http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
개별검색 DB통합검색이 안되는 DB는 DB아이콘을 클릭하여 이용하실 수 있습니다.
통계정보 및 조사
예술 / 패션
<해외전자자료 이용권한 안내>
- 이용 대상 : RISS의 모든 해외전자자료는 교수, 강사, 대학(원)생, 연구원, 대학직원에 한하여(로그인 필수) 이용 가능
- 구독대학 소속 이용자: RISS 해외전자자료 통합검색 및 등록된 대학IP 대역 내에서 24시간 무료 이용
- 미구독대학 소속 이용자: RISS 해외전자자료 통합검색을 통한 오후 4시~익일 오전 9시 무료 이용
※ 단, EBSCO ASC/BSC(오후 5시~익일 오전 9시 무료 이용)
Benjamin J. Whorf's hypothesis that a language is closely related to thinking and culture of its speakers and that the former influences on the latter, has been refuted by sociolinguists who subscribe to transformational-generative linguistics, as too strong and unprovable. Experiments in the past to prove the validily of the Whorf's hypothesis have been conducted mainly with vocabulary words such as color terms and their perception, kindship terms and their relationship, etc., and seemed to have confirmed the hypothsis. However, the results of these experiments are refuted: what the experimenters termed and used as syntactic categories are interpreted as semantic ones, and therefore their findings are regarded as irelevant to the hypothesis. Besides, sociolingusits claim that it is first of all too coarse to compare a complex language that has various aspects in its system and use, with the mode of thinking of its speakers. The present paper has taken up the word order of Korean and compared it with the ways of thinking employed among Koreans and then compared its results with those derived from a comparison of the word order of English with the mode of thinking among American English speakers. It was found that there is a close relation between the language and the mode of thinking in Korean and also in English and that the relation varies according to a difference of languages. In these languages, the grammatical and cogitive modes and systems are quite opposite to each other. As such, these finding seems to confirm what the Whorf's hypothesis proposes as to the influence of a language on cognition and culture of its speakers and as to a cognitive and cultural difference according to a language.
Henry James employs writers and artists as his subjects for many of his short stories. "The Author of Beltraffio" is one of them. It deals with the conflict between art and life. James seems in this story to ask what kind of private life the artist should have. He shows us here that he is concerned with a moral problem, especially with the aesthetic movement during the Victorian era. His positive responses to aestheticism raised questions about the aesthetic attitudes and morality of the protagonist and his wife. The novelist's moralistic wife lets her child die from the attach of diphtheria because she was afraid of his becoming infected by his father's immoral books. The story then leads to moral tragedy. For James the interrelation of the artist to life is decisive. He sets Mark Ambient, an aesthetic novelist, to speak for the relation between his own view of aestheticism and aestheticism in general. And the ideas and words Ambient utters throughout the story come from The Art of Fiction, James's famous essay on the theory of fiction in which his articulation of an aesthetic program may be found. In the story James attempts to dramatize the aesthetic gospel of the 1880's as Ambient always searches for a golden vessel, namely, an aesthetic gospel of art. Ambient's devotion to his art inevitably brings about his moral collision with his wife. By formulating such a conflict between the husband and wife in the story, it seems quite evident that James accepts the British aestheticism as true.
In this study, I intend to consider two important aspects of Auden's early poetry, psychology and Mortmere. That Auden is a serious student of psychology is apparent in his early poems and is overwhelmingly evident in his essay, "Psychology and Art Today." In this essay Auden, in the course of an interpretation of Freud and Layard, attributes the doctorine to them: "Not only what we recognize as sin or crime, but all illness is purposive. It is an attempt at cure." As Spears points out, both in poetry and in prose, Auden's approach may be said to remain primarily psychological throughout all changes of ideology and his knowledge of this is extensive. Another important feature of Auden's early poetry is the myth called Mortmere. This imaginary world produced by Isherwood and Upward served both to provide escape from and to express revolt against the existing order. This fantastic element in Auden's early poems served the same purpose. His effort to expose and convey the feeling of alienation from society sought a solution in fantasy called Mortmere. The problem in Auden's early poems is to unite the inner, magical world with the rational, social world to bring together fantasy and diagnosis.
On the heels of the end of World War Ⅰ, the 1920's was a time of great economic, social and spiritual change in America. Economic prosperity had brought about material wealth, but at the same time it was a period of instability and disillusionment, and under such a background of the period, the novel that plainly described the American society in the 1920's was "The Great Gatsby", authored by F. Scott Fitzgerald in 1925. As a jockey of the Jazz Age, Fitzgerald deals with the American dream, one of the classic themes in American novels, and the frustrations and social situation of that time in America, in his novel, "The Great Gatsby". Not only did he describe the personal tragedy involving ideal and reality, but also criticized the corrupt spiritual sterility and immorality of American society. Gatsby's dream of reuniting with Daisy, his first love, was destroyed due to his innocent lack of knowledge of the vices of Daisy and her husband, Tom. His frustration of not realizing his dream, and his death, symbolized the American dream defeated by the corrupt materialism of the time. In spite of Gatsby's frustration regarding his dream, however, Fitzgerald had valued his pure pursuit of his dream, that is, his dream of regaining his first love. On the other hand, his novel warned against the change of view which placed value on materialism in American society of the 1920's
Thomas Hardy found life full of three M's(Misery, Mishap, Misadventure). He could find no solution for the innumerable problems of life, and in his novels, he frankly portrayed the helpless condition of people in the world. Hardy who was greatly pained at the state of things, devoted his art to the search for the cause of miseries but could not find any satisfactory panacea for people's unhappiness. Accordingly, the primary purpose of this paper is to clarify the basic background of Hardy's tragic view of world and to compare Hardy with authors like Aeschylus, Sophocles and Shakespeare. From this study, I have come to the following conclusion that Hardy combines some qualities of Aeschylus, Sophocles, Homer and Shakespeare, the ballad-makers, the Gothic novelists and the sensational serial-novelists, and that Hardy frankly believed and proclaimed that we live on "blighted start" and that it is natural for things to go wrong, for hopes to be frustrated, for brave rebels to be defeated and for his protagonists to spend their life in an unfruitful quest of fulfilment. I believe, however, that Hardy's true concern but the search for the better way of life. So we should remember "In Tenebris Ⅱ“, ... if way to the Better there be, it exacts a full look at the Worst,.... I would like to suggest that we call Hardy not to be a pessimist but to be a meliorist.