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Generally speaking, it is estimated that Yu, Chi-jin's early plays established realism in the history of Modern Korean drama. His realism, however, was not investigated concretely. In this paper, I examined the dramaturgy of Yu, Chi-jin's early plays to embody his realism, and ascertained that the main motifs of his plays like insanity, death, selling daughter and departure from one's native place in double plot were succeeded from those of earlier plays of other writers. Yu, Chi-jin's early plays are very important in that it delivers the writer's message through the acts and speeches of insane or minor characters' so as to overcome censorship by the colonial government. His characters' acts are internalized to present the theme, compared with the earlier plays of other writers. Yu, Chi-jin's play, <So(Cow)> shows these features intensively. It represents the miserable reality of Korean agricultural villages, yet overcomes the restrictions of censorship system and the writer's one-sided message by displaying sensational events on stage in a roundabout way. <So(Cow)> effectively shows excellent dramaturgy in the appropriate arrangement of stage space and drama space. Also the harmonious co-existence of protagonists and minor characters present the critical consciousness of reality.

The purpose of this paper is to analyze the characteristic of Uiam Yu In-Seok(1842-1915)'s poetry in the last period of Cho-sun Dynasty. Yu In-Seok was the commander of loyal army and scholar who lead the Yui-jeong-chuk-sa(圍正斥邪) movement. He devoted himself to become independent of our country. He exiled himself to china and Russia and fought against Japanese to the last drop of his blood in his last twenty years. His poetry in these combative times show that the lost country poet's hope of his homeland's independence and his ideology with his despair․sigh․resentment․lamentation. So his Chinese poetry is also the written loyal army movement history. This paper searched two sides of his poetry's character. First side is the work that expressed the ruined country's sadness and the of independence. The character of his poetry in the first half show that the sorrow of doomed country and confucianism but powerful hope of country's independence exists in the later half. This kind of happy ending structure indicates powerful belief of independence without give up in hopeless actual. Second side is the work which expressed that reflected on his conduct and taught younger scholars. Uiam show set the pace for reflecting his fault to practice academic target for Uigi-jihak(爲己之學). He made younger scholar to have a big dream.

許筠은 자유주의적이고 급진적인 文人이었다. 그의 유선문학은 시인 자신의 감정을 최대한 배재한 채 선계 장면을 마치 그림 그리듯 상세하고 구체적으로 형상화하고 있었다. 또한 시 분위기가 전체적으로 매우 역동적이고 생동감 있게 그려졌다. 역동적이고 생동감 있는 분위기 창출은 작가 자신뿐만 아니라 독자에게도 신선한 기분을 던져준다. 허균은 불만족한 현실, 끊임없이 구속당하는 현실이 힘들 때면 신선의 세계를 찾아 대리만족을 느꼈다. 자유로운 신선들의 행위를 선택하여 절대 자유를 향한 시인의 바람을 마음껏 담아냈다. 호탕하고 자유로운 신선들의 모습은 세속에서 거리낌 없이 자유분방하게 살다간 시인 자신의 또 다른 투영물이었던 셈이다. 요컨대 허균의 유선문학 작품은 16-17세기 유선문학의 다양한 모습을 반영한다. 上淸辭와 列仙讚에서 보이는 생동감 있고 역동적인 선계 모습에서부터 夢遊鍊光亭賦와 夢記의 선계 오유에서 보이는 적선 의식, 南宮先生傳과 東國名山洞天註解記에 나타나는 실제 존재하는 공간으로써의 선계 인식 등은 허균 자신의 선계 인식이자 당대인들의 신선 사상에 대한 심리를 선명하게 반영한다.

Gegog, Jang Yu(1587~1638), who was one of Hanmoonsadaegas, got into action in the political world in the middle of Chosun and took the leadership in the literary world. In this paper, I analyzed <Songosugwoochulmogyeojooseo( 送吳肅羽出牧驪州序)> which was a literary work showing logical structure and lanconical style among Gegog's works. In particular, I have a focus on the theme, the structure mode for embodiment of main consciousness, and the achievement of archaic style based on analysis of internal structure of his work, <Songosugwuchulmogyeojuseo(送吳肅羽出牧 驪州序)>, by pyeonjangjagu method(篇章字句法). As a result of my analysis, the fact is confirmed that he established the theme that was the projection of virtuous features taking a serious view of justice for a friend leaving as a Yeoju minister and applied the versatile structure modes for emboding that theme in the work. In conclusion, first, he developed precisely logical connection by pyeonjang(篇章) of correspondence and inversion among the paragraphs for effective realization of a theme and a communicative structure. In particular, the logical structure progressed by ‘arguer(議者)'-‘acquaintance (知者)’-‘I(余)’is very effective because it had gradually deepened the contents among the paragraphs and brought to a conclusion.Second, he applied properly versatile rhetoric of pyeonjangjagu(篇章字 句), an originally worked, cardinal point of the archaic style. Among them, he showed the refined phrase like the corresponding phrase and the concise, clear sentence by proper arrangement and organization of an expletive like ‘yagbu(若夫)’, ‘ya(也)’. Third, he stood out a theme clearly and cleared up a point of an argument by contrast of contents between paragraphs or by contrast of meaning of phrase. In addition, An archaic style with form and organization by using various rhetoric came into being.

A View with Reminiscence Researching Yu，Da-fu(郁達夫) in KoreaYu, Da-fu was the famous novelist at the modern Chinese literature start period. His novel applied special style and he was that time problem writer. We can find the desire, love, suffering, setback of that time young men in his novel. Through their accident method about the world which change rapidly, we can make our reference system. We divided into two fields and looked research about him in Korea into this text. One field is the translation of the work and the other field is the technical research.His novel which to now is translated from Korea 19 novels, the 26 remains yet. 12 was translated in the prose. We are waiting for the translation：near to the 130 proses, the literary medley over the 313, the literature theory over the 214, the poetry over the 430, the diary of the 33.We have the feature about him which research as follows in Korea. First, in the side of the research area, we have a partiality to novel and thought of literature field. But the research area in Korea progresses like a bolt line at now. From now on its area must be enlarged more. Second, in the side research method, traditional existing method is inverting recently in modern method. We had a partiality to the critique biographique at former time, but we are appearing to new methodology which the psychology, Freudianism, structuralist criticism, and the comparison research studies his literature recently.I wish from now on that more researchers should participate in this field, enlarge the area more and apply the new method.

Mt. Deok-Yu is situated on the border of Chun-Buk and Kyung-Nam Do, Korea. The peak of Dae Deok-yu (1608m) and Nam Deok-Yu (1508m) is the highest of Mt. Deok-yu range and it has many other high peaks. The plant of Mt. Deok-yu were collected from May 1964 to August 1972. The natural and cultivated medicinal plants include 98 families, 213 genera, 305 species, 53 varietes, 3 formas and 360 kinds.

The Zhou dynasty’s feudal order was structured such that the Son of Heaven governed all under heaven by virtue of the Mandate of Heaven, while the feudal lords administered their respective domains under royal commission. The king (Son of Heaven) resided in the capital, Middle Kingdom, and possessed both the authority and the moral obligation to extend benevolence and virtuous governance to the noble class dwelling in the capital as well as to the subjects of the feudal states. Royal ministers, positioned at the king’s side, undertook inspections of the feudal states, monitoring the propriety or corruption of their political administration. The Book of Songs records the dictum that “if the minister is upright, the four quarters emulate; if not, the four quarters fall into disorder,” a reflection of this political reality. Middle Kingdom was encircled by the states of the four directions, themselves encompassed by the “Four Seas”. These peripheral regions constituted both the objects of governance and indicators of political order or disorder. Each feudal lord, as the regional representative, acted in the king’s stead to secure stability and promote moral transformation within his territory. The Son of Heaven and the feudal lords thus maintained a complementary relationship, frequently likened to a protective screen or wall. Within the Book of Songs, the terms Guo and Bang are employed synonymously to denote feudal states, all of which occupied subordinate positions vis-a-vis the central authority of the king. The establishment of capitals, whether royal or feudal, emphasized site selection, urban planning, and the construction of ancestral temples. The Book of Songs provides detailed accounts of the processes involved in capital construction. Pre-Han sources record that Yu the Great subdued the floods and delineated the principal mountains and rivers of the realm. The Book of Songs likewise extols Yu for creating the great mountains and rivers, which subsequently served as standards for demarcating the territories of the feudal states. These natural features were regarded in The Book of Songs as fundamental principles. Yu was credited as the originator of these principles, having established the mountains and rivers in the course of flood control. The Shang Hymns also preserve traditions concerning Yu. Although scholarly debate persists regarding the precise period of their composition, they were ultimately completed in the Song state during the Spring and Autumn era. In this form, they contributed to the conceptual development of the “Nine Provinces” during the Spring and Autumn and Warring States periods.

『해조신문』은 연해주 최초의 한글 일간지 및 항일언론지라는 의미 외에도 재러 한인에 의해 발행된 근대신문으로서 선구적 위상을 지닌다. 그럼에도 불구하고 이 신문에 게재된 수많은 기사와 연재물에 대한 논의들이 진척되지 못하고 있다. 본고에서 주목한 <동국명장 김유신>은 ‘리종원’이라는 필명이 명기된 작품으로, 동일 필명으로 추정되는 다수의 연재물이 확인됨에도 불구하고, 작가와 작품에 대한 연구가 전무한 실정이다. <동국명장 김유신>은 『해조신문』의 간행취지인 ‘독자들의 학문과 지식을 넓히기 위해 충신열사의 사적을 기록’한다는 목적을 구현한 유일한 연재물이다. 또한 리종원 작품 전반의 공통 화두인 ‘교육의 필요성’이 이 작품에서도 중요한 주제의식으로 드러난다. 또한, <동국명장 김유신>은 근대시기 ‘인물기사’의 특징을 살펴볼 수 있는 귀중한 자료로서, 작품에 서술된 사건 기록이나 화자의 동일한 발화 내용들을 통해 <김유신>(『삼국사기-열전』)과의 긴밀한 관련성을 확인할 수 있다. 본고에서는 이 작품이 매회 단일 사건만을 取材한 記事體을 취하며, <김유신>을 근간으로, ‘신이담’과 ‘외세결탁담’ 등 일정 기준을 통해 선별된 사적만을 기술하였음을 밝혔다. 이러한 특징은 리종원의 여타 시평 기사들과 동일하게 그의 현실 비판의식, 그리고 계몽 매체로서의 해조신문의 성격과 작가의식을 반영하고 있는 것으로 볼 수 있다.

The Haejo Sinmun holds a pioneering status not only as the first Korean-language daily newspaper and an anti-Japanese resistance press, but also as a modern newspaper published by Koreans in Russia. Nevertheless, research on the numerous articles and serialized works carried in this paper has seen little progress. Among them, Dongguk Myeongjang Kim Yushin?signed under the pen name “Lee Jong-won”?remains almost entirely unstudied, despite the discovery of several other serialized works presumed to share the same authorship. The serial Dongguk Myeongjang Kim Yushin is the only work in the Haejo Sinmun that fully embodies the paper’s founding purpose?“to record the deeds of loyal patriots in order to broaden readers’ knowledge and learning.” It also conveys one of the recurrent themes in Lee Jong-won’s writings: the importance of education as a means of enlightenment. Furthermore, Dongguk Myeongjang Kim Yushin serves as a valuable source for understanding the characteristics of biographical writing in the modern period. Through the events it narrates and the consistent voice of its narrator, the work demonstrates a close relationship with Kim Yushin in the Samguk sagi (“Biographies” section). This study shows that each installment of the serial adopts a reportage style focusing on a single event, selectively recounting episodes such as miraculous tales or accounts of foreign entanglement, all grounded in Kim Yushin. These features, consistent with Lee Jong-won’s other commentaries, reflect both his critical awareness of contemporary reality and the Haejo Sinmun’s role as an enlightenment-oriented medium.

辽朝特殊的政治制度和婚姻习俗，造就了契丹世家权威代代相袭的现象。正因如此，辽代契汉文史料以及契丹大、小墓志铭比较研究，对宗室外戚家族世系的整理、相关人物生平事迹的考据以及史料记载的刊补均可提供有利证据。文中以耶律祺契丹大字墓志铭和耶律兀没契丹小字墓志铭为主要参考，在进一步梳理《辽史》有关记载的基础上，对辽道宗、天祚二帝时期重臣耶律祺家族世系、生平事迹及其妻室子嗣相关信息进行了重新考述。

The unique political system and marriage customs of the Liao Dynasty, gave rise to the phenomenon of hereditary authority among Khitan noble families. Therefore, a comparative study of Khitan-Chinese Historical Materials or epitaphs in Khitan large and small scripts of the Liao Dynasty, can provide valuable evidence for sorting out the genealogy of imperial clans and extended families, verifying the life stories of relevant figures, and supplementing historical records. Based on the primary reference of epitaph of Yelu Qi in Khitan large script and epitaph of Yelu Wumo in Khitan small script, and after further sorting out relevant records in the History of Liao Dynasty, this paper re-examines the family lineage, life stories, and information about wives and descendants of Yelu Qi, who were important officials during the reigns of Emperor Daozong and Emperor Tianzuo of the Liao Dynasty.

Han Yu(韓愈)'s “Record of Yanxi Pavilion(燕喜亭記)” is a model work of Tang Dynasty literati reshaping the landscape of Lingnan. Not only does naming Lianzhou's mountains and waters with moral connotations through Confucian discourse, transforming natural landscapes into symbols carrying the ethics of the Central Plains, but it also signifies a subtle shift in Tang Dynasty literati's understanding of Lingnan(嶺南), from prejudice against "miasma and fear of soil" to aesthetic discoveries of the spirituality of mountains and waters. From the perspective of literary geography, taking the literary landscape as the starting point, it can be found that the dissemination of "The Story of Yanxi Pavilion" has given birth to a dual literary landscape: at the level of virtual literary landscape, "The Story of Yanxi Pavilion" as a masterpiece has influenced the imagination of later literati about Lingnan scenery. At the level of tangible literary landscape, Yanxi Pavilion has gained lasting cultural life due to Han Yu's inscriptions. In the process of layered enrichment, Yanxi Pavilion has become a cultural landmark of Lianzhou. The cultural expansion and transformation of the cultural space in Lingnan during the Tang and Song dynasties, where literati lived, deeply participated in the generation of various literary landscapes in Lingnan.

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본고는 옥이의 몸을 통해 재현되는 그로테스크한 이미지를 중심으로 소설을 살펴보고자 한다. 그로테스크 이미지는 양가적인 특징을 가진다. 옥이의 몸은 파괴와 생성을 동시에 드러내는데, 바흐친 이론 속 그로테스크의 특징을 통해 소설 속에 나타나는 죽어가면서 동시에 생성되는 몸을 새롭게 해석하고자 한다. 떡을 소화시키지 못한 채 죽어가는 그로테스크한 몸의 재현을 통해서는 어떤 힘이 근본적으로 작용하는지에 대한 문제를 주목한다. 옥이가 하나가 되려고 삼킨 세계는 결코 소화할 수 없는 것으로 나타난다. ‘얼김에 삼켜 삭지도 못한 채 그대로 덩어리로 나온 떡’의 이미지는 매우 의미심장한데, 이는 자본 축적의 실패이자 세계와의 상호작용에 대한 실패로 해석될 수 있다. 몸이 반영하는 세계는 근대 자본주의와 식민지 자본주의의 착취구조에 의해 작동된다. 옥이가 ‘새로운 희망’을 떠올리며 대담히 들어선 세계는 사실상 폭력과 같고, 민중은 편입될 수 없는 세계인 것이다. 그러나 작가는 소설을 비극으로만 끝내지 않는다. 옥이는 죽지 않고 결국 살아나는데, 다시 살아나는 그로테스크한 몸의 재현을 통해서는 새로운 의미와 긍정으로 나아갈 수 있는 가능성에 주목한다. 소설 속 옥이의 몸은 경계를 넘어선다. 그 안에서 몸은 결코 완성되거나 종결되지 않으며 ‘생성의 힘’을 가진다. 이를 통해 민중은 고립되고 단절된 세계 안에서 파괴되더라도 변형의 과정을 통해 다른 몸을 세우고 만들어낸다는 것을 알 수 있다. 미약하지만 민중의 힘과 희망을 담고 있다는 점에서 소설은 다시 읽힐 수 있다.

Kim Yu-Jeong’s novel Tteok tells the story of a small seven-year-old girl, Ok, who almost dies from hunger whilst eating rice cakes. This paper seeks to reinterpret the grotesque images that are reproduced through Ok’s body in the novel based on Mikhail Bakhtin’s discussion. The grotesque image represents a world that is ambivalently dying and becoming at the same time. Ok’s body reveals both destruction and creation. The representation of the body dying without being able to digest the rice cake draws attention to the question of what forces are fundamentally at work. The world that Ok swallowed to become one is shown as ‘indigestible’. The image of the ‘rice cakes, swallowed in haste and undigested, coming out in lumps’ is profoundly symbolic. The modern capitalist world, which Ok boldly enters through the middle gate, is de facto violence. It is a world that the people are not able to overcome. However, the author does not finish the novel with tragedy. Ok almost dies, but in the end, she survives. Through the representation of the body which rerises, she emphasizes the possibility of moving toward new meaning and positivity. This is also connected to folk culture containing the meaning of becoming. The people build and generate other bodies through the process of transformation, although they are destroyed in an isolated and disconnected world. In the novel, Ok’s body transcends boundaries; it is never completed or terminated. Moreover, it has the power to generate new values. The novel is significant since it contains the strength and hope of a small but fragile people.

Da Yu(禹) is widely viewed as the figure who finalized China’s flood control(治水) system and established Jiuzhou(九州), the first administrative divisions, thereby solidifying the foundations of ancient governance. His image evolved through folk legends and myths, receiving diverse interpretations during the Spring and Autumn and Warring States periods. By the Han Dynasty, historical works such as the Shiji(史記), Shangshu(尙書), and ZhushuJinian(竹書紀年) firmly identified him as the founder of the Xia Dynasty and a model ruler, prompting most research to focus on verifying his flood control achievements and illustrating how Confucian thought idealized him. However, as Da Yu’s virtues were exalted, numerous anecdotes emerged in historical texts, fueling persistent claims of distortion or inconsistency. Such critical perspectives appeared during the ideological debates of the Hundred Schools, reemerged in the Tang and Song dynasties, and were reignited in modern scholarly circles, employing empirical methods to show that Confucian idealization was not one-directional. As pro and con arguments accumulated, Da Yu’s image became more complex and multifaceted, ultimately bolstering rather than weakening his reputation. This diversity of views illustrates the dynamic process through which his image was constructed, resisting any simplistic definition. Therefore, this study focuses on how debates concerning Da Yu have unfolded—an aspect insufficiently addressed by previous research—and how these debates influenced his legacy, with the aim of eassessing his historical role and significance.