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Wordsworth showed his philosophical thought about the relation between man and nature in his poetry. Specially, his central subjects was those of eternity and existence. He used a term of spot of time as a mean of revealing his theme. Spot of time meant a moment that had a perceptible separateness from the general flow of time. Wordsworth had a special kind of awareness of the reality and unity of the universe and saw into the life of things in that moment. And the effects of the moment was benefical and lasting. This study aimed at the psychological process on spot of time in "lines composed a few lines miles above Tintern Abbey." I adopted Kierkegaard's terms to this study because his terms enlightened Wordsworth's psychological process of awareness of nature. Repetition, one of the Kierkegaard's terms, which had the same meaning with spot of time in wordsworth, concerned an eternal truth, God. Repetition passed through several stages in order to obtain the truth. The first stage was an aesthetic stage, second was an ethical stage and the third was a religious stage. The psychological process on spot of time in "Tintern Abbey" passed through these stages. Wordsworth had a new and changing awareness of nature with these stages. At the first stage, he recognized nature as sensual pleasure. He accepted nature in harmony with man at the second stage. lastly, he saw a spirit in nature, From this result of this study, we can reassume that Wordsworth is a great philosophical poet not a simple and sentimental past poet.

One of the main themes in Euripides's plays is woman in suffering. It is in his treatment of abused and wronged women that Euripides shows his keenest insights. In the Alcestis, Hippolytus, The Medea, The Trojan Women, his understanding of women and their situations is admirable. He has sympathy for all the victims of society, including womankind. In this point Euripides presents his uniqueness among all the Greek writers. His last and posthumous play Iphigenia in Aulis also shows his sympathy for women as the victim sufferers. The chorus are the women of Chalcis in Euboea who have crossed over to Aulis. The women surprised at the news of war and came to see the Greek ships for Troy and the heroes in the quest of Helen. They are young wives and common people who have the universal viewpoints and desires with which Euripides agrees. The songs they sing are hymns to happy home and modest passion, and prayers for joyful return. It is Clytemnestra who is the most impressive person in this play, not Iphigenia nor Agamemnon. Her anger, pain, and desperation are vividly expressed and have an appeal to the audience. She is a person who has dauntlessness and dignity. She is not a weak woman. But that she can not defend her most precious daughter proves the vulnerable status of the Greek woman. The defeat of Clytemnestra who is a queen and proud woman is more shocking than the death of Iphigenia who seems obedient and docile. Iphigenia is a symbol of an innocent victim. The why she is sacrificed is that the Greek troops want to leave for Troy at any cost. Every society has made its victims from the weak. The demand on a man to murder his brothers and children and kin with the name of love of his country, love of his people, and civilization is the act of uncivilization. Through the sacrifice of Iphigenia Euripides makes us to remind of the suffering of the innocent victims in all ages

The aim of this papers is to study the basic purpose that we consider the problem of interpretation in the text that deconstruction has practiced in many fields. The preeminent deconstructor, J. Hillis Miller, explains that deconstrution is not a dismantling of the structure of a text, but a demonstration that it dismantled itself. To deconstruct a text isn't to show all the high old context to be found in it. Rather, it is to show that a text can have intertwined discourses, strands of narrative, and threads of meaning. For critics practicing deconstruction, a literary text is neither a sphere nor an unbroken line with a definite beginning and end. A text consists the something inscribed in and inextricable from the myriad discourses that inform it. A unique of text hermetically sealed space. As it is perpetually opened to be seen in the contexts, and given text has the potential to be different from each time it is read. Deconstructors often turn to etymology, not to help them decide whether a means this or that, but rather as a way of revealing the several coincidence in the same text. Deconstruction is not really interpretation, the act of choosing among possible meanings. The purpose of deconstruction is to show the literature from structures of language which contradict the law of non-contradiction.

The Crucible was written and produced during the McCarthy witch hunt of early fifties and this was a kind of political parable. This work is the dramatization of Salem witch hunt in New England theocratic community in the seventeenth century. The witch hunt of Salem begins from little girls' simple sport (or picnic) in a dark forest. This happening is interpretated as a profane ceremony by the Salem community. When Reverend John Hale and Salem people threaten Negro woman Tituba and girls to confess a witchcraft, the women pretend to he ohsessed by the devil for the fear of punishment. The men of Salem have evolved a patriarchy that reposes all social, political, and religious power in male hands, disempowering the women to the status of children. And silly accusations of witchcraft by some mischievious girls in puritan mask graduallv take possession of Salem. The Reverend Hale who is proud of witch expert himself sets fire in witch hunt and the ambitious minister Parris, the greedy Putnam, the envious Abigail, each of whom uses this situation to his[her] own advantage. The villainous judge Danforth enforces severe punishement with his political authority ignoring the appearance and the reality of witch hunt. In brief, Salem witch hunt is a mixture of private and public hysteria. In many cases there had been antecedent personal quarrels, so occasions of revenge followed; for some of those condemned had been suspected by their neighbours for several years with bitter rancor. John Proctor's affair with the young Abigail makes him endangered to death. When he is finally faced with the choice of death or confession (that he consorted with the Devil), he prefers death. The Crucible is a meaningful drama becuase it shows that every man high and low has the seed of hysteria which may cause other people to be victimized or victimize himself.

Man is deeply conscious of the passing of time. With each tick of the clock, he progresses a step farther down time's corridor, whose finality is death. We live in a momentary present, which is in motion, flowing continually into the past. Time is as unfathomable as space. Walt Whitman and Dylan Thomas were obsessed by the thought of time and death. Through "Out of Cradle Endlessly Rocking" and "Fern Hill" the two poets' concept of time and acceptance of death can be traced by the symbols and imageries of their poems respectively. Whitman's recollection of the early childhood awakens the poetic vision of the boy poet, and the recollection itself becomes the process of mature poetic creation. Through sad experience he reconciles love with loss, life with death, and time with eternity. At the end of the poem, the poet accepts death as a means of fulfillment and completion of life. Thomas tried to identify the nature and reality of time, which was too mysterious for him to penetrate. At first he considered time as a destroyer, a thief, or an enemy. He escaped from the world of physical time to that of timelessness, that is, the world of a child where time seemed to stop. But he was forced to return to the world of physical time only to realize he should accept the human condition. He accepts the fact that time is related to life and death, destruction and creation, simultaneously. Whitman and Thomas tried to grasp the meaning of human existence, which led them to realize the dualistic nature of time. Finally they both accept death as one of human conditions.

This paper examines the main feature of Joseph Conrad's Heart of Darkness, especially "double plot" through his new style. Conrad offers himself from the first as a dogged innovator of fictional techniques, like his own Kurtz one of the first through explores of a rather dark continent; and it is tempting to read him for the sophisticated pleasure one takes in recognizing novel and schematizable, if not necessarily expressive, method. Conrad's innovation-or, in any case, the fictional technique that he exploited with unprecedented thoroughness-is the double plot: neither allegory (where surface is something teasing, to be got though), nor catch- all symbolism (where every knowing particular signifies some universal or other), but a developing order of actions spirit-from moment to moment, so morally identifiable-as to suggest the conditions of allegory without forfeiting or even something the realistic "superficial" claim of the actions and their actors. In Heart of Darkness, Conrad is neither cynical nor laxly sentimental in his failure of imagination and corresponding failure of technique. The theme is much for him, too much for perhaps any but the very greatest dramatists and novelists. But his "new style" has been regarded as the first attempt leading a new area in English novel.

The aim of this thesis is to study Thomas Hardy's Tragic Sense in the center of The Return of The Native. Hardy's tragic vision of life is an essential part of his artistic works not only as a philosophical theory but also as a means of achieving his art. In Hardy's literary world, man is of the smallest importance. His characters are at the mercy of some other unavoidable power than man's own will. Man's struggle is not chiefly with his fellows, and the perversity of his lot is not generally of his own making. Hardy's novels are related to each other by his view of point of fatalism. Hardy's personal creed seems to be in harmony with the mood of the nineteenth century. The influence of Schopenhauer, with his presentation of life as the result of "a blind will to live" manifesting itself ruthlessly in defiance of man's conscious reason, counts for much in determining pessimistic spirit of those days. The Return of the Native can he said as a whole to be a continuous record of Eustacia's vain attempt to escape from the limitations of Edgon Heath through the means of love, and that struggle is the key to all her tug-of war with Wildeve and Clym. The novel ends with three deaths. In this novel, there is something powerful that controls man's destiny. In this respect, Heartless circumstances have placed Eustacia Vye in a situation in which her gifts are a plague rather than a blessing. Natural law leads man from one mistake to another. Hardy tries to present the eternal reality of Nature. In The Return of the Native, Egdon Heath plays a part as a character, not only a setting. Hardy manifests that nothing in man is significant except race, sex, and the great servitude to time and nature. Hardy believes that nature is alive beyond our ordinary knowledge, and he wants to present one distinctive impression. Edgon Heath's dreary and sterile waste seems to symbolize the indifference with which nature views the pathetic fate of human beings. From this crude earth, Eustacia, Wildeve, Mrs. Yeobright, Clym, and all the rustics are born. Three of them die here and are taken back into the Heath. In The Return of the Native, there are two major characters whose desires and aims differ from each other. Eustacia always wants to leave the Edgon Heath that she dislikes so much, and she thinks that life in paris will be happy. Eustacia's longing for spiritual expansion leads her to play with the love of Wildeve, and for this reason, she later throws him over when she finds the greater promise in Clym, who comes back from the Paris to which she aspires. Thus Eustacia and Clym love each other and marry with different purposes. Clym's intention to correct the world's ills is too ideal when the Heath people's goals are considered. And Clym fails to understand that his pursuit of private happiness with Eustacia goes against his self-conceived social role. In the result, Eustacia's endless loinging leads her back again to Wildeve, and at last, when she loses all hope, she dies, complaining of her helpless fate. Man has a strong relation with nature in his destined fate. Hardy believes that man is part of nature. He doesn't think that a man can avoid the environment. Hardy's fatalism can be seen in The Return of the Native. Man's life is controlled by various agents of fate. Man's will is helpless before the agents of fate when his will rises against a certain Great Will that controls man's fate. Hardy calls this will 'Immanent Will' in his long epic, The Dynasts. In The Return of the Native, although Eustacia made efforts to escape from the Heath, she is helpless before the Immanent Will that controls man's fate. Eustacia's efforts result in her own death, and Clym's efforts bring disaster instead of realizing his ideal. Irrespective of man's will, all the human affairs are destined by the Immanent Will.

Lord Jim written by Joseph Conrad is a story about Jim, a sailor, who deserted his sinking ship, the Patna, where about eight hundred passengers were sleeping unaware of the crisis. There can be many points of view about Jim's betrayal. People such as the French Lieutenant who risked his life to draw the Patna to a harbour, take no excuse for Jim. They judge Jim's act merely by their severe moral code. But others have such an imagination that they come to identify themselves with Jim. As a result, they go through a drastic change in their lives. Marlow and Brierly are among them. At first, Marlow and Brierly are shocked at the darkness in the human mind mirrored through Jim's betrayal. And soon they come to consider Jim as their double. But they give very different responses to their double. The idealistic Brierly commits suicide because he is unable to cope with his darkness. On the contrary, Marlow is not paralyzed by his double. His moral courage makes him accept human darkness as a part of human condition. He even calls Jim "one of us." This means that he comes to get a deeper knowledge about the human mind. In a word, the meeting with their double, Jim, brings suicide to Brierly, mental maturity to Marlow.

Dramas have been written since classical Greek on the purpose that they are to be staged. These dramas have the reality showing our lives in real world, furnish entertainment, are thereby so popular that 'poet' has enjoyed drama genre throughout the history of literature. But modern 'poet' is interested in new genre rather than in drama so that the audience at a theatre is declining in popularity. Peter Brook, a famous English dramatist, is one of the dramatists who has the insight to see through the aspect of modern drama. He has groped his way towards the norm and the perpetuity of drama, set up a new horizon in drama. Peter Brook introduced many experimental techniques to the traditional dramas, changed the structure of the dramas to audience-oriented dramas from stage-oriented ones: from the relationship of drama-actor-audience to of actor-audience-director. He insists that a play be pursued to an endless changes to make it modernized. This tendency made it possible that the director in a play is considered to be more important than the dramatist. He is a professional performing artist who considers the meaning on the stage significant, not the text. A dramatist writes a play, but the one who lets the audience grip the meaning of a play is the director. His understanding about drama undermines the traditional structure of drama, preparing a cornerstone to a new form of drama, and bringing forth a new genre called performing art in which a dramatist has his own status.

Before he published his translations of Chinese poems, Cathay, Ezra Pound had adapted three pieces of Chinese poems from H. A. Giles' History of Chinese Literature: 'After Ch'u Yuan,' 'Liu Ch'e,' and 'Fan-Piece, for Her Imperial Lord.' Though he was ignorant of Chinese language at that time and later, he was quite ready to accept Chinese classics: Allen Upward's books on China were eye-openers to him: he read them and turned Confucian. Cathay comprises eighteen translaitons of nineteen Chinese poems out of some 150 Chinese poems annotated and transcribed by Ernest Fenollosa in his notebooks which were handed over to Pound by his widow in 1913. They were mainly from Li Po, eleven to be exact, or twelve, and the rest were from various sources: Shi Ching, old poem, and five poets, one anonymous among them, one from each. There are many errors in the translations. Some of them are so called howlers. They are mistakes and mistranslations which could have been easily avoided by a minimum of primary knowledge of the language. With the translations, Pound achieved what he could in English: clear-cut visual images, hard, dry, and precise. and lost what he should: a vision of human fate realized in the vastness of Chinese geography and history, which is the final beauty of the original poems. Pound believed an understanding of Confucianism, a few beginning lines of Ta Hsio could prevent the impendng World War. He translated three of Four Books: Th Hsio twice (as Ta Hio: The Great Learning in 1928 and as Ta Hsio: The Great Digest in 1947), Chung Yung: The Unwobbling Pivot in 1947, and The Analects in 1950; he did not rendered Mencius which is by far longer than the other three put together. The three books were published in one volume, titled Confucius in 1951. His 'ideogrammic method', begun earlier and destined to culminate in his renderings of ShiChing, was vigorously employed in the book. It is the method of juxtapositions without copula, characterized by 'the constant use of extreme ellipsis.' It is 'almost a shorthand.' Achilles Fang called it 'etymosinology.'

The task of this paper is to attempt a definiton of the term "poetic language" and explore what it is that differentiates poetic language from ordinary language, what the intrinsic linguistic properties and the internal structure of the text which make it a poem, and how abstract ideas are usually conceptualized spatially on the basis of Jakobson's linguistic poetics, Mukarvsky's aesthetic semiotics, Lotman's poetics and Leech's theory of deviation in poetry. The focus on the message, the use of equivalence relations as the constitutive device of the sequence, the delimitation between sign and object, the use of sound figures, and the use of grammatical parallelism-- all of these are definitions for the poetic function as a whole. For poetrv, the ordinary language is the background against which is reflected the esthetically intentional distortion of the linguistic components of the work, in other words, the intentional violation of the norm of the ordinary The violation of the norm of the ordinary, its systematic violation, is what makes possible the poetic utilization of language. The function of poetic language consists in the maximum of foregrounding of the utterance. In poetic language foregrounding achieves maximum intensity to the extent of pushing communication into the background as the objective of expression and of being used for its own sake. Poetic language is a different form of language with a different function from that of the ordinary.

The purpose of this study is to analyze the two narrative patterns, forward movement and backward movement, in Hemingway's novels. The creation of the two narrative patterns were influenced by Hemingway's time and rhythm. Hemingway's time is basically present or the now-time. If rapid tempo & time are immersed into a sentence, the sentence has sentence-rhythm or contraction. Reversely, the sentence becomes loosened or relaxed. If the sentence-rhythm technique is developed into paragraphs or overall work, there appears the two narrative patterns, forward movement and backward movement. If hero's present action is strengthened by rapid tempo or fast timing, the scene becomes forward movement. In contrast, if the time or strength of action is loosened or relaxed, the scene becomes backward movement. Therefore the former "signifies the actual happening and the stress and strain of relationships," whereas the latter occurs "when the individual is by himself." In scenes of backward movement, the protagonist tends to be introspective and penetrative in a passive way and he tries to make the most of his thought and situation. Also the spiritual action is brought to life in this backward movement. Hemingway installed the two narrative patterns in his successive works such as The Sun Also Rises, A Farewell to Arms, "The Killers," and The Old Man and the Sea. And Hemingway used these two narrative patterns to suggest his theme or idea. For example, his heroism is expressed in the forward movement, whereas the immortality of the soul expressed in the backward movement. Viewed in terms of theme or idea, the former is characteristic of activism while the latter is tinged with the problems of the universal or of "the mysterious Unknown." It is clear that Hemingway thought the backward movement more important than the forward movement. And I believe that passivity is vital to Hemingway's action and the passive hero is Hemingway's true protagonist. And also I affirm that the two narrative patterns were created with the bases of organic principle.

The Zoo story consists of three main parts. In the first part there are introduced to Jerry and Peter and to their differences with respect to person, background, economic status, literary taste, desire for communication, and so on. The second part deals with the story of Jerry and the dog, and the third part is death. This paper aims to analyze Jerry's ritual death. When Jerry encounter Peter by chance in central park. He speaks his story to Peter. Jerry's desire to reach beyond himself pulls an unwilling Peter steadily out of his isolated world into a new existence. As the play progresses, Jerry's intention gets effective. Transformation in Peter becomes visible. At the end of play Jerry commits suicide. What could be Jerry's self-annihilation suggest? By self-induced death, Jerry intends to awaken Peter to the reality of life. The central issues around which the play are isolation of modern life. Material illusion shattered and the search for transcendent meaning transferred from Jerry to Peter. There is a chance that ultimately society are revitalized. The Zoo Story isn't speaking about a denial of life. It is a genuine confrontation and commitment. The implication is that peter will no longer be able to continue death-in-life role he had been playing before he met jerry. Jerry is the founder of a new spiritual quest. The sacrifice necessary to transform Peter into maturity and autonomy. Jerry acts the role of guide who directs the uninitiated Peter.

Because the Industrialization and the Darwinism had destroyed all belief of Hardy's times, he believed that there was nothing that did not change in the world. Owing to this reason, the view of life which his poems and novels contained, he said, was really a series of fugitive impressions which he had never tried to co-ordinate. Thus, his poems and Jude the Obscure consisted of the "unadjusted impressions" of different characters. If a persistent change was one of the important principles in his times, such a change would be the reality which Hardy wanted to represent. Levine define that realism exists as a process, responsive to the changing nature of reality as the culture understood it. If we agree to Levine's opinion, we may say that he is a realist. Because he intended to find persistent wandering impressions in his changing times, he didn't present any resolution to and judgement on the problems of his own times. So his poems and Jude the Obscure can be valued Hardy's own effort that allowed his unadjusted and personal impressions about the atmosphere of his ages to have a shape and unity of their own.

William Blake has usually been called a revolutionary poet, who made a desperate effort to give his own new total vision of the psychological, political, economic, religious, and philosophical problems of his age. And his visionary works are yrophectic, suggesting a total diagnosis and prescription for the apocalyptic crisis based on his own beliefs and yearnings. It is natural to assume that his works should be political and ethical. And his last prophectic epic Jerusalem is no exception. 'The aim of this study is to examine the multi-dimensional meanings of forgiveness illustrated in William Blake's last 'sublime allegory' Jerusalem. In this "encyclopaedic work," Blake places a special emphasis on the 'gospel' of forgiveness as the basis of the sound relationships between father and son, man and woman, etc. For the integrated community, Blake believes, its members should be respected as an individual 'identity,' which should be distinguished from the 'state' an individual may fall into. This 'state' may be called a stage which could and should be overcome, not condemned. In the Blakean christianity the 'doctrine of state' is the very foundation for continual forgiveness The reading of Blake in this study is an attempt to create a synthetic perspective, which, however, could be achieved through exploring the aesthectic meaning of forgiveness with regards to his theory of imagination. 'Thus, this 'eclectic' reading of his last epic may be called the first step to grasp Blake's total vision of human liberation

Many critics consider Keats' odes to be among his greatest works of poetry. Each ode is a disvowal of a previous solution; but none could achieve its own momentary stability without the support of the antecedently constructed style. As other romantic poets do, Keats regards the imagination as the most important factor in creating poetry. After experiencing the aesthetic world by dint of imagination, Keats affirms and receives the real world. In "Ode to Psyche", Keats maintains that the poem is made by imagination. In "Ode to a Nightingale" and "Ode on a Grecian Urn", he maintains that the world of art and imagination is much more beautiful and eternal than sensual world. He concludes that Beauty is truth, truth is Beauty. However, In "Ode on a Melancholy", Keats receives the transition of nature and the mortality of man. At last, In "To Autumn", Keats acknowledges the order of nature and the harmony of life and death, so there is a dialectic unity. Throughout the odes, He forms the vale of soul-making by making use of the arduous real life. Futhermore, he accepts the transcendence of nature and the mortality of man as a truth of life.

The purpose of this study is to explore the relationship of poetic imagination and beauty in Keats's poetry. As one of the romantic poets who turned his back to an often unsympathetic audience and sing to himself, it was natural for Keats to concentrate on the world of imagination as a means of introspection and of escape from the unhappy reality. The alienated poet, Keats seemed to be forced to justify and defend himself by speaking of sanctity of the poetic imagination, for himself as an artist and his audience. The concept of beauty caught by imagination, which Keats named "Essential Beauty", is characterized by being subjective but with universal validity. The power of imagination to Keats, seems to be intensely creative and dynamic. The imagination is not the mirror of empyrean realm but rather create beauty that is truth, "whether it existed before or not." As Adam's dream brought Eve, whom he found real on his awakening, the active imagination adumbrates that beauty will come true in reality. Keats's equation, "Beauty is truth, truth beauty, can be extablished through this dynamic activity of imagination. It can be reasonded that Keats had suffered enough to know how to feel idea through unified sensibility.

It is my firm belief that in many cases literature has common consciousness beyond all different circumstances. Along with the reconsideration of the literary cannon and the rise of global perspectives in literary studies, the current trend in comparative literature has come to embrace a greater variety of literature beyond the barrier of East and west. American author, Edith Wharton (1862-1937) and Korean author, Kyung ae Kang (1907-1943) share something in common many aspects, especially in the creed for women disregard of race, milieu and time. Both of them suffered from the orphancy in their childhood and severe depression in their marriage lives, which gave them strong energy to read and write, that is to indulge themselves in the world of letters. They had not been adequately evaluated until 1970s owing to the prejudice and preconception of the scholars. However since 1970s, they have been praised as good authors with clear and lucid writing style, gift for characterization and plot structure. Both authors' most consistent concern was the plight of women in various situations; in Wharton's world, frequently upper class women, brilliant, sensitive, honorable, but largely powerless under male-dominated society, and in Kang's world, lower class women such as prostitutes, factory workers, who, despite their strong will of life fail to survive under the Confucian patriarchal society and Japanese colonialism. In most cases, the endings of these two writers' novels are tragic in the sense of the psychological and sociological realism. But the women characters in their novels represent self consciousness in the development of their freedom, responsibility, challenge, love, creative power and understanding for other people. I believe that Edith Wharton and Kyungae Kang explored the aspirations and deprivations of women in a male-dominated society and made a basis for women literature against the men-centered literature in the early era of modern American and Korean literature. Edith Wharton, American author and Kynug Ae Kang, Korean author are worth calling "prominent writers" who have finally achieved the position that has always been available to their male counterparts. And their continual searches for "Who Am I?" in their works show that a fulfilled life for a woman was very hard in the culture of their worlds.

Cleanth Brooks was the most influential critic among the New Critics. Unlike Ransom and Tate, who considered themselves poets first and critics second, Brooks early initiated the refinement, systematization, and dissemination of New Criticism throughout America's colleges and universities. He proved to be a rigorous and insightful analyst as well as an effective and enduring representive of the School. That the New Criticism was "ahistorical" in its theory and practice has become a commonplace, but it would be more accurate to say that Brooks accepted and worlzed within the view of history held by most of the literary historians of his time. Those who are familiar with Brooks's work know him to be a conscientious and genuinely learned scholar. He probably knew more than any other literary critics about the history of English poetry. Whenever he engaged historical scholars in debate, it was for the purpose of showing them how much they needed each other and how much literature needed them both. He argued that without the foundation of scholarship, criticism could never be more than subjective speculation. It is impossible to understand modem literary criticism apart from Brooks or Brooks apart from modem literary criticism. This thesis reveals that, although Brooks's practical criticism was not itself a historical text, its treatment of works from various periods implied a radically revised history of English poetry.

Most of Virginia Woolf's Novels are written with the writing method concerning the Stream of Consciousness. Her works integrates past and present, life and death, fact and vision, which are represented each character's consciousness In To the Lighthouse, Woolf makes Lily Briscoe, a possessor of an object viewpoint and an artistic self. look squarely at the rationality and emotionality of the Ramsays. The aim of this thesis is, from Lily's eyes, to look into the double aspect of life and to investigate how the characters harmonize the duality of life and how they diffuse their harmony to other character's internal life. Through Lily, Mr. Ramsay represents the masculine intelligence, strictness and ego-centric person. His life symbolizes an active life. In other words, Mrs. Ramsay represents the feminine intuition, softness, altruististic thinking. Her life symbolizes a passive life. Lily looks at these dual aspects of life seperately and ununitedly. But Mr. Ramsay, in spite of the symbol of Knowledge, always needs sympathy from his wife. Mrs. Ramsay understands his husband's loneliness and tries to harmonize the masculine intelligence. This ability of Mrs. Ramsay's is completed by the dinner party and the duality is made one during the party. Lily continously understands the harmony and finally finishes her picture after 10 years, when Mrs. Ramsay has already died. Mr. Ramsay and his children succeed in a voyage to the Lighthouse. Lily's picture is the embodiment of the Ramsays' concilation of life, expanded from an individual into the harmonious world of art. Woolf emphasizes that reality is oneness, the unity of two opposite forces. Through Lily's inner voyage, Woolf shows that Lily attains an artistic self by accepting and understanding the two opposite aspects of life of the Ramsays.

호손의 <주홍글씨>는 문학의 새로운 지평을 열어준 명작이라 할 수 있다. <주홍글씨>는 여주인공 헤스터 프린의 영적 성장을 그리고 있는 바, 그녀는 당시 19세기 청교도 사회의 인습에 얽매이지 않은 "새로운 여인"이다. "새로운 여인"을 한 문화의 산물이면서도 그 문화를 뛰어 넘으려는 한 인간 존재로 정의할 때, 헤스터 프린은 이 "새로운 여인"의 구현이다. 당시의 청교도 사회는 Calvin주의를 바탕으로 한 엄격한 청교도 정신이 지배하는 신의 절대성과 인간의 나약성이 강조되고 특히 여성은 남성에 대한 순종이 미덕으로 여겨지고 도덕과 윤리성이 강요되고 있던 시대였다. 그녀는 가부장적 청교도 사회에서 자기 생의 철학과 삶의 기술을 획득하여 자신의 개체성을 드러내고 자아 인식과 자기 실현에 도달하는 혁신적 여인이다. 그녀는 또한 그녀의 자아와 청교도 사회 사이에 다리를 놓았을 뿐만 아니라, 과거와 미래를 연결하는 징검다리 역할을 하고 있다. 신의 의지에 대한 인간의 자유의지는 경시되고 자유의지에 따라 행동하는 여인상은 수용될 수 없는 사회였다. 그러나 호손은 헤스터 프린을 통하여 19세기의 급진적 여성 작가들도 그려내지 못했던 "새로운 여인," 즉, 독립적이고, 자신의 존재에 적대적인 사회에 결코 굴복하지 않으며, 자기완성을 향해 꿋꿋이 살아가는 불사조 같은 성숙한 여인의 모습을 보여주고 있다. 호손이 그려낸 "새로운 여인"은 보편타당한 인류애 정신과 양성 평등사상에 입각한 미래지향적인 여인상이라고 결론지을 수 있겠다.

문학 연구의 다양한 비평들은 워즈워스의 1800년 『서정 담시집』「서문」을 고전주의의 문학 취향에 반대하는 선언문으로 보면서 문학 작품으로서만 해석해온 경향이 있다. 그러나 이 문학성의 강조는「서문」이 태동되고 수용되었던 문화적 맥락에 대한 탐구를 소홀히 한다. 「서문」은 문학 논의의 형태로 워즈워스의 사회관과 정치관을 내보이면서 문화 비평적 접근을 위한 담론적 공간을 제공한다.』「서문」이 지닌 문화적 특징은 환치의 정치성이다. 워즈워스는 프랑스 대혁명에 의해 야기된 사회 변혁의 의지를 휴머니스트 정신성으로 바꾼다. 영국 대중의 시적 기호에 대한 그의 평가는 사회 모순에 대한 구체적인 평가 없이 일반적인 인도주의적 입장으로 변형된다. 시의 대상에 대한 워즈워스의 재평가는 서민의 삶의 중요성을 일깨우는 것이지만, "자연의 아름답고도 영구한 형태들" 에 대한 그의 강조는 역사성보다는 초월성에 그가 경도되어 있다는 것을 보여준다. 그는 시골 서민의 일상 언어가 새로운 시의 언어가 돼야 한다고 주장하지만, 그가 서민의 언어 속에서 "영구한" 그리고 "철학적인" 것을 선호함에 따라, 그의 주장은 언어의 영구성을 강조하는 기독교적 언어 이데올로기의 틀을 벗어나지 못한다. 워즈워스는 시인을 우주의 정신을 읽는 "해석자"로 간주한다. 이 문구의 시적 표현에도 불구하고, 이 견해는 시인이 사회와 역사를 초월해 존재할 수 있다는 것을 암시한다. "평정성"에 대한 워즈워스의 강조는 프랑스 대혁명의 영향으로 인한 당대의 사회 모습과 괴리를 보이며 기존 질서의 존속을 희구하는 보수적인 이데올로기 한 모습을 드러낸다. 워즈워스는「서문」에서 당대의 사회 변혁의 의지를 추상성에 대한 믿음으로 전화시키고, 사회적 갈등을 조화의 시학으로 변형시킨다. 한 문화가 전일적인 믿음의 체계로 구성돼 있는 것이 아니라 다양한 믿음과 생각들로 구성된다는 것이 문화 비평이 추구하는 주요 논점 중의 하나라면,「서문」을 이와 같은 문화 비평적 시각으로 읽음으로써 해석적 다양성을 추구할 수 있을 뿐만 아니라 다문화적 미래를 건설하기 위한 비평의 가능성을 엿볼 수 있을 것이다.

Language and Culture are so closely intertwined that it is difficult to separate them even for analytical purposes. Knowledge of the cultural background of a foreign language is absolutely essential for acquiring that language. In theory, foreign language learners might be able to become quite proficient in the foreign language and speak it fluently without learning the target culture. In practice, the language learner who has no understanding of the target culture cannot function effectively in that environment. In this paper the reader will see that Culture and Language are connected in such a deep and profound way that many native speakers of a target language may be unaware of the links. A knowledge of Christianity is essential to understand not only Western values but also many everyday expressions, idioms, and vocabulary used in the languages of the West. The 'hidden meaning' to many of these expressions can be found only upon closely examining the cultural origins of the expression. The fact that Korean culture has prized harmony and hierarchy more than objective accuracy and directness is reflected in some of its features and may cause confusion to a student of Korean language. Once a student appreciates that learning vocabulary is only a very small part of learning a foreign language, he will easily appreciate that knowledge of the cultural background is necessary to make progress in the language. This has the potential of opening up the student to a new world, to a different way of being human assuming that the student sees himself as more than just a passive participant. It is up to the educator to ensure that the students receives a holistic approach to learning a target language and culture is the most essential ingredient to such an approach.

Small clauses are exocentric constructions. That is to say, constituents whose categorical status is different from that of any of their immediate constituents. Within the framework I develop here, it follows that small clauses are not a word-level category but predictions of some head word-level category. But projections of what head category? It is the key point of an argument whether small clause contructions can form a concrete definition or not. On the basis of these problematic questions, I argue on Stowell's analysis (1981.1983) insisting that small clauses must be projections of the head category of the constituent, functioning as the predicate of the small clause. In addition to this, I analyze that he adduces an argument from subcategorization facts in support of this assumption. On the other hand, I argue on a rather different analysis of small clauses put forward by Chomsky in Barrier (1986b), under which small clauses are analyzed as base-generated adjunction structures that both the predicate and the overall small clause have the same categorical status of XP(=X"). I also argue on not only Radford's analysis (1988) suggesting the ways of distinguishng between small clauses and the predicate phrases they contain, but also Hornstein and Lightfoot (1987) insisting the small clauses are headed by an empty I constituent. In relation to small clause constructions, we can not form a concrete and overt definition. Needless to say, much research remains to be done concerning the internal structure of small clauses as they fit into the X-Bar framework. In relation to syntactic environment of small clauses, I argue on the basis of predications from current assumptions about Case and Government. Since a small clause lacks an internal case assigner for its subject, that subject may be overt only when it is governed by some external case assigning head. In semantic analysis of small clauses, I inquire into the matters centering around the semantic propositional character and its function because small clauses show its independant propositional definition in semantic constructions better than other sections. Finally, this paper aims at suggesting that small clause constructions exhibit a pattern of sysntactic behavior and that according to the clausal theory of predication, the subject and predicate of a small clause form a structural constituent even though an overt syntactic definition of the internal structure remains in research for the future.

The purpose of this paper is to explain the implicature of the imperatives. we, first, answer the question of how the imperatives can be built up in terms of semantic and pragmatic aspect. Second, we point out some problems with previous analyses of the imperatives and then provide an alternative analysis in terms of Relevance(Sperber and Wilson (1995(1986)) Sperber and Wilson distinguish the actual world and the possible world, and the descriptive use and the interpretive use. On the basis of this theory, we analyze the imperatives.

In English there are various kinds of complements as the objective clause of transitive verbs. Among these complements this paper deals especially the complement clauses with that (CP) and the complement clauses without that (IP) that have the tense. CP and IP. The basic conception of this paper is that the that-less complement is not formed by omitting the complementizer that but that both "I think he is dead" and "I think that he is dead" are formed by paratactically putting together two independent sentences: "I think : he is dead" and "I think that: he is dead". The purpose of this paper is to study the elements that have influences on choosing the CP or IP as the complement of transitive verbs and obtain the aid in making accurate use of the CP and IP.

The purpose of this paper is to find out which is the best way to describe the phonological phenomena in relation to the stem-final M. The phonological phenomena such as /h/ deletion, /h/ unreleasing and /h/ nasalization were first analyzed in the standard generative phonological approach and within the framework of LP. Then they were reexamined by introducing the concept of 01'. Through the analysis of the phonological phenomena of the stem-final /h/, it can be concluded that /h/ alternation in the syllable final position is purely phonologically conditioned and that it can be regarded as the result of the effort to minimize the syllable coda.

영어사에서 대모음전이는 중세영어에서 근대영어로 가는 획기적인 대변화로서 현대영어에서 철자와 발음이 서로 맞지 않는 중요한 요인이다. 그러한 역사적 음운변화의 흔적이 현대영어에 형태소에 음운교체 현상으로 남아있다. 통시적인 모음전이가 장모음에 일어난 것과는 대조적으로 현대영어에는 강세를 받는 기저 긴장모음이 표면에서 이중모음이나 장모음으로 실현된다고 설정할 필요가 있는 공시적인 모음전이 현상이 있다. 통시적이든 공시적이든 간에 영어의 모음전이는 전체 모음목록에 일어나는 체계적인 변동으로서 각 모음 공간내에서 요소들간에 일정한 지각적 거리를 유지하고자 한다는 점은 같다. 현대영어에서는 기저의 긴장모음들이 한 단계씩 높아지고 그 중에서 고모음들은하강하여 이중모음화한다. 최적성이론에서는 그러한 전이를 야기한 최초의 동인인 자질공기제약과 대조를 보존하려는 중화회피제약 등에 의해 기저모음체계내의 각 모음이 표면음성체계 내의 각 모음과 연결된다고 설명한다. 최적성이론에 의한 설명은 근본 제약들을 직접 표현하기 때문에 규칙적용에 의해 표면형을 도출하는 방식보다 설명력이 있다.

Optimality Theory proposes that Universal Grammar contains a set of violable constraints. The constraints spell out universal properties of languages. OT also proposes that each language has its own ranking for those constraints. Different constraint rankings result in different patterns, giving rise to the systematic variation among languages. This paper is an Optimality theoretic approach to the distribution of null pronouns in English and in Korean. The difference between the two languages in the behavior of Pros can be systematically explained by positing different hierarchy of the constraints for each language. We assume that the licensing of null subjects (or objects) in Korean can be captured by expanding the Control domain to discourse i.e., by revising the definition of existing Control Theory.