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정재문,김찬중 충북대학교 산업경영연구소 2010 産業과 經營 Vol.23 No.1
한국은 1980년대 말부터 생산직 인력부족이 심화되었으나 외국인의 취업은 출입국관리법에 의거, 전문기술인력에 한하여 고용계약 체결 등 일정한 체류자격 요건을 갖춘 경우에만 허용하였고, 단순 기능 인력에 대해서는 원칙적으로 취업을 금지하여 왔다. 그러나 경영계의 외국인력 도입 요구가 계속되자 1991년 11월에는 해외투자기업연수생제도를, 1994년 5월에는 외국인산업연수제도를 도입하였고, 2004년 8월 17일부터는 합법적인 단순기능인력 도입을 위한 외국인고용허가제를 시행하기에 이르렀다. 본 연구는 이러한 흐름 속에서 외국인고용허가제에 의하여 외국인 근로자를 고용한 중소기업의 일반적인 고용환경 및 실태를 파악하고, 외국인 근로자 직무수행능력 및 직업능력개발 현황을 분석하여, 최종적으로 효과적인 직업능력개발 방안을 제시하고자 연구를 수행하였다. 연구결과, 외국인 근로자의 효과적인 직업능력개발 방안으로 첫째, 교육기관 간 정체성 및 역할규명을 토대로 사전교육-취업교육-사후지원 간의 유기적 연계체제 구축, 둘째, 교육 참여 저해요인 해소, 셋째, 송출국가의 한국어 교육 등 사전교육의 내실화, 넷째, 귀국 후 본국에서 안정적 재정착에 필요한 창업 및 재취업 알선 교육을 강화 등을 제시하였다. 이러한 본 연구는 외국인 근로자를 고용하고 있는 한국 기업들에게 고용허가제에 의한 외국인 근로자의 효과적인 직업능력개발에 관한 이론적 실무적 방안과 시사점을 제공할 수 있을 것으로 기대되며, 후속 연구에서는 제시된 방안들의 효과성 검증을 위한 실증연구도 필요하다.
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鄭在文 군산대학교 1993 群山水産專門大學 硏究報告 Vol.28 No.1
Among the many imagery patterns in Hamlet, the imagery of the contrast between appearance and reality, the disease and corruption imagery, the war imagery and the death imagery are most pervasive through the play. Hamlet is troubled by the contrast between appearance and reality, especially between his mother's apparent grief and her subsequent behaviour. Closely linked with it are the cosmetic imagery and the stage imagery. They also bring out the contrast between appearance and reality. A number of disease images are related to the poisoning of Hamlet's father, the corresponding incident in the play within the play, Gertrude's incestuous marriage and the sickness of the state. Hamlet uses them in reference to Claudius's crime and Gertrude's adultery. The disease images used by Claudius exhibit his own guilty fear of Hamlet. The war imagery reminds us of the struggle between Hamlet and Claudius all through the play Hamlet tries to obtain objective evidence of Claudius's crime. Claudius also tries to pierce the secret of Hamlet's madness. Hamlet succeeds in his purpose, but at the very moment of success he enables Claudius to pierce the secret of his madness. Thus both are engaged in a duel to the death. The death imagery is mainly related with the psychology of Hamlet. He wants to die because of the state of things in Denmark and his mother's hasty and incestuous marriage. Then comes another shock, the revelation of the ghost, who urges Hamlet to revenge Claudius's foul murder. But he now sees everywhere, but especially in his own nature, the general taint, which takes from life its meaning, from the will its strength. But when he returns to Denmark from sailing to England, we see him much changed. Now he accepts his world as it is. He finds the common destiny of men in the skulls. He believes in "special providence in the fall of a sparrow." He Is now ready for what may happen. For him "the readiness is all." Ironically he sees life in death. And he a-chieves a regeneration, as is symbolized by Fortinbras's prayer, "flights of angels sing thee to thy rest."
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鄭在文 圓光大學校大學院 1988 論文集 Vol.2 No.-
In the Exposition, the dramatist must give the audience all the information that is necessary for his purpose : introdicing the characters, showing their position in life, their circumstances, their relations to one another etc. But he must tell the necessary information by means which is interesting, because the direct telling is unpleasant and undramatic. The opening scene of Hamlet, as the first part of teh Exposition, does its business very efficiently and interestingly. The first line of the play ("Who's there?") not only makes the noisy audience pay attention to the stage, but also implies the general inversion of the customary order of things. For the challenge was not asked by the sentinel on duty but by the relieving sentinel. Francisco's "Tis bitter cold, And I am sick at heart" comes naturally form the lips of a sentinel after a lonely watch, but it also supplies the tragic pitch. For Hamlet and Denmark will appear sick at heart soon. Barnardo, unwilling to stand this particular watch alone any longer than necessary, hopes that the partners of his watch will make haste. So even before Horatio enters to ask if "this thing" has again appeared, the audience are aware that the soldiers, in the cold and darkness of the night, are watching the hidden danger-something fearful and portending evil-which may threaten the present Danish Regime. Meanwhile, the audience are smoothly informed of the place (the platform of the battlement castle), the time (midnight), the season (bitter cold season) of this scene from the dialogues of the two sentinels. Horatio, who will not believe in the Ghost, agrees to hear the tale of the Ghost which appeared last night. At this point, when ominousness is at its fullest expression, the Ghost enters. The Ghost looks like the King Hamlet 'with that fair and warlike form.' Thus begins the process of inquiry which, in one form or another, runs throughout the play, and which may generally be described as an attempt to distinguish appearance from reality : Evil is immediately associated with this spirit, but there is countering suggestion (For it wears fair and warlike form). The imagery used by Horatio in his questioning is significant, since it introduces the theme of usurpation. The belief that the visitation of the ghost bodes some strange eruption to their state leads to accounts by Marcellus of the present situation of the state, and by Horatio of the threatened invasion by Fortinbras, As Horatio is speaking of harbingers of disaster, the Ghost enters again. Three motives commonly associated with haunting sperits are mentioned by Horatio, and one of these is that the dead may return because of earthly business left incomplete. The Ghost is majestical. But as soon as the cock crows it starts like a guilty thing upon a fearful summons. 'This bird of dawning' associated with Christian salvation makes as powerful as possible the contrast of day and night, normality and abnormality, good and evil. And the scene ends with an agreement to tell Hamlet, to whom the Ghost may speak. In conclusion, the opening scene of Hamlet smoothly introduces the main theme and the necessary information to the audience, and that makes it one of masterpieces of Shakespeare's opening scenes.
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