01 학교 문법 Part 1. 언어와 국어 제1장 언어의 본질························································································· 14 제2장 국어의 본질························································································ 24 Part 2. 문법의 체계 제1장 음운론································································································· 40 제2장 형태론································································································· 60 제3장 품사론·································································································· 75 제4장 의미론································································································· 96 제5장 통사론································································································· 111 제6장 문법 지식·························································································· 126 Part 3. 고전 문법 제1장 국어가 걸어온 길············································································· 144 제2장 훈민정음 창제··················································································· 150 제3장 글자의 운용법··················································································· 155 제4장 국어의 변천······················································································ 158 제5장 형태의 변화······················································································· 162 제6장 표기법의 변화··················································································· 165
02 어문 규정 Part 1. 한글 맞춤법 제1장 총칙···································································································· 173 제2장 자모···································································································· 175 제3장 소리에 관한 것················································································· 177 제4장 형태에 관한 것················································································· 192 제5장 띄어쓰기···························································································· 236 제6장 그 밖의 것························································································ 253 제7장 문장 부호·························································································· 278
Part 2. 표준어 규정 제1부 표준어 사정 원칙············································································ 300 제1장 총칙························································································ 300 제2장 발음 변화에 따른 표준어 규정··········································· 302 제3장 어휘 선택의 변화에 따른 표준어 규정····························· 330 제2부 표준 발음법······················································································ 353 제1장 총칙························································································ 353 제2장 자음과 모음·········································································· 355 제3장 소리의 길이··········································································· 361 제4장 받침의 발음··········································································· 367 제5장 소리의 동화··········································································· 381 제6장 된소리되기············································································ 386 제7장 소리의 첨가··········································································· 392 Part 3. 외래어 표기법 제1장 표기의 기본 원칙············································································· 402 제2장 표기 일람표······················································································ 406 제3장 표기 세칙························································································· 408 제4장 인명, 지명 표기의 원칙··································································· 416 Part 4. 로마자 표기법 제1장 표기의 기본 원칙············································································· 426 제2장 표기 일람·························································································· 426 제3장 표기상의 유의점·············································································· 430
03 올바르게 표현하기 Part 1. 올바른 어법 제1장 말 다듬기·························································································· 446 제2장 문장 다듬기······················································································· 451 Part 2. 올바른 언어 생활 제1장 표준 화법과 언어 예절··································································· 466
01 어휘 제1 장 어휘의 이해································································································· 12 순우리말 / 생활 속의 어휘 / 작품 속의 어휘 제2 장 속담 및 관용구·························································································· 91 꼭 알아야 할 속담 / 꼭 알아야 할 관용구 제3 장 국어의 순화······························································································ 172 국어 순화의 개념 및 필요성 / 국어 순화의 실례
02 한자 제1 장 한자의 원리[육서(六書)] ·········································································· 182 상형(象形) 문자 / 지사(指事) 문자 / 회의(會意) 문자 / 형성(形聲) 문자 / 전주(轉注) 문자 / 가차(假借) 문자 제2 장 한자의 부수······························································································ 184 부수의 종류 / 부수에 의한 의미 추정 제3 장 한자어의 구조·························································································· 187 병렬 / 수식 관계 / 주술 관계 / 술목 관계 / 술보 관계 / 융합 관계 제4 장 혼동하기 쉬운 한자어············································································· 190 모양이 비슷한 한자 / 음이 두 개 이상인 한자 제5 장 꼭 알아야 할 한자 성어········································································ 206
01 문학 Part 1. 문학 일반 제1장 문학의 본질························································································· 14 제2장 문학의 갈래························································································· 17 제3장 미적 범주···························································································· 20 제4장 문학 작품의 이해와 감상·································································· 26 제5장 문예 사조의 개념 및 근원································································ 31 제6장 수사법(발상 및 표현법) ····································································· 35 Part 2. 문학의 이해 제1장 시의 이해···························································································· 46 제2장 소설의 이해······················································································· 117 제3장 수필의 이해······················································································ 183 제4장 극문학의 이해·················································································· 202 Part 3. 고전 문학의 흐름 제1장 고대 문학·························································································· 218 제2장 고려 시대의 문학············································································· 236 제3장 조선 전기의 문학············································································· 267 제4장 조선 후기의 문학············································································· 326 Part 4. 현대 문학의 흐름 제1장 개화기 문학(1894년~1908년) ························································ 386 제2장 제3장 제4장 제5장
1910년대의 문학(1908년~1919년3월1일) ····································· 393 1920년대 문학(1919년3월1일~1930년) ········································ 400 1930년대 문학(1930년~1945년8월15일) ····································· 408 해방 직후와 전후(戰後) 문학 (1945년8월15일~1950년대) ········ 422
제6장 1960년대의 문학·············································································· 428 제7장 1970년대의 문학·············································································· 433
02 비문학 Part 1. 비문학 일반 제1장 모든 지문에 통하는 독해 원리······················································ 440 제2장 접속어의 종류와 쓰임····································································· 443 제3장 독해력을 향상시키는 7가지의 원리·············································· 446 제4장 비문학의 문제 유형········································································· 454 Part 2. 글의 전개 및 추론의 이해 제1장 글의 진술 방식················································································ 464 제2장 글의 전개 방식················································································· 467 제3장 추론의 이해······················································································ 476 Part 3. 여러 가지 글 읽기 제1장 설명하는 글······················································································ 488 제2장 설득하는 글······················································································ 499 제3장 실용적인 글······················································································ 518
03 화법과 작문 Part 1. 화법 제1장 화법의 본질······················································································ 550 제2장 화법의 기능······················································································ 554 제3장 담화 유형·························································································· 561 Part 2. 작문 제1장 작문의 본질······················································································ 578 제2장 작문의 원리······················································································ 580 제3장 작문의 실제······················································································ 585
λ¬Έν
편
문학 일반
국어_독해
제1장. 문학의 본질
01
문학의 개념
문학이란 작가의 가치 있는 체험이나 생각 등을 언어로 형상화한 예술이다. 즉 문학의 내용은 작가의 가치 있는 체험이어야 하며, 문학의 형식은 언어라고 할 수 있다.
1. 내용 요건：가치 있는 체험(모든 예술의 특징) 2. 형식 요건：언어로 표현(문학만의 특징) 갈래 문학 음악
공통점 차이점
언어
소리 가치 있는 체험, 사상, 감정
회화 선과 색채 무용 조각
02
몸짓 형상
문학의 기원
1. 심리학적 기원설 (1) 모방 본능설(플라톤, 아리스토텔레스) 주위의 모든 것을 모방하고자 하는 인간의 본능을 예술의 기원으로 생각하는 설.
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(2) 유희 충동설(스펜서, 칸트, 실러) 인간의 유희 본능에서 문학이 발생했다는 설. (3) 흡인 본능설(다윈) 인간은 다른 사람을 즐겁게 해주는 것으로 그들을 끌어들이고 싶은 본능적 욕망이 있 는데 바로 이 욕망이 예술을 낳게 했다는 설. (4) 자기표현 본능설(허드슨, 카펜터) 인간은 타인에게 자신을 드러내고자 하는 욕망이 있으며 그 본능적 욕망에서 예술이 발생했다는 설.
2. 발생학적 기원설(그로세) 문학이나 예술의 발생은 심미성에서 출발한 것이 아니고 실용성에서 비롯되었다는 설.
3. 민요 무용설(ballad dance)(몰튼) 문학이 원시종합예술인 민요 무용(ballad dance)의 일부분으로 존재하다가 분화되어 나 온 것을 문학의 기원으로 보는 설.
03
문학의 기능
1. 쾌락적 기능 아리스토텔레스가 쓴 <시학>의 내용 중 “문학이 독자에게 주는 궁극적 효용은 감동과 쾌 락이다.”라는 말처럼 문학은 독자에게 미적 쾌감과 즐거움을 제공하는데 이를 쾌락적 기 능이라고 한다.
2. 교훈적 기능 작가는 자신이 쓴 작품을 통하여 독자에게 삶에 필요한 교훈과 지식을 주며, 삶의 가치와 세계의 본질을 올바르게 파악할 수 있도록 유도하는데 이를 문학의 교훈적 기능이라고 한다.
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3. 종합적 기능 쾌락적 기능과 교훈적 기능이 별개로 존재하는 것이 아니라 함께 존재한다는 것이 종합적 기능이다. 즉 문학은 독자에게 즐거움과 미적 쾌감을 주는 동시에, 인생이 무엇이며 어떤 것이 바람직한 삶인지 등에 대한 일깨움을 주는 교훈적 기능도 함께 가지고 있어야 한다 는 것이다.
04
문학의 특성
1. 보편성 문학은 사회나 역사를 초월하는 보편적 정서를 다루기 때문에 모든 인류에게 일반적이고 보편적인 감동을 준다.
2. 항구성 조선 시대의 작품을 현대의 우리가 읽듯, 문학 작품은 시간과 시대를 초월하여 읽히는 특성이 있다. 즉 문학은 시대를 초월하는 인간의 정서를 다루기 때문에 영원한 생명력을 가질 수 있다.
3. 개성 문학 작품의 정서는 보편적이지만 작가의 체험과 정서는 독특한 것이라서 작가가 작품을 표현할 때 작가의 개성이 표현될 수밖에 없다.
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1편_문학 일반
제2장. 문학의 갈래
문학 작품은 작품마다 작가의 독특한 개성으로 인해 서로 다른 것이 사실이다. 하지만 어떤 기준을 설정해 작품을 묶을 수도 있다. 이렇게 문학 작품을 유형별로 구분하여 질서 있게 체계화한 문학의 양식 체계를 문학 갈래라고 한다. 문학 갈래에는 크게 기본 갈래와 역사적 갈래가 있다. 기본 갈래는 상위 갈래라고 하며 인간이 향유하는 모든 문학 작품들을 일정한 이론적 기준을 정하여 나눈 것을 말한다. 기 본 갈래는 아래와 같이 여러 가지가 있으며 대체로 4분법에 의한 갈래가 많이 사용된다. 구분
종류
2분법
운문, 산문
3분법
서정, 서사, 극
4분법
서정, 서사, 극, 교술
5분법
시, 소설, 희곡 수필, 평론
6분법
시, 소설, 희곡, 수필, 평론, 시나리오
역사적 갈래는 하위 갈래라고 하며 문학 작품들을 인위적으로 규정하기 이전에 이미 특정 한 시공간에 존재하는 것을 말한다.
01
기본 갈래
1. 서정 갈래(노래하기) (1) 대상에 대한 자신의 생각이나 느낌을 운율이 있는 언어를 통해 주관적으로 노래함. (2) 작품 외적 세계의 개입이 없는 세계의 자아화 작가
객관적 세계 주관화
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국어_독해
2. 서사 갈래(이야기하기) (1) 서술자가 어떤 인물의 행위나 사건을 ‘처음- 중간-끝’의 구성을 갖추어 전달함. (2) 작품 외적 자아의 개입이 있는 자아와 세계의 대결 서술자
인물
현실
3. 극 갈래(보여 주기) (1) 서술자가 따로 존재하지 않고 인물들의 대사나 행동을 통해 사건을 현재적으로 보여 줌. (2) 작품 외적 자아의 개입이 없는 자아와 세계의 대결 서술자
인물
현실
4. 교술 갈래(알려 주기) (1) 실제 경험한 일과 그것에 대해서 느낀 감동이나 교훈을 필자가 말해 줌. (2) 작품 외적 세계의 개입이 있는 자아의 세계화 작가
02
주관
객관화
역사적 갈래
역사적 갈래란 기본 갈래인 서정 갈래, 서사 갈래, 극 갈래, 교술 갈래 등 문학 작품들을 인위적으로 규정하기 이전에 이미 특정한 시․ 공간에 존재하던 갈래를 말한다. 이러한 역 사적 갈래는 지역에 따라 같을 수도 있고 다를 수도 있으며 또한 특정한 시대에 생겨났다 가 변화하고 어떤 시점에는 소멸하기도 한다. 예를 들어 보자. 소설은 전 세계에 공통적으로 나타나는 역사적 갈래이지만, 향가나 가사 는 우리나라에서만 존재했던 역사적 갈래이다. 또한 향가는 신라 시대부터 고려 전기까 지 유지되었던 문학이고, 가사는 고려 말 또는 조선 초기에 생겨났다가 조선 후기에 성격 이 변화하였으며 근대 이후에는 소멸하였다. 정리하면 역사적 갈래는 특정한 시간과 공 간에 따라 있을 수도 있고 없을 수도 있는 갈래인 것이다.
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1편_문학 일반
▶다음은 기본 갈래를 기준으로 한 역사적 갈래의 사례이다. 기본 갈래
고대 가요, 향가, 고려 속요, 시조, 한시, 민요, 근대시, 현대시 등
서사 갈래
설화, 서사 무가, 판소리, 고전 소설, 신소설, 현대 소설 등
극 갈래 교술 갈래
+
역사적 갈래
서정 갈래
탈춤, 인형극, 창극, 근대극, 현대극 등 경기체가, 악장, 국문 수필, 기행문, 비평문 등
개념플러스
문학 갈래의 또 다른 구분 1. 언어의 형태에 따라：운문 문학, 산문 문학 2. 언어의 전달 방식에 따라：구비 문학, 기록 문학 3. 작품의 창작 시기에 따라：고전 문학, 근대 문학, 현대 문학 4. 작품의 창작 목표에 따라：순수 문학, 참여 문학 5. 길이에 따라：단편 문학, 중편 문학, 장편 문학
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국어_독해
제3장. 미적 범주
있어야 할 것 비장미
숭고미 융합 상반 우아미
골계미 있는 것
01
숭고미
‘있어야 할 것’을 중심으로 ‘있는 것’을 융합할 때 나타나는 미의 개념이다. 이것은 경건 하고 엄숙한 분위기를 자아냄으로써 고고한 정신적 경지를 체험할 수 있게 하는 미의식이 라 할 수 있으며 인간의 보통 이해력으로는 알 수 없는 경이․ 외경․ 위대 등의 느낌이 주는 아름다움과 관련이 있다. 인간이 자연의 조화를 현실에서 추구하고 실현하고자 하는 태 도일 때 생기는 미적 범주이기도 하다.
쇼향노(小香爐) 대향노(大香爐) 눈 아래 구버보고, 졍양(正陽寺) 진헐(眞歇臺) 고텨 올나 안마리, 녀산(廬山) 진면목(眞面目)이 여긔야 다 뵈다. 어와 조화옹(造化翁)이 헌토 헌샤. 거든 디마나, 셧거든 솟디 마나.
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