숫자 3의 유희: 단테의 『신곡』「지옥」 편과 셰익스피어의 『로미오와 줄리엣』

방승희 한국중세근세영문학회 2017 중세르네상스 영문학 Vol.25 No.2

This paper examines the symbolic significances and various meanings of the number 3 in Dante's Inferno, The Divine Comedy, and Shakespeare's Romeo and Juliet. Symbolically, the perfect number 3 is God’s number, signifying completeness, fulfillment, balance, and harmony. Dante uses the number 3 to symbolize Order, Resurrection, Unification with God, and the image of Love; more generally, he uses the number 3 to indicate perfection and completeness. The repetition of words and phrases, terza rima, or consecutive tercets, that include the number 3, creates a kind of euphony, and thereby emphasizes Dante’s intentions. Shakespeare uses the number 3 purposefully to structure his plot and the situations his characters encounter. In this way, he seeks to highlight the significances of the number 3. However, unlike Dante’s pursuit of meanings, Shakespeare devotes significant attention to structure, plot, and character. The number 3 has more various meanings in Shakespeare's drama than in The Divine Comedy; in fact, Shakespeare specializes in playing with the number 3 in a form of triad. The first space made with three lines, a triangle, relates to the number 3. A triangle makes the space. Such a space, so-called ‘triad’, is the first and perfect figure. It also represents God. Furthermore, it suggests the opening of a creative space, a space of the imagination. Shakespeare uses a space of triad to create confusion and irony. These are some of what the number 3 plays around.

이아고의 극에 잠식된 극중 관객 오셀로

방승희 한국중세근세영문학회 2009 고전·르네상스 영문학 Vol.18 No.2

This study focuses on the on-stage audience beholding the play-within-a-play in Othello. The on-stage audience plays a double role serving as the audience and actors. The actors’ double roles have substantial influence upon audiences in the theatre. Especially, the on-stage audience affect theatre-audiences who are watching the play on the stage. The actor/audience’s double acting is reflected on their double perceptions: one is that they are seeing the play, and the other is that they are seen by someone. They think about their identities through their double perceptions which are caused by watching the play like on-stage audiences beholding the-play-within-a-play. My point is that actor's double acting is a reflection and an amplification to audience. I consider Othello as an on-stage audience who watches the play-within-a-play acted by Iago. Iago manipulates several plays for Brabantio, Cassio, and Othello in order to achieve his target, the ruin of Othello. Iago presents the palpable proof which Othello desires to be Desdemona’s infidelity to Othello. Like a dumb show Iago sets up a situation in which Cassio and Bianca’s conversations are heard by the eavesdropping Othello. He believes Iago's dissembling plot to be a reality, and then mistakes the manipulated situation for the real thing. The illusion of the on-stage audience, Othello, watching the play-within-a-play as Iago’s manipulations, reflects the confusion of theatre-audiences watching the play. Shakespeare intends to blur the lines between illusion and reality. He makes the theatre-audiences believe that the on-stage audience’s experience of watching the play is a mirror of their own experiences in effect creating a stronger sense of reality. Theatre-audiences’ recognition of illusion from reality is made to deconstruct the recognition produced by the on-stage audience’ confusion. Iago’s play-within-a-play is constructed by repeating his manipulations. The On-stage audiences for Iago’s plays are Brabantio, Cassio, and Othello. In front of the audiences in the theatre he plots his plays, showing his duplicity. His soliloquies are a kind of “breaking the fourth wall” intended to induce sympathy from the audiences in the theatre and an illusionary invasion to the reality of the theatre-audiences. Iago attracts the theatre-audiences to communicate with him and to conspire over his plot together. He presents what is real and what is illusionary to the theatre-audiences representing both of his plots and results side by side. However, while the theatre-audiences watch Iago's plays following his intentions, they find themselves to be the deceived ones like Othello by Iago’s manipulation. Apparently they can recognize Iago's play as the false plots like illusions and probably they enjoy themselves watching Othello who is trapped in this illusion and destroys himself. Their enjoyment is a form of deception, acting as an illusion ruled by Iago to deceive the audience. They forget their reality as much as Othello does. Othello, an on-stage audience and on-stage actor of Iago’s play, destroys himself engulfed in his illusion created by Iago’s plots. Othello’s tragic death is a sort of shame for his jealousy and murder. His killing himself results from his confusion between reality and illusion and the change of perception to face the real thing. He could accept the reality which he has believed Iago’s illusions as a real thing by “breaking the illusion.” He could escape from Iago’s play, and he would leave the stage outside of his role as an actor playing Othello. The theatre audiences who watch Othello also have the same changes of perception back to their reality after the play finishes. They would be immersed in Iago’s play, and they can hide their guilty conscience, caused by enjoying the destruction of Othello and continue with their everyday lives. They lose themselves while watching the play, and they have believed t... This study focuses on the on-stage audience beholding the play-within-a-play in Othello. The on-stage audience plays a double role serving as the audience and actors. The actors’ double roles have substantial influence upon audiences in the theatre. Especially, the on-stage audience affect theatre-audiences who are watching the play on the stage. The actor/audience’s double acting is reflected on their double perceptions: one is that they are seeing the play, and the other is that they are seen by someone. They think about their identities through their double perceptions which are caused by watching the play like on-stage audiences beholding the-play-within-a-play. My point is that actor's double acting is a reflection and an amplification to audience. I consider Othello as an on-stage audience who watches the play-within-a-play acted by Iago. Iago manipulates several plays for Brabantio, Cassio, and Othello in order to achieve his target, the ruin of Othello. Iago presents the palpable proof which Othello desires to be Desdemona’s infidelity to Othello. Like a dumb show Iago sets up a situation in which Cassio and Bianca’s conversations are heard by the eavesdropping Othello. He believes Iago's dissembling plot to be a reality, and then mistakes the manipulated situation for the real thing. The illusion of the on-stage audience, Othello, watching the play-within-a-play as Iago’s manipulations, reflects the confusion of theatre-audiences watching the play. Shakespeare intends to blur the lines between illusion and reality. He makes the theatre-audiences believe that the on-stage audience’s experience of watching the play is a mirror of their own experiences in effect creating a stronger sense of reality. Theatre-audiences’ recognition of illusion from reality is made to deconstruct the recognition produced by the on-stage audience’ confusion. Iago’s play-within-a-play is constructed by repeating his manipulations. The On-stage audiences for Iago’s plays are Brabantio, Cassio, and Othello. In front of the audiences in the theatre he plots his plays, showing his duplicity. His soliloquies are a kind of “breaking the fourth wall” intended to induce sympathy from the audiences in the theatre and an illusionary invasion to the reality of the theatre-audiences. Iago attracts the theatre-audiences to communicate with him and to conspire over his plot together. He presents what is real and what is illusionary to the theatre-audiences representing both of his plots and results side by side. However, while the theatre-audiences watch Iago's plays following his intentions, they find themselves to be the deceived ones like Othello by Iago’s manipulation. Apparently they can recognize Iago's play as the false plots like illusions and probably they enjoy themselves watching Othello who is trapped in this illusion and destroys himself. Their enjoyment is a form of deception, acting as an illusion ruled by Iago to deceive the audience. They forget their reality as much as Othello does. Othello, an on-stage audience and on-stage actor of Iago’s play, destroys himself engulfed in his illusion created by Iago’s plots. Othello’s tragic death is a sort of shame for his jealousy and murder. His killing himself results from his confusion between reality and illusion and the change of perception to face the real thing. He could accept the reality which he has believed Iago’s illusions as a real thing by “breaking the illusion.” He could escape from Iago’s play, and he would leave the stage outside of his role as an actor playing Othello. The theatre audiences who watch Othello also have the same changes of perception back to their reality after the play finishes. They would be immersed in Iago’s play, and they can hide their guilty conscience, caused by enjoying the destruction of Othello and continue with their everyday lives. They lose themselves while watching the play, and they have believed the ...

영유아의 그림, 글자, 숫자 표상 능력에 관한 연구

방승희,최현정,김지영 한국영유아교원교육학회 2009 유아교육학논집 Vol.13 No.4

This study aims to understand how young children 1-4 years old recognize and develop representational systems such as drawing, and letter and number writing. We conducted the study on 75 young children at nurseries in Seoul, where we gave them two different tasks: a sample-matching (S-M) task to probe into their recognition of the three different systems, and a production (P) task to see how they develop the representational systems. We needed to investigate three things: How much do they recognize drawing, and letter and number writing?; How much are their representational systems developed?; how correlated are their recognition of the representational systems and development of the representational systems? To analyze the results of the sample-matching task, the young children who chose the same card as shown by a teacher among seven ones were given 1 point while those who chose a different card from the sample one or none were given 0. Points given to drawings, letters and numerals were added up to quantify between 0 and 3. To evaluate the results of the production task, the coding program used by Kyoko Yamagatin 2007 was employed under which drawings were given 1 through 5 points while letter and number writings were given 1 through 8 points. One-way ANOVA and independent T test were conducted on gathered data to understand recognition of the three different representational systems and graphics using SPSS 12.0, while Pearson correlation was undertaken to see relations between level of recognition of the representational systems and graphics. The study revealed five findings: first, the older they are, the more they are capable of recognizing the three different representational systems; second, gender does not determine the recognition ability; third, the older they are, the more they are capable of developing the representational systems; fourth, development of the recognition systems is not determined by gender; and fifth, there is a highly positive correlation between children’s representational systems and development of the systems. 본 연구는 만 1세~4세 영유아들에게 나타나는 그림, 글자, 숫자 표상에 대한 인식 및 발달 정도와 관계를 알아보고자 하였다. 연구 대상은 서울시 소재 어린이집 원아 75명이며 연구 도구는 영유아의 그림, 글자, 숫자 표상 인식 능력을 알아보기 위해 S-M(sample-matching) 과제와 영유아가 만들어내는 그림, 글자, 숫자 표상 능력 발달을 알아보기 위해 P(production) 과제가 사용되었다. 연구 결과 영유아의 연령이 높아질수록 그림, 글자, 숫자 표상 인식과 표상 발달 능력이 높아짐을 알 수 있었다. 또한 그림, 글자, 숫자 표상 인식과 발달 능력은 성에 따라 차이를 보이지 않았으며 영유아의 그림, 글자, 숫자의 표상 인식과 표상 발달 간에는 각각 양의 상관관계가 있음을 알 수 있었다.

흑돼지의 모순

방승희 한국셰익스피어학회 2016 셰익스피어 비평 Vol.52 No.3

극중극으로서의 역할 놀이: 십이야의 비올라와 말보리오의 경우

방승희 한국중세근세영문학회 2007 고전·르네상스 영문학 Vol.16 No.1

Seunghee BahngThis study examines a role play as the device of the play-within-a-play in Shakespeare's Twelfth Night. Shakespeare chooses to replace reality with illusion employing the device of the play-within-a-play which transforms unreal things into real ones. It creates confusion and pleasure, in which the false things look real, and vice versa. He uses role players as well as the play itself to transform reality into illusion. It is also play-within-a-play without the form of a play. We can find the same effect of the play-within-a-play in the stage audience in Twelfth Night. Viola's disguise and Malvolio's transformation are included in a kind of play-within-a-play. We can see the stage audience which is watching Viola's and Malvolio's role play. Viola's stage audience is Olivia, Orsino, Antonio, and Andrew; Malvolio's is Maria, Sir Toby, and Fabian. They confuse the play and reality, but at the same time they distinguish illusion from reality. The difference between appearance and reality cause Viola's stage audience to be confused. They can't separate illusion from reality. The game which gulls Malvolio amuses his stage audience and helps them discern the difference between play and reality. This kind of plays, however, does not last long. As the stage audience's reality turns out to be illusion, play and reality are switched. From the theatre audience's point of view, the play which the stage audience is watching becomes reality. The stage audience's shift from confusion to realization is moved into the theatre audience. They realize that the reality which they experience could also be an illusion as the play represents. In Twelfth Night we enjoy a game of illusion and reality which evokes confusion and pleasure, and we find that what it reflects is nothing but the illusion of our own reality.

극중극의 효과를 통한 극중 관객의 인식 —『말괄량이 길들이기』를 중심으로

방승희 한국중세근세영문학회 2008 중세르네상스 영문학 Vol.16 No.2

This study focuses on the dramatic effects of the play-within-the-play in The Taming of the Shrew. The dramatic effects are the emphasis on the meaning of the play by paralleling the actions and the confusion from the ambiguity of the boundary between the play and reality. They could extend our cognizance of reality and illusion. The taming actions repeated in The Taming of the Shrew represents the play by Lord, Petruchio, and Lucentio. Their making the play are intended to tame Sly and Kate, and Bianca. Sly and Kate becomes on-stage audiences watching the play-within-the-play. Their reactions are confusions paralleling with their actions repeated and emphasized. We could especially see Sly's confusion because of the playwright's intention caused by the effects from the play-within-the-play. Sly's confusion, unlike the embarrassment of Kate, does not distinguish the play-world from the real-world. He ignores the suggestions which he could be controlled like Kate with watching the play-within-the-play reflected on himself who he believes to be Lord. His reality made by illusion was accepted itself in spite of the fictions. He takes itself as reality. The relations to the play-world and the real-world are followed; The play is illusion representing reality, and reality could be illusion like the play. We can infer that Shakespeare used the play-within-the-play to intend to take the dramatic effects from on-stage audiences watching it. The confusion of Sly watching the play-within-the-play leads to that of theatre-audiences. Shakespeare could insert the play-within-the-play as illusion, give the play reality, arouse the confusion of on-stage audiences watching the play-within-the-play, and spread the ambiguity into the congnizance of theatre-audiences. It is thought that he implies our reality which we are congnizant of could be changed into illusion consciously and unconsciously. This study focuses on the dramatic effects of the play-within-the-play in The Taming of the Shrew. The dramatic effects are the emphasis on the meaning of the play by paralleling the actions and the confusion from the ambiguity of the boundary between the play and reality. They could extend our cognizance of reality and illusion. The taming actions repeated in The Taming of the Shrew represents the play by Lord, Petruchio, and Lucentio. Their making the play are intended to tame Sly and Kate, and Bianca. Sly and Kate becomes on-stage audiences watching the play-within-the-play. Their reactions are confusions paralleling with their actions repeated and emphasized. We could especially see Sly's confusion because of the playwright's intention caused by the effects from the play-within-the-play. Sly's confusion, unlike the embarrassment of Kate, does not distinguish the play-world from the real-world. He ignores the suggestions which he could be controlled like Kate with watching the play-within-the-play reflected on himself who he believes to be Lord. His reality made by illusion was accepted itself in spite of the fictions. He takes itself as reality. The relations to the play-world and the real-world are followed; The play is illusion representing reality, and reality could be illusion like the play. We can infer that Shakespeare used the play-within-the-play to intend to take the dramatic effects from on-stage audiences watching it. The confusion of Sly watching the play-within-the-play leads to that of theatre-audiences. Shakespeare could insert the play-within-the-play as illusion, give the play reality, arouse the confusion of on-stage audiences watching the play-within-the-play, and spread the ambiguity into the congnizance of theatre-audiences. It is thought that he implies our reality which we are congnizant of could be changed into illusion consciously and unconsciously.

극중극의 이중 구조 : 극중 관객 햄릿

방승희(Seunghee Bahng) 한국셰익스피어학회 2011 셰익스피어 비평 Vol.47 No.1

깨어진 환상: 리처드(Richard)의 극 만들기

방승희(Seunghee Bahng) 한국셰익스피어학회 2014 셰익스피어 비평 Vol.50 No.1

This study focuses on the concept of the play-within-a-play in Richard III. Shakespeare uses this dramatic style to separate reality from illusion. He creates a play-within-a-play in several of his plays in order to emphasize his intentions: to confuse reality with illusion and to simultaneously draw the distinction between them. In the Process of creating the play-within-a-play, the audiences and actors are divided. In Richard III, Richard functions as an actor by playing a variety of roles in his quest to become king. He plays these roles in response to each situation, transforming into “the loving brother,” “the loyal friend,” “the witty lover,” “the loyal subject,” “the good protector,” “the reluctant prince,” and “the bluff soldier” in different scenes. His actions illustrate a villain`s plans and a pretentious player`s acting, but his choices and his will are his own. While Richard plays the role of an actor in the play-within-a-play, his counterparts-including Clarence, Anne, Buckingham, King Edward, Hastings, and Richard`s nephews-are set up as audiences who watch Richard`s plays. He acts some of the roles that he imagines and manipulates reality in front of his audience, intriguing them with his actions and ultimately sacrificing them in order to acquire power. Furthermore, Richard fixates his energy on becoming king, pretending to demonstrate humility in the face of power. He uses the paly within the play as an illusion through which to become the king he wishes to be. Finally, his illusion is realized and his throne becomes real. However, that same illusion is later broken because of another illusion: the ghosts in his dream. They play the role of mirrors, reflecting Richard back to himself. The ghost scene juxtaposes Richard and his rival Richmond, making Richard come to grips with himself, as well as representing the past and the present, and predicting the future. After watching the ghost scene-which is its own play-within-a-play-Richard faces up to reality and disentangles that reality from his illusions, fully recognizing the reality of himself. Therefore, the ghost scene is a kind of the play-within-a-play created when Richard examines his life. He therefore plays the role of audience as well as actor.

『줄리어스 시이저』(Julius Caesar)에서 찾아볼 수 있는 숫자 4와 숫자 8의 의미

방승희(Seunghee Bahng) 한국셰익스피어학회 2020 셰익스피어 비평 Vol.56 No.1

This study inquires into the significances of numbers in Julius Caesar, and tries to elucidate Shakespeare’s intentions for using historical truths in making reality an illusion and overturn the world as it is. The world of nature that we live in constantly undergoes a variety of transformations while producing regular patterns and equal numbers. The world of Julius Caesar, created by Shakespeare, assumes the same aspect of numbers and patterns as is found in nature. That is why the world that Shakespeare composed is an imitation, and simultaneously the world of nature that we lived in was not the history; the Roman history but the tragedy. The number four is the most prominent number in Julius Caesar. This play consists of four main characters, namely, Caesar, Cassius, Brutus, and Anthony, just as our living world is composed of four elements: water, fire, earth, and air, and humans have four humors: blood, phlegm, black bile, and yellow bile. The appearance of the number eight, in the case of the eight conspirators, introduces catastrophe into the stability of the otherwise balanced world. However, Octavius whose own name is a symbol of number eight, suppresses the revolt of these conspirators. This is a kind of irony that this play illustrates. Eight conspirators capsize the orderly world including four characters. At the same time, Octavius represents the number eight, whose name is double of the number four and equal to eight conspirators. His power is represented by the number eight and he can deconstruct and break up the revolt. The number eight and the number four is always related to a certain meaning, adding and dividing each other. It means uniting and balancing, or deconstructing and breaking up the world.

텍스트 마이닝에 의한 문학 작품 분류

정원일,방승희,박명관 동국대학교 동서사상연구소 2021 철학·사상·문화 Vol.- No.35

This paper is to introduce quantitative text analysis of some literary works registered in the Project Gutenberg among Big Data and classification of the works using text mining techniques. After performing data preprocessing using the programming language R, we measured cosine similarity between chapters within a novel and cosine similarity between chapters of different novels to classify the novels. We found the cosine similarity between chapters within the novel is relatively high, but not between the novels. Furthermore, clustering analysis, which is an unsupervised machine learning task, showed strong cohesion of semantic distance, and classification analysis, which is a supervised machine learning task, showed high accuracy. In addition, we have confirmed that children's novels can be classified as easy-to-read works due to the large cosine similarity value and small semantic distance between chapters. Therefore, quantitative text analysis using text mining technique is expected to serve as a foundation for performing qualitative text analysis. 본 연구는 빅데이터(Big Data) 중 하나인 구텐베르그 프로젝트(Project Gutenberg)에 등록되어 있는 문학작품들을 수집해서 텍스트 마이닝 기법에 의한 계량적 텍스트 분석(quantitative text analysis)을 활용하여 문학작품을 분류하는 방법을 소개하는 데에 목적을 두고 있다. 수집된 작품들을 프로그래밍 언어 R을 이용하여 전처리 과정을 한 후, 작품 내의 쳅터(chapter) 간 코사인 유사도와 서로 다른 작품의 쳅터 간 코사인 유사도에 의한 분류를 진행하였다. 동일한 소설 내의 쳅터들 간의 코사인 유사도는 상대적으로 높게 나타나지만 서로 다른 작품의 쳅터들 사이의 코사인 유사도는 대체로 낮은 결과를 보였다. 또한 기계학습(machine learning)의 방법 중 비지도 학습(unsupervised learning)의 군집(clustering) 분석에서 의미적 거리에 의하여 작품 내의 쳅터들의 강한 응집력으로 작품들이 분류되었고, 지도 학습(supervised learning)의 분류(classification) 분석에서도 작품들 간의 분류에서 높은 정확도를 보였다. 또한, 본 연구에서는 아동소설이 쳅터 간에 코사인 유사도 값이 크고 의미적 거리가 작아서 읽기 쉬운 작품으로 분류될 수 있다는 것을 확인하였다. 따라서, 텍스트 마이닝 기법에 의한 계량적 텍스트 분석은 질적 텍스트 분석을 수행하는데에 밑거름이 될 것으로 본다.