Wordsworth’s Guide to the Lakes and the Neoclassic Picturesque Tradition:Similarities and Differences

신웅재,Woong Jae Shin 한국영미어문학회 2015 영미어문학 Vol.- No.117

This paper argues in what ways and to what extent Wordsworth’s viewpoints on natural scenery in his Guide to the Lakes are similar to or different from the neoclassic picturesque tradition. Wordsworth’s Guide is a multifaceted work that contains both traditional and revolutionary elements in dealing with nature. In its description of nature ― with its scientific interest in nature, its associating beauty with utility, and its emphasis on compositional unity ― his Guide affirms and employs the theories and practices of the neoclassic picturesque tradition. However, in its attitude toward nature, the Guide shows a drastic change from that of its neoclassic predecessors ― from treating nature as man’s subject to treating man as nature’s subject. Wordsworth’s Guide , thus showing a new view on the relationship between man and nature while preserving the criteria and methods of the neoclassic picturesque tradition, is an epochal link between the Neoclassic Period and the Romantic Period in the history of English literature.

말기암환자 가족간병인의 미충족 의료 분석

신웅재,황선욱,황인철,최윤선,이용주,김영성,신지성,최영호,임다원,김한숙,Shin, Woong Jae,Hwang, Sun Wook,Hwang, In Cheol,Choi, Youn Seon,Lee, Yong Joo,Kim, Young Sung,Shin, Ji Sung,Choi, Young Ho,Rim, Da Won,Kim, Han Sook 한국호스피스완화의료학회 2016 한국호스피스.완화의료학회지 Vol.19 No.2

목적: 말기암환자들에게 간병인의 미충족 의료는 매우 중요하지만 간병인들이 필요로 하는 통증 조절, 삶의 질 보조, 가족간의 문제, 심리 사회적 문제, 자택 요양, 세심한 돌봄, 보완 대체 의학 같은 건강의 질을 유지할 수 있게 하는 관리 정보를 간병인에게 전부 제공하기에는 한계가 있고, 이와 관련된 연구는 아직 부족한 상태이다. 이번 연구를 통해 간병인의 특성과 미충족 의료를 밝히고, 특성에 따른 미충족 의료가 어떻게 다른지 알아보고자 하였다. 방법: 설문조사는 4개 호스피스 완화의료 병동에 입원한 말기암환자의 가족간병인 109명을 대상으로 시행되었다. 자료는 2014년 3월 1일부터 2014년 12월 31일까지 구조화된 설문지를 이용하여 수집되었다. 기존의 설문지를 수정하여 삶의 질 향상에 필요할 것으로 생각되는 14개 항목에 관해 필요성과 충족도를 알아보았다. 또, 통계는 단변량 분석으로 카이제곱 검정을, 다변량 분석으로 이중 회귀 분석을 사용하였다. 결과: 보완대체요법 및 건강기능식품 상담, 성기능 상담, 암 검진, 가족 및 대인관계 상담, 보험 상담, 직업 상담, 경제적 지원 등 7개의 항목에서 의미 있는 결과가 나타났다. 말기암환자의 가족간병인의 삶의 질 향상과 관련된 요구 중 충족도가 미충족도보다 더 높은 요구는 14개 중 피로 관리, 건강 체중 관리 2개였다. 결론: 본 연구 결과를 통하여, 말기암환자의 가족간병인의 미충족 의료를 이해하고 미충족 원인과 효과적인 중재방안에 대한 연구를 통해 요구를 충족시킬 수 있는 방안을 마련할 것을 제안한다. Purpose: The unmet medical service needs of caregivers critically influence their caring for terminal cancer patients, but not much research has been done in this regard. Thus, the purpose of this study is to investigate the association between caregivers' characteristics and their unmet medical service needs. Methods: The survey was conducted with 109 family caregivers of terminal cancer patients admitted to four hospice units. The data were collected from March 2014 through December 2014 using a structured questionnaire. The unmet medical service needs were measured using 14 items which were adopted and modified by authors. Results: Seven areas of unmet medical service needs were shown to be significant. A well-educated group showed stronger needs for counsel about cancer screening and complementary-alternative medicine and health supplement food. A never-smoked group was identified with less need for sexual dysfunction counsel. Counsel about family and personal relations was more necessary for current drinkers and current workers, and less necessary for the married. Insurance counsel was more needed for a no-religion group. Occupation counsel was less necessary for healthy patients. Financial support was less necessary for the married group. Conclusion: Based on the results, it is highly recommended to further investigate the unmet medical service needs of family caregivers for terminal cancer patients and causes of the unmet needs.

20세기 영국의 『햄릿』 공연

신웅재(Woong-Jae Shin) 한국셰익스피어학회 2002 셰익스피어 비평 Vol.38 No.1

Hamlet is so complex a play as to cause a wide variety of interpretations and performances worldwide-and especially more so in the twentieth-century England. Dividing the 20th-century England into three generations, this study analyzes each generation's representative production of Hamlet-John Gielgud's in the 1930s, David Warner's in the 1960s, and Kenneth Branagh's in the 1990s-to point out its merits and demerits. By highlighting the merits and drawing solutions for the demerits from still other various productions of Hamlet in the 20th-century England, this paper makes the following suggestions for improving the future performances of the play. In making speeches, John Gielgud's poetic rendition of verse speeches should be combined with Laurence Olivier's natural ways of speaking both prose and verse. In acting, Gielgud's romantic prince of refined sensibilities should show the physical vitality of Olivier's realistic Hamlet as well. Likewise, it would make a better Hamlet to combine David Warner's immature prince and Ben Kingsley's competent prince. Ideally, Hamlet should be acted as a complex man who shows many different aspects of character-noble, brave, clever, witty, melancholic, passionate, tender, cruel, unstable, and even selfish-like Kenneth Branagh's Hamlet. In selecting and preparing the text, using a full text as in Branagh's Hamlet is desirable since it can show everything Shakespeare had in mind when writing the play. But when some unnecessarily long passages hinder the flow or pace of the action and the running time needs to be shortened, it would be much better to either reduce or entirely cut them. And the stage design should neither dominate nor encumber acting; if it does as in Branagh's Hamlet, it would be better to play on an empty stage with no scenery at all as in Ben Kingsley's Hamlet. Stage design should be used moderately and in harmony with acting and the text. In sum, each area of production-speeches, acting, text, stage design-should be used in harmony with the others to help each other.

케네스 브래너의 〈햄릿〉: 작품성과 대중성의 상관관계

신웅재(Woong Jae Shin) 한국셰익스피어학회 2006 셰익스피어 비평 Vol.42 No.4

This paper discusses that Kenneth Branagh's Hamlet achieves a skillful combination of both artistry and popularity. On the one hand, the movie gives the whole aspect of the play by using its full text. This enables the movie not only to reveal the complexity of its major characters, but also to intensify its political meaning by including the Fortinbras subplot. The movie, however, makes the long uncut dialogues sound rather exciting than boring by using various methods such as making them concurrent with dynamic actions or visually appealing scenes. On the other hand, Branagh's Hamlet shows a strong tendency to make itself popular among the masses aiming at a box-office success. The movie casts a number of world-famous actors and actresses such as Hollywood stars. It also attempts a multiracial (and multinational) casting to make inroads into the world market. It then partially modernizes the setting as well as the speaking and acting styles in order to facilitate the accessibility of the classic tragedy to the general public. Moreover, it constantly attracts the viewer's eyes by ceaselessly providing spectacular scenes. In addition, it borrows various techniques from Hollywood movies, each popular genre of which focuses respectively on espionage, horror, action, war, science fiction (supernatural occurrences), comedy, eroticism, etc. Nevertheless, these strategies and devices for boosting popularity invariably turn out to preserve or heighten the artistic values of the play. The world stars make possible so excellent an ensemble acting as to enhance the total quality of the movie, and the multinational casting reconfirms the play's universal values transcending national or ethnic differences. The modernization increases the modem relevance and significance of the old play, and the visual effects reinforce the rhetorical potence of Shakespeare's language in the play. Even using the various techniques of popular Hollywood movies serves to generate the diverse effects or atmospheres Shakespeare tries to produce here and there in the play. Branagh's Hamlet achieves such an exquisite harmony between artistry and popularity as to produce a synergy effect between the two, thus setting a good example to Shakespearean movies in future.

『욕망이란 이름의 전차』에 제시된 절충형 인간상: 상극의 조화

신웅재 ( Woong Jae Shin ) 광운대학교 인문사회과학연구소 2004 인문사회과학논문집 Vol.33 No.-

셰익스피어극 공연 동향을 통한 영국 문화 연구 - 1997년 공연 분석

신웅재(Woong Jae Shin) 한국셰익스피어학회 1999 셰익스피어 비평 Vol.35 No.1

셰익스피어의 현대화 : 리처드 론크레인의 『리처드 3세』

신웅재(Woong-Jae Shin) 한국셰익스피어학회 2011 셰익스피어 비평 Vol.47 No.1

Loncraine’s filmic version of Richard Ⅲ presents the play’s characters and action through some prominent people and events in the nineteen thirties to emphasize the play’s modern relevance and significance. This movie compares Richard Ⅲ, Edward Ⅳ, and the Wars of the Rose to Hitler, Edward Ⅷ, and the World War Ⅱ respectively in order to portray the fearful political atmosphere of the medieval England through the rise of fascism in the early twentieth-century Europe. This film also identifies Richard with a typical twentieth-century American gangster to show that criminal behavior is a universal phenomenon in all periods, classes, and nationalities. Loncraine’s time travel into the nineteen thirties is also appropriate in that during the period the past and the present coexisted in terms of lifestyle. The early twentieth century, having both classical and modern characteristics in language and atmosphere, can serve well as a bridge to connect Shakespeare's plays to modern audiences. Loncraine’s film also approaches Richard Ⅲ from various modern perspectives such as criminal psychology, existentialism, and radical political ideology, thus deepening the audience’s perceptions about those important issues of the modern period. The film draws from Shakespeare’s play some universal themes or subtexts to provide meaningful messages for the modern audience. Furthermore, this film makes the most of the modern cinematographic techniques to maximize its visual effects which, as a substitute for language, help to show the play’s themes, characters and atmospheres more impressively. In addition, this film prepares an alternative plan to remedy any loss that may occur in the process of modernization; the alternative not only minimizes the loss but produces another effect that compensates for it. Loncraine’s Richard Ⅲ thus serves as a good example of modernizing Shakespeare effectively. In brief, the movie selects an appropriate periodical background, provides modern messages through the play’s hidden meanings, produces visual effects that can replace language profitably, and remedies any defects that may accompany modernization.

오슨 웰즈의「맥베스」에 대한 재평가

신웅재(Woong-Jae Shin) 한국셰익스피어학회 2012 셰익스피어 비평 Vol.48 No.1

Orson Welles" Macbeth has been underservedly undervalued since it was released in 1948. In general, there are three kinds of criticisms against this film such as the following: it is a simple morality tale in which good wins over evil; it consists of two-dimensional flat characters who, being either good or bad, lack psychological depth; and it is a quickly made low-grade movie with cheap sets and costumes. This paper argues that Welles" Macbeth interprets Shakespeare"s play as showing the triumph of evil over good along with the vicious circle of power struggle on earth. This movie also regards Macbeth as the prototype of such 20th-century dictators like Hitler, Mussolini and Stalin and warns against the undending reappearance of such evildoers on earth. This movie also presents the fatalistic view that every human-being is at the mercy of the supernatural power of evil. Welles" movie also creates morally ambivalent three-dimensional characters who are both good and evil in nature. These complex characters display extreme psychological anguishes as well. This movie does not show elaborate periodical details or spectacular scenes due to budget constraint. However, it delivers its messages successfully as well as portrays its characters impressively by using various expressionistic or symbolic devices in sets, costumes, properties, photography, lighting, and sound. This movie also heightens its dramatic effects by adoping theatrical devices to the maximum effect. When producing Shakespearean films, a huge budget does not always gurantee a great movie in both content and form. In his Macbeth, Welles proves that even with a minimum budget one can make an excellent film showing significant massages, dynamic characters, and outstanding artistic skills.

셰익스피어의 비극에 나타난 악인상 연구

신웅재(Woong-Jae Shin) 한국셰익스피어학회 2004 셰익스피어 비평 Vol.40 No.1

This paper aims to find the common characteristics and roles of the villains in Shakespeare's four greatest tragedies-respectively, Claudius, lago, Edmund, and Macbeth-showing what kinds of people they are and how their existence affects human society. It attempts to infer Shakespeare's views of the human world from his characterization of these villains and therein find Shakespeare's moral and religious messages to the audience. Shakespeare's villains in his four greatest tragedies overthrow the hierarchy of human society thus breaking the law of nature, or the divinely ordered Chain of Being. Also they appear similar to the Vice in medieval morality plays and are often compared to the Devil, the chief enemy of Christianity. They have extraordinary abilities in many directions, as well as strong personal magnetism, with which they easily seduce or destroy their victims. Shakespeare thus warns the audience that the force of evil is so powerful and charismatic as easily to corrupt or ruin most of human beings. The villains destroy all kinds of people in the four tragedies, from ordinary men through noble but not perfect heroes to absolutely flawless people. They often use some minor characters as tools to ruin heroes and eventually destroy both of them. They sometimes use the hero's virtues to entrap him; moreover, they corrupt the hero's character so that the latter's soul may be jeopardized in the life to come. The villains also destroy exceptionally pure and virtuous people, which causes the audience to feel extreme pity and fear. On the other hand, the villains are not entirely different from their fellow human beings. They sometimes display such human feelings as the remorse of conscience, and we often find some understandable motives of their crimes. However, their sins are too heavy and disastrous to justify their motives, their conscience is not firm enough to abandon evil deeds, and their repentance is not deep enough to expiate their sins. Consequently, despite the extenuating circumstances of their crimes, they are unexceptionally punished for their sins both in this world and in the next world. From this we find Shakespeare's message that most of human beings, if placed in the same situation as the villains, would be equally vulnerable to evil and that once they yield to evil eternal damnation is inevitable. However, the self-destruction of the villain at the end of each tragedy suggests that justice still exists in this world. Also the rise of a new leader, such as Edgar in King Lear, makes us hope for the restoration of the social and political order disrupted by the villain. Furthermore, the strong hint of spiritual salvation and eternal life for such paragons of human goodness as Desdemona and Cordelia produces an effect of catharsis by purging us of the emotions of pity and fear aroused by their physical destruction and gives us a feeling of spiritual triumph.

제피렐리와 루어만의 『로미오와 줄리엣』 영화 비교

신웅재(Woong-Jae Shin) 한국셰익스피어학회 2003 셰익스피어 비평 Vol.39 No.2

This study compares Franco Zeffirelli's Romeo and Juliet and Baz Luhrmann's William Shakespeare's Romeo+Juliet to examine how each movie deals with the play's main themes of love, generation gap, social environment. and fate. Zeffirelli's movie convincingly and movingly portrays the joy and beauty of the teenagers' passionate love, which is described here as charmingly fresh and pure, with touching details and rich eroticism. This movie also emphasizes the romantic purity and moral superiority of the young generation over the worldly-minded older generation. Furthermore, this movie reveals an optimistic view that the young protagonists' love and their sacrificial deaths will bring peace and order to Verona. And the circle images that often appear in the movie suggest that youthful love, despite its transitoriness, will be reborn generation after generation. On the other hand, Luhrmann's movie focuses on the corrupt social environment as well as the tyranny of Fate, both of which constantly threaten to destroy the protagonists' love. This movie portrays an extremely pessimistic view that romantic love is merely an old-fashioned ideal and therefore no longer possible in the depraved contemporary world. The older generation in this movie is much more perverted and intimidating than in Zeffirelli's movie; indeed, they represent the chaotic modem society in which all kinds of iniquities and crimes are prevalent. Not only the older generation but also blind (or malignant) Fate ruthlessly frustrates the protagonists' love and finally destroys them. In their attempts to escape from such threats and dangers, the two lovers often find their temporary refuges in various types of water-an aquarium, a swimming pool, a sea of candles and blue neon signs, etc. But this water motif also indicates the movie's pessimism, for the watery world only provides a temporary relief and ultimately leads the protagonists to death. Thus Zeffirelli's movie, which focuses on praising youthful love, is closer to a romantic tragedy, whereas Luhrmann's movie, which stresses the ills of the corrupt society and the cruelty of Fate, tends to be a social problem drama or a tragedy of fate. To compare both merits and demerits of the two movies, Zeffirelli's movie vividly and movingly reconstructs Shakespeare's timeless love story, but it fails to raise any deeper issues of contemporary society or of human destiny. On the other hand, Luhrmann's movie provides a sharp insight on the problems of the modern world or the tragic destiny of mankind, yet this insight causes the glory of love, the major theme of Shakespeare's Romeo and Juliet, to be thrust aside. Zeffirelli's movie is faithful to Shakespeare's play, whereas Luhrmann's movie departs from both the setting and the message of the text in order to experiment with it for the director's own purpose. Both approaches are considered equally worthwhile because each attempt can increase the value of the Shakespearean text by enhancing its universality and modem relevance.