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논문검색은 역시 페이퍼서치

현대영어영문학검색

Journal of The English Language and Literature


  • - 주제 : 어문학분야 > 영문학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1738-7620
  • - 간행물명 변경 사항 : 영어영문학연구 → 현대영어영문학
논문제목
수록 범위 : 47권 1호 (2003)

『세일즈맨의 죽음』과 『시련』에 나타난 여성의 정체성

김선희 ( Sun Hee Kim )
6,100
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The goal of this paper is to examine the female characters of Arthur Miller`s two representative plays, Death of a Salesman and The Crucible. Miller has been criticized as a male-centered or anti-feminist playwright because women, compared to male characters, have abnormal and passive personalities. This study explains general critical views on Miller`s female characters and his own ideas on women dramatized in his works. Also, I will explain the relationship between women`s nature and the society where they belong to. Each woman in Death of a Salesman and The Crucible, who seems too good or too bad, represents the diverse faces of human nature. The communities in his plays are not simple places for living, but provide moral and ethical standards which every woman is for or against. Miller demonstrates that women are mixed beings of external condition of our lives, society, and internal human desires. He points out social prejudices and customs which are unfair to women. In conclusion, Miller is a revolutionary playwright who represents complexities of women with balanced view of life.

관객 끌어들이기: 1930년대의 오든의 시극

김승윤 ( Seung Yoon Kim )
5,800
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The experiments of W. H. Auden and Christopher Isherwood with the verse play are centered in the nineteen-thirties and, in every instance, reveal the political and social preoccupation of the times. Their experiments cannot, however, be dismissed merely as the products of a Leftist political bias. In spite of Richard Hoggart`s rather typical judgement that the importance of these dramas "in the history of modern theatre is negligible," the Auden-Isherwood plays are of interest in their own right in the development of modern verse drama, because in them there is an attempt to convey wholly modern content in the most immediately relevant terms. Whatever the original reasons for the interest of Auden and Isherwood in the stage, their experiments with the verse play have the value which extreme manifestations of any genre always have. They should be given proper rating in defining limits and in exploring possibilities as well as in objectifying an inherent dissatisfaction(poetic and political, in this instance) with the conventionally established products of the past.

영미 문학과 영화 강의 사례

김정호 ( Jeong Ho Kim )
6,100
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The number of students who need multimedia studying stuff in an English literature classroom at the university level is not very large and growing rapidly. These students present a special challenge to the instructors who have every intention to teach and supervise them more effectively and efficiently. The instructors are forced to soothe and stimulate students with purpose to help them wade the vast sea of English literature. This article is a case study of teaching English literature through film for the purpose to grope for the useful and desirable model of teaching English literature through filmed version of literary works. This approach is based on the assumption that the literary works and film can be discussed on the common ground for interdisciplinary and cultural studies. Four literary works and six filmed works are studied and discussed during a semester: Laurence Olivier`s Hamlet and Franco Zeffirelli`s Hamlet, Long Voyage Home by John Ford, David Lean`s Great Expectations and Alfonso Cuaron`s Great Expectation and A Streetcar Named Desire by Elia Kazan. In watching a filmed work the students are encouraged to compare it with the original literary work text and be engaged in a succession of interpretations which depend on a whole set of background knowledge and information collected and studied in advance. This type of teaching and studying English literature is very challenging to both the instructor and students. It gives a new and effective teaching methodology for the instructor, and it also encourages the students to engage actively in a discussion of literature and film.

벨로우의 소설에 나타난 아버지의 이미지

변문균 ( Mun Gyun Byeon )
5,400
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The family is at the heart of Bellow`s fiction. Perhaps family closeness has always been important in Jewish literature and the close relationship of father and son is evident in the lives of Jews. But in American literature the relationship between father and son was not so good. In Bellow`s novels there are four types of relationships between father and son. First, the fathers are not appearing apparently and their role is weak. Dangling Man, Mr. Sammler`s Planet, and Dean`s December are the examples of the type. Second, the father has no affection for his son and he will not give the help for his son. The Victim and the Seize the Day are the case. In Seize the Day, the father-son relationship is broken down manifestly and Dr. Adler is very selfish old ma. Third, the fathers are absent in the novels and the pseudo-father are present. In Dangling Man, Amos is the pseudo-father of Joseph and in Herzog, Herzog`s elder brother Will, and in The Victim, the hero Leventhal himself is the pseudo-father of his brother Max. In The Adventures of Augie March, Einhorn is the man who has the father image. Fourth, the father-son relationship is broken down but the son still loves his warm-hearted father. In Henderson the Rain King, Henderson remembers his father as a man who loved him deeply. This kind of relationship is same as in Herzog, Humboldt`s Gift and More Die of Heartbreak, too. In Bellow`s novels the sons always wanted to be loved by their fathers. But they couldn`t. Even though they want to be a good father but they couldn`t do that, too. Their fathers were mostly too strict fathers and they don`t want to be like that kind of fathers. They still had much love in their children but their expression was not proper. Most of the Bellow`s heroes had to be an authoritative-reciprocal father. But they couldn`t be that kind of fathers. Maybe they couldn`t see the proper model of their fathers. So couldn`t be the good father, too.

월리스 스티븐스의 시에 나타난 개별성의 양상에 대한 추적

양균원 ( Kyoon Won Yang )
6,100
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To lead a poetical life, for Wallace Stevens, was to dwell on the earth without the help of anything Absolute but human mind. However, the mind or imagination, which Stevens considered as a necessary constituent of life as well as poetry, did not necessarily mean its omnipotent control or creation of the world. He used the imagination the way we rarely expected the Romantic imagination to work. Despite his apparent dependence on human mind, Stevens did not allow it to create the world as imagined. The world as reality, for Stevens, was constructed through a variety of relations among many parts including the poet himself. First, reality of a certain thing is constructed in its relations to the poet. Second, it is also composed in its relations to other things surrounding itself. Third, it is gradually formed as the constituents of the first and second relations resemble and influence one another over long years. In this formation, human mind is not a creator but merely a participant, however true it is that the participant sometimes takes a leading role. Over his whole poetic career Stevens never ceased to trace an ever-changing agreement between himself and the thing. He yielded himself to the hardness of the thing itself as often as he did to his mind. In terms of general and historical relations involved in the formation of reality it was created or revealed not by the poet but out of life. Stevens no doubt regarded man as part of a certain whole although he was easily treated as a model of humanism by people who gave hasty trust to the imagination. In Stevens`s characteristic comprehension of the thing, reality was so individual and particular that it could not be generalized into rational knowledge. Besides, it turned to be somewhat abstract and communal because it mingled with something spiritual of the place which was formed through historical relations and resemblances between the poet and his surrounding things for a long while. This abstractness was not such conception as to reach through the process of generalization. It was the invisible which was naturally absorbed in the visible. This communal traits of reality was not made out of social ethics and norms. It did not have a tint of high culture and tradition as in T. S. Eliot`s concept of "the mind of Europe". It was local traits formed through a long history of affinity between the place and the poet living there for life. Stevens traced aspects of reality in his poetry of the earth and expressed his faith in a possible beauty of the world without God.

선(禪)으로 읽은 『햄릿』: 삶과 현실(Reality) 의 일치 (一致)

윤종국 ( Chong Kook Yoon )
6,100
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The purpose of writing this paper is to show how Hamlet demonstrates the Buddhistic Zen mind of emptiness(sunyata) that make agreement between life and reality. Zen principle is to make one`s mind empty by looking direct into things as they are. The mind-emptying process is aiming to deprive man of his self which plays a major role in creating desires and subsequent sufferings and agonies. The Zen principle makes man face life as it is because it is "sunyanta spirit." This mind bears a parallel to Shakespeare`s deep insight into the inscrutable life and paradoxical human existence in tragedy. Hamlet`s procrastination in revenge against Claudius, his agonies about Gertrude`s unfaithful marriage to Claudius, and his troubled love toward Ophelia take place in the early and middle part of Hamlet as a result of his struggles in liberating himself from the dark. His Zen mind was sleeping in this dark period, causing him troubles and hesitation in making decision. After these struggles, Hamlet succeeds in uncovering the Zen mind buried deep in his heart. He is awakened from the dark of trouble-making self-consciousness composed of self and ego. Hamlet`s peace and readiness of mind is hard-earned at a duel with Laertes and at his death bed as a result of his lengthy struggles in the dark to unearth the Zen mind. The cause of Hamlet`s agonies and sufferings was his self-consciousness enclosed by intellect and reason. Hamlet finally faces life as it happens to him; he makes agreement between life and reality by emptying his mind. It was no accident that he earned peace and readiness of mind after his lengthy battles with his self and ego that has imprisoned him for long. He manages to transform the being and non-being in unity into sunyata; he is reborn into life after death after being liberated from the dark of self.

영국 낭만주의에 있어서의 상상력의 개념: 워즈워스와 코울리지를 중심으로

윤준 ( Joon Yoon )
5,900
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The concept of the imagination as we use now is heavily indebted to the English Romantics. As is often pointed out, the distinctive feature which distinguishes them from the earlier poets is to be found in the importance which they attached to the imagination and in the special view which they held of it. Though they differ in their respective approaches, the concept of the creative imagination well serves for them as a common denominator. The aim of this paper is to examine closely the concepts of the imagination set forth in Wordsworth`s "Preface to the Edition of 1815" and Coleridge`s Biographia Literaria. Above all, the difference between Wordsworth and Coleridge in their conceptions of fancy and imagination lies in the difference between their purposes and the philosophical orientations of their theories. As Coleridge remarked in his Biographia, Wordsworth`s purpose was "to consider the influences of fancy and imagination as they are manifested in poetry, and from the different effects to conclude their diversity in kind," and, consequently, his "Preface" was "a masterly sketch of the branches with their poetic fruitage." On the other hand, Coleridge`s object was "to investigate the seminal principle, and then from the kind to deduce the degree." Wordsworth`s conception of the imagination remains at the level of the practical and empirical generalizations about the operations of the imagination in his own and other poets` poetry, and does not duly recognize the nature and function of the imagination as a mediatory power between the subjective and the objective. In short, his theory, if any theory at all, lacks the philosophical perspective, rigor, and consistency of Coleridge`s theory. As a matter of fact, Coleridge`s distinction between fancy and imagination was at once the outgrowth of his literary sensibility and the product of his struggle against the tradition of Locke and Hartley and the resultant mechanical materialism of the eighteenth century. At any rate, it is safe to say that Wordsworth and Coleridge raised the level of the discussion of the imagination higher than ever and, in doing so, went far toward elucidating the nature and feature of the creative imagination.

우연의 미학 : 『더버빌가의 테스』 읽기

윤천기 ( Cheon Gie Yun )
5,700
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The purpose of this paper is to explore the aesthetics of chance in Tess of the d`Urbervilles through the law of karma and the theory of samsara/metempsychosis in Buddhism. According to Buddhism, all human beings is under the influence of the cycle of samsara/metempsychosis and the ring of karma, and all beings are closely interconnected each other through "the great of web" of the universe. The Hardy`s aesthetic concept of chance can be regarded as the same meaning as that of krama/metempsychosis in Buddhism. It is true that the narrative system of Hardy`s novels has depended on a series of accidents and coincidences. However, in the system of chance and coincidence of Hardy`s world we can recognize the profound truth of the life in which he creates. In his universe, Hardy does not allow us to forget that chance/coincidence we meet in experience of our life is an integral part which is compose of our world. Hardy`s use of chance enforces a mysterious view of life in the level of universe even if it is invisible. It is reason why Hardy`s concept of chance is fundamentally different from the general meaning of it. For him, chance has been the integral elements of his artistic universe which he creates in his life. Of course, what Hardy has emphasized is not the mere ephemeral nature of life but the deep realities of life of human being as a mortal who are bound to the great cycle of eternity in universe. In conclusion, we should never fail to cast a new light on Hardy`s aesthetics of chance in his literary world, because through which he develops a unique way to explore his sense of the tragic life and through which he creates his artistic universe.

원작의 플롯 전복과 대중의 취향: 소설과 영화 『킬리만자로의 눈』을 중심으로

정태웅 ( Tae Woong Jung )
5,500
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Most of Ernest Hemingway`s novels and short stories were made into movies by Hollywood, because the adapters regarded them as excellent works for the screen. However, Hemingway complained about the movies based on his works, especially "The Snows of Kilimanjaro", To Have and Have Not, and A Farewell to Arms(produced by Borzage in 1932), because these movies have happy endings in which the protagonists survive even though they die in the novels. We take for granted that he responded as such to the adaptations. Hemingway felt betrayed and frustrated by the producer Daryl F. Zanuck, because the intention of his short story had been ignored by him, so he derisively called the movie "The Snows of Zanuck". In his short story, Hemingway described the main character`s death ambiguously and used the objective correlative to objectify the emotion. He also used the narrative strategy of a non-linear structure to unfold the plot. These techniques might have confused his readers concerning the fact that Harry died, and give the adapter a way to save Harry`s life. However, Harry`s survival was influenced more by the audiences` preference; for American`s were tired of the Great Depression in the 1930`s and the World Wars and tended to prefer movies with happy endings. As a result, Hollywood had to produce such movies. We can say, therefore, that the adaptation was influenced by the public`s taste rather than by Hemingway`s intention.

영어지각동사의 다의성 연구

지인영 ( In Young Jhee )
6,100
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This paper deals with Metaphor and Metonymy represented in the use of English perception verbs like see or hear. The purpose of this paper is to analyse the polysemous phenomenon of perception verbs in terms of metaphor and metonymy and suggest a model of psychological semantic structure for them. English perception verbs are often used for representing a mental, cognitive activity as well as representing a physical, perceptive activity. This paper looks for a basis for the polysemous use in the creative system of metaphor and metonymy, especially in the meaning extension function of mind-as-body metaphor. English perception verbs show a good example of a metaphor of domain transfer from physical domain to mental or cognitive domain. This paper suggests the conceptual chain and the semantic structure for the perception verb to show the possibility of polysemy and contextual modulation.
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