-
[2024³â] [¿µ¹Ì¹®ÇÐ] 3¿ù ½ÉÈÀÌ·Ð(¿µ¾î/À¯ÈñÅÂ)
±³¼ö | À¯ÈñÅ | °ÀDZ¸¼º | ÃÑ 25°/(Á¾°:28½Ã°£) |
---|---|---|---|
°ú¸ñ | Àü°ø¿µ¾î | ÃÔ¿µÇпø | ¹Ú¹®°¢ÀÓ¿ë°í½ÃÇпø |
°ÁÂÀ¯Çü | Á¤±Ô´Ü°ú¹Ý | ¼ö°·á/±â°£ | 160,000 ¿ø/75ÀÏ/1.3¹è |
»ùÇðÀÇ | 1° ¸Àº¸±â (HD) |
¹øÈ£ | ÇнÀ³»¿ë | ½Ã°£ | »ùÇðÀÇ |
---|
±³¼ö | À¯ÈñÅ |
---|---|
Àλ縻 | ¾È³çÇϽʴϱî? Àü°ø¿µ¾î ÆÀÀÔ´Ï´Ù. ¿©·¯ºÐ°ú ÇÕ°ÝÀÇ ±â»ÝÀ» ÇÔ²² ÇÒ ¼ö ÀÖµµ·Ï ÃÖ°íÀÇ °ÀÇ·Î ¸¸³ªºË°Ú½À´Ï´Ù. °¨»çÇÕ´Ï´Ù. |
±³¼öÁÖ¿ä°æ·Â |
<¾à·Â> -¹öŬ¸®´ëÇÐ (U.C. Berkeley) ¿µ¹Ì¹®ÇÐÀü°ø ¼®»ç(MA) & ¹Ú»ç(Ph.D) -LSI ¿µ¾î¿¬±¸¼Ò ¼ÒÀå(2008¡ÇöÀç) -¹Ú¹®°¢ÀÓ¿ëÇпø Àü°ø¿µ¾î ´ëÇ¥±³¼ö(2000~2002; 2008¡ÇöÀç) -¹öŬ¸®´ëÇÐ GSR°ú READER·Î ¹öŬ¸®´ëÇÐ Çкλý¿¡°Ô Writing°ú ReadingÁöµµ -±¹Á¦ ·ÎŸ¸®Àç´Ü Ä£¼±»çÀý´ë»ç ÀåÇбÝ(Rotary International Foundation Ambassadorial Scholarship)¼ö»ó(2003¡2004) -¹öŬ¸®´ëÇÐ Graduate Division Fellowship ¼ö»ó, Àü¾×ÀåÇлý(2004~2007) -<Çѱ¹ µ¿ºÏ¾Æ ÇÐȸ> ÀÌ»ç(2019-ÇöÀç) -´Ü±¹´ëÇб³ ÀϹݴëÇпø ¹®È¿¹¼úÇаú °»ç(2018-19 1³â°£) -ÀÎõ´ëÇб³ »ç¹ü´ëÇÐ ¿µ¾î±³À°Çаú °»ç(2019³â 1Çбâ) -°í·Á´ëÇб³, ¼¿ï´ëÇб³ ±³¿øÀÓ¿ë°í½Ã Ư° °»ç(2019, 2021) ¿Ü ´Ù¼ö ÁÖ¿ä´ëÇаú ±â°ü¿¡¼ °ÀÇ -¡ìÇѱ¹ ·Î½ºÄð½Å¹®¡í ¾ð¾î³í¸® Ä®·³¸®½ºÆ®(2009) <³í¹®> -¹öŬ¸®´ëÇÐ ¹Ú»ç³í¹® (Ph.D Dissertation): America¡°s¡± in Early Twentieth Century Ethnic Minority Writing: Younghill Kang and Richard Wright -¹öŬ¸®´ëÇÐ ¼®»ç³í¹® (M.A. Thesis): ¡°Fredric Jameson¡¯s Concept of Reification¡±(2005) -Chicano Novelistic Discourse: Amerigo Paredes¡¯s George Washington Gomez (2007) -¡°Beyond Reification: Younghill Kang¡¯s East Goes West¡±(2006) -Gabriel¡¯s Story: Cultural Representations of (Semi-)Colonial/Racialized Subjects¡¯ Experiences(2005) <Àú¼> ÀϹݿµ¾î -À¯ÈñÅ ÀϹݿµ¾î ½Ã¸®Áî ¨ç¦¡2S2R ±âº»(¹Ú¹®°¢, 2022 7ÆÇ) -À¯ÈñÅ ÀϹݿµ¾î ½Ã¸®Áî ¨è¦¡2S2R À¯Çü(¹Ú¹®°¢, 2022 5ÆÇ) -À¯ÈñÅ ÀϹݿµ¾î ½Ã¸®Áî ¨é¦¡2S2R ±âÃâ(¹Ú¹®°¢, 2023 6ÆÇ) -À¯ÈñÅ ÀϹݿµ¾î ½Ã¸®Áî ¨ê¦¡¹®Á¦ÀºÇà(¹Ú¹®°¢, 2023 5ÆÇ) -À¯ÈñÅ ÀϹݿµ¾î ½Ã¸®Áî ¨ë¦¡±âÃâ VOCA 30 Days(¹Ú¹®°¢, 2021 4ÆÇ) -2S2R ÃÖ°íÀÇ µ¶ÇØ ºñ°á(ºñ¿æµå, 2009 ÀýÆÇ) ¿Ü ´Ù¼ö ¹®ÇÐ -À¯ÈñÅ ¿µ¹Ì¹®ÇÐ ½Ã¸®Áî ¨ç¦¡¿µ¹Ì¹®Çа³·Ð(¹Ú¹®°¢, 2023 4ÆÇ) -À¯ÈñÅ ¿µ¹Ì¹®ÇÐ ½Ã¸®Áî ¨è¦¡¿µ¹Ì¼Ò¼³ÀÇ ÀÌÇØ(¹Ú¹®°¢, 2022 7ÆÇ) -À¯ÈñÅ ¿µ¹Ì¹®ÇÐ ½Ã¸®Áî ¨é¦¡¿µ¹Ì¹®ÇÐ ±âÃâ(¹Ú¹®°¢, 2023 ÃÊÆÇ) -À¯ÈñÅ ¿µ¹Ì¹®ÇÐ ½Ã¸®Áî ¨ê¦¡¿µ¹Ì¹®ÇÐ ¹®Á¦ÀºÇà(¹Ú¹®°¢, 2020 3ÆÇ) -À¯ÈñÅ ¿µ¹Ì¹®ÇÐ ½Ã¸®Á¿µ¹Ì½ÃÀÇ ÀÌÇØ(¹Ú¹®°¢, ÀýÆÇ) ¿Ü ´Ù¼ö |
±³Àç1 ¼Ò°³ |
|
---|---|
±³Àç1 Ư¡ |
¡á Ã¥¼Ò°³ ¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇÐ 1-¿µ¹Ì¹®Çа³·Ð-Á¦4ÆÇ¡·Àº Áߵ»ç ÀÓ¿ë½ÃÇè Àü°ø¿µ¾î Áß ¿µ¹Ì¹®ÇÐÀ» ´ëºñÇϱâ À§ÇÑ ¼öÇè¼·Î,¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇС·½Ã¸®Áî Áß °¡Àå ÇÙ½ÉÀÌ µÇ´Â ±âº»¼ÀÔ´Ï´Ù. ¿µ±¹¹®ÇÐÀº 5¼¼±âºÎÅÍ ½ÃÀÛÇØ ÇöÀç±îÁö 1500³âÀÌ ³Ñ´Â ±ä ¿ª»ç¸¦ Áö´Ï°í ÀÖÀ¸¸ç, ¹Ì±¹¹®ÇÐÀº 17¼¼±âºÎÅÍ ÇöÀç±îÁö ¾à 400¿© ³âÀÇ ¿ª»ç¸¦ ´ã°í ÀÖ½À´Ï´Ù. ÀÌ¿¡ µû¶ó º»¼´Â ÀúÀÚ°¡ Á¦½ÃÇÏ´Â °ø½ÃÀû¡¤Åë½ÃÀû ¹æ¹ý·ÐÀ» ÅëÇØ ¼öÇè»ýµéÀÌ ¹æ´ëÇÑ ¾çÀÇ ¿µ¹Ì¹®ÇÐÀ» ü°èÀûÀ¸·Î ´ëºñÇÒ ¼ö ÀÖµµ·Ï ±¸¼ºÇÏ¿´½À´Ï´Ù. ¼öÇè»ýµéÀº º»¼¸¦ ÅëÇØ º»°ÝÀûÀÎ ¿µ¹Ì¹®ÇÐ ¹®Á¦Ç®ÀÌ¿¡ µé¾î°¡±â ¾Õ¼ ÇÊ¿äÇÑ À̷аú ´Ù¾çÇÑ ÀÛÇ°À» ÀÍÇô ¿µ¹Ì¹®Çп¡ ´ëÇÑ µÎ·Á¿ò°ú ºÎ´ãÀ» ´ú¾î³»°í ÇÕ°ÝÀ̶ó´Â Á¾ÂøÁ¡¿¡ µµ´ÞÇÒ ¼ö ÀÖÀ» °ÍÀÔ´Ï´Ù. ¡á ÃâÆÇ»ç ¸®ºä ¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇÐ 1-¿µ¹Ì¹®Çа³·Ð-Á¦4ÆÇ¡·Àº Áߵ»ç ÀÓ¿ë½ÃÇè Àü°ø¿µ¾î Áß ¿µ¹Ì¹®ÇÐÀ» ´ëºñÇϱâ À§ÇÑ ¼öÇè¼ÀÔ´Ï´Ù. º»¼¿Í ÇÔ²²¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇÐ 2 - ¿µ¹Ì¼Ò¼³ÀÇ ÀÌÇØ¡·,¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇÐ 3 - ¿µ¹Ì¹®ÇÐ ±âÃâ¡·,¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇÐ 4 - ¿µ¹Ì¹®ÇÐ ¹®Á¦ÀºÇà¡·À» ÀúÀÚ°¡ Á¦½ÃÇÑ Ä¿¸®Å§·³¿¡ µû¶ó ü°èÀûÀ¸·Î ÇнÀÇÑ´Ù¸é ±³¿øÀÓ¿ë°í½Ã ¿µ¹Ì¹®ÇÐÀ» ¿Ïº®È÷ ´ëºñÇÒ ¼ö ÀÖÀ» °ÍÀÔ´Ï´Ù. ÀÌ Ã¥ÀÇ Æ¯Â¡Àº ´ÙÀ½°ú °°½À´Ï´Ù. 1. ±³¿øÀÓ¿ë½ÃÇè ¿µ¹Ì¹®ÇÐÀÇ ´ëÇ¥ °»ç·Î Æò°¡¹Þ´Â ÀúÀÚÀÇ ³ëÇϿ츦 Åä´ë·Î °ø½ÃÀû¡¤Åë½ÃÀû ¹æ¹ý·ÐÀ» ÅëÇØ ¿µ¹Ì¹®ÇÐÀÇ ¸ðµç ºÐ¾ß¸¦ ü°èÀûÀ¸·Î ¾Æ¿ì¸£°í ÀÖ½À´Ï´Ù. 2. Part 01 ¹®ÇбâÃÊÀ̷п¡¼´Â ¿µ¹Ì¹®ÇÐÀÇ ½Ã´ëÀû È帧¿¡ µû¶ó ÀÛÇ°À» ¼ø¼´ë·Î ¹èÄ¡ÇÏ¿© ¿µ¹Ì¹®ÇÐÀÇ ±âº»ÀûÀΠƲÀ» ÀÍÈú ¼ö ÀÖµµ·Ï ÇÏ¿´½À´Ï´Ù. 3. Part 02 ¹®Çб⺻À̷п¡¼´Â Figurative Language¿Í Literary Device·Î ³ª´©¾î ÇÊ¿äÇÑ ¿µ¹Ì¹®ÇÐÀÇ ÀÌ·ÐÀû ¹è°æ ¼³¸í°ú °ü·ÃµÈ ÀÛÇ°ÀÇ Çؼ³ ¹× ¹ø¿ªÀ» ¼ö·ÏÇØ ÇнÀÇÒ ¼ö ÀÖµµ·Ï ÇÏ¿´½À´Ï´Ù. 4. Part 03 ¹®ÇнÉÈÀ̷п¡¼´Â Literary Element¿Í Drama / CriticismÀ» ½Ç¾î, ½ÉÈÀÌ·ÐÀ» ÀÍÈûÀ¸·Î½á ¹®ÇÐÀû ¼Ò¾çÀÇ ±íÀ̸¦ ´õÇÒ ¼ö ÀÖµµ·Ï ±¸¼ºÇÏ¿´½À´Ï´Ù. 5. ºÎ·Ï¿¡´Â ¹®ÇÐ ¿ë¾î ¹× ÀúÀÚ°¡ ¾ö¼±ÇÑ ¿µ¹Ì½Ã Çʵ¶ 50¼±°ú Çѱ۹ø¿ªÀ» ¼ö·ÏÇØ ¼öÇè»ýµéÀÌ ´Ù¾çÇÑ ÀÛÇ°À» Á¢ÇÒ ¼ö ÀÖµµ·Ï ÇÏ¿´½À´Ï´Ù. ¼öÇè»ýµéÀÌ º»¼¸¦ ÅëÇØ ½ÃÇè Áß Àü·«À» ¿¬½ÀÇÏ°í ¹Ýº¹ÀûÀÎ ¿À·ù¸¦ Á¡°ËÇÔÀ¸·Î½á ¿µ¹Ì¹®ÇÐ °ú¸ñ¿¡ ´ëÇÑ µÎ·Á¿ò¿¡¼ ¹þ¾î³ª ÇÕ°ÝÀ̶ó´Â Á¾ÂøÁ¡¿¡ µµ´ÞÇϱ⸦ Èñ¸ÁÇÕ´Ï´Ù. |
±³Àç1 ¸ñÂ÷ |
¡á ¸ñÂ÷
Part 01 ¹®ÇбâÃÊÀÌ·Ð Phase 01 British Literary History Chapter 01 The Renaissance Period Chapter 02 Neo-classicism Chapter 03 Romanticism Chapter 04 Victorian Era Chapter 05 Modernism Phase 02 American Literary History Chapter 01 19C American Literary History Chapter 02 20C American Literary History ¥° Chapter 03 20C American Literary History ¥± Part 02 ¹®Çб⺻ÀÌ·Ð Phase 01 Figurative Language Chapter 01 Orientation Chapter 02 Simile Chapter 03 Metaphor Chapter 04 Symbol Chapter 05 Allegory Chapter 06 Personification Chapter 07 Apostrophe Chapter 08 Synecdoche / Metonymy Chapter 09 Paradox / Oxymoron Chapter 10 Hyperbole Chapter 11 Understatement Chapter 12 Irony Chapter 13 Allusion Phase 02 Literary Device Chapter 01 Imagery Chapter 02 Alliteration / Onomatopoeia Chapter 03 Epiphany Chapter 04 Flashback Chapter 05 Satire Chapter 06 Interior Monologue Chapter 07 Surprising Ending Chapter 08 Story-within-a-Story Part 03 ¹®ÇнÉÈÀÌ·Ð Phase 01 Literary Element Chapter 01 Point of View Chapter 02 Character Chapter 03 Setting / Atmosphere Chapter 04 Plot Chapter 05 Theme Phase 02 Drama / Criticism Chapter 01 Tragedy Chapter 02 Comedy Chapter 03 Absurd Theatre Chapter 04 Neo-classical / Romantic Criticism Chapter 05 Modernist / Postmodernist / Postcolonialist Appendix Glossary Poems for Further Reading |
±³Àç2 ¼Ò°³ |
|
---|---|
±³Àç2 Ư¡ |
¡á Ã¥¼Ò°³ ¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇÐ 4-¿µ¹Ì¹®ÇÐ ¹®Á¦ÀºÇà(Á¦4ÆÇ)¡·Àº Áߵ»ç ÀÓ¿ë½ÃÇè Àü°ø¿µ¾î Áß ¿µ¹Ì¹®ÇÐÀ» ´ëºñÇϱâ À§ÇÑ ¼öÇè¼·Î,¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇС· ½Ã¸®Áî Áß ³× ¹ø°¿¡ ÇØ´çÇÏ´Â ±³ÀçÀÔ´Ï´Ù. º»¼´Â ¹®Á¦Ç®ÀÌ¿¡ ´ëÇÑ È¿°úÀûÀÎ ÇнÀÀ» À§ÇØ Ã¥¼ÓÀÇ Ã¥À¸·Î ¸ð¹ü´ä¾ÈÀ» ±¸¼ºÇÏ¿© ¹®Á¦¸¦ Ç®°í ´ä¾ÈÀ» È®ÀÎÇÏ´Â µ¥ ¸Å¿ì ¿ëÀÌÇÕ´Ï´Ù. º»¼´Â ¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇС· ½Ã¸®Áî1, 2, ±×¸®°í 3À» ÅëÇØ ÇнÀÇÑ ¿µ¹®ÇÐÀ̷аú ¹®ÇÐÀÛÇ°µéÀ» ½ÇÀü ¹®Á¦¿¡ Àû¿ëÇÒ ¼ö ÀÖµµ·Ï ¹®Á¦ÀºÇà ¹æ½ÄÀ¸·Î ¹èÄ¡ÇÏ¿© ÃÖ±Ù ÀÓ¿ë½ÃÇè¿¡ ´ëÇÑ ÀûÇÕ¼ºÀ» ³ôÀÌ´Â °ÍÀ» ¸ñÇ¥·Î ÁýÇʵǾú½À´Ï´Ù. ¶ÇÇÑ »õ·ÎÀÌ °³Á¤µÈ º»¼(Á¦4ÆÇ)´Â partº°·Î Áö¹®ÀÇ ºÐ·®À» ±âÁ¸º¸´Ù 2¹è°¡·® ´Ã·Á ¹æ´ëÇÑ ¾çÀÇ ¿µ¹Ì¹®Çп¡ ºÎ´ãÀ» ´À³¥ ¼öÇè»ýµéÀÌ ±âÁ¸º¸´Ù ´õ dzºÎÇÑ ¾çÀÇ ÀÛÇ°À» Á¢ÇÒ ¼ö ÀÖµµ·Ï ±¸¼ºÇÏ¿´½À´Ï´Ù. ¡á ÃâÆÇ»ç ¸®ºä ¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇÐ 4-¿µ¹Ì¹®ÇÐ ¹®Á¦ÀºÇà(Á¦4ÆÇ)¡·Àº Áߵ»ç ÀÓ¿ë½ÃÇè Àü°ø¿µ¾î Áß ¿µ¹Ì¹®ÇÐÀ» ´ëºñÇϱâ À§ÇÑ ¼öÇè¼ÀÔ´Ï´Ù. º»¼´Â ¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇС· ½Ã¸®Á ÅëÇØ ½ÀµæÇÑ ¿µ¹®ÇÐÀ̷аú ¹®ÇÐÀÛÇ°µéÀ» ½ÇÀü ¹®Á¦¿¡ Àû¿ëÇÒ ¼ö ÀÖµµ·Ï ÃâÁ¦°¡´É¼ºÀÌ ³ôÀº ¿¹»ó¹®Á¦¸¦ ¼ö·ÏÇÏ¿© ¹®Á¦ÀºÇà ¹æ½ÄÀ¸·Î ¹èÄ¡ÇÏ¿´½À´Ï´Ù. ÀÌ Ã¥ÀÇ Æ¯Â¡Àº ´ÙÀ½°ú °°½À´Ï´Ù. 1. ÃÖ±Ù ÀÓ¿ë½ÃÇè µ¿Çâ¿¡ ¸ÂÃç ´Ü´äÇü-¼¼úÇü ¹®Ç×À¸·Î ±¸¼ºÇÏ¿´½À´Ï´Ù. 2. ¼öÇè»ýµéÀÌ ´õ¿í dzºÎÇÏ°Ô Áú ÁÁÀº ¹®Á¦¸¦ Ç®¾îº¼ ¼ö ÀÖµµ·Ï partº°·Î ¹®Á¦¸¦ »õ·Ó°Ô Ãß°¡ÇØ ¿µ¹Ì¹®ÇÐÀÇ ±âº»ÀÌ·ÐÀ» Á¡°ËÇÒ ¼ö ÀÖ´Â ±âº»À̷й®Á¦¿Í ½ÇÁ¦ ½ÃÇè¿¡ ´ëºñÇÒ ¼ö ÀÖ´Â ½ÇÀü¸ðÀÇ°í»ç¸¦ °³Á¤ÇÏ¿´½À´Ï´Ù. 3. ÀÓ¿ë½ÃÇè¿¡ ÃâÁ¦µÇ´Â ´Ù¾çÇÑ ÁÖÁ¦¿¡ °üÇÑ ¹®ÇÐÀÛÇ°À» ¾ö¼±ÇØ ¿µ¹Ì¹®ÇÐ ¹®Á¦¸¦ Ǫ´Â µ¥ ÀÖ¾î ÇÊ¿äÇÑ ¹è°æÁö½ÄÀ» ÁõÁøÇÒ ¼ö ÀÖµµ·Ï ÇÏ¿´½À´Ï´Ù. 4. ¸ð¹ü´ä¾È¿¡´Â °¢ ¹®Á¦¿¡ ´ëÇÑ Á¤È®ÇÑ Ã¤Á¡±âÁØ°ú ´ä¾È ¹× Çѱ۹ø¿ªÀ» ½Ç¾î ÀÚ½ÅÀÇ ºÎÁ·ÇÑ ºÎºÐÀ» ÆľÇÇÏ°í ´ä¾ÈÀ» º¸¿ÏÇÒ ¼ö ÀÖµµ·Ï ÇÏ¿´½À´Ï´Ù. |
±³Àç2 ¸ñÂ÷ |
¡á ¸ñÂ÷ Part 01 ±âº»À̷й®Á¦ 1 1ȸ~13ȸ Part 02 ±âº»À̷й®Á¦ 2 1ȸ~7ȸ Part 03 ½ÇÀü¸ðÀÇ°í»ç 1ȸ~66ȸ ¸ð¹ü´ä¾È |
±³Àç3 ¼Ò°³ |
|
---|---|
±³Àç3 Ư¡ |
¡á Ã¥¼Ò°³ º»¼´Â Áߵ»ç ÀÓ¿ë½ÃÇè Àü°ø¿µ¾î ¿µ¹Ì¹®ÇÐÀ» ´ëºñÇϱâ À§ÇÑ ¼öÇè¼·Î, ¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇС· ½Ã¸®Áî Áß µÎ ¹ø°¿¡ ÇØ´çÇÏ´Â ±³ÀçÀÌ´Ù. ¿µ¹Ì¼Ò¼³Àº 18¼¼±âºÎÅÍ ½ÃÀÛÇØ ÇöÀç±îÁö ¾à 300³â µ¿¾ÈÀÇ ÂªÁö ¾ÊÀº ¿ª»ç¸¦ °¡Áö°í ÀÖ´Â ¸¸Å ±×¿¡ »óÀÀÇÏ´Â ¼Ò¼³ÀÛÇ°ÀÇ ¾çµµ ¹æ´ëÇÏ´Ù. º»¼´Â »ó´çÇÑ ºÐ·®ÀÇ ¼Ò¼³ÀÛÇ°°ú ½Ã°£ Á¦¾à°úÀÇ ½Î¿ò ¼Ó¿¡¼ ½ÃÇèÀ» Ä¡·¯¾ß ÇÏ´Â ¼öÇè»ýµéÀÇ ºÎ´ãÀ» ÁÙ¿©ÁÖ±â À§ÇØ ÃâÁ¦ °¡´É¼ºÀÌ ³ôÀº ´ÜÆí ¹× ÀåÆí¼Ò¼³À» ¾ö¼±ÇÏ¿´´Ù. ¶ÇÇÑ Á¤È®ÇÑ ÇÑ±Û ¹ø¿ª°ú Çؼ³ÀÌ ¼ö·ÏµÈ º»¼¸¦ ÅëÇØ ¿µ¹Ì¼Ò¼³À» ü°èÀûÀ¸·Î °øºÎÇÑ´Ù¸é ¾î·Æ°Ô¸¸ ´À²¸Áö´ø ¿µ¹Ì¹®ÇÐÀ» ¿Ïº®ÇÏ°Ô ÀÌÇØÇÏ°í ½ÃÇèÀ» ´ëºñÇÏ´Â µ¥ È¿°úÀûÀÏ °ÍÀÌ´Ù. ¡á ÃâÆÇ»ç ¸®ºä ¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇÐ 2 - ¿µ¹Ì¼Ò¼³ÀÇ ÀÌÇØ¡·´Â Áߵ»ç ÀÓ¿ë½ÃÇè Àü°ø¿µ¾î ¿µ¹Ì¹®ÇÐÀ» ´ëºñÇϱâ À§ÇÑ ¼öÇè¼ÀÌ´Ù. º»¼´Â ¸¹Àº ¼öÇè»ýµéÀÌ ´À³¢´Â ½Ã°£Àû Á¦¾à°ú ±ä ºÐ·®ÀÇ µ¶ÇØ¿¡ ´ëÇÑ µÎ·Á¿òÀ» ÁÙ¿©ÁÖ±â À§ÇØ ÃâÁ¦°¡´É¼ºÀÌ ³ôÀº ¼Ò¼³µéÀ» ¾ö¼±ÇÏ°í, Á¤È®ÇÑ ¹ø¿ª°ú Çؼ³À» ¼ö·ÏÇÏ¿´´Ù. ¸ÕÀú Part 01 ¼Ò¼³À̷п¡´Â ¼Ò¼³ÀÇ 3¿ä¼Ò¸¦ ¾ð±ÞÇÏ°í, °¢ ¿ä¼ÒÀÇ ¼º°ÝÀ» Àß º¸¿©ÁÖ´Â 3ÆíÀÇ ¼Ò¼³À» ½Ç¾î¼ ¼öÇè»ýµéÀÇ °³³äÀûÀÎ ÀÌÇظ¦ µµ¿Ô´Ù. Part 02 ½ÇÁ¦ÀÛÇ°Àб⿡´Â 19¼¼±â¿Í 20¼¼±â¸¦ ´ëÇ¥ÇÏ´Â ÁÖ¿äÀÛÇ°À» ½Æ°í, ÇØ´ç ÀÛÇ°ÀÇ ÀÛ°¡¼Ò°³ ¹× ÀÛÇ°ºÐ¼®À» ¹èÄ¡ÇÏ¿© ÀÌÇظ¦ À§ÇÑ Ãß°¡ÀûÀÎ ¼³¸íÀ» µ¡ºÙ¿´´Ù. ¶ÇÇÑ, ÀÛÇ° ÀÌÇظ¦ À§ÇÑ ¹®Á¦¿Í ´äÀ» ¼ö·ÏÇÏ¿© ¼öÇè»ýµéÀÇ ÀÛÇ°¿¡ ´ëÇÑ ÀÌÇصµ¸¦ È®ÀÎÇÒ ¼ö ÀÖµµ·Ï ÇÏ¿´´Ù. ¼öÇè»ýµéÀÌ º»¼¸¦ ÅëÇØ ¿µ¹Ì¹®ÇÐ °ú¸ñ¿¡ ´ëÇÑ µÎ·Á¿ò¿¡¼ ¹þ¾î³ª ü°èÀûÀÎ ÇнÀÀ» °ÅÃÄ ÇÕ°ÝÀ̶ó´Â Á¾ÂøÁ¡¿¡ µµ´ÞÇϱ⸦ °£ÀýÈ÷ Èñ¸ÁÇÕ´Ï´Ù. |
±³Àç3 ¸ñÂ÷ |
Part 01 ¼Ò¼³ÀÌ·Ð
Chapter 01 ¼Ò¼³ÀÇ 3¿ä¼Ò Chapter 02 ¼Ò¼³ÀÇ 3¿ä¼Ò¿¡ ´ëÇÑ ±¸Ã¼Àû ºÐ¼® 1. Plot Why Don't You Dance? 2. Character Eveline 3. Theme A Rose for Emily Part 02 ½ÇÁ¦ ÀÛÇ°Àбâ Chapter 01 19¼¼±â ÁÖ¿äÀÛÇ° 1. Drowne's Wooden Image 2. The Purloined Letter 3. Bartleby, the Scrivener: A Story of Wall Street 4. The Celebrated Jumping Frog of Calaveras County 5. Desiree's Baby 6. The Yellow Wallpaper 7. Under the Lion's Paw 8. The Upturned Face 9. The Model Millionaire: A note of admiration Chapter 02 20¼¼±â ÁÖ¿äÀÛÇ° 1. South of the Slot 2. Hands 3. The Man Who Loved His Kind 4. The Horse Dealer's Daughter 5. An Ideal Family 6. A Word As to Uncle Tom 7. A Clean, Well-lighted Place 8. A Father-To-Be 9. For Esme-with Love and Squalor Chapter 03 Further Reading 1. Spunk 2. The Man To Send Rain Clouds |