HUCKLEBERRY FINN에서 작중 인물의 변화 연구

조권수 광주보건대학 1996 論文集 Vol.21 No.-

The purpose of this study is to analyze the procedures of the characters' quest for freedom in selected fictional works by Mark Twain. I divided this paper into three parts. The first part deals with a narrator's liberation from his conscience. He pursued the freedom. He tried to escape from the civilization and to get a freedom from the conscience and a Utopia. So he manages to help a nigger slave's quest for freedom and also to free himself from the bondage of his conscience after many inner struggles between "deformed conscience" and "sound heart." The second part deals with social phenomena impressed through Huck's eyes. Huck's initiation, his transformation from boy to man, is such a change. It is a radical reconstitution of his moral attitude toward the society in which he lives. He grows, therefore, during the time of crucial change, by "dying" out of society, withdrawing into nature on the river, and then returning or being "reborn" into society with a new and different attitude toward it. The third part deals with the moral growth of Huck. Huck's reaction leads to one of his most lyric descriptions of the freedom, comfort, and beauty of the river, and the loveliness of life on a raft. Thus, Mark Twain's idea of man's quest for freedom has gone through dialectical phases-hope, despair, and transcendence.

The Blithedale Romance에서의 상징주의

趙權洙 광주보건대학 1988 論文集 Vol.13 No.-

As I have shown so far, the study of the symbols in the book casts a fresh light upon the theme, characters, and the structure of the book. Without close attention to the function of the symbols, we are apt to misunderstand the book and to miss to much of the meaning and beauty of the work. The theme of the book, vanity of the attempt to reform due to the lack of true love and communication and the human inability to understand the troubled world, is clarified by three main streams of imagery, the veil, the fire and the dream. It is true that Blithedale is Brook Farm in many obvious ways, and numerous passages are lifted, some of them with scarcerely any revision, from Hawthorne's Brook Farm notebooks. But it does not mean that we have to regard the book as a realistic segment of Hawthorne's life at Brook Farm. Most people admit that the symbols in Hawthorne's Works function greatly, as above mentioned, in achieving the effects the author wishes to creat in his works. The characters in The Blithedale Romansce are also heavily drawn with symbols, and I found that Hawthorne also give some hints to the interrelationships of the main characters by those symbols. Zenovia, the heroine of the story, is simply, as Coverdale says, "a magnificent woman." She is, says, "a depiction of the eternal feminine as early, mayernal, domestic, natural, sensual, brilliant, and loving." For this "most vital character" in the novel Hawthorne employs quite an appropriate symbol, that is, a flower. In almost all ways Priscilla is opposite to Zenobia. She is weak, fragile, passive, sympathetic, and never sexual. To present her, Hawthorne uses the counterpart images to those used for Zenobia. While Zenobia is a full-blossomed flower, Priscilla is an unopened small flower blooming on a vine in the shade. She is "like a flower-shrub that has done its best to blossom in too scanty light. "She is like the plants that one sometimes observes doing their best to vegetate among the bricks of an enclosed court where there is scanty soil, and never any sunshine." Hollingsworth is asociated with tenderness of heart and the warmth of fire. It is he who kindly leads Priscilla to the warm fireside of Blithedale, which Coverdale refuses to do. Coverdale admits that Hollingsworth was originally endowed with "a great spirit of benevolence," but his great, warm, gentle heart which held such possibilities for brotherhood is perverted by his philanthropic idea, not its humanitarian goal, but his mad pursuit of it, into a force of destruction. So Hollingsworth's fire of warm heart burnes excessively to the fire of mono-mania, so that "his heart is on fire with his one purpose, but icy for all human affection." and at last his heart becomes a "heart of ice." The entangled fates of Zenobia, Priscilla, and Hollingsworth can also be seen through other symbols which Hawthorne uses to characterize them. Besides the flower symbol Zenobia is mainly described in the images of warmth and day-light which seem to suggest her passion, glorious beauty, and sensuality. Coverdale mentions her "warm and rich characteristic," her smile which " beamed warmth upon us all," and he is overwhelmed during his illness by "the fresh-warmth over her round arms." So far I have tried to study the characters in Blithedale presented through various symbols and the interrelationships of them revealed through those of the symbols themselves.

Winesburg, Ohio에 나타난 Sherwood Anderson의 Grotesques

조권수 광주보건대학 1983 論文集 Vol.8 No.-

"Life, not death, is the great adventure." So reads the inscription engraved on Sherwood Anderson's tombstone in southwestern Virginia in accordance with a request he made not long before his death at sixty-four in 1941. At first glance, the buoyancy of the epitaph seems strangely at variance with the facts of his career, For a few triumphant years after the publication of Winesburg, Ohio (1919). Andersen was acclaimed a major figure of modern literature. He was regarded with Theodore Dreiser as a liberator of American letters from the debilitating effects of the genteel tradition. The major theme of Anderson's writing is the tragedy of death in life: modern man, lacking personal identity and with his senses anesthetized, has, become a spiritless husk unfitted for love of man and community. This perennial theme is common enough in our time, though it was relatively dormant in the late 1910's when Andersen first enunciated it. It became his leitmotiv when, in 1912, at the age of thirty-six, he suffered a nervous breakdown and rejected his past. Thereafter he viewed this event as a symbolic rebirth which had purified him of false values and freed him from the confines of deadening institutions. Winesburg, Ohio is a collection of unified stories about a group of isolated people living in a small American Midwest town at the turn of the century, which is one of the most significant transitional periods in American history. It is a short story, but each chapter does not separate and is connected story by a young news reporter, George Willard. In other words, this is a short story involving 22 stories. Anderson developed every stories which originated in a visionary small town, Winesburg, in American mid-west in 1910's. I dealt with the conception of the grotesque in the chapter Ⅰ. The conception of the grotesque, as actually developed in the stories, is not merely that it is an unwilled affliction but also that it is a mark of a once sentient striving. The grotesques are those whose humanity has been outraged and who to survive in Winesburg have had to suppress their wish to love. Williams becomes a misogynist because his mother-in-law, hoping to reconcile him to his faithless wife, thrusts her into his presence naked; Wing Biddlebaum with affection is fatally misunderstood. Grotesqueness, then, is not merely the shield of deformity; it is also a remnant of misshapen feeling, what Doctor Reefy in "Paper Pills" calls "the sweetness of the twisted apples." The Chapter Ⅲ has dealt with the author of the song in praise for grotesque. Anderson writes about ordinary people doing, ordinary things, yet they are not normal or commonplace in the usual sense, because his concern in this book is not so much the physical appearance of their external world as the psychological reality hidden reality of their lives, had known and lived it. He manages in a remarkable way to capture the essence of American existence in transition during that period, exploring the ultimate problem of human isolation as the major theme. I examined closely the motivation of the grotesques and classify their types. And then I researched how the writer combined normal human relation which these people wanted and tried to show how George Willard matured gradually. Finally I examined closely how Anderson understood, and how he introduced them to the world through his work.

SHOERWOOD ANDERSON의 疎外 硏究 : Winesburg, Ohio를 中心으로

조권수 광주보건대학 1984 論文集 Vol.9 No.-

Human isolation has been. one of the most common, if not the most predominant, themes of literature, especially of the novel. Since isolation the human being everywhere, it may well be that the novel should deal with the subject so often. It seems, however, that no literature has been upon human life than American literature. Anderson writes about ordinary people doing ordinary things, yet they are not normal or commonplace in the usual sense, because his concern in this book is not so much the physical appearance of their external world as the psychological reality of their internal world. In quest of the meaning of life, a person takes one of hundreds of thoughts to himself, believes it to be his truth, and tries to live his life by the truth, which becomes his ide?e fixe. He tries to express it and seeks understanding of others. But his efforts fall, because he is so obsessed with his own idee fixe and others are with their own that he is unable to communicate with them and they overlook his hidden reality beneath appearance. The inability to communicate leads him to frustration and isolation. He withraws from society or rejects it, and then confines himself within the wall of his dream world which he himself erects. By doing so, however, he more often than not falls into the depths of isolation, because his frustration simply intensifies the need for understanding and love. Anderson deals with three aspects of the problem of human isolation in his three stories. The first story, "Hands" deals with the inability to communicate feeling; the second, "Paper Pills" is devoted to the inability to communicate thought; and the third, "Mother" focuses on the inability to communicate love. This three-phased examination of the basic problem of human isolation sets the one for the rest of the book because these three shortcomings, resulting partially from the narrowness of the vision of each central figure but primarily from the lack of sympathy with which the contemporaries of each regard him, are the real creators of the grotesques in human nature. In these three stories Anderson sets forth the theme of the problem of human isolation in the three aspects that recur in most of the other stories. These three aspects, the inability to communicate one's feeling, one's thought, and one's love, are at the heart of the problem, and in the following stories he shows these short-comings at work in other situations with other central characters but essentially as restatements of the same theme. In each of the characters something deep within him demands expression. Anderson avoids giving any definite answer or solution to the problem of human isolation, because he seems to know that the solution of human isolation is easy to say, but at the same time it is hardly possible to realize, because the completion of human life are not so easily manipulated by a few words. So he only suggests some tentative conclusion by way of the development of some characters. And Anderson's tentative conclusion, however, is best embodied in the development of George Willard. George is, in many ways, the central character of the book, his role being one of. the basic unifying factors of the separate stories. We can see that Anderson's tentative answer to the problem of human isolation, as well suggested by way of George Willard's awakening, may be summarized as this: man can break up the wall 'which separates him from other people and regain the tradition of cultural manners only through compassion and empathic understanding which is intuitive rather than rational; it is understanding and love that make life worth, living, although they cannot ultimately defeat human isolation.

The Scarlet Letter에서의 罪의 象徵과 描寫

趙權洙 광주보건대학 1986 論文集 Vol.11 No.-

I studied the symbolism and the description of sin in The Scarlet Letter of Hawthorne's through this paper. In the first chapter as preface, I dealt with the general symbolism of the work. There were many cases which Hawthorne dealt with human relations directly or symbolically, and in this charcteristic symbolic tale or allegorical tale became the main current. We can see this case in The Scarlet Letter of Hawthorne's story, and in his short stories. The Minister's Black Veil, The Ambitions Guest, The Hollow of The Thore Hills. The opening- sentence suggests the darkness "sad-colored", "gray", the rigidity "oak," "iron", and the aspiration "steeple-crowned" of the people amongst whom religion and law were almost identical. Later sentences add "weatherstrains," "a yet darker aspect, " and "gloomy" to the suggestions already began through color imagery. The closing words of the chapter make the metaphorical use of color explicit: Hawthorne hopes that a wild rose beside the prison door may serve "to symbolize some sweet moral blossom, that may be found along the track, or relieve the darkening close of a tale of human fraility and sorrow. " In the second chapter I dealt with the "A" and each character's symbolic description. The "A" which Hester wears on her bosom does not, of course, signify adultery in her eyes: its ornate embroidery is an implicit rejection of the community's view of her act; it is, is fact, a symbolic foreshadowing of her "consecration" assertion seven years later. "A" symbols adultery and original sin. But later it was explained as "Angel," "Able," or "Mercy." Hester is a well-known sinner, Dimmesdale a hidden sinner, and Chillingworth an unpardonable sinner. The Scarlet Letter describes human mentality and suffering which sinner must endure through hero's complication. Pearl is more than a picture of an intelligent and willful child drawn in part from Hawthorne's observations of his daughter Una: she is a symbol of what the human being would be if his situation were simplified by his existing on the natural plane only, as a creature. Pearl is potentially an immortal soul, but actually, at least before the "Conclusion, " she seems more nearly a bird, a flower, or a ray of sunlight. In this way Hawthorne uses frequently name symbolism in his works. And we can take imagery of color and light. The relation between the light and color images and their symbolic values are, then, neither static and schematized nor wholly free and arbitrary, but contextual within a general framework supplied by traditional patterns of color symbolism. In the third chapter I considered the psychological affect of sin in The Scarlet Letter. The central theme of most of Hawthorne's stories is not sin. as a theological problem, but rather the psycholgical effect of the convention of sin on the liver of the early colonists. Hawthorne expressed "a tale of human fraility and sorrow" instead of word "sin. "It is because of the writer's intention which he is going to describe human fraility and sorrow happened from it. In conclusion, this story is a most powerful but painful story.

헤밍웨이의 死生觀의 硏究 : 그의 작품을 중심으로 In His Master Pieces

조권수 광주보건대학 1987 論文集 Vol.12 No.-

Since his death with a self-inflicted gunshot wound Ernest Hemingway has been an even more controversial figure than before. An athletic and versatile young man, he tried to enlist in 1917 but was refused. He became a newspaper reporter and then went to Italy as an ambulance driver. He was badly wounded, but returned to serve a short time in the Italian infantry. This was only one of many close meetings with death during his life. It is not strange that he wrote much about death, violence, war, hospitals, and wounded heroes. In Hemingway, to show what a human being is, what a human being is capable of, and for that reason, to prove something worthy to live for was his primary concerns through his life. And his favorite theme was about death. He tried to define and maintain his ideas about the meaning of human existence, however limited and imperfect they might be, in all his books and the characters of all his heroes are peculiarly human story, that is, death. So I've tried to understand Hemingway's ideas about death through his main novels: A Farewell to Arms, The Snows of Killimanjaro, For Whom the Bell Tolls, and The Old Man and the Sea, and so on. In A Farewell to Arms, on the death of Catherine, Henry did just leave the hospital and walked back to the hotel in the rain. Catherine dies in childbirth. The novel is a romantic tragedy, planned almost like a play in five acts, and it again shows Hemingway's obsession with violence, sex, and death. Here he shows increasing use of death, and natural acenery. In The Snows of Kilimanjaro, Harry died with hope, which he couldn't realize in his life. In his tragic process, he achieved the moral triumph and his failure could achieve victory through his death. In The Old Man and The Sea, the writer tells as a powerful and tragic story of anaging fisherman's lonely and heroic struggle to catch agiant fish far out at sea. We can also read as an allegory of man's struggle with life or the artist's struggle with his art. The style is simple, dignified, and poetic. No one who reads this story intelligently could think of Hemingway as a nihilist. In it he emphasizes many of the ideas, ideals, and attitude be has shown in all of his books : his insistence on honesty, the search for truth, courage, humility, endurance. In For Whom the Bell Tolls, Robert Jordan falls in love with Maria and they enjoy a few hours of bliss before he is killed. Robert Jordan believed in liberty, impossible: under Fasscism. He did not belive in working for a planned society, but he accepted Communist discipline as necessary for the war. In conclusion I can see that Hemingway emphasizes that death is fatal to man. That is, death and life are the same aspect of the great nature and process of it.

"The Minister's Black Veil"에 관한 硏究

조권수 광주보건대학 1991 論文集 Vol.16 No.-

Howthorne, driven to take the tragic view of life and human destiny, due to his own conception of good and evil, simply presented human destiny as tragic, by refusing to pass the last judgement and permitting his reader to do it. When we look at The Mimster's Black Veil from this point of view, we must conclude that the symbol of the black veil rather than the character of Parson Hooper is the function of this symbol is in my opinion not to make the parson a hypocrite but a pilgrim, who takes an inward journey into the human heart, which gets darker and darker as he progresses. The most important and enduring mesage emanating from this profound symbol is that tragic and mysterious fact of like involving the essential relationship between light and darkness, which posits that short of perfect light, which exists only in God, every imperfect light is in need of darkness to come to a proper self-realization. Mr. Hooper committed the same sin owing to his rationalizing sin. Hooper, in his stubborn use of the veil of a sin, at unconsciously guilty of a great one, that of egoistically warping the total meaning of true life. Because of the black veil, th e members of the congregation sense the Mnister's distance, and he, in turn, sees them darkly as a sign of total depravity of all human beinges. Also he veil comes between him and God as he reads the Scripture and as he prays. It signifies he complete estrangement. Hawthorne thinks sin rather as a token to attain human maturity and as a magnet to draw human sympaty for an admission to their brotherhood of man, for sin provides a common bond to human being that binds man to earth and so to common fate with his fellows. When Mr. Hooper refused to accept the earthly human condition he failed to see the real world, and also pride, he committed, shut him out from the very salvation to which his life was supposedly dedicated. At length he shut his own heart and he was damned by choosing to life by idea than human love as a condition of the earthly life.

햄리트의 성격고찰

조권수 광주보건대학 1994 論文集 Vol.19 No.-

No Dane of flesh and blood has been written about so extensively as Hamlet. Shakespeare's prince is certainly the best known representative of his nation. Innumerable glossaries and commentaries have grown round Hamlet, and he is one of the few literary heroes who live apart from the text, apart from the theatre. His name means something even to those who never seen or read Shakespeare's play. There are many subjects in Hamlet. There is politics, force opposed to morality; there is discussion of the divergence between theory and practice, of the ultimate purpose of life, there is tragedy of love, as well as family drama; political, eschatological and metaphysical problems are considered. There is everything you want, including deep psychological analysis, a bloody story , a duel, and general slaughter. In Hamlet, there are a few characters, too, as in common people. He is alone because his father died and mother remarried his uncle. He is too young to experience deep moral doubts, but he is not a simpleton. He wants to know if his father has really been murdered. He cannot fully trust the Ghost, or and ghosts for that matter. He looks for more convincing evidence, and that is why he arranges a psychological test by staging the crime that has been committed. He loathes the world, and that is why he sacrifices Ophelia. But he does not flinch from a coup d'etat. He knows, however, that a coup is a difficult affair. He considers all pros and cons. He is a born conspirator. "To be" means for him to revenge his father and to assasssinate the King; while "not to be" means -to give up the fight. He is more than the heir to the throne who tries to revenge himself for the murder of his father. The situation does not define Hamlet or at any rate does not define him beyond doubt. The situation has been imposed on him. Hamlet accepts it, but at the same time revolts against it. He accepts the part, but is beyond and above it. In the process we can see his characters: He was in lone situation, and was a perfectionist. He was a real religious man, but he was the obsessed for the Ghost. He was an existentialist and so brave.

Nathaniel Hawthorne 작 "Young Goodman Brown"에 관한 연구

조권수 광주보건대학 1992 論文集 Vol.17 No.-

"Young Goodman Brown" is one of Hawthorne's most controversial tales, as such it is open to a wide range of interpratation. Many Hwathornean critics have analyzed this difficult tale and it is generally agreed that the tale is one of the richest stories of Hawthorne in style and image, and that it has three main themes : sin, faith and goal. It has been generally accepted that Brown comes to lose his Faith/faith and falls prey to the darkness of guilt. It is my view that the investigation of the process of Brown's goal quest and his setting would hold good for this controversial dispute. And my argument is that an appreciation of this short story depends, to a considerable degree, on an understanding of the characterization of the story as a sequence of scenes. I will focus in particular on the contrasts which occur thoughout the text : those between darkness and light and between good and evil. The dark-light contrast is seen to represent the contrast between evil and good, and to be realized in adjectival, nominal and verbal farms. It is my hypothesis that "Young Goodman Brown" is composed of four scenes, each of which occurs in a distinct and significant frame. The first scene shows Brown's farewell to his wife at sunset at ahis house. In the second scene, he meets his guide on the verge of the forest. And he happens to meet Goody Cloyse of his way with his companion into the forest, and hears many familiar voices in the midst of the forest. In the third, he arrives at the meeting place and wonders at a large congregation. And he reveals his accidental but inevitable meeting with his wife. Finally in the fourth scene, Brown returns to his Puritan town disillusioned. Accordingly, the sequence of the scenes in "Young Goodman Brown" can be called an escape-return pattern, or a goal-oriented quest. To sum up the discourse analysis undertaken by each model or procedure may lead to different interpretations of the texts. But each discourse analysis model is regarded as essential for the story of more sophisticated and more ambiguous narrative, since discourse analysis helps to throw light on critical disagreement and to help in decoding the communication between the author-narrator and the reder-listener.

구프린스턴 신학의 개혁파 정통주의 인식론 연구

조권수 ( Kwon Soo Cho ) 한국대학선교학회 2018 대학과 선교 Vol.36 No.-

필자는 16세기 칼뱅의 종교개혁 신앙사상이 그 후계자들에게 본질적인 내용과 그 적용의 문제에서 과연 큰 변화 없이 잘 전달되었을까 하는 의문을 가지고 이 논문을 시작했다. 왜냐하면 시간의 흐름과 더불어 사상의 어떤 변화들이 칼뱅과 칼뱅의 후계자들 사이에서 분명히 일어났기 때문이다. 시간의 흐름과 더불어 일어나는 그와 같은 변화는, 어떤 경우에는 칼뱅의 종교개혁 신앙사상의 성숙과 발전을 가져왔다. 그러나 반대로 어떤 경우에는 칼뱅 신학의 변질과 퇴보를 가져오기도 하였다. 이 논문에서는 특별히 성경이 가르치는 올바른 영적 인식의 문제와 그 신학적 방법론의 관점에서, 19세기 미국의 구프린스턴 신학이 16세기 칼뱅의 종교개혁신학을 과연 본질적인 수정이나 오류 없이 그 연속성을 잘 유지하였는지 살펴보려고 한다. 즉, 오늘의 개혁주의 신앙사상에 지대한 영향을 미친 구프린스턴의 개혁파 정통주의 신학사상을, 특별히 인식론적인 관점에서 존 칼뱅의 종교개혁 신앙사상과 비교 연구하였다. I started this thesis from an inquisitive thought on the continuity of Calvin’s reformation theology, which lead me to fathom for any possible changes that may have happened in between 16^th century Calvin’s Reformation Theology and his successors’ theology over the stretch of time. The changes have furthered Calvin’s Reformation theology in some cases, but on the other hand, deterred people from correctly comprehending Calvin’s Reformation thoughts and undermined the basis itself. In this thesis, I wish to examine whether the fundamentals and applica-tion of 16^th century Calvin’s Reformation theology was wholly and aptly em-braced by his theological successors, 19th century Old-Princeton theologians, without any notable incongruity. We will be comparing the Reformed Orthodoxy of Old-Princeton Theology, which has significantly influenced contemporary Reformed Theology, with John Calvin’s Reformation Theology especially from an epistemological view point in this study.