仁川国際空港が建設され、世界へ進出する第一の関門としてその役割を果たしている。

Incheon is located in the central part of the Korean Peninsula and has been considered very important area as archeological value as well. It has been a region which Korean government and some Archeological organization have had a great interest in from 20th century, but on the contrary to these national concern, few research on these area has made progress until now. Particularly, specific research on Prehistoric study has begun since 1990s. Here are some results on Gyunggi-Bay described below: First, there are Paleolithic Sites were found in the Yellow Sea coast around and hillock at about 15 spots. Of these 15 spots where Paleolithic Sites are, sediments in Bullodong(불로동) Sites show following results through chronical measure ; 26,150±380 b.p and 23,750±230 b.p. Second, A Neolithic study about Gyunggi-Bay is closely related to natural environment. Gyunggi-Bay is composed of a number of islands, and relics are mostly found in hillock, sand beach, sand dune, sand bar and so on. And as this area has well developed tidal flats, which was used for living area of neolithic men, there is a substantial possibility that dugouts may be found. Also, it has 12~32‰ of salinity, which is suitable for growing oysters, and as a result, shell mounds range widely in this bay. Third, Shell Mound in Neolithic Age Sites are divided into 3 types. Of 3 types, Nae-man(內灣) type is found in the Yellow Sea Coast. Shells which are in Yellow sea coast have only one quarter so many kinds as varieties of East Coast Shell and are included in Crassostrea gigas. This result indicates that it is pretty proper climate condition for an oyster to live in Yellow Sea Coast. Fourth, some housing lots and Stone Coffin of Bronze Age sites, were found in coast and hill area as; housing lots have rectangle shape and clay bottoms. In remains, there are various kinds stone tools included Plain Coarse? Pottery. One of them, Discoidal Mace, Shows that Complexity Society had appeared in Incheon as a symbolic meaning of remains. Stone Coffin is rectangle and have single valve stone, which is date to the 7th to 8th century BC.

Shamanism in west Kyunggy province is classified in two style, namely Kangsinmu and Sesubmu. It mean each enstase-shaman and heredity-shaman and called Dodang-gut or Gotchang-gut. They divided to south and north centering around Han river. For these division being or not being of Hwaraengi played as important role. Hwaraengi is not shaman but participation to the shaman ritual. They marry with woman shaman from generation to generation. Gaesung-kut, which is in Hwanghae-province and a type of shaman ritual in Koryo-Dynasty. influence on Kyunggy province and seoul, where was main city of Chosun-dynasty. For such research I have used comparing of process of kut. As result I could say, that Gaesung-gut influece to seoul-gut and to kanghwa island, namely ‘oepori-Dodanggut'. For the understand of differance between Dodanggut in south-, north-kyonggi province and seoul-kut is Punger-kut by the coast of gyunggi very important. Because Punger-kut had influenced to shaman ritual by coast. Specially Kangwha ‘oepori-Dodanggut' is that case. About Dodanggut in Inchon is not easy to say from where or from which shaman kut to be influnced. Gotchang-kut and Dodang-kut are not same. I would to say Kochang-kut is one type of shaman in west coast Gyunggy province, where is inlet.

This article/report overviews the fishing customs in islands in Gyeonggi gulf area and the fishermen in Shandong Province, China. There are many commonness found between these two regions, and this proves that there were indirect contacts between the fishermen in these two countries. This can be demonstrated considering that the main kinds of fish in these two regions such as croaker, sciaenoid fish, shrimp, scabbard fish, etc. While these two regions now both make living mainly with fish cultivating industry, until 1960s they made great gains by catching croaker which make circular trip using balloon. The way they catch the croaker is same with Korean as they both sense the move of the fish by sound and set the net in cotton. The way to share the fish between shipowner and sailor are very similar as well. The fishermen in these regions offered sacrifice to the spirits when they built the ship and made maiden voyage as well as when they set out for sailing or come back in full harvest. Also they both sacrificed first big fish they caught. But the fishermen in Shandong region didn't offer sacrifice for the boat in Chuseok, instead they set out the wooden or paper boat in the sea for their ancestors who died in the water and burnt the paper money bowing in July 15, the ghost day, and wished their ancestor to go to paradise. This is unique custom in Shandong province only. Burning paper money and setting off firecrackers is also found only in Shandong region. The custom like to name the boat after the carpenter who built it, to put the coin called Taepyeong in the bottom of the boat or to raise the flag to show off the rich harvest are similar with Korean. Also the custom that the relatives of the shipowner present the shipowner with flag(Baeki) is as well same with Korean. The custom to carry musical instruments such as drum and gong in the boat and to play and celebrate the bountiful harvest is also found in both regions. As the fishermen in Gyeonggi gulf play ‘Baechigi’ game, the fishermen in Balhae gulf in Shandong region also sing taking turns. Also it is common that the shipowner throw barbecue to the sailors and their family when returning with full harvest. The fishermen in both region tabooed action like whistling in the boat or dropping something to the water and they considered women false in relations with fishing. Also the way they mark on the boat when returning in full after sailing or considering the turtle sacred among other sea animals and setting them free when they accidently catch is also identical. But in Shandong, the worship of whale is found where as it doesn't exist in Gyeonggi. Only the fishermen in Gyeonggi region doesn't fish one kind of whale called “Duijigorae.”

“Snail bride" is a widespread folk tale throughout east-south Asia including China, Japan and Korea. Many researchers have studied forming process of this story and they also looked into the transmission and influence of it. The idea that this folk tale stemmed from China and went over to Korea is dominant. It is possible that this story was spread by land routes but the spread by shipping routes is more convincing to many people when we consider the distribution of “Snail bride"and ancient shipping routes and Daemungu culture. There was an enormous trade and exchange between ancient Korea and China, centered around north Mediterranean. In those days. there were three main shipping routes. The first route which start from Sandong peninsula reached the mouth of Abrok and Daedong river by way of Balhae. The second one originated from Sandong peninsula. It went through yellow river and reached Dukmul island near Inchoen. This route could get to Haeju, Incheon, Kimpo, Taean. The third Route departed from Myungju (Chulgangsung) or ChunJu of Kangnam in China. It went through the islands of Huksan and Kogunsan and finally arrived at Korean port. It is noticeable that the place for departure and arrival in each route well matched with the distribution of our country's folk tale “Snail bride.” That is the destination of first route was the area about which Limsukja had recorded in his book and the destination of second one was the place where “Snail bride” story has been spread and the destination of third route is the Chula province. Among these, the place of departure of the first route happened to be Chulgangsung where “Snail bride” tale was most widely spread in China. This proves that China and Korea were in the same culture and had a great deal of trade between two countries. And It also strongly suggests that “Snail bride” tale was spread by shipping route not by land route. This research has focused on the spread of “Snail bride.” and I suppose the study on this tale made a significant breakthrough in bringing out the issue of China-Korea tale connection. But more active and empirical studies needs to be done in the near future. On the basis of this research, the comparison research about two countries' tales should be performed besides “Snail bride" tale from a various point of views. We learned that the folk tales of two countries has a lot of things in common. To make this study complete, it is necessary to compare Japan's "Snail bride" tale with ours comprehensively. I wish I could present more solid historical evidence such as materials recorded by the ancient Chinese. Also, I hope this research can serve as a stimulating force to vitalize local festival by making a play of this story. which reminds people of this folk tale. A large plain along the river in west-coast area is highly recommended for this local festival. And Kimpo has been acclaimed as the most likely place for this purpose.

Deity of Leem, Kyeong-Up is that the main belief of west coast area. This belief has been spread to Gyeonggi-do(Province), Choongchuung- do and Hwanghae-do area. There are differences on character and function, depanding on the region. The aim of this study is to discover why Belief of Leem, Kyung-Up has the distinctive feature through the fishing job in west coast area. At the beginning Leem Kyeong-Up was a tutelary deity of villeges in Yeonpyeong-do area. However the Belief has been spread to several different area by the fishermen who came to Yeonpyeong-do area. It might have been changed its characters and functions from the original form through the process of transfer. Although the yellow corbina has been caught almost everywhere of the west coast, Leem Kyeong-Up Deity appeared in only Gyeonggi-do, Choonchung-do, and some part of Hwanghae-do that means in the past the fishing boat from only these areas took part in the yellow corbina fishery. It shows the fact that the belief spread area and the zone of the yellow corbina fishery are quite similar. This study may need more make up for the weak points and correction. Advanced field work is necessary for further study. Therefore we can acquire better result through consideration of the local people's life this study.

This treatise investigates on the view of ideal space in the East-asia by analysing every period's poems in Chinese of China, Korea and Japan. All the East asian people in China, Korea and Japan have thought that Mureungdowon(武陵桃源) which appeared first time in Dohwawongi(桃花源記) by Do, Yeun Myung(陶淵明) is utopia itself. At last they believed Mureungdowon really exists somewhere in this world and aspire to reach at. The view of Mureungdowon in the East asia can be divided into two as like, ① the spiritual utopia where the Taoist hermits live ② the ideal space where the people who had escaped from the tyranny of the first Emperor of Chin empire are living still. The literati of Korea and Japan who couldn't step in Mureungdowon in China had discovered another utopias similar with Dohwawon(桃花源) in their own country like Chunhak valley(靑鶴洞), Bongnae mountain(蓬萊山), Ubock valley(牛腹洞), Sodongchun(小洞天). The reasons why Mureungdowon could be the utopia of the East asian transcending the time and the space can be explained as like ① human can not reach to Heaven during lifetime ② so they regarded Mureungdowon which can be reached in lifetime as the paradisiacal land, settling it the second best ③ but lastly anyone couldn't find the place ④ at the result of it, they described it in the form of poet or painted it instead of finding it in the real world. Consequently, Mureungdowon could be the everlasting utopia in the heart of the East asian. Repeatedly, the East asia people who had endured innumerous troubles ① had not the power to change their destiny ② but couldn't die simply ③ had amused theirselves aspiring Mureungdowon as an utopia. The Mureungdowon that Do, Yeun Myung described as the best ideal place in the world, though it was not the real, was the ideal space in the dream gave the amusement and the hope to the life and thought of the East asia people.

This study examines the world of symbols in horizontal space, vertical space and semiological film space. The vertical space seen in synchronic view and horizontal space seen in diachronic view can be moved and expanded to the space of paradigmatic view and the space of syntagmatic view. Though it is closely involved in time, this study focuses on space. Metaphysical debates on space describe space as "the thing with width" and "empty space" by Descartes and Spinoza. This study examines the process to identify how the meaning of space in philosophical concept can be explained by the system of symbols in horizontal space and vertical space. Above all, this issue of space focuses on the origin of ulterance which is thought on current time of ‘I- Now- Here’ where we can find what relations space of ulterance has with actorialisation through disjunction phenomenon. That is, a disjunction occurs in the relations between 'not-I' and 'I', and disjunction of space is possible in the disjunction relations between 'not-here‘ and ' here'. And in the relations between 'not-now’ and 'now (at the time)' a disjunction of time occurs. So, we can prepare 'grammatical person' and 'time-space' categories in the concept of spatiality occurring at the origin of ulterance. When such coordination is found through relation with the origin of ulterance, spatiality is more clearly revealed through relations with temporalize. It is found at temporalize of the enonciative and temporalize of ulterance. Finally, the horizontal space and vertical space can be demonstrated in the process of disjunction and expansion centering on the concept of space that is a location of subjects who utter, and syntagmatic process that merges time.

History is a process that is completed when the time and the place meet with a subject laid out or when a subject adopts the time and the place. Hence, a model is necessary to comprehensively understand the place correctly. Since East Asia is a wide region where the land and the ocean meet, it is important to attempt to interpretit as the one nation, the one region, and the one civilization. Furthermore, it is necessary to understand it as a network which is a connection of the encounter and the route, rather than just territory, region and place. The network in the historical region of East Asia consists of three cores which can be either the whole or the field, few planets, and satellites that go around all of these. There are also reiteratedlines which indicate the routes. This is a wide scope of 'the field theory' that the author argues. Those three cores are the Chinese civilization, the north nomadic civilization, and the east civilization that grew from the Korean peninsula and the Manchuria region. The planets refer to regions around these three nucleuses. The satellites refer to countries or cultural areas in each of these regions planets. The lines connect those cores together and also have their own independence. By the way, the ocean takes the important part in East Asia's historical space. East Asia was figured as the reflux system that population and culture around the land were interrelated with the ocean centered. Therefore, East Asia's historical space should be understood with the historical view of the land and the sea which comprehends the land and the meadow ocean. The author names the space as East Asian- Mediterranean-sea, and investigates the characteristics and roles of each regional culture. East Asian- Mediterranean-sea has made up a field of historical actions through interactions such as cooperation, competition, conflicts, conquests, and etc for thousands years. One hand, both stability of agriculture and mobility of nomadic culture met and completed a unique characteristic. Especially, our historical space use the land and the sea practically and is located in the core of East Asian-Mediterranean-sea, where has an ability to connect the eastern sea, the yellow sea, the southern sea, and the Chinese eastern sea. There are only us that have the ocean network, connecting all the regions and the countries over all. In accordance, we have proceeded development of our history autonomously.

Our ancestors have recognized the world of the dead as the place which is connected with the world of living. It's also regarded so quite close place that one is able to go and come back again. And people have often quoted the world of the dead as the subject of story pretending that they really had been there. By the way, the looks of the world of the dead has its own trait in the point that living human beings tell about the unknown world. And this can be regarded as an irony. In the custom of a shaman, the devotion of human inner mind was considered as a quite important factor. One sets the sacrifice of himself forth as a premise and invokes a blessing others. In this way people prayed that their power of the will affect in real world. Through the religious rituals for ancestor which are centered for the coexistence of the living and the dead, confucianism arranged the part of harmony in which the inspirations between ancestor and descendent are able to be shared. The doctrine of ‘報本追遠’ finally established its own construction that man prays the living person a blessing through the power of the dead. In buddhism people regarded the living world and the world of the dead as a same circulation stage and presented the doctrine of ‘福善禍淫’ powerfully. "諸善奉行, 諸惡莫作" the commandment of original buddhism can be also applied to the standard for the human in living world. Regardless of eastern and western society, the recognition of the world of the dead is closer to the ultimately original form which contains the related conception of human crime and punishment, the awareness of ethics, and the achievement feelings. I think that it is not until the moment of facing death that people can get the chance to think the meaning of their life. Usually most people's standard which defines their lives obscurely stems from on the awareness of ethics which is based on the conscience. In a buddhist's case, one pursues being born again in the heaven after death through the active asceticism of oneself. Regardless of the times, it is true fact that the recognition of death(whether it is active or passive) depends on each person's circumstances and social position. The reason why the human feels afraid of the world of the dead is that they want to lead their lives worthier and more meaningful. So I can conclude that people recognize the world of the dead as a fictional place based on the human conscience.

This essay is focused upon the meaning of hell space in Namyeombujuji(南炎浮洲志). A view-point of fantasy space that Gim(金) Si-seup(時習) was thinking, can confirm on Jodongowiyohea(曹洞五位要解) and Siphyeondamyohae(十玄譚要解). He was understanded that a fantasy space and a real space is not two, and have a close connection. Consequently, he consider as reality be in fantasy and fantasy be in reality. And, beyond reality and fantasy, he indicated the actively altruistic life style. This understanding for a fantasy space get to motive that create a fantasy space of jeongisoseol(傳奇小說). A fantasy space of jeongisoseol playing an important part by ruminating meaning of real space. The hell of Namyeombujuji is extremely dangerous and poor surroundings. So, except a yaksha and a bogey, difficult exist. Namyeombuju was not simply fantasy space. It figurate a human that subsist a meaningless life not awake from an illusion, and injure or posses other people. And, Namyeombuju is not a space of conviction and judgment, but a space of enlightenment and civilization. This point is different from other hell space, and a special thing. The discourse in hell space, was focus on a real space than a fantasy of hell space. The fantasy space of hell in Namyeombujuji, playing an important part by ruminating meaning of real space, and have objective distance by utter for real space through hell. And ending bakseong(朴生) become a the King of hell, was a very intentionally and impressive thing. As a result of that, Namyeombuju was succeed in embossing the theme that a strong humanism for the saving all living beings fall into an illusion.

Recent territorial problems between Korea and Japan arouse people's interest in Daema island(對馬島). It is located between Korea and Japan so this zone has both Korean characteristics and Japanese characteristics as well. Chosun dynasty has territorial rights on Daema island but the pirates who lived there pillaged Chosun land. They were Japanese but they didn't follow the rules of Japanese government. Because they got expelled from the main land. From this fact, we can infer that Daema island was not belong to both countries. Recent relationships between Korea and Japan is quite similar to that of former Chosun and Japan, Chosun and Daema island. Apart from the circulation of history, it is meaningful to verify through the historical investigation. Sometimes territorial rights does not matter but the people who lived there is more important to dominium of land. According to the poetry and prose of the former Chosun dynasty, literary circles's recognition about territorial rights on Daema island seems to be in a period of transition. They knew Daema island was Chosun's territory but they got a tacit consent on the Japanese pirate raiders who lived there and pillaged Chosun land. They didn't think that it would be useful to expel the pirates and keep the island because Daema island had a slight geopolitical importance for them. They were under the influence of a foreign policy of that times which based on Sung Confucianism. It founded on self-control, rule over a people, faithfulness, sincerity. It was mainly focused on conciliation and appeasement through literature rather than conquest through military arts because virtue-possessed government which followed the principles of royalty was the center of Confucianism. But Chosun's appeasement policy about Daema island became the cause of trouble which were the hotbed of Japanese various kinds of vice. So Chosun dynasty suffered from Japanese pirate raiders' pillage for about two hundred years of the former term.

樓亭記是一種描述遊覽勝景旅程和感懷的遊記，同時形成雜記類散文的主軸。樓亭記與溯及公元前的其他類型的散文相比，其淵源不久遠。但是到了唐宋時期，比其他任何類型的散文創作都更加頻繁。樓亭記在士大夫的文筆生活中占有如此多的比重，其決定性的原因在於思想潮流的變化。利用儒學的思維體系來規定一切現象，從唐宋文人的這種視角來看，樓亭不僅是炫耀權利和財力的地方，也不僅是盡顯風流的地方，而且也是象征他們指向的精神世界的特殊空間。從這一點來看，樓亭記裏面的樓亭不僅是物理的現實的空間，而且也是觀念上的理想的思維空間。樓亭記得這種特征在朝鮮中期士大夫的樓亭記中也一貫得到體現。樓亭可以討論地方的大事小事，可以行射禮，可以進行閱兵，不僅具有這樣的務實的用途，還可以遊興觀景，講學修養。活躍在16世紀後半期到17世紀前半期的崔岦、洪可臣、柳夢寅、曺友仁、許筠、李植等文人在他們的樓亭記裏都有這樣的空間意識的表現。對他們來講，樓亭就是認識道體，修身養性的空間，同時也是認識天理流行，實現自足生活的空間。特別是那些具有尖銳的批判精神和具有纖細的、有個性的文藝意識的文人，樓亭對他們就是仙界，或是到達仙界的媒介空間，盡管只是象征，但也間接表達出他們安慰和治愈理想無法實現而受挫的自我的願望。

This study intends to examine the Structure of space in Korean Ancient performing arts. To date, there has been minimal research regarding Korean ancient performing arts. Considerable doubt has been cast over the literal existence of the period that time. Nevertheless there remains an unexplained aspect. The aim of this study is to provide an overview of the Structure of space in Korean Ancient performing. The Sacrificial Rites for Heaven starts from a something heaven and earth and human become one. It appears to the symbol system to legalize the control of the sovereign though such event's rite facility is big. But the play to be connected destroies the rule and brings the space to be opened to the rite. Everyday the space which is like the this to be opened leads to the drinking singing and dancing. Such appearance comes to be recorded to most strong image to the literature. These dynamicity is created through tension and relaxation which is the image that shows current Korea. Goguryeo(高句麗), Baekje(百濟) and Silla(新羅) accepts a foreign country culture and culture which is developed for themselves and completes peculiar culture. The appearance to deliver at the wall painting of Goguryeo can feel rich be large-minded together energy. BaekJe formed the culture which the level is high and delivered the culture at Japan. But it is not handed down to the literature accurately and have difficult part to study. The plays which a nation consciousness is strong take the place greatly to the center in Silla. Then plays to be popular like the Sanakbaekhee(散樂百戱) regard and are performed. Such many appearance is the traces of a archetype appearance of Korea. The traces of such ancient performing arts are the idea to condense the life of the people. Also such appearance will be the one part of the motive which moves Korea currently.

Korean folk paintings are practical paintings which decorated the house from the aristocracy to the common people in the traditional society of Korea. The contents of Korean folk paintings vary from the visualization of popular belief to the cultivation of the Confucian human nature. This paper aims at examining the meaning and order of the Korean folk paintings which were displayed in the houses of Chosun Dynasty. The focus is given to the placement of them in the house and the treatment of the space in the paintings themselves. A house is regarded not only as a space of the family members but also as a place of gods in the traditional society. Many household gods are thought to live in the house and to govern a certain specific place respectively. Each of them is thought to protect the specific place of the household against any evil power and to take charge of the fortune of the household. That's why the house is not only a secular place of the family members but also a sacred place of the household gods. This thought is accepted by all the members of Chosun Dynasty from the popular people to the aristocracy. As gods are visualized in the paintings, the sacredness and the sacred world of the household gods are kept in the houses of the general public. The place where the paintings are located is thought to be a kind of holy space. The folk paintings are a kind of medium which connects the family members and the household gods, too. As there co-exist the sacredness and the secularity in the houses of the general public, so there co-exist the real world and the unreal world in the paintings themselves. The painters of the folk paintings made the co-existence quite clear by suggesting, repeating, reiterating and expressing the theme directly and indirectly. They accomplished this difficult task by means of using the lines, surface, forms, colors and qualitative feelings technically. As the conflicting relationship is not so strongly emphasized but harmonized in the end, the inner order of co-existence is accomplished in the paintings. The function of the folk paintings is very complex: we should consider them in the aspect of purpose, usage, demand, association, and aesthetics.

경제의 ｢세계화｣가 가속화되고 있고, ｢세계제국｣의 도래가 점점 현실화되고 있는 21세기의 현시점에서, 우리 동아시아인의 뇌리에, 2세기 전 ｢근대화｣의 파고에 휩쓸려, 우리 동아시아인들끼리 ｢노동권｣과 ｢환경권｣을 서로 뺐고 빼앗겼던 비극의 기억이 다시 되살아나고 있다. 한편으로는 대량학살 전쟁이 본격화되기 시작했던 바로 그19세기에 조선의 가난한 사람들 사이에서 ｢평화사상｣이 움터서, 차츰 조선의 변혁사상으로 까지 발전했다는 사실도 이제 다시 새롭게 되살려 내어야만 한다. 왜냐하면 이와 같은 전쟁과 평화의 19세기야말로 21세기를 살고 있는 우리들이 세계 ｢반평화｣적인 상황을 종식시키고, 진정한 세계평화 구축를 향한 민초들의 ｢동아시아 역사 공동체｣를 구축하기 위한 출발점이 됨은 물론이고, 미래의 희망이 되기 때문이다. 이글은 1만년쯤 전의 농업혁명 이후 인류의 대립구도가 어떻게 전개되어 왔는가를 밝히고, 글로벌 휴머니즘에 기초한 세계평화를 각 지역의 새로운 역사공동체 구축을 통하여 실현하려는 세계경제체제론 연구의 과제와 방법론에 입각해서 쓰여졌다. 이 세계경제체제론 어프로치에 따라, 19세기 조선사회에서 글로벌화하는 경제․정치․사상공간에서 지배자층과 피지배자층의 ｢이론과 실천｣은 각각 어떻게 변화되어 왔는지, 또한 일본상인과 조선지배층에 의한 조선민중의 수탈이 점차 극에 달해갔던 19세기 말에 조선민중은 어떻게 해서 ｢평화사상｣과 이를 기반으로 한 변혁사상에 도달할 수 있었는지를 밝히고 있다. 분석을 통해서, 19세기 조선경제의 글로벌화에 따라, 사상공간의 전개과정이 지배자층에 의한 근대화 이전의 존재론․인식론․실천론에서, 피지배자층에 의한 근대화 이후의 존재론․인식론․실천론으로 옮겨 간 과정을 자세히 밝히고 있다. 더욱이 이러한 분석결과가, 존재론과 인식론 중심의 ｢통일과학｣의 전개과정을 세로축으로, 실천론 중심의 ｢시민과학｣의 전개과정을 가로축으로 해서, 성리학에서 기학으로의 ｢이론｣의 전환과, 실학에서 동학으로의 ｢실천｣의 전환과정으로서, 도표로 잘 정식화하고 있다 필자는 19세기 조선의 사상공간의 전개과정을 다음과 같이 3단계로 나누고 있다. ①먼저 19세기 전반부의 세계상업경제체제 하에서의 근대화 이전은, 각각 ｢통일과학｣과 ｢시민과학｣을 지향해 왔던 성리학과 실학이, 다같이 ｢형식화｣․｢공동화｣ 되어 갔던 단계다. 바로 이때에 사상의 ｢내면화｣에 중점을 두었던 성리학이 이때에 와서는 지배자층의 이데올로기로서 ｢절대화｣되었고, 사상의 ｢외연화｣에 치중했던 실학도 점자 ｢보수화｣로 기울어져 갔다고 파악하고 있다. 그 후 ②19세기 중반의 세계공업경제체제 하에서의 근대화로의 이행기는, 실학과 성리학의 한 학파가 18세기에 도달했던 ｢유심론적 기일원론｣의 기철학을, ｢유심론적 기일원론｣의 기철학으로 전환시킨 혜강기학이 ｢통일과학｣으로서 정립된 단계라고 보고 있다. ③그리고 19세기말의 세계공업경제체제 하에서의 근대기는, ｢유심론적 기일원론｣의 기철학을 토대로, 고대 동아시아의 신관(神觀)을 발전시킨 동학이, 원시유학의 상제(上帝)관을 중심으로 집대성됐던 다산(茶山)실학을 넘어서서, 지배자층이 아닌 피지배자층이 ｢실천｣의 주체가 되는 ｢시민과학｣을 확립한 단계라고 밝히고 있다. 필자는 위와 같은 변화과정을 통한19세기 조선 사상공간의 도달점을 다음과 같이 정리하고 있다. ①먼저 조선사회의 글로벌한 모순이 대다수의 가난한 민중들에게 집중되는 가운데, 지배자층에서 피지배자층으로 사상공간의 주체가 옮겨갔다는 점이다. ②그리고 이 ｢평화사상｣에는 피지배자층이 고대로부터 생활양식 속에서 실천해 왔던 ｢천인사상｣과 ｢도(道)의 사상｣이 상호 융합돼 있다는 점, 즉 ｢유심론적기일원론｣(｢유(儒)의 사상｣의 부정)에 기초한 ｢시천주｣의 신관이 그 중심에 있었다는 점이다. 이상의 분석으로부터 필자는 진정한 세계평화와 동아시아 평화, 그리고 진정한 조선반도의 평화와 한국평화를 위한 21세기 ｢동아시아 역사 공동체｣구축을 향해, ｢평화 과학｣의 과제를 세 가지로 제안하고 있다. ①우선 정보혁명에 따른 새로운 우주관과 생명관을 포함한 존재론과 인식론의 구축, 즉 21세기 ｢통일과학｣이 되어야 한다는 것이다. ②그리고 21세기 동아시아에 있어서, 대다수 민중들의 ｢환경권｣을 박탈하는 세계 ｢반평화｣를 극복하고 동아시아인의 경제․환경 공동체를 구축하기 위해서는, 21세기의 천인운화(天人運化)의 승순(承順)을 방해하는 메커니즘을 밝혀내는 모순론으로서의 ｢환경과학｣이 수반되어야 한다는 것이다. ③궁극적으로는 글로벌 캐피탈리즘에 대항할 수 있는 글로벌 휴머니즘에 기초한 21세기 동아시아 문화공동체를 구축해야 되는데, 그러기 위해서는 민초들이 초국적인으로서 새로운 역사공동체의 주체가 되는 21세기 ｢시민과학｣이 되지 않으면 안 된다는 것이다. 이 같은 21세기 ｢동아시아 역사 공동체｣구축을 향한 새로운 ｢통일과학｣․｢환경과학｣․｢시민과학｣으로서의 ｢평화과학｣이야말로, 21세기 세계사상공간에서 진정한 평화사상으로 자리매김 될 수 있으며, 21세기 ｢한국학｣도 바로 이러한 ｢종합과학｣으로서의 방법론적 연장선상에서 접근하지 않으면 안 된다고 필자는 주장하고 있다.

현대사회에 있어서 ｢탈근대｣라는 말이 유행되고, ｢근대화｣라는 것이 도대체 우리 인류에게 무엇을 남겼는가하는 문제가 제기 된지 벌써 오래다. 현재 글로벌화의 가속과 함께 새로운 부의 일극집중화 구조가 형성되고, 세계적인 규모의 빈부격차가 확대되고 있는 ｢세계화｣와 마찬가지로, ｢근대화｣ 또한 19세기 당시의 동아시아에 있어서의 새로운 구조형성 과정이었다. 이렇게 부를 둘러싼 인류의 대립구조의 전개과정이란 관점에서 동아시아의 ｢근대화｣를 다시 생각해 보면, 기존의 낡은 경제체제하에서 모순이 극에 달하고 새로운 경제체제로 전환되어 가는 과정에서, 결과적으로 부를 장악한 측, 즉 지배자층의 논리가 점차 관철되어 가는 과정이었다고 볼 수 있겠다. 이글은 이같이 ｢근대화｣를 재인식하고, 경제․정치공간의 전환점에 있었던 당시 동아시아인들이 새로운 시대상･지역상을 어떻게 모색해 왔는가하는 관점에서, 19세기의 일본 사상공간의 전개과정을 정리한 것이다. 필자는 이러한 경제․정치․사상공간의 대 전환이 가시화되기 시작한 것은 18세기 중반이고, 이 대전환에 이른 토대는 16세기부터 형성되기 시작했다는 점을 고려하면서 검토하고 있다. 2장에서는 우선 사상공간을 규정하고 있는 경제․정치공간의 변화를 고찰하고 있다. 16세기부터 19세기에 이르기까지의 ｢근세｣를 4시기로 구분하여 그 특징과 전개 과정을 검토하고 있다. 그리고 이를 바탕으로 사상공간의 전개과정을 검토하고 있는데, 3장에서는 당시 지식인의 공통의 학문적 기반이었던 유학의 전개 과정에 관해서 다음과 같이 정리하고 있다. 즉 상업을 부의 원천으로 하는 체제하에서,　어떻게 그 부를 장악할 것인가 하는 입장에서의 경세사상과, 부에서 소외된 농민의 입장에서 새로운 체제구축을 위한 사상이 각각 형성되는 과정으로. 그리고 18세기 후반에 오면서 전자의 사상이 주류가 되어가는 과정을 밝히고 있다. 4장에서는 국학의 전개과정에 초점을 맞추어, 경쟁사회에 있어서의 구원을 신에게, 나이가 그 신의 자손의 나라인 일본이라고 하는 사회에 기탁했던 사상으로 파악하고 있다. 즉 스스로가 적극적으로 변혁을 지향하기 보다는, 있는 그대로의 체제, 또는 변화해 가는 체제에 추종하려는 지향을 가지고 있었다는 것, 또 이러한 국학의 귀속의식의 강화가 결국 일본의 국민국가 형성과정에 이용되었다는 점을 밝히고 있다. 5장에서는 양학자(洋學者)들이 서구와 접촉하면서, 공업화라고 하는 새로운 부의 독점구조의 구축에 일찌감치 눈을 돌린 과정을 검토하면서, 양학을 구체제 아래에서 한계에 달한 부의 집중화를 더욱 확대하고 심화시키는 사상으로서 규정하고 있다. 이양학자들을 통하여 아시아의 지역상이 크게 바뀌어 가는데, 그 내용을 ｢명육사(明六社)｣의 사상가를 중심으로 밝히고 있다. 마지막으로 이와 같이 하여 도달한19세기 일본의 사상공간이, 메이지(明治) 유신을 거쳐, 아시아로 침략해 가는 과정에서, 하나로 통합되면서 일본이 ｢근대화｣로 매진해가는 모습을 통해, 현대의 ｢탈근대｣화론의 담론에도 중요한 시사를 던지고 있다.

A sense of chastity was introduced as Women's Interesting Stories by Uhyang, who was a Chinese scholar in B.C. 77. A sense of chastity was reflected as a new arrival ideology by many readers’ comments and opinions. In the end, this book was the well-known short stories and he was a celebrated writer for the sense of chastity was melted in it. This ideology affected Korean, Japanese and Philip-pine women in character. The scholars of each country put this ideology in their ethnic custom stories and lots of women enjoyed reading the stories and were deeply impressed. In the result, this ideology appeared different aspects in each country as the followings. Korean women believed in this ideology as the racial self-conceit and they kept their (female) honor from the aggressors, while they were conquered. Japanese women came to make the manner of sex which had to keep the duty of love. It caused to be formed Yunye culture. Philippine women believed in the ideology the women's virtue of the independence and obedience and strengthened themselves while Philippine Islands were governed under the foreign nations.

Seolgongchanjeon and The Exorcist differ in their themes and structure as well as in their historical background; however, they are comparable and homogeneous in that they both tried to address the ‘exorcism motive.' The results of the comparison could be summed up in the following aspects: First, the personality of the possessed and the aspects of possession: the two works have a lot in common in this regard. The possessed are those who carry something psychologically defective. Despite the regional and historical differences, the two forms of possession coincide in the fact that they actually take place in a defective person and that the possessed person turns to a totally different person after possession. Yet the movie features more of the demonic qualities of possession. Next, the aspects of the concerned family asking for exorcism: the two plots agree in that they set up a parent who worries and takes actions to bring in the exorcist. Admittedly, there is a certain difference that in Seolgongchanjeon the exorist is called in right away while in The Exorcist he is asked to come over only after some medical diagnosis and treatment attempts. Then, identifying the demonic possessor of each work: in Seolgongchanjeon the evil spirit is the wondering ghost that cannot go to the world of the dead because of a premature death or of a grudge yet unredeemed. In contrast, the demon that appears in the movie is not the ghost of a dead person but the fallen angel that is believed to keep active up until the second-coming of Jesus Christ and his hell-fire judgment. The demonic actions and their purposes based on their identity: both stories relate the demonic attempts to talk to the world through the medium of the host as well as the use of the body and the aggressiveness upon those who try to practice exorcism. However, in the Korean old novel the evil spirit narrates his experiences in the Hades, which the movie lacks. This may be related to the different viewpoints toward spiritual and/or apocalyptic matters between Korea and America, or between the Eastern and the Western. The demon in The Exorcist has the supernatural ability to tell the fortunes and this is another significant difference. The ghost in Seolgongchanjeon would not kill Gongchim and only slightly deformed the facial look of Seol Chungsu when threatened whereas the demon in The Exorcist almost killed Regan and drove the exorcists Father Merrin and Father Karras. The purposes are all different. The status of the exorcist and the aspects of exorcism: Unlike Seolgongchanjeon the exorcists in the movie are the ones dispatched from a religious organization. Confucianism prevailed over the era when Seolgongchanjeon was published; in that context, there was no established dogma on the matter of being possessed so the exorcism was practiced only implicitly and unofficially. This is why Kim Seoksan drove out the evil spirits as an individual or resorting to his personal reputation. However, the story of The Exorcist unfolds against the firmly established Christian background of American society. Tools and methods of exorcism: in Seolgongchanjeon a peach branch, a twisted rope, a scarlet rope and other indigenous tools were used for exorcism whereas in The Exorcist Catholic prayer ritual accompanied by holy clothes, holy water and Roman devotional books is the main source of power for defeating the demon. However, the major difference between the two works lies in whether there is a spirit of love and sacrifice. In the latter the spirit of love and sacrifice is regarded as the most powerful weapon to fight against the demon while in the former there is no such message. Another difference is that in Seolgongchanjeon Kim Seoksan confronts the evil spirit by himself while in The Exorcist Father Merrin and Father Karras fight with each other believing in different principles of Christian evangelism.

T'oigae(退溪) said that he read 󰡔Xiangshuoguwenzhenbaodaquan(詳說古文眞寶大全)󰡕 which was hugely popular in Chosun(朝鮮) dynasty hundreds of times to polish his composition style. This book was applied carefully and elaborately to the literary view of moral philosophy based on high philosophical thought and suitable for a text book for the writers and scholars, who had sought for accordance with morality and literature, to practice their composition in Chosun dynasty. Ganjae(艮齋) Lee Dukhong(李德弘) had stayed for more than 10 years under T'oigae and annotated the difficult passages of the 74 works of the whole 130 works in 󰡔Guwenzhenbaohauji(古文眞寶後集)󰡕 after asking T'oigae about uncertain parts and recording the answers and edited it as a book, 󰡔Guwenhaujizhiyi(古文後集質疑)󰡕. Ganjae re-interpreted the delicate meanings in the original by studying about the writers and the historical background of 󰡔Guwenzhenbaohauji󰡕 which he had been thinking as just a simple text book for composition exercises until then But with T'oigae's teaching and encouragement, he complemented the contents of the annotations with a close research through various materials. Particularly he analyzed the writers' nature and emotion thoroughly while reading the book and judged their virtue and vice and awaken readers to the importance of distinguishing right from wrong. Also he didn't fall into the already existed theory and wasn't bound by the original annotations either and studied the meanings of the letters and sentences minutely and clarified the style and the origin of the sentences and analyzed them very clearly. 󰡔Xiangshuoguwenzhenbaodaquan󰡕 reached the climax of criticism about the way that the works were selected and the purpose of the compilation among the Chosun's literary men. And an in-depth study about the annotation contents and the selection of the works of this book had been done by mainly the T'oigae and his disciples. While T'oigae was teaching 󰡔Guwenzhenbaoqianji(古文眞寶前集)󰡕 to his disciples, he corrected the originals and annotations of the poems of the book and compiled 󰡔Guwenqianjijiangjie(古文前集講解)󰡕. In sequence Ganjae edited 󰡔Guwenhaujizhiyi󰡕 in the process of the research and compilation under T'oigae after he had complemented the originals and annotations of the works of 󰡔Guwenzhenbaohauji󰡕 by the systematized moral philosophical literary view. His comprehension about ancient writings he adopted while he was compiling this book shows us the characteristic of the moral literature which T'oigae and his disciples inclined to and by this point it is very meaningful in the history of the Korean literature.

It's said that saseolsijo has been formed while accepting other genres like folk songs, an unofficial historic tales, gasaes, etc. so from a saseolsijo we can see properties in certain genre itself. Also, it holds a characteristic that is distinct from other genres. This article is focused on the property of folk songs in saseolsijo. In order to do so, I'd like to compare characteristic of folks songs, which has already discussed with saseolsijo. I discussed the weaving way of words through ｢pulsseoneunsori｣. According to the article ｢pulsseoneunsori｣, there is several kinds of method to understand object ; showing custom inclination, showing ecology inclination, particularity inclination. And there exist different methods to express object ; selectivity inclination, imperfection inclination, concreteness inclination, sensibility inclination and amusement inclination. The word ‘inclination' contains the meaning that words is to be understood not as fixed but as flexible in certain range. Under the concept, inclination, I would like to compare saseolsijo with ｢pulsseoneunsori｣. As both saseolsijo and ｢pulsseoneunsori｣ use the word ‘weaving', It's possible to compare them. The word 'weaving' is not only style of certain genres but also way of forming words. In this point of view, there is a chance for forming way of words in both to be fairly similar. The comparison of similarity will naturally lead to analyzing distinction between both ｢pulsseoneunsori｣ and saseolsijo. It is correlating the condition for singing with formation of words that makes analyzing the distinction possible. Though both words are formed by weaving method samely, both would have a different aesthetic characteristic as the singing condition is different. To discuss this topic more elaborately, this article used the concept ‘hyangyuso’.