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The critics such as Leavis, Matthiessen, and Gardner, who had broadly followed the critical discourse of British and American formalism, argued that The Waste Land has the organic unity based on the primitive fertility myth. Such views had their base of arguments from Eliot's own writing, especially 'Ulysses, Order, and Myth' and his 'Notes' referred to the general plan of the poem and to Tiresias. But postmodern critics claim to read the indeterminate signs and floating referents through the gaps, absences, and inconsistencies in the literary work. In spite of the poet's proclaimed intention, the poem reflects the fragmented human condition of the ruined civilization in Europe around 1920s. For example, the typist is a worker named metonymically for the machine she tends, that she is called a "typist" even at home. Showing the division of labor, she is the very type of the social system that accumulates its members by mere aggregation. Yet this type is linked syntactically to Tiresias as well, erasing ordinary boundaries between active and passive, subject and object. So we may say that the poem's parts have the unity of stars in a constellation, or the archaeological coherence of a ruined city. Like Schliemann's Troy, the poem is ruin of a ruin, comprising remnants of a lost civilization destroyed in flames. Reminding the narrative technique of Benjamin's 'Thesis on the Philosophy of History', the historical perspective of The Waste Land is not that of evolutionary meliorist or socilal democrat but that of historical materialist. The poem seeks to rescue history in a moment of danger through the tiger's leap to the past, and sometimes, like stars in a constellation, redeems the utopian moments for a time.

Lionel Trilling said that Fitzgerald was perhaps the last notable writer to affirm the Romantic fantasy, descended from the Renaissance, of personal ambition, of life committed to, or thrown away for, some ideal of self. F. Scott Fitzgerald may stand as an exemplar of self-exploitation in the novel. His life and works were so interwoven that the distinction between them blurs. The life and novels of Fitzgerald may be said to represent a sequence of themes characteristics of the clinical syndrome termed the "Icarus complex." All of Fitzgerald's heroes are ambitious and they ask a great deal of life. I3ut when they have attained a certain height, the heroes fall down as Icarus fell when the sun had melted his waxen wings. Different to the above explanation, this thesis is aimed to analyze the surroundings-circumstances of the characteristics of the heroes and views them not on the basis of Icarus complex but on christian perspective from Anthony Blaine in This Side of the Paradise, Anthony Patch in The Beautiful and Damned, Jay Gatsby in The Great Gatsby, Dick Diver in Tender is the Night to Monroe Stahr in The Lust Tycoon. Such a conclusion might be expected that Fitzgerald shows the impressive sensitivity to what religion is all about and even an emotional attachment to the dramatizing color and ritual which he intellectually mocked and criticized before.

In the final scene of Otho the Great, Ludolph is performing the paradox felt by Keatsian poet. Describing to produce an immortal work, Keats nevertheless uses his creative technique which has its foundations in the notion of a performance where fact and reason are giving up a feminine delight in doubts and mysteries. Masculine certainty and fixity are denied by the very artistic approach adopted. Just as Auranthe's murder is caused to be impossible by the mad performance that Ludolph believes it will bring about her death. Both Ludolph and poet cannot control or fix that state of femininity. Ludolph's performance in the final scene is factly a kind of non-performance in that it can't achieve his desire. And this failure can be related to larger issues within Keats's poetry as a whole. Maron B. Ross notes that Keats's rejection of masculine modes of poetic discourse was to prove ultimately debilitating. Keats's impotence is like Ludolph's impotence in the final scene. Keats's depiction of Ludolph may reveal his own insecurities as a poet, but those insecurities relate to more widely held doubts within society as a whole. In writing a tragedy, Keats was provided with the opportunity to explore the relationship between his own theories of poetry and his ideas of dramatic performance. This play dramatizes the tension in the story of all literatures and provides an enactment of the instabilities of masculinity in the early nineteenth century.

This essay explores the poetic text as a network of intertextual relationships, various notions of intertextuality, the range of intertextuality, the identification of intertextual relationships between texts, and differences between source or biographical criticism and intertextuality study. Intertextuality is the power of a written text to impose a reorganization of the corpus of texts that preceded its appearance, creating a modification in the manner in which they are read. The most salient effect of this strategic change is to free the literary text from psychological, sociological, and historical deterrninisms, opening it up to an apparently infinite play of relationships with other texts. This perspective invites us to explore an area of the incorporation of heterogeneous literary texts in the text under study. In a text a polylogue of different systems is constantly taking place. Different modes of the explanation and systematization of the world, different pictures of the world, come into conflict. Literary history abounds in renaissances, the revival of past artistic languages which are perceived as innovatory. Intertextuality is always intended to produce multiplicity, to open the text to its fullest signifying potential. Each reader infuses his or her own cultural, intellectual, ideological, and psychological modes unto his or her interpretations of the text so that each reading is different from every other reading.

This purpose of this study is to analyze Hemingway's famous Iceberg Theory and its effect, silent language. The definition of the Iceberg Theory is as follows; one eighth of the iceberg is above water and seven eighths of it are under water. Like this iceberg principle, the writer should omit and eliminate the many unnecessary parts and details. Also the writer should select the sin qua non and the basic words to strengthen the expressed one eighth part of the iceberg. The creation of Hemingway's Iceberg Theory was influenced by Paul Cezanne's basic geometric patterns: the cylinder, the cone, and the sphere. One aspect of writing using the Iceberg Theory is the technique of omission and simplicity. However, the simplicity is deceptive, so in Hemingway's style of deceptive simplicity, "the essence of what is said often lies in what is suggested or left unsaid." The effective use of this technique is a further testimony to the rigidity of Hemingway's style as much as to its potential power. He also developed a highly selective use of image words in a way that, by repeating them, hidden meanings are implied or silent rather than stated. By this principle we see "the irony of the unsaid," silent language, space language, unsaid sayings, objective correlative symbolism, and image words in Hemingway's novels.

This study is to scrutinize Henry Thoreau's reform papers to comprehend the true nature of his reform philosophy, and also to find out which is really true figure, a political pacifist disapproving violent and organized protest, or a potential violent revolutionary. The findings are as following: His abiding interest in reform is rooted in his early transcendentalism, the ideal of self-culture, believing a true reform can be achieved by truly self-cultured individual, not by organization. The true economy is not material riches but inner spiritual wealth; the economy most in harmony with God and nature was always the most practical. He recommends a living based on love of truth rather than love of gold; and get living by loving. On politics and slavery, he theorized a peaceful nonviolent protest based on the indvidual's minimum social duty that he may do his own works, but he must not do them, sitting on the shoulders of others; and he must not help evil at least. But he changed his attitude to the recognition of violent organized protest in case of the worst condition of evil. He was rather a violent reformist than a pacifist, who used his pen as a gun against all evils. All these he convincingly advocated by his peculiar powerful rhetorics.

This study inquires into the relation between the writer and the reader in the poetry of Shelley who, in spite of his endeavor to acquire the public popularity, was criticized and neglected by his contemporary readers as well as critics. Reading Shelley's poetry, we can recognize without anv difficulty that he continuously tries to have more direct and close association with the reader than any other poet in his time. In Shelley's poetry, this is shown as the responsibility of the writer for the reader. For this responsibility Shelley work out a variety of mechanisms; writing prefaces to every long poems hard for readers to understand; endowing poets including himself with the status of prophet; reversed writing in which physical objects come from the mentality in contrast to the poetry in common. On the part of readers, these mechanisms help them feel that their consciousness is continuously stirred up. And readers are gradually led into the field where the relationship between them and the writer is built up in sympathy. Seemingly, Shelley just copies the writing of the old, typical writers in which the writers stay predominant over the readers. But in seeing Shelley's poetry in the reader-oriented view, the most important thing is that all these manipulations by Shelley is to make the reader respond to his poetry more smoothly and closely--a kind of warmup. That is to say, Shelley never says to his readers what they should obtain in his works; but he just want to say how they should read his poetry. All the rest is on each reader. In conclusion, Shelley's writing, which appreciates the relationship between the reader and the writer, and induce the reader to have his own experience, laid a cornerstone of the reader-responsive approach as early as 200 years ago.

Among the portraits in Chaucer's General Prologue to the Canterbury Tales, most members of the portraits are the Catholic clergies. Those would have been a familiar part of the life of the common man and represent a permanent and everyday feature in the lives of the men and women of Chaucer's time. Just as they were aware of the clergy, most educated men and women of Chaucer's time were aware of widespread Church abuses. In his General Prologue Chaucer shows us very unflattering portraits of the greed and hypocrisy of the Friar, the Summoner, and the Pardoner, of his day. The corruption of many members of the clergy was a great reality of Chaucer's day. The legal status of the clergies could almost permit them to be above law in effect, because of the "benefit of clergy" and the fact that the Pope rules the English Catholic Church from Rome. The common believers tolerated the unparalleled greed and corruption of some clergies, due to the low rate of literacy in Chaucer's England and to their deep superstition. His portrait of the Parson shows us the ideal of what a Catholic clergyman should be, for this Parson works for God, not greed. There is no irony or sarcasm in Chaucer's portrayal of the Parson. Chaucer shows us what his religion has become in his portraits of the Friar, the Summoner, and the Pardoner. In his portrait of the Parson we see Chaucer's conception of what his religion can be. Though few clergies were like the exceptional Parson, Chaucer's faith in his Church seems to lie in this exception. In the General Prologue Chaucer shows us the real and the ideal. The reality of the some clergy in Chaucer's England is in the portraits of the Friar, the Summoner, and the Pardoner. Their main motivations are lust and greed, not God. The Parson stands in the face of these corrupt churchmen, a challenge to hypocrisy. Chaucer defines both the abuse that exists in his world, and also the cure.

The aim of this study is to explore Thomas Hardy's literary theory and his vision of life. It is very important for Hardy as a novelist to record a series of seeming or personal impressions of life in his fictions. As we consider Hardy's literary theory which is to strike and disproportionate the balance between the uncommon and the ordinary both to give interest and to give reality, it is not difficult to understand why Hardy continues to use chance, coincidence, grotesque symbolism, and awkward style in his novels. The secret of his fiction is to juxtapose uncommonness and commonness. The conscious knowledge of his aesthetic purposes makes him do so. Those elements in his fiction ultimately become an integral part of his fiction shaping a great meaning like a beautiful pattern in carpet. Hardy wanted to see 'the deeper realities' beneath the landscapes of life. Hardy's fictions reveal that 'the heart and inner meanings' of life are still tragic and unhappy as shown in the tragic lives of the many heroes and heroines. However, we should never fail to notice that the tragic ends of life in his major fictions may be the deeper realities of life like a sad symphony which Hardy understands as a principle of life in the absurd world. What he makes the tragic aspects found in human life into beauty was his eternal theme as 'a sympathetic appreciativeness of life', and how to focus light on their surfaces was his literary technique as an experiment for him. That was his literary theory which he wanted to realize for his entire life.

That Donne possessed dramatic power has generally been ackowledged. In his fervid youth Donne was "a great Frequenter of Plays," so might be credited with some measure of the instinct at work in Shakespeare and so many lesser playwrights. If by "dramatic" one means what stirs the emotions through the sight, especially, of attitudes and gestures, in Donne's love poetry there are characters, besides poetic protagonist. Donne makes the speaker of his poem a sharp dramatic character. Usually the second character is a mute woman, but we are enabled to guess how she acts and what she would say. The way in which Donne gives us those hints is both very clever and very modern. Though a good part of the comedy of Donne's poetry depends on the reader's familiarity with the literary fashion of Petrarchism, Donne presents lovers who differ from the fashion. Since the Petrarchan love poems usually dealt with a love affair which was not consummated and which might even be entirely imagianary, they tended to treat love as more spiritual than physical. By simply inverting the stock attitudes and values of the Petrarchan lovers, Donne dramatizes vividly not only the lovers' passionate excitement but also their bitter expression of disillusionment.

The aim of this study is to interpret The Waste Land which is the representation of either Eliot's dream or his unconsciousness in terms of some principal theories out of Freud's second subjects ('Consciousr/ 'Preconscious'/ 'Unconscious') and third ones ('Libido'/ 'Id'/ 'Ego'/ 'Super-ego'), and then to understand the state of Eliot's mind. But with the framed interpretation moulded into Freudian paradigm, I also suggest my subjective responses to the poem. Of the aspects of conflict between 'Id' and 'Super-ego' in the poem, in "The Burial of the Dead, "April" as " the cruelest month" plays a role of 'libido' and "the dead land" means the realm of 'Unconscious' involving "mixing memory and desire" repressed by 'Super-ego.' This reflects the poet's repressed 'Ego', which also communicates with "Tent" in "The river's tent is...", as a symbol of "tabernacle" functions as 'Super-ego.' The function of Madame of Sosostris interfering with others' affairs in life is equal to that of 'projection' accompanying 'introjection'. This hints the absence of the Absolute being, so the perspectives of human affairs by Sosostris are merely self-contained. "A Game of Chess", having the hints of the poet' unhappy marriage, means the man's subverted status not good enough for the woman's desire, which links to the subversion of 'Super-ego.' In "The Fire Sermon", "my heart" as 'Super-ego' is under "My foot" as 'Id' means the aspect of the former not reigning over the latter, the subversion of 'Super-ego.' "What the Thunder Said" shows us the various aspects of 'Ego', which means the poet's diverse pursuits to overcome his contemporary situation. In the whole, the poem shows us the poet's individuation, even if complex or confusing, which inevitably invites the process of "repression", the confrontation or conflict between "Id" and "Super-ego". But Coming to the later parts, "Death by Water" and "What the Thunder said", the aspects are finally converged to the point, the compromise between the world and the poet's desire. The poet dreams of the point of consciousness, the new desire, to overcome the limit of his consciousness within the real world.

The purpose of this study is to discover the role of women in Eugene O'Neill's plays. I particular, we will examine the following plays : Beyond the Horizon, The Hairy Ape and Desire Under the Elms. These plays of O'Neill are nearly all concerned with the impelling, inscrutable force, behind women's lives. The playwright, always interested in Nietzsche's tragic thought, used Nietzschean Dionysian and Apollonian duality to make his characters in plays. Under the charm of the Dionysian, not only is the union between people reaffirmed, but nature, which has become alienated, hostile or subjugated, celebrates once more her reconciliation with her lost child, humanity. On the other hand, the Apollonian is the terrible image of the world fading away charmingly. Various studies and critical approaches to O'Neill have examined the conflict between life and death and the problems of salvation, belonging and identity. O'Neill's plays can be classified into two,"female" points of view. One is the idealist in whom we find dreams, lofty ideals, harmony, regeneration and redemption. The other is the actualist who, being imprudent, demolishes the social order and brings about trouble, confrontation and self-destructive struggle.

이 논문의 목적은 소절의 범주적 위치와 서술적 형용사구의 이동에 관한 기능적 설명을 다루기 위함이다. 소절은 주어-서술어의 관계를 갖지만 보문소나 굴절어가 포함되어 있지 않다. 절의 기본적인 특징인 보문소나 굴절어가 없지만, 소절은 주어-서술어의 관계의 구조를 가진 [NP NP], [NP AP], 그리고 [NP PP] 등의 구조를 갖는다. 이러한 특징을 갖는 소절의 분석이 단지 두 개의 분절된 논항이라기 보다는 통사적, 의미적으로 하나의 절로 하위범주화하는 것이 타당하다는 예시를 제시해 보겠다. 또한 소절내에서 형용사구 핵이 의문사-이동이 가능한데, 이 때 서술적 형용사의 이동 조건에 대해 알아보겠다. 서술적 형용사구의 이동에 관해서 Chomsky와 McNulty등의 설명과 그에 따른 문제점을 살펴보고, 그 해결방안으로 Kuno의 기능적 제약(Functional Constraint) - (i) 동사와 형용사간의 사용 빈도수, (ii) 담화상의 전제, 그리고 (iii) 동사가 형용사를 암시하는 상황에서 청자가 동사를 듣고 "동사구 ... 형용사구"의 관계를 재구성 할 수 있어서 가능하다. - 으로 문법성의 차이의 해결을 시도해 보겠다.

This thesis is to consider the reconstruction of Chomsky(l992) and observe the syntactic features of object noun. In the first place, including specified INFL phrase and checking theory of case, I summarize the principle of Minimalist Theory. Next, I will adjust the focus in the elimination of equidistance and reconstruct The Shortest Move Metric (=SMM). I will observe how SMM allow the both theories to explan object move and object incorporation and to infer Holmberg(1986)'s Generatization, especially, object move and object incorporation enable The Shortest Move Finally, I will argue how subject incorporation corn help to explain the disjunction of dase-Fitter and Visibility dondition.

Burke's stature in contemporary rhetorical theory is so obvious and naturalized that thinking of him as the chief architect of the New Rhetoric is commonplace. His writings sanctioned critical pluralism, opening the door to the development of a plethora of critical methods. To read Foucault seriously is to question the boundaries and relationships traditionally drawn between rhetorical theory and rhetorical practice. In at least some of his critical interpretations, Burke assumes a rather standard humanistic stance. For him, a text is a reflection or representation of its creator. Foucault has been praised and blamed for holding an antihumanist position not only because of his stance on authorship, but also because of his observations about the impending end of man. Burke and Foucault both attempt to locate the conditions for historical change or discontinuity. For both thinkers, history and criticism are virtually synonymous. While Burke focuses his attention on intrinsic understanding of human with symbolic action, Foucault does on extrinsic understanding of human with discourse or discursive practice. Burke's and Foucault's projects differ enormously, but they both resound with the same invitations to think differently, and to consider what our criticism will be for.

This paper is aimed to review the necessity of constraints on the conjoined sentence of '-ko' in Korean and to analyse a variety of interpretations among conjunts. To achieve this purpose, the optimal principle of relevance is proposed. Grice(1975) argues that the temporal, additional, and causative interpretations of coordinate constructions in English must be analysed as implications conveyed by conformity to the maxim 'Be orderly'. Carsten (1988) claims that these pragmatic effects of coordination are the outcome of an interaction between pragmatic principles and general properties of the mind rather than the meaning of 'and'. However, the order of events in which conjuncts are stated may have significant pragmatic effects. Thus, a '-ko' conjunction needs to be interpreted through relevance. In this study, the interpretation in schema will be proved in analysing interpretations among '-고서, 고 나서, 아서, -니까, -고도'.