회계감사

배경진 회경사 2016 月刊 會計 Vol.24 No.10

스펜서의 정원과 마블의 정원

배경진 한국중세근세영문학회 2014 중세르네상스 영문학 Vol.22 No.2

This study aims to compare and contrast the presentations of the gardens in Edmund Spenser’s The Faerie Queene and Andrew Marvell’s “The Garden.” The garden as an alternative paradise has been a frequent topic for poets to seek perfection and eternity since the classic period. By analyzing the garden images delicately portrayed by the two English poets representing the 16th and seventeenth century England respectively, this study tries to discuss common aspects and distinguished features, which may reveal the political and religious environment of each poet. Both Spenser and Marvell depend on the classical images of the sweet and affluent paradise when they create their own ideal gardens. As the garden connotes an enclosed nature in one sense, the fenced garden provides peace and security unlike the uncontrolled and hostile nature. With the idealized images of the classical paradise, the gardens of Spenser and Marvell are represented as both haven and shelter to the fickle and transient world. However, Spenser’s garden produces more natural energy close to nature, but it is relatively susceptible to the dangers of nature and human finitude in eternal time. On the other hand, Marvell’s garden is constructed as a private, but isolated place which provides a safe distance from a precarious reality and perishable history.

르네상스 소네트 속의 죽음관: 시드니, 셰익스피어, 그리고 그레빌을 중심으로

배경진 한국중세근세영문학회 2017 중세르네상스 영문학 Vol.25 No.2

What would Renaissance poets have thought about death? This paper investigates various concepts of death employed in Renaissance sonnets sequences. Death was traditionally understood as a law of nature or a direct punishment for Adam's disobedience. The major change in the response to death in the Renaissance was growing emphasis on the individuality of death as Protestant doctrine results in individual and inward meditation. Investigating Renaissance ideas of death leads to an examination of three basic concepts related to death: sin, time, and mortality. Petrarchan poet-lovers like Sir Philip Sidney, William Shakespeare, and Fulke Greville write about their intense experiences of love followed by the acute meditation on human misery and the conflict between ideal aspiration and real passion. “Loving in truth”, Sidney concentrates on love in the present and triumphs over time not by escaping but by choosing to remain forever in the paradoxical state of sweet sorrow. Obsessed about immortal fame, Shakespeare reveals the will to overcome death through his works but eventually admits that death prevails over nature and man. Greville follows the lead of his friend Sidney in posing the problem of love as a seemingly impossible choice between virtuous love and individual desire. Confronted with the problem of human love and faced with its frustrations, Greville meditates on human misery and sinfulness. Greville solves the dilemma of love by rejecting love and casting himself entirely upon the saving grace of God. Caelica, a collection of Greville's autobiographical works, constitutes the process of experience that the knowledge of sin leads to the knowledge of humility and ends in the renewal of faith before death. Writing about what it is to love does not prevent these writers from discovering and showing distinct and individual meditation of death.

침묵의 기능: 셰익스피어 드라마와 르네상스 소네트를 중심으로

배경진 한국중세근세영문학회 2004 고전·르네상스 영문학 Vol.13 No.1

Silence is not speaking. It is the absence of words and it seems the very opposite of speech. However, a closer inspection of words and sentences reveals that silence space surrounds each letter that forms a word, each word within a sentence, and each sentence that shapes a paragraph. It also defines the boundaries of utterance: silence is the precondition of speech and the last part of it. As a component of expression, silence is an integral part of speech: silence and speech complement each other to create a word, a sentence, and discourse. Silence is not only a component of expression, but also a medium for communication. Silence can convey various meanings as accurately as speech. In functional terms, silence, together with speech, expresses a variety of meanings and performs a range of functions. As silence becomes a more integral part of communication, a full understanding of literary works also requires an investigation of various representations of silence in literary texts in relations to their potential expressive significance. The complex nature of silence leads us to explore how diverse effects of silence are embodied in Shakespeare’s plays and Renaissance sonnets. Silence represents ambivalent qualities such as submission/subversion, vulnerability/impenetrability and powerlessness/power. Especially, silence is revelation as much as concealment: revelation of Coriolanus’ complex feelings, of Cordelia’s inexpressible love, and of the poet’s shame, but, most of all, of power and control of Astrophil and the young man. Conveying various meanings by saying nothing, silence may be the most ambiguous of all linguistic forms. Thus, it is not only difficult but also essential to understand silence properly.

생태학적 지각이론의 공간적 특성을 반영한 재활공간설계

배경진,김영석 대한건축학회지회연합회 2008 대한건축학회지회연합회 학술발표대회논문집 Vol.2008 No.1

The purpose of this study is to suggest healthcare facilities as ecological architecture. The physical environmental health of human mainly depends on the quality of architectural natural environment. so it is very important to prepare rehabilitation landscape environment on the healthcare setting. this study proceeds to search planning factors of healthcare facilities in ecological architecture through study of Ecological Theory of Perception. It also explain the important of ecological planning methods, and suggest a way of architectural planning oh healthcare facilities in future, through the study of the feature and analysis of application methods. The future rehabilitation hospital should provide reduction of the effect on environments, increasing amenity, rehabilitation landscape. To create healthcare facilities ecological is essential not only to human but also human survival.

『노생거 사원』에 나타난 사치의 의미

배경진 현대영미어문학회 2018 현대영미어문학 Vol.36 No.4

. This paper aims to demonstrate that Jane Austen’s exploration of new consumer culture in Northanger Abbey serves to advocate for the novel and the novel reader. The comparison of Catherine with two villains, John Thorpe and General Tilney, reveals that all of them, overindulged in pursuit of their tastes, base their experience on imagination: she seeks a hidden secret of the family in the Abbey as if she were a heroine in a Gothic fiction, and the two villains take pains to realize the selves in their imagination through conspicuous consumption. Her pleasure of reading, however, proves to be innocent because her literary imagination places her in farcical situations but does not produce a semblance of scheming designs behind the two villains’ conspicuous desires. In this vein, her acceptance of Henry Tilney’s advice does not indicate her subjection to patriarchal authority but a literary compromise to defend the power of the novel and literary imagination.

셰익스피어 전기의 포스트모던적 재구성: 앤소니 버제스의 [태양과는 전혀 다르지]

배경진 한국중세근세영문학회 2007 중세르네상스 영문학 Vol.15 No.1

불임여성의 고독감 수준에 관한 연구

배경진,노승옥,김정아 한국간호과학회 1999 Journal of Korean Academy of Nursing Vol.29 No.6

엘리자베스와 소네트

배경진 한국중세근세영문학회 2008 고전·르네상스 영문학 Vol.17 No.1

In 1590s, writing love sonnets became a vogue in Elizabethan England as a genre to express desire. While desire was multi-leveled, from a desire for the beloved lady's grace to a desire for the patron's favor, sonnets were pursued and exercised as a means of a most effective rhetoric by Elizabethan poets and courtiers who participated in the power politics in the court of Elizabeth I and in its patronage system. Given that Elizabeth I was the ultimate source of patronage, the Queen was hardly to be excluded from the original audience, and her image was inevitably represented in the sonnet sequences. Based on the set of homologies between lover/beloved and courtier/monarch, this study explores the implied representation of Queen Elizabeth in the sonnets of Sidney and Spenser. The image of Astrophil as totally subjugated to a more powerful female sovereign, who can be interpreted as his monarch as well as his beloved lady, is clearly represented in Astrophil and Stella. As the lover-Astrophil is subjected to his lady, the courtier-Sidney must appear to be subjected to his monarch, the Queen. Like the lover-Astrophil, the courtier-Sidney is doomed to a life of waiting and of continuous frustration. On the other hand, Spenser’s Amoretti is unique among sonnet sequences of the period in that it concludes with a marriage poem—Epithalamion. In Amoretti, Spenser signals a reversal of the sexual roles conventionally associated with the Petrarchan sonnet sequence in order to realize his ideal relationship with the lady. After sixty-two sonnets, the traditional Petrarchan scenario in Spenser’s poems radically alters in ways that allow both the writer and his male readers to override convention and to appropriate and dominate a woman called Elizabeth. The rhetoric of courtship in the sonnets of Sidney reflects and Spenser their response to their own self-positioning before a powerful woman they had to court: Queen Elizabeth. In 1590s, writing love sonnets became a vogue in Elizabethan England as a genre to express desire. While desire was multi-leveled, from a desire for the beloved lady's grace to a desire for the patron's favor, sonnets were pursued and exercised as a means of a most effective rhetoric by Elizabethan poets and courtiers who participated in the power politics in the court of Elizabeth I and in its patronage system. Given that Elizabeth I was the ultimate source of patronage, the Queen was hardly to be excluded from the original audience, and her image was inevitably represented in the sonnet sequences. Based on the set of homologies between lover/beloved and courtier/monarch, this study explores the implied representation of Queen Elizabeth in the sonnets of Sidney and Spenser. The image of Astrophil as totally subjugated to a more powerful female sovereign, who can be interpreted as his monarch as well as his beloved lady, is clearly represented in Astrophil and Stella. As the lover-Astrophil is subjected to his lady, the courtier-Sidney must appear to be subjected to his monarch, the Queen. Like the lover-Astrophil, the courtier-Sidney is doomed to a life of waiting and of continuous frustration. On the other hand, Spenser’s Amoretti is unique among sonnet sequences of the period in that it concludes with a marriage poem—Epithalamion. In Amoretti, Spenser signals a reversal of the sexual roles conventionally associated with the Petrarchan sonnet sequence in order to realize his ideal relationship with the lady. After sixty-two sonnets, the traditional Petrarchan scenario in Spenser’s poems radically alters in ways that allow both the writer and his male readers to override convention and to appropriate and dominate a woman called Elizabeth. The rhetoric of courtship in the sonnets of Sidney reflects and Spenser their response to their own self-positioning before a powerful woman they had to court: Queen Elizabeth.

Transformation of Courtly Love in Astrophil and Stella

배경진 한국고전중세르네상스영문학회 2010 중세근세영문학 Vol.20 No.2

The poet-lover in Astrophil and Stella is generally considered to be conflicting between reason and passion pining for an unattainable beloved lady. The plot and the themes of the sequence are highly conventional, derived from Petrarch and his many Italian, French and Spanish imitators. However, the poet-lover also claims that he protests this Petrarchan convention in his search of fresh and original ways of writing. Thus the sequence has been studied as a counter-discourse of English Petrarchism and has been given more focus on its writing skills. On the other hand, this paper aims to examine the poet-lover not as an anti-Petrarchan lover but as an anti-courtly lover in a way to reveal some unfamiliar and unexpected aspects of a star-crossed lover. This paper examines that the poet-lover is rebellious in accepting the decrees of love, proud in his estimation and presentation of his own values, cruel and dishonorable in vengeance on his ungrateful lady, and presumptuous and impudent in admitting his desire. These uglier and more disappointing characteristics are quite opposite of those the readers generally expect from a lover in the standard of courtly love. While the poet-lover dramatically transforms the standard of courtly love in order to write most persuasively and most attractively, Sidney reveals that the villain images of the poet-lover as an anti-courtly lover is nothing but guises and masks he conveniently adopts and discards in order to carry out experiments in the dramatization of self. The study intended to examine some unfamiliar aspects of the protagonist leads to the conclusion that Sidney manages to infuse his sonnets with an extraordinary vigor and freshness by appropriating the convention and the concepts of courtly love.