Earticle

The inscription on the monument of the Great King Kwanggaet'o(or ‘好太王: the King Hotai') was engraved as many as 730 years earlier than [The History of Three Kingdoms-Samguksagi] was recorded. It has such an important historical value that we could find a critical clue to understand the ancient relationship between Korea and Japan. So, since it has been excavated, Japanese people have tried to forge the interpretation to insist that the contents of the inscription prove that the Queen Shingong introduced in [The History of Japan-Ilbonsugi] conquered Shilla, and that the dominance of ancient Japan over Korea at the Imna Japanese county is a historical fact. Also, they tried to rationalize the theory of invasion by falsification, deletion, and modification of a rubbed copy. The following example is the interpretation known as the Japanese common view: <百殘新羅舊是屬民由朝貢而倭以辛卯年來渡破百殘□□□斤羅以爲臣民: Paekje and Shilla had paid tributes as tributaries(屬民) since times. But Oae(倭) came over the sea to defeat Paekje and Shilla, and subjugated them to be subjects(臣民) in 391 A.D.> It must be an interpretation intentionally forged by Japanese people, who are ignoring the essential elements such as: the idea of erecting the monument of the Great King Kwanggaet'o, the characteristics of sentence, the syntactic correspondence, the international environment in the historical context, and the strategic purposes of Koguryo. So, they are, merely, focussing on the power and activity of Japan in the connection with the version of Imna Japanese county. I reached to a conclusion that: 1) There was a world order formed by the central power of Koguryo when the monument was erected. 2) Around 391 A.D., there was a confrontation structure between the allied power of Koguryo and Shilla, and that of Paekje, Kara, and Oae. 3) Because Paekje(百濟), Kara(加羅), and Oae(倭) broke the pact with Koguryo and resisted against her, Koguryo had to defeat them. 4) Oae was not so powerful to have the hegemony of the world, in the aspect of her military capability such as the number of soldiers, the system weapon, the marine transportation; and, also, she was no more than a mercenary of Paekje. So Oae cannot be the agent for the action, ‘Pa(破: conquer)' in the sentence of inscription. 5)Considering the circumstantial evidence, it is certain that the actual agent of the action, ‘Pa(破)' is Kogkuryo, so the word, ‘Wang(王: King)' must be put as the syntactical subject of the verb on the inscription. Also, considering the form of the inscription, the word, ‘Hae(海: Sea)' must have been forged. Thus, I suggest that we should understand the inscription in a multi-dimensional perspective like this: <百殘新羅舊是屬民由來(or 未)朝貢而倭以辛卯年來渡王破百殘倭寇加羅以爲臣民 ; Paekje and Shilla were originally tributaries and had paid tributes (to Koguryo). (…, they are not paying tribute.) However, in 391 A.D., Oae responded (to the request of Paekje to ally), and (because Paekje, Kara, Oae allied together and formed a confrontation situation against Koguryo,) the Great King Kwanggaet'o conquered Peakje, Oaeku, and Kara, and subjugated them to be subjects.> This interpretation is reasonable to explain the strategic purpose and philosophy of Koguryo. Moreover, in the view point that the inscription of 391 A.D. was the major premise that integrated the conquer record of the King Hotai(好太王), I assure that the true historical message of this inscription as thus. However, it is impossible to reach a more sophisticated conclusion until it is verified that the three missing words on the original rubbed copy was originally . We should leave it as a future work.

This thesis is object to inquire into the ghost's role as intermediator and inclination toward another world in the 『Gum-o-shin-hwa』. The ghost in the 『Gum-o-shin-hwa』 was perceived from the resemblance of the character's role in myths and another world tales. These characters had carried the culture from another world to this world through association, and they also gave the chance for the solitary and miserable human being in this world to experience another world. Eventually, we could see the character's role as an intermediator and savior to lead the human being toward another world. This kind of modality from 『Gum-o-shin-hwa』 was originated from, Kim si-sup, his desire which wiped out the contradiction, absurdity and irrationality in this world and made a fair and rational world. Like this kind of petition can be traced from the ancients. Kim si-sup adopted this thought and created 『Gum-o-shin-hwa』. It could be presumed that he tried to free himself from his own unhappiness through the work. Therefore, the ghost in the 『Gum-o-shin-hwa』 saved the solitary and unhappy human being from the reality and did a intermediator's role for them to turn another world.

This works is a exposition of Manchurian's documentary records and it's impressions. In this paper, I want to describe 3 points. First; I want to interpretate of completeness about Puk-hae-jae-moon(北海祭文). May be, this working is first in this kinds of manchurian paper. Second; I want to try correct and repair perfectly about Heul-bang- hae(吃螃蟹). And my working what to aim at perfection at least. Third; In this Manchurian's documentary records, and their exposition, We must think their culture in Manchurian nations. And we had better describe about Manchurian's good culture.

The ritual of seongju-puri is believed very important by shaman and folk. So in Korea when people construct a house or move house, the ritual of seongju-puri has been practiced by shaman. Nowadays the god Seongju is believed family god. This study is aimed at illuminate the myth Seongju-puri as creation myth. The story of Seongju-puri is as follows: God Seongju was ordered to construct a grand house for the heavenly king. So he made his farewells to his wife. On the way he met a man named Sojinmyng. Sojinmyng proposed to exchange gamment each other and Seongju agreed with him. When Seongju constructed a house he had a eerie dream. So he decided to return home. During his staying away Sojinmyng intrigued aginst Seongju. Sojinmyng wanted Seongju's wife but she evaded it with wisdom. On arrivng home he was furious. Seongju made him Jangsing(divine pole) and his family seonang.(divine tree at shrine) Later he he finished constructing the house. At the result he became a god-carpenter. On analysing the tale, Seongju is characterized by a carpenter. He constructed a magnificent house by using the way of yin-yany. He founded the cornerstones with the movement of five elements. The roof of the house was firmament and was built by way of tai-chi. The window was the sun and the moon etc. Nowadays the ritual of Seogju-puri is practiced for wellbeing on moving house or constructing house individually. It implies the fact that whenever people construct a house or moving house, they imitate the cosmogonic act of creation god unconsciously. I guess people have thought the house a micro-cosmos, so people repeat the cosmogonic act unconsciously.

‘Pansori(판소리)’, ‘Setkyo-bushi(說經節)’ and ‘Joruri(淨瑠璃)’ were formed under the influense of religon and They have very similar performing method. I plan to compare ‘Pansori’, ‘Setkyo-bushi’ and ‘Joruri’. The method of the study were to compare the developing phases of these three literary histories. ‘Setkyo-bushi’, which followed closely the Buddhist literary style, has mostly disappeared. But ‘Joruri’ continued to develope assimilating the best characteristics of ‘Setkyo-bushi’. Many ‘Joruri’ works were also made and ‘Joruri’ followed its own artistic development. SinJachya(申在孝) rearranged twelve Pansori-madangs into six Pansori-madangs. after that, the Pansori world didnt have a special writer or new work until 1945 and ‘Pansori’ had been developing independently. It advanced to the theater stage in the early twentieth century. The development in Korea was different from ‘Joruri’ in Japan. why was there such a difference? I think that this is due to Pansori's unique characteristics as listed below: ① ‘Pansori’ has a peculiar characteristic that we call ‘opennes(開放性)’ ② Pansori's audience may request a part of the work which the singer had not planned to perform. ③ Pansori's singers took a long time to complete a work. ④ Pansori artists feel ‘deep regret(恨)’. ⑤ The focus of ‘Pansori’ is the song itself. Because ‘Pansori’ has these characteristics, Pansori's audience didnt desire new work. these characteristics were different from ‘Joruri’ in Japan. It is of interest to compare ‘Pansori’, ‘Setkyo-bushi’ and ‘Joruri’. Pansori vocal music has highly developed characteristics, more so than ‘Setkyo-bushi’ or ‘Joruri’. Koreans like music and have much ‘deep regret’ so ‘Pansori’ supports Korean life.