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李君喆 연세대학교 인문과학연구소 1963 人文科學 Vol.10 No.-
The eighteenth century in England was an age of light and sweet reason. Politically, economically and socially, England expected a bright future. Affirmation of life and a sanguine sense of progress that prevailed in contemporary minds seemed to be an unlikely setting for a "heretic" of Swift's hubris. More so when society favored writers as at no other time. Swift seems to have been a born rebel-his being an orphan apart-who grew up into a satirist with a glummy outlook, tilting not only at society but at the whole scheme of things.
李君喆 연세대학교 인문과학연구소 1962 人文科學 Vol.7 No.-
The beginning of the 18th century marks the decline of romances centered around the English aristocracy which were giving way to modern novels with their base in an emergent bourgeoisie. This thesis attempts another look at the transition in socio-political contexts. With the establishment of parliamentary institutions political activity increased, which in its turn called into being a number of newspapers. A growing newspaper-reading public formulated a new set of values and as it accrued wealth it demanded a new form of novel better to reflect its mores. It was against this social background that The Spectator began publication, co-authored by Addison and Steele. The journal aimed at enhancing general culture rather than speaking for any particular political opinion. The two discussed customs, daily happenings, common feelings -all the makings of a modern novel, including in fact all the material and characters for a novel-thus giving a new direction to literary activity. Parallel with this literary trend was the portrait painting which attained its height in the 18th century. Portraiture in itself became a highly developed means of character delineation as in the novel. The Restoration theater by default played a role contributing to the upsurge of modern novels which more or less met the popular needs of modern taste.
李君喆 연세대학교 인문과학연구소 1966 人文科學 Vol.14-15 No.-
With the Industrial Revolution capitalism came into its own. Under the impact of the Protestantism which reached English shores, individualism set the tone for contemporary thinking, and a change became apparent toward what we now call homo economicus. It was against this background that Daniel Defoe wrote these stories in which people are struggling against the forces of circumstance, beset by the fear of poverty. In his fiction the dignity of labor is played up, everyday scenes are described, the self is asserted, economics underlay actions which often made money a preoccupation. Yet in the family, which operates only on the level of lineage or patriarchal authority, the marital aspect is left out. Perhaps this absence of emphasis on any relationship between the sexes is one major reason why the honor of fathering fiction involving sentimental analysis devolved on Samuel Richardson.