텔레비전을 통한 교육에 있어서 교사의 역할

김학천 한국교육개발원 1982 한국교육 Vol.9 No.1

논문 : A Study of Willam Faulkner Through The Sound and the Fury

김학천 관동대학 영어영문학회 1975 영어영문학 Vol.2 No.-

한글+한자문화 칼럼 : 조선시대의 신문(조보)(新聞(朝報))이야기

김학천 전국한자교육추진총연합회 2006 한글한자문화 Vol.78 No.-

심미적 부위에서 가공치 하방 잔존치조제의 형성 및 연조직 복제 모형을 이용한 고정성 보철물 수복증례

김학천,노관태,권긍록,김형섭,Kim, Hak-Cheon,Noh, Kwantae,Kwon, Kung-Rock,Kim, Hyeong-Seob 대한치과보철학회 2013 대한치과보철학회지 Vol.51 No.4

고정성 국소의치를 이용한 수복 시 보철물 자체의 심미성뿐 아니라 보철물과 조화로운 주변 연조직의 형성 또한 중요한 요소이며, 임시보철물을 이용하여 조화로운 연조직의 형태를 형성할 수 있다. 임시보철물을 통해 형성한 연조직의 형태는 적절한 형태를 갖는 최종 수복물을 제작하는데 필요한 정보를 제공할 수 있도록 최종모형으로 정확하게 복제되어야 한다. 그러나, 임시보철물 주위 연조직의 형태는 인상과정 또는 인상재의 압력 등으로 최종 모형으로의 복제가 어렵다. 따라서, 임시보철물을 이용하여 형성한 구강내의 연조직 형태를 모형으로 복제하여 연조직과 조화로운 최종 수복물을 제작하는 서로 다른 2가지 방법을 본 증례보고에서 소개한다. Soft tissue collapse around prepared teeth and pontic is inevitable after removal of the provisional restoration during the impression taking procedures. When inserting gingival retraction cord, soft tissue is displaced to an undesired contour. Viscosity of impression material also causes gingival displacement. Therefore, the consideration to transfer the prosthetically contoured soft tissue to master cast is required, especially in the esthetic area. In this report, the methods to maintain the soft tissue contour and transfer to the mastercast will be introduced. Harmonious contour of the soft tissue can be achieved with provisional restoration and be transferred to the master cast with two different techniques mentioned in this case report.

커뮤니케이션과 비판이론

김학천 수원대학교 교지편집위원회 1989 水原大文化 Vol.5 No.-

Walter Scott와 James Fenimore Cooper의 비교연구 : Rob Roy와 The Prafie를 중심으로

金學千 全北大學校 語學硏究所 1986 어학 Vol.13 No.-

Walter Scott <1771-1832>의 최초의 소설 Waverly가 출판된 1814년에 Fanny Burney <1752-1840>는 The Wanderer를, Maria Edgeworth <1767-1849>는 Patronage를, Jane Austen <1775-1817>은 Mansfield Park를 발표하였는데 19세기 초엽의 영국문학에서 Victoria 시대의 Charles Dickens<1812-1870>와 William M.Thackeray <1811-1863>가 등단할 때까지의 영국소설의 중심인물인 Jane Austen과 Walter Scott이었다. Austen과 Scott는 같은 시대의 작가였지만 작기가 경험한 일상생활의 좁은 세계를 무대로 하여 realism의 새 길을 개척한 Austen에 비해서 Scott는 18세기 말엽의 Gothic Rpmance를 본받아 황당하고 모험에 찬 scale이 큰 작품을 발표하였고 중세까지 소급하여 경이와 환상의 romanticism의 꽃을 피게 하였으며 Scotland지방의 민요와 전설에 흥미를 가졌던 Scott는 영문학사상 역사소설의 신경지를 개척하였다.

Moby Dick as a Symbolic Voyage

金學千 관동대학교 1979 關大論文集 Vol.7 No.1

The Great Gatsby에 나타난 Gatsby의 꿈과 현실

김학천 全北大學校 1983 論文集 Vol.25 No.-

F. Scott Fitzgerald was born in St. Paul Minnesota in 1896. The first of his novels This Side of Paradise(1920) was followed by two volumes of short stories, and at last The Great Gatsby(1925), which alone would assure Fitzgerald's place among our writers of major stature. He died in 1940 and gave a name to an age-the Jazz Age-lived through that age, and saw it burn itself out. Although his finest works were to come-The Great Gatsby, Tender is the Night, the unfinished The Last Tycoon, there would be tragedy in the remainder of his life. The extent of his literary success was not recognizd by critics until after his death in the early 40's. In The Great Gatsby the motive of an impossible dream of love, which riches can not fulfill after the right movement has passed forever, finds its definitive consecration. Fitzgerald reveals the tragic implications of that dream by organizing the plot around an agonizing conflict of the moral and social order and by enlarging its meaning on the symbol level of legend and myth. The story is rooted in an objective frame of references and thus acquires an individual, realistic meaning which is immediately apparent on the literal level. But it attains an even larger significance on the symbolic level by carrying to its tragic solution a conflict of characters which has a universal implication and representative value. Gatsby's dream can be divided into three basic and related parts : the desire to repeat the past, the desire for money, and the desire for incarnation of unutterable visions in the material earth-to go to the past, meet Daisy and get married as if it were five years ago. There is one problem, we can say. What is the basis for the mutual attraction between Daisy and Gatsby? But there can be another problem. The true question is not what Gatsby sees in Daisy, but the direction he takes from her, what sees beyond her. For Gatsby, Daisy does not exist in herself. She is the green light that signals him into the heart of his ultimate vision. The green light that is visible at night across the bay from the windows and lawn of Gatsby's house is the centural symbol in the book. Superficially this novel deals once more with the failure of a dream of love, which can not be fulfilled to last by the acquisition of money. But Gatsby's failure has a deeper and more comlex motivation in a subtler interplay of human and social conflict, and his constitutional weakness finds a tragic counterpart in them. In this cleavage, between the innocence of Gatsby's dream and the corruption of his practical ways is to be found Gatsby's hamartia, his tragic flaw. Nick Carraway, the narrator in this novel, realizes at the end of this novel that Gatsby's illusion can be identified with the illusion or the dream of the early Dutch sailor, entranced by their vision of the New World. Even though the houses as we see, for example, become inessential ; what matters is that Gatsby's story is identified with that of the pioneers. Though the trees that had made way for Gatsby's house have vanished, Gatsby's dream of illusion repeats in a modern context, their dream, which might have been after all an illusion, of building a new life for themselves, a new plcae in history where they could renew the past. The "green light" cherished by Gatsby is no only on Daisy's dock-it is also the green light of the orgiastic future. And that future ecedes before us,year by year, in the past, in the vast obscurity beyond the city, in the dark fields.

Harry's Dream and Reality

金學千 관동대학교 1978 關大論文集 Vol.6 No.1

Ernest Hemingway's colorful life as big game hunter, fisherman and Nobel Prize winner began in quiet Oak Park, Illinois, July 21, 1899. His mother was a devout, religious woman. He acquired his father's enthusiasm-a love of hunting and fishing and it is that phase of his childhood which formed important impressions. And he saw active service in World War Ⅱ. In 1942∼44 he volunteered himself and in the spring of 1944 he went to Eurpe as a war correspondent. There comes a time when most writers who care about the technical problems of their craft search for new ways of handling their material, and often, experiment with new kinds of subject. These experiments rarely constitute their best work, but the process of experiment is usually high instructive for their literary development. Ernest Hemingway has always been a thoughtful craftsman, a writer for whom each new book is, as he put it himself in his Nobel speech," a new beginning, where he tries again for something that is beyond attainment." So long as Hemingway probes within the boundaries of Harry's tormented psyche, "The Snows of kilimanjaro" is a superb story, surely among his finest. That its structure is looser than usual is determined by Harry's physical condition and is admirably handled. Though Harry's delirium dissolves the orderly pattern of chronological time, the fragmented memories that course through his five internal monologues unmistakably mark the stages of his dark passage. Even Hemingway's symbols-there had always been symbols in Hemingways writing-sometimes underscore Harry's inward struggle; the symbolic environmental contrast between the pure, snow-peaked mountain where the leopard dies a clean death and the hot plain where Harry dies of rot. The hyena is convincing, too, as a metaphor for the pervasive atmosphere of death. Technically 'The Snows of kilimanjaro' is Hemingway's most accomplished piece of writing. That is'nt the same as callingit his best piece of writing, but it is very good indeed: firm, subtle, and having the eloquence of deep feeling. And death had always been Hemingway's principal theme, one of his themes war, love and death.

Tender is the Night에 나타난 Fitzgerald의 꿈

金學千 全北大學校 1982 論文集 Vol.24 No.-

F. Scott Fitzgerlad was born in St. Paul, Minnesota in 1896. The first of his novels This Side of Paradise(1920) was followed by two volumes of short stories, and at last The Great Gatsby(1925), which alone would assure Fitzgerald's place among our writers of major stature. He died in 1940 and gave a name to an age-the Jazz Age-lived through that age, and saw it burn itself out. Although his finest works were to come-The Great Gatsby, Tender is the Night, the unfinished The Last Tycoon, there would be tragedy in the remainder of his life. The extent of his literary success was not recognized by critics until after his death in the early 40's. There is also joy in Fitzgerald's work that should not be passed over in dwelling upon profundities, complexities, and tragic implications. Edmund Wilson described it early as a "Quality exceedingly rare among even the young American writers of the day ; he is almost the only one among them who has any real lighthearted gaiety." It also adds to the dimensions of The Great Gatsby and Tender is the Night, those novels that do most to maintain Fitzgerald's reputation as a serious writer. For it is not only the theme and technique that distinguish these novels but the flashes of brilliance, comic as well as tragic, that illuminate individual scenes. Tender is the Night is not a story of postwar degeneracy. The story has nothing to do with the famous 'lost generation,' although many playboy American figure on the periphecy as Mr. Fitzgerald's drama moves through Europe, from the Riviera to Paris, Switzerland and Rome. Dick Diver himself is a brilliant young man : Nicole Warren saves herself by transferring her outraged affection for her father to the young psychiatrist with solid bulwark for distress. The dream and the dreamer are Fitzgerald's subject matter in fiction : and in treating them he invariably delivers up the dreamer as victim of his own Romantic infatuations. And yet for all his sight, his self-lacerating satire, Fitzgerald leaves the dream and the dreamer somehow inviolable at the end. Gatsby, that most extravagant Romantic, leaking sawdust at every pore, is still intact at the end and dies with his dream intact. The "Ode to a Nightingale" declares exquisitely the abandonment of faith in the imagination. It is not until Tender is the Night that Fitzgerald abandons that last comfort of the Romantic, the notion that the botching, the disappointment of the imaginations most cherished ambitions may be blamed on the unworthy environment of the dreamer. Tender is the Night is a harder, harsher book than "Gatsby" : it tells us, that the superdream is an internal corruption, a damaging, selfbegotten beauty.