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This thesis aims to examine the right directions for the development of new college writing textbooks that would start to be used in the first semester of 2016. The Textbook Compilation Committee tried to determine the directions for new writing textbooks, and determined to consider both thinking and expression in a synthetic way and to compile separate textbooks for different major fields of study. And the Textbook Compilation Committee made the following suggestions after a survey was conducted on the selected learners: First, a wide variety of writing activities should be presented for the sake of learners who feel the need for writing for practical purposes. Second, the speaking section should be strengthened, and strategies about how to prepare presentation materials should be stressed. Specifically, how to foster presentation skills and how to write the statement should primarily be taught. Third, the use of exercises is necessary to provide motivation for learners to engage in more activities in class. Fourth, the kind of example sentences that are accessible to learners should be placed in front, as the difficulty of existing example sentences was pointed out by the learners. Fifth, the writing strategy for term-end essay that is currently included in the appendix should be moved to the body of textbook, and the right directions for essay writing for different fields of study should separately be presented in consideration of the characteristics of each field. Ultimately, it's intended to compile efficient new textbooks to stimulate students, who use the textbooks in class, to continue to make use of them as their guides for writing even after they take all the classes in which the textbooks are used. To make it happen, the Textbook Compilation Committee should try to ignite the interest of students in writing, to improve the practicality of new textbooks and to seek ways of fostering the thinking faculty of new college students, which is their biggest shortcoming. 본고는 2016년 1학기부터 사용될 이화여자대학교 대학 글쓰기 교재 개편의 방향성을 논하는 것을 목적으로 한다. 이화여자대학교 교양국어 교재편찬위원회는 그간 글쓰기 교재의 방향을 모색한 결과, 사고와 표현의 종합적 측면을 반영하는 동시에 전공영역에 따라 세분화된 계열별 교재를 편찬할 것을 목표로 내세우기로 결정했다. 이와 함께 교재편찬위원회는 수용자 설문 조사를 통해 다음과 같은 방안을 제안했다. 첫 번째, 향후 교재는 실용적 목적에 입각한 글쓰기의 필요성을 느끼는 학습자를 위해 보다 다양한 글쓰기 활동을 제시할 필요가 있다는 것이다. 두 번째, 말하기 부분을 강화해 발표 자료 작성법, 특히 프레젠테이션 기술과 발표문 만들기에 대한 전략을 강조해야 한다. 세 번째, 수업 중 활동 비중을 높이기 위해 연습문제를 통한 동기부여 방안을 고민할 필요가 있다. 네 번째, 학습자가 지적한 예문의 난해함을 해소하기 위해 이들에게 보다 친숙하게 다가갈 수 있는 예문을 전면에 배치하는 방안을 고민해 볼 수 있다. 다섯 번째, 현재 부록에 수록되어 있는 기말 소논문 쓰기 전략을 본문에 배치하되, 계열별 특성을 고려해 각 전공별 논문이 추구하는 방향을 차별화시켜 제시할 수 있다. 무엇보다 개편 중인 교재가 지향하는 바는 학생들이 수업을 듣고 난 후에도 교재를 지속해서 글쓰기의 지침서로 사용하는 것이다. 이를 위해 향후 교재편찬위원회는 학생들의 글쓰기에 대한 흥미를 자극하며 실용성을 강화하는 동시에, 대학 신입생에게 가장 부족한 사고력을 메워 줄 방안을 함께 모색해 갈 것이다.
In the society of the Chosun dynasty, literature was a way of building up one's personality traditionally. So except a few of works of anti mainstream Group (Bang-Oe-ln), there were scarcely works have relevence to insanity or madness in Chosun dynasty. However the society of the late Chosun experienced social and economic change on a large scale, therefore in the current of change, literary motif of insanity or madness started to appear in the literature in that period. Choi-Buk's biographies - he was a famous painter in the late Chosun period - was written by the noble authors(Yong Ban). Those writer appreciated Choi-Buk's insanity of artist trait. They fascinated in his character and made use of his artistic spirit in their works for subject matter. In the works of Park-Ji Won the metaphor of madman functioned a kind of critic mention about the society of the late Chosun. He use a madman channel so that ask a question for the concept of sanity in that society. The motif of insanity in the traditional literature in the late Chosun period enlarged and deepened the literature in the late Chosun period.
Animal image dominates the city that is the core and background of Choi, Seung-ho's poems. This paper studied about such a city and focused on the creation process of grotesque animal image. Unpredictable and active metaphors and metonymys in Frames of Reference from B. Hrushovski and Spatial Metaphor from M. C. Haley were used in order to analyze 「Dried Pollack」, 「Bus which has advertisement」 and 「I am breathing」, Choi, Seung-ho's three poems. In his poems, space represents the space of death. Animals in that space show transformation to Dried Pollack and again to fish tough metonymy. At the same rime, those grotesque animals are treated metaphorically the same as man. Therefore, man becomes tragic existence who doesn't even realize being locked in a breathless space. Moreover, every artificial thing, created by man but now threats his freedom, turns out to be the reason of the space of death. Ultimately, those poems alert man living an automated city life through metaphorical and metonymical creation and transformation process.
The violence is closely interrelated with the desire. The violence or the dire to be violent is caused by the struggles for satisfaction of one's internal desire or unsatisfied desire. Using Jacques Lacan's theory, this paper has an aim to study the structure of the desire and the violence in Cho, Kwang Wha's 「Mamja-Chungdong」 Jang-jeong is the character that has the drive to be violent in the struggles with the Father and the brothers. At first, he has a mis-recognized self-image through the identification with 「Godfather」's ‘Michael Corleone'. 'Michael Corleone' or 'Al Pacino' is the reflection of the Lacan's mirror stage and a 'Imaginary' identification. later this image of 'Al Pacino' interferes in the Jang-jeong's self-recognition to enter the 'Symbolic' order. So his self-recognition is a mis-recognition and causes his splitting of self-image and external violence. Besides Jang-jeong has the drive to be relent caused by unsatisfied desire, He desires to get the power, the name of the father outwardly. But his desire aims fir Dal-lae, the 'Real' object inwardly. His desire for Dal-lae is replaced with the other demand such as the father's name in the family and causes the violent actions. This is the lack of satisfaction and the desire is replaced unceasingly. Furthermore the spaces of this drama such as the closet, the room and Dan-dan's cafe are the reflection of the self-recognition of Jang-jeong, and influence the actions of the characters.
이 글의 목적은 ‘정동’의 개념을 중심으로 고정희 시에 드러난 기쁨의 의미를 규명하는 데 있다. 고정희 시에서는 ‘기억’을 통해 기쁨이 재구성되거나, ‘사랑의 실천’을 목격하면서 또는 ‘유토피아에의 열망’가운데 기쁨이 드러난다. 첫째, 기억을 통해 재구성되는 기쁨은 화자가 상실한 대상들과의 따뜻했던 순간을 기억하는 과정에서 유발된다. 이는 고통과 기쁨이 유기적 관계에 있음을 알고 상실의 고통마저도 긍정하는 화자의 삶의 태도에서 오는 기쁨이다. 이때, 표현된 ‘웃음’이나 ‘춤’ 등의 신체어는 화자의 기억을 환기시키는 매개체로 작용한다. 둘째, 사랑의 실천을 통해 드러나는 기쁨은 지금-여기 현재의 사건, 즉 정치적 폭압 아래 같은 피해를 입은 사람들이 서로를 도우면서 공동체의 사랑을 실천해 가는 과정에서 발견된다. 암울한 현실 가운데 사람이 사람을 사랑하는 모습 속에서 민주주의가 발견되는데, 이러한 현장이야말로 하느님이 이 땅에 오셨음을 증명하는 것이다. 이렇게 사람과 사람, 사람과 신의 수직·수평적 경계가 허물어지면서 세계가 하나 됨을 목격하는 가운데 기쁨이 발생한다. 마지막으로 ‘유토피아에의 열망’속에서 기쁨이 표출된다. ‘그날’ 즉 통일의 날이 오면 ‘기쁨의 밥’을 먹을 수 있다는 희망과 함께 현재 기쁨이 존재하지는 않지만 언젠가는 도래할 그 기쁨을 향해 나아가고자 하는 의지, 즉 그 과정 속에서 기쁨이 드러난다. 이와 같이 고정희 시에 드러나는 ‘기쁨’은 삶을 긍정하는 태도, 정지가 아닌 역동성, 삶에 대한 강한 의지에서 발생하는 것으로서 이러한 기쁨이야말로 고정희의 시세계를 관통하는 기본 정서라고 볼 수 있다. The purpose of the study is to find the meaning of ‘pleasure’ exposed in Ko Jeong-hee’s poems laying stress on ‘affect’. ‘Peasure’ in her poetry is recomposed by ‘memory’or is exposed by witnessing ‘practising the love’or enthusiasm for utopia’. Firstly, pleasure recomposed by memory is induced in the process of remembering warm moments that the postic narrator interacted with objects that the postic he or she had lost. It is a ‘pleasure that is derived from the poetic narrator’s attitude toward life who knows that pain and pleasure has an close relationship and affirms even the pain of loss. Body terms expressed here like ‘laughing’or ‘dancing’act as a medium reminding narrator of memories. Secondly, pleasure exposed by practising the love is provoked in the process of practising love for community of the victims who were damaged by present affairs of now-here, that is, political violence, while helping each other. Democracy is found in the figure of people loving other people in the gloomy reality and such an actual spot really testimonies that God came onto the world, and ‘pleasure’ comes out of the process of witnessing that the world became one as the vertical or horizontal relation between God and human beings was collapsed. Lastly, pleasure is arien from ‘passion for utopia’. Pleasure is exposed in the process of will that makes people want to march to pleasure that is to come someday though it does not exist at the moment along with the hope to be able to eat ’rice(bab) of pleasure’ when ‘the very day’, that is, ‘the day of unification’ substantially comes. Reason hy ‘pleasure’ expressed in Ko Jeong-hee’s poetry is discussed in this study is thought to be meaningful is because affirmative attitude toward life, dynamism rather than static state and will to live underlie Ko Jeong-hees poetry and ‘pleasure’ expressed with basis of this is really the basic emotion that goes through the world of Ko Jeong-hee’s poetry.
<Somunrok> is korean novel which no one knows the author or when it was written. It consists of 14 volume and it is hand-written. The fictional work is now at the library of Seoul National University and it is the only one still existing. This fictional story is about 'third son Sohyon' who wasn't only a hero and one of the outstanding person in the 'So' family but also he was an outstanding minister in the country and he had his emperor's confidence. But he didn't take care of his family well because he was a bigamist. For that, the relationship between he and his wife couldn't help but go form bad to worse. The emperor interfered in the conflict between he and his wife because Sohyon dealt with his wife, Zho who was sent to him by the emperor, with a cold-heart. The interference caused a conflict between he and his son. However, he got over the conflicts and eventually, he had a prosperous family.