온라인 학습 환경에서 문제해결 단계별 스캐폴딩 유형의 효과 분석

장선영 ( Seon Young Jang ) 한국교육공학회 2014 교육공학연구 Vol.30 No.2

Woman and the Law in Measure for Measure

장선영 ( Seon Young Jang ) 한국영미문화학회 2005 영미문화 Vol.5 No.2

Teaching Shakespeare to Korean Students Aspiring to be English Teacher

Seon Young Jang(장선영) 한국셰익스피어학회 2024 셰익스피어 비평 Vol.60 No.1

This study aimed to investigate how learning and teaching Shakespeare can be initiated in Korean public secondary schools by examining the class experience of teaching Shakespeare to Korean sophomores majoring in English Education. Despite Shakespeare’s widespread influence on Korean theatre and TV dramas, his works are not considered a crucial part of Korean English education. Not only is Shakespeare dwindling and being relegated to elective courses even within undergraduate English departments but also a prevailing bias exists among EFL teachers against teaching Shakespeare due to the language complexity and perceived antiquity of classical works. This research explored ways of integrating Shakespeare into Korean public schools by analyzing the class procedure designed for South Korean prospective English teachers in secondary schools and undergraduates in the Department of English Education. The class procedure consists of familiarizing students with the play’s storyline through Marcia Williams’ comic-strip versions and guiding them to practice comprehending Shakespeare’s original text with the abridged version, followed by their performances, film analysis, and online discussion. This study demonstrates that Shakespeare is adaptable and universal in EFL pedagogy, transcending students’ English proficiency and socioeconomic backgrounds, but also highlights its positive impact on their language acquisition and development of higher-order thinking skills. While scepticism about the feasibility of incorporating Shakespeare into Korea’s test-oriented English education system persists, this research provides evidence that, with well-designed instructional strategies, Shakespeare can resonate with students and aid in their holistic language development.

『햄릿』의 애도와 우울증 분석

장선영(Seon Young Jang) 한국셰익스피어학회 2008 셰익스피어 비평 Vol.44 No.3

Jacques Lacan and Stephen Greenblatt, in their criticisms of Hamlet, "Desire and the Interpretation of Desire in Hamlet" and Hamlet in Purgatory, both deal with the question of "mourning" seriously though they approach it with different interests and perspectives. Lacan's analysis of Hamlet, however, has an aspect that makes readers who are unfamiliar with Lacanian theory, feel difficult to understand what Lacan intends because of his some specific psychoanalytic terms. On the other hand, Greenblatt's telling of Hamlet with his emphasis on Hamlet's "mourning" provides readers with various historical and social resources to get Renaissance context of mourning but is lacking in satisfying readers literary curiosity, for instance, into Hamlet's multi-layered subjectivity. Thus, this paper interrogates into a connection between "mourning" and Hamlet's internally split subjectivity. This crucial connection is, however, first investigated not by Lacan's analysis above but by the examination of Sigmund Freud's "Mourning and Melancholia." But this first step to open a more accessible reading of Hamlet's mourning through Freud's "Mourning" leads us to reason what Lacan means to say; in this sense, it manifests a certain "Lacan's return to Freud" as is often called. Furthermore, this paper shows an essential relationship called "implication" between literature and psychoanalysis, here, Shakespeare's Hamlet and psychoanalysis via the subject of "mourning". Thus, this paper plays a trio between Hamlet, Freud, and Lacan. Freud distinguishes mourning and melancholy by explicating mourning as taking place in the conscious while considering melancholy as emerging in the unconscious realm. But, in Hamlet, this division between mourning and melancholy, conditioned by the boundary between the conscious and the unconscious, is unsettled. Rather, mourning and melancholy, in Hamlet, aggravates each other's extent: mourning gives rise to melancholy, and melancholy deepens mourning in a profound way. One of the most obvious problems in Hamlet is Hamlet's consistent hesitancy to revenge related with the question of "insufficient mourning" which actually motivates both Hamlet and Laertes to revenge. Laertes decides, plans, and performs a revenge in a play whereas Hamlet does not despite his ceaseless declarations of revenge. Hamlet's this reluctancy before his father's command of revenge explains that Hamlet's feeling of loss caused by his father's sudden death and the following his mother's remarriage to his step-father, Claudius, is of the unconscious not of the conscious one. This loss that makes Hamlet disabled in revenge is much related with the loss Freud elucidates as the cause of melancholy; in melancholy, she is aware that she has experienced a kind of loss, but she cannot see what has been lost, to be more exact, she does not know what she has really lost in that loss. Hamlet's unconscious loss certainly has to do with his recognition of his father's sin which was strongly indicated in his mother's sexuality and his father's own confession. Next, the father's sin is internalized into Hamlet's own ego. This makes Hamlet split from himself, which results in the self-reproaches or the impoverishment of the ego, as indicated in Freud's second explication of mourning and melancholy. In this process, the relation between the ego and the loved object is changed into the conflict between the ego and its another ego. In Hamlet, Hamlet's encounter with his father's ghost intensifies Hamlet's own awareness of his own guilt. From the moment he faces his father's ghost, he can be never free from this guilty feeling; he feels guilty at the level of existence. The only moment Hamlet can be released from it is when he dies. Hamlet's death completed by the annihilation of himself and his ideal-ego reflected in his partner of a duel, Laertes, is the moment of his entrance into the symbolic order as Lacan says.

웹기반 프로젝트중심학습 환경에서 과제해결능력을 촉진시키는 스캐폴딩 설계모형 개발 연구

장선영 ( Seon Young Jang ),이명규 ( Myong Kyu Lee ) 한국교육공학회 2012 교육공학연구 Vol.28 No.2

현행 영어교육과 영문학 : 코로나 이후 온라인 토론 영미시 수업

장선영(Seon Young Jang) 한국영미문학교육학회 2020 영미문학교육 Vol.24 No.3

This essay first raises a question about the difference between the Korea Institute for Curriculum and Evaluation’s official plan-Subject Pedagogy (25~35%) and Subject Contents (75~65%), and the reality of Teacher Appointment Exam in the distribution ratio of Pedagogy and Contents in English subject. Not only questioning the difference, it also disputes the validity of giving a large portion of the test to the area of English Education to the extent of 47.5% (2016-17), among English Education, Linguistics, Literature, and General English. Second, commenting on the domain of English Literature which constitutes the lowest percentage in Teacher Appointment Exam, it contends that the present situation of English education leans too much to the education for profit or economic growth. It points out that excessive concentration on the education for profit in teaching English could result in the lowering of English proficiency, especially students’ reading ability and its accompanying thinking ability. Therefore, this essay pronounces on the necessity of invigorating English literature in EFL learning process since English literature as coupling English language and the humanities is crucial in the development of critical thinking and human compassion, as well as English proficiency. As a case study of English literature class for boosting students’ creativity and human compassion, it introduces English & American poetry class practiced with online discussion which was actualized due to the coronavirus pandemic. Lastly, this essay proposes the reform of English Teacher Appointment Exam such as making questions out of the selected must-read books so that teacher candidates could read English literature texts and collaborate in forming creative and interactive classroom environment with poems, novels, and dramas in the era of the fourth industrial revolution.

발터 벤야민, 칼 슈미트, 『햄릿』-"주권"사상을 중심으로

장선영 ( Seon Young Jang ) 한국현대영어영문학회 2015 현대영어영문학 Vol.59 No.1

This paper interrogates how different Benjamin’s concept of sovereignty in The Origin of German Tragic Drama is from Schmitt’s one in Political Theology, under the assumption that their formation of sovereignty has developed from the interrelation with each other. Besides, it investigates Benjamin’s interpretation of Hamlet which he regards as belonging to the category of trauerspiel like German baroque drama, and Schmitt’s Hamlet or Hecuba in which Schmitt argues that Hamlet is the tragedy, not the trauerspiel. Thus, this paper makes an inquiry into how Benjamin and Schmitt’s evaluations of Hamlet as the trauerspiel and the tragedy are influenced by their different construction about the sovereignty. Benjamin, accentuating the sovereign’s undecidability, his creaturely status, and the melancholy, elucidates Hamlet’s characteristic as Trauerspiel as traced in the factors such as the ghost’ existence and Hamlet’s death. He also compliments Hamlet’s capacity to manifest the Christian sparks that German baroque drama cannot accomplish. On the other hand, Schmitt, elaborating the source of the tragic in Hamlet as found in ‘the Taboo of the Queen’ and ‘the Hamletization of the Avenger’, argues that these genuine intrusions, exceptional to the representation of historical facts in the art, elevates the play of Hamlet to the tragedy. Schmitt’s reasoning of Hamlet’s elevation to the tragedy has in common with his logic of the sovereignty when he states that the sovereign is the one that decides on the state of exception.(Kongju National University)

온라인 과학탐구학습에서 자기조절학습수준과 성찰일지작성유형이 학업성취에 미치는 효과

장선영 ( Seon Young Jang ),이샛별 ( Saet Byul Lee ) 한국교육공학회 2012 교육공학연구 Vol.28 No.3

우리에게 "이웃"은 무엇을 의미하는가? -셰익스피어의 『템페스트』와 함께

장선영 ( Seon Young Jang ) 한국현대영어영문학회 2009 현대영어영문학 Vol.53 No.1

『줄리어스 시저』의 프로이드적 읽기

장선영(Seon Young Jang) 한국셰익스피어학회 2015 셰익스피어 비평 Vol.51 No.4

There have been psychoanalytic researches on Julius Caesar since Sigmund Freud remarked on the ambivalent feeling that Brutus bears toward Caesar. Considering the lack of Freudian interpretations compared with numerous papers on Julius Caesar in Korea, this paper attempts to read Julius Caesar with Freud’s Totem and Taboo, and Group Psychology and the Analysis of the Ego. The primal horde that Freud explains in Totem and Taboo has many respects in common with the group formation of Group Psychology. The social constitution of the sons with the laws prohibiting murder and incest after their murder of the primal father in Totem and Taboo, resembles the group ties in which the group members are connected on the one hand to the group leader and on the other hand to the other members in Group Psychology. Group Psychology, however, includes Freud’s critical views about the group more than Totem and Taboo, as noticed in his mentions of religious group’s tendency to show hostility towards others, of the envy hidden in the liberal request for equality, and of the exclusion of woman as love-object. Julius Caesar, exhibiting the group politics or the primal horde where Brutus, Cassius, Antony, and Octavius conspire and compete surrounding the murder and death of Caesar, discloses the negative aspects of the group as pointed out in Group Psychology. Thus, this paper, locating Julius Caesar with Totem and Taboo and Group Psychology, examines the central issues repeated in the criticism of this play. These issues cover first, why Caesar does not disappear though he dies in Act 3, second, how the relationship of the aristocrats, Caesar, Brutus, Cassius, Antony, and Octavius, can be defined, third, how the plebeians’ changing reactions wavering between Brutus’s and Antony’s speech, and their violence on the poet, Cinna, will be considered, and lastly, why the female characters such as Portia and Calphurnia are excluded from the politics. While investigating these questions with Freud’s elaborations on envy, contagious group feelings such as suggestion and libido, and the exclusion of love toward the woman within the group, this paper argues that Shakespeare presents the masculine-centered group consciousness leading to the collective violence in Julius Caesar. It also suggests that this group politics of Julius Caesar is transformed into the feminine side’s love and forgiveness of the later Roman plays such as Antony and Cleopatra, and Coriolanus.