1930年代 韓國 傾向小說 一 考察 : 사상탄압과 사상의 내면화양식

변정화 숙명여자대학교 대학원원우회 1988 원우논총 Vol.6 No.-

When glancing toward the Korean novels of the Colonial Period, one of the noteworthy phenomena is that motives of arrangements, escorts, and imprisonments by the police had increased greatly from 1930, compared to the former years, which the cause of most of these cases were known to be involved with class consciousness. This paper aims at examining closely the literary and historical significance of these works. Analyzing the works of that time, conclusion were formed shown as below. Firstly, the manifestative phenomena of the imaginary imprisonment can be regarded as reflection of the common way of life in the colonial period when freedom was not allowed. To be concrete, it can be regarded as a reflection of the suppression of thought and situation of arrests. Secondly, in most of the works the pattern of 'crime and punishment' is totally in-versed. The major characters are pictured as a sufferer and a martyr who respond to the call of the epoch. Here we can find the true intention of the authors. Thirdly, therefore, the major characters both represent the reality of the colony in which the invader functions as imitative nation, and stand for symbolic individuals that resist to that power. And so, the place which they were imprisoned also represents both the reality and the special literary decoration which connotes the political tension and friction that resist to the reality. Lastly, counter lighting the ousted and punished class consciousness by forming the experience of arrangment-escort-imprisonment these novels are important measures of helping the covert extension of proletarian novels. In other words, these novels, in the situation of severe suppression of thought, by establishing a moment of internalizing the class consciousness works as a inner chain linking the former combative novels and the latter conversed novels, and even the interconnections of the ideology before and after the Independence.

國語 疑問文의 槪念 및 그 範疇

徐順姬 숙명여자대학교 대학원원우회 1991 원우논총 Vol.9 No.-

The purpose of this article is defining the concept and classifying of interrogatives in Korean Language. This mood is formed by synthesizing the interrogative endings to sentence in Korea, and the non-interrogative endings which appear in the utterances interpreted as questions by the performative intonation contour. At the same time the wh-question must contain at least on focused word referentially undermined. In other words, the wh-word in Korean must be assigned focus. The performative intonation contour are also utilied as declarative, imperative, porpositive sentences depending on their intonation contour. An then the form of question means exclamation, request, declarative besides questionary meaning. We explicates the concept of question and characteristics of interrogative mood. Particulary typical interrogatives are the sentences requiring hearer to answer to the lack of speaker's information. As one of the moods, the interrogatives can be distinguished from the other moods statements, exclamation, requests by its feature of question. The degree of questionary meaning in a standard of classification of the interrogative sentences. The questions are continued to arrange in a row a type of question by the degree of questionary meaning here we classify questions, which typical question(wh-question, yes-no question), quasi-question(requestion, wh-inperative), similary question(rhetori-cal question)by the degree of questionary meaning.

김남천 후기단편에 나타난 내면갈등의 변모양상 : 창작집 『麥』을 중심으로 based on 『Maek』

이은자 숙명여자대학교 대학원원우회 1991 원우논총 Vol.9 No.-

In this article, late short stories of Kim Nam-Cho˘n have been explained based on his work『Maek』. Six short stories collected in this work, late works of pre-liberation distinguished from his earlier works, have showed the confrontation-aspect between the author and reality under oppression of Japen, and the process of depth and breakup of his inner conflict. <Saengil-cho˘n Nal>, <Kyong yong> and <Maek> show that how tightly the author's dual self-agony and conflict confront each other, and especially it is chracteristic that his will against reality has been reflected on female characters. Whereas <Nogojili Ujijinda>, <Odi> and <Ku˘lim>, compared with the above works, have showed the past-recollection of escape from reality and the retwin as a petit bourgeois without the internal conflict aspect resulted in the confrontation with reality. Through these two types of works, it needs to be noted that Kim Nam-cho˘n's late works have showed the charge-aspect like a parabola based on <Maek> as the peak. This gets more certain, if works written down in『Maek』are considered on the order of description, and if such late works as <Du˘ngbul> are considered. In terms of the following description order of six works, <Saengil-cho˘n Nal>, <Nogojili Ujijinda>, <Kyong yong>, <Maek>, <Ku˘lim> and <Odi>, the author's reality-recognition and the change of his conflict aspect draw a curved line. In <Saengil-cho˘n Nal>the simple will of confrontation with reality realized by 'So˘bun' ends self-torture, whereas in <Kyong yong> and <Maek> the self-reflection and the will of reality-confrontation of the female character, 'Choi Mu-Kyong', form critical viewpoint on the basis of theory and idea. Also, beyond So˘bun's emotional level, the will toward future has been expressed, and the author's consciousness to resist and to endure can be read. However 'Incho' in <Saengil-cho˘n Nal>, 'Lee Kwan-hyong' in <Kyong yong> and <Maek>, and 'Kim Kye-son' in <Odi> express another group of center characters belonging to the intellectual class. Their appearance can be called the aspect of reality-confrontation by the contemporary converts including the author himself. 'Incho' is the prototype of intellectual, as an outsider, assuming the attitude of an onlooker. By 'Lee Kwan-hyong' criticism on converts and internal cenflict have been emphasized, and intellectuals' nihilistic behaviour on reality has been a little overcome. But in <Ku˘lim> and <Odi>, intellectuals' appearance, that is, the complete retirement to the past and the home town, the escape from reality and the loss of the will of reality-confrontation, have been described. In <Du˘ngbul> printed later than <Odi>, the vestige of losers who have compromized with reality and struggled to live has been showed. AS stated above, if understanding the change aspect of Kim Nam-cho˘n's late works in terms of the reality-confrontation, and the depth and breakup of internal conflict, we can understand completely <Maek> which estimates the result of his late works. So to speak, in the point that Kim Nam-cho˘n's internal self-conflict has been confronted tightly through the developing porcess, reaching to <Maek>, contra-discussion on his late works, i.e., the narrow discussion that they gave undue value to 'Choi Mu-kyong' and 'Lee Kwan-hyong', can be blocked.

Matthew Arnold의 批評 小考

辛英子 숙명여자대학교 대학원원우회 1991 원우논총 Vol.9 No.-

Matthew Arnold(1822∼1888), One of the most powerful literary critics of the nineteenth century England, tried to solve the problems of the victorian Age which is in a flux of the breakdown of faith, the rise of the city and its chaotic atomosphere as a poet and a critic. In this thesis, I analyzed his main ideas from his major works into Arnold's view criticism and literary, and his theory of poetry. The function of criticism, in Arnold's sense, is to create a current of fresh ideas, to establish an order of ideas, and to make 'the best that is known and thought in the world' prevail with disinterested endeavour. Arnold thought that the middle class should be invigorated by intelligence and a critical spirit, and cultivated by culture. He emphasized that a critic with disinterestedness and intellectual curiosity should have the reponsibility to interpret "the main movement of the mind" and make the best ideas propagate in the world. Literature whatever it is, would serve to recover culture and morality. Culture is the keyword of Arnold's criticism. Culture is the endeavour to know the best and to make in prevail, in turn benefiting humankind. Later, Arnold considered that the conception of culture is in touch each other with the ideas of criticism. 'Poetry is a criticism of life' is the most important dictum of Arnold's. Poetry can interpret and evaluate human life. He predicted that poetry would superseds religion as something to console us, to sustain, to form of life and eventually supply a spiritual refreshment. In an age of religious uncertainty, he offered culture and especially poetry, as a source of the total perfection of humanity. Thus be thought poetry and criticism make 'the best ideas' prevail and make the society reach the state of harmonious inner perfection and full development of humanity. His literary, social and religious criticism have influenced the 20th century criticism and his message can still serve much as for modern people as to those to solve current social problems analogous of today.

고등학교 미술과 수행평가의 활용 표현 및 감상영역을 중심으로

이소희 숙명여자대학교교육대학원원우회 2006 교육논총 Vol.17 No.-

淸州豪族의 吏族化

朴敬子 숙명여자대학교 대학원원우회 1986 원우논총 Vol.4 No.-

I took a good look at general features about sway of Ho-jok(Magnate) in Cheong-ju which had formed the most powerful sphere of influence in the middle of the Korean Peninsula. As a result, I could ascertain that the local public service personal, with Sangdae-deung as the central figure, had extended ruling power after 'the pole of pennant at Yong-du temple' (Yong-du-sa-dang-gan) was made in 962 (the 13th year since King Kwang-jong ascended the throne). And also confirmed that the administrative organization was operating for itself, the name of which similar to the organization at the rearranging period of local position in the province like Cheong-ju. According to the names of the Dong-dang-gan-gi, could look through the formation course of four families. They are; the Kim family in Cehong-ju, the Son family, the Han family and the Kyung family. It seems that thse four familites led the society in Cheong-ju, being on about equal status - but more or less the Kim family was most fowerful. Therefore it may be proper that the Ho-jok in those days had strived for their power as well as for their coexistance and coprosperity. Next, I'd like to say about the development course of these Ho-jok families. Early in the Ko-ryo era, the Ho-jok in Cheong-ju had already formed strong power, but the families which had grown in their provinces became separated from the onews which had got the positions in capital after leaving their places of family origin. Especially the Kim family and the Son family was the such. It is considered that the two families came to obtain government positions by submitting or making united efforts to King Wang-gun at the beginning of Ko-ryo Dynasty. By getting an position as the military nobility for Kyung-jun, the father of Kyung-dae-seung, the Kyung family in Cehong-ju may produced the most distinguished talent under the military regime. But afterwards, the power of the family seemed to fall into decay. Through the study of these four families, I could believe firmly that I came to understandin detail the actual conditions and the local public structure of Ho-jok and the promotion course of the aboriginal families.

Pascal과 Descartes

황유미 숙명여자대학교 대학원원우회 1994 원우논총 Vol.12 No.-

북한에서의 나도향 논의에 관한 몇 고찰 : 남북한 나도향 논의의 대비를 염두에 두면서 A contrastive study on comments of Na Do-Hyang in South and North Korea

유남옥 숙명여자대학교 대학원원우회 1990 원우논총 Vol.8 No.-

This study aims to contrast and analysis about the criticism of Na Do-Hyang commented on the history of literature in South and North Korea. In spite of the same writer, it is quite different from each other. First, the history of literature in North Korea based on the view of social realism, and descrived in that way. Therefore, it has the following limits; It discussed mostley about Do-Hyang's middle term works, especially <A Son-Servant(행랑자식)>, <Before Search for Oneself(자기를 찾기 전)>, and his late term works < A dumb Sam-Lyong(벙어리 삼룡이)>, <Ji Hyoung-Kun(지형근)>. However, in South Korea, because Do-Hyang neither agreed to proletaria literature nor expressed an ideology, it considers his late term works <A dumb Sam-Lyong>, <The Mulberry(뽕)>, <A Water Mill(물레방아)>-as his representitive works, which are great in a view of its aesthetic shaping. Also, in South Korea, he is commented one person among the pioneer of our modern literature in 1920's But in North Korea, he regarded as the representitive writer of critical realism with the wither Hyun Jin-Kun, hence they are considered the outpost writers who prepare the social realism regularly.

英才敎育의 論議 및 早期敎育 可能性에 관한 硏究

金順子 숙명여자대학교 대학원원우회 1988 원우논총 Vol.6 No.-

The purpose of this study is to critics an gifted education from the point of sociology and physiology, and to find out the possibility of early education. Renzulli's traid is well-known definition of giftedness obviously these attributes very according to demains of performance and productivity; (above average ability, task commitment, creativity). One important aspect of the history of gifted educations in the last fourty years (1950年代 ∼ 1970年代) has been a gradual growth of capacitism and tool of the national development. At an level the philosophy underlying system for the gifted have to essentialy the same as that for all students in a democracy - is that each child should receive educational experiences appropriate to their individual abilities interestes, and learning styles. The basic objections for gifted education is to achieve maximum self-realization. The importance of a stimulating environment in the early years for later intellectual development is illustrated by a study by Vester. Results of Vester's are sufficiently impressive to indicate the importance of a stimulating early environment for giftedness development. The conclusions and suggestion of this paper can be follows change from the present to the future in gifted educations. ◁표 삽입▷(원문을 참조하세요)

Thomas Sutpen의 悲劇性 硏究

辛英子 숙명여자대학교 대학원원우회 1989 원우논총 Vol.7 No.-

This is a study of Thomas Sutpen's tragedy based on historical and mythical features and his innocense in Absalom, Absalom !. And also I have studied tragic human aspect through the southern history of America in his main novels The Sound and the Fury and Light in August. William Faulkner is one of the most important figures in 20th literature, especially he was known well to us with Faulkner's own territory, Yoknapatawpha County which had been setting his saga novels. In the series of intricately interwoven novels and short stories set in the fictional Yoknapatawpha County in the state of Mississipi, Faulkner produced a major work of the imagination, one that transcends its setting in the American South to arrive at universal observations about the enduring lot of man, his suffering and his dignity. Through an intense, tortuous style that is involuted and unabashedly rhetorical there emerges in Faulkner's works a vision of mankind that may be compared to that of the Greek tragedies. Therefore, the theme was mostly about the tragic of South which was caused by collapse and degradation of old southern society's tradition in his works. And the characters have in common an obsession with the past, with glorious prewar South, and in a sense the story of Thomas Sutpen is an allegory for the history of the South. Absalom, Absalom ! is to create, through the utilization of all resources of fiction, a good tragic vision of historic dimension. As in the tragedies of the ancients and in the great myths of the old testament, the action represents issues of timeless moral significance. That Faulkner here links the decline of a social order caused from the fact of defeat of Civil War to an infraction of fundamental morality from the slavery system cannot be doubted. Absalom, Absalom ! is a condemnation of the morals, mores, and ethics of his own Southern Culture. Thomas Sutpen conceives and pursues a great design was started when the young Sutpen was insulted as the result of a strict caste system. If we are to understand the meaning of his tragedy, we must understand of Sutpen's innocence, even the Typical American innocence. Sutpen's trouble was amoral from his innocence and moral obtuseness. To accomplish the great design he should require money, a house, a plantation, slaves and a family. Sutpen's tragedy is that of refusing to recognize his son, Charles Bon. He rejects his son, because he has one drop of blackblood. Also, Henry rejects his brother, Bon and kills him, because Henry must forbid intermarriage between black and white. They imagine Bon as a tragic character who, in despair at not being acknowledged by Sutpen as his own son, deliberately taunts Henry into killing him with this remarks as : "So it's the miscegenation, not the incest, which you can't bear…, I'm the nigger that's going to sleep with your sister. Unless you stop me, Henry"(AA. pp.356, 358). Faulkner betrays the prevalent Southern obsession which is deeply rooted in the tear of mixed blood. But it seems that Faulkner himself could not afford to overcome the obsession against blackblood. He does not hate his first wife or feel repugnance of her child. He does not hate just as he does not love. His passion is totally committed to the design…. Sutpen thinks of himself as strictly just and he submits all of his faculties almost selflessly to the achievement of his design. I think the Sutpen's fall seem to contain as a myth of the fall of the Old South, like the fall of the house of Compson as depicted in The Sound and the Fury is also regarded as a kind of example of the fall of the old aristocratic order in the South. The title of the book, with its Biblical allusion, supports the hypothesis of Shreve and Quentin. Sutpen would not say "my son" to Bon as David said it to Absalom even after Absalom rebellion. And different as he was from his father, Henry acted in the end on the same racist principle, killing Bon finally to prevent not incest but miscegenation. The total action of the story that Quentin and Shreve finally reconstruct shows the tragic consequences of racism rather than affirms or unconsciously assumes it. The traumatic affront to his own humanity at the plantation door prompted Sutpen to adopt a code which was antithetical to his own nature and background ; and it became his nemesis, ruining his grand design. Jim Bond is a grotesque mockery of the dynasty he had envisioned. He is the offspring of Bon's son, Charles Etienne St. Valery Bon, and a "coal black and ape-like body of his charcoal companion in the faces of all and any who would retaliate." Faulkner believes that the South is hopelessly mired in provincial ignorance and obsessive racism, it can create only a Gothic distortion of life-rotting plantation houses and idiot progeny of hatred and despair. I think that Faulkner's message is that such is inevitably the consequence when a man deliberately repudiates his innate sense of humanity in an ambitious drive for power and status. The novel as a whole clearly repudiates Southern racism.