¿Ü±¹µµ¼
¹®ÇÐ
¼Ò¼³
2013³â 9¿ù 9ÀÏ ÀÌÈÄ ´©Àû¼öÄ¡ÀÔ´Ï´Ù.
Á¤°¡ |
11,000¿ø |
---|
9,900¿ø (10%ÇÒÀÎ)
300P (3%Àû¸³)
ÇÒÀÎÇýÅÃ | |
---|---|
Àû¸³ÇýÅà |
|
|
|
Ãß°¡ÇýÅÃ |
|
À̺¥Æ®/±âȹÀü
¿¬°üµµ¼(15)
»óÇ°±Ç
¸ñÂ÷
About the Series
About This Volume
Pt. 1 Tess of the d'Urbervilles: The Complete Text
The Complete Text 19
Pt. 2 Tess of the d'Urbervilles: A Case Study in Contemporary Criticism
A Critical History of Tess of the d'Urbervilles 387
The New Historicism and Tess of the d'Urbervilles 405
Tess of the d'Urbervilles: Hardey's Anthropology of the Novel 422
Feminist and Gender Criticism and Tess of the d'Urbervilles 441
Tess and the Subject of Sexual Violence: Reading, Rape, Seduction 462
Deconstruction and Tess of the d'Urbervilles 484
Echoic Language, Uncertainty, and Freedom in Tess of the d'Urbervilles 506
Reader-Response Criticism and Tess of the d'Urbervilles 521
"Driven Well Home to the Reader's Heart": Tess's Implicated Audience 537
Cultural Criticism and Tess of the d'Urbervilles 552
The Same and the Different: Standards and Standardization in Thomas Hardy's Tess of the d'Urbervilles 571
Glossary of Critical and Theoretical Terms 591
About the Contributors 605
º»¹®Áß¿¡¼
Ã¥¼Ò°³
Young Tess Durbeyfield attempts to restore her family's fortunes by claiming their connection with the aristocratic d'Urbervilles. But Alec d'Urberville is a rich wastrel who seduces her and makes her life miserable. When Tess meets Angel Clare, she is offered true love and happiness, but her past catches up with her and she faces an agonizing moral choice. Hardy's indictment of society's double standards, and his depiction of Tess as "a pure woman," caused controversy in his day and has held the imagination of readers ever since. Hardy thought it his finest novel, and Tess the most deeply felt character he ever created. This unique critical text is taken from the authoritative Clarendon edition, which is based on the manuscript collated with all Hardy's subsequent revisions.
ÀúÀÚ¼Ò°³
»ý³â¿ùÀÏ | 18400602 |
---|
1840³â ¿µ±¹ µµ½ËÁÖÀÇ ¾îÆÛº¸ÄÄÇÁÅÏ¿¡¼ ¼®°øÀÇ ¾Æµé·Î ž´Ù. ÃʵîÇб³ ¶§ºÎÅÍ ±Û¿¡ Àç´ÉÀÌ ÀÖ¾î ¸¶À» ó³àµé ¿¬¾ÖÆíÁö¸¦ ´ëÇÊÇØÁֱ⵵ Çß´ø ±×´Â 16¼¼°¡ µÇ¾úÀ» ¶§ ±× Áö¿ª ¼®°øÀÇ µµÁ¦·Î µé¾î°¡, °ÇÃà ±â»çÀÇ ±æ·Î µé¾î¼¹´Ù. 1862³â ±×´Â ·±´øÀ¸·Î ¿Í¼ °ÇÃà±â»ç°¡ µÇ¾ú°í ¿©°¡¸¦ ÀÌ¿ëÇØ ¼Ò¼³À» ¾²±â ½ÃÀÛÇØ ¸í¼ºÀ» ¾ò±â ½ÃÀÛÇß´Ù. 1874³â °áÈ¥Çؼ °íÇâÀ¸·Î µ¹¾Æ°£ ±×´Â ¼Õ¼ö ÁöÀº ÀúÅÿ¡ »ì¸é¼ ÀÛÇ° ÁýÇÊ¿¡¸¸ ¸ôµÎÇß´Ù. ±×°¡ ³²±ä ´ëÇ¥ÀÛµé·Î´Â ¡ºÅ×½º¡» ¿Ü¿¡ ¡º±ÍÇâ¡» ¡ºÄ³½ºÅͺ긮ÁöÀÇ ½ÃÀå¡» ¡º¹ÌõÇÑ »ç¶÷ Áֵ塻 µîÀÌ ÀÖ°í, ±×¹Û¿¡µµ ¼ö¸¹Àº À塤´ÜÆí ¼Ò¼³À» ³²°å´Ù .±×ÀÇ ¼Ò¼³Àº ¹ßÇ¥µÉ ¶§¸¶´Ù ´ç½Ã »çȸ ÁÖ·ù ÁöµµÃþÀ¸·ÎºÎÅÍ ¸Í·ÄÇÑ ºñ³À» ¹Þ¾Ò´Ù. ¿µ±¹ »çȸÀÇ ÀνÀ°ú ÆíÇùÇÑ Á¾±³Àû µµ±×¸¶¸¦ ³ë°ñÀûÀ¸·Î ºñÆÇÇßÀ¸¸ç ³²³à °£ÀÇ À°Ã¼Àû »ç¶ûÀÌ ÀÛÇ° ³»¿ë¿¡ ´ã°Ü ÀÖ¾ú±â ¶§¹®À̾ú´Ù. ¡ºÅ×½º¡» ¿ª½Ã ´ç´ëÀÇ À±¸®°ü°ú ¸ÂÁö ¾Ê´Â ºÎºÐÀÌ ³í¶õÀ» ºú¾ú´Ù. ±×·¯³ª Ãâ°£µÈ Áö 3³â ¸¸¿¡ µ¶ÀϾî, ÀÌÅ»¸®¾Æ¾î, ·¯½Ã¾Æ¾î µî ¿©·¯ ³ª¶ó¿¡ ¹ø¿ª Ãâ°£µÇ´Â µî µ¶Àڵ鿡°Ô´Â Å« Àα⸦ ²ø¾ú´Ù. ¶ÇÇÑ ¹Ì±¹ ºê·Îµå¿þÀÌ¿¡ ¿À¸£±âµµ Çß°í, ÀÕµû¶ó ¿µÈ·Î ¸¸µé¾îÁö±âµµ Çß´Ù.Çϵð´Â ¡º¹ÌõÇÑ »ç¶÷ Áֵ塻¸¦ ³¡À¸·Î ¼Ò¼³ ÁýÇÊÀº ´Ü³äÇÏ°í ±ØÀÛ¿¡ ¸ôµÎÇØ ³ªÆú·¹¿Ë ½Ã´ë¸¦ ¹«´ë·Î ±×ÀÇ Àü »ý¾ÖÀÇ »ç»óÀ» ¸ù¶¥ Áý¾àÇÑ ÀåÆí ´ë¼»ç½Ã±Ø ¡ºÆпÕ(ø®èÝ)¡» 3ºÎÀÛÀ» ¹ßÇ¥Çß´Ù. 1910³â ¸Þ¸®Å© ÈÆÀåÀ» ¹Þ¾ÒÀ¸¸ç 1912³â »óóÇÏ°í, 2³â ÈÄ Á¶¼ö·Î ÀÖ´ø ¿©¼º°ú ÀçÈ¥ÇßÀ¸¸ç ¸¸³â¿¡´Â ÀÚŸ°¡ °øÀÎÇÏ´Â ¿µ±¹ ¹®´ÜÀÇ ¿ø·Î·Î ±º¸²Çß´Ù. ±×ÀÇ À¯ÇØ´Â ¿þ½ºÆ®¹Î½ºÅÍ »ç¿øÀÇ ¡®½ÃÀÎ Äڳʡ¯¿¡ ¹¯Çû´Âµ¥, ±×ÀÇ ½ÉÀ常Àº °íÀÎÀÇ À¯Áö¿¡ µû¶ó °íÇâ¿¡ ÀÖ´Â ºÎÀÎÀÇ ¹«´ý ¿·¿¡ ¹¯Çû´Ù.
ÆîÃ帱âÀúÀÚÀÇ ´Ù¸¥Ã¥
Àüüº¸±âThe Three Strangers (with MP3)
Jude the Obscure ( Norton Critical Editi...
ÁÖ°£·©Å·
´õº¸±â»óÇ°Á¤º¸Á¦°ø°í½Ã
À̺¥Æ® ±âȹÀü
ÀÌ »óÇ°ÀÇ ½Ã¸®Áî
(ÃÑ 15±Ç / ÇöÀ籸¸Å °¡´Éµµ¼ 15±Ç)
¹®ÇÐ ºÐ¾ß¿¡¼ ¸¹Àº ȸ¿øÀÌ ±¸¸ÅÇÑ Ã¥
ÆǸÅÀÚÁ¤º¸
»óÈ£ |
(ÁÖ)±³º¸¹®°í |
---|---|
´ëÇ¥ÀÚ¸í |
¾Èº´Çö |
»ç¾÷ÀÚµî·Ï¹øÈ£ |
102-81-11670 |
¿¬¶ôó |
1544-1900 |
ÀüÀÚ¿ìÆíÁÖ¼Ò |
callcenter@kyobobook.co.kr |
Åë½ÅÆǸž÷½Å°í¹øÈ£ |
01-0653 |
¿µ¾÷¼ÒÀçÁö |
¼¿ïƯº°½Ã Á¾·Î±¸ Á¾·Î 1(Á¾·Î1°¡,±³º¸ºôµù) |
±³È¯/ȯºÒ
¹ÝÇ°/±³È¯ ¹æ¹ý |
¡®¸¶ÀÌÆäÀÌÁö > Ãë¼Ò/¹ÝÇ°/±³È¯/ȯºÒ¡¯ ¿¡¼ ½Åû ¶Ç´Â 1:1 ¹®ÀÇ °Ô½ÃÆÇ ¹× °í°´¼¾ÅÍ(1577-2555)¿¡¼ ½Åû °¡´É |
---|---|
¹ÝÇ°/±³È¯°¡´É ±â°£ |
º¯½É ¹ÝÇ°ÀÇ °æ¿ì Ãâ°í¿Ï·á ÈÄ 6ÀÏ(¿µ¾÷ÀÏ ±âÁØ) À̳»±îÁö¸¸ °¡´É |
¹ÝÇ°/±³È¯ ºñ¿ë |
º¯½É ȤÀº ±¸¸ÅÂø¿À·Î ÀÎÇÑ ¹ÝÇ°/±³È¯Àº ¹Ý¼Û·á °í°´ ºÎ´ã |
¹ÝÇ°/±³È¯ ºÒ°¡ »çÀ¯ |
·¼ÒºñÀÚÀÇ Ã¥ÀÓ ÀÖ´Â »çÀ¯·Î »óÇ° µîÀÌ ¼Õ½Ç ¶Ç´Â ÈÑ¼ÕµÈ °æ¿ì ·¼ÒºñÀÚÀÇ »ç¿ë, Æ÷Àå °³ºÀ¿¡ ÀÇÇØ »óÇ° µîÀÇ °¡Ä¡°¡ ÇöÀúÈ÷ °¨¼ÒÇÑ °æ¿ì ·º¹Á¦°¡ °¡´ÉÇÑ »óÇ° µîÀÇ Æ÷ÀåÀ» ÈѼÕÇÑ °æ¿ì ·½Ã°£ÀÇ °æ°ú¿¡ ÀÇÇØ ÀçÆǸŰ¡ °ï¶õÇÑ Á¤µµ·Î °¡Ä¡°¡ ÇöÀúÈ÷ °¨¼ÒÇÑ °æ¿ì ·ÀüÀÚ»ó°Å·¡ µî¿¡¼ÀÇ ¼ÒºñÀÚº¸È£¿¡ °üÇÑ ¹ý·üÀÌ Á¤ÇÏ´Â ¼ÒºñÀÚ Ã»¾àöȸ Á¦ÇÑ ³»¿ë¿¡ ÇØ´çµÇ´Â °æ¿ì |
»óÇ° Ç°Àý |
°ø±Þ»ç(ÃâÆÇ»ç) Àç°í »çÁ¤¿¡ ÀÇÇØ Ç°Àý/Áö¿¬µÉ ¼ö ÀÖÀ½ |
¼ÒºñÀÚ ÇÇÇغ¸»ó |
·»óÇ°ÀÇ ºÒ·®¿¡ ÀÇÇÑ ±³È¯, A/S, ȯºÒ, Ç°Áúº¸Áõ ¹× ÇÇÇغ¸»ó µî¿¡ °üÇÑ »çÇ×Àº¼ÒºñÀÚºÐÀïÇØ°á ±âÁØ (°øÁ¤°Å·¡À§¿øȸ °í½Ã)¿¡ ÁØÇÏ¿© ó¸®µÊ ·´ë±Ý ȯºÒ ¹× ȯºÒÁö¿¬¿¡ µû¸¥ ¹è»ó±Ý Áö±Þ Á¶°Ç, ÀýÂ÷ µîÀº ÀüÀÚ»ó°Å·¡ µî¿¡¼ÀǼҺñÀÚ º¸È£¿¡ °üÇÑ ¹ý·ü¿¡ µû¶ó ó¸®ÇÔ |
(ÁÖ)ÀÎÅÍÆÄÅ©Ä¿¸Ó½º´Â ȸ¿ø´ÔµéÀÇ ¾ÈÀü°Å·¡¸¦ À§ÇØ ±¸¸Å±Ý¾×, °áÁ¦¼ö´Ü¿¡ »ó°ü¾øÀÌ (ÁÖ)ÀÎÅÍÆÄÅ©Ä¿¸Ó½º¸¦ ÅëÇÑ ¸ðµç °Å·¡¿¡ ´ëÇÏ¿©
(ÁÖ)KGÀ̴Ͻýº°¡ Á¦°øÇÏ´Â ±¸¸Å¾ÈÀü¼ºñ½º¸¦ Àû¿ëÇÏ°í ÀÖ½À´Ï´Ù.
¹è¼Û¾È³»
±³º¸¹®°í »óÇ°Àº Åùè·Î ¹è¼ÛµÇ¸ç, Ãâ°í¿Ï·á 1~2Àϳ» »óÇ°À» ¹Þ¾Æ º¸½Ç ¼ö ÀÖ½À´Ï´Ù.
Ãâ°í°¡´É ½Ã°£ÀÌ ¼·Î ´Ù¸¥ »óÇ°À» ÇÔ²² ÁÖ¹®ÇÒ °æ¿ì Ãâ°í°¡´É ½Ã°£ÀÌ °¡Àå ±ä »óÇ°À» ±âÁØÀ¸·Î ¹è¼ÛµË´Ï´Ù.
±ººÎ´ë, ±³µµ¼Ò µî ƯÁ¤±â°üÀº ¿ìü±¹ Åù踸 ¹è¼Û°¡´ÉÇÕ´Ï´Ù.
¹è¼Ûºñ´Â ¾÷ü ¹è¼Ûºñ Á¤Ã¥¿¡ µû¸¨´Ï´Ù.