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John Milton의 Samson Agonistes와 聖書的 要素
崔正雲 漢陽大學校 人文科學大學 1990 人文論叢 Vol.19 No.-
This drama is concerned essentially with the fallen Samson's recovery of God's last favor. Tragic beauty, Milton thought, came from the surffering and regeneration ant triumphant death of a protagonist. Everything must center on him ant his regeneration must dominate everything. Milton insists throughout the drama that the heavenly Disposition is not to be disputed, that the way of God are just and justifiable, and that Samson is an instrument, not a victim of providence. This study attempts to analize the process which involves Samson's punishment and repentance, and a sort of probation under new trial provided by the timidity and lack of faith of Manoa and the chorus, by the attempted deductions of Dalia, and by the threats of Harapha and to examine tile analogue between the poet's own position and that of his protagnoist which is vividly presented in the poem. It cannot be denied that the poem gains from association with our picture of Milton himself in the last days of his heroic life, blind and alone amid the alien society of the Restoration, confronted with the apparent failure of the cause for which he had battled, but seeking in religious faith the assurance that God will not long defer to vindicate the glory of his name against all competition. It is true that Milton's Samson is most Puritan and Protestant because he accepts every shred of responsibility for his misfortunes, and because it is by that acceptance that he is regenerated. Only if we read his tragedy in the light of Christian tradition can we see in it the fulfilment, not only of Milton's early intention to sing the victorious agonies of martyrs and saints, but also of his larger ambition to assert Eternal Providence, and justify the ways of God to men. Here the whole philosophy of Milton's reaches its end. We may think that few poets have ever achieved so fully an exalted purpose, and Samson Agonistes is, in more ways than we have sometimes understood, the close of a dedicated life of Milton's
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崔正雲 漢陽大學校 人文科學大學 1985 人文論叢 Vol.10 No.-
Lycidas gathers up all the world, things the most disparate in space and time and kind, and concentrates them in one place and moment, brings them to bear upon one event, the death of the poet-priest. Yet we may conclude that Lycidas is not about Edward King at all but about John Milton. We take the view that though the poem may fail in its avowed intention, it succeeds in an intention that it does not avow and the most memorable and affecting parts of the poem are those in which Milton is his own subject. Lycidas and Paradise Lost share with one another a common purpose the justification of God's way to man and the assertion of eternal providence. Milton makes Lycidas' glory serve not to immortalize himself but to praise God. Though the theme is a familiar one throughout Milton's poetry, we usually take three explicit climaxes in this pastoral elegy, each having to do with a problem which Milton wished to pose regarding the meaning of exestence. Apollo answers his first question about the reward of peotry, St. Peter answers his second question about the spiritual shepherd who betrays his flock and finally Lycidas is translated into the Christian paradise, to be one with Good shepherd. The synthesis which finally accomplished in Lycidas is a typically baroque mingling of Christian and pagan materials. The pagan elements are not made completely false and remain true in so far as they suggest the final truth of Christian revelation.
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최정운 서울大學校 國際問題硏究所 1997 세계정치 Vol.- No.21
Richard Wagner's opera tetralogy, Der Ring des Niebelungen, consisting of Das Rheingold, Die Walkure, Siegfried, Gotterdammerung, was first performed in the Festspielhaus, in Bayreuth, Germany in August 1876. This was a historic event, intended to symbolize the greatness of the Geman Empire, newly constructed with a work of art in an unprecedented scale, written and composed by Wagner for almost 25 years. These operas made a myth of ultimate power. In these operas Wagner criticized the power of modern state and militarism in the name of love which was a formidable power inherent in man. His criticism was meant to protect individuals from the growing state power which was developed into legal debates on the Constitution and basic rights of man and it was also meant to demand Bismarckian prudence on the part of the Reich. But these meanings were derived from its primary meaning of a new type of power, probably an inspiration of fascism. The power of the ring is interpreted as an amalgamation of modern state power and the power of erotic love. This power represented a dream of mid nineteenth century German intellectuals frustrated by the failure of a revolution in 1848. This unprecedented power transcended the modern state power with erotic love through which man should overcome his or her finitude. However, this power was extremely unstable and dangerous because of the unpredictable nature of erotic love. Wagner in the last scene of these operas, Gotterdammerung abandoned the ring deep in the Rhine, but the ring, its idea and memory, remained intact. The ring even became free from Alberich's curse and has been waiting in the deep water of the Rhine for someone who would find it and give another life. Wagner's ring of Niebelungen was a crucial on Germany's long road to fascism.
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최정운 서울大學校 國際問題硏究所 1998 세계정치 Vol.- No.22
The concept of culture is not to be delimited by a category of specific objects, referred to by the term. Culture consists in a discourse that can only be understood fully by a genealogy of the origins of the term. The term, culture began to be used mainly from the late sixteenth century in Western Europe, and it was during the last decades of the eighteenth century that its contemporary meaning took its shape. At the time the concept of culture was suggested by Germans as a conflicting concept with the concept of civilization that had been used by French just prior to the former, but from an objective viewpoint we can understand that the two apparently conflicting concepts consisted of a pair of terms making a discursive unit. The discourse of culture when it was used for an individual referring to his level of education and taste, was to appreciate his vertical coordiante in terms of social class status. However, when it was used to depict a society or a nation, the discourse was meant to situate it which part of the horizontal scale of the world, while the discourse of civilization was to situate them which part of the vertical scale of the world. But from the nineteenth century on in most cases the discourse of culture has been used so as to situate a nation which part of the vertical and horizontal coordinate of the world of nations. In conclusion the discourse of culture has been constituting an area and a weapon for nations waging peaceful conflicts without using physical violence.
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Kano 모델에 기반한 국내외 조리교육 서비스 품질속성 비교분석
최정운,김태희,Choi, Jung Woon,Kim, Tae Hee 한국식품영양학회 2014 韓國食品營養學會誌 Vol.27 No.4
The purpose of this study was to use the Kano model to compare and analyze the educational service quality attributes of domestic and foreign culinary arts schools. For this purpose, a questionnaire-based survey was completed by 312 students who were studying in domestic and foreign culinary schools. The results of the study indicated that 23 of the total 25 attributes were significantly different between domestic and foreign culinary arts school.; the "minium 4 hour-kitchen class" and "mandatory internship program" were classified into "indifferent quality" for domestic schools and a "must-be quality" for foreign schools; "well-organized internship guidebook", "kitchen class limited to 20 students", "introducing the latest food or restaurant trends", "library with the latest publications related to major", "objective instructor's evaluation", "detailed instructor's evaluation", "instructor's field experience", and "decent communication skills on the part of the instructor" attributes were classified into "attractive quality" for domestic schools and "must-be quality" for foreign schools; and "kitchen classes operated by block system", and "foreign instructors for each ethnic cuisine" attributes were classified into "indifferent" and "attractive quality" for both domestic and foreign schools, respectively. Also, according to the Better and Worse quotient designed by Timko, there were more attributes for domestic school than for foreign school that scored over 0.5 in the Better category and fewer attributes for domestic than the foreign scored over 0.5 in the Worse category. The results also indicate that, students in foreign schools receive an educational service of better quality than students in a domestic school. As a result, this research suggests significant implications to develop culinary educational services.
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