±³º¸¹®°í SCHOLAR ½ºÄݶó
ÀÌ ÀÚ·á´Â ±¹°¡Áö½Ä ¿¬°è±â°ü°úÀÇ Çù¾à¿¡ µû¶ó ¹«·á·Î Á¦°øµË´Ï´Ù.
¿ø¹®À» ÀÌ¿ëÇϽñâ À§Çؼ­´Â ¿¬°è±â°üÀÇ Á¤Ã¥À» µû¸£°í ÀÖÀ¸´Ï
±Ã±ÝÇϽŠ»çÇ×Àº ¿¬°è±â°üÀ» ÅëÇØ ¹®ÀÇÇϽñ⠹ٶø´Ï´Ù.
°ð ¿¬°è±â°üÀ¸·Î À̵¿ÇÕ´Ï´Ù
º»¹®³»¿ë ¹Ù·Î°¡±â
Ȩ > Çѱ¹¿µ¹Ì¹®Çб³À°ÇÐȸ > ¿µ¹Ì¹®Çб³À°
³í¹® Ç¥Áö

Night Vision: Reading Short Stories

¿ø¹®º¸±â ¿ø¹®ÀúÀå ÀοëÁ¤º¸º¹»ç ±¸¸Å 4,360¿ø

±¹¹® ÃÊ·Ï

* ÇöÀç ÄÁÅÙÃ÷ Á¤º¸¸¦ Áغñ Áß¿¡ ÀÖ½À´Ï´Ù.

¿µ¹® ÃÊ·Ï

Although short stories are frequently taught, there appears to be no generally accepted method for teaching them, hence students fail to develop interpretive skills. Using Hawthorne's "Young Goodman B...

[´õº¸±â]

¸ñÂ÷

¥°. The Model
¥±. The Model Interpreted
¥². The Model Exemplified
Works Cited
Abstract

Ű¿öµå

ÇØ´ç °£Ç๰ ¼ö·Ï ³í¹®

¤ýAnxiety and the Language Learner
¤ýNight Vision: Reading Short Stories
¤ý[¿­¸°±¤Àå] Çѱ¹ÇÐ °­ÀÇ ÆÄ°ß±³¼ö¸¦ ´Ù³à¿Í¼­
¤ý[¿­¸°±¤Àå] ÇÇÄõµå È£ÀÇ ¸ñ¼ö
¤ý8-2È£ ÇÊÀÚ Á¤º¸ ¹× °ÔÀç³í¹® ½É»ç °æ°ú ¿Ü
¤ýÁúdz³ëµµ, ±× ÀÌÈÄ (¥°): ·±´ø ¡º¿¡Äí¿ì½º¡»- ÀüÀ§¿Í ÀúÇ×ÀÇ ¿¬Âø
¤ý½ÇÁ¸ÀÇ ±¸µµ·Î¼­ °ú°Å/¿å¸Á°ú »ó½ÇÀÇ ¼­»ç-Æ÷Å©³ÊÀÇ ¡º¼Ò¸®¿Í ºÐ³ë¡»
¤ýThe "Great" Gatsby?: Film Adaptations of F. Scott Fitzgerald's American Classic
¤ýµ¶ÀÚ Á᫐ ¿¬±¸·Î ¿µ¹Ì¹®ÇÐ ±³À°ÀÇ °¡´É¼º Ž»ö
¤ý¡º¿©Àι«»ç¡» Àб⸦ ÅëÇÑ µ¶ÀÚ ¹ÝÀÀ°ú Á¤Ã¼¼º Á¤Ä¡ÇÐ: ¾Æ½Ã¾Æ°è ¹Ì±¹¹®ÇÐ °¡¸£Ä¡±â
¤ýµ¿¿µ»ó ¿µ¾î±Ç ¹®ÇÐ: »çÀ̹ö °ø°£¿¡¼­ÀÇ ¿µÈ­¿Í ¹®ÇÐ
¤ýDialectic of Opposites, Anti-Self, and Unity of Being in Yeats' The Only Jealousy of Emer
¤ý¿¤¸®¾ùÀÇ Ãʱâ½Ã¿Í »óÈ£ÅØ½ºÆ®¼º
¤ýReasserting the Poetics of Style in the Age of Poststructuralism: A Study of Dickens' Writing as a Means of Reclaiming the Text
¤ý¹®È­¿¬±¸¿Í ¹®ÇÐÀû »ó»ó·Â: ÀÎÁ¾±â¼úÇÐÀû ÇÏÀ§¹®È­ ¿¬±¸¿¡ ´ëÇÑ ºñÆÇÀû °ËÅä
¤ý¿µ¹Ì¹®Çб³À°°ú "ºñÆÇÀû Æä´Ù°íÁö"-21¼¼±â ºñÆÇÀû ¾î¹®±³À°À» À§ÇÑ ½Ã·Ð(ãËÖå)