『영국 국민을 위한 변호』에 나타난 밀턴의 국민주권론

송홍한 동아영어영문학회 2001 동아영어영문학 Vol.17 No.-

Dreams and the Dream Motif in The Mysterious Stranger

Park, Pyung-wha 동아영어영문학회 1998 동아영어영문학 Vol.14 No.-

밀턴의『코머스』 : 극형식의 문제와 주제 The Problem of Its Genre and Theme

송홍한 동아영어영문학회 1998 동아영어영문학 Vol.14 No.-

Comus was published in 1637, three years after its performance as a masque. As a literary work independent of performance, it has invited various responses and controversies from the critics. The initial title of the masque was A Maske Presented at Ludlow Castle, 1634, but since John Dalton first named it Comus for his stage, it has been generally passed by the name of Comus. The popularity of this step-title shows that the work is different from the traditional masque, devoid of showy pageantry and dance Taking into account the poet's intentions implied in its initial name, however, we cannot deny that the masque was intended to be read as a masque rather than any other genre. Distinguished from the traditional masque, Comus has its unique characteristics and theme, exhibiting "the civilizing power of poetry and music." Focusing on its long dialogues, songs, and poetry rather than the gorgeous clothes and attractive stage show employed by the traditional masque, the masque revised the traditional masque both in its form and theme. In its historical context, it reveals the religious and political conflicts between royalists and puritans. Thematically, it deviates from the traditional masque, since the theme of chastity is inappropriate to the traditional court masque, which aims to provide entertainment for the court. So, the masque attacks the courts against their lack of "courtesie," while it praises the country sheds for their simple courtesy. Furthermore, it argues for "greater economic equality," which can be achieved by the power of chastity In short, Comus as a social satire is a masque against the traditional masque

CLT의 필요성과 문제점

정양미 동아영어영문학회 1998 동아영어영문학 Vol.14 No.-

The purpose of this paper is to examine the necessity of CLT on the grounds of language theory and acquisition, and to find out its' problems to suggest some measures of improving them. There are three problems : ⅰ) the notional-functional syllabus. ⅱ) an exclusive emphasis on fluency ⅲ) the avoidance of explicit grammar teaching. Although CLT is accepted by many applied linguist and teachers as the most effective approach among those in general use, there are still a number of problems about what it involves. This article sets out three main problems and gives the solutions to them as follows : ⅰ) integration of semantic and formal syllabuses. ⅱ) enhancing accuracy ⅲ) emphasizing the teaching of grammar.

The Iceman Cometh에 나타난 삶과 죽음의 대극성

류해근 동아영어영문학회 1998 동아영어영문학 Vol.14 No.-

O'Neill's mysticism, it seems, is connected with his idea of the "Forces behind life." O'Neill's mystical nature was nurtured by his selective reading of and developing understanding of Taoism. In his search to replace a lost faith, he turned to the mysticism of the East. In particular it was Taoism that fascinated him. Therefore Taoism had a great effect on his life and works. In Taoism, he not only found confirmation of his own mystical intuition that a dynamic universal force which is called Tao by Lao Tzu united man and the universe but also discovered an encouraging variant of his own dualistic tragic vision as well Taoism presents dualistic oppositions as ones of complementary polarity, in which the polar principles-called yin and yang-alternate and interpenetrate in the dynamic rhythm of the Tao. In The Iceman Cometh, O'Neill struggles to harmonize their thematic oppositions between life and death in the same way the Tao reconciles yin and yang. This play structures its larger oppositions in this manner The play begins, for example, in a scene of life though it is minimal. In opening scene, the derelicts in Hope's saloon fall in their pipe dreams and wait for Hickey as a bringer of life. Yet when Hickey arrives and pitilessly divests all of their pipe dreams, it is death that Hickey, "iceman" of the title, brings to them, as all eventually recognize him as the agent of death. Therefore the derelicts shift toward death and only return to life after Hickey's departure. Similarly, life and death alternate and interpenetrate : the illusions, life to them, dominate the first two acts, death in acts three and four, but the conclusion finds the derelicts immersed again in happy illusion except for Larry, who grimly faces the horrid truths about himself revealed by Hickey and Parritt. Larry claims to have discovered serenity through transcendence of illusion, but he realizes that it is the very his illusion due to Parritt's suicide. So he has to lapse into a state of 'living death', staring into both aspects of life until he dies.

A Woman of No Importance의 구조와 주제

김용덕 동아영어영문학회 1998 동아영어영문학 Vol.14 No.-

This is an attempt to study the thematic structure of Wilde's second successful society drama, A Woman of No Importance, through the close examination of the play. Wilde's doctrine was in essence that of a utopian anarchist, preaching the doctrine of individualism and aestheticism. Wilde always liked to create manly women and womanly men, as a challenge to the stratified thinking of his day and demonstrates through the characterization of female leads that the gender-antitheses of the age were almost meaningless. The play appears to be a conventional melodrama of seduction and judgement, a play whose only originality is to plea for greater leniency for repentant fallen women and harsher punishment for fallen men. Yet with the construction of A Woman of No Importance Wilde attempted to find a dramatic method for the presentation of thought as action, to challenge the century's convention. A consequence of this radical experiment is that the play suffers from inconsistencies of style and it has been underestimated in Wilde's canon. A Woman of No Importance is not a play of 'action', a traditionally male preserve, but 'a woman's play' of female leads. Female characters dominate the play and three types of 'new woman' are delineated in the characters of Mrs. Arbuthnot, Hester, and Mrs. Allonby. Together they act out a confrontation with all sexual laws and restrictions, showing them to be both ineffectual against the power of passion and impulse. Whereas the women of Hanstanton take advantage of their supposedly weaker status to manipulate the men around them, Mrs. Arbuthnot struggles with an absolute morality which denies all her true instincts as a woman Thus every woman in this play is an individualist in her own way, while male dandy Lord Illingworth leaves the stage, defeated and insulted not for interfering Hester's puritan standards but for compromising his own, that is, for lack of true individualism.

연관성 이론의 관점에서 본 담화표지 Well

주미경 동아영어영문학회 1998 동아영어영문학 Vol.14 No.-

The purpose of this paper is to offer a generalization across a large number of disparate functions of well using a Relevance Theory. A relevance theory is the only theory that can account for all the uses of discourse marker and point out the common core function of all of them. Discourse marker well has five main functions : (1)response marker, (2)evincive, (3)face- threat mitigator, (4)qualifier and (5)frame. On relevance theory, well has a function to send a signal to the hearer that what might seem to be the most relevant context needs to be reconstructed or re-evaluated to interpret the following utterance. Thus, by using well, the speaker indicates that she wants to shift topics, change perspectives, etc. That is to say, the discourse marker well indicates that the addressee has to reconstruct the background to process the upcoming utterance.