도식화의 거부 : The International Theme in The Europeans The Europeans의 국제주제

조재진 동아대학교 인문과학대학 영어영문학과 1988 동아영어영문학 Vol.4 No.-

계획 추론

노심덕 동아대학교 인문과학대학 영어영문학과 1996 동아영어영문학 Vol.12 No.-

What is communicated is often different from what is literally said. Because the participants in the conversation we cooperative to understand each other. It is Paul Grice' "Cooperative principle with a set of maxims". Which has been viable still now in the philosophical literature but also caused some questions in detailed predictions. In this paper the speaker's plan-based reasoning of implicature or indirect utterance is suggested, adapting the ideas from computational linguistics. All the speaker's plan is based on the act so that the preconditions and the effects of the act are basically presumed. According to that, the dialogue exchangers utter cach other to try to give some help to remove the obstructions for the speaker to do his plan. That is, the preconditions of the act must be true to archive the act and the information of the utterances is to change of modify the false belief about it. With this approach it can be had the advantage of the admission of the change of the context which the conversation participants have involved as well as the resolution of Grice' problem in three points.

John Keats의 詩的 想像力

양순덕 동아대학교 인문과학대학 영어영문학과 1991 동아영어영문학 Vol.7 No.-

잠자는 미녀 : The Princess

김명혁 동아대학교 인문과학대학 영어영문학과 2002 동아영어영문학 Vol.18 No.-

Mary Henrietta Urquhart, the Sleeping Beauty, is a typical heroine in The Princess. Her mother calls her "My Dollie," a name suggesting, as in Ibsen, possession of the plaything rather than love of the person, and her father calls her "My Princess," a title with multiple allusions to "aristocracy of birth, social snobishness, and the unreality of romance." Her father, Colin Urquhart, thinks he and his daughter are the only Scottish royal family and tells her never take too much notice of people and things they say and do. Brought up in splendid isolation by her crazy father, she becomes "impervious as crystal." Therefore, her sexual consciousness ins never awaken, and is unable to regard passionate relationships with anything except a kind of incredulous revulsion. She can never understand "the volcanic phallic rage" with which coarse people can turn on her in a paroxysm of hatred. She is "not quite a woman "but" a changeling of some sort." After her father dies, Dollie, 38 years of age, comes to a dude ranch in New Mexico with Charlotte Cummins, her father's nurse-companion, assuming that marriage is her goal. The Sleeping Beauty, Dollie, encounters her dispossessed and fragmented Prince, Domingo Romero, the son of an old San Christobal family of Spanish landowners who, as the results of their own inertia and the invasion of the white men, have become mere of their own inertia and the invasion of the white men, have become mere Mexican peasants. The heir, Romero, apparent to this ruin works as a guide on the ranch. Not surprisingly, Dollie conceives a desire for Romero to fulfill, in relation to her, both is literal and symbolic functions as guide. A vague, unspoken intimacy develops between Dollie and Romero. She makes an expedition with him into the Rocky Mountains which isolates the virginal white woman with the savage man. The conclusion of the tale is purely Lawrentian in its account of a deathly kind of power struggle between a man and a woman who are attracted to each other. In the intense cold and thick oblivious darkness of the night, she awakes in a conflict of emotions and desires : she wants warmth, protection, to be taken away from herself; and at the same time she wants to keep herself intact, untouched, letting no one have any power or rights over her. At last Dollie wills Romero to take her, ostensibly to warm her. Next morning she insists that they return again at once, back to the world of people. He is deeply humiliated and insulted by her wilful self-sufficiency and intactness. He imposes his will relentlessly on her, but she is stony and absolute in resistance to the last. He behaves like madman until he is shot by one of the men who are searching for her. He can't conquer her, but he has roused part of which she does not wish to realize. The battle of wills destroy both of them---Romero is shot, the princess, left "not a little" mad, remains a Sleeping Beauty though she marries her father-like elderman later. Symbolically, through her marriage to a much older man, Dollie remains the Sleeping Beauty permanently.

소설과 영화의 비유적 담론 : 『사랑하는 여인들』과『흔들 목마의 승리자』를 중심으로

윤여복 동아대학교 인문과학대학 영어영문학과 2002 동아영어영문학 Vol.18 No.-

우리가 비유적으로 말하거나 글을 쓸 때 글자 그대로의 의미를 수정하거나 확장시키는 식으로 단어들을 사용하게 된다. 우리들 대부분은 이런 일을 인식하지 못한 채 매일 하고 있다. 내가 글을 쓸 때, 밖에 비가 억수로 내리고 있다고 쓸 때, 사실 개와 고양이는 내 서재에 엎드려 자고 있을 뿐이다(영어로 비가 억수로 내리고 있다는 it is raining cats and dogs이다). "고양이와 개가 싸우듯이 비가 내린다", "소처럼 둔한", "종달새처럼 행복한"같은 비유는 이제 관용구가 되었다. 조나단 스위프트(Jonathan Swift)가 "고양이와 개들이 싸우듯 억수로 비가 온다"같은 표현을 1728년 만들었을때, 그 신선함 때문에 충격을 줬다. 이런 비유는 독자에게 비가 내리는 것을 새롭게 인식하게 해준다. 비유는 은유와 직유라는 두 가지 형태의 비유적 언어를 사용하는 방법이다. "같은"이나 "처럼"을 사용하는 비유는 직유라 불리고, 직접적 비유는 은유라 불린다. 직유와 은유는 사물을 인식하는 새로운 방법을 제시하기 위해 하나의 주체에서 다른 주체로 특성을 전이시킨다.

Shakespeare Sonnets의 구조(Ⅰ)

박옥선 동아대학교 인문과학대학 영어영문학과 1990 동아영어영문학 Vol.6 No.-

The purpose of this paper is to analyze the structure of Shakespeare's sonnets with three different perspectives; how is the Shakespearian form applied to the individual sonnet, how does Shakespeare use the logical forms for his sonnet, and what is the toxtural variety in the sonnet sequence as a whole. The Shakespearian form- of three quatrains followed by a couplet-is often contrasted with the Italiam form divided into octave and sestet. The couplet is often a particular application of a general statement enunciated in the quatrains, and sometimes a reply to it. But there are so many exceptions that ist validity is called in question. Shakespeare wrote so many different kinds of sonnet that any definition fits only a propotion of the whole. The variety of structure in the sequrence is a chararcterstic of Shakespeare's sonnets. Shakespeare uses the logic for his sonnet composition. The chief forms are the hypothetical syllogism(if-then premise), the disjunctive syllogism(either-or premise), and categorical syllogism. A number of sonnets have one basic logical shape ; all have at least some logical transitions or joinings ; many offer a plurality of logical schemes. Shakespeare's 154 sonnets fall into two groups : the first group, Ⅰ through 126, is addressed to, or concerned with a young man, an the seconcd group, 127 through 152, is addressed to, or concerned with a dark lady, and includes 153 and 154, which are free translation of a Greek poem. The one hundred twenty-six poems of group Ⅰ of the sequence fall into three subdivisions, as follows: cycle Ⅰ comprises the first 51 sonnets, Ⅰ through 51, cycle 2 compreises the next 45 sonnets, 52 through 96, and cycle 3 comprises the last 30 sonnets, 97 through 126. The beautiful youth group tells a 'high' story of devotion but the dark lady group is 'low' and revolves around the theme of love and hatred. Each of the four sections- three in group Ⅰ, one in firoup Ⅱ-proves to have ist component poems intelligibly arranged, and the sections proves, moreover, to be coordinated with one another. There is a legic and rightness in the order of group Ⅰ. The poet revolves around the young man in a series of three cycles, and takes him through every aspect of his love, from the most ecstatic to the most woebegone. The structure of group Ⅱ is for the most part based on and determined by the cyclic character of the protagonist's lust for dark lady. In conclusion, Shakespeare uses so many different forms to express a variety of moods and psychological states of the protagonist in his sonnets.

Go Tell It on the Mountain에 나타난 John Grimes의 Identity 探求 : Go Tell It on the Mountain

李玉蘭 동아대학교 인문과학대학 영어영문학과 1990 동아영어영문학 Vol.6 No.-

Go Tell It on the Mountain is generally understood as one of James Baldwin's best novels as well as a major contribution to American fiction. The novel is divided into three parts. Part Ⅰ, "The Seventh Day", Part Ⅱ, "The Prayers of the Saints" and part Ⅲ, "The Threshing Floor" The novel deal with the Negro not as a social problem or as an oppressed minority, but concentes almost exclusively on one aspect of him and his way of life-the religious. The particular kind of religion which is grows out of his traditional situation in America and especially of his experirce of slavery. Baldwin renders the service with great skill which begins on Saturday eveninH and continues into the small hours. Through the Grimeses' prayers we learn the past lives of Gabiel, his wife, Elizabeth, his sister, Florence, and his step-son, John in a series of flashbacks : a whole intricate dramatic pattern of sin and guilt and repentance underlying their lives is revealed. And the novel ends with John's experience of conversion. The central event of this this novel is the religiour conversion of fourteen-year- old John but the truly major figure of interest is John's father, Gabriel- and it is Gabriel, chiefly around whom all the othe rcharacters' difficulties are centered. The writer endeavors here not only to interconnect the lives and psychology of all the characters but also to related these to the Southern Negro experience and the consequent shocks of urban slum living. As Gabriel's story is told through his memory, it is clear that "Father" and "Son" refer not only to God and Jesus Christ, but to the sons Gabriel fathers and rejects, adopts and hates, fathers and finds disappointing. In John, the innocent victim of Gabrie'l hatred, we have an, archetypal image of the Negro child. Baldwin sees the negro quite literally as the bastard child of American civilization. Obliquely, by means of an extended metaphor, Baldwin approaches the very essence of Negro experience. That essence is rejection, and its most destructitre consequence is shame. The flight from Negro self, the quest for identity, and the sophisticated acceptance of one's "blackness" is the theme that flow this emotion. That is, the wirter presents the Negro's inmost conflicts, his distress and his guilts from the past to the present and make attempt to discorer the meaning of Negro's subsistence and the possibilily of achieving Negor's identity as human being. In Part Ⅲ, "The Threshing Floor", as lohn lies before the altar, a series of visionary states passes through his soul. Images of darkness ane chaos, silence and emptiness, mist and cold. These images of damnation exprress the state of the soul when thrust into outer darkness by a rejecting, punishing, castrating father figure who is the surrogate of a hostile society. At the depth of John's despair, a sound emerges to assuage his pain. He had heard it all his life, but it was onlynow that his ears were opened to this sound that come from the darkness, that yet bore such witness to the glory of the light. And now in his moaning, he heard it in himself. It rose from his bledding, his cracked-open heart. It was a sound of rage and weeping from time set free, but bound noir in eternity. John's fear and guilt, and desire and despir and hatred have all been converted into a kind of meaningful delirium as he lies thrashing about the floor. On these harsh darkness and must forever share their pain. To the question, Who am I?, he can now reply : I am he who suffers and yet whose suffering on occasion is "from time set free". And thereby he discovers his humanity. We are very close to that plane of human experience where art and religion intersect. What Baldwin wants us to feel is the emotional pressure exerted on the Negro's cultural forms by his exposurc to white oppression. And finally to comprehend that these forms alone, through their power of transforming suffering, have enabled him to survive his tragic conditions of existence. Moreover, John's struggle on the threshing floor is described in terms of birth imagery, and the accomplished delivery set him free from the womb of childllood. That is, Baldwin anticipates in new -born John who seems to be a true Negro image of the new type in the futture, and also aspires to be an American society which the whites and the black can co-exist whithout the racial prejudice.

超越的 再生 : The Dean's December를 中心으로 On The Dean's December

김계민 동아대학교 인문과학대학 영어영문학과 1989 동아영어영문학 Vol.5 No.-

Henry Ⅵ삼부작의 구성

김용덕 동아대학교 인문과학대학 영어영문학과 1989 동아영어영문학 Vol.5 No.-

Historical critics propose, based on the Elizabethan World Order, that these plays are primarily moralistic tracts in dramatic format in consonance with conventional Tudor attitudes and Machiavelli argues that the exercise of power is independent not only of theology but of morality as well. A detailed analysis of the plays shows that far from reflecting and political ideology or any partisan moral outlook the plays are committed to dealing with the moral effects of power. In 1 Henry Ⅵ the structure of the play is built upon a clash between "chivalric patriotism and Machiavellian egocentricity" and the carefully designed soliloquies and asides give coherence to the fundamental theme. Shakespeare establishes in the minds of his audience a cause-and-effect relationship and the pattern of human motivation through the simple device of having an incident of discord followed by an announcement of loss. In 2 Henry Ⅵ Shakespeare achieves a more dramatic coherence by centering the action on two individuals -the fall of Gloucester and the rise of York. Unlike in Hall the personal motives underlying York's destructive Machiavellism surface in the opening scene and Shakespeare deliberately emphasizes Henry Ⅵ's role in creating political chaos. In 3 Henry Ⅵ Shakespeare achieves thematic unity through a series of scenes which force the audience alternatively to respond with antipathy to pro-Lancastrian and pro-Yorkist figures, based on the external pattern of repugnance to the physical atrocities of war and man's brutality. By juxtaposing Henry's increasing moral sensitivity with Richard's stylized Machiavellism, Shakespeare provokes increasing sympathies for the victims of the struggle and reinforces the theme of moral anarchy due to Machiavellian Realpolitik. The dilemma between the two antithetical forces - humanity and power - forms the tension of Shakespeare's history plays. The theme of 1, 2, 3, Henry Ⅵ is the morally corruptive influence of power. This is the Machiavellian divorce of public from private morality which manifests itself in Lancastrian and Yorkist concerns with power. In the process of this thematic development, human motivations are stressed more than either Providence or Fortune, and the conflicts in personalities and the values they represent are embodied within the plays providing their unity.

욕망의 사다리 : Carrie의 경우 Carrie's Case

송홍한 동아대학교 인문과학대학 영어영문학과 1997 동아영어영문학 Vol.13 No.-

Sister Currie (1900) is often considered as the best of Theodore Dreiser's novels, though it was first written. There is no denying that the novel is basically a product of the writer's naturalistic view of man, but it also implies a wayout to escape from the fated self, the self imprisoned and controlled by its circumstances and, in the final analysis, by its own desire. Dreiser's own personal experience taught him a vision of naturalistic determinism, and his novels including Sister Carrie work as vehicles to express such a vision. This paper examines how Carrie's desire works in response to her circumstances and what her endless desire results in. Carrie's desire does not derive from her rational judgment but from her instinctive response to the circumstances around her. So, her desire is a determined propensity rather than her own choice. Desire can be said to be a neutral conception which is neither positive nor negative in itself. What matters here is how desire works and what desire pursues. In Carrie's case, her desire is determined by her circumstances she cannot control or escape from, and it is a kind of survival game especially in the initial step of her career. When her desire is achieved step by step, however, it proves wrong. Her desire is characterized by her materialistic preoccupation of life, lacking any system of spiritual value which can provide her with a true meaning of life. Carrie does not have any fixed object or standard to achieve, which can control and fully satisfy her desire. Druet and Hurstwood are merely available means through which she can overcome her immediate circumstances, and which she can throw away at her disposal whenever her desire demands. Carrie's ladder of desire works like a one-way system that never stops and never allows any real satisfaction or fulfillment, and it makes her amoral whenever her desire is concerned. Though being a minor character in this novel, Ames (pronounced as "aims") suggests a wayout for Carrie to overcome what is called a dilemma of determinism, but Carrie does not accept Ames' suggestion and remains lonely and unhappy in the middle of her endless desire. Without real aims, Carrie has no choice but to be entrapped by her own desire. Sister Carrie anticipates Trilogy of Desire, a series of 'Dreiser's later novels, which depicts a career of Cowper, a giant of desire, though fated by the self. While the trilogy, specifically The Stoic, the last of the trilogy, shows a way to a meaning life through Berenice, Sister Carrie only implies a wayout. Nevertheless, Sister Carrie is a more effective work because of its unified structure. In conclusion, this novel criticizes the materialistic culture of the writer's contemporary American society through an example of Carrie, a victim to her own desire, implying the superiority of man's spiritual value and free will to an achievement of materialistic desire.