The first mentioning of Korea in Czech records was in 1847. The introduction of Korean literature in the Czech Republic since late 19th century could be divided into three periods. The first period is from when Korea first came to notice in the Czech Republic, until the department of Koreanology was established at Charles University in 1950. The second one is from 1950 to 1990 when Korea and the Czech Republic entered into diplomatic relations with each other. And the last one is from then until now. During the first period, there were three groups of people who introduced korean culture and literature to the Czech Republic. The first group consisted of travellers who visited Korea, whether accidentally or intentionally. The second group consisted of the Czech legionnaires, stationed in far east Vladivostok, who got in contact with K o m refugees bading a wandering life. The last group consisted of Korean intellectuals and students who left their country during the late years of Japanese colonial period. The first group introduced the existence of Korea to the Czech Republic, although their introduction was distorted by the colonialist s imperialistic view. The second group spoke against Korea s circumstances under Japanese colonial rule and introduced Korean oral literature to Czech for the first time. The third group sowed the seed of Koreanology by influencing Czech intellectuals and translated Korean written literature into Czech. During this period, the introduction of Korean literature in the Czech Republic was limited in Korean traditional children`s story(fairy tale) or oral literature through Russia. It means the interchange between Korea and Czech was staying on a spontaneous generation level during that period. The motivation of translating literary works was nothing more than an exoticism or satisfaction of curiosity about foreign country. In the second period, the department of Koreanology was established at Charles University and the one-sided diplomatic relation between North Korea and Czech Republic was established. The introduction of Korean literature during this period was inevitably affected by these two fact either directly or indirectly. During this period, Koreanologists centering around the Department of Koreanology at Charles university took the role of introducing Korean literature. Affected by leftist Korean intellectual refugees, and the international situation in those days such as the one-sided diplomatic relation with North Korea, and Czech domestic circumstances that the Czech Republic itself was one of the communist countries, the early Koreanologists` introduction of Korean literature took the Marxist route, or North Korea friendly route. In case of Korean traditional literary works were rather free to introduce, while in case of korean modern literary works, none of the South Korean writers works were translated And even the works written before the liberation of Korea(written before the partition of the Korean peninsula) were excluded from introduction if it wasn t evaluated in North Korea or if it didn t belong to proletarian literature. In this period when the Korean War broke out, the Czech writers wrote many poems to cheer and encourage the North Korea. Milan Kundera, the world famous writer, was not an exception. These works were also contributed to introduce Korean culture to Czech in some degree, when it comes to materials. But as a matter of fact they retrocedes the history of cultural interchange by distorting and criticizing the reality of South Korea. The other distinctive feature of this period is an formation of a new class of readers. They were different from previous readers who read Korean oral tradition literary works to satisfy exoticism or curiosity about foreign country. This new class of readers, who were well acquainted with Korean literature and interested in pure literature, aimed to study it. As new class of readers appeared, Korean literature were translated

This thesis`s purpose is to critically examine the explanation of `genre` which is one of the contents in the junior high school`s textbook, called `literature`. The `genre` is the first step to understand the literature. Thus, in order to properly write the `literature`, the textbook, it is important to write the `genre` description well. Also, `genre` do an important job in the organizations of the textbook. To make textbook divisions well, we need to accurately place genre`s divisions and its arrangements. And literary genre is a very complicated theory. It is important to explain easily the complex theory and write easily so that we can help high schoolers to appreciate literature works properly. Like I said before, the description of genre is very important in high school studying. However, there are several problems in nowadays textbooks. Firstly, there are some problems in the words of the large genre. Some textbooks use words as Lyric, Epic, Drama, Essay. However, there are textbooks that use words such as singing, telling, showing, informing. Especially the word, `singing` is a problem among those words. Large genre is including all the historical genre, and to be a characteristics of concrete and individual historical genre s work. But the word, `singing` isn`t really right word to show characteristics of the "Lyric genre". Korean Chinese poetries and many modem poetries are difficult to empress itself in the word, `singing`. Secondly, the first part s explanation of genre and the last part`s idea of literary work aren`t matched each other very well. In front part, they use the word such as Lyric and in the back, they use poetry . Also in front, they use `epic` and at the back, they use `novel`. `Lyric` verses `poetry` and `epic` verses novel contains a very different meanings. If we use words differently, it will make the understandmg of the poetry and novel harder. Thirdly, they make a various divisions of genre in many different basis, and confuse the `large genre` with `small genre`. The word meaning of genre is kind , but in the literature theory, its idea is more like `structure`, or `style`. However, in the textbook, they classify literature genre excessively. Some divisions are wrong. If they make too much divisions, it will rather disturb in understanding the poetry and the novel. The literature genre is better to simply classify to help understandings and appreciate the literature work.

Literature education and creativity should form an organic relationship. Literature education must be able to control changes and regulate disorder in a society appropriately, and creativity is the basic factor enabling to implement roles of such literature education. Accordingly, a precise understanding on true nature of literary creativity is required since it is a factor enabling to manifest creativity of literature education. A literary work is a product of creative manifestation. Creativity is a foundation of the new and a driving force of the production. Consequently, creativity can be named as the key factor of literature education. According to a research on people with excellent creativity, those creative people are much more open and permissive than we generally think. Creative ideas manifested by those people are mostly from the already existing outside world and combined with their inner creativity. In addition, they know about respecting themselves and giving consideration to others for respecting themselves. They have confidence in contributing their creative abilities to a society by preserving the integrity of all surrounding resources with care. The answer to the possibility of manifesting features of such creative human being in general students can be found in a solution to a question of what literature can provide us with. Namely, the educational outcome of literature can be thought of as in connection with features of human being with excellent creativity. This research aims to manifest creativity of a learner through literature education. In order to achieve such aim, the research should focus on a kind of an organic relationship formed between creativity and literature education. A discussion on True Nature of Creativity in Literature Education in the Chapter 2 is to help understand creativity in literature education correctly by clarifying an aspect, feature and a manifestation type of creativity. A Creative Factor in Literature Education in the same chapter discusses a key factor that can stimulate manifestation of creativity in school education considering characters of literature education. A discussion on Manifestation of- Creativity in Literature Education in the Chapter 3 focuses on projecting a practical solution to a factor and method. A Factor of Creative Manifestation in Literature Education of the Paragraph 1 in the same chapter presents the manifestation factor by classifying it into teacher, student, curriculum and environment after analyzing those factors restraining creativity in a school first. In A Teaching/Learning Method of Creative Manifestation in Literature Education of the Paragraph 2, a new type of a teaching/learning mthod different from general teachingflearning methods of thus far is projected and presented.