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Teaching Korean as a foreign language has been growing rapidly both quantitatively and qualitatively. It has seen meaningful development as an academic field; the learner groups are more diverse than before; and the number of learners has increased. This paper aims to: 1) examine the current development in teaching Korean as a foreign language as well as teaching Korean culture; 2) re-think the roles of the two; and 3) discuss the issues/controversies and possible answers to them. I will propose that teaching Korean as a foreign language in the future should take 'inter-cultural communicative approach.' I will also argue that teaching Korean culture should focus more on practical usability of cultural knowledge than knowledge itself. I believe intercultural approach (inter-cultural communicative approach) is an ideal alternative, which will enable learners to be aware of and have ample experiences with linguistic and cultural differences ultimately to form positive personality and identity.

I intend to present the educational worthy of Old Korean Novel and the utilization of Simcheongjeon for the Education of Korean Language. We must consider the features of each genres in using literature text for the education of Korean language. Poetry has the matter of linguistic restrictions, but narrative do not. In narrative genre, folktale and novel are different in the way and the contents of the representation of the real. In addition, the modern novel and the old novel are different in the possibility of being rewritten. Simcheongjeon would be used for three ways in the education of Korean language. First, a lot of dialogues in Simcheongjeon can be used for the education of communication. Second, the important scenes in Simcheongjeon can be used for the education of sociocultural education. Third, there are the inevitable confliction between social norm which one should follow and a individual in Simcheongjeon, and it can be used for the education of literature. I present two versions of Simcheongjeon, one is easy and the other is difficult. It shows that Old Korean Novel could be read in different levels.

Many of the foreign students who wish to learn Korean culture and values in Korea would be interested in romance as they are mostly young people in their twenties and have concerns about their love affairs, future and reconciliation with their parents. Thus, I chose <Maiden Suk Young>, a Korean classical romance novel as material for education. Through this novel, we can educate students on Koreans' perspective of love, that of conjugal relationship, the world view, and a philosophy of living. Moreover, we can educate them on living culture related to funeral rites and ancestral ritual formalities with regard to the marriage of two main characters and the scene of Suk Young's death. Thus, I focused on reconstituting and interpreting the novel so that educators can teach Korean values and culture through this novel. I examined culture education to foreign students using Korean classical novels by abstracting example sentences that tell about our traditional values and living culture and discussing about reality of the time and how it is reflected in those sentences.

This study is for finding Korean literature & culture educational methods for advanced foreign learners, centering around <Soudea- sungjeon>, the representative work of a popular heroic novel among the classical novels. For this, I primarily look around the feature of the text, explain the story of man-woman connection and the dual structure of heaven-ground as 'a match made in heaven' of Yonga and Yongnyeo, and discussed hero's life story structure as a orphan and begger's life story through the whole work. After understanding of the core structure and contents, on the basis of this, I contemplated the root of Korean culture and values in the level of wisdom. 'A match made in heaven of Yonga and Yongnyeo' continued from the previous life, was read with ‘the view of tie’, a relation-oriented mind, and a storyline which a poor orphan boy become into a king of a country was connected with the Korean traditional value, ‘devotion and lots of love’. As though this kind of mind make a begger, the main character of the novel, into a king, they emphasized that above mentioned mind is the power which can change our lives qualitatively. Classics are not merely ‘story books’ but ‘a collection of wisdom’. For foreign learners, it is meaningful to teach material convenience or modernized civilization that Korea society made in recent decades through modern works, but when we instruct a positive value deep-seated in many Koreans for over a long period of time, they can understand Koreans’ true character, and simultaneously, get a wisdom to overcome the man-made disasters caused by immediate distrust and hastiness for citizens of the world. This wisdom is the power of classics definitely. ‘A collection of wisdom’ is the meaningful text for foreign learners or modern youthful students, another level of learners, thinking of classics as second-language literatures.

This study aims to find a teaching method for Korean classical literature works in Korean language teaching for foreigners. To do this, there is a review of classical works and educational objectives and content of them to be educated in Korean Teaching as Foreign Language (KFL). Then, there is something to find how classical works education for the natives can be applied for KFL. After Korean learners are up to the intermediate and high level, they have to understand Korean recognition world and Korean society culture. If Korean traditional culture is contained in the thing Korean learners acquire, there is no difference from educational contents for the Korean natives. Hence, this study started in the assumption that the literature works what the natives have known was taught at elementary school and then compared with works in materials between Korean for the natives and Korean for the foreigners. Consequently, making objectives of teaching․learning is decided depending on the relationship of language and culture teaching․learning. However, that activity for performance is different between Korean for the natives and Korean for the foreigners. In curriculum, the objective is changed from means for taking basic language ability Korean to getting culture for the natives, whereas the objective is for taking language ability Korean for the foreigners. On this wise, two things are supplied; one is activities for finding and comprehending the value of literature works on higher level. There is changing the objective from means for taking basic language ability Korean to getting culture.

There are some cases of story patterns in Korean Feng-Shui Folktales showing that some people made their dreams come true through getting Myoung-Dang (明堂, a place for grave, which causes good fortune, MD) demanding the sacrifices of their spouse and/or offspring, and the delivery of illegitimate child when the heroine is not yet married. In this thesis, this kind of story pattern is defined as “Myoung-Dang demanding victimization (犧牲明堂 MDDV)”. I have studied the two points in MDDV over paying attention to the process and results of story development. The one point is the searching for the reason why this kind of anti-ethical folktales could be popularized in that age. And the other point is the finding of the systems of thought appeared in MDDV. Korean Feng-Shui Folktales have generally showed that MD is the source of good fortune based on the concept that there is a giftrelationship between good deed and good fortune. But, characters do not wait for good fortune by doing good deed in MDDV. These MDDV characters rather try to occupy MD in spite of any kind of victimization required if they can certainly get good fortune in short time. Any victimization appeared in MDDV symbolizes the human life itself like the death of family member or the immoral fecundity of unmarried woman. The victimization appeared in MDDV can, therefore, be said to be a ritual or intentional deed for attracting good fortune into their life. We can ascertain the fact that human desires can be unboundedly reproduced through one extreme MDDV whose story is that a desire of getting son ends in the sacrifice of sons for the purpose of the success of his grandson. Extreme development of desires required the sacrifice of the original desire in the end. MDDV was a warning and a taboo from the transcendental power to human beings running for the boundless desire. The meaning of ultimate good fortune which characters got in MDDV makes us agonize to understand it. Interestingly, MDDV shows that problems appeared in MDDV were solved by magnanimity for unmarried mother and illegitimate child although extreme pursuit of patriarchal ideology resulted in MDDV. It makes MDDV a meaningful folktales containing sociocultural function and significance. This point also gives the significance to the study of MDDV for the contemporary life.

<Kwangmye's Princess> in 『Kum-Kye pil-dam』 is anecdote with a conflict and collapse between King Sejo and King Sejo's daughter. The contents of <Kwangmye's Princess> has began to make a mark when it came into use as the original of the drama <the Man of Princess> in 2011. The phenomena of increasing interest about the historical context or original work of reproducing our classic work for a modern, like these, is very positive. But, this positive interest or phenomena is need to be comparative analysis of the critical mind between the original work and it's reproduction for more firmness and durability. That's the point of recognizing the work which is based on the classic in relationship to the descriptive properties of the work. In this article, I searched the critical mind and the descriptive properties of <Kwangmye's Princess> in 『Kum-Kye pil-dam』, and suggested how to use it in drama <the Man of Princess>. First of all, I suggested that the main contents of <Kwangmye's Princess> is the type of 'living one’s own fortune' because that the daughter has independence from her father by claiming father's irrationality. At the same time, the father's self-reflection and daughter's forgiveness unfolding in a very natural way in the type of 'living one’s own fortune' is the reanalysis point in <Kwangmye's Princess>. Most of the father who have been forgiven by his daughter under the her catholicity, in the type of 'living one’s own fortune', is naturally led to deep self-reflection about his past mistakes. But, In the <Kwangmye's Princess>, 세조 recommend princess to return the palace saying that what he committed was historical cycle and it was out of his control. About the father, the princess selected the separation with father never left any her feelings. In this point, <Kwangmye's Princess> show us to the message which the dramatic reconciliation between father and daughter need to be father's deep self-reflection, and to long for actualizing justice carried out by the mouth of daughter. And drama <the Man of Princess> seems to make the critical point of <Kwangmye's Princess> reality through the appearance of princess Sereong who makes question and is alert the father's political ambition becoming King Sejo from Sir Suyang Daegun like <Kwangmye's Princess>. But, which is opposed sharply earlier, antagonism between father and daughter is diluted. Because, as the drama continues, the main contents moves into affecting love between Kimseungyo who stands at the opposite of Sir Suyang Daegun and Sereong. As the result, <the Man of Princess> is different <Kwangmye's Princess> in the view of context and the critical point of the work is changed incorrectly. Thus, <the Man of Princess> and <Kwangmye's Princess> had similar start point, but <the Man of Princess> has finished with different and resigned end that she never overcome her father who has vested interest. Because the daughter's voice saying the father's irrationality acerbically in <Kwangmye's Princess> is disappeared. As the result, <the Man of Princess> became the limit and had some distance with <Kwangmye's Princess> which has a critical point - I can not return and admit the father's unfair world-strongly.

Some of the shamanic music saseols grab attention by starting every gut with "Queen Awang, Gongshim, takes a bow. Mt. Nam is the origin" in the southwestern region of the Korean Peninsula. Queen Awang is named Gongshim, who is the ancestry god of female shamans. Gongshim is called out at the beginning of a gut or every geori, which indicates that people placed importance on Gongshim as the ancestry god of female shamans in the regions where she was sung. In shamanism, however, the ancestry god of female shamans usually refers to Princess Bari from inland regions or Three Brothers of Chogongbonpuri from Jeju Island. Compared to them, Gongshim has been relatively less highlighted. Thus this study set out to analyze the lyrics calling out Gongshim and examine the meanings of the lyrics, the symbolism of Gongshim, and the effects of calling her out. Chapter 2 marked the scope of Gongshim's influence as the ancestry god of female shamans on a map and arranged the stories of shamanic songs for Gongshim in a table. According to the Gongshim tale recorded in Chungnam, Jeonbuk, Jeonnam, and Gyeongnam, Gongshim, a Goryeo princess, develops a mental disease and is moved to Mt. Nam, where she learns prayers, songs and dances required for the shamanist practice. After leaving the mountain, she spreads what she has fulfilled and becomes the ancestry god of female shamans. In some villages, she would be worshiped as the village deity. Thus female shamans started to sing ""Queen Awang, Gongshim, takes a bow. Mt. Nam is the origin."In Chapter 3, the investigator interpreted "Queen Awang, Gongshim, takes a bow. Mt. Nam is the origin" as "Our ancestry god, Gongshim was born in a Buddhist temple, and Mt. Nam is her origin place" based on the Gongshim shamanic song of each area within her influential scope and the Gongshim tales of some regions. The lyrics about Gongshim demonstrate the history of shamanism and grant legitimacy to it. They should be understood to contain more meanings rather than as common phrases or opening words.

The researcher has meanwhile strived to apprehend types of Poyi acception and historical contexts of Poyi discourse in Chosun period. This paper is laid on extension of this research. Especially this paper takes note on Kim Siseup’s Praise for Poyi and Sukjai(伯夷叔齊贊) and Hiding Noblemen Theory(君子隱現論) opening the first step of Poyi discourse in Chosun period. These two works concretely showed not only aspects of early Poyi discourse but also internal base of Kim Siseup’s life filling of hiding. So this paper newly constructs truth of Poyi understanding projected in two works in the level of loyalty and reclusion. And I read intention of Kim Siseup’s writing connected with politic․social context in those time which was destroying of politics of royal statesmanship as Kaeyu suppression(癸酉靖亂), and evaluate value of works. Finally, I am finished a certain course with defining meaning and inspecting position of two works in the field of Poyi discourse during Chosun period. As a result, Kim Siseup’s Praise for Poyi and Sukjai(伯夷叔齊贊) and Hiding Noblemen Theory(君子隱現論) were representative works projected Kim Siseup’s view of loyalty and reclusion realizing life of Poyi. Especially Praise for Poyi and Sukjai(伯夷叔齊贊) the praise genre adding debate was a controversial work criticizing King Sejo and meritorious retainers of suppression with comparing King Mu and Taegong. These had a lot of suggesting things in politic․social context in those time. Also in the field of Poyi discourse, Praise for Poyi and Sukjai(伯夷叔齊贊) was the first and the last works that criticized King Mu and Taegong in Poyi’s the view of loyalty. This fact have another meaning. However Poyi discourse had a limit that did not become concretization and sharpening with absenting analytic․critic approach. This is an early limit in Poyi discourse. Of course, Kim Siseup’s Poyi theory and view of reclusion did not cancel out meaning, because these consistently influenced to intellectuals of Seoin group engaging with working Poyang after the mid of 17C beyond those time.

Korea is located at the perimeter of East Asia and its geopolitical condition had certain limitation, which was that Korea should collect all information through China. It was a chronic issue at the time caused by exchange with foreign countries only through land route. Exchange through sea route was required to overcome this limitation; however, it was very difficult in reality. Therefore, Joseon was yearning for information on overseas. During such period, information on foreign countries carried by the returnees, who survived a drift by chance, attracted keen interest of the intellectual class at the time. Seoyibangiksa (書李邦翼事) is one of such books, which was written by Yeonam Park Ji-won by the order from King Jeongjo. A person named Yi Bang-ik had met a storm on the sea and drifted to Taiwan. He came back to Korea through Jiangnan (South China) area and Beijing (North China). The route took by Yi Bang-ik in returning to home was quite new knowledge for Joseon intellects. At the time, King Jeongjo had given a royal command called Munchebanjeong (which was kind of downgrading the importance of writings on practical matter); however, Park Ji-won did not write Seoyibangiksa in accordance with royal command or took it as a simple interesting story. Park Ji-won tried to read contemporary reality through the situation in Jiangnan and surrounding area in China experienced by Yi Bang-ik. He raised the issue again toward the vain wish of ‘Bukbeol’ (expedition to conquer the north) by some Joseon nobilities through the return route of Yi Bang-ik. It can be understood as the combination result of intellectual interest of Bukhak School scholars, such as Park Ji-won, Park Je-ga, Yi Seo-gu, Yoo Deuk-gong and Seo Ho-su, with the return process of a drift survivor. Further, it was possible to understand it as a reconfirmation process of overseas awareness of intellects in late Joseon Period and the site of mutual exchange.

In order to study distinctiveness of Yangju Masked Dance Play as performative genre, it is necessary to do as in-depth analysing of a situational meaning that performers and audiences make together at performance site. For example, a cultural perspective about linguistic forms or nonverbal channels like gesture and music provides Yangju Masked Dance Play's research with a new perspective. Bearing these points in mind, this paper will study cultural meaning of Yangju Masked Dance Play's oral performative grammars with (im)politeness as the center. In Yangju Masked Dance Play, politeness is sensuously made up a direct request's discourse, bound-unidirectional-particular gestures, and musics standing for a social identity. On the other hands, impoliteness is sensuously made up a playful discourse strategy like parallelism, free-bidirectional-global gestures, and musics standing for a physical plasticity. In both cases, audiences become participants, because of aesthetically elevated situations arising from uttering (im)politeness. Therefore, Yangju Masked Dance Play's oral performative grammars homonymously figure sociocultural conditions in the late of Chosun Dinasty. That is, sensitive factors as (im)politeness's constituent make up faces as a unit of cultural activity, i.e. 'cultureme', and faces authoritatively or deauthoritatively structure intelligible cultural activity like medical, commercial, food life system in the late of Chosun Dinasty. So, as a cultural meaning, (im)politeness of Yangju Masked Dance Play recontextualizes historical conditions of the late Chosun Dinasty which conservatism and progressive ideas continue the strained relations. As a result, this paper will have significances in that it attempts to variously understand sociocultural aspects of Korean Masked Dance Play's aesthetics. To linguistically, kinesically, ethnomusically, culturologically analyse oral performative grammars will provide us with useful research perspectives, because the earlier studies on Korean Masked Dance Plays have focused on ritual hypothesis of the origin of it or realism study about growth of the people in the late of Chosun Dinasty.