박시영 교수

본 연구는 2014학년도부터 2016학년도까지, 영어과 중등교사 임용시험에서 출제된 1차 문항을 분석한 것이다. 연구 방법으로는 지난 3년간 출제되었던 67문항을 수집하였고, 평가영역 및 평가 세부항목, 그리고 문항 유형별에 따른 출제빈도와 배점비율을 분석하였다. 출제문항을 분석한 결과, 평가영역별 출제비율은 영어교육학이 40%가 넘는 비율을 차지하였고, 일반영어의 비중은 급격하게 축소되고 있는 경향을 보였다. 이는 우수한 영어교사의 전문성을 평가하고 선발하는 데 기본 요건을 충족한다고 볼 수 있으나, 각 영역의 출제빈도와 비중이 지난 3년 동안 매년 변화하는 것은 수험생들에게 혼란을 가져올 수 있음을 시사한다. 각 영역의 세부항목별 분석에서는 출제 내용이 일부 평가내용요소에 편중되어 있는 경향이 있어, 향후 출제에서 고려해 봐야 할 문제라고 보인다. 마지막으로 문항 유형 분석에 따르면, 서술형과 논술형 문항의 등장은 객관식 문항의 한계점을 보완할 수 있다는 점에서 긍정적인 변화이나

D. H. Lawrence, in his “The Fox”, challenges against the anthropological world view, which dominated modern Western society. The story, centered on the argumentation on animality, intends to rehabilitate thinking from formal-logical epistemology. Jacques Derrida’s conflation of animality and non-normative thinking in his La bête et le souvrain sheds new light on Lawrence’s argumentation on animality and thinking. Derrida takes up the French idiom ‘á pas de loup,’ and articulates a genealogy of b

It has become one recent trend in literary criticism to use Georges Bataille’s theory as an efficient reading tool of D. H. Lawrence’s novels. Many literary critics successfully locate the radical affinity of Lawrence’s work with Bataille’s work in terms of the recurrent questioning of the representing authority and the highly provocative and experimental narrative style. Clearly these approaches cannot be easily ignored as opportunistic revision of D. H. Lawrence studies. In fact, both Lawrence

아론의 지팡이는 1차 세계대전 후 사회와 그 구성원에게 일어난 변화를 파괴적인 이미지와 언어에 대한 유희적인 실험을 통해 구체화시키고 있다. 이 소설의 전반부는 크리스마스트리 장식용 유리공이 바닥에 떨어져 산산이 부셔지는 폭력적인 장면에 의해서 지배된다고 볼 수 있다. 이 장면은 ‘가정’이라는 틀에 대해 회의하는 주인공 아론 시슨의 심리를 표현할 뿐만 아니라 그가 가정을 져버리고 혼자 여행을 떠나게 되는 계기를 제공한다. 이 사건을 통해서 작가가 문제시하는 바는 가정을 져버리는 한 가장의 도덕성 범주에 한정되어 있다기보다는 한 인간이 자신의 뿌리인 가정을 떠날 수밖에 없는 상황이다. 제목이나 등장인물들의 이름에서 추측할 수 있듯이 이 소설이 형식적으로는 출애굽기를 비롯한 성서의 세계관에 바탕을 두고 있는 것 같지만 그 초점은 신이 준 능력으로 ‘말’의 예언을 하게 된 성서의 아론이 아니라 말로는 자신을 표현할 수 없어서 음악에 의지할 수밖에 없는 아론의 고통이다. 그러나 이 고통

D. H. Lawrence, in his “The Man Who Loved Islands,” challenges against Kant’s separation of space from time and geographical unification. The story, as if accommodated in fable-like narrative, is invested with the author’s philosophical investigation on the Kantian geographical cosmopolitanism. Harvey’s critical engagement with the Kantian geography casts new light on Lawrence’s reflection on space and time in the story. Lawrence, who lived in the twentieth century cosmopolitan Europe and mediat

John Fowles’s constant inclination to novelistic experimentation in The French Lieutenant’s Woman has been one of the most attractive literary debates. We witness a still-expanding constituency of critical work on Fowles's experimental narrative structure. In particular, under the postmodernist theories of narrative, a recent trend in criticism has been to understand Fowles’s text as precursor of postmodernist fiction. Yet Fowles’s repeated references to the seminal records of Victorian societi

Globalization, once hailed as the spirit of redistribution and equality, is rapidly degenerating into a conglomerating organism of capitalist’s selfish desire. Recent critical engagement with globalization leads to an attempt to find an alternative in the resurging cosmopolitanism. For instance, Jacques Derrida rejuvenated the 18th century urbane epistemology of cosmopolitanism in opposition to the French patriotic and xenophobic oppression on immigrants. Derrida urged us to remember the ancient

A body of critical analysis on Daphne du Maurier's Rebecca is dedicated to the signature property of Gothic romances such as Jane Eyre, which explores female identity, nationality, and violence. Yet this alignment of the narrative plot in Rebecca with the Gothic plot in Jane Eyre falters when the narrator 'I's projective identification with Rebecca leads to a confused and deluded state of identity. Melanie Klein's psychological conception of 'bad' and 'good' mother imago becomes a useful framewo

A compendium of critical analysis on Graham Swift’s Waterland is dedicated to the narrative experimentation which affirms the resurgence of the Victorian first-person narration in postmodernist fiction. The digressive and metafictional narration performed by the first person narrator Tom Crick in Waterland has been taken to represent a signature property of postmodernist fiction. Yet this alignment of Swift’s narration with postmodernist disbelief in narration falters when Swift defends fictiona

D. H. Lawrence’s Aaron’s Rod records the main character Aaron Sisson’s breaking away from ‘home’ and the subsequent nomadic adventure in a strange country. The abrupt dislocation, as if a total negation of ‘home’, creates a structural rupture in the novel. The second half of the novel is featured by the intrusive and self-referent narrator. The disjunctive and jerky narration exposes the failing authoritative narrative which cannot configure Aaron’s adventure. Yet the structural complicity of Aa

D. H. Lawrence’s ‘Education of the People’, despite its textual complexity, records his practical and ideological engagement with existing narratives on education since the Edwardian reformation. Lawrence singles out the 1918 Fisher Act, which is seen as the culmination of the Edwardian reformation on education, and explores its legacy of the industrial capitalism and progressive liberalism. The author stages the oscillation of his contemporary educational narratives between these two ideologica