영국희곡 영어어휘 목록 개발

정해갑 한국중앙영어영문학회 2018 영어영문학연구 Vol.60 No.1

This paper is mainly intended to develop an English word list for students majoring in British drama. To achieve this goal, the following steps were taken. First, two target corpora were compiled and a reference corpus (BNC Baby) was utilized for a comparative analysis. One is Shakespeare drama corpus (SDC) including around 820,000 running words constructed from 37 plays and the other is Bernard Shaw drama corpus (BSDC) including around 930,000 running words from 31 plays. Secondly, Heatley & Nation’s (2002) Range and Scott’s (2015) WordSmith 6.0 were comparatively operated to adopt a more appropriate program for analyzing the corpora listed above. Thirdly, to extract an English word list, the programs utilized 2 most efficient criteria, frequency and range, regardless of other minor criteria, such as dispersion and familiarity. As a result, this paper extracted a total of 1,287 word families from a combined corpus of SDC and BSDC with the help of frequency (≥39 times) and range (≥30 plays). The result of analysis reveals that 1) rather than Heatley & Nation’s (2002) Range, Scott’s (2015) WordSmith 6.0 is a comparatively better program for analyzing both SDC and BSDC; 2) the created English word list helps to satisfy an essential need of students studying British drama.

Senecan Legacy Revisited: The Possibility of Debunking the Patriarchal Hegemony

정해갑 새한영어영문학회 2012 새한영어영문학 Vol.54 No.1

This research comparatively tries to analyze Seneca’s Medea and Shakespeare’s Titus Andronicus, in terms of debunking patriarchy, not to speak of the Senecan tradition of revenge tragedy. In the two revenge plays, the playwrights leave room for self-criticism on the patriarchal hegemony, in relation to colonial imagination, at once in gender and in race. Like Medea, Tamora the foreign other is doubly colonized, sexually and racially. Remarkably, in Western culture, the colonial imagination concerning foreigners and females is overlapping each other, with imperialism overlapping with patriarchal hegemony. Here’s a meaningful voice by Aaron: “O, why should wrath be mute, and fury dumb?” This shouting for the awareness and demystification of the other is debunkingly supposed to echo in the mind of the audience, with the imperialistic patriarchy put into challenge. The shouting can be the other’s angry voice. Through it, also, the muted and dumbed Lavinia must have her voice; honor killing of Lavinia is actually a pretext for subjugating the other, a pretext arising from the psychology of male anxiety toward the feminine other

영국 희곡작품 코퍼스 기반 키워드 및 어휘다발 분석 : Shakespeare와 Bernard Shaw를 중심으로

정해갑 한국언어과학회 2018 언어과학 Vol.25 No.1

The Lost Body: The Uncanny Other in Shakespeare and Aeschylus

정해갑 새한영어영문학회 2011 새한영어영문학 Vol.53 No.1

paper is to analyze the epistemological implication of the female body, and show how the discourse of the epistemological other overlaps with colonial discourse in Shakespeare’s Antony and Cleopatra and Aeschylus’s The Persians(Περσαι), and what difference or similarity there is between the two ages. For this purpose, I try to grasp the concept of the epistemological other ‘within’ and analyze the core of colonial discourse on the basis of it. In the process of inquiring into the ‘overlapping’ of the other and the colonial imagination, this paper focuses on the fact that the cultural, political other is the peripheral disclosure of the epistemological other ‘within.’ Shakespeare’s Egypt juxtaposed with Aeschylus’ Persia works as a metaphor of lost body arising from the Narcissistic myth of epistemological otherness ‘within.’ The other is the lost body ‘within,’ that is, our own unconscious. In the process of the pursuit for the lost body, ironically enough, the more he desires, the more anxious he becomes. The female other is the desired lost body and the uncanny other at the same time—desirable but uncanny. The main aim of this paper is to analyze the epistemological implication of the female body, and show how the discourse of the epistemological other overlaps with colonial discourse in Shakespeare’s Antony and Cleopatra and Aeschylus’s The Persians(Περσαι), and what difference or similarity there is between the two ages. For this purpose, I try to grasp the concept of the epistemological other ‘within’ and analyze the core of colonial discourse on the basis of it. In the process of inquiring into the ‘overlapping’ of the other and the colonial imagination, this paper focuses on the fact that the cultural, political other is the peripheral disclosure of the epistemological other ‘within.’ Shakespeare’s Egypt juxtaposed with Aeschylus’ Persia works as a metaphor of lost body arising from the Narcissistic myth of epistemological otherness ‘within.’ The other is the lost body ‘within,’ that is, our own unconscious. In the process of the pursuit for the lost body, ironically enough, the more he desires, the more anxious he becomes. The female other is the desired lost body and the uncanny other at the same time—desirable but uncanny.

하우프트만의 『쥐떼』와 셰퍼드의 『굶주리는 계층의 저주』: 사회 비평적 운명극

정해갑 새한영어영문학회 2006 새한영어영문학 Vol.48 No.1

Hauptmann’s Die Ratten and Shepard’s Curse of the Starving Class: Tragedy of Fate as Social CriticismJeoung, HaegapIt is notable that two works from different time and space have something in common, which is first of all the way they use a domestic tragedy as social criticism, on the basis of literary naturalism. In accordance with Zola, the two playwrights, adopting the idea of literature as “practical sociology,” shift tragedy of fate into sociology. Main characters in the works suffering from a tragic fate running in the family struggle to evade the Moebius strip endlessly frustrating them, only to find no solution or synthesis. Since the familial tragedy partly comes out as a result of social causes, remarkably, the two playwrights signifies that the tragic fate is not only domestic, but social. Via the naturalistic fate of main characters, Hauptmann’s Die Ratten criticizes the chaotic German politics under a “chancellor dictatorship” which drives everyone to fight against everyone, while Shepard’s Curse condemns American industrialism towards “zombie society” accelerating the breakdown of the dysfunctional American family.

아이스퀼로스와 셰익스피어 비교연구: 『오레스테이아』(Ὀρεστεια) 삼부작과 『맥베스』(Macbeth)에 나타난 운명의 이중성

정해갑 한국셰익스피어학회 2019 셰익스피어 비평 Vol.55 No.1

Fate, in Aeschylus and Shakespeare, is not the destiny given mechanically by divinities, but the oracle open to humans’ free will and choice. The tragic heroes, evil doers in this case have to answer for the results of their fate, since their ethos, or character works as a main force driving their life to tragic fall, as is the case of Adam and Eve. Remarkably, it is their own hybris, or pride that drives Agamemnon and Macbeth to fall a victim to the oracle, an oracle that is so ambivalent as to play the devil with their life. The oracle “in a double sense” is simply up to their choice or free will, and the result is really the product of “things bad begun” arising from their hybris. The dynamics of myth and reason in the 5th century BC accounts for the “double sense” aesthetics of fate linking Aeschylus and Shakespeare, with the court of Areopagus trying to accomplish justice, regardless of the oracle.

아이스퀼로스와 셰익스피어 비교연구

정해갑 한국영미어문학회 2016 한국영미어문학회 학술대회 발표논문집 Vol.2016 No.3

생태비평적 시각으로 플라톤의 우주론 읽기: 형상과 질료의 중간자로서의 영혼의 물질성과 환경윤리

정해갑 새한영어영문학회 2005 새한영어영문학 Vol.47 No.1

이 논문은 생태비평적 관점에서, 플라톤의 우주론이 가지는 환경윤리 토대로서의 의미를 분석 하고자 한다. 생태비평이란 문화이론의 한 갈래로서, 지구환경이나 우주, 생태계등과 연관된 인간의 문화행태를 문학의 범주내에서 연구하며, 어떤 자연현상을 둘러싼 특정시대의 문화행태를 분석하는 학문이다. 이런 관점에서, 플라톤이 『티마이오스』에서 제기한 우주생성과 인간기원에 관한 담론을 분석하며 현대적 환경보호론과 접맥시켜 고찰하는 것은 생태비평의 한 예가 될 수 있다. 이를 위해, 플라톤이 주장하는 형상 (ἰδεα)과 질료 (ὕλη)의 선험적 (a priori) 특성에 초점을 두며, 영혼의 물질성을 우선적으로 고찰해보았다. 형상과 질료의 중간자로서의 영혼은, 플라톤의 만물영혼주의가 유물론과 관념론의 중간형태 (in-between)에 위치함을 보여주며, 조화로운 영적교류를 유지하는 것이 아름다운 삶의 지표가 됨을 보여준다. 또한 중간자로서의 영혼의 물질성은, 현대 deep ecology 운동의 표어인 “first the forests”를 가장 잘 드러내는 것으로, ‘숲 (forests)’이라는 단어자체가 고대그리스어의 물질, 나무, 숲 따위를 의미했던 단어인 ὕλη라는 사실과 또한 잘 부합한다. 그리고 플라톤의 우주론에서, 우주 그 자체는 신이라고 불릴만큼 완벽한 영적동물이며, 인간을 포함한 모든 영적동물은 그 속에서 조화와 질서를 유지하며 영적교류를 하는 주체들이다. 대우주와 소우주의 조화는 전 우주적 구원의 토대임을 플라톤은 암시하는데, 플라톤의 우주론은 늑대를 거룩한 길로 인도했던 성 프란시스 같은 교부의 철학적 기초가 되며, 환경윤리의 토대로서 역할한다.

번역과 중의성에 관한 이론적 고찰

정해갑 한국번역학회 2009 번역학연구 Vol.10 No.2

The main aim of this paper is to show how we avoid structural ambiguities in translation, based on English syntactic theories. As Eugene Nida suggests, ST and TT in the process of translation are related to Chomsky's deep structures and surface structures. In the process of pursuing a universal grammar, Chomsky proposed a theory of Principles and Parameters, which may account for Nida's translation strategy. The process of encoding SL and restructuring TL is the same as our brain works in language acquisition on the basis of Principles and Parameters. For this purpose, a couple of patterns of structural ambiguity are analyzed: 1. by the relationship between the modifying and the modified, 2. by the omission of the identical phrase, 3. by gerund and participle, 4. by pronoun and reflexive, 5. by lexical scope. Like the shift from ST to TT, deep structures transform into surface structures in the brain of a language user. Since, as Bassnett says, a translator is a creator, and “the product is the result of a complex system of decoding and encoding on the semantic, syntactic and pragmatic levels,” a translator is supposed to do well with the scientific language game of encoding and decoding, let alone creativity.

YOLO 알고리즘을 활용한 해상에서의 항로표지 탐지 및 분류모형 개발

정해갑,이진석,권유민,박준모 해양환경안전학회 2022 해양환경안전학회 학술발표대회 논문집 Vol.2022 No.06