에세이 첨삭만 구하는 1차 모집이 지났습니다.
이번에는 영어 모의 구술면접의 Group Session을 진행해줄 Teaching Assistant를 통합하여 구인합니다.
이번 주말 경 올릴 다음 알림은 한글과 영어 구술면접 Group Session을 위한 구인이 될 예정입니다.
추후에 연락을 취하며 답할 수 있기에 급하지 않거나 알림을 자세히 보시면 해결될 문제에 대해선 일일이 답 드릴 여유가 없는지라 죄송합니다.
1.단도직입적으로 급여!
- 90-120분 근무가 한타임.
- 상세한 근무 규정에 따라 5천원 정도 변경 가능하나 다음이 원칙입니다. 대학 1학년은 타임당 3만원. 그 외 모두 4만-4만 5천원 원칙.
2.근무장소 및 시간
1) 장소 - 선릉역 근방 학원 (연락을 주고 받으며 상세안내)
2) 시간 - 10월 4일 금요일부터 11일 금요일까지의 일정만 정리. 다음 시기엔 주요한 변화가 있어 추후 구인 공지로 알립니다. 이 기간 근무 시간은...
오후 5 - 6시 30분.
- 13일 일요일부터 월말까지의 시기엔....오후 늦은 강의 그리고 저녁 강의는 물론 고객반응을 살펴서 오후 2-3시 정도의 근무도 추가될 예정입니다. 한글 면접반도 추가 예정.
3. 선발방식
- 오직 e-mail로. elehoop@naver.com
- 시즌은 10월말까지이니 10월 중순까지도 지원가능하십니다.
- 언제든 연락주시면 연락시간을 잡고 간단한 인터뷰를 거친 뒤 근무시작. 근무하며 평가.
- 아래는 관련자료이자 "지원자격"입니다. 아래 정도 수준의 문제에 대한 예시답안 수준의 글에 대해 위에 제시한 근무 방식을 따라 평가와 대안 제시 등이 가능하실지...
- 10분 정도 진행되는 모의 인터뷰 도중 핵심적 내용은 영어로 질문해주시고 피드백은 한글로 주셔도 됩니다. 영어만 잘하는 학생들은 영어에 대한 지적보다는 오히려 논리에 대한 지적과 대안을 제시받기를 원합니다. 오직 발음만이 문제시라면 그 부분은 걱정하지 않으셔도 됩니다.
4. 2013년 학년도 영어 특기자 전형 모의 면접 관련 자료
1) 예시문제
Read the following passages to prepare an English presentation as directed below and be ready for an English interview.
(A) As the two-hundredth anniversary of Richard Wagner, the most volcanically controversial figure in the history of music, arrives soon, we will be reminded again of the Wagnerian iconography of Hitler’s Germany that has never ceased to rage around this composer. If you ask the average person about Wagner, you will probably hear at least one thing: he was Hitler’s favorite composer the reductionist image that prevails in the public mind due to his spiteful anti-Semitism. For some decades, there has been an unofficial ban on live performances of Wagner in Israel, but musicians in recent decades have periodically attempted to play Wagner in Israel, setting off impassioned protests. At an Israel Philharmonic concert in 1981, Zubin Mehta, after giving audience members an opportunity to leave the hall, conducted the “Liebestod” from Wagner’s “Tristan und Isolde” as an encore. In response, Ben-Zion Leitner, a Holocaust survivor and a hero of the First Arab-Israeli War, walked in front of the podium, bared his scarred stomach, and shouted, “Play Wagner over my body.” A similarly charged scene unfolded when an effort by the Israel Wagner Society to present a concert at Tel Aviv University created another media frenzy this past summer. The Israeli conductor Asher Fisch has some reasons for campaigning against the unwritten ban: his mother, who was forced to leave Vienna in 1939, felt that if her son could conduct Wagner in Israel it would amount to a final victory over Hitler, and he still hopes to realize her dream.
(B) What I call victimism means that the victim unwittingly chooses to stay in his or her role as victim because that identity sometimes opens an almost inexhaustible “credit line” of sympathy from others. In victimism, the victim receives his or her identity solely through victimhood. Thus, it can happen that the victim is not prepared to accept any form of excuse or reparation. Victimism gives the perpetrator no exit; he or she is forever and completely identified with evil acts and thus is forced into a defensive position characterized by self-righteousness. But victimsm also gives the victim no exit; the victim’s life becomes totally determined and ruled by the endured evil. The determination not to grant the perpetrator a “posthumous victory” may even become the victim’s primary reason for living. Such victims invest all their energies in the everlasting story of their victimhood instead of working on their traumas. The ironic result is that the perpetrator gains immense and lasting control over the victim. Through forgiveness the victim can make himself or herself independent of the perpetrator. Moreover, the greatest harm produced by victimism is that it destroys the inner freedom of the victim. The victim links his or her future to that of the perpetrator and becomes dependent on the perpetrator’s whim. Victimism then cannot allow for the possibility of accepting an interaction between the past event and the future, between the victim’s own suffering and the suffering of others. The present is dominated by the past. It is only through forgiveness that the victim can be freed from the crushing link with the past and from his or her dependence on the perpetrator. However, when it comes to the case of Holocaust survivors, one can understand how difficult it is to extort forgiveness from the victim who is still suffering from traumatic memories. Then, a key question remains: does such a release from the backbreaking weight of the past necessarily mean that “forgiveness” implies “forgetting”?
Tasks for the Presentation
1. Examine the two different attitudes, each of which is underlined in (A), toward live performances of Wagner in Israel within the context of “victimism” presented in (B).
2. Figure out your own answer to the question posed at the end of (B) by differentiating “forgiveness” from “forgetting.”
2) 평가기준과 예시답안
a) 평가기준
- 내용의 정합성과 지문에 대한 이해
- 사고의 심도와 논리성
- 영어능력
b) 예시답안
Main Contents of the Presentation
1. The very notion of "victimism" problematizes the ways in which the victim is caught up in the frame of victimhood by positioning him- or herself as a victim. What this frame ironically entails are that the position of victim is itself authorized by the existing power of the perpetrator over the victim, and that the victim can never have an opportunity to work through his or her traumas. The possibility of reconciliation between victim and perpetrator and an interaction between past and future is thus foreclosed as long as the victim defines his or her own role as victim solely through victimhood.
Viewed in this light, what is missing in the protest of Ben-Zion Leitner shouting, "Play Wagner over my body," is an effort for an integral transformation of the relation between victim and perpetrator. While Leitner's moral anger is quite understandable, it is also necessary for him to decide at some point to transcend his resentment to transform hate into a desire for justice. In contrast, the idea of Asher Fisch's mother that her son's conducting Wagner in Israel can lead to an ultimate victory over Hitler opens up a space for forgiveness to be a healing act. It opens the past in the direction of the future by establishing distance from the past without denying the past and blocking the future instead of emphasizing everlasting victimhood.
2. If it makes an imposition on the victim, the very concept of forgiveness itself can be compromised. While reconciliation is impossible without forgiveness, forgiveness should be a matter of releasing oneself from resentment, anger, and hatred rather than a matter of letting bygones be bygones. In addition, it should include a recognition of the perpetrator's repentance that is genuine. In this sense, forgiveness is radically different from forgetting (historical amnesia), which seeks to erase not only the burden of guilt but the facts themselves.
Forgiveness is the opposite of an escape into forgetting in the paradoxical sense that one can forgive only things which cannot be forgotten. At its best, forgiveness can be a creative process in which negative energy is transformed into positive energy that opens up the future―a process of involvement in and detachment from the past to produce an interpretation of the past that is not reproductive but productive.