대학의 교육기부 - '교육기부'를 통해 대학의 사회적 책무를 실천하는 '부산대학교'

배만호,Bae, Man-Ho 한국대학교육협의회 2013 大學敎育 Vol.182 No.-

영국성 다시 읽기

배만호(Bae, Man-Ho) 부산대학교 인문학연구소 2018 코기토 Vol.- No.84

영국의 국가적 정체성을 의미하는 영국성은 한 마디로 정의내리기 어려운 복합적이고 다중적인 의미를 지니고 있다. 오랫동안 영국성은 고유한 민족적 특징일 뿐만 아니라 스스로를 영국인으로 여기는 사람들이 가지는 독특한 가치, 믿음, 특징, 태도의 결합체이자 자아의 본질적인 부분이 되는 민족 정체성에 대한 믿음으로 정의되었다. 이러한 영국성은 1960년대 이후 대영제국의 해체와 영국의 경제쇠퇴에 뒤이어 옛 식민지 국가로부터 유입된 소수집단의 증가와 더불어 스코틀랜드와 웨일즈에 일어난 민족주의 운동과 유럽통합이 구체화되는 상황에서 과연 ‘영국적인 것이 무엇인가’를 자문하는 영국인들에 의해 대중적인 관심사로 나타나게 되었다. 특히 대영제국이 해체되는 상황에서 자신들의 정체성의 혼란과 위기의식을 느끼는 영국인들은 본질적인 영국성을 찾기 시작했고 그것을 강조하려고 했다. 본 논문은 1980년대 대처 총리 집권 이후 나타났던 두 작품, 카즈오 이 시구로(Kazuo Ishiguro)의 『남아있는 나날』과 줄리언 반즈(Julian Barnes)의 『잉글랜드, 잉글랜드』릍 통하여 영국인의 눈에 비치는 영국성과 이민 1세대와 작가의 시각으로 본 영국성에 대한 이데올로기의 허구성과 영국성의 강조에 수반되는 모순점을 살펴보고자 한다. 동시대 영국작가인 이시구로와 반즈의 대표작이라고 할 수 있는 두 작품을 통해 영국성이 하나의 이데올로기적 구성물이자, 문화상품화를 위해 동원된 구성물임을 밝히면서 영국성의 본질을 살펴봄으로써 영국성의 구성과 해체를 통해 편협한 민족정체성에 대한 인식과 새로운 혼종적 정체성에 대한 이해가 선행되어야 할 것이다. This paper aims to examine the conception of “Englishness,” which is English national identity as a series of ideological constructs in the novels of Kazuo Ishiguro’s The Remains of the Day(1989) and Julian Barnes’s England, England(1998). In The Remains of the Day, Ishiguro regards Englishness as a political construct, and criticizes Margaret Thatcher’s essentialism rhetoric as ideological tool in order to strengthen her political policies, trying to twist it in a different way to undermine the concept of Englishness. He also shows that the blind pursuit to Englishness was dangerous and criticizes racist as well as exclusive Englishness. Barnes also regards Englishness as a cultural construct in England, England, and criticizes Tony Blair’s policy of selling English culture for its lack of correct understanding of English history, thinking about the inventiveness of cultural tradition and the problematics of historical authenticity. These two novels show Englishness is a kind of human construct, politically or culturally, to a particular purpose. The novels depict a range of responses to Englishness that indicate that the choice between traditional and alternative is misreading since all versions of English national identity are merely human constructions.

저자가 본 소설의 영화화

배만호(Bae Man-Ho) 새한영어영문학회 2011 새한영어영문학 Vol.53 No.2

Literature in the massive and popular culture cannot belittle the influence of films and often depends upon the filming power. This paper examines the author’s eyes on filming with regard to the adaptation of Graham Swift’s two novels, Waterland and Last Orders,. and considers the value of two novels’ cinematograph. In Waterland, Graham Swift, with his lyrical, intelligent, and thoughtful style, works out Tom Crick’s narrative into simultaneously the history of England, the document of Norfolk Fenland, and the narrator’s fictional autobiography. The precise evocation of landscape and the serious contemplation on history, saturated with the very mood of Englishness, are paralleled to both personal and collective history. In adapting a novel, there is either something essential to choose or what they can get away with. American director Stephen Gyllenhaal, who unfortunately Americanised Waterland, did not represent the original mood and English virtue of the novel which were something essential to choose. Fred Schepisi’s filming of Last Orders, which revitalised the novel’s substantial story and its vivid/brilliant language, was an excellent “borrowing” of literature. The scripter/director Schepisi kept scrupulously the novel’s topography and its impact with his cinematic artistry, so the movie realised the impression and mood of the original text unimpeachably. The film’s wonderful cast, powerful one of mostly mature, much-admired British performers, well cast depicted the dramatic intensity and the emotional depth of the novel in a harmonic ensemble of well-paced action. In the whole enterprise of adapting his novel, Swift felt like ‘a visiting ghost’, who is both vital and redundant to the happenings. In a sense, the ghost is the very spirit of the novel and preserves its identity. The filming of novels transforms the active experience of readers into the passive role of audience. It is a re-creating endeavour of literature into a different genre through the dressing operation for imaginative images with the visible and the audible. The best way in which films might relate to their literary sources would be “borrowing,” but a film cannot replace its literary counterpart because even the best “borrowing” is no more than parts of the life represented in a novel.

『암흑의 핵심』의 다원적 글읽기

배만호(Man-Ho Bae) 부산대학교 인문학연구소 2000 코기토 Vol.56 No.-

지넷 윈터슨의 『오렌지만이 유일한 과일은 아니다』(Oranges Are Not the Only Fruit)에 나타난 포스트모던 서사기법

배만호(Bae Man-ho) 한국외국어대학교 외국문학연구소 2006 외국문학연구 Vol.- No.23

Jeanette Winterson is one of the most talked-about novelists in the late twentieth-century. Her impact on both popular and literary culture in England is owing at least in part to the acclaim awarded to her first novel, Oranges Are Not the Only Fruit(985). Since her first novel, Winterson has published 10 books of fiction, several short stories, articles on movies and feminism, a book on female body image and fitness consciousness, and two television scripts(including the television adaptation of Oranges Are Not the Only Fruit, 1990). In this paper, I will examine Winterson's postmodem narrative technique in Oranges Are Not the Only Fruit(985), such as decentering history, parody, intertextuality, magic realism through dreams, fantasy, and fairy tales. I will discuss it by reading her fiction through Art Objects, her 1995 collection of "Essays on Ecstasy and Effrontery" which appears to be a declaration of her aesthetic credo. I also suggest that the spell of words in Winterson's fiction is infinitely more subtle and complex than her self-justificatory and often self-regarding polemic. Art Objects is Winterson's attempt to locate her individual talent in relation to a particular tradition of writing. It may indeed be her way of rein venting herself as a particular kind of writer and of retrospectively rewriting her fictional oeuvre to date. Oranges Are Not the Only Fruit has many of the formal and thematic characteristics which we have come to associate with postmodernist fictional practice in the late twentieth century: parody, irony, pastiche, self-reflexivity, and playfulness, a sense of multiplicity, fragmentation, instability of meaning, and an apparent distrust of grand narratives. In Oranges Are Not the Only Fruit, Winterson presents her readers with a world of apparently endlesslY proliferating narrative, of stories within stories within stori~s. The story of Jeanette in Oranges Are Not the Only Fruit is refracted through narrative models of different books of the Old Testament interwoven with intertextual allusions to medieval romance and folk and fairy tale. From the start her most significant achievement lies in how she combined a plot full of intriguing, slightly quirky characters with a touch of late-twentieth-century postmodem self-consciousness. With her first four novels, that self-conscious touch took on the genre of the fantastic. From magic· realism to parables, from religious iconography come to life to revisionist fairy tales, Winterson's early work flirts with the traditions of Angela Carter, Gabriel Garcia Marquez, Salman Rushdie, and Italo Calvino. Jeanette Winterson is one of the most talked-about novelists in the late twentieth-century. Her impact on both popular and literary culture in England is owing at least in part to the acclaim awarded to her first novel, Oranges Are Not the Only Fruit(985). Since her first novel, Winterson has published 10 books of fiction, several short stories, articles on movies and feminism, a book on female body image and fitness consciousness, and two television scripts(including the television adaptation of Oranges Are Not the Only Fruit, 1990). In this paper, I will examine Winterson's postmodem narrative technique in Oranges Are Not the Only Fruit(985), such as decentering history, parody, intertextuality, magic realism through dreams, fantasy, and fairy tales. I will discuss it by reading her fiction through Art Objects, her 1995 collection of "Essays on Ecstasy and Effrontery" which appears to be a declaration of her aesthetic credo. I also suggest that the spell of words in Winterson's fiction is infinitely more subtle and complex than her self-justificatory and often self-regarding polemic. Art Objects is Winterson's attempt to locate her individual talent in relation to a particular tradition of writing. It may indeed be her way of rein venting herself as a particular kind of writer and of retrospectively rewriting her fictional oeuvre to date. Oranges Are Not the Only Fruit has many of the formal and thematic characteristics which we have come to associate with postmodernist fictional practice in the late twentieth century: parody, irony, pastiche, self-reflexivity, and playfulness, a sense of multiplicity, fragmentation, instability of meaning, and an apparent distrust of grand narratives. In Oranges Are Not the Only Fruit, Winterson presents her readers with a world of apparently endlesslY proliferating narrative, of stories within stories within stori~s. The story of Jeanette in Oranges Are Not the Only Fruit is refracted through narrative models of different books of the Old Testament interwoven with intertextual allusions to medieval romance and folk and fairy tale. From the start her most significant achievement lies in how she combined a plot full of intriguing, slightly quirky characters with a touch of late-twentieth-century postmodem self-consciousness. With her first four novels, that self-conscious touch took on the genre of the fantastic. From magic· realism to parables, from religious iconography come to life to revisionist fairy tales, Winterson's early work flirts with the traditions of Angela Carter, Gabriel Garcia Marquez, Salman Rushdie, and Italo Calvino.

The French Lieutenant's Woman에 나타난 포스트모던 소설기교

裵萬鎬(Bae, Man-Ho) 부산대학교 인문학연구소 1996 코기토 Vol.49 No.-

The Godgame as a Metaphor for Existence in John Fowles's The Magus

Bae Man-Ho(배만호) 새한영어영문학회 2006 새한영어영문학 Vol. No.

The Magus, John Fowles's the second novel, was published in 1965. Although second in terms of publication date, the novel had been reworked since the early 1950s. Many critics and reviewers were so disturbed by the labyrinthine complexity of The Magus, such as the mazes of the godgame, the multiple identities of its dramatis personae, and the ambiguous nature of each vision of "reality" devised by Maurice Conchis. This paper was to examine the original title of The Godgame as a metaphor for existence as well as a paradigm for the texts of both fiction and life. In Fowles's philosophy, God, like a novelist, disappears once he has created his text (the universe) and leaves his reader (humanity) to work out what is going on, or whether He even exists. In The Magus, Fowles devised a structural metaphor, the "godgame," to illustrate this apparent paradox. He created, in the imposing figure of Conchis, an author who "plays" god but ultimately denies his omniscience. Godgame is also a paradigm for the texts of both fiction and life. At the center of this microcosm is the elusive Conchis-magus, author, and god. Hence every phase of the Godgame is designed to reflect those fictions that have imprisoned Nicholas in the decadent genre his narcissism has appropriated, while preparing him for the genre he has yet to confront, yet to create-that of reality. Each aspect of this meta-drama mirrors and mocks not only Nicholas's foibles, but those of an entire generation as well.

IoT 기반 무선 3채널 심전도 장치 구현

우영재(Young-jae Woo),배만호(Man-Ho Bae),윤희진(Hee-Jin Youn),홍주현(Joo-Hyun Hong) 대한전자공학회 2018 대한전자공학회 학술대회 Vol.2018 No.6

공손성 번역의 적절성에 관한 연구

최현희(Choi Hyun-Hee),배만호(Bae Man-Ho) 새한영어영문학회 2015 새한영어영문학 Vol.57 No.2

Politeness plays an important role in representing and setting social distance and intimacy among characters in novels. To reinforce or modify their relationships, characters in a novel use various politeness strategies through expressions representing varying levels of respect and appropriate social etiquette. The degree of politeness needs to be maintained in a translation since it represents the social relationship status among characters, which is a critical part in setting the stage for interpersonal interactions in literary works. The primary objective of this paper is to show whether the level of politeness and intimacy among characters is maintained in proper ways by analyzing politeness expressions in ST and TT with social, cultural, and linguistic considerations. In order to comprehend politeness equivalence, it is necessary to understand the social distance among characters and the context in which the conversations occur. This study is an empirical one based on the politeness theory and a qualitative one analyzing several texts along with their counterparts. By contrasting ST and TT, this research analyzes the degree of politeness present in the literature and suggests an appropriate level that corresponds to each instance. Additionally, this study contributes to the understanding of the aspects of politeness utilized in Korean and English and presents their equivalence in translation.

The Godgame as a Metaphor for Existence in John Fowles's The Magus

배만호 새한영어영문학회 2006 새한영어영문학 Vol.48 No.4

The Magus, John Fowles's the second novel, was published in 1965. Although second in terms of publication date, the novel had been reworked since the early 1950s. Many critics and reviewers were so disturbed by the labyrinthine complexity of The Magus, such as the mazes of the godgame, the multiple identities of its dramatis personae, and the ambiguous nature of each vision of "reality" devised by Maurice Conchis. This paper was to examine the original title of The Godgame as a metaphor for existence as well as a paradigm for the texts of both fiction and life. In Fowles's philosophy, God, like a novelist, disappears once he has created his text (the universe) and leaves his reader (humanity) to work out what is going on, or whether He even exists. In The Magus, Fowles devised a structural metaphor, the "godgame," to illustrate this apparent paradox. He created, in the imposing figure of Conchis, an author who "plays" god but ultimately denies his omniscience. Godgame is also a paradigm for the texts of both fiction and life. At the center of this microcosm is the elusive Conchis-magus, author, and god. Hence every phase of the Godgame is designed to reflect those fictions that have imprisoned Nicholas in the decadent genre his narcissism has appropriated, while preparing him for the genre he has yet to confront, yet to create-that of reality. Each aspect of this meta-drama mirrors and mocks not only Nicholas's foibles, but those of an entire generation as well.