회계감사

배경진 회경사 2016 月刊 會計 Vol.24 No.10

스펜서의 정원과 마블의 정원

배경진 한국중세근세영문학회 2014 중세르네상스 영문학 Vol.22 No.2

This study aims to compare and contrast the presentations of the gardens in Edmund Spenser’s The Faerie Queene and Andrew Marvell’s “The Garden.” The garden as an alternative paradise has been a frequent topic for poets to seek perfection and eternity since the classic period. By analyzing the garden images delicately portrayed by the two English poets representing the 16th and seventeenth century England respectively, this study tries to discuss common aspects and distinguished features, which may reveal the political and religious environment of each poet. Both Spenser and Marvell depend on the classical images of the sweet and affluent paradise when they create their own ideal gardens. As the garden connotes an enclosed nature in one sense, the fenced garden provides peace and security unlike the uncontrolled and hostile nature. With the idealized images of the classical paradise, the gardens of Spenser and Marvell are represented as both haven and shelter to the fickle and transient world. However, Spenser’s garden produces more natural energy close to nature, but it is relatively susceptible to the dangers of nature and human finitude in eternal time. On the other hand, Marvell’s garden is constructed as a private, but isolated place which provides a safe distance from a precarious reality and perishable history.

엘리자베스와 소네트

배경진 한국중세근세영문학회 2008 고전·르네상스 영문학 Vol.17 No.1

In 1590s, writing love sonnets became a vogue in Elizabethan England as a genre to express desire. While desire was multi-leveled, from a desire for the beloved lady's grace to a desire for the patron's favor, sonnets were pursued and exercised as a means of a most effective rhetoric by Elizabethan poets and courtiers who participated in the power politics in the court of Elizabeth I and in its patronage system. Given that Elizabeth I was the ultimate source of patronage, the Queen was hardly to be excluded from the original audience, and her image was inevitably represented in the sonnet sequences. Based on the set of homologies between lover/beloved and courtier/monarch, this study explores the implied representation of Queen Elizabeth in the sonnets of Sidney and Spenser. The image of Astrophil as totally subjugated to a more powerful female sovereign, who can be interpreted as his monarch as well as his beloved lady, is clearly represented in Astrophil and Stella. As the lover-Astrophil is subjected to his lady, the courtier-Sidney must appear to be subjected to his monarch, the Queen. Like the lover-Astrophil, the courtier-Sidney is doomed to a life of waiting and of continuous frustration. On the other hand, Spenser’s Amoretti is unique among sonnet sequences of the period in that it concludes with a marriage poem—Epithalamion. In Amoretti, Spenser signals a reversal of the sexual roles conventionally associated with the Petrarchan sonnet sequence in order to realize his ideal relationship with the lady. After sixty-two sonnets, the traditional Petrarchan scenario in Spenser’s poems radically alters in ways that allow both the writer and his male readers to override convention and to appropriate and dominate a woman called Elizabeth. The rhetoric of courtship in the sonnets of Sidney reflects and Spenser their response to their own self-positioning before a powerful woman they had to court: Queen Elizabeth. In 1590s, writing love sonnets became a vogue in Elizabethan England as a genre to express desire. While desire was multi-leveled, from a desire for the beloved lady's grace to a desire for the patron's favor, sonnets were pursued and exercised as a means of a most effective rhetoric by Elizabethan poets and courtiers who participated in the power politics in the court of Elizabeth I and in its patronage system. Given that Elizabeth I was the ultimate source of patronage, the Queen was hardly to be excluded from the original audience, and her image was inevitably represented in the sonnet sequences. Based on the set of homologies between lover/beloved and courtier/monarch, this study explores the implied representation of Queen Elizabeth in the sonnets of Sidney and Spenser. The image of Astrophil as totally subjugated to a more powerful female sovereign, who can be interpreted as his monarch as well as his beloved lady, is clearly represented in Astrophil and Stella. As the lover-Astrophil is subjected to his lady, the courtier-Sidney must appear to be subjected to his monarch, the Queen. Like the lover-Astrophil, the courtier-Sidney is doomed to a life of waiting and of continuous frustration. On the other hand, Spenser’s Amoretti is unique among sonnet sequences of the period in that it concludes with a marriage poem—Epithalamion. In Amoretti, Spenser signals a reversal of the sexual roles conventionally associated with the Petrarchan sonnet sequence in order to realize his ideal relationship with the lady. After sixty-two sonnets, the traditional Petrarchan scenario in Spenser’s poems radically alters in ways that allow both the writer and his male readers to override convention and to appropriate and dominate a woman called Elizabeth. The rhetoric of courtship in the sonnets of Sidney reflects and Spenser their response to their own self-positioning before a powerful woman they had to court: Queen Elizabeth.

비너스를 위한 변론: ꡔ비너스와 아도니스ꡕ 다시 읽기

배경진 한국중세근세영문학회 2006 고전·르네상스 영문학 Vol.15 No.2

Kyung Jin Bae"What am I that thou shouldst condemn me this?" This complaint of Venus in fact summarizes the history of evaluation of Venus herself ranging from a misogynist view to a moralist perspective. Even though Venus and Adonis was a great success and served as a textbook for rhetoric of courtship, Venus's physicality at the same time arouses a detached and repulsive response from male readers. By reversing the female and male roles, thus transforming Venus from a pursued beloved lady into the forceful suitor, Shakespeare destabilized the Petrarchan boundaries of Elizabethan lovers. At worst, she is represented as a violent rapist who aspires pleasure and desire of sensual love. However, just as Shakespeare's first published poetical work defies a clear generic definition between an erotic narrative poem and a comedy or a tragedy, the heroine of the work also resists a restricted appreciation of her character, especially when she embodies the very complex and sometimes conflicting qualities of love and desire. This study aims to restore Venus's rightful position as the Goddess of Love by examining her complicated representations in the work. Half sympathetically and half mockingly, Venus is represented as both a sensual lover and an object of sympathetic irony. She is by turns and simultaneously comic, pathetic, ridiculous, humiliated, exulting, self-deceiving, playful, devious, repulsive, aggressive, sensitive to pain, and helpless because all these possibilities are contained in the experience of Love. Venus is not Love in an abstract way, but she is Love in its contradictory way that it is experienced. Admitting Venus's limits is a part of appreciating her vitality. With her vital intensity, Venus is represented in all the moods and passions of Love. When the identification of Venus and Love lies at the heart of Shakespeare's conception of the poem, to mock Venus is in some sense to mock Love.

생태학적 지각이론의 공간적 특성을 반영한 재활공간설계

배경진,김영석 대한건축학회지회연합회 2008 대한건축학회지회연합회 학술발표대회논문집 Vol.2008 No.1

The purpose of this study is to suggest healthcare facilities as ecological architecture. The physical environmental health of human mainly depends on the quality of architectural natural environment. so it is very important to prepare rehabilitation landscape environment on the healthcare setting. this study proceeds to search planning factors of healthcare facilities in ecological architecture through study of Ecological Theory of Perception. It also explain the important of ecological planning methods, and suggest a way of architectural planning oh healthcare facilities in future, through the study of the feature and analysis of application methods. The future rehabilitation hospital should provide reduction of the effect on environments, increasing amenity, rehabilitation landscape. To create healthcare facilities ecological is essential not only to human but also human survival.

침묵의 기능: 셰익스피어 드라마와 르네상스 소네트를 중심으로

배경진 한국중세근세영문학회 2004 고전·르네상스 영문학 Vol.13 No.1

Silence is not speaking. It is the absence of words and it seems the very opposite of speech. However, a closer inspection of words and sentences reveals that silence space surrounds each letter that forms a word, each word within a sentence, and each sentence that shapes a paragraph. It also defines the boundaries of utterance: silence is the precondition of speech and the last part of it. As a component of expression, silence is an integral part of speech: silence and speech complement each other to create a word, a sentence, and discourse. Silence is not only a component of expression, but also a medium for communication. Silence can convey various meanings as accurately as speech. In functional terms, silence, together with speech, expresses a variety of meanings and performs a range of functions. As silence becomes a more integral part of communication, a full understanding of literary works also requires an investigation of various representations of silence in literary texts in relations to their potential expressive significance. The complex nature of silence leads us to explore how diverse effects of silence are embodied in Shakespeare’s plays and Renaissance sonnets. Silence represents ambivalent qualities such as submission/subversion, vulnerability/impenetrability and powerlessness/power. Especially, silence is revelation as much as concealment: revelation of Coriolanus’ complex feelings, of Cordelia’s inexpressible love, and of the poet’s shame, but, most of all, of power and control of Astrophil and the young man. Conveying various meanings by saying nothing, silence may be the most ambiguous of all linguistic forms. Thus, it is not only difficult but also essential to understand silence properly.

르네상스 소네트 속의 죽음관: 시드니, 셰익스피어, 그리고 그레빌을 중심으로

배경진 한국중세근세영문학회 2017 중세르네상스 영문학 Vol.25 No.2

What would Renaissance poets have thought about death? This paper investigates various concepts of death employed in Renaissance sonnets sequences. Death was traditionally understood as a law of nature or a direct punishment for Adam's disobedience. The major change in the response to death in the Renaissance was growing emphasis on the individuality of death as Protestant doctrine results in individual and inward meditation. Investigating Renaissance ideas of death leads to an examination of three basic concepts related to death: sin, time, and mortality. Petrarchan poet-lovers like Sir Philip Sidney, William Shakespeare, and Fulke Greville write about their intense experiences of love followed by the acute meditation on human misery and the conflict between ideal aspiration and real passion. “Loving in truth”, Sidney concentrates on love in the present and triumphs over time not by escaping but by choosing to remain forever in the paradoxical state of sweet sorrow. Obsessed about immortal fame, Shakespeare reveals the will to overcome death through his works but eventually admits that death prevails over nature and man. Greville follows the lead of his friend Sidney in posing the problem of love as a seemingly impossible choice between virtuous love and individual desire. Confronted with the problem of human love and faced with its frustrations, Greville meditates on human misery and sinfulness. Greville solves the dilemma of love by rejecting love and casting himself entirely upon the saving grace of God. Caelica, a collection of Greville's autobiographical works, constitutes the process of experience that the knowledge of sin leads to the knowledge of humility and ends in the renewal of faith before death. Writing about what it is to love does not prevent these writers from discovering and showing distinct and individual meditation of death.

『뉴베리의 잭』과 『레딩의 토마스』에 재현된 들로니의 두 목소리

배경진 한국중세근세영문학회 2015 고전·르네상스 영문학 Vol.24 No.2

This paper examines the subtle voices for class politics and ambivalent representations of the class ideology in Deloney’s works. Thomas Deloney - balladeer, novelist and yeoman weaver - was a passionate advocate for the needs of the middle class weavers and his early polemical efforts endangered his freedom. Hiding from the authorities and unable to speak and write overtly, Deloney became subtle in the prose fictions about his own cloth trade. In his works of Jack of Newbury and Thomas of Reading, Deloney mixes the past and the present ideology of his guild when idealizing his craft. Insulated by their historical settings in the reigns of Henry I and Henry VIII, Deloney’s works bring into play sympathetic rulers of the past to contrast with an unsympathetic queen of his day. Deloney’s discursive construction of an idiosyncratic craft ideology turns subversive to the Queen’s authority and at times nostalgic for the idealized past when good management and charity earned the respect of the kings. Also ironic messages are disguised by idealization of a harmonious past in his works. In Jack of Newbury coexisting with articulation of a fantasy of a rapid social upward mobility is the implicit acknowledgement of the apparent inequality between Jack and his workers. Thomas of Reading, a tale of prosperous clothiers set in a nostalgic past, is marked by the stark acknowledgement of conflicts and social disjunction between the successful clothiers and less prosperous weavers. The murder of Cole, a titular hero, and Tom Dove’s plight reveal the acknowledgement of anxieties concerning the consequences of social unrest and the palpable possibility of downward social mobility. Writing in a period notable for its tensions, pressures, and changing values, Deloney envisages an unstable present and a precarious future by appropriating an idealized past. In doing so, he craftily analyzes the bleak conditions of middle class clothiers in Elizabethan England.

Transformation of Courtly Love in Astrophil and Stella

배경진 한국고전중세르네상스영문학회 2010 중세근세영문학 Vol.20 No.2

The poet-lover in Astrophil and Stella is generally considered to be conflicting between reason and passion pining for an unattainable beloved lady. The plot and the themes of the sequence are highly conventional, derived from Petrarch and his many Italian, French and Spanish imitators. However, the poet-lover also claims that he protests this Petrarchan convention in his search of fresh and original ways of writing. Thus the sequence has been studied as a counter-discourse of English Petrarchism and has been given more focus on its writing skills. On the other hand, this paper aims to examine the poet-lover not as an anti-Petrarchan lover but as an anti-courtly lover in a way to reveal some unfamiliar and unexpected aspects of a star-crossed lover. This paper examines that the poet-lover is rebellious in accepting the decrees of love, proud in his estimation and presentation of his own values, cruel and dishonorable in vengeance on his ungrateful lady, and presumptuous and impudent in admitting his desire. These uglier and more disappointing characteristics are quite opposite of those the readers generally expect from a lover in the standard of courtly love. While the poet-lover dramatically transforms the standard of courtly love in order to write most persuasively and most attractively, Sidney reveals that the villain images of the poet-lover as an anti-courtly lover is nothing but guises and masks he conveniently adopts and discards in order to carry out experiments in the dramatization of self. The study intended to examine some unfamiliar aspects of the protagonist leads to the conclusion that Sidney manages to infuse his sonnets with an extraordinary vigor and freshness by appropriating the convention and the concepts of courtly love.

‘균등하게 교육을 받을 권리’: 다문화 청소년 교육과 대학의 역할

배경진 이주사학회 2021 Homo Migrans Vol.25 No.-

This study aims to present what universities should do to provide equal access to education for multicultural students. Multicultural students, drastically increasing in Korea, are regarded as members of minority groups, and thus covered by affirmative action in university admission. Yet, the equal right to education is not advocated as it is expected because numerous multicultural students, who suffer from low levels of academic achievement for several reasons, do not even apply for universities. In this vein, to guarantee a right to equal opportunity in education, universities should be more concerned about multicultural students’ academic achievement. By analyzing their educational needs, we can see that their academic failure mainly comes from lack of proficiency in Korean language. In this sense, efficient way to promote Korean langauge learning should be considered, and the role of universities as institutions of research lies in developing materials for Korean language learning, and in providing various programs as institutions of education. 본 연구는 다문화 배경의 학생들에게 고등교육 기회를 제공하는 데 있어 대학이 어떠한 역할을 담당해야 하는지 제시하는 것을 목적으로 한다. 교육권은 헌법적 권리로서 국가는 교육을 받을 수 있는 권리를 적극적으로 보호해야 하며, 대학 역시 사회적 배려 대상자로서 다문화 학생들에게 균등하게 교육을 받을 기회를 제공하고자 한다. 그러나 현재 다문화 학생들은 학업 성취에 많은 어려움을 겪고 있어 많은 학생들이 사실상 대입 응시도 못하고 있다는 점에서 사회적 배려 대입 전형은 그 목적을 제대로 달성하지 못하고 있다. 이에 대학은 보다 적극적으로 다문화 교육에 개입하여 교육 기회균등을 실현해야 한다. 대학이 다문화 교육에 참여할 때에는 다문화 학생의 교육적 요구를 명확히 파악해야 하며, 연구기관이자 교육기관으로서 대학에 맞는 역할이 무엇인지 고려해야 한다. 본고에서는 다문화 학생들의 학업 실태를 바탕으로 대학의 다문화 교육 참여 목적으로 중학생과 고등학생을 위한 교과 적응 한국어 학습 지원을 제시하고, 구체적인 참여 방안으로는 한국어 학습 지원 교육자료 개발과 이를 활용한 교육을 통한 학생들의 학업 성취 지원을 제안하였다.