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논문검색은 역시 페이퍼서치

영어영문학21검색

English21


  • - 주제 : 어문학분야 > 영문학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1738-4052
  • - 간행물명 변경 사항 : 영어영문학(~2003)→영어영문학21(2004~)
논문제목
수록 범위 : 23권 4호 (2010)

정보 왜곡의 문제 -바바라 킹솔버의 『라꾸나』

강용기 ( Yong Ki Kang )
6,000
초록보기
In her documentary novel The Lacuna (2009), Kingsolver criticizes politicians, newspaper men, or magazine editors, who intentionally distort plenty of information involving a Bolshevik revolutionist Leon Trotsky`s political career and an American novelist Harrison W. Shepherd`s lifetime experience as well. The primary distortion of information is made by Joseph Stalin and his followers who allege Trotsky as a traitor. The first twisted information spreads across the world through Pravda and many American presses whose coverage activity is nothing but speculation, the result of which is to justify the assassination of Trotsky. Even if Harrison has never been a communist, now, he is also accused as a communist writer by the American government simply because he once served for Trotsky in Mexico as his cook and typewriter. The relevant authorities and capitalism-addled American presses concur to set him up as a communist and finally drive him to commit suicide. Information distortion produced within the story could be seen in the pragmatist perspective. Although the first distortion is generated by politicians are highly motivated with their greed for power, the lack of enough ``inquiry`` and ``deliberation,`` along with their immorality, causes the second distortion of the reporters and editors. Procuring un-falsified information is more important than any other element in sustaining democracy. Also, the uninhibited flow of true information certainly helps to base the ideal evolution of our future-society. The smaller ``lacuna,`` thus, the better community.
8,000
초록보기
Shakespeare took on a new disguise in the twentieth century in and out of Korea. He sang and danced and helped to shape American musical theater on the Broadway stages, which dominantly flexed its muscle over European and Asian stages. During the twentieth century, a growing new genre, adaptations of Shakespeare`s plays incorporating techniques from the musicals provided us a new possible themes and messages that can be applicable to our time. Five of Shakespeare`s plays were particularly conducive to this new form and successfully made the transfer: Boys from Syracuse grew out of The Comedy Errors; Kiss Me, Kate owed its origin to The Taming of the Shrew; West Side Story evolved from Romeo and Juliet; Your Own Thing transformed Twelfth Night; and Two Gentlemen of Verona metamorphosed into a rock musical. In Korea, the last decade of the twentieth century provided a rich revival for the Shakespeare musical genre, covering from the production of The Tempest and Rock Hamlet in 1999 to King Uru, a Koreanized musical rendering of King Lear in 2000 to Club Sibiya (Twelfth Night) in 2010. Many artistic and cultural elements contributed to this kind of renaissance, from the rise of many local musical companies to a less political climate that welcomed a rash of musicals including creative productions and imported ones. Given the fact that musicals are far more appealing to today`s audience than traditional authentic theater in terms of entertainment and amusement, it is possible to argue that they will continue to enjoy the expected future of commercial and artistic success. Now it is high time for our Korean theater to create more indigenous forms of Shakespearean musicals that possibly reflect and contain our present ways of life and various shapes of traditional cultures.

현대비극 -밀러의 사회비극론을 중심으로

김성철 ( Sung Chul Kim )
21세기영어영문학회|영어영문학21  23권 4호, 2010 pp. 65-86 ( 총 22 pages)
6,200
초록보기
The purpose of this thesis is to investigate how modern tragedies could be established and the concept and meaning of Miller`s social tragedy. Traditional views of tragedy assume a hero who is either upper-class or a very intelligent aristocrat, and who violates, because of some personal weakness in his nature, called tragic flaw, the moral values and social regulations. For daring such a challenge, the hero suffers, to prove to audiences that their society and its values are inviolable. Miller, however, refused to adhere to the traditional tragic theory. He wants to write plays in which the average man in the street becomes the tragic protagonist. For Miller a character is tragic when he is ready to sacrifice his life to secure his sense of personal dignity and he believes that the common person knows the feeling of displacement and alienation best. He argues that tragic heroes are defined by their willingness to sacrifice everything in order to maintain their personal dignity-whatever their status in society. A great variety of plots and characters appear in Miller`s social tragedies, yet there are certain thematic concerns which tend to reappear frequently. Examples of some of his more specific concerns would be the importance of the past, issues regarding responsibility and connection, the nature of families, the damage caused by capitalism and materialism, and the law. Miller also tried to use various experimental forms like a memory drama and expression by overcoming or expanding conventional realism. The memory play is his important vehicle for articulating his social visions. He thinks that realism by itself cannot bridge the gap between private and social life because the language of prose, he argues, is the language of our private life, and verse or nonrealistic drama is the medium for dramatizing social forces. The memory plays include Death of a Salesman, After the Fall, A View from the Bridge, A Memory of Two Mondays, and Playing for Time. Here, expressionism has been useful to him for grappling with moral, ethical, and social concerns, as well as breaking down the walls of realism. Miller never sees milieu as destiny, though, like the early realists he is interested in the idea of the stage as an environment, rather than as simply a platform for acting, because he is always concerned with the way the outside world shapes the individual. Important, for Miller, is a life which takes on both individual and social responsibility, trying to make the world a better place. His tragedies, on a general level, create a better society by exploring the demands of morality, and uncovering individual and social needs. He lays emphasis on the harmonious relationship between the individual and society. So he tries to teach his audience certain truth about their own lives. Raising social and moral problems, he writes about sucess and failure, guilt and betrayal, and love and responsibility. We can read his plays as lessons suggesting ways by which we can improve our lives. Miller makes his protagonists accept unpleasant truth about their own lives and overcome them to lead a better life. Meaningful, for his socal tragedy, means a life which takes on both individual and socal responsibilities, and actively participate in trying to make the world a better place.

『두 도시 이야기』 -디킨즈의 도덕적 관념에 관한 해석

문상화 ( Sang Wha Moon )
21세기영어영문학회|영어영문학21  23권 4호, 2010 pp. 87-100 ( 총 14 pages)
5,400
초록보기
This paper shows what Dickens` concept of morality of the Victorian society in A Tale of Two Cities is. Throughout the Victorian period there were long-standing anxieties about female sexuality and working-class political revolt, both of which were seen as a threat to middle-class life and property. During the first half of the nineteenth century, there was a long struggle to reform the treatment of the mentally ill, and Victorian medical psychology sought to reclaim the insane as moral subjects, subjects lacking control and self-restraint, who for various and often unknown reason had failed to internalize the moral standards of the middle class. In A Tale of Two Cities, domestic space is no longer the opposite of the asylum, no longer the private home from which the insane individual is removed and to which he or she must return. In his novel Dickens shows madness of revolution can be treated with the ideology of Victorian middle class, represented by Lucie Mannette.

리차드 파워스의 탈구조주의 -생명과학의 패러다임의 변화

송태정 ( Tae Jeong Song )
21세기영어영문학회|영어영문학21  23권 4호, 2010 pp. 101-117 ( 총 17 pages)
5,700
초록보기
This essay illustrates how Richard Powers` novels like Gold Bug Variations (1991), Three Farmers on Their Way to a Dance (1985), Prisoner`s Dilemma (1988), Operation Wandering Soul (1993), Galatea 2.2 (1995), and Gain (1998) recreate the discourse of the "life science," and connects this to other fragmentary objects to create new forms of the "metaphor of human genome." While others have examined the novel`s relationship to aesthetics, I focus on Richard Powers` poststructural writing techniques and a paradigm shift in the science of life to explain the development of the human genome as an interdisciplinary study. I explain how scientific theories and their modes of articulation have evolved so that one scientist`s theory or hypothesis will be solved and decoded by the next generation. This causes a consistent movement of the center of scientific focus as each new discovery is made. Powers wants to explore the genome and the history of genomic study within the archaeological standpoint of knowledge, and more importantly, the current historical moment, in which the infinity of the genome is articulated through the cybernetic metaphor. By weaving multiple discourses on biology, genetics, computer science, medical science, neurophysiology, and neuro-linguistics, he shows the development of biology from modern to postmodern through cybernetic metaphors and advanced technologies. Consequently, in the unstoppable advances of the art of decoding the genome, GBV interrelates the inter-disciplinary approaches through the rhetorical tropes that unfold the complex discursive world of the genome. Powers shows that the complex mechanisms of the genome in the microworld of every cell can be designed and written as the plot of the "text of life," using DNA language. At the same time, his genomic reading and writing demonstrate the historical processes of the shifting center of new genomic development and inter-pretation.

팀버레이크 워튼베이커의 『조국을 위하여』에 나타난 연극의 힘과 가치

윤여복 ( Yo Bok Yoon )
21세기영어영문학회|영어영문학21  23권 4호, 2010 pp. 119-142 ( 총 24 pages)
6,400
초록보기
Our Country`s Good depicts the changing process of the desperate prisoners in an unexplored land, while they prepare to perform Recruting Officer, a British comedy from the 18th century. In this article, I try to show how a play could make changes among the prisoners in the deepest despair who participated in the first performance of the play in Australia. In the beginning, Timberlake Wertenbaker explains what the authorities think about theatre and why the Governor Philip supports the prisoners` performance so strongly. The most dramatic salvation takes place by the practical transitions of the participating prisoners and the officer, Ralph. Emotional alterations of the prisoners are reflected in the reversed structure of the play by placing the tone of ending in the first scene and plans for the future and even the prologue of the play within the play in the last. The personal changes through drama are described with concrete illustrations: activeness of the prisoners towards their lives, ambitions for the new lives in the unexplored territory, interests in the new love. The prisoners who don`t have any individuality at the beginning of the play show their diversity and then they become one to resist against the outside oppression for their performance. On the other hand, the play becomes an effective history class, where the writer portrays the arrival of The First Fleet with the founding fathers and mothers of Australia. Also explained are the historical facts about the first drama performance in Australian history, the conventions of comedy of manners in Britain, and the realities of lower class in the 18thcentury of Britain. The play doesn`t show any predominant hero or heroine but various characters have their voices on the same level and feelings and thoughts of diverse classes, gender and races are reflected in the play. Wertenbaker has demonstrated the firm belief in the power and the value of theater, that a piece of drama can change a man, and its effective history education can begin a new life for him/her, even when he/she is just in the deepest desperation.

서지학적 관점에서 존 스타인벡의 종교적 태도와 성경사용

황치복 ( Chee Bok Hwang )
21세기영어영문학회|영어영문학21  23권 4호, 2010 pp. 143-163 ( 총 21 pages)
6,100
초록보기
This is a study about John Steinbeck`s religion attitude and use of the Bible from a bibliographical point of view. Until now Steinbeck scholars have had to rely almost exclusively upon Steinbeck`s fiction to extrapolate the author`s attitudes toward religion and Christianity. Such enterprise is fraught with critical danger, itself a trap into which we often stumble. To observe an author`s characters believing or behaving in certain ways, and to ascribe the belief or behavior to the author is, of course, a critical error of the worst kind. With the aid of Steinbeck`s published letters, recent biographies and various articles, however, I can more clearly understand Steinbeck`s own attitudes toward religion and, to the point of my study here, toward orthodox Christianity and the Bible. Therefore the intention of this study is to illustrate one tradition in Steinbeck criticism, the focus upon his use of the Bible in fiction. Moreover, as the bibliographic entries make clear, I think that it is a particularly rich but unsettled tradition, marked both by naive and superficial judgements but also by carefully sustained textual analyses that have illuminated Steinbeck`s fictional technique.

동사 의존 형태소 re-의 의미

박한기 ( Han Ki Park )
21세기영어영문학회|영어영문학21  23권 4호, 2010 pp. 165-188 ( 총 24 pages)
6,400
초록보기
This paper is a research for a semantic network in which each meaning of re- is related to one of the member meanings. The bound morpheme prototypically adds the adverbial meaning of "another time" to its host verb and this re- of "another time" can be expanded to acquire the meaning of "another time and another time" to represent iteration. Re- can add the adverbial meaning of "another time in a more intensive way" to its host verb and the "another time in a more intensive way" can be expanded to "in a more intensive way" to represent intensification without repetition. Re- can add "another time to a better/different state/place" to its host verb and this re- can be expanded to acquire the meaning of "to a better/different state/place" to combine with a verb to represent improvement without repetition. "Another time back to the former place/state" is another meaning of re-, which can be expanded to acquire the meaning of "back to the former place/state" to combine with a verb to represent restoration without repetition. "Another time in return for the former deed" is the last meaning of re-, which can be expanded to acquire the meaning of "in return for the former deed" to combine with a verb to represent return without repetition.

교육연극에 의한 영어교과 교수설계방법 연구

한규용 ( Gyu Yong Han )
21세기영어영문학회|영어영문학21  23권 4호, 2010 pp. 189-211 ( 총 23 pages)
6,300
초록보기
The thesis is to explore lesson planning methods for English teaching in educational drama (DIE) by understanding the differences between syllabuses for other classes such as history, literature, etc. and language class. Generally, instructional design model consists of the steps, so-called ADDIE model: Analysis, Design, Development, Implementation and Evaluation. Factors impacting to instructional design are learner, contexts of learning, classroom environment and teaching method. Lesson planning of educational drama for English teaching is divided into two levels: planning and working levels. The drama-oriented teacher first needs to specify the goals from the viewpoint of planning the scaffolding of a course. Drama-oriented lesson is consisted of the spiral structure of dramatic form and context. Therefore, planning a drama-oriented syllabus of English teaching should be organized on the basis of the themes or the language items to be introduced in drama. Another important factor is the grouping of learners. Some of learners should have fluency of language and others less. Some of learners should be progressive and others passive. By organizing them into group (generally 5~6 persons) properly mixed, the drama-oriented teacher needs to guide into drama activities with their group work, and to raise the chances of their interactive linguistic delivery. The fluency of learners is also one of variables to decide the language used in class. After the orientation of the syllabus is decided, the outline of the units or lessons at the working level can be planned accordingly. The drama-oriented teacher should structure each drama episode before it begins. The context of drama, the roles to be created and encountered, and the developments of each episode should be carefully considered. The teacher will have to design the general outline of the drama and will work with the whole class in determining how the drama is to be continued, completed, and followed-up according to what occurs in each scene or episode. A syllabus developed in this way recognizes the value of negotiation among participants about what to do and how to behave in the classroom. All pre-decisions made by teacher should be open for modification and further development once they are brought into the classroom because new drama ideas or language aspects stimulated in the teacher-student interaction are likely to be the most appropriate source of learning and teaching. This opened teacher-student interaction is essence of communication in communicative teaching method. In these points of view, educational drama is a task-centered, student-centered, cooperative, communicative teaching method through drama activities, based on oral approach and situational language teaching.

A Study on the Syntax and Semantics of Noun Phrases with Numeral Classifiers in Korean

조정민 ( Jung Min Jo )
21세기영어영문학회|영어영문학21  23권 4호, 2010 pp. 213-241 ( 총 29 pages)
6,900
초록보기
This paper examines the syntax and semantics of noun phrases with numeral quantifiers in Korean. Pointing out the syntactic properties of these noun phrases, I propose their syntactic structure and provide some syntactic motivation for the proposed structure. Also I examine the semantic properties of these noun phrases while pointing out their semantic ambiguities, i.e. cardinal vs. partitive reading of the numeral quantifier. Raising some problems of Y-S Jung (1997)`s analysis, I propose the analysis on the basis of Diesing (1992). Depending on the position of the noun phrases at the LF, they can have different interpretations. Noun phrases and CIPs adjoined to the MP (mood phrase) are mapped to the restrictive clause (R)and the operator (Q), respectively, in the tripartite logical representation. Consequently this gives rise to the presupposition of the existence of the entity denoted by the noun and the partitive reading of the numeral classifier. On the other hand, if the noun phrase with the CIP remains VP internally at the LF, the numeral classifier functions as a cardinality predicate, along with no presupposition of the entity denoted by the noun.
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