이광수와 영문학 - 신문예로서의 조선문학 수립을 위한 춘원의 도정(道程)

정정호 중앙대학교 외국학연구소 2012 외국학연구 Vol.- No.22

Lee Kwangsu(1892-1950) is generally regarded as the first important builder of modern Korean literature in the early twentieth century. Lee's pen name was Choonwon which means a spring garden. Choonwon was a very prolific novelist as well as a most influential man of letters in various themes and topics. In the 1910's Lee entered Waseda University in Japan majoring in philosophy, but he was exposed to Western literature. Lee was keenly interested in Anglo-Saxons and their language and literature. The purpose of this paper is thus to discuss Lee Kwangsu's preference to Anglo-American literature in relation to his own literary career and his concern for renovation of traditional literature for new modern literature in Korea colonized by Japan. Lee's case for Anglo-American literature could be an antidote to Japanese language and literature under Japanese colonial rule. According to Lee, the strength of Anglo-Saxons is fourfold: their love and respect of freedom, practicality, gradualism and social responsibility. He believed the gist of Anglo-American literature is the common sense with balance and check compared with French and German literatures. Lee wrote several essays concerning the superiority of Anglo-American literature for the new modern Korean literature in the 1920's and 30's. Lee read a lot of Anglo-American poets, dramatists and novelists including More, Shakespeare, Milton, Wordsworth, Byron, Shelley, Longfellow, Arnold, Wilde, Hardy and Lawrence. Lee Kwangsu himself devoted himself to practicing English. He wrote several English poems and kept English diary. He also wrote some lengthy scholarly essays in English. He translated several poems of Anglo-American poets including Wordsworth, Emerson and Whitman in Korean. He also put some parts of Shakespeare's Julius Caesar and Harriet Beecher Stowe's novel Uncle Tom's Cabin into Korean. Lee Kwangsu extolled Korean people and culture in Grass Roof(1931), the novel written by the first Korean-American novelist Younghill Kang. Lee wanted to globalize the Korean literature by translating Korean literary works into English. Lee thought that the quality of Korean literature is never inferior to any Western literature. The themes of Korean literature could bring generality and universality to the world readers. He did never want to imitate the Anglo-American literature but recreate the new Korean literature in his historical sense. Lee is sure to have an innovative view of comparative literature in the global perspective.

패턴 시 쓰기 활동 기반 영미시 교육

김경한(Kyong Hahn Kim) 한국영미문학교육학회 2007 영미문학교육 Vol.11 No.1

  This paper develops a teaching-learning model for English and American poetry, based on pattern poetry writing, that highlights direction for the teaching of English poetry in an EFL environment. The model emphasizes the use of English poetry as a genre instead of learning English poetry canon, and thus targets the improvement of learner English competence rather than literary education.<BR>  Research in this field has mainly focused on construction of a method or a strategy for effective reading and response; however, this paper approaches poetry teaching from practical pattern poetry writing. Though the main activity of this proposed model is poetry writing, it interacts all four skills of English learning, that is, listening (chanting), speaking (pronouncing and discussing), reading (reciting), and writing (writing of poetry). By learning the principles of versification or prosody of English poetry and practicing writing simple pattern poems based on them, learners ascertain rhythmic pattern proper to English poetry and effectual English vocabulary. In addition, learners not only understand and delight in English poetry as a genre, but also acquire basic literary competence. In short, pattern poetry writing makes learners feel closer to English learning.<BR>  If a poem is useful for English learning and suitable to the level of learners, it does not matter whether it is a canon or not. Approaching English poetry in view of English learning relatively frees instructors from the consideration of teaching English poetry canon, and such orientation of English poetry teaching is a natural result from the viewpoint of language learner literature.

영상기술을 활용한 콘텐츠 개발과 영미문학수업에 적용한 사례 연구

강영돈 글로벌 문화콘텐츠학회 2018 글로벌문화콘텐츠 Vol.0 No.35

The purpose of this study is to clarify how creative thinking ability can be improved with contents development using a video technology, and focus on cases applied to English and American literature class for creative convergence abilities. First of all, this paper examines writers, works, and criticism by selecting works that are easy for learners to understand high literacy. Next, this study attempts to develop contents for English and American literature class materials using the video technology and to show how it is applied and utilized in class. First, we looked into how to make a creative work using the video technology and how to apply to classes. Second, we examined the evaluation and analysis of questionnaire about what are the differences between teaching method using the video technology and conventional teaching method. This study has been an opportunity to enhance creative thinking ability as improving the understanding of literary works with characteristics of diversity, leading to a mutual collaborative instead of a competition learning. Thus, it is expected that there will be an in-death follow-up study as a technical approach with of an effective program development by interdisciplinary research. 본 연구에서는 영상기술을 활용한 콘텐츠 개발과 실제로 영미문학수업에 적용한 사례를 중심으로 어떻게 창의적 사고력을 높일 수 있는지를 밝히고자 하였다. 우선적으로 학습자가 이해하기 쉽고 문학성이 높은 작품을 자유롭게 선정하여 작가와 작품의 이해, 그리고 비평 등을 살펴보았다. 다음으로 영상기술을 활용한 콘텐츠 개발과 영미문학 수업에 어떻게 적용되고 활용되었는가를 시도하였다. 첫째, 영상기술을 활용한 창작물 제작과 영미문학 수업에 적용 방법 등을 살펴보았으며 둘째, 기존의 전통수업방식과 영상기술을 활용한 수업방식이 어떠한 차이점이 있는지에 대해 설문평가 및 분석을 고찰하였다. 본 연구의 결과는 영상기술을 이용하여 창작물을 제작하면서 다의성의 특징을 가지고 있는 영미문학 작품의 이해도를 높이고 경쟁학습이 아닌 상호 협업 학습으로 발전하면서 창의적 상상력을 높이는 계기가 되었다. 또한 본 연구의 범위를 확장하여 실용적인 프로그램 개발 등의 기술적 접근으로 학제간의 연구를 촉진할 수 있을 것으로 기대가 된다.

The Politics of Global English

( David Damrosch ) 한국영어영문학회 2014 영어 영문학 Vol.60 No.2

Writers in England`s colonies and former colonies have long struggled with the advantages and disadvantages of employing the language of the colonizer for their creative work, an issue that today reaches beyond the older imperial trade routes in the era of “global English.” Creative writers in widely disparate locations are now using global English to their advantage, with what can be described as post-postcolonial strategies. This essay explores the politics of global English, beginning with a satiric dictionary of “Strine” (Australian English) from 1965, and then looking back at the mid-1960s debate at Makerere University between Ngugi wa Thiong`o and Chinua Achebe, in which Achebe famously asserted the importance of remaking English for hi own purposes. The essay then discusses early linguistic experiments by Rudyard Kipling, who became the world`s first truly global writer in the 1880s and 1890s and developed a range of strategies for conveying local experience to a global audience. The essay then turns to two contemporary examples: a comic pastiche of Kipling-and of Kiplingese-by the contemporary Tibetan writer Jamyang Norbu, who deploys “Babu English” and the legacy of British rule against Chinese encroachment in Tibet; and, finally, the Korean- American internet group Young-hae Chang Heavy Industries, who interweave African-American English with North Korean political rhetoric to hilariously subversive effect.

Local Literature in a World Literature Perspective

( Svend Erik Larsen ) 한국영어영문학회 2015 영어 영문학 Vol.61 No.1

Behind the enticing title of German Literature as World Literature the reader may ask what to expect: a new type of literary history of German literature? A recapitulation of the history of the notion of world literature as it emerged in Germany between Christoph Wieland and Goethe? A model for presenting local or national literatures in a world literature perspective with German literature as an example? A set of selective readings of individual texts or writers? Well, we do not get a broad historical account.after all what can you do on 214 pages?.and we do not get a new presentation of the history of the concept of world literature, although it is referred to. We get some attempts to set up principles for presenting concrete local literatures in a world literature perspective, and we get detailed readings of a number of works and writers from modern German literature.here defined as literature after 1800.with a transnational perspective. The informative introduction by the editor Thomas Beebee discusses the principles for how to establish a world literature perspective, in particular, with regard to local literatures, and also presents five different possible approaches, a selection of what is used globally in the debate on world literature and literary history today. He also makes an argument for why German literature can be placed in this context and how the literary history of that literature will benefit from adapting the world literature perspective. The introduction and the nine individual chapters all subscribe to the same basic assumption, namely that all national literatures define themselves “over, against, and through their others” (4) and that one will always find “international, cross-cultural factors at work” (p. 8). Probably, this general idea will be accepted by all writers of literary his-tories today, whether they cover contemporary or past history. But Beebee also adds a temporal dimension: The focus is modern German literature, that is to say from Goethe and onwards. It would be difficult to avoid mentioning Goethe’s reflections on world literature to his conversations with Eckermann in 1827 (although he was not the first to use the term) and equally difficult to forget the reference to world literature (and the world market) in the Communist Manifesto from 1848. These references are not omitted here either. Thus, to begin with Goethe in the German case seems almost natural, that is the point when a new selfreflection of what German means and what world literature means emerges in one gesture, also with implications outside the German cultural space. Here, a “systematic” (2) preoccupation with this problem takes off. Apart from the brief overview of world literature initiatives over the last 20-30 years, David Damrosch not least, Beebee discusses five ways of looking at world literature, first of all concerned with what it takes for a text to be characterized as world literature. World literature may be seen as all literatures in the world, and thus nothing is excluded; it be taken to be based on a universal human capacity; it may mean inclusion in a transnational hypercanon, or participation in a global dissemination process, or.finally.that the text is written for a global readership. If we do not take into account that the very notions of ‘literature’ and also of ‘world’ have changed over time and space, then what is central to the five approaches is that they all focus on the status of the text itself.is it a case of world literature or not? But what Damrosch and others also have pointed to, and maybe more importantly, is that the main concern of world literature studies is to establish ways of a focused reading of any text or corpus of texts to place them in a world literature perspective. From this perspective, world literature is not about typologies or taxonomies of texts, but about reading methods and their theoretical underpinning. This approach is not on Beebee’s list, but is mentioned now and then in the introduction. However, it is the main drive behind the nine chapters on individual texts, writers and cases. They are all highly interesting and in many case innovative and inspiring for future work. But they almost never discuss the principles and concepts laid out in the introduction which reduces the potential of the volume to be a much needed model for how to see local literatures in a world literature perspective. Some of the chapters actually make their own discussion on their take on world literature. Here, a closer dialogue between the chapters themselves and in relation to the introduction would have made the book more valuable. Also, a discussion of the representativity of the chosen cases would have helped to see the volume as the result of a new concerted effort. If we leave this criticism behind and look at what we get in the chapters, we are well treated indeed. The chapters I find the most enriching are the first and the last and one in the middle of the book. The first one is a comparative reading of Goethe’s Elective Affinities with Hong Lou Meng’s The Story of Stone. The point is to establish a comparative reading which is not caught up in traditional notions of influence, but instead focuses on cultural parallels and differences that allows for a cross-cultural dialogue. The last chapter on hybrid literatures, mainly with regard to linguistic hybridity and not with regard to other media, deals instructively with literatures of migration and colonialism/postcolonialism in a German context. My third favourite chapter is the account of Alexander von Humboldt and Latin-America, integrating most of the aspects relevant for a world literature reading: history, the transnational material, the dialectical reciprocity between Germany, Europe and Latin-America combined with an astute use of the text material. Two chapters deal with more institutionalized aspects, one on the circulation of Chinese novels in the 18th and early 19th century, the other on German literature and the Nobel Prize. Here, the two cases in point are, surprisingly and very interestingly, two writers who are now completely forgotten by the readership outside the circles of specialists, Rudolf Eucken and Paul Heyse. Both chapter are reminders of the fundamentally historical and hence of regional dimension of criteria for the world literature status of texts and of the trajectories of translations and dissemination in general. The remaining chapters deal with individual cases of writers and texts and are more traditional in their approach, but rich in material and textual detail: Hugo von Hofmannsthal, Rainer Marie Rilke, Bertolt Brecht, W.G. Sebald. The volume seems to be the first in a series of selective and focused presentations of national/local literatures in a world literature perspective. The beginning is promising, but also with potential for improvements in the future volumes.

『영미어문학』속 영‧미시 연구 동향과 비전

조규택 한국영미어문학회 2020 영미어문학 Vol.- No.136

This study aims to analyze the trends of research on the British and American Poetry, which was published by Studies in British and American Language and Literature for the last six decades. The total volume of articles was 248, including 14 articles in 1960s, 24 articles in 1970s, and 16 articles in 1980s. Based on time periods of each decade of 1960s, 1970s, and 1980s, this study refers to research trends on prof. Jang, Seki and other researchers and the articles that they published at those times. Since 1990s, as a large number of articles have been published, this study briefly refers to their thesis titles and name of authors. Furthermore, concerning articles published from 2000 to the present, this paper presents research trends and visions on the poetry by mainly examining and focusing on some researchers who published their own poetry articles more than 10. Through a series of process, this paper identifies the current trends of articles published in 2000s, by extension, it also expects research visions of this field in the future. In addition, this paper is expected to have many great scholars’ participation on the English and American Poetry.

『영미어문학』에 나타난 고전 르네상스 드라마 연구 동향: 연구방법론을 중심으로

홍은숙 한국영미어문학회 2020 영미어문학 Vol.- No.137

This study summarizes and analyzes the research trends in the dramatic genre of classical and English Renaissance dramas from the 1960s to the present in the journal, Studies in British and American Language and Literature, and to further contribute to the literary and theatrical development of the research on the classics in the Korean drama circles. It was no other than Shakespearian dramas which were the most reflected with a wide range of perspectives and spectra. This study sheds light on the two kinds of literary themes and research methodologies to find a way to reflect today’s human conditions and social imaginary. One is about 'interculturality and adaptation'. The majority of the volumes in the journal examined the literary/theatrical methodologies such as intercultural and intermedial ‘adaptation and appropriation,’ and reinterpreted the classical and Shakespearian dramas. The other is about ‘aesthetics and politics’ based on literary criticism. Studies in British and American Language and Literature has expanded the classical and Shakespearian research into social, political, and interdisciplinary discourses. It can be said that Studies in British and American Language and Literature has opened sociopolitical discourse for a public awareness.

시조의 미국 진출-번역과 수용

한재남(John J. Han) 동덕여자대학교 인문과학연구소 2012 人文科學硏究 Vol.19 No.-

한국의 전통 시형인 시조가 미국에 알려지게 된 지 약 반 세기가 지났다. 시조는 여러 한국 문학의 유형 가운데 영어권의 문인들에게 가장 어필할 수 있는 요소를 가진 장르로 떠 오르고 있다. 이 논문은 시조가 미국에서 어떻게 수용되고 토착화되고 있는가를 알아 보고자 하는 것이다. 우선 미국 시조의 약사, 시조의 미국진출에 결정적 기여를 한 번역가들의 공헌을 살피고, 한국 시조의 번역 출판 상황, 한국 시조의 다양한 번역법, 영시조의 실제 및 영시조의 창작법을 논의한 다음 미국 영시조의 발전 방향에 대한 전망으로 논문을 끝맺음한다. 현재까지 수백 편의 시조가 영어로 번역되어 있는데 시조, 나아가 전통 한국시가 미국인들의 관심을 끄는 데 있어 가장 큰 공헌을 한 세 번역가로는 한국계 미국학자인 피터 리, 주일 한국대사 배이환의 부인이었던 이네즈 공 배, 그리고 한국에서 성공회 주교로 봉사했던 리차드 럿을 들 수 있다. 피터 리의 Anthology of Korean Poetry (1964), 공 배의 The Ever White Mountain (1965), 럿의 The Bamboo Grove (1971)는 시조의 국제화에 결정적 역할을 한 저작들이었다. 이 저서들을 비롯한 여러 한국 문학 및 세계 문학 선집에는 거의 모든 전통 시조와 대표적인 20세기의 시조들이 번역 수록되어 있다. 물론 한국 시조는 번역가의 문학적 취향에 따라 상이한 방식으로 영역되어 있다. 미국인들이 창작하는 영문 시조는 모두 평시조이며, 창작법은 주로 리차드 럿의 시조 이론을 따르고 있는데, 영문 시조 운동을 주도하는 시인들로는 플로리다의 래리 그로스와 캐나다의 엘리자베쓰 세인트 자끄를 들 수 있다. 미국 내에서는 하이쿠 시인들이 중심이 되어서 시조를 쓰고 있고, 일부 고등학교에서 시조를 가르치고 있으며, 또 시조는 여러 시경연대회의 한 종목이 되어 가고 있다. 한편 미국 내에서 그동안 여러 영시조집이 출판되었는데 그 저자로는 운송 김, 엘리자베쓰 세인트 자끄, 진 르블랑, 데이빗 머켄, 린다 수 박 등을 들 수 있다. 앞으로도 시조는 미국인들의 지속적인 관심을 끌 것으로 보인다. 당분 간은 그로스와 세인트 자끄가 확립한 영시조 작법의 원리를 따를 것이지만 하이쿠의 경우와 마찬가지로 미국 내에서 독자적 시형으로 발전할 것으로 예상된다. 또한 한국의 전통 시조와는 달리 미국 시조는 미국인의 고유한 정서와 사상을 담는 장르로 발전할 것인데 정적이고 애조를 띄는 한국의 전통 시조들과는 달리 유머러스하고 긍정적이고 밝은 소재들을 담게 될 것으로 보인다. Since sijo was first introduced to the West half a century ago, it has proven to be the most appealing Korean literary type for English-speaking people. This paper explores the ways in which sijo has been received, practiced, and nativized among American scholars and poets. Specifically, it examines the contributions of the early translators of sijo, some of the representative texts of Korean sijo in English translation, some of the sijo written in English, and the future of sijo in the New World. Unbeknownst to most Koreans, hundreds of traditional and modern sijo have been translated into English. Three early translators must be given the most credit for publicizing the Korean poetic form among Westerners: Peter H. Lee, a KoreanAmerican scholar and editor of Anthology of Korean Poetry (1964); Inez Kong Pai, wife of a Korean ambassador to Japan who edited The Ever White Mountain (1965); and Richard Rutt, an Anglican missionary to Korea and editor of The Bamboo Grove (1971). Their efforts were followed by a group of younger translators, such as Kevin O’Rourke and David R. McCann. Korean sijo are now included in many poetry anthologies, and they are translated in various ways based on the literary taste of each translator. English-language sijo poets write almost exclusively pyeong sijo, the simplest form of sijo. Larry Gross of Florida and Elizabeth St. Jacques of Canada are the two leading teachers of sijo in North America today; their sijo theories largely come from Richard Rutt’s book, The Bamboo Grove. Many sijo poets in America are also haiku and tanka poets, who find a kinship between the Korean and Japanse poetic forms in sensibility and structure. Also, more and more high schools teach sijo, and sijo has become a category in some poetry contests across the United States. Several books of original sijo appeared from 1995 to 2010; the authors include Unsong Kim, Elizabeth St. Jacques, Jean LeBlanc, David R. McCann, and Linda Sue Park. Sijo will continue to attract attention from American scholars and poets. For the foreseeable future, American sijo poets will follow the guidelines set by Larry Gross and Elizabeth St. Jacues. Similar to haiku and tanka, however, sijo will eventually become Americanized in both form and sensibility. Because of the fundamental difference between Korean and English, the form will become more flexible. Finally, whereas traditional sijo are steeped in tranquility and sadness, Ameircan sijo will celebrate life, express the dynamics for living, and convey humor.

Proficiency-Differentiated and Discipline-Specific Student Needs for English-Medium Content-based Courses

( Yeon Hee Choi ) 한국영어영문학회 2008 영어 영문학 Vol.54 No.6

Crossing the Boundary between Linguistics Literature and its Application

( Hae Moon Lee ) 한국영어영문학회 2002 영어 영문학 Vol.48 No.4

문학과 어학은 모두 언어를 그 연구대상으로 삼고 있지만, 기본적으로, 문학은 언어라는 매개체를 통하여 결과적으로 창조된 또 하나의 세계를 이해하고 분석하려한다면, 언어학은 그 매개체, 즉 언어 자체를 분석하여 어떻게 언어가 사용되는지를 체계적으로 밝혀내는데 그 목적을 둔다 하겠다. 언어학에서는, 종래의 미시적인 최소 단위 연구에서 벗어나, 언어가 어떻게 인지되고, 어떠한 환경 속에서 어떻게 적절히 사용되는 지까지 설명하는 것이 궁극적인 목표로 제시되고 있다. 그간, 구와 절의 단위에서 정해진 담화 text 안에서 어떤 기능을 하는지에 대한 연구가 있어왔으나, 문학은, 언어의 가장 복잡하면서도, 창의적인 사용을 통해 가장 함축적이고, 세련된, 그래서 언어의 영역을 확대해 가는 언어활동이라서, 언어학에서 다루어야할 가장 흥미롭고도 난해한 대상이라고 할 것이다. 이러한 상황에서, 80년대 초에 Leech와 Short에 의해 개발된 Stylistics는 문학을 언어학적인 방법으로 가장 직접적으로 설명했다. 그들의 연구는 최근 컴퓨터를 이용한 눈부신 발전으로 이어져, 앞으로, 문학과 어학에 큰 동움이 될 것으로 여겨지므로, 본 논문에서 소개하려고 한다. 또한, 이 분야가 실용적인 면에서도, 앞으로, 언어교육에 커다란 공헌을 하리라는 것을 밝히려고 한다. Leech와 Short는 문체론은 결국 문학적 효과와 쓰여진 언어의 구조, 성질과의 관계를 찾아내는 것이라고 했다. 그들은, Conrad, Lawrence, James의 소설의 첫머리 부분을 비교하면서, 문학적인 특성을 설명한 뒤에, 그 문학적 느낌의 정체를 어휘선택, 통사적 구조, 등 여러 언어학적 단위를 사용해서 밝혔다. 그들은 치밀한 qualitative analysis와 함께 기본적인 quantitative analysis도 제시했다. 세 소설가의 작품 분석은, 그들 간의 비교를 통해 독특한 문학적 효과와, 그에 수반되는 독특한 언어구조를 통해 이루어졌다. 그들은, 문체론이라는 것이 상대적으로, 다른 작가, 다른 작품, 다른 chapter, 다른 시대, 등, 비교할 때에만 존재할 수 있음을 설명했다. 그리고, 이 모든 것의 기준이 되는 가장 보편적인 언어구조를 밝히거나 설정하는 것은 불가능하다고 했다. 왜냐하면, 그것은, 시공을 초월한 모든 실제 언어 자료의 평균을 산출해내는 작업이기 때문이다. 그들이 말한 문제점은, 최근 컴퓨터의 이용으로, 극복되고 있다. Corpus Linguistics라고 불리는 새로운 언어학의 분야에서는, 수백만 단어에 이르는 방대한 양의 데이터를 광범위하게 장르별로 모아서, 그들의 언어학적인 특성을 통계적으로 찾아내고 있다. 언어학적 특성을 찾는 데에는, 기본적으로, 언어의 분석단위를 잘 사용할 줄 아는 언어학자의 능력이 있어야겠지만, 역시, 장르별로 다르게 느껴지는 언어 효과는 문학자의 영역일 것이다. 여하튼, 최근 Biber는 이러한 거대한 양의 데이터를 처리하여, 시대별, 장르별, 남녀별, 언어사용의 차이점을, 구체적으로 밝혀내고 있다. 예를 들면, 18세기 spoken English에서는, 여성이 남성보다 더 많은 emphatic expression을 쓴 것으로 나타났고, 근래의 데이터에 의거해서, abstract style과 involved style을 구분짓는 여러 가지 언어 선택사항을 밝혔다. 이러한 구체적인 언어사용의 자료는, 언어 교육에 직접적으로 기여할 것이다. 언어에 대한 지식이 아니라, 언어사용의 능력, 즉, communicative competence를 추구하는 오늘의 언어교육에서, 장르별, 상황별 적절한 언어 구조의 사용은 그 핵심을 이루고 있다. 따라서, 언어교육도, 상황별, 분야별 특성에 맞게 초점이 맞추어지고 있다. Technical English, 전문영어, 영어 수사학, 등의 세분화된 영어 교육에서 요구되는 핵심은, 어떠한 영어구조가 각 분야에서 적절하게 받아들여지느냐 하는 것이다. Stylistics에서 시작된 Corpus Linguistics에 그 답이 있을 것이고, 앞으로의 발전은, Stylistics에서처럼, 문학적 안목과, 어학적 안목의 만남에 달려있을 것이다.