Earticle

The current study explores how ESL students in an international high school in East Asia position themselves after reading a politically-oriented English news article about the Taiwan Straits from a Mainland China perspective. The news article and the students’ responses were collected and analyzed with a corpus-based discourse analysis approach. The analysis revealed three primary findings: (1) the news article represents distinct views about the issue of the Taiwan Straits; (2) the ESL readers identified these distinct views; and (3) the cultural and social backgrounds of the ESL readers play a crucial role in their position and evaluation of the news article.

The paper reports a small-scale open-ended survey intended to evaluate the effectiveness of TL-oriented strategies in the translation of tourist texts, as groundwork for a full-fledged reader response study. Tourist texts are classified as a quintessential specimen of operational texts, the main purpose of which is to influence the behavior of the reader by persuading him to act in a certain way, namely, to visit the featured destination of travel. Functional translation theory suggests that with this type of texts, the skopos of translation should be reproducing the persuasive effect of the ST in the TT and that a TL-oriented approach is more effective than a SL-oriented one in achieving the skopos. Nevertheless, the truth of the latter claim cannot be established unless one measures the real effects of both approaches on the reader. The paper's analysis of student reader responses corroborates the claim by showing that the subjects showed overwhelmingly positive responses to the TL-oriented translation version while consistently rating the SL-oriented version as unpersuasive.

The study presents a quantitative comparative analysis of average reader ratings for 38 Korean literary works translated into English. Data were collected from Kyobo Moonko, Korea’s largest bookstore, and Goodreads, a prominent American book platform. The analysis reveals three key findings. Firstly, there is no correlation between the number of reader ratings and the average rating on Goodreads, indicating that a title’s popularity does not reliably predict its reception among English-speaking readers. Secondly, no correlation was found between ratings on Kyobo and those on Goodreads, suggesting that works highly rated by Korean readers may not be equally well received by English readers. Lastly, thriller and mystery novels received relatively lower average ratings on Goodreads compared to general fiction and fantasy titles, highlighting a potential need for further development in these genres to appeal to English-speaking audiences.

이 글의 관심은 ‘일본’ ‘여성문학’을 ‘전후’ ‘동아시아’와의 관련성 속에서 사유하 는 데에 있다. 분석 대상으로 삼은 소설은 유미리의 『8월의 저편』(2002~2004)이다. 필자의 이전 연구에서 언급했듯, 여성작가의 작품 가운데 때때로 ‘읽기 어려움’이 존재하는데 그 이유는 ‘피독성(읽히는 것)’과의 교섭에서 찾을 수 있다. 이러한 양상 을 『8월의 저편』과 형식면에서 매우 유사한 미즈무라 미나에(水村美苗)의 『사소설 from left to right』(1995)과의 비교를 통해 선명히 드러내 보고자한다. 두 작품의 공 통점 가운데 주의를 요하는 것은 두 개의 언어가 사용되고 있는 점이다. 즉, 『사소 설』에서는 영어와 일본어를 사용하고 있는데, 이러한 형식적인 특징은 영어와 일본 어권 독자들에 대한 저항으로 기능해 왔다. 반편, 『8월의 저편』의 경우, 일본어와 한 국어를 사용하고 있지만 독자에 대한 저항이 아닌 독자 간의 차이를 전경화하는 것 으로 기능해 왔다. 이것을 ‘사소설’과의 관련성 안에서 크게 3가지 측면으로 나누어 살펴보고자 한다. 첫째, 미즈무라 미나에의 『사소설』과의 차이를 알아보고, 둘째, ‘사소설’이 ‘일본 문학’을 대표하는 것으로 알려져 있지만 『8월의 저편』의 경우, 그것과 멀리 떨어져 아시아로 시선이 향하고 있음을 지적한다. 그리고 유미리의 이전 작품들이 작가 자 신에 대한 관심을 불러일으키는 ‘사소설’적 분위기가 짙었다고 하면, 『8월의 저편』의 경우는 그러한 관심이 작가 자신이 아닌 타자에 대한 기억으로 향하고 있음을 논의한다. 타자에 대한 기억을 전달하려는 사명감은 스스로가 타자로부터 부여받은 이름으 로 살아가고 있는 자기 자신을 발견하는 데에서 비롯된다. 『8월의 저편』의 미덕은 바로 이 동아시아라는 역사공간에서 ‘사소설’로부터 멀리 떨어진 곳에서 타자의 과 거를 환기시키고, 그러한 기억을 떠올림으로써 지금 이곳으로 대화를 향해가려는 데 에서 찾을 수 있을 것이다.

This study examines the relation between Japan and East Asia with regard to postwar women’s literature. It focuses on Yu Miri’s Hachigatsu no hate (Far beyond August) (2002–2004). As noted in previous studies, the works of female writers often show katarinikusa (narrative difficulty), such that there is a negotiation with yomarerukoto (readability). To verify this point, this paper discusses Mizumura Minae’s Shishosetsu (I-novel): from left to right(1995), which has many formal similarities to Hachigatsu no hate, and attempts to understand the differences between the two works. The most important commonality between the two works is that they have been written in two different languages. Shishosetsu was written in English and Japanese, and its formal features serve to dissuade readers of both languages from reading it. Hachigatsu no hate uses Japanese and Korean, but this does not drive away its readership; instead, it serves as a foregrounding of the differences between the readers. This study discusses how such peculiarities are different from I-novels. It explores the ways in which Hachigatsu no hate is different from Shishosetsu, as mentioned before. Second, considering that the I-novel is a core mode in Japanese literature, this study seeks to illustrate how Hachigatsu no hate is departing from it and turning its eyes to Asia. Third, this study seeks to reveal that while the earlier works of Yu Miri were deeply related to the I-novel mode of Japanese literature, which attracted readers’ interests in the author, in “Hachigatsu no hate,” interests are not directed to the author herself but rather to the others’ memories. The mission of telling others’ memories is sparked by the discovery that she is the one who lives the name given to her by others. This study concludes that in the historical space of East Asia, Hachigatsu no hate is a piece of literature that moves away from the I-novel style by recalling the past of others; therefore, it moves toward a dialog in the present.

The use of group reading helps learners become more actively engaged in meaning making through exchanging interpretations of texts. However, relatively little published research has focused specially on the process of how learners interact with each other to read and to interpret texts in the local context. The present study therefore aims to explore how Taiwanese junior college EFL learners constructed meaning from texts while participating in peer-led story discussions. Participants were grouped into 12 heterogeneous groups, each of which consisted of four second-year students with different levels of reading ability. They read eight simplified short stories of between 600-700 headwords over a period of eight weeks. Transcribed audiotapes of four representative discussions served as the major data source and were analyzed using Rosenblatt’s (1994) definition of efferent and aesthetic transactions. Interviews and students’ reading logs were collected to find out the focus group students’ reading behaviors during the two-month long study. The findings revealed that the participants consistently moved beyond facts to critically examine the ideas given and became aesthetically involved in the text to develop reflective thoughts. By gaining new thoughts that they could not obtain while reading alone, the EFL learners helped each other extend their thinking and venture more deeply into what they read.

The study introduces an overview on the awareness of Japanese tourists regardingChinese characters used in tourist guidebooks translated from Korean into Japanese. Japanese tourists experience difficulty in pronouncing, and possibly, understandingthe exact meaning of the Chinese characters used for names of people, cultural assetsand other terms describing cultural aspects in tourist guidebooks translated intoJapanese. Unlike Chinese characters used in Korean language, Chinese charactersin Japanese language are often read and understood with different pronunciations. Japanese tourists answered that they would appreciate the use of Katakanatransliterations along with Chinese characters in said texts, in order to avoidconfusion and improve readability. If translations are limited by space within touristguidebooks, using Katakana instead of Chinese characters could be a bold alternativethat would enhance readability for all Japanese age groups. Such matter should alsobe considered when translating public institution websites, since a lot of foreignersgather information about Korea using the internet in this era. And as this could betheir first step towards knowing Korea, names and terms containing culturalelements should be transliterated carefully and accurately following a consistent,purpose oriented method for positive reader　response.

This study discuses the relation between translation strategy and readers, which is inseparable in the way that the former influences the other. In Translation Studies, the translation strategy has been categorized into two types: adequate translation, with full respect to the source text, and acceptable translation, which concentrates on the readability. Based on the acceptability theory described by Toury, this paper examines elements that determine the reader's response, which can also be classified as 'source text oriented' and 'target text oriented'. And it is based on the analysis of a Korean translation of Cervantes's "Don Quijote". After examining book reviews and author interviews, it is found that the translator displays both 'source text oriented' and 'target text oriented' strategies, which reflects the corresponding response of readers. The analysis concludes that translators should take into account the fact that readers react as they decide how translate a text and focus on the skopos when they fulfill their task.

한국어교육에서 문학 교육 특히 시 교육의 중요성이 논의 되면서 다양한 측면에서 연구가 이루어져왔다. 시 교육은 시 자체의 장르적 특성과 외국인 학습자들의 특성으로 인하여 교육 현장에서 여전히 어려운 과제로 간주된다. 하지만 시 교육에 있어서 외국인 학습자들의 언어적 한계에만 주목할 것이 아니라 그들이 지니고 있는 문화적 배경, 지식 등을 활용하면 한국 시 교육에 있어서 새로운 가능성을 보여주고 있다. 따라서 본 연구에서는 학습자들 즉 독자를 중요시하는 독자반응 이론을 중심으로, 중국인 고급 학습자들이 한국 현대시를 읽을 때 나타나는 양상에 대해 살펴보았다. 이를 통해 중국인 학습자들이 현대시를 읽으면서 어떤 면에 어떻게 반응하고 또한 어떤 부분에 어려움을 겪고 있는지 분석하였다. 그 결과 중국인 학습자들은 한국 현대시를 읽는 과정에서 무의식중에 모국 문학지식의 간섭과 영향을 받고 또한 본인의 정서적 요인의 영향을 받는다는 것을 알게 되었다. 이러한 영향은 학습자들의 한국 현대시 감상에 일정한 도움을 주기는 하나 반면 독자들의 한국 현대시에 반응하는데 부정적인 영향도 미친다. 아울러 학습자들의 시 읽기에서의 이러한 특징을 고려하고 이용한다면 한국 현대시 교육에 있어서 새로운 장이 열릴 것으로 기대된다.

Journal of the International Network for Korean Language and Culture 14-3, 197-219. In the field of Korean language education, there has been a lot of discussion and research, using diverse perspectives, on the significance of teaching literature, particularly poetry. However, due to the nature of the poetry as a genre and the nature of foreign learners, teaching poems remains a challenging task at educational institutions. On the other hand, utilizing foreign learners’ cultural background and knowledge of poetry education, instead of focusing on their linguistic limitations, may be a new alternative in Korean poetry education. The present study uses the reader-response theory, which values learners, i.e. readers, to examine the patterns manifested by high-level Chinese students while reading modern Korean poems. This study also analyzed Chinese students’ response to certain aspects of modern poetry and the areas that present difficulties when they read Korean poems. The results indicated that Chinese students’ knowledge of Chinese literature and their own emotional factors subconsciously interferes with and influences their reading modern Korean poems. While such an influence can be helpful to a certain degree, in terms of appreciating modern Korean poems, it can also exert a negative influence on the reader’s response to modern Korean poems. Taking into account and utilizing this aspect in the way learners read poetry would create new opportunities in modern Korean poetry education. (Changshin University)

In recent decades the Korean pronoun geunyeo (commonly known cases. Against this background, the present study aims to compare two age groups with respect to their perceptions of geunyeo in different textual conditions. For this purpose, small-scale questionnaire surveys were conducted among 100 undergraduate students majoring in translation and 200 fifth-grade students at an elementary school. The respondents were asked to read four short texts and state their thoughts on whether instances of geunyeo appear natural.

The diverse imperfect characters of Robert Browning's dramatic monologues were created by a poet who thought of human beings and the world with affection, and such characters also reflect his readers' human imperfectious. Among his works, especially in his greatest long poem The Ring and the Book, there are many imperfect characters of various personalities, and in this poem Browning directly addressed his contemporaries in Britain in the 19th century. Therefore this paper examines what awareness Browning had of his contemporary readers and what he thought of them, by analyzing the general Roman speakers' points of view toward the Guido case mainly in Book 2, Book 3, and Book 4 of The Ring and the Book. “Half-Rome” in Book 2 took advantage of the Guido case to warn or threaten his own wife's seducer. “The Other Half-Rome” in Book 3 showed a self-interested view of the case. “Tertium Quid”, the speaker of Book 4, displayed to an ethical relativism. Thus, through the attitudes of the speakers failing to approach the truth for their individual reasons, readers realize that the pictures of the speakers are no different from themselves. And the fact that Browning presented these general speakers before any other speakers except the poet/speaker resulted from an intentional descriptive strategy of the author to help readers discover their images of themselves first by reading the work, and so, to gain a more objective perspective in the poem as well as in the problems of 19th century Britain.

현대 예술사조의 특징 중 하나는 예술에서 수용자의 적극적 참여를 유도하고 옹호한다는 점이다. 이저의 독자반응비평 이론은 이러한 수용자 중심적 관점을 부각한 수용미학적 견해로 기존의 창작자 혹은 텍스트 중심적 수용미학 이론과 차별되는 전환적인 견해이다. 발레 <심청>은 한국창작 발레이면서도 세계적으로 소비되고 향유되고 있는 문화상품이다. 작품 속에 동서양의 문화가 공존하고 있어 수용자의 수용방식에 따라 해석과 의미부여가 다양하게 표현 가능한 작품이다. 이에 수용자 중심적 수용미학적 견해인 이저의 독자반응비평 이론에 발레 <심청>을 접목시켜 분석하는 작업은 의미 있다고 사료되어, 본 연구에서는 무용텍스트로서의 <심청>과 이저의 독자반응비평 이론을 함께 고찰해 보았다. 먼저 독자반응비평 이론에서 텍스트가 수용자의 수용행위를 통해 구체화 되어 작품이 되는 과정을 살펴보면 무용텍스트는 생산자인 대본가, 안무가, 연출가에 의해 창작되어 무대에서 무용수의 움직임을 통해 현장에서 전달되는 특징이 있다. 수용자는 안무가가 전달하려는 혹은 의미부여가 가능한 암시된 의도 등을 구체화시키는 능동적인 역할을 하는데 이것이 생산자-텍스트-수용자간 공동유희의 과정에 해당한다. 유희과정을 거친 텍스트는 작품이 된다. 수용미학적 구조에 관한 이저의 이론을 한국창작 발레 <심청>에 적용해보면 심청은 무용텍스트에 해당하고 창작자(안무가, 대본가, 연출가)는 생산자에, 무용수는 공연의 협력자이자 또 다른 수용자, 공연을 관람하는 관객과 평론가는 수용자에 해당한다. 이들은 상호간 자유로운 의사소통으로 텍스트를 구체화시키고 그 결과 <심청>은 작품이 된다. 한편 텍스트가 구체화된 작품은 다시 다음 생산자의 또 다른 텍스트창작에 영향을 주어 새로운 수용텍스트를 만드는 순환적 의사소통의 구조를 갖는다. 발레<심청> 역시 이러한 과정을 여러 차례 겪었고 그 결과 창작 이후로 성공적인 개작이 현재까지 이어지고 있다. 하나의 텍스트가 작품으로 구체화 된 후 소멸하지 않고 구체화 과정을 반복하여 끝없이 수정 보완되어 공연무대에 올려지고 있는 좋은 예가 된 것이다. 무용텍스트로서 발레 <심청>이 가지는 가치를 창조적, 심미적, 교육적, 문화적 가치의 네 가지로 나누어 볼 수 있다. 특히 문화적 가치에 있어서 주목할 사실은 발레의 종주국인 프랑스 ‘팔레 데 콩그레 드 파리(Palais des Congres de Paris)’에 초청되어(2012) 성황리에 공연을 마치는 등 한국발레의 해외 성공 사례가 되고 있다는 점이다. 초연 이후 현재까지 끊임없이 수정 보완하는 열정, 관객의 변함없는 호응은 발레 <심청>을 더욱 완성도 높은 작품으로 만들어 주고 있다. 현대의 예술 패러다임은 20C 초반 이래로 다양하게 나타나고 있다. 실증주의, 실존주의, 신비평주의 등을 거쳐 구조주의, 모더니즘, 해체주의, 포스트모더니즘, 탈해체주의 등 여러 사조들이 뒤얽혀 존재하고 있고 그에 따라 예술작품에 대한 새로운 수요도 다양하게 증가하고 있다. 공연환경은 급변하고 있고 관객의 기대나 호응 역시 다양하게 변하고 있으며 평론가들의 비평도 이에 따라 달라지고 있다. 발레 <심청>이 현재와 같은 호평 속에서 공연을 계속 이어가고 생명력을 가진 작품으로 남기 위해서는 급변하는 예술사조와 공연환경, 공연에 대해 달라지는 기대를 앞으로 어떻게 수용하여 표현하는지가 남은 과제라 할 것이다. 앞으로도 동서양문화의 훌륭한 조화의 상징적인 작품으로 명성을 이어가기를 기대한다.

One of the special features of modern art trends is the point that the aggressive participation by the consumers is induced and supported in art. As the acceptance aesthetics view that carved in relief such a consumer-centered viewpoint, the theory of reader response criticism of Iser is a converted view that is differentiated from the preexistent creator- or text-centered acceptance aesthetics theory. The ballet ‘Shimcheong’ is a cultural product that has been consumed and enjoyed in the world while being a Korean creative ballet at the same time, too. Because the cultures of the East and the West coexist within the work of art, it is a work of art that can diversely express the interpretations and the meaning givings according to the acceptance method of the consumer. As such, because it had been thought that the work of analyzing by grafting the ballet ‘Shimcheong’ onto the theory of reader response criticism of Iser, which is a consumer-centered acceptance aesthetics view, is meaningful, in this research, ‘Shimcheong’, as a dance text, and the theory of reader response criticism of Iser had been considered together. Firstly, if I take a look at the process in which the text becomes the work of art after being concretized through the act of acceptance of the consumer in the theory of reader response criticism, the dance text has the special feature of being delivered at the site through the movements of the dancers on the stage after being created by the script writer, the choreographer, and the director, who are the producers. It has a difference from the texts in the other genres with regard to the point that the empathy that is felt by the consumer while viewing the performance and the things that were stored with the memories and the recollections after viewing the performance are made into an acceptance text. In concretizing a dance text that is delivered mainly with the visual images, the aggressive interaction between the producer and the consumer with the text as the medium is important. The consumer plays the proactive role of freely finding and concretizing, by himself or herself, the intention that is intended to be delivered by the choreographer, the suggested intention that can give a meaning although it was not clearly stated, or the others of the like. This pertains to the process of the joint play between the producer, the text, and the consumer. A text that had gone through the process of the play becomes a work of art. The concept of ‘text’ of Iser is a fictional text. And, due to the fictionality, the spaces of uncertainty, blank, etc. get created. As a phenomenological concept, while being inherent in the text, the consumer is an existence who gets regulated by the text. The consumer plays the role of filling the blank in the fictional text through the process of acceptance within his or her awareness. And, at this time, the uncertainty of the text, too, gets around to having a clear and definite meaning. As a result of the communication with the producer having taken place by being repeated through the proactive participation by the consumer, the text becomes a work of art after going through the process of acceptance. If I try applying the theory of Iser regarding the acceptance aesthetics structure to the Korean creative ballet ‘Shimcheong’, Shimcheong pertains to a dance text, the creators (The choreographer, the script writer, and the director) pertain to the producers, the dancers pertain to the cooperators of the performance and the yet other consumers, and the audience and the critics viewing the performance pertain to the consumers. They concretize the text through the free, mutual communication, and, as a result, ‘Shimcheong’ becomes a work of art. Meanwhile, by giving an influence to yet another text creation by the next producer again, the work of art of which the text had been concretized gets around to having the structure of circular communication that makes a new acceptance text. The ballet ‘Shimcheong’ had experienced such a process many times. And, as a result, ever since the creation, the successful remakes have been continuing until the present. It had become a good example in which, after having been concretized as a work of art, without becoming extinct, by repeating the concretization process, by being revised and supplemented endlessly, one text has been put up on the performance stage. The values that are possessed by the ballet ‘Shimcheong’, as a dance text, can be divided into four kinds. By changing the genre of the literature text, which is a traditional novel, into the dance text, it had been made so that the performance is possible. And, by not damaging the form and the choreography of the ballet while saving the Korean sentiment, too, the possession of the universality and the accessibility as a public art pertains to the creative value that is possessed by ‘himcheong’. All of the main organizations of the classical ballet, including the grand pas de deux and the divertissement, which are the typical ballet performances that are worthy of watching, the pas d'action, which induces the following of the development of the drama, etc., are inside. And each part gets delivered while having the life force. And the point that the level of completion as a ballet performance had been shown while saving the Korean things, including the clothes, the music, the choreography, etc., just the way they had been, can be evaluated as an aesthetic value. ‘himcheong’ has been delivering the humanity of ‘ilial duty’ through a drama-consistent message. Here, the traditional, moral customs, too, of Korea, in which the ordinary people coexist and share the emotions with the neighbors, have been expressed in a natural way. Although filial duty is a moral canon that is emphasized in the Orient, despite being somewhat of a children's story and despite the somewhat exaggerated setup, while the audiences in the diverse cultural spheres have been watching the performance, the fact that the humanity- including filial duty, altruism, etc.- had been sympathized with means that 'Shimcheong' had delivered an educational value, too. Regarding 'Shimcheong', which has been performed for a long time in over 26 countries of the world for over 30 years ever since the premiere in 1986, the following points have been continuously receiving the favorable comments not only in Korea, but, also, at many places in the world: The point that it had a traditional story in Korea as the subject matter; The point that there had been a lot of participation by foreigners in the creation process; The point that a foreign dancer had been in charge of, and had acted for, a Korean character; The point that the traditional dance and the ballet had achieved a harmony; The point that the Korean culture and tradition had been represented well through the clothes, the music, the background, etc.; And the others of the like. As an excellent, intangible asset of the Korean ballet circle, the cultural value has been emitted. It has been an overseas, successful case example of Korean ballet, including successfully finishing a performance after being invited (2012) to Palais des Congres de Paris in France, which is the suzerain of ballet, and the others of the like. The passion of unceasingly revising and supplementing and the unchanging positive response of the audience ever since the premiere until the present have been making the ballet 'Shimcheong' into a work of art that has an even higher level of completion. The art paradigm of modernity has been appearing diversely ever since the early phase of the 20th century. By going through positivism, existentialism, new criticism, etc., the many thought trends, including structuralism, modernism, deconstruction, postmodernism, deconstructionism, etc. have been existing by being entangled. And, according to this, the new demand, too, regarding the works of art has been increasing diversely. The performance environment has been changing rapidly. And the expectation and the positive response of the audience have been changing diversely, too. And the criticisms, too, of the critics have been becoming different according to this. In order for the ballet 'Shimcheong' to continue the performance continuously with the favorable reviews like the present and remain as a work of art that has the life force, it can be said that how to accept and express the rapidly changing artistic thought trends and performance environments and the expectation that becomes different regarding the performance in the future is the remaining task. I have the high expectation that it will continue the fame as a symbolic work of art with the excellent harmony of the cultures of the East and the West in the future, too.

John Steinbeck’s only wartime novelette The Moon Is Down was controversial in that the conquerors and the conquered are neutrally observed even though this work is for the propagandistic properties during the Second World War. In other words, the Nazi invaders are described as Hamlet-like humans—under pressure, capable of cowardice and courage as much as the residents of the occupied town. Nevertheless, readers, notably of the occupied countries, turn out to have loved this work and so the author’s war effort seems to have been effective. As to this, I insist that this work is an excellent material for subjective reader-response criticism because it is too brief and abstract in terms of objectivity. To prove this argument, this essay observes the humanness of the novelette based on the characters’ activities along the plot and then criticizes controversial parts. As a result, the negative reviews are usually emphatic about the objective aspects while the readers, especially of the conquered countries, seem to have received it in a subjective way. Indeed, from the reader-response theories of Hans Robert Jauss and Stanley Fish, The Moon Is Down deserves to function as a propaganda literature well enough to argue that democracy is superior to totalitarianism and wins the war. Lastly, it is added that Steinbeck’s description of the humanness of the enemies should not be underestimated.

본 연구는 중학교에서 영문학 작품을 이용한 읽기 수업모형 개발과 현장적용을 통해 영어 교육과 문학 교육 목적에 부합하는 효과적인 영문학 읽기 수업의 방법을 제시하고자 하는 데 있다. 우선 문헌 연구를 통하여 문학 텍스트 선정과 문학 읽기수업모형에 대해 알아보고 언어 학습자 문학과 영문학 읽기수업 및 수업모형에 대한 선행 연구를 분석하였다. 그 결과를 바탕으로 교실 현장에 적용할 수 있는 독자반응이론 기반 이야기 구조를 활용한 중학교 영어 학습자 문학 읽기 수업모형을 개발하였다. 개발된 모형의 적용 가능성, 적합성, 효과성 등을 알아보기 위해 영어교육 전문가 4명의 평가와 중학생 15명을 대상으로 파일럿팅 수업을 실시하고 그 결과를 토대로 수업모형 수정·보완에 필요한 항목을 추출하고 개발한 수업모형의 정교화 과정에 반영하였다. 연구 결과를 통해 도출한 본 연구의 결론은 다음과 같다. 첫째, 기존의 교사중심 읽기 수업 방식을 통해 문학 텍스트를 지도하는 것은 학생들의 능동적인 읽기 활동을 저해하고 문학 텍스트의 교육적 효용 가치를 떨어뜨리므로 독자반응을 토대로 한 문학 읽기 수업모형을 적용하는 것이 바람직하다. 둘째, 중학생 지도를 위한 언어 학습자 문학 읽기 수업모형을 개발함으로써 현장에서 적용 가능한 문학 텍스트 읽기의 방향을 제시하였다. 셋째, 본 수업모형의 적용을 통해 영어 읽기 능력, 표현 능력에 해당하는 쓰기·말하기 능력 및 자신감 향상을 기대할 수 있다.

The purpose of this study is to develop an useful reading teaching model with English literature for middle school students. Based on the results from the study and analysis of relating precedent research, this study developed a teaching model of reading language learner literature for middle school students using a story structure based on reader-response theory, and conducted a piloting class for 15 middle school students. Also 4 English education specialists evaluated the teaching model. The results of this study lead the conclusions to be as follows. First, for teaching of literary texts, the existing teacher-centered methods of teaching reading generally impedes the active reading activities of students and decreases the educational value of literary texts. Thus, it is suggested to use a teaching model of reading language learner literature for middle school students using a story structure based on reader-response theory. Second, this study proposes a direction applicable at the scene of class in Korea for reading literary works by developing a teaching model for reading language learner literature in class. Third, the application of this teaching model is expected to improve general English skills: writing and speaking as well as reading and their self-confidence in English reading ability and reading long texts.

Literature Circles, which are collaborative and student-centered reading groups, are becoming more popular as a teaching method that draws students into increasingly abstract and relevant discussions about literature. In classrooms structured around collaborative discovery of the ideal reader, the question of what role experts will play still needs to be adequately addressed. To that end, this article will explore and evaluate Wolfgang Iser’s and Stanley Fish’s approaches to reader-response theory as they apply to collaborative learning practices, particularly those informed by the “faith”-based teaching philosophy of Parker J. Palmer. Reader-response theorists, especially Iser, show how literary understanding emerges through the temporal process of reading rather than through a reader-expert translating the meaning that is already contained in a literary work. In a less technical and more spiritual pursuit of a similar process-based understanding of educational subjects, Palmer advocates for communitarian models of truth that are engaged with the indeterminate “otherness” of great things, and argues against objectivist models of truth that do not serve the interests of readers or the literature itself.

This paper revisits the claim that ESL teachers’ mitigation strategies used to soften advice during writing conferences can cause students to misinterpret these comments. Naturally occurring talk between two ESL teacher-student dyads over four writing conferences was examined using a conversation analytic approach. A turn-by-turn analysis of transcripts revealed that teachers often used mitigation strategies, for example, reader response, to avoid appropriation of student text, but ESL students were nevertheless able to interpret these mitigated comments as directives due to their awareness of the institutional context. Results highlight the value of reader response as a mitigation strategy that not only softens the illocutionary force of advice, but also helps ESL students cultivate interactional competence in revision talk. The use of reader response can help reconceptualize the pedagogic role of writing conferences as an opportunity to engage students and raise audience awareness rather than as a means to elicit short-term revisions.

The purpose of this paper is to demonstrate the ways to complicate functionalistic approach in ESL literacy education and to introduce the concept of reading against the texts (Harper, 2005; Parry, 1993), which can strengthen readers’ abilities to critique and to challenge the dominant cultural beliefs represented in reading texts. Developing critical views on the issues and analyzing the implicit ideological positions taken by the authors can be an important stepping-stone to overcome the limitations of skill-based and functional literacy approach. The author found out that reading against the text facilitated students’ functional literacy skills as well as helped them to find their active positions on the issue that they read about. Being able to critique the author’s perspectives as one ideological construct could be evidence of taking ownerships and of being agent in their reading practices. Through reading against the texts, students learned not to accept what they read as they were. They also understood that every text included particular perspectives that could implicitly privilege the dominant groups or their cultural values. Students made sense of the texts more critically by challenging and resisting those dominant ideological positions in the texts.

Following its author’s explicit wishes, Dickens’s Bleak House is often read as a protest literature. As ideologically satisfying as propaganda is, this paper begins from an inherent paradox at the heart Dickens’s realism: that in order to make a moral point about the sad state of humanity, the text deploys stock characters. However, as stock characters by definition are not fully realized humans, the political points they make cannot serve a larger moral agenda. This paper, then, seeks to recuperate Bleak House’s most endearing stock character, Jo, by offering a re-evaluation of him through narratology, the scientific study of narrative and reader-response criticism, an approach that authorizes the reader’s role in reacting to a text. This paper offers a new model for the study of narrative, Aristotle’s metaphysics as outlined in two treatises, Metaphysics and On the Soul, models that are essentially and necessarily humane. Ultimately, “Eros and Orthography” offers a metaphysics of Victorian realist literature that recuperates Jo and the text’s social agenda.