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In this paper the writer intends to read the ten cantos in The Fifth Decad of Cantos by Ezra Pound, published in 1937. The first three cantos, that is, Cantos 42, 43 and 44 are on the foundation of the Monte dei Paschi in Siena by Ferdinand 11, the Great Duke of Tuscany in the seventeenth century and on the achievement of Pietro Leopoldo, the Great Duke of Tuscany in the eighteenth century; the next two, Cantos 45 and 46 are impassioned accusations against usury; Canto 47 is on Pound/Odysseus's sailing after knowledge; Canto 48 is on good men and bad men and on the sense of loss; Canto 49, 'the seven Lakes canto, is on peace of men living in harmony with Nature; Canto 50 is descriptions of Pound's, or Zobi's heroes, Leopoldo, Washington and Napoleon; and lastly, Canto 51 is again on usury and on 'intellectus adeptus.' They are full of confusions: syntactic ellipses, omission of punctuation marks and errors and distortions in spelling and in names. They are intentional and even inevitable to give living knowledge.

The purpose of this study is to analyze the style and technique in Hemingiway's major short stories, such as "The Killers," "A Clean Well-Lighted Place," "The Undefeated," "The Snows of Kilimanjaro," and "Big Two-Hearted River." The root of Hemingway's style and technique is his unique Iceberg Theory, which is produced directly from Cezanne's modern space conception. This theory produces many forms of techniques and styles. I classified these styles and techniques into three sections, and analyzed the kept or unkept aspects of his Iceberg Theory techniques in the above short stories. The first section is composed of simplicity, omission, simple and rhythmic sequence, objective correlative, understatement, and symbolic image technique. These techniques are active in the five successful short stories. For example, in "The Killers," in the expression of the theme of this work-the discovery of evil-Hemingway treated understatement, sequence of motion, and objective correlative such as the towel, Andreson's wall, and Max or Al's symbolic action. Also, in "A Clean, Well-Lighted Place" the first section techniques are well balanced, and understatement is distinguished in expressing the older waiter's inner state of mind toward the old man, and in expressing the character of old man. The second section, including picturesqe expression, expressionistic representation, and contrast, arc active also. For instance, "Big Two-Hearted River" shows Cezanne's picturesque expression in delivering the landscape of Seney. And expressionistic representation and contrast are found in expressing the emotion of the characters, older waiter, younger waiter, and old man in "A Clean, Well-Lighted Place. " The third section, involving rhythmic sentence and the proper mixture of forward and backward movement of narration, are likewise active. For example, in "The Undefeated" the rhythm of repetition, pronunciation, or meaning is notable. And "The Snows of Kilimanjaro" and "The Killers" show the balance of forward and backward movement of narration. In short, Hemingway's style and technique are well balanced in his major short stories. Accordingly, the best of Hemingway's works is in his major short stories, as well as in his successful novels and novella.

It is by now a commonplace mass communication technology such as film and TV have generated the changes in our consciousness of the contemporary world. Film and novel are a kind of popular art depending on a mass audience or reading public to function economically and operate on the same psychological, sociological, and aesthetic principle. There exist interesting paralles and affinity between the novel and the film. Historically, a close relationship is shown from the beginning and the reciprocity manifested itself from any point of view ; in the number of films based on novels, box office receipt for filmed novels and the film-maker's search for film equivalents of literature etc. First of all the retified or spatial form of narrative is characteristic of much of fiction designated as modern. This trend begins in the latter part of nineteenth century and continues into the twentieth century and on the present day. This retified or spatial form we can call 'cinematographic' is a way of transcribing the narrative not as a story that is told but as an action or object that is portrayed and presented, and this is achieved by the visualization of the events. The Russian formalistic view-point corresponds to what the label 'cinematographic' means also. In the modem concept of time the basic element is simultaneity and its nature consists in the spatialization of the temporal element. The montage technique in terms of the new concept is the fundamental formative element in both the cinematic and novelistic narrative. Most of modem novelists employ a number of devices analogus to those used by film directors, particulary the montage technique, The writer can approximate film montage by using two basic method : one is the time-montage in which the subject remains fixed in space while his consciousness moves in time and the other is the space-montage in which time remains fixed while spatial element change. Montage can be defined as the metonymic and synicdochic combination of elements that forms a unified whole, a single image. Novelist have sought to become a camera in order to write novels to be seen instead of told. Novel and film are based on the same principle of the expressive form and way in narrative.

What is characteristic about Shange's dramatic discourse is its discursive diversity. The discursive diversity of her writing might be considered in the context of the multi-layered otherness that black women have experienced in the relation not only with black/white men, but with white women. In boogie woogie landscapes and spell #7 shows Shange an suggestive example of black feminist writing. She sticks to the poetic discourse as an axe of the overall web of her play. This poetic form is a lucid reflection of her challenging effort to be an conscious outsider from the convention of "phallocentric" representation of the European theatre. Her emphasis on music and dance is not only rooted in the black American aesthetics, but also consistent with the inclinations of feminist eclectic writing. She refuses to adopt the standard syntactic structure and grammar, which is also a kind of evidence that she disrupts the general consensus of language usage on purpose. Shange avoids the dramatic convention of realistic drama. She does not stick to the scheme of consistent plot and character development. She presents a series of episodic scenes with every intention to reflect the actual experience of the black women in American society. She tries to place the authorship among the black women audience. She realizes that the genuine authority of black feminist writing lies in the ritual response among the audience. She decreases the distance between playwright and actress, actress and character, to build without distortion or protection the stories told on stage from the experience of those who make theatre. The open-ended structure of her plays encourages the black women audience to build and formulate alternatives to the oppressive system of race/gender hierarchy.

The purpose of this paper is to illuminate the influence of Zen Buddhism on Yeats's later poetry. Yeats's poetic life can be described as a revolt against dualism. Various artists and philosophers influenced Yeats in his overcoming dualistic conflicts: Pre-Raphaelites, Nietzche, and Heraclitus, among others. It is, however, Zen Buddhism that exerted a great deal of influence in his later poetry. Yeats especially read Daisetz Teitaro Suzuki's Essays in Zen Buddhism, the First Series in 1927; its influence can be traced in many of his later poems: "A Dialogue of Self and Soul," "Byzantium," "The Gyres," "Lapis Lazuli," "Man and the Echo," "Under Ben Bulben," etc. As expressed in Yeats's later poems, the ideal of Zen Buddhism is accepting the world as it is, and breaking/transcending the barrier between the known and the knower, the world of Being (nirvana) and the world of becoming (samsara), and ultimately life and death. Yeats's poetic mask revealed in his later career is that of Zen monk who approaches the reality with "No-mindness": going beyond the dualism of all forms of life and death, good and evil, being and non-being.

Buber's concept of dialogic imagination can be traced back to German philosophers, particularly the Jewish philosopher and theologian Martin Buber in whose thought dialogue occupies a central place. Just as Buber distinguishes human relationship into "I-Thou" and "I-It", Bakhtin differentiates novelists: dialogic novelists like Dostoevsky and monologic novelists like Tolstoy. Discussing affinity and difference between Buber and Bakhtin, this paper tries to locate Bakhtin's epistemological concern in his philosophical precursor, Martin Buber. The main thrust of the paper is to argue that if we do not attend to Bakhtin's philosophical mentor, his dialogism cannot be fully grasped and appreciated.

A fundamental fact of human existence is that we have no access to nature or to another mind, or even to our own mind, except through signs. The study of signs thus becomes an attempt to understand a system presumed to mediate between the human perspective and reality--a system we use to describe as well as to construct. This paper presents an opportunity for discussing, under the headings of salient Saussurean and Peircean ideas and Russian formalism, a number of influential assumptions that semioticians continue to make or modify. There is no doubt that semiotics is very important in relation to the theory of literature, for it offers a kind of broader, more general analysis of a work of literature. This becomes obvious when a comparison is made with other approaches, the theoretical foundations of which were often based on onesided analyses of one of the functions of signs. The study of this polysemic versatality of a single sign increases our capacity to penetrate the semantics of a literary text. This perspective helps us to explore an area of the incorporation of heterogeneous literary texts in the text under study. Particularly stimulating work along these lines has been done by Mukarovsky, Lotman, Barthes, Culler, Kristeva and Michael Riffaterre, etc.

Love as it appeared in all the characters in the Tudor revenge plays, Gorboduc, The Spanish Tragedy, and The Jew of Malta, which I have discussed is devalued or degenerated by deflecting love into revenge. This deflection of love ostensibly seems to depend on each character's will or nature, but is influenced by the external events and the conventions of the society he belongs to. The lack of God-like love in Tudor drama is assumed to be one of the reasons for the degeneration of love into revenge, hate, and murder, the deflected form of it. In Tudor drama A Woman Killed With Kindness which is a romantic drama is considered to present the ideal of love for the Tudor period and a social value of love which is not classical, but is a form of civility. Although none of these three plays shows the real principle of order in the universe, they implicate the moral policy and the system of justice in the Tudor period. The weakness of human beings in carrying out moral justice depends on the custom and the law of nature without knowing the certain barrier between the custom and the law of nature. The ignorance of the custom and the law of nature brings revenge and the revenge is rationalized in the custom or in the name of God as the law of nature when the moral configuration is equivocal psychologically and politically or aesthetically. The love in these three plays appears as the cause or trigger of revenge rather than as the reconciling force, depicts an overall picture of deflected and degenerated love. The deflected and degenerated love results from the political, economic, and social policy of the Tudor, and partly from the confusion of an opaque moral connotation between God's like love and selfish one.

Many of Atwood's novels and short stories feature female protagonists who are very much aware of the "conventional" nature of reality and hence of its capacity for change: they often compare reality to language and try to modify its construction, as it were, for a more fulfilling and sane life for themselves and for the rest of humanity. This "linguistic" approach to life and their attempts to defy its rigid "grammar" are bound to meet considerable resistance and these female characters are often perceived as crazy or at least weird. The anonymous heroine of Surfacing is one of such characters and her actions in the climax of the novel are, for all practical purposes, those of lunacy: she destroys "everything from history," both personal and public, including books, and refuses to speak human language because she believes language "divides is into fragments." She eats, sleeps, acts, feels like an animal for a period of time and dreams of raising her baby in a state of nature with no intervention of language, and hence that of culture. In other words, she wishes to achieve a new kind of life in which language and everything it implies and entails would be irrelevant. After a while, however, she comes to realize that these desperate efforts to break out of the unbearable constellation of personal and social causes that have been turning her into a sort of a machine would get her nowhere because they would only expose her to a greater hazard, i. e. that of mental asylum where she would be only a victim with no chance to improve the status quo in both personal and cultural level. She therefore decides to return to the city and the present tense where she would have someone to speak to and the language to make herself understood, which she realizes is the society's definition of sanity. This violent experiment of defying language and coming back into it is reminiscent of Lacna's conception of child development in which the most conspicuous feature is a child's entrance into language via a painful realization that the sign (image) and referent (being) are not coterminous and its desire and fantasy may not be entirely fulfilled. Like Lacan's child, the heroine of Suqacing comes to the tragic awareness that language whose essence is separation and absence is the ineluctable condition human beings are born into and any attempt to escape it would only lead to insanity and isolation.

셸리는 그의 이상주의적인 시적 경향으로 인해 당대에 대중적인 인기를 누리지 못했다. 그를 가리켜 "빛나는 날개를 헛되이 퍼덕이는 아름다운 천사"라고 평하고 있는 아놀드의 반응이 당시의 그에 대한 비평을 대표한다. 이러한 열성적 도덕 교사로서의 그의 모습은 Prometheus Unbound 에서는 이상주의적 완전성을 극도로 강조한 신화적 세계를 통해서, 그리고 Cenci에서 보여지는 가부장적 독재의 지극히 어두운 악마적인 힘의 묘사에서 잘 나타난다. 이렇게 양극화된 단순한 선악의 관념에 독자들은 능동적으로 끼여들어 시의 의미가 전개되는 과정에 참여하기가 어렵다. 독자의 참여가 배제된 이상적 관념이 인기를 누릴 수 없게 되고 그들의 반응을 얻지 못하면 그 이상주의는 현실적 변혁 가능성을 상실하게 되는 데에 셸리의 고민이 있었다. 그의 세계는 블레이크의 "상반되는 힘의 상호작용이 표출하는 유가적 약동성"이나 예이츠의 "자가당착적인 활달성"이 가진 독자를 끄는 흡인력이 부족했다. 예술적인 구조 안에서 이상주의를 현실의 변혁 요구와 부합시키려는 그의 고민이 훌륭하게 열매맺은 것이 장시 "줄리언과 마달로"다. 바이런적 비극적 영웅주의와 셸리적 이상주의적 사색이 상호 교차하여 의미의 망을 풍요롭게 만든다. 이는 셸리의 마음이 빚어낸 두 개의 자아, 예이츠식으로 말하면 자아와 반자아의 얽힘이다. 그는 이 배타적인 힘의 상호 교호작용에 관계하여 결론을 강요하려 했던 과거의 자세를 버리고 이 틈사이에 독자가 끼여들게 만든다. 셸리는 이 시의 서문에서독자가 시의 의미 구조 과정에서 배제된다면 그의 시는 단지 종이 뭉치에 불과하다는 사실을 인정하고 있다. 이 점에서 우리는 그의 시와 볼프강 이저가 주장하였던 독자반응비평이 교차하고 있음을 발견한다. 셸리와 이저는 일상성의 막을 벗기려는 노력이 예술적 구조에서 나타난다고 보고 있는데 이는 소위 "낯설게하기" 기법에 대한 공통된 이해에서 비롯된다. 이 시의 내용은 비현실적 이상주의와 비관적 현실주의의 병렬적 전개이다. 여러 관점들간에 비확정요소가 확대 반전 또는 얽힘의 연속을 형성하여 독자를 다양한 환경에 위치시키고 진부한 관점을 새롭게 인식하게 만든다. 이저는 독자가 독서행위중에 표상화 작용이 일어나고 주요소들간의 전경화와 후경화가 일어나면서 기억과 기대의 복합체가 쉴새 없이 그 모습을 바꾸는 독서과정의 현상학을 정립하고 있다. 시에서는 강력한 두 사상이 낙원과 납골당의 이미지로 형상화하고 이들의 충돌은 어떤 광인의 비극에서 얽힌다. 운명과 이상의 간격에서 미쳐 버린 그를 보고 줄리언은 현실적인 구원 의지의 결핍을 드러내고 마달로는 이상적 기대가 상실된 현실을 있는그대로 수용하는 상황을 도출한다. 광인이 상인하는 어두운 현실은 마달로의 아름다운 딸에 의해 균형을 이루게 되는데 이 과정에서 독자는 심리적으로 몰입하여 감동과 의식의 확대를 경험한다. 예술작품안에서 독자의 현상학적 독서행위는 완결되지 않는데 이는 예술이 이상과 현실의 긴장과 거리를 새롭게 드러냄으로 독자를 미확정의 풍요한 세계로 이끄는 힘을 결코 잃는 일이 없기 때문이다. 셸리의 시는 독서행위중에 일어나는 의미창조행위를 잘 구현한 시다. 단 독자는 예이츠가 요구하는 그 창조적 정신, 즉 상상력이 있을 때 그렇다는 말이다.

The aim of this paper is to present Frost's View of Nature and Man. He had a warm voice and loved man's life in wild nature. Frost was a popular and pastoral poet of America in the twentieth century. He described the rural life and landscape in New England with a pure experience and in realistic style. Frost seldom described nature without man in his poems even though he was a nature poet. Frost observed nature with objective, lukewarm, and behavior attitude. He described man and nature with a contrastive attitude. Frost described the poet's having to go some miles before sleeping because of his promise though "woods are lovely and beauteous" . In his poems, nature is the background of man and man is the center of the poem. He worked all sort of labor as a boy, therefore he described the joy of labour's in his poems. The labour's fact of Frost's poems suggested the sweetest dream, peace, comfort and rest. Frost described the attitude of man. First, He, in his works, suggested courage against confusion. He seems as brave man and a bold man. What a person does - how he acts - When he is frightened tells a great about his character. In "Out, Out" instead of pouring out their grief, the boy's family simply take up their work again. He gives us courage temper that makes the living return to our affairs. Second, he described that man's cooperative spirit and man work together, and he does not feel a love but a joy with a companion. Last, he described man's moral sense even though he took a lukewarm attitude. Frost emphasized human ethics rather than fascination with the beauty of nature. He chose man or man's promise rather than nature or nature's beauty.

From his early childhood, Greene thinks that this world is full of evils and sins, miseries and misfortunes. He regards this world as the deserted land, "Greeneland", which God has lost attention to. He tries to search for the light of salvation from catholicism. Autually he converts to catholic church in 1926. But as a novelist he can not write novels conforming the catholic dogma which is taught in church. He thinks that the person who should' propagandize the decrees of church is not a novelist but a religious man. As a imaginative writer, Greene does not confine his ideas within the dogma of church. For this reason, he is often treated as a heretic. Greene pays close attention to man himself rather than the surroundings out of man. In Brighton Rock the protagonist, Pinkie has the satanic image. He meets the innocent girl, Rose, who looks like God's shadow. Pinkie is going to injury Rose but Rose loves him sincerely. At last Pinkie is embraced by Rose's lovely heart. In other words, he is embraced by God's Grace. In The Power and the Glory, the whiskey Priest undertakes his duty as a slave of God in spite of the adversity. In The Heart of the Matter Scobie dies because of the pity for others. In The End of the Affair Sarah dies to keep her promise with God. Sarah's lover, Bendrix returns to God in spite of his cold rationalism through Sarah's devotion. In A Burnt-Out Case Querry gains faith in God again after he has lost his fame of work and the desire for women. Greene's characters are all losers but they return to God by means of their failures. In fact they win the victory of life.

Modern man had lost his faith and his sense of belonging which once were the concomitants of his primitive oneness with nature. This sense of alienation caused a factor of conflict. Despite material richness and comfort he lost his sense of self and life's meaning. The complexity of society and the development of science decreased both the degnity of man and his sense of belonging. He is eager to belong to something which may help him to recover his sense of alienation. Eugene O'Neill's plays reveal a keen sense of loss of connection whth God, nature, society, and family. For Q'Neill the first factor of his sense of alienation was real and psychological homelessness. The second was his unconquerable obsession as an unwanted child who could not belong. The third was his sense of loss and betrayal from his mother. Through his plays O'Neill endeavored to find the oneness and the sense of belonging in his family. He tried to belong to sumething and find an affirmative and reliable answer. For O'Neill traged is fatalistic. Though his characters seem to be hopeless, this tragic thing is real and has meaning. O'Neill's tragic view is that the noblest is the most tragic forever. In a word, O'Neill's philosophy is a theory that hope can be drawn from hopelessness, and a belief that physical defeat itself can be success from a mental point of view. Through inner reflection man can gain the deepest world of life. All man can really hope to belong to is himself. His sickness unto death is not his sense of alienation and anxiety, but his lack at willing to be oneself. He must create his own values and impose upon his universe whatever significance and whatever order he expects to adopt as a reason of being. Self-recognition through the acceptance of reality in both Desire under the Elms and All God's Chillun Got Wings is ture salvation. For the people who, having lost God, have no way leading to salvation, pity, comprehension, and love are absolutely necessary things to get salvation among them. As long as man's life lasts, though he is lost, the hope to belong to still remains.

The purpose of this study is to examine the validity of Chomsky's Binding theory in determining the relation Between anaphor and its antecedent and to solve their problems on the syntactic level. This relation is described by the Binding theory, one of the Subsystems of Universal Grammar (UG: bounding theory, theta- theory, case theory, control theory, binding theory, government theory). Chomsky's binding theory is originated Specified Subject Condition (SSC) and Tensed-S Condition (TSC) imposed on movement conditions. He proposed to reformulate the SSC and TSC as the opacity condition and Nominative Island Condition, respectively along with the general of case assignment. Chomsky basically supposes the notion of 'Subject' in determining the relation between nominal expressions and their antencedents. It is well manifested through the NIC and SSC of Chomsky (19801, the Governing Category with accessible SUBJECT in Chomsky (1981 ). On the basis of subject, Chomsky constructs an interpretive domain and tries to associate nominal expressions with their antecedent domain, by means of coreferentially in the case of anaphors and disjoint reference in the case of pronoun. The notion of accessible SUBJECT within governing category is very important to anaphor. However, using the notion of accessible SUBJECT gives wrong result. In the searching for the solutions in these constructions, various view of the Binding Theory put forth by Manzini, Huang, and Bouahard are surveyed and the explanatory powers of the views are compared with example testings. Particularily, Bouchard's binding theory has explanatory adquacy of anaphor. He classified anphor into 3 levels: syntatic, semantic and morphological (true or false). Anaphor has the following properties on a syntatic level. 1) have an antecedent 2) must be c-command by its antecedent 3) its antecedeent must be contained in some specific domain In this theses, I have presented three problems for the analysis of anaphor . 1) not all PPs are same with respect to accepting reflexives and pronouns 2) reflexives do not always pattern with reciprocal 3) using the notion of accessible SUBJECT gives wrong wrong result. So these problems can be solved combining the two theories of Bouchard and Chomsky.

This thesis aims 1) to compare the curriculum of the department of English education in some Korean university and American university and to reestablish the curriculum of English education in Korea, and 2) to develop how to become proficient English teachers, It is necessary to extend world-wide competitive power politically and economically through English education in Korea. In the world-wide society we must be able to communicate each other in English fluently. Moreover, we must listen and speak English, world-wide official language, as a second language level. Threfore we have to teach and learn English through English harder recently than past times in English classes in English language courses.

Foreign language learning is a complex process including a variety of factors to succeed in it. Traditionally TEFL has mainly dealt with two facets of the language learning--behavioral and cognitive domains--neglecting affective factors such as motivation, self-esteem, anxiety, etc.. Foreign language teachers have to concerned with their student's wholeness and different emotional needs as human beings. Especially the affective factors are more important in adult foreing language learning than in any other learning environment. Too much emphasis only on behavioral and cognitive theories of language learning, excluding a role of affectivity, will not fully accomplish the task of mastering foreign languages indispensable to global commication in the future. In this study I try to make English teachers recognize the importance of affective factors in their classes and introduce teaching methods concerned with the factors. Careful, systematic study of the role of affectivity in foreign language learning will surely lead to a greater understanding of the language learning process and to improved language teaching methods.

이 글에서는 한국학생들과 필리핀학생들의 문화나 전공에 관한 배경지식이 독해력에 어떠한 영향을 끼치는 가를 살펴보았다. 한국학생들은 당시 필리핀국립대학교의 '집중영어회화' 프로그램에서 공부를 하고 있었고, 필리핀 학생들은 이 대학의 학생들이었다. 각각 40명의 학생들이 이 연구에 응했다. 학생들의 배경지식의 중요성을 조사하기 위해서 사용된 도구는 문화적인 요소가 잘 반영된 5개의 한국민화와 5개의 필리핀민화였다. 또한 학생들의 전공에 대한 지식이 독해력에 미치는 영향을 시험하기 위해서 사회과학과 자연과학분야에서 각각 5개씩의 지문이 사용되었다. 시험은 객관식과 지문을 읽은 후 기억한 것을 쓰는 형식으로 진행되었다. 시험 결과 한국 학생들은 필리핀 민화에서 보다 한국의 민화에서 높은 점수를 얻었다. 쓰기 테스트의 경우 문법적으로 정확하지는 않았지만, 적어도 중요한 것은 표현할 수 있는 능력을 가지고 있었다. 그 이유는 사용된 지문이 별로 전문적인 내용이 아니라는 것이 밝혀졌다. 필리핀 학생들의 경우는, 이미 영어가 어느 정도의 수준에 도달했기 때문에, 민화나 전공의 배경지식이 독해력테스트에 있어서 통계학적으로 별로 차이가 없었다. 이 실험을 통해서 한국 학생들의 경우는 한국문화에 대한 배경지식이 독해력에 많은 영향을 끼친다는 것이 입증되었다.

In this paper, I try to predict the problems Korean students might have in learning English intonation, to ascertain the problems through acoustic experiment, and to propose an efficient teaching method of English intonation, using personal computer High speed speech analysis system using personal computer(PC) is used in this experiment to get acoustic data of English intonation. Five. sentences of different patterns are selected: indicative, imperative, wh-question, yes-no question and emphatic. A native American speaker are asked to pronounce the above sentences three times to make the model English intonation contour of each sentence. And then 2 Korean subjects are also asked to pronounce thc chosen English sentences to ascertain their errors in intonation patterns. The speech sound is inputted into the computer and then thc intonation contour is represented in the monitor. Finally above 2 Korean subjects are asked to pronounce the chosen English sentences five times to ten times again, identifying their errored intonation contours. It is to correct their errors in English intonation. As a conclusion, I recommends that the high speed speech analysis system using PC be very useful and efficient in correcting Korean's errors in English intonation.