The new existence of course in Korean Education has a significance as the outcome of process that the aim of Korean Education has moved and expanded its standpoint from solidity or exclusiveness to social-adaptation or inclusiveness. This confirms us that the true meaning of `Korean ability` is the ability of Korean using and the ability of practicing Korean life, and eventually the ability of constructing Korean culture, which has the base of relations and communications that receive and produce informations and knowledges. So media language education also has the educational value of breeding language using subjects who efficiently adapt changing modern society. In this article, I wanted to confirm some points of view which can enhance the possibility of media language education, and also to measure the direction of contents system in terms of curriculum, and finally to make space for concrete frame of `media language ability` with regards to media literacy, cultural literacy, literary ability. The synopsis is as follows. First, considering the modern social change of compound linguistic mode, the access of media language must has some special theoretical standpoints, as for semiology, communication theory, cultural theory. Second, relating curriculum, the contents of media language education must has stress on critical reception, aesthetic enjoyment, creative production of media language rather than comprehension of media language itself. It also requires the valanced treatment of text materials, which can be divided to information transmission and persuasion, aesthetic emotion expression, social contact. Third, we must considerate that media language education eventually aims at enhancing the ability of reception and production of media materials, and the creative and subjective attitude of linguistic culture. As regards for this, we must reconceptualize literary ability for searching and reproducing the substantiality of `media language ability`.

This article examines the characteristics of literature texts and the condition of creative writing in the recent changes of cultural environment of the 2000s. This article also discusses how we could adjust to the changes in terms of literary education, especially focused on literary competence. First, the characteristics of literature texts resulted from the changes of cultural environment are 1) expression of media experience, 2) subcultural imagination and aesthetics of hibridity, and 3) the advent of cyber literature and genre literature. Second, the changes of creative writing-condition are 1) the diversification and the extension of the relationship between literature and mass culture and 2) the changes of media environment. Last, literary competence to adjust to a new cultural environment are 1) intercultural competence and media literacy, 2) image receptive·analytic·expressive competence, 3) narrative composition-competence based in creativity and imagination, and 4) critical thinking power and moral awareness.

I discussed on the national curriculum standards of literary education by the viewpoint of literary competence in this paper. It has been discussed as literary knowledge and experiences, communicative skills of literary texts, abilities of comprehending mankind and the world through literature, and attitudes on literature and literary culture. However, it has not considered changes of the concept of literary competence and actual methods of teaching literary competence during classwork. I argued that the concept of literary competence has been enriched through the history of national curriculum standards in this paper. The curriculum 2007 defined it as literary knowledge and experience, ability on literary acts, capability on literary language use/creative thinking/literary communication, and attainments of cognitive/emotional/cultural domains in literary acting. Nowadays, a new literary education has to consider the change of literary circumstance and the growth of media-based literature. The curriculum 2007 established a new subject `Media and Language` and it demands to change literary education adjust to the new tendency. Therefore, it needs to reconstruct the concept of literary competence by integration of subject `Korean`, `Literature`, and `Media and Language`. I made a frame for integrate them by synthesize of elements of literary competence, channel between literature and media, and the perspective of literary acting.

Because the tales accept the all types of stories, such as the story, sense of values, problems in life and the historical facts from the possessor, they may not remain a fixed shape to produce new variables endlessly. The narrator enjoys the amusement of stories moving inside and outside the borders of the various worlds as he or she gets out of the tale`s circumference. In the hypertext fictions, the hyperlink is the soul of the enjoyment of the story. The readers sail all over the world following the his or her own choice. As the small stories scattered in numerous pieces are plaited like picture puzzles, the plot of story is more important than the exploration of meaning. As the meaning slept away, only the amusement of story remains. In this way, the tales and the hypertext fictions are plaited with abundant stories carrying out the hyper-linking up with other scopes. Compared to this, the fictions that are subordinate to the writer or the authority of the work can be only the object of the meaning exploration, but they can not be the object of amusement. The core life of a fiction is the story. It is necessary to get a reading method by which the stories can live, becoming entangled with the reader`s life or other stories in the world. We need to pay attention to the vital power possessed by the `story` itself. Reading a fiction is a meeting with the story in fiction and it is the action that is providing a space where the story can meet the reader`s life and the world. The readers make up the abundant stories as they are coming back and forth from the world of story in the original text and the social text. The method to set up the hyperlink and enjoy the stories varies in its character according to the method that is used by the reader to communicate with the original text, experience text and social text. The method to enjoy the story is unfolded in two directions at large. The one is the method in which the students are carrying out the random sampling among the pieces of story and they make up other stories with new meanings, making rearrangement. And the other is the method in which the students select the pieces of story themselves and modify to rearrange them after reading a work. In case of the latter, it is possible to make up a story in the various ways. It is possible to arrange the piece stories of the original text in a new viewpoint, which is different from that of the writer, or the different story may be made up, centering on the core events and following the path of the story that was excluded by the writer. And also, It is possible to make up a story that can be put on almost the same level of creation by changing the satellite events into the basic events. It is possible to use the original text, and also it is possible to make up an abundant story by bringing about the various piece stories from the social text or experience text. If dealing with the stories in the phase of fiction is defined as the `understanding` activity, the new story making by connection the story to the world can be defined as the `expression` activity that can be call a self-display. For this activity, it is required to have the critic`s eye to see the society and the reader`s own life as well as the outstanding literary imagination. Carrying out the hyperlink and reading fictions, the reader will have the enriched life, and be able to look at the life of herself or himself and the society.

This study aimed to do re-conceptualization of drama education canon element in the de-authoritarianism age. In new age, literary education have to firm position, and standing up of drama education can breaking through educational situation with media. When work value and perform possibility is linked each other, it can take away selection scope of educational possibility. And it have to exclude to political meaning and selection of power game. Drama education work list that future oriented and constructive is begin work selection that have regard to performance. Drama education is not simple educational level about drama. We have to teach students to absorb drama. And, student have to make it and express the content and form. The age that literary act regard simple consumer or unilateral reception reader is ending now. So, learner have a position that communicate dual side of production and reception. In this point with drama reading ability, drama education have to has position that input of language existence aspect, self-observation and become tangle point of expression. Literary excellent word not exactly educational good canon. The work that give rise to learner`s psychology and emotion have to functioning principle of educational work selection. Educational canon is new functioning principle. In the Post-modern de-authoritarianism age, work that related the fitness of things. The work that selected educational theater association and active teacher will new educational canon.

If the first goal of literature education is for a learner to correctly appreciate the work, a selection of educational contents plays an important role in accomplishing the educational goal. Therefore, educational contents in the poem education have to help a leaner to interiorize the work world. But most of the textbooks dealing in Han Yong-woon`s “A Lover`s Silence” don`t show moderately the beauty and value of the work by attaching importance to his personal history. The main educational contents of the textbooks consist of Lover`s meaning, the development of poetic imagination, paradoxical expressions and so on. From the historical point of view, interpretations should be respected because of accessing various views; however, it should be reconsidered that the meaning of a poem corresponds the life of a poet, ignoring the internal point of view in the poem. Textbooks emphasize 4 configurations including introduction, development, turn and conclusion and if we consider the sentiments of the poetic speaker, we can divided the poem between 1, 2 lines (introduction) and 3~6 lines (development). The development of poetic imagination focuses on more understanding the sentiments and attitudes of the poetic speaker than dividing contents formally. Educational contents must become the cognition and attitudes looking at life since this poem shows a paradoxical cognition in the way of thinking. Also, educational contents to experience the characteristics and beauty of the language of poetry through the way of expression due to illustrating metaphor should be offered.

The present study detailed the contents of education on criticism of art works as a linguistic practice. Specifically, this study purposed to explain the general principles of expression involved in the communication of critics` experiences in non linguistic texts to others through the medium of a spoken language or a written language in the criticism of art except literature. The main part of this study examined the principles of expression of art criticism, limiting the scope to fine art criticism and, in particular, fine art essays. Fine art criticism is an activity of expressing to others the critic`s personal response to art works or the characteristics of art works analyzed and interpreted by the critic, and it verbalizes the results of visual experiences. Readers want to get more information on art works from fine art criticism, and to know critics` personal responses to the works. Here, critics` responses to art works are intellectual and at the same time affective, and thus, readers get both objective information and subjective impression from critical texts. On the other hand, because critics want readers to read and sympathize with their writings, they try to reproduce their sensory experiences not through abstractions but through concrete images. The present study reached the conclusion that critics who perform fine art criticism through the analysis of fine art essays try: (1) to describe through linguistic reproduction of visual images; (2) to discover and restructure narrative motives; and (3) to communicate their sensory experiences to readers through aestheticization using linguistic rhetoric. The strategies for the verbalization of visual experiences extracted from the analysis of fine art essays can be meaningful as the contents of expression education for fine art criticism and furthermore for art criticism. It is because other types of art criticism are not much different from fine art essays in that the critics verbalize sensory experiences and expect readers to read verbal images intended by the critics.

This study examined a concept and characteristics in `context` and the characteristics in the context of literary communication, and tried to seek for the significance of `context` category in the literature sphere of the Korean language for the revised curriculum(2007). First of all, in the aspect of horizon(or dimension) in context, it considered the multi-layered structure in the context of literary communication, the continuation in communication value, the structural homology in internal and external context in text, the openness in meaning construction, and the multilateral extensibility in communication context, centering on the difference between the expository text and the communication context. Overall, the instructional contents in `context` category of the literature sphere gradually indicate tendency of expanding into the context of production and acceptance from the context of acceptance in the higher school year in the aspect of the category of recognizing the relationship with the internal context in text. Based on this discussion, it roughly examined the implicit intention or key points in the educational contents from the 1st grade and the 10 grade for the literature sphere of the Korean language for the revised(2007) curriculum. These characteristics in context of literary communication are those that will need to be substantially reflected in the process of objective, content, method, and evaluation in teaching-learning of literature.

The premise of this work is that the posture of our lives must change for living in a multicultural society. As a keyword of the 21st century, immigration and media represent the way of the literary educational direction. Specifically, it emphasizes the reconsideration for the need for other ethnic and other cultural recognition in the variety of multicultural spectrums. And it has an example class for a healthy culture to raise the educational necessity through narrative skills. This current narrative education needs to be a meaningful interpretation and action. Narrative has the ease of culture propagation through the media as well as the multicultural education effect. As well as the narrative, how our nation exchanges its ethnicity and culture, even establishing its own identity, to accept the implication of our modern culture of liberating the flexibility to make a contribution. You should be able to identify the narrative as a multicultural perspective. This discussion intends to seek a practical literacy education for the orientation of modern life of the Tale, without handing down traditional values. The attributes of a modern society multicultural narrative approach through a liberal interpretation of the multicultural diversity of educational and cultural practices requires a look back at the ways of education. At the same time, the tale of our nation and the original material historically have reported a sense of meaningful experience even in a modern society, that grows even literary skills. In addition, the new interpretation and narrative approach, as well as distribution and communication, self-identity verification purposes and nurturing of a media production that emphasizes education is also required.