英語敎育論攷 : 最近의 英語會話敎育問題를 中心으로

李壯性 단국대학교 영어영문학회 1982 Athenaeum Vol.- No.3

效率的인 敎育을 爲한 國· 英敎科書의 複文 構造 比較硏究

韓永熙 단국대학교 영어영문학회 1979 Athenaeum Vol.- No.2

Based on the analysis of Carol Chomsky(1969), this paper has examined Korean verb complementation structures in Korean language textbooks used in the primary school and analyzed English verb complementation in the English textbooks used in the Korean middle and high schools. Then, the results of these examination and analysis are compared with the actual acquisition of Korean complementation by Korean children and with that the English complementation by Korean middle and high school students, respectively. It was found among other things the following characteristics : (1) In Korean textbooks, Group Ⅰ complementation, where the minimal distance principle applies, is introduced at the end of Volume 1-1 inadvertentedly, but reintroduced, after a lapse of one semester, in Volume 2-1, where the order of introduction of the complement structures in terms of complexity is comparatively progressive. (2) Group Ⅱ complementation, where the minimal distance principle does not apply, is introduced in Volume 4-1. (3) Korean children begin to acquire Group Ⅰ at the age of 2.8 and Group Ⅱ at the age of 3.0 and finish acquiring Group Ⅰ at the age of 5.5 and Group Ⅱ at the age of 8.0 respectively. (4) Female children score better than male children in acquiring Group Ⅱ, i.e., far ealier. (5) The beginning and ending of the acquisition of Korean complementation are both earlier than those of American children acquiring both groups of English complement structures. (6) most of English verb complementation are introduced by 9th grade English textbook, Group Ⅰ sufficiently and Group Ⅱ rather insufficiently. (7) Middle and high school students understand Group Ⅰ better than Group Ⅱ and it is especially so among girl students. Often Group Ⅱ is taken for Group Ⅰ. (8) The most difficult Englsh complementation to Korean students are constructions with verbs tell, ask ('question') and easy (Mary was easy to see). (9) Linguistic competence on Korean verb malhata 'tell' seems to be carried over to the acquisition of English complex sentence with main verb tell but seems to interfere with latter's acquisition. On the basis of the above analysis, the following recommendations are suggested : (1) Korean complementation could be introduced in the primary school textbooks far earlier than it is done now: Group Ⅰ could be introduced in Volume 1-2 and Group Ⅱ in Volume 3-1 at the latest, since by these time children are fairly versed in the meaning of the main clause verbs which dominate complement clauses and also have a sufficient command of the complement structures. (2) Group Ⅱ English complementation should be handled more thoroughly in the 10th grade English textbook, since most of the English complement structures are treated under or in the 9th grade English textbook. (3) A comprehensive and extensive comparative analysis of Korean and English grammars should be carried out so that linguistic competence of Korean complementation, or linguistic universals on complementation may be carried over in learning English complement structures.

Antigone와 Isabella

최경란 단국대학교 영어영문학회 1999 Athenaeum Vol.5 No.-

기원전 4세기경에 쓰여진 Sophocles의 작품 Antigone에 등장하는 여주인공 Antigone과 1604년경에 쓰여진 Shakespeare의 Measure for Measure의 여주인공 Isabella가 동기애라는 생리적이고 윤리적인 끈에 묶이어 생존의 갈등을 풀어 가는 여러 측면과 태도를 살펴보았따. 그녀들은 숙명처럼 주어진 각기 다른 역사적인 배경과 시대적 상황을 뛰어 넘지 못하는 가운데, 인격적 교류의 직접적인 대상이 되는 주변의 남성인물들과 다양한 정서적, 사회적,윤리적 관계를 형성하고 있다. 이같은 관계를 중심으로 주인공들이 겪는 피하지 못하는 현실세계의 긴장과 갈등을 살펴보고 이것들이 지니는 극적 의미를 검토하여 보았다.

Essay의 主題考

孔德龍 단국대학교 영어영문학회 1979 Athenaeum Vol.- No.2

시의 정직성

이세규 단국대학교 영어영문학회 1988 Athenaeum Vol.- No.4

The Romantic Illusion of Joseph Conrad

Jung, Tae-jin 단국대학교 영어영문학회 1978 Athenaeum Vol.- No.1

By completing Lord Jim in 1900, Joseph Conrad opened the new vista of the twentieth century's English novel. The new trend of English novel of that century, E. Drew remarks, is to diagnose "the sense of human isolation and to search for the individual identity." A. Kettle points out its tone becomes "the deep sense of strain and insecurity." To think over the Conradian works under this light, it is natural that many critics have agreed on the human isolation as the main theme of Lord Jim. Accordingly I put the analyzing points on Marlow's quest for the question, "what makes jim the lonely stranger to his neighbour?" Of course, this analysis must be done through Marlow's eyes, for Marlow is the mouthpiece of Joseph Conrad and the narrator of Lord Jim. Jim led two major aspects of life, one of which was the galling life after the Patna-affair which caused his honor lost and sailor's certificate cancelled, and the other was satisfactory life at Patusan, where he regained his lost honor, dignity, confidence, and fame. These arc the main structures of Lord Jim. Before Marlow met Jim at the court-room, jim's life was outlined by the frame narrator, the author. He informs us that Jim came from a parsonage; he was one of five sons, and sent to a training-ship for officers of the mercantile marine. After two years of training course, he made many voyages. He knew the magic monotony of existence between sky and water; he had to bear the criticism of the men, the exactions of the sea, and the prosaic severity of the daily task that gives bread. Yet he could not go back, because there is nothing more enticing, disenchanting, and enslaving than the life at sea. Unfortunately Jim's lameness by a falling spar during his early voyage put him in a hospital in an Eastern prot. His recovery was slow, and he was left behind. After he was cured, he decided to take a berth of a local steamer, the Patna, that was as old as the hills, lean like a grey-hound, and was eaten up with rust worse than a condemned water-tank, and was engaged in transporting some 800 Arabs on a religious pilgrimage. At last she cleared the strait and contiuned on her way for the Red Sea under a serene sky: "How steady she goes" thought Jim with wonder, with something like gratitude for this high peace of sea and sky. At such times his thoughts would be full of valorous deeds; he loved these dreams and the success of his imaginary achievements. They were the best part of life, its hidden reality. They had a gorgeous virility, the charm of vagueness, they passed before him with a heroic tread; they carried his soul away with them and made it drunk with the divine philtre of an unbounded confidence in itself.

T. S. Eliot의 詩劇과 演劇 理論

金成敏 단국대학교 영어영문학회 1988 Athenaeum Vol.- No.4

The purpose of this study is to formulate Eliot's theory of drama in the light of his total religious and poetic development, which greatly influenced upon the writings of his poetic drama. In addition, the aim of this paper is to explore poetry in the theatre, theories of his plays, theories of his poetic drama and dramatic methods(technique), in relation to the dramatic theories of seveal critics in the Westren world with a view to understanding his beliefs(themes) in his plays and dramatic world more clearly. Poetry in the theater is discussed in the chapter Ⅱ in relation to a few critics. In the argument of one of the interlocutors in Eliot's "Dialogue on Dramatic Poetry" of 1928, Eliot said that if we want to get at the permanent and universal, we tend to express ourselves in verse. The axiom of one of the interlocutors in Eliot's "Dialogue on Dramatic Poetry-" All poetry tends towards drama, and all drama towards poetry"-is a neat and dangerous generalization, but it contains an element of truth. In the chapter Ⅲ, I examine Eliot's dramatic theories in relation to other critics. Eliot has grasped the conception of poetic drama as an organic whole. He realizes that the poetic pattern and the dramatic pattern must subsist together as integral products of one act of imagination. He believes that the verse play is capable of something much more intense and excitement. In genuine drama, the form is determined by the point on the line at which a tension between liturgy and realism takes place. The theory of poetic drama, in relation to some theories of other critics is examined carefully in the chapter Ⅳ. In his "Poetry and Drama", Eliot explained that in the theatre, poetry must justify itself dramatically. In genuine poetic drama, the poetry and the drama are fused ; the language is essential action : first, in the sense that it often does what is says, and secondly in the sense that it is the most important part of the play making explicit what is really happening. The most complete mode of reference is poetry, and the values inhere in a religious conception of life, in the belief that the goal of existence is God. It would seem that a religious attitude to human life is necessary for the writing of true poetic drama. Eliot does not wish to give the readers the impression that he would rule out of dramatic poetry these three things ; historical or mythological subject-matter, the chorus, and traditional blank verse. Eliot's belief in the value of poetic drama is based on its recher resources for transcending the ephemeral and superficial, and for concentrating upon the permanent struggles and conflicts of human beings. It seems that the really significant phase of modern poetic drama began when the drama went back to its origins inside the church and from there moved into the commercial theater by the way of the smaller specialized theatre. It concluding chapter(Ⅴ), I would like to emphasize the importance of Eliot's saying ; "The ideal medium for poetry, to my mind, and the most direct means of social usefulness for poetry, is the theatre".(U.P.U.C.) Eliot is a writer of the need for significance. It appears that all his work is concerned with a search for the true meaning and the reality of the human situations. In conclusion, Eliot was attempting to develop a new kind of theatre to fit the special requirements of his dramatic goals.

性과 宗敎의 神話的 接合 : Orpheus Descending에 나타난 고독의 상징적 이미지

朴容穆 단국대학교 영어영문학회 1988 Athenaeum Vol.- No.4

文型과 그 問題點

崔基南 단국대학교 영어영문학회 1982 Athenaeum Vol.- No.3

영문쓰기 지도와 문제점들

南龍祐 단국대학교 영어영문학회 1978 Athenaeum Vol.- No.1