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전체자료 17개

인공지능이 자의식을 가질 수 있을까? 인공지능 낙관에 대한 부정적 의견 (국문 에세이)

21세기 연금술: 인공 자의식을 창조하려는 시도고대 이집트부터 근대 과학이 등장하기 이전 시기 유럽까지 인간은 오랫동안 연금술을 통해 순금을 만들려는 시도를 했다. 원소설을 바탕으로 연금술사들이 만들고 싶어했던 건 변치 않는 영원함이라는 비물질적 가치를 담아내는 물질적인 결과물이었다. 결국 연금술은 실패했지만 21세기의 인간은 엄밀하게 증명된 과학과 기술로 여러 물질적인 진화를 이뤘다. 이제 인간은 인공 지능이라는 새로운 도구를 사용해 다시 한 번 연금술에 도전하는 듯하다. 과거와 달리, 관념적인 비물질 자체를 만들어 내려는 연금술이다. 그러나 인공 지능으로 인간의 자의식을 창조하려는 시도는 반쪽짜리 성공을 거둘 수밖에 없다. 인공 지능은 자의식을 갖기가 불가능하다.훨씬 더 발전해 있을 미래의 인공지능에 대해 현재의 개발 흐름을 고려해 우리가 할 수 있는 타당한 예상은 인공 지능이 현실에서 모은 생생한 빅 데이터(Big data)를 기반으로 인간이 요구한 작업을 그럴싸하고 정확하게 모방해 낼 거라는 추측이다. 컴퓨터 공학자와 특정 분야 전문가의 협업으로 탄생한 ‘잘 만들어진’ 특정 분야의 작업 수행용 인공 지능은 내용과 영역이 광대하고 다양한 빅 데이터로 과거의 경험을 분석해서 인간이 보기에도 자연스러운 결론을 도출해 낼 것이다.그러나 그렇게 탄생한 인공지능에게는 자의식이 부재한다. 자의식은 자기를 검열하는 능력이다. 자의식이 있으면 무엇을 할 수 있을까? 자의식의 기능은 두 가지로 나열할 수 있다. 먼저, 자의식은 지금 내가 하고 있는 행동이 맥락에 맞는 행동인지 판단하고 행동을 계속 수행할지, 그만둘지 결정하도록 도와준다. 이 기능은 인공 지능으로 실행할 수 있다. 추상적이라고 생각되는 개념인 맥락은 그 통념과 달리 수치화가 가능하다. 맥락은 여러 데이터(목소리의 높낮이, 표정, 주가의 값, 앞선 사건의 성패 등)의 조합이라고 볼 수 있기 때문에 인공 지능이 현재 처한 상황을 파악할 수 있는 정보를 주는 빅 데이터와, 과거에 특정 상황에서 특정 행동을 했음을 알려 주는 정보를 담고 있는 빅 데이터가 있다면 스스로 처한 맥락을 정의한 뒤 현재 자신이 수행하고 있는 작업이 맥락에 적합한지를 판단할 수 있다.그러나 자의식의 두 번째 기능을 인공 지능은 수행할 수 없다. 두 번째 기능으로 자의식은 내가 지금 하는 행동이 나에게, 그리고 사회에게 어떤 의의가 있는가를 결정하게 도와주고 그 의의를 바탕으로 지금 행동을 지속하거나 중단하게 한다. 한 개체가 어떤 행동의 의의를 판단하도록 돕는 건 개체의 의지와 감정이다. 하지만 인공 지능에게는 의지가 없다. 인간이 명령을 내리면 소프트웨어(Software)를 통해 하드웨어(Hardware)로 그대로 수행할 뿐이다. 그렇다면 인공 지능에게 인공적으로 의지를 부여하면 되지 않을까?ALICE라는 인공 지능이 EAT이라는 명령을 20% 정도의 의지로 수행하고 싶어한다고 임의로 정해 주자. 이제부터 ALICE는 EAT 명령을 수행하고 싶은 마음이 20% 밖에 안 되기 때문에 인간이 ALICE에게 EAT 명령을 내리면 그 명령을 20%의 확률로 수행한다. ALICE는 의지가 생긴 걸까? 아니다. 인공 지능 ALICE는 인간이 만들어 준 의지에 순응했을 뿐이다. ALICE에게 의지가 있다고 볼 수 있으려면 인간이 인공 지능에게 위와 같은 의지를 부여할 때, 그 의지를 곧이곧대로 받아들일지 말지에도 또 다른 의지가 개입해야 하는 게 아닐까? 그렇다면 ALICE에게 설정을 하나 더 하자. 이제부터 ALICE는 특정 명령에 대한 호불호를 부여받을 때 그 하사를 60%의 확률로 거절한다. 이제 ALICE는 의지를 가진 한 개체라고 볼 수 있을까? 결국 ALICE는 인간에 의해 주어진 의지 중에서 고를지 말지를 결정하게 되었을 뿐이지 스스로 새 선택지를 내는 건 끝내 불가능하다. 인공 지능은 새로운 의지를 창조할 수 없다. 따라서 의지라는 것이 있다고 보기 어렵다. 어쩌면 보지 못한 건 상상할 수 없다는 말처럼 인간도 자신이 겪은 환경 안에서 발견하는 여러 의지 중에서 선택할 뿐이지 않느냐고 반론할 수도 있다. 하지만 인간은 발견한 것을 수용하는 데에 그치지 않는다. 결합과 창조가 가능한 생물이다. 인류의 역사는 번갯불을 모방하는 데에서 그치지 않았다. 세기마다 끊임없는 혁신과 혁명이 현대를 만들었다.앞서 서술했듯 개체가 판단하는 의의에는 의지와 감정이 결부된다. 인공 지능에게는 의지가 없다. 인공 지능에게 감정이 있는가 따지는 문제는 더 쉽다. 인공 지능에게 감정을 부여하고 싶다면 감정을 세분화하고 각각의 감정에 수치를 결정해 주면 된다. 마치 RPG 게임에서 플레이어 캐릭터의 능력치가 공격 능력은 10, 방어 능력은 20, 마법 능력은 50으로 저장되는 것처럼 말이다. 인공 지능 JACK은 기쁨 감정이 90이다. 이제 인공지능 JACK은 90만큼 기쁘게 되었다. 원한다면 얼마나 기쁜지에 따라서 인간이 내리는 명령을 거절하게 만들거나, 혹은 여러 번 수행하도록 이 감정 수치를 활용할 수도 있다. 수치의 최댓값을 100으로 정한다면 JACK은 90% 정도 기쁜 것이 된다. ALICE의 경우에서 했던 대로 90%의 확률로 명령을 거절하거나 90%의 확률로 명령을 두 번 수행하도록 인공 지능 JACK을 프로그래밍 하면 감정이 인공 지능의 행동에 영향을 주도록 만들 수 있다. 그러나 JACK에게 ‘기쁨’이라고 이름 붙여진 정수 값은 무슨 의미가 있을까? ‘기쁨’이 90이든 100이든 JACK의 심장이 쿵쿵거리고, 짜릿한 느낌을 이기지 못해 제자리에서 폴짝 뛰고, 눈물이 찔끔 나오지 않는 건 당연하다. 인공 지능의 관점에서 ‘기쁨’은 메모리 공간에서 2바이트(Byte) 혹은 4바이트를 차지하는 데이터 값일 뿐이다. ‘기쁨’과 인공 지능 프로그램이 동작하는 데에 필요한 다른 여러 데이터 값이 JACK에게는 똑같다.새로운 의지를 생각해 내서 수행할 수도 없고 감정도 없는 인공 지능이 자신이 하고 있는 작업의 의의를 도출할 수 있을 리 없다. 내 행동을 맥락에 따라 적합한지 판단하는 자의식은 있으나 나에게 갖는 의의에 따라 새 목표를 설정하게 도와주는 자의식은 없으니, 이 자의식은 반쪽짜리 자의식이다. 인간의 노동을 자연스럽고 완벽하게 흉내내는 일이 가능하다고 해도, 스스로가 무슨 행동을 하는지 알 수 없는 기계는 크게 발전했다 해도 슈퍼에서 사용하는 계산기나 다름이 없다. 인간의 자유 의지와 감정은 어디에서 오는가? 새삼 경이롭고 위대한 일이다. 결과적으로 인공 지능을 이용한 21세기의 비물질적 연금술은 ‘의식’을 만들어 내는 데에 실패할 것이다. 그러나 익히 알듯이, 명석한 과학자들이 19세기까지 뜨거운 열정으로 셀 수 없이 많은 실험을 진행하게 한 연금술은 근대 과학의 탄탄한 밑거름이 되었다. 연금술의 핵심 목표였던 황금은 현대에 와서는 인간의 계몽 자체라고 해석된다. 활발하게 진행되고 있는 인공 지능 연구도 새로운 한계에 발을 디디려는 인간의 도전이란 점에서 의미가 있으며 그 과정에서 이루어지는 놀라운 기술 발전은 현대 과학을 넘어서 미래 과학을 여는 밑바탕이 될 것이다.PAGE * MERGEFORMAT2

공학/기술| 2021.08.18| 3페이지| 3,000원| 조회(240)

과학, 인공지능, 기계, 컴퓨터공학, 찬성, AI, 찬반, 찬반토론, 반대, 알파고

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"레베카", "죽은 사람들", "댈러웨이 부인"에서의 죽음의 기능

*********** Lee19 December 2020Communion with the DeadThere is a contact occurring between the traces left by the dead and the living in "Rebeca" of Daphne Du Maurier, "The Dead" of James Joyce and "Mrs. Dalloway" of Virginia Woolf's, written in early twenty centuries. And all three novels have an image of death at a party place which is the space of the living. The nature of death here is not shutting down or suppressing the vitality of life. The dead actively communicate with the world of the living and create new conflicts in real time. Rebecca, the dead hostess of Manderley, actively interacts with her maid, Mrs. Danvers, and new hostess in “Rebecca.” In "The Dead" and "Mrs. Dalloway," the protagonists encounter a moment of communication with death and furthermore, they experience an expanded perception that the world of the living and the dead overlap. In the three works, Death gets words and shapes, not sticking in one form but constantly flowing.Rebecca, who died in a boating acivid influence as fear and pressure to the protagonist who marries Maxim. The protagonist arranges the party that has been held before as if she challenges Rebecca's shadow that weighs on her. Rebecca's flesh and blood does not exist in Manderley, but as if she were alive, she feels vivid power from Rebecca and finds a way to counter it. The image of death, which freely touches the realm of the living, is visualized in the scene where the protagonist wears Rebecca's dress. Desiring for the influence of the dead Rebecca, Mrs. Danvers eventually brings the image of the dead to the party of the living by making the protagonist repeat Rebecca's costume. This is not unrelated to the intention of Rebecca. When Rebecca found out that she had no choice but to die from cancer, she concluded that she would be able to take effective revenge as a dead person rather than a living person for revenging on Maxim who criticized the abnormalities in her life. In fact, Maxim is still living a year later yce to imitate the decadent and grubby Dublin, there are two possibilities for who is the dead in "The Dead." The party, which has been held repeatedly for 30 years in The Dead, has stagnated in a state of death from a ritual point of view. Therefore, some readers may say that all those present at the party are dead. But the party is rather a vivid space that contrasts with the scene in the hotel room after the party. Even in traditional and procedural parties, the characters collide and create small sparks. Lilly, unable to attend the party and working, treats Gabriel coldly, the ambivalent attitude of Gabriel is criticized by Miss Ivors, and Aunt Kate’s and Mary Jane's opinions about Pope clash. What contrasts with this vibrant image is the latter part of the story. Gabriel 's wife, Gretta, recalls Michael Furey when she hears an Irish song at the end of the party. Gretta is with living people but has no choice but to call the dead, who disappeared decades ago. She begins a simultanee story of the dead because he thinks the world of death is completely separate from that of the living. Michael Furey remained in a perfect past because he died, and he himself is powerless because he lives in the present. As in "Rebecca," the influence of the dead is revealed to be stronger than the living. Gabriel feels it and suffers. But does he stop thinking of death as being bound by past events or unilaterally affecting the world of the living? Michael Furey, who died a long time ago, is affecting not only Greta but also him, and the living also will soon turn into ghosts. He finally understands the simultaneous and active interaction with the dead, and fears of what is blocked and unknown turn into embrace toward it. He realizes that the world of the dead and living always overlaps. The falling snow is a thread that connects spaces. Snow falls on Michael Furey's grave and on hotel where Gabriel is in. The two worlds are connected, and the boundary between life and death is brohe world from the perspective of the dead, beyond recognizing the transcendent world as a living person. Mrs. Dalloway has a unique theory that a person's presence exists everywhere and "spread” widely and haunt “certain places after death." It is easy to apply her theory to "Rebecca" and "The Dead," where the dead exerts fresh influence on the living every moment. In "Mrs. Dalloway," the poor young man, Septimus, is also the one who chose to deliver his message to death. Septimus sends a message of resistance to the human world, which forces to be normal with death. However, as the news of Septimus is delivered to a party hosted by Mrs. Dalloway, new influences that he did not intend are derived organically. Mrs. Dalloway sympathizes with Septimus as she devotes herself to the idea of death through his obituary. In doing so, life and death are mixed. Clarissa Dalloway is a person who feels the overlapping areas of life and death.How far is the world of the living and the world of the

인문/어학| 2021.08.18| 4페이지| 6,000원| 조회(106)

죽음, 철학, 영문학, 제임스조이스, 버지니아울프, 레베카, 댈러웨이부인

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"제인 에어"와 "위대한 유산"에 나타나는 동성애적 관계와 욕망에 대하여

The Two Branches of Same-sex Desire in "Jane Eyre" and "Great Expectations," the Opposite DirectionsMany previous studies delicately read a suggestive queer narrative from the two representative Victorian novels, “Jane Eyre” and “Great Expectations.” For further analysis, the influence on the plots made by same-sex desire can be carefully considered. It turns out that Bronte and Dickens have different ways of applying homosexual desire within their work. The two have different directions and result in different narrative changes. In terms of the impact of homosexual longing on the development of events, an opportunity to dramatically change the social environment is made in the “Great Expectations,” while characters in "Jane Eyre" does not directly change the social position. Some readers may think that it is because characters with great wealth more frequently appear and class shifts happen many times in “Great Expectations.” But the focus of this discussion is to analyze the way desince” (67) that Helen Burns told her is new to Jane Eyre. After she realized this difference, Helen Burns transforms into an object of affection and longing to her. She then tries to understand how Helen Burns think of the world and to have a similar interest with her. The same-sex desire of women in this book begins with a distinction between self and other, and turns into a step in which the desire to resemble the object emerges. This attempt to learn about and identify with ends up in process of self-discipline or self-discovery, which does not provide decisive assistance in changing a person's social environment. Jane’s second experience of a similar relationship at Lowood is for Miss Temple. When she sees the conversation between Miss Temple and Helen Burns, she realizes how low her depth of understanding is. She acquires a temporary role model and goes through a period of personality change. This relationship does not force any environmental changes on each other, but personal and characters. As mentioned earlier, it can be assumed that characters undergo extreme changes since the novel has a relationship between a wealthy person and an heir. Papers that claim it is a story about criticism of the capitalist system often interpret Magwitch and Miss Havisham as the rich who show that "wealth and status are corrupt and corrupting, inducing social emptiness, inertia, snobbery, and vengefulness” (Shihada 3). However, the worship of the subject and the feelings of obsessive love are intimately involved in the process of transforming the object into a person as the patron wishes. Magwitch is betrayed by a cunning gentleman and says to himself, “I’m making a better gentleman nor ever you’ll be!” (186) He is determined to make his own gentleman. He projects this wish to Pip who helped him survive and increases his wealth and even deep affection. The sexual air current between Magwitch and Pip is read in the scene where He is visited at night, staring tenaciously at Pip eads to extreme changes in the class of characters in the novel or changes in their lives. This homosexuality is rewarded with looking at the results of such support.Especially in "Great Expectations," characters each have their own purpose, and homosexuality reflects the wishes of the characters. Homosexuality in Dickens work works on the principle that the subject having it projects personal wishes to the opponent, so it shows what desire a person desires when one projects oneself to the object. Equally supported by an asset, but the male homosexual relationship in the "Great Expectations" directly helps stabilize the social position of the heir, while the female homosexual relationship has not helped the social stability. This relates to the domain of activities of men and women during the Victorian era. The wish that Magwitch projected to Pip is the wish of the male domain and the public domain, so he can gain power. However, Miss Havisham's wish to project Estelle is to manipulate and peacefully with his loved ones, even if he is less rich, like Herbert. He feels vicarious satisfaction because he projects this wish to Herbert and secretly invests in him and create a stable job. Then why does Herbert have a faithful affection for Pip? Herbert already has a crush on his fiancé. However, Herbert's affection is quite homosexual. Herbert is also projecting his wish to Pip. Herbert fought and lost with Pip at the Satis House in the past. When they met again, he remembered the outcome of the match the other way around. Just as you want to remember. It is clear that Herbert's mind has his own utopia. Poor as Pip, but unlucky as Pip, Herbert would have wanted to be Pip. The same-sex desire was carried out by projecting such wishes to Pip and vicariously satisfying him. The pip is an already completed utopia, so Herbert doesn't force Pip to be something. However, he actively helped Pip to complete his plan and supported a human being named Pip. Because He entrusts his eg173.

인문/어학| 2021.08.18| 6페이지| 7,000원| 조회(132)

동성애, 영문학, 욕망, 제인에어, 영문, 위대한유산, 찰스디킨스, 투영, 샬럿브론테

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제인 에어(샬롯 브론테) 영문 에세이 과제

“I longed only for what suited me—for the antipodes of the Creole:” Romance as Salvation from the Desperate Past in Charlotte Brontë’s Jane EyreJane Eyre is an ardent love story, but it is also a novel having freshly interpretable elements and the implicit colonial context. So it can be interpreted in a variety of directions. The Victorian novel written by Charlotte Brontë, the third daughter of the Brontë family, was published in 1847 under the pen name, Currer Bell. At the end of the 19th century, Britain owned vast colonies, and under the influence of colonialism, it formed a multi-national situation in the countries and on people's life. Jane Eyre is rooted in this historical background. Edward Rochester, the master of Thornfield Hall, has previously married Bertha Mason, who is the Creole woman in Jamaica, and Jane Eyre, the protagonist, falls in love with him. The presence of Bertha has aroused a lot of interest in readers, and Dominican author Jean Rhys has published a spin-off ." (Ward 114) The diagnosis of Bertha’s insanity may have been solely based on the testimony of Rochester, as the only evidence of the madness is that her personality and sexual desire is fierce and, that her mother was in a lunatic asylum. What is certain is that for Rochester, the memory of living with Bertha is "hell." (Brontë 355) After returning from the West Indies, he claims that he has “a right to get pleasure out of life” (Brontë 160) because he has gone through unfortunate times. For him, salvation from the past is a right and reward. Specifically, it is a pursuit of a stable pleasure that counteracts the terrible memory. To accomplish this, Rochester travels and looks for a female figure who is the opposite of Bertha. As Jane meets the opposite conditions to Bertha, he becomes interested in her after he meets her at the Thornfield Hall. He says to her, “I knew ... you would do me good in some way, at some time." (Brontë 177) One of the most striking contrasts between Bertha he text more complicated. The trauma of Rochester is not cured by complete separation from the exoticism created by the colonial context and still circulates in that context, in the sense that the property supporting Rochester and Jane in Ferndean is a wealth from other lands.From the same perspective, the moth which appears in the orchard the night when Rochester proposes to Jane is also a sign that he is obsessed with the trauma and that the motive of his romance is the memory of Bertha. The moth is not a British one, but a large and gay moth that could be seen in the West Indies, where Rochester lived. Jean Rhys offers an interesting view of the relationship between Rochester and nature in Wide Sargasso Sea. In the novel, nature is described “wild untouched, above all untouched, with an alien, disturbing, secret loveliness.” (Rhys 79) It is a space opposite to the world of Rochester, an Englishman who claimed ownership and embodied in patriarchy. Rochester is fascinated by the naturre you?" (Brontë 289) Considering this moth is an exotic natural object suggesting the marriage of Rochester and Bursa, it is natural that the moth reminiscent of Bertha's memory is the distractor interrupting attempts to draw Jane's attention ahead of the proposal. Since the romantic vestige of Rochester is from the desire to be saved from the trauma, it is still an extension of the trauma. And the more he fulfills it, the more fragments of memory follow him like ghosts.Moreover, the confinement which Rochester continues to lean on as a solution solidifies the balanced structure where Jane functions as the antithesis of Bertha. After returning to England, Rochester locks Bertha on the third floor to confine the associated memory in oblivion. Then he finds Jane as the opposite of Bertha and forces her to leave with him to the south of France as soon as his wedding with her is canceled. This is practically a captivity that controls behavior and freedom. He tries to own Jane as a form ofI should not shrink from you with disgust as I did from her.” (Brontë 347) But as a testimony of close family proves the insanity of woman in the Victorian era, Rochester will be the person who testifies Jane's insanity at need just like the case of Bertha. This scene implies the possibility that he can reproduce with Jane the situation which Rochester created with Bertha in the past. Bertha is the central figure but dominates the motive of Rochester and provides the basic frame of this romance.As was previously stated, Bertha who is the core of Rochester’s motive causes Jane to become the new bride of Rochester because he chooses Jane to heal his terrible memory. Recognizing that the complex causal relationship between Rochester's two wives is the framework for the romance structure of Jane Eyre makes the readers think about how important Bertha is to understand the text. From the reader's point of view in the 21st century, it is worth considering that the memory of Jamaica remains asine.

인문/어학| 2021.08.18| 4페이지| 4,000원| 조회(152)

영문학, 빅토리아, 제인에어, 영문, 가부장제, 샬롯브론테, 트라우마, 사르가소

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Western Movie, 댐즐(Damsel)과 셰인(Shane) 비교하는 영문 에세이_매너리즘으로 변질된 히로이즘, 그로 인해 짓밟히는 여성의 주체성

“I gave you no signals:” Life of a Woman Ruined by Distorted HeroismFrom 1796, the United States continued to expand the Frontier to the west beyond the Appalachian Mountains. Claiming the manifest destiny, the desire to pioneer spread. The admiration for the gunner has roused a craze of western drama. By the 1960s, criticism against the pioneering spirit and western drama began to emerge. Shane is a typical Western film directed by George Stevens in 1953. And Damsel is a compounded and tragic Western comedy film directed by David Zellner and Nathan Zellner in 2018. Compared to Shane, Damsel criticizes the tradition that women should follow the lead of men; as the pioneering is completed in some degree, the early heroism is corrupted and contributes to damaging the independence and subjectivity of women's lives.Damsel expresses that the western heroism is distorted through the setting that indicates the frontier is being completed and minor characters who clumsily imitated a gunman. Bo musicians. There are a scaffold and public bath facility in the village. It is not the time when people have just come and started to build a village, but the time when a village has already been established. The ragged American flag, which immediately comes out at the beginning of Damsel, is also symbolic. The scene symbolizes that the pioneering spirit is not new and fresh now, but a worn-out and tainted value.Through minor characters, Damsel shows a situation in which the desire to become a pioneer cannot be realized and should be distorted because the pioneering is already a completed goal. The cowardly minor characters just imitate a gunman. In Shane, the gunnery culture is an era that should disappear as the law enters the region. But characters still think that the gunnery culture is cool and a way to prove masculinity. Gunmen at the bar laugh and insult Shane, who puts down his gun and come to buy a bottle of soda pop for the son of Joe Starrett. In Damsel, a young man, Samuel times change.After experiencing the tragedy caused by distorted heroism, Damsel’s protagonist, Parson Henry, realizes how meaningless and fake the western spirit is. Damsel presents a fake protagonist, Samuel Alabaster. Samuel Alabaster plans to save his kidnapped fiancée and propose on the spot. He accompanies a drunken officiant, Parson Henry, on his adventure. But the fiancée, Penelope, who thought to be kidnapped, is living happily with the kidnapper Anton Cornell. Due to Samuel Alabaster's dogmatic misunderstanding, Anton Cornell dies and he commits suicide after facing reality and waking up from his delusion. Parson Henry becomes the porter and hostage of Penelope, then manages to return to the village and finally leaves the West. In Shane, women are unable to attend outside work because of their children or just roles to stop a fight. When a fight breaks out, women have to stay away with their child. Marian Starrett just tells her husband not to go to Rufus Ryker. A wife cannote where Samuel Alabaster and Penelope are reunited, Penelope says "I gave you no signals" (Damsel 00:56:50) to Samuel, who insists Penelope gives him an ambiguous signal to misunderstand. Women are misinterpreted in the heroism because their sex is woman, even if they have not expressed any opinion. Penelope is different from ordinary female characters who exist to perform supporting roles in their lives as well as plots in a Western film. Penelope and Parson Henry equally lose the goal of life. Penelope loses both the person loved and the person hated because of Samuel Alabaster. Parson Henry watches the tragedy and loses his identity as an officiant. (It is interesting to think that Shane has the important goals to build a church in the village and uses God's will to pioneer.) However, Penelope and Parson Henry is sharply compared. Penelope instructs Parson Henry to prepare Anton Cornell’s funeral. After the funeral, she wraps dynamite around his body and takes him in tow. She continppreciation. This view is uncritical and implicit in Shane. In Damsel, criticism against considering women as a pretty and sexual object is much more explicit and obvious than Shane. In bars, men say they build friendships through a gangbang social where several men rape one woman. And Samuel Alabaster carries a locket necklace with a picture of Penelope and masturbates with it. It emphasizes that the love that he values continuously is not for a relationship between Penelope, but a self-satisfaction. It shows how much a woman character becomes a sexual object to male characters and even to audiences without her agreement. There is another interesting thing in Damsel. While there is no law in wild, the law to subordinate women is precisely thought. That is why Samuel Alabaster takes an officiant to the rescue process. And as soon as Anton Cornell dies, his brother mentions a law to Penelope that if a brother dies, the brother's wife should marry another brother.Behind the desire to expMAT2

인문/어학| 2021.08.18| 4페이지| 10,000원| 조회(122)

페미니즘, 여성, 인디언, 미국문화, 매너리즘, 서부극, 카우보이, 웨스턴, 영웅주의

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