• 영어영문학
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• 제57권1호
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• pp.27-49
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• 2011

This article proposes to stay away from contemporary critical arguments concerning Michael's value system, which is construed mainly from his choice between his patrimonial lands and his son Luke. Presuming that Michael's value system as have been argued so far could never be the poet Wordsworth's own concern at the time of the composition of the poem "Michael," this article proposes to get back to the all too real socio-historical situation of the early nineteenth-century England. Mere consideration of the socio-historical situation, when combined with a close reading of the poetic text (a close reading of both the poetic story and the poetic history from which the story may be said to have been constructed), directs us to the poet working on the simple paradigm of 'the country and the city at war with each other' but the victory having been given to the city already. The guarantee contract for a supposedly prospering nephew's debt and the letter from another prospering relative in London are undoubtedly the key elements that lead us to the war paradigm. Michael's family members, each and all including Michael himself, and all of their village people, have been imbued with the city's commercial values, which renders them all the more easier victims within the war context. Luke's defeat in the city is viewed as being really the consequence, rather than the cause, of Michael's defeat, which became apparent as soon as the news of the latter's financial disaster reached his ear. Michael should therefore be regarded as one of the typical English countryfolk of the time, with whom Wordsworth often, but not always, identifies himself. Insofar as the economic view or attitude is concerned, there certainly is a distance between Michael and Wordsworth, this article argues.

• 영어영문학
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• 제54권1호
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• pp.107-127
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• 2008

Critics are inclined to interpret J.M. Coetzee's novels in South African contexts, which Coetzee's own background seems to support. One has to bear in mind, however, that Coetzee tends to "see the South African situation as only one manifestation of a wider historical situation to do with colonialism, late colonialism, neo-colonialism." In other words, putting too much emphasis on South African contexts may diminish or undermine significance of Coetzee's multi-layered novels. In this context, the purpose of this paper is to highlight what Coetzee has to say about American colonialism/imperialism and to emphasize importance of "postcolonial rhetoric of simultaneity" which is repeatedly shown in his fictional works. It gives a meticulous attention to and analyzes "Vietnam Project," the first novella of Dusklands, Coetzee's very first novel, which depicts and characterizes "what Chomsky in the context of Vietnam [War] called 'the backroom boys.'" "The Narrative of Jacobus Coetzee," "When a Woman Grows Older," and Diary of a Bad Year are occasionally brought into discussion as well. This kind of study seems timely and pertinent especially when we take into account the rampant American imperialism which has devastated and almost traumatized the world.

• 영어영문학
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• 제54권2호
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• pp.217-234
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• 2008

Norman Mailer is one of the American writers who dramatize sensual pleasure in order to show how American idealism ends up being trapped and corrupted. The most remarkable cases are the tragic heroes of Scott Fitzgerald and the tough characters of Ernest Hemingway; while the former describes the victim of sensual pleasure, the latter brings the sensuality out from the darkness into 'the clean and well-lighted place.' In one of his most successful experimental fiction writings called 'New Journalism,' Mailer portrays the battle between the liberal left and the conservative right in the demonstration of 1967. Mailer achieves two things in this new technique. First, he demystifies the traditional epistemology grounded in the neutral and transparent narration and suggests that every narration can not escape mediation by a narrator. Secondly, he demonstrates that there is no clear distinction between good and bad. Rather, Good is nothing but a disguised form of Evil, and God is feasible only through the courageous action borrowed from Evil. In this technological world, devil is more powerful and attractive than God. This paper assumes the materiality of courage and focuses on the phenomenology of war carried out not from soul but from body, not from the consciousness but from the materiality.

• 영어영문학
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• 제57권3호
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• pp.413-428
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• 2011

Compared with Cathy Song and Myung-Mi Kim, Suji Kwock Kim is yet to be known in Korea, even though she won prestigious American literary awards like the Walt Whitman Award from the Academy of American Poets and the Addison Metcalf Award from the American Academy of Arts and Letters for her debut book of poems, Notes from the Divided Country. Although she was born and raised in the United States and had little knowledge of Korean at first, she came to recognize her identity and be familiar by and by with Korean history. The knowledge of the facts that Korea had been ravaged by foreign forces and suffered from the Japanese colonization and the Korean War aches her soul, and this soul-aching is aggravated by her ancestors' direct experiences of those Korean historical tragedies. But this book of poems does not contain poems regarding Korean history alone. The first part shows her guilty consciouseness for her brother and sister, who are suggested to be physically abnormal or mentally retarded. The third and fourth parts are filled with poems of very diverse subject matters, tones, and themes. Of those poems, "Monologue for an Onion" is probably most worthy of special attention. It is not only a searing indictment for human folly but also a very intriguing poetic rendering of Nietzschean ultimate lessson. Her achievement in the first book of poems makes us eagerly wait for the second one, which is, reportedly, forthcoming sooner or later.

• 영어영문학
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• 제58권5호
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• pp.881-901
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• 2012

Since 2006, heated debates have taken place on both sides of the Pacific over the historical accuracy of Yoko Kawashima Watkins's So Far from the Bamboo Grove, the "historical novel" that depicts the author's painful escape from the just-liberated Korean peninsula to Japan. This study re-visits the controversies that fired up not only the whole Korean society but also not a few Americans and the American press. However, unlike most previous Korean studies on this novel, this study mostly focuses on both the responses of Korean feminists and those of Americans and the American press to the issue. This paper argues that the Korean feminists, who criticized their male compatriots for their feverish reaction, have the same problem as their compatriots, that is, the problem of seeing through a binary perspective that drowns or blurs individual differences. A similar framework is found operating in the Boston Globe's articles on the same issue. This study proceeds to discuss the pitfalls of liberalism underlying the American parents' and the American civil organizations' defence of Watkins and analyzes their poor historical awareness. The conclusion of this study is that So Far from the Bamboo Grove, dictated by an ideological prolepsis, erroneously inscribes the Cold War in the geographical space of the pre-Cold-War Korean peninsula and, as a result, symptomatically participates in the United States' anti-Communist world view.

• 한국실내디자인학회논문집
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• 제21권2호
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• pp.207-214
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• 2012

Today, museum exhibition can be divided into two sub-categories: a. informative exhibition with various useful auxiliary media to convey knowledge and b. appreciative exhibition considering aesthetic conveyance and visual/perceptual environment. In addition to this, the concept of memorial exhibition as a field that tangible and intangible memories are transmitted and reproduced is creating another genre of exhibition. As an example of such a memorial exhibition above, the work of de-constructive architect Daniel Libeskind was selected. Jewish Museum and Imperial War Museum North both of which maximized the exhibition space by grafting architectural language to exhibition narrative were analyzed and compared to see if the same architectural language can be displayed differently in another form of exhibition after being drawn into the exhibition space depending on the changes in time and perspective. Therefore, in the narrative display combining the selection of exhibition contents and storytelling, the formative language of space can confirm that exhibition narrative as an ending structure changed into a retelling story with more extended meanings through interactive factors. Eventually, in this formative narrative, when the display of historical facts and exhibition themes is combined with the architectural language in an exhibition hall according to the approach direction, the memorial exhibition can create a formative language stimulating sensibility in the memories of space and a differentiated formative exhibition space where one is truly moved by oneness of contents.

• 영어영문학
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• 제60권2호
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• pp.365-389
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• 2014

The essay focuses on the relationship between the soldiers and the oppressed women in Lynn Nottage's Ruined (2009) in terms of Julia Kristeva's abject to show how the abjected Congolese women expose the falsehood of the order and identity that the military forces try to construct and maintain by war and violence. According to Kristeva, the abject is something that is rejected for the repulsion and horror it arouses but constantly draws the subject to it at the same time. Physically impaired and socially stigmatized, sexually abused Congolese women find a shelter in Mama Nadi's bar, the only place where they can continue their lives as the abject since the place, like the women themselves, lies outside the symbolic order occupied and corrupted by the men of DRC. Although the men involved in the armed conflict have abjected the women in pursuit of their own system and order, the women are not simply the objects of abuse and oppression. The men have to rely on Mama Nadi and her women not only to reaffirm their identity and power by suppressing them but also to fulfill their biological needs. In addition, the women's resistance against the soldiers demonstrates their power to challenge the men's symbolic order and expose its frailty. Apropos of the abject's resistance, various artistic genres such as poetry, music and dance appear in the play as an escape from the grim reality and a means of challenging and transcending the symbolic order. Bringing all these artistic elements together into a powerful piece of theatre-often considered as an 'abject' genre nowadays, Nottage demonstrates both the power of theatre as well as the tenacious Congolese women.

• 한국수학교육학회지시리즈E:수학교육논문집
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• 제36권1호
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• pp.73-88
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• 2022

수학교육은 수학을 읽고, 쓰고, 듣고, 말하면서 이루어진다. 즉, 수학을 한다는 것은 수학적으로 사고한다는 것을 의미한다. 따라서 자국어로 잘 쓰인 수학 교재를 읽고, 자국어로 수학을 토론하며 배우게 되면, 그 내용과 개념을 더욱 깊이 이해하고 자연스럽게 활용하게 된다. 수학 선진국들의 경우, 대학 학부 수학 교재는 대부분 자국어로 쓰인 양질의 교재를 사용하고 있다. 본 연구에서는 대학수학교육에서 사용하는 교재와 언어가 국가 수학 경쟁력에 미치는 영향에 대하여 논한다. 특히 대학의 설립 초기부터 자국어 교재의 중요성을 인지하여 대학수학 교재를 모두 히브리어로 최초 개발한 이스라엘 공과대학(테크니온)의 언어전쟁 사례와 양질의 자국어 대학수학 교재를 발간하면서 수학 선진국에 이르게 된 프랑스, 미국 및 일본 등의 사례를 분석하여 소개한다.

• 인문언어
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• 제1권2호
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• pp.229-238
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• 2001

Globalization and informatization today mean the world wide spread of the information made by America, the American mode of thinking, the American way of life, and the English language based on the world wide information network led by America. Under this worldly currents, all He Korean wish to learn English. Now English turns to be the essential means to survival in Korea. In this article, we try to interpret this blindly pursuit of English from the point of view of the war of languages. For this purpose, we begin to examine the position of English in the world from the perspective of linguistic imperialism. Next, we review the linguistic reality of South Korea penetrated by English from the perspective of officialization of English in Korea. Finally, we propose to modernize and informatiz Korean to fight against the penetration of English into Korean culture. It depends on the success or failure of the development of the computer system operated by Korean.

• 한국실내디자인학회논문집
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• 제14권6호
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• pp.29-36
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• 2005

The original members of the De Stijl group, formed in neutral Holland during the First World War, included the painters Piet Mondrian, Bart van Leck and Theo van Doesburg, and the architects J.J.P. Oud and Jan Wils. The aim of the group was to create a language of form and color applicable to every sphere of modern life. The means of expression selected by the De Stijl artists was rigorously restricted, using only vertical and horizontal lines with the right-angle created where they cross, and for color, black, white and the primaries- red, yellow and blue. Of these simple elements consisted the compositions painted by Mondrian and van Doesburg during the years around the end of the First World War, and the famous red-blue chair made by Gerrit Rietvelt in 1917. They did share a common influence, Cubism, and they both emphasized contemporaneity. Otherwise they were quite different movements, both in theory and practice, except lot one further point of similarity.