신화화된 여성의 성과 생 : Strange Interlude 론 Strange Interlude

이일범 한국강원영어영문학회 1995 영어영문학 Vol.14 No.1

Eugene O'Neill's Strange Interlude is a psychological play about a woman's neurosis. Psychoanalysis interprets the protagonist Nina's psychoneurosis in terms of the sexual pressure of original incest. Nina doesn't resist injustice of man's privilege, tyranny of father's authority, and dissatisfaction with woman s role in society. Nina's problem begins when Gordon, her fiance, was killed in the war. His sudden death causes Nina to feel lack of self-consciousness. The mythification of woman's sex and life that having a baby only satisfies woman's sex and life controls Nina. Her neurosis is connected with the myth. She marries Evans whom she doesn't love. Her son Gordon's father is not Evans but Darrell who is her doctor. Nina goes on a long life journey with four men : her husband Evans, her doctor Darrell, her son Gordon, her father's friend Marsden. She spends her life with them in peace and in triumph. But as a matter of fact she is not a winner but a loser in life. She always feels hollow and lack of self-consciousness. Maternity is a concept mythified in modern times. Maternal myth is not only a source of man's dream but can be an illusion in woman's self. In this play Nina often appeals to $quot;motherly god.$quot; But maternal myth prevents establishing woman's self. It only deepens obedience to paternal rights. At the point of regression Nina criticizes $quot;paternal god$quot; and can't help accepting her own defeat. She mutters, $quot;Strange interlude! Yes, our lives are merely strange dark interludes in the electrical display of God the Father!$quot;

스타트업 창업자의 창업성공에 미치는 영향 요인에 관한 연구 :비즈니스 모델에 대한 자기 효능감과 신뢰의 매개효과를 중심으로

이일범,강민정,김지웅 국제문화기술진흥원 2022 The Journal of the Convergence on Culture Technolo Vol.8 No.1

This paper suggested a plan to increase the start-up survival rate by identifying independent variables that significantly affect start-up success through analysis of the founder's internal and external factors. As a result of this study, it was found that internal factors (financial ability, risk sensitivity) and external factors (start-up environment, start-up support policy) had a direct positive (+) effect on start-up success. Meanwhile, self-efficacy for business models partially mediated the relationship between factors(financing ability, risk sensitivity, start-up environment and start-up support policies) and start-up success. Self-efficacy for business models fully mediated the relationship between factors(start-up expertise and challenge spirit) and start-up success. Finally, trust in business models partially mediated the relationship between factors(start-up expertise, risk sensitivity, and start-up support policies) and start-up success. And the trust in business models fully mediated the factors(the spirit of challenge, start-up environment) and start-up success.

O'Neill 의 가면극 , The Great God Brown : 안과 밖의 개성화 과정 The Process of Individuation of Inner and Outer Selves

이일범 한국강원영어영문학회 1993 영어영문학 Vol.12 No.1

The purpose of this essay is to state the process of individuation which is represented in O'Neill's mask drama, The Great God Brown. The Great God Brown became famous for its daring use of masks to suggest the conflicting personalities of each of its characters. Earlier, The Hairy Ape had painted on masks to emphasize the artificial 'faces' of people in 'Society.' And later Lazarus laughed used formal masks to define type characters. But in The Great God Brnwn all the characters used masks to dramatize the contrast between their external, or public selves, and their inner, or private selves. And this new use of masks suggested psychological complexities beyond the scope of the old, realistic drama. O'Neill was interested, as usual, in inner tensions and the drama of the soul, and it was to this end that he invented the use of masks to accentuate conflicts and changes in individuals and, in the last part of the play, to visualize a transfer of personality from one character to another. There are many Nietzschean interpretations and Jungian interpretations of this play. O'Neill himself considered Nietzsche's The Birth of Tragedy the most stimulating book on drama ever written. And O'Neill's preference for Jung is well known since he not only has said as much but also included Jungian concepts in the structure of his plays. $quot;There are clear indications that material for The Great God Brown may have been drawn from The Psychology of the Unconscious and Psychological Types, two major works of Jung available to him. The Great God Brown embodies a 'Mystery' in the philosophic or religious sense of the word, shadowing forth what Nietzsche described in The Birth of Tragedy as 'the mystery doctrine of tragedy. the fundamental knowledge of the oneness of everything existent, the conception of individuation as the primal cause of evil, and of art as the joyous hope that the spell of individuation may be broken in argury of a restored oneness. Brown's dying words may best be described only as an esoteric parable of Dionysian wisdom: 'The laughter of Heaven sows earth with a rain of tears, and out of Earth's transfigured birth-pain the laughter of Man returns to bless and play again in innumerable dancing gales of flame upon the knees of God!'.

"Who's Afraid of Virginia Woolf?"에 나타난 사실(truth)과 환상(illusion)

이일범 圓光大學校 師範大學 英語敎育學科 1983 論文集 Vol.5 No.-

Waiting for Golot와 時間

李一範 강원대학 1984 人文學硏究 Vol.20 No.1

Make-up and Mask : Robert Browning의 "My Last Duchess"와 T.S. Eliot의 "The Love Song of J. Alfred Prufrock"의 비교

李一範 한국강원영어영문학회 1984 영어영문학 Vol.- No.5

According to Understanding Poetry by Robert Penn Warren and Rene Wellek, we can define that poetry is a kind of saying. And then there must be a speaker in any poem. The speaker, that is to say, "Who is speaking in a poem?" provides the key to the nature of the said, "What kind of saying is the poetry about?" T.S. Eliot divides the voices of poetry into three. Here the voices of poetry are classified by the speaker and listener of the poetry. The first voice means that of the poet talking to himself. The second is that of the poet addressing an audience, large or small. The third stands for that of the poet speaking to a dramatic character through another dramatic character. Ultimately, it goes without saying that the speaker is the poet, but it is not hard to find out the poet disguises himself as a character of the poetry. In addition, "Whom is the poetry speaking to? is another essence to the understanding of the poetry. T.S. Eliot's basis of argument is nothing else than the two keys, the problem of the speaker and the listener. He does not define what sort of poems are equivalent to the three voices respectively, but we can conjecture he keeps in mind to classify as follows: the first voice-the lyric poem and the poetry of the dramatic monologue; the second voice - the epic; the third voice - the dramatic poetry. Divisions can remain thus, but this admits of a lot of problems to apply practically to each poem. For example, Robert Browning's "My Last Duchess" and T.S. Eliot's "The Love Song of J. Alfred Prufrock" are the poems of the dramatic monologue and naturally we are forced to classify these poems into the poetry of the first voice. But the poetry of the dramatic monologue is formally that of the first voice, and in its intention alloyed with the second voice, and as we have contemplated in the earlier pages and as the word 'dramatic' hints, it pretends to put on the third voice. On the face of it the voice of "My Last Duchess" and that of "The Love Song of J. Alfred Prufrock seem to be very different from each other. But such fallacy is due to the extent of the disguise of the poet. I think the former is a kind of make-up, in which we can trace the poet's own voice and intention. The latter will be a sort of mask, in which the persona is thoroughly hidden. T.S. Eliot has been complete in disguising his own persona which may result from his poetic theory, the objective correlative theory, and from his individual tendency. In conclusion, we must not overlook the poet behind such a make-up or a mask. It is essential to pursue the underlying intention behind the speaker of the poetry. We will have to observe that 'Why does the speaker say such?' lies close behind 'Who is speaking?' The problem of 'why' plays the conclusive role in the understanding of the poetry. Mr. Eliot's theory of the three voices of poetry can come into being as a theory for a theory's sake, but we can say it is problematic to the practical application to the each poem.

The Zoo Story와 Adward Albee

이일범 圓光大學校 附設 美國文化硏究所 1983 論文集 Vol.2-3 No.-

Make-up and Mask : Robert Browning 의 " My Last Duchess " 와 T . S . Eliot 의 " The Love Song of J . Alfred Prufrock " 의 비교

이일범 한국강원영어영문학회 1984 영어영문학 Vol.5 No.1

According to Understanding Poetry by Robert Penn Warren and Rene Wellek, we can define that poetry is a kind of saying. And then there must be a speaker in any poem. The speaker, that is to say, $quot;Who is speaking in a poem?$quot; provides the key to the nature of the said, $quot;What kind of saying is the poetry about?$quot; T.S. Eliot divides the voices of poetry into three. Here the voices of poetry are classed by the speaker and listener of the poetry. The first voice means that of the poet talking to himself. The second is that of the poet addressing an audience, large or small. The third stands for that of the poet speaking to a dramatic character through another dramatic character. Ultimately, it goes without saying that the speaker is the poet, but it is not hard to find out the poet disguises himself as a character of the poetry. In addition, $quot;Whom is the poetry speaking to? is another essence to the understanding of the poetry. T.S. Eliot's basis of argument is nothing else than the two keys, the problem of the speaker and the listener. He does not define what sort of poems are equivalent to the three voices respectively, but we can conjecture he keeps in mind to classify as follows: the first voice-the lyric poem and the poetry of the dramatic monologue; the second voice-the epic; the third voice-the dramatic poetry. Divisions can remain thus, but this admits of a lot of problems to apply practically to each poem. For example, Robert Browning's $quot;My Last Duchess$quot; and T.S. Eliot's $quot;The Love Song of J. Alfred Prufrock$quot; are the poems of the dramatic monologue and naturally we are forced to classify these poems into the poetry of the first voice. But the poetry of the dramatic monologue is formally that of the first voice, and in its intention alloyed with the second voice, and as we have contemplated in the earlier pages and as the word 'dramatic' hints, it pretends to put on the third voice. On the face of it the voice of $quot;My Last Duchess$quot; and that of $quot;The Love Song of J. Alfred Prufrock$quot; seem to be very different from each other. But such fallacy is due to the extent of the disguise of the poet. I think the former is a kind of make-up, in which we can trace the poet's own voice and intention. The latter will be a sort of mask, in which the persona is thoroughly hidden. T.S. Eliot has been complete in disguising his own persona which may result from his poetic theory, the objective correlative theory, and from his individual tendency. In conclusion, we must not overlook the poet behind such a make-up or a mask. It is essential to pursue the underlying intention behind the speaker of the poetry. We will have to observe that 'Why does the speaker say such?' lies close behind 'Who is speaking?' The problem of 'why' plays the conclusive role in the understanding of the poetry. Mr. Eliot's theory of the three voices of poetry can come into being as a theory for a theory's sake, but we can say it is problematic to the practical application to the each poem.

낫셀의 對外 政治論

이일범 한국외국어대학교 아랍 및 이스람연구회 1970 초생달 Vol.3 No.1

S . S . Glencairn 극과 The Harry Ape 에 나타난 소외 의식의 상징

이일범 한국강원영어영문학회 1998 영어영문학 Vol.17 No.2

The purpose of this essay is, on the basis of Eugene O'Neill's plays, S. S. Glencaim plays and The Hairy Ape, to study his themes, symbols of modem men's alienation consciousness and dramaturgic techniques. It seems that most of his sea plays including The Hairy Ape are biographical in origin and naturally imply his first-hand experiences of adolescence: obsessive feeling of $quot;homelessness$quot;, solitude and alienation. Therefore his chief concern was on men's sense of not $quot;belonging$quot; in the universe, or of not belonging$quot; to himself. His dramaturgic techniques can be said to include various symbols, sound effects, stage directions, poetic and fantastic lighting and music by using expressionistic methods. These techniques was certain to be influenced by European expressionism and employed to dramatize the conflicts between the world and his inner self. O'Neill is the first modem dramatist of the United States. He made his auspicious debut in 1916, with a play that contained, as he later revealed, the 'germ of the spirit' of his future works. Bound East for Cards deserves careful consideration. And he continued to produce his favorite sea plays.' Ile(1917), In the Zone(1917), The Long Voyage Home(1917), The Moon of the Caribbees(1918), The Rope(1918), Where the Cross Is Made(1918), Anna Christie(1921), The Hairy Ape(1922). The realistic Glencairn plays display O'Neill's abiding interest in man's position in relation to large outside forces. They do display a theatrical virtuosity, a mastery of mood and melodramatic plotting. He also uses various kinds of symbols in these plays: sea, fog, moon, water, ship, haves and have-nots, cage, prison, steel, song, white, black, stokehole, marionettes, voices, smoke, hell, slave, whistle, land, nature, primitiveness, liveliness, weakness, hypocrisy and affectation, fur, jewel, indifference, impotence, sterility, leopard, Neanderthal man, $quot;The Thinker$quot;, coal, machine, steam, fire, energy, speed, ape and much more. He made use of these symbols in order to express effectively the dramatic presentation of alienation, a state of existence and a form of activity deprived of the values of human essence. He made efforts to come to grips with the plight of alienation. In The Hairy Ape Yank's development lies in moving from the illusion of a nonalienated state, through an awareness of alienation, to an attempt to find unalienated values: and the crucial leitmotif of $quot;belong$quot; and $quot;not belonging$quot; is the expression of an unalienated statement of $quot;belonging$quot; lost. The Hairy Ape is fundamentally a dramatic statement of $quot;belonging$quot; lost and a powerful plea for $quot;belonging$quot; to be regained. Hence its artistic significance and universal appeal.