°í°´¸¸Á·¼¾ÅÍ
  • [2022³â] |¿µ¹Ì¹®ÇÐ| 3¿ù ½ÉÈ­ÀÌ·Ð(¿µ¾î/À¯ÈñÅÂ)
±³¼ö À¯ÈñÅ ÀÚ¼¼È÷º¸±â °­ÀDZ¸¼º ÃÑ 13°­/(Á¾°­:19½Ã°£)
°ú¸ñ Àü°ø¿µ¾î ÃÔ¿µÇпø ¹Ú¹®°¢ÀÓ¿ë°í½ÃÇпø
°­ÁÂÀ¯Çü Á¤±Ô´Ü°ú¹Ý ¼ö°­·á/±â°£ 140,000 ¿ø/40ÀÏ/1.5¹è
±³ÀçÁ¤º¸ ±³Àç1 : À¯ÈñÅ Àü°ø¿µ¾î ¿µ¹Ì¹®ÇÐ ¨ç - ¿µ¹Ì¹®Çа³·Ð(Á¦3ÆÇ,2021) ÀúÀÚ : À¯ÈñÅÂ
À¯ÈñÅ Àü°ø¿µ¾î ¿µ¹Ì¹®ÇÐ ¨ç - ¿µ¹Ì¹®Çа³·Ð(Á¦3ÆÇ,2021) : 18,900¿ø (10%)
¹Ù·Î±¸¸Å Àå¹Ù±¸´Ï


  • °­ÀǼҰ³
  • ¾Ë¸² ¹× À¯ÀÇ»çÇ×
    ¾Ë¸²
    ¡ÚÁÖ¿ä°øÁö¡Ú
    ¡Ø Ãâ·Â½Ã½ºÅÛ °³¼±ÀÌ µÇ¾î Ãâ·Â Ƚ¼ö°¡ 3ȸ·Î Á¦Çѵ˴ϴÙ.
    (* ¾Ë¸²: ÆÄÀÏ ÀúÀåÀÌ µÇÁö ¾Ê°í, ¸ð¹ÙÀÏ ±â±â¿¡¼­ ¿­¶÷ÀÌ µÇÁö ¾Ê´Â ºÎºÐÀº ±×´ë·Î À¯ÁöµË´Ï´Ù.)


    °­ÀÇ µ¿¿µ»óÀ» Àç»ýÇϰųª °­ÀÇ ÀÚ·á½Ç¿¡ ¾÷·ÎµåµÈ ÀÚ·á ¿­¶÷(Ãâ·Â Æ÷ÇÔ)½Ã ȯºÒµÇÁö ¾ÊÀ¸´Ï ½ÅÁßÇÏ°Ô ¼ö°­ ½ÅÃ»ÇØ Áֽñ⠹ٶø´Ï´Ù.


    *Àΰ­ °³°­ :
    : 3/3(¸ñ) 18½Ã
    °­ÀÇ ¾÷·Îµå´Â ¸ÅÁÖ ¸ñ,±Ý 18½Ã¿¡ ¾÷·Îµå µÉ ¿¹Á¤ÀÔ´Ï´Ù.

    *±³Àç :
    ¿µ¹Ì¹®ÇÐ : ¡ºÀü°ø¿µ¾î ¿µ¹Ì¹®Çа³·Ð¡ªÀ¯ÈñÅ ¿µ¹Ì¹®ÇÐ ½Ã¸®Áî ¨ç¡» (3ÆÇ, ¹Ú¹®°¢, 2021) (1-4¿ù ±³Àç)

    ÇýÅð­ÀÇ :
    1) 2020³â <¿µ¹Ì½ÃƯ°­> Àΰ­ ¹«·áÁ¦°ø

    -* º» °­ÀÇ´Â PC»Ó¸¸ ¾Æ´Ï¶ó ¸ð¹ÙÀÏ»óÀ¸·Îµµ ¼ö°­ÀÌ °¡´ÉÇϸç, PC¿Í ¸ð¹ÙÀϰ£ ½Ã°£¹è¼ö°¡ ¿¬µ¿ÀÌ µÇ¿À´Ï ÀÌÁ¡ Âü°íÇϽñ⠹ٶø´Ï´Ù.
    * º» °­ °­ÀÇ ¼ö°­ ½Ã³ª ÀÚ·á ¿ÀÇ ½Ã ȯºÒÀÌ µÇÁö ¾ÊÀ¸´Ï »ùÇð­ÀǸ¦ º¸½Å ÈÄ ½ÅÁßÇÏ°Ô ¼ö°­½ÅÃ»ÇØ Áֽñ⠹ٶø´Ï´Ù.

    * Çʱâ³ëÆ®¸¦ Æ÷ÇÔ, °­ÀÇ¿¡ Á¦°øµÇ´Â ÀÚ·á´Â ÀúÀÛ±ÇÀÌ Æ÷ÇԵǾîÀÖ½À´Ï´Ù. ¿ÜºÎ À¯Ãâ½Ã¿¡ ¹ýÀû Àû¿ëÀ» ¹ÞÀ» ¼ö ÀÖ½À´Ï´Ù.
    * ¹«·á ¿¬°èµÇ´Â °­ÀÇ´Â ¼ö°­±â°£ ¿¬Àå ¹× ÀϽà Á¤Áö ±â´ÉÀÌ Á¦°øµÇÁö ¾Ê½À´Ï´Ù.

top

°­ÀǸñÂ÷

¹øÈ£ ÇнÀ³»¿ë ½Ã°£ »ùÇð­ÀÇ
1°­ 22/03/02_[¿µ¹®ÇÐ] [¿µ¹Ì¹®Çа³·Ð]Part2 Chapter1 Imagery(p.154~163) 109ºÐ ÀÏ¹Ý HD
2°­ 22/03/03_[¿µ¹®ÇÐ] [¿µ¹Ì¹®Çа³·Ð]Part2 Chapter3 Epiphany (p.164~183) 105ºÐ
3°­ 22/03/09_[¿µ¹®ÇÐ] [¿µ¹Ì¹®Çа³·Ð]Part2 Chapter6 Interior Monologue (p.202~219) 101ºÐ
4°­ 22/03/10_[¿µ¹®ÇÐ] [¿µ¹Ì¹®Çа³·Ð]Part3 Chapter1. Point of View (p.224~) 96ºÐ
5°­ 22/03/16_[¿µ¹®ÇÐ] [¿µ¹Ì¹®Çа³·Ð]Part3 Chapter3. Setting/Atmosphere (p.280~294) 108ºÐ
6°­ (À۳ⰭÀÇ Á¦°ø) [¿µ¹Ì¹®Çа³·Ð] Odour of Chrysanthemums (p.78~) 83ºÐ
7°­ (À۳ⰭÀÇ Á¦°ø)[¿µ¹Ì¹®Çа³·Ð] Setting Reunion 19ºÐ
8°­ (À۳ⰭÀÇ Á¦°ø)[¿µ¹Ì¹®Çа³·Ð] Character Everyday use / Plot The Story of~ 91ºÐ
9°­ (À۳ⰭÀÇ Á¦°ø) [¿µ¹Ì¹®Çа³·Ð] chapter5. Theme 91ºÐ
10°­ 22/03/17_[¿µ¹®ÇÐ] [¿µ¹Ì¹®Çа³·Ð]Part3 Chapter1. Tragedy (p.328~343) 95ºÐ
11°­ (À۳ⰭÀÇ Á¦°ø : [¿µ¹®ÇÐ]_[¿µ¹Ì¹®Çа³·Ð] Chapter 4. Neo-classical / Romantic Criticism, Chapter 5. Modernist / Postmodernist / Postcolonialist 56ºÐ
12°­ 22/03/23_[¿µ¹®ÇÐ] [¿µ¹Ì¹®Çа³·Ð]Part3 Chapter2. Pygmalion (p.343~) 97ºÐ
13°­ 22/03/24_[¿µ¹®ÇÐ] [¿µ¹Ì¹®Çа³·Ð]Part3 Chapter3. A Slight Ache (p.346~) 100ºÐ
top

±³¼ö¼Ò°³

±³¼ö À¯ÈñÅÂ
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>
-¹Ì±¹ ¹öŬ¸®´ëÇÐ (U.C. Berkeley) ¿µ¹Ì¹®ÇÐÀü°ø ¼®»ç(MA)¿Í ¹Ú»ç(Ph.D)
-LSI¿µ¾î¿¬±¸¼Ò ¼ÒÀå (2008-ÇöÀç)
-¹Ú¹®°¢ÀÓ¿ë°í½ÃÇпø(Àü, ³ë·®ÁøÇàÁ¤°í½ÃÇпø) Àü°ø¿µ¾î ´ëÇ¥±³¼ö(2008-ÇöÀç)
-¹öŬ¸®´ëÇÐ GSR°ú READER·Î ¹öŬ¸®´ëÇÐ Çкλý¿¡°Ô Writing°ú ReadingÁöµµ (2004-07)
-±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 ·Î½ºÄð½Å¹®> 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
<Àü°ø¿µ¾î 2S2R ±âº»¡ªÀ¯ÈñÅ ÀϹݿµ¾î ½Ã¸®Áî 1>(À§µåºÏ, 2017°³Á¤4ÆÇ)
<Àü°ø¿µ¾î 2S2R À¯Çü¡ªÀ¯ÈñÅ ÀϹݿµ¾î ½Ã¸®Áî 2>(À§µåºÏ, 2017°³Á¤2ÆÇ)
<Àü°ø¿µ¾î 2S2R ±âÃ⡪À¯ÈñÅ ÀϹݿµ¾î ½Ã¸®Áî 3>(À§µåºÏ, 2016°³Á¤ÆÇ)
<Àü°ø¿µ¾î 2S2R ¹®Á¦ÀºÇࡪÀ¯ÈñÅ ÀϹݿµ¾î ½Ã¸®Áî 4>(À§µåºÏ, 2016°³Á¤ÆÇ)
<Àü°ø¿µ¾î ±âÃâ VOCA 30 Days¡ªÀ¯ÈñÅ ÀϹݿµ¾î ½Ã¸®Áî 5>(¿­¸°±³À°, 2015)
<Àü°ø¿µ¾î ÀûÁß ¸ðÀǰí»ç> (À¯ÈñŹڻçÆÀ Àú, À§µåºÏ, 2016)
<2S2R ÃÖ°íÀÇ µ¶ÇØ ºñ°á> (ºñ¿æµå, 2009 ÀýÆÇ) ¿Ü ´Ù¼ö

¹®ÇÐ
<Àü°ø¿µ¾î ¿µ¹Ì¹®Çа³·Ð¡ªÀ¯ÈñÅ ¿µ¹Ì¹®ÇÐ ½Ã¸®Áî 1 > (À§µåºÏ, 2017°³Á¤ÆÇ)
<Àü°ø¿µ¾î ¿µ¹Ì¼Ò¼³ Àб⡪À¯ÈñÅ ¿µ¹Ì¹®ÇÐ ½Ã¸®Áî 2 > (À§µåºÏ, 2017°³Á¤5ÆÇ)
<Àü°ø¿µ¾î ¹®Á¦ÀºÇࡪÀ¯ÈñÅ ¿µ¹Ì¹®ÇÐ ½Ã¸®Áî 3 > (À§µåºÏ, 2017°³Á¤ÆÇ)
<Àü°ø¿µ¾î ¿µ¹Ì½Ã Àб⡪À¯ÈñÅ ¿µ¹Ì¹®ÇÐ ½Ã¸®Áî 4 > (¹Ú¹®°¢, 2015, °³Á¤4ÆÇ)
<BEYOND ¿µ¹Ì¹®ÇÐÀÇ ºÐ¼®: Áߵ¿øÀÓ¿ë 2Â÷´ëºñ>(Sean Maylone °øÀú)(ºñ¿æµå, 2009 ÀýÆÇ)¿Ü ´Ù¼ö
top

±³Àç¼Ò°³

±³Àç1 ¼Ò°³

À¯ÈñÅ Àü°ø¿µ¾î ¿µ¹Ì¹®ÇÐ ¨ç - ¿µ¹Ì¹®Çа³·Ð(Á¦3ÆÇ,2021)
¤ýÀúÀÚ¸í : À¯ÈñÅÂ
¤ý±³Àçºñ : 18,900(10%)
¤ýÃâÆÇ»ç : ¹Ú¹®°¢
¤ýÆäÀÌÁö¼ö : 376
¤ý¹ßÇàÀÏ : 2020/12/01376
±³Àç1 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¸®ÁîÀÇ °¡Àå ±âº»ÀÌ µÇ´Â ÇÙ½É ±³ÀçÀÔ´Ï´Ù. ¿µ±¹¹®ÇÐÀº 5¼¼±âºÎÅÍ ½ÃÀÛÇØ ÇöÀç±îÁö 1500³âÀÌ ³Ñ´Â ¿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 Ã¥Àº ¿¹ºñ ±³»çµéÀÌ ¹æ´ëÇÑ ¾çÀÇ ¿µ¹Ì¹®ÇÐÀ» ü°èÀûÀ¸·Î ´ëºñÇÒ ¼ö ÀÖµµ·Ï, °ø½ÃÀû ¹æ¹ý·Ð°ú Åë½ÃÀû ¹æ¹ý·ÐÀ» ÅëÇØ ¿µ¹Ì¹®ÇÐÀÇ ¸ðµç ºÐ¾ß¸¦ ¾Æ¿ì¸£°í ÀÖ½À´Ï´Ù. ÀÌ Ã¥À» ÅëÇØ ¼öÇè»ýµéÀº ¿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¡·Àº Áߵ»ç ÀÓ¿ë½ÃÇè Àü°ø¿µ¾î ¿µ¹Ì¹®ÇÐÀ» ´ëºñÇϱâ À§ÇÑ ¼öÇè¼­ÀÌ´Ù. º»¼­´Â ±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 ÀÖ´Ù.

¸ÕÀú Part 01 ¹®ÇбâÃÊÀ̷п¡¼­´Â ¿µ±¹¹®Çаú ¹Ì±¹¹®ÇÐÀ» ½Ã´ëÀû È帧¿¡ µû¶ó Á¤¸®ÇÏ¿© ¿µ¹Ì¹®ÇÐÀÇ Æ²À» ÀâÀ» ¼ö ÀÖµµ·Ï ÇÏ¿´°í, Part 02 ¹®Çб⺻À̷п¡¼­´Â Figurative Language¿Í Literary Device·Î ³ª´©¾î ¿µ¹Ì¹®ÇÐÀÇ ÀÌ·ÐÀû ¹è°æ°ú ´Ù¾çÇÑ ÁÖ¿ä ¹®ÇÐÀÛǰ ¹× ÇØ¼³À» ¼ö·ÏÇØ ±âº»ÀûÀÎ ÀÌ·ÐÀ» ´ÙÁú ¼ö ÀÖµµ·Ï Çß´Ù. ¸¶Áö¸·À¸·Î Part 03 ¹®ÇнÉÈ­À̷п¡¼­´Â Literary Element¿Í Drama / CriticismÀ» ½Ç¾î, ½ÉÈ­ ÀÌ·ÐÀ» ÇнÀÇÔÀ¸·Î½á ¹®ÇÐÀû ¼Ò¾çÀÇ ±íÀ̸¦ ´õÇÒ ¼ö ÀÖµµ·Ï ±¸¼ºÇÏ¿´´Ù.

º»¼­¸¦ ¹ÙÅÁÀ¸·Î¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇÐ 2-¿µ¹Ì¼Ò¼³ Àб⡷, ¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇÐ 3-¿µ¹Ì½ÃÀÇ ÀÌÇØ¡· ±×¸®°í ¡¶À¯ÈñÅ ¿µ¹Ì¹®ÇÐ 4-¿µ¹Ì¹®ÇÐ ¹®Á¦ÀºÇà¡·À» ÇÔ²² °øºÎÇÑ´Ù¸é ±³¿øÀÓ¿ë½ÃÇè Àü°ø¿µ¾î ¿µ¹Ì¹®ÇÐÀ» ¿Ïº®È÷ ´ëºñÇÒ ¼ö ÀÖÀ» °ÍÀÌ´Ù.
±³Àç1 ¸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
top

±¤°í¹è³Ê