This study aimed at examining the intertextuality of Nokdu Janggun and folk tales. In the study, 39 folk tales Nokdu Janggun(『녹두장군』) borrowed were categorized. In addition, it was confirmed through the relationship between the folk tale and novel that folk tales Nokdu Janggun borrowed were not mere subject materials but motivated to evoke the theme and played various allegorical roles in the progress of narrative. In the first place, in order to inquire into the intertextuality of Nokdu Janggun and folk tales, 'the consciousness of reform, the motif of the secrets of Mireuk' was examined through ‘Mireukbigyeol at Seonun Temple' in chapter II. Besides, ‘modern self-consciousness, the motif of legends of women' was explored through ‘The Legend of Jangja Pond’ and ‘The Legend of Power Game between Brother and Sister' in chapter III. Of 39 folk tales, this study involved only three tales. That was because ‘Mireukbigyeol at Seonun Temple' played a decisive role in triggering ‘Donghak peasants' war’ and spread to lots of folk tales and Bigyeols like rhizome, playing a critical role in displaying the consciousness of reform, and because ‘The Legend of Jangja Pond’ and ‘The Legend of Power Game between Brother and Sister' played a decisive role in expressing women's modern self-consciousness. ‘Mireukbigyeol at Seonun Temple' whose motif is ‘Mireukbigyeol’ materialize a dynastic revolution by saying that on the day one takes out Mireukbigyeol at Seonun Temple, the dynasty will collapse. Furthermore, it reveals resistance against the ruling regime by sealing Byeoraksal along with Mireukbigyeol. In addition, the combination of ‘Story on Dick’ and the motif of Mireukbigyeol contains political meaning on revolution rather than religious function by focusing not on Amitabha Faith but on Maitreya faith. ‘The Legend of Jangja Pond’ whose motif is ‘legend of women' focuses on the taboo ‘Don't look back’ to show that women can no longer become the victims of ‘patriarchal ideology’. Moreover, ‘The Legend of Power Game between Brother and Sister’ reveals the social system that damages women's human rights through unfair repression and modern consciousness that urges the massive innovation of men's attitudes by focusing on the taboo ‘The woman(sister) is not destined to become the lord of a castle’. This sparked the collapse of feudalistic order of the late Joseon dynasty, raising women's modern consciousness.

This study aimed at examining the intertextuality of Nokdu Janggun and folk tales. In the study, 39 folk tales Nokdu Janggun(『녹두장군』) borrowed were categorized. In addition, it was confirmed through the relationship between the folk tale and novel that folk tales Nokdu Janggun borrowed were not mere subject materials but motivated to evoke the theme and played various allegorical roles in the progress of narrative. In the first place, in order to inquire into the intertextuality of Nokdu Janggun and folk tales, 'the consciousness of reform, the motif of the secrets of Mireuk' was examined through ‘Mireukbigyeol at Seonun Temple' in chapter II. Besides, ‘modern self-consciousness, the motif of legends of women' was explored through ‘The Legend of Jangja Pond’ and ‘The Legend of Power Game between Brother and Sister' in chapter III. Of 39 folk tales, this study involved only three tales. That was because ‘Mireukbigyeol at Seonun Temple' played a decisive role in triggering ‘Donghak peasants' war’ and spread to lots of folk tales and Bigyeols like rhizome, playing a critical role in displaying the consciousness of reform, and because ‘The Legend of Jangja Pond’ and ‘The Legend of Power Game between Brother and Sister' played a decisive role in expressing women's modern self-consciousness. ‘Mireukbigyeol at Seonun Temple' whose motif is ‘Mireukbigyeol’ materialize a dynastic revolution by saying that on the day one takes out Mireukbigyeol at Seonun Temple, the dynasty will collapse. Furthermore, it reveals resistance against the ruling regime by sealing Byeoraksal along with Mireukbigyeol. In addition, the combination of ‘Story on Dick’ and the motif of Mireukbigyeol contains political meaning on revolution rather than religious function by focusing not on Amitabha Faith but on Maitreya faith. ‘The Legend of Jangja Pond’ whose motif is ‘legend of women' focuses on the taboo ‘Don't look back’ to show that women can no longer become the victims of ‘patriarchal ideology’. Moreover, ‘The Legend of Power Game between Brother and Sister’ reveals the social system that damages women's human rights through unfair repression and modern consciousness that urges the massive innovation of men's attitudes by focusing on the taboo ‘The woman(sister) is not destined to become the lord of a castle’. This sparked the collapse of feudalistic order of the late Joseon dynasty, raising women's modern consciousness.

intertextuality, folk tales, Mireukbigyeol at Seonun Temple, a dynastic revolution, woman subject