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Roethke grew up around greenhouses. His florist father and the family greenhouse provided him with powerful memories. His belief in the union between man and the natural world began in his childhood. His hometown and the Indians living there also affected Roethke's values and his attitudes toward the world. He believed the source of being is in nature. He concentrated on a simple life surrounded by plants, animals and birds. He meditated on human feelings and natural cycles. In this study I deal with greenhouse poems from his second collection, The Lost Son and Other Poems (1948), and the North American Sequence in his last collection, The Far Field (1964). The energy and search for life of a plant struggling to grow amuse the poet. His observation of and meditation on natural scenery make him affirm human life, and give him inner harmony. By remembering streams, rocks, leaves, flowers, shadow, Indian lifestyle, shorebirds, sounds and silence, Roethke goes on losing and finding himself. Through participating in the natural cycle, the poet finds reality joyful and unified. Human beings can find meaningful life only through the natural world.

The comic vision represented in humor is dramatized in Faulkner's characters and works. Faulkner, the recognized genius of tragic art, is also a master of comic forms. To him reality is always a continuum or a totality into which laughter and tears blend and merge. Through his canon, his vision of humanity shows a change from outrage to affirmation. And humor plays a very important role in his shifting attitudes toward men and his comic vision. Faulkner used humor not only as a comic relief from grotesque and horrible situations but also as a technique for artistic accomplishments; he made humor integral to his themes, characters, and narrative structures. For Example, humor functions as a device for characterization in The Sound and Fury. Major themes of As I Lay Dying and The Sound and Fury can also be traced through humor. Moreover, Faulkner creates a tight structural coherence in The Hamlet, using humor as a unifying tool. Besides those functions, humor in Faulkner's novels reveals the reality of our lift. and it gives us the force to conquer our follies and the human conditions we cannot escape from so long as we exist. Moreover, his humor is presented as a better way to endure and to survive. Ultimately the full meaning of artistic function of humor in Faulkner's novels lies in the reader's transformation through the realization of humor as a tool to face the sobering reality of existence.

비극의 효과로서 카타르시스는 그 어원이 의학용어에서 나왔듯이 불쾌한 정서인 공포와 연민을 제거하여 정신적 정화작용을 한다. 그러나 많은 비평가들은 비극이 정화하는 공포와 연민이 유쾌한 감정인 카타르시스를 일으키기 위해 어떻게 상호작용을 하는가에 관심의 초점을 맞추고 공포와 연민에 대한 정신분석학적 과정을 규명하는데 논란을 벌이고 있다. 본 논문은 아리스토틀의 시학에서 정의한 비극의 효과를 중심으로 한 비평가들의 논쟁을 살펴보며 카타르시스에 대한 프로이트의 정신분석학적 해석방법을 제시코자 한다. 프로이트는 환자의 히스테리증상이 고통스런 과거의 토로에서 사라지는 과정을 설명하면서 카타르시스라는 용어를 사용하였다. 관객에 대한 정신치료로서 이해한 프로이드 방법에서 카타르시스는 고통을 통한 쾌락을 강조한 아리스토틀의 비극이론의 영향을 받았다. 프로이트 방법에서 극중 사실이 간객의 실제 사실과는 다르다는 일종의 안전장치인 정신적 안전판(Ioopehole) 개념이 카타르시스라 불리는 안도감과 위안을 일으키는 주된 요인이 된다. 비록 프로이트는 정신분석적 과정으로 카타르시스를 규명하는데 그 이론적 근거를 마련했지만 극장을 심리치료의 실험실로 보고 극장 밖에서는 카타르시스에 대한 설명에는 미흡한 한계가 있다. 카타르시스에 도달하기 위해 객관적인 프로이트의 입력과 출력(input-output) 이론과 연계한 보다 주관적이고 심리적인 단계를 고려해야 한다. 비극의 근본적인 역할이 인생에 대한 통찰력과 새로운 인식에 있다고 할 때 공포와 연민은 관객의 마음을 뒤흔드는 일종의 촉매제이다. 공포와 연민만을 극에서 제공되면 공포물의 도착적인 즐거움을 줄 뿐이다. 따라서 초월적인 의미를 부여함으로써 관객은 비로소 공포와 연민을 통한 카타르시스를 얻게 된다.

In The Taming of the Shrew, Gremio proposes "to cart her[the shrew, Katherina] rather"(1.1.55). And he, the old citizen of Padua and the senior of the society, urges her father to "make her bear the penance of her tongue".(1.1.89) Was the shrew punished with those ways? Critics frequently asserted that Kate and Petruchio mutually attracted at their first meeting and that she wasn't forced into submission to him. But the records about the lives of the sixteenth and seventeenth century England report the cruel female punishing instruments like as the cucking stools and the scolds' bridles. The cucking stool, a chair-like apparatus is often mounted on 'a cart' in order that the offender could be drawn through the streets arid publicly displayed on the way to her ducking into water. The scold's bridle used as a punishment for women who verbally resisted to challenge the male rule, the scolds or shrews. It is a iron bridle which locks around the scolding woman's head and face, and inside of it has a metal piece to press her tongue down. Both instruments were devised primarily as shaming devices and used for suppressing women's speech. In Shrew the marriage rite in church brings the bride Katherina to shame, and the bridal tour to the country house bridles her tongue. The deprivation of food and rest, the denial of cap and gown put the shrew to silence. On the returning way to Padua she calls sun moon, an old man a fresh maiden, as Petruchio has named them. Her tongue is curbed. The patriarchal hierarchical society fears the complaining tongues of the shrews. By punishing female rebellion against male authority the society also aims to suppress male rebellion. The society of Padua is even afraid of shrew who refuses to accept the hierarchy. If the society mocks the shrews, Shakespeare also does the Petruchios with Sly, the false lord and Page, the disguised obedient lady.

The theme of F. Scott Fitzgerald, the representative writer of the twenties, is believed to be love and wealth in the lost generation generally. But this dissertation is aimed to study the characters' search for the identity except the general themes of love and wealth through Fitzgerald's four major novels-This Side of the Paradise, The Great Gatsby, Tender is the Night and Th Lust Tycoon. The problem of the influence of nineteenth century of 'self-made' man and the effect of twentieth century psychologies of the self would be studied in chapter I, and in chapter II the type of identity through Amory Blaine and other young idealist would be studied. In chapter III the manner in which the hero's dreams of an ideal self through Jay Gatsby and Daisy Fay and in chapter IV Dick Diver's self-destructive search for an identity would be studied together. In chapter V the final answer to Fitzgerald's longtime search for an identity is analyzed and concluded through a brief discussion of Monroe Stahr, the hero of the unfinished novel- The Last Tycoon.

Shaw rejected Christianity because it could not satisfy the need of his time for a new cosmology. He also repudiated Darwinism on the ground that it degraded the universe to the status of mechanical fatalism. It is in this historical and philosophical context that we should attempt his works. In his endeavor to propose a brand-new theory concerning the universe and its progress, he received plenty of undeniable influence from many of his comtemporary philosophers. Schopenhauer's perception of the world as a will bore an important contrast with the theory of 'Natural Selection'. It laid the groundwork of chaw's understanding of the world. From Nietzsche's famous book 'Also Sprach Zurathustra,' he adopted the concept of a 'superman'. This superman was looked upon as the yet unborn human being to bring redemption to all mankind At the same time, he created the theory of 'Life force'. This Life Force took the place of 'God' and was put on a pedestal by Shaw. He tried to explain the Life Force in many of his plays such as man and super man, Saint Joan, Devil's Disciples and Major Barbara. For this purpose, he let the characters in his plays play the role as a performer of the Life Force. This is why you can safely say that it is almost impossible to understand his plays without understanding the Life Force. According to this theory, this invisible force gives impetus to the development of human history and makes possible the establishment of a healthy society. He contends that man has the holy obligation to embody the Life Force in real life in order to realize his own will. He translated Bergson's 'elan vital' as 'leap of vitality'. And by this leap of vitality, man is supposed to heighten himself until he can reach the level of a 'superman.' This incessant process is termed as the 'Creative Evolution'. Shaw, as a playwright, tried to project the vision of an ideal society and an optimistic future for mankind. He looked forward to the emergence of a superman as the ultimate incarnation of vitality. And to Shaw, that was equal to 'God'. His superman harmonizes the inherent confrontation between reality and ideal, spirit and body, reason and sentiment, progress and tradition, and open morality and closed morality. And The superman fulfills his mission of combining all the worldly conflicts paradoxically is pursuit of an ideal society. He represents Shaw's outlook on humanity and the universe as the avatar of the life force In Conclusion, Shaw thought of the life force as the prime mover of the Creative Evolution that will eventually bring the universe to completion. And without this invisible and intangible substance, it is impossible to define humanity and the universe

A while after the Elizabethan period that marks the modem age in England, a new literary medium called novel appeared above the literary horizon with hopes that the newly found desire for reading of the middle class public in England might be satisfied. The experiment was like pouring new wine into new wineskins. Thus began the 300-year long history of the English novel. What this study aims is to show how the English novel has made its way from a stylistical point of view, pursuing the biological development: embryonic, blooming, fruitful, and reaping periods. Such stylistic concepts as diegesis, mimesis, fabula, sjuzet, focalization, and foregrounding are used for textual and contextual analyses of the couple of major works of the principal writers who are considered to represent each of the four periods. The principal writer for the embryonic period is Defoe while the blooming period covers more forerunners like Richardson, Fielding, and Sterne. The fruitful period sees far more diverse novelists such as Austen, Dickens, Eliot, James and Conrad. The final period seems to be glorified by the existence of two virtuoso, Joyce and Woolf, who seem to have reached the artistic zenith through the stylistic experiment called 'stream of consciousness'. Their major works are so outstanding that we can hardly find any matches in this age of postmodernism.

엘리엇 시에 나타난 시간 개념에 대한 논의는 다양하고 깊이 있게 진행되어왔다. 그러나 그들의 상당수는 논지에 쫒긴 나머지, 지나치게 성급한 결론을 내리고 있어, 그에 대한 수정이 요구된다. 그의 시는 단어, 개념, 그리고 명제에 이르기까지 대립과 대조의 수사법에 의존하고 있다. 그의 기질적인 회의주의적 태도가 평생 동안 그의 시 창작에 영향을 주었기 때문이다. 종교에 대한 그의 태도 역시 예외는 아니었다. 그의 시는 종교적 회의를 표현하는데에 웅변적인 반면, 믿음을 표현하는 데에는 소극적이라는 평가를 받기도 한다. 그가 그리는 종교적 감정은 수동적이고 수용적인 특질을 지닌다. 그만큼, 적어도 그의 시에 드러난 종교적 계시는 조심스럽게 다루어져야 한다는 뜻이다. 또한 시에 드러나는 그의 비전은 평생에 걸쳐서 획득된 것인 만큼, 결과 그 자체보다는 과정으로서 중요한 의미를 갖는다. 그런 점에서 그의 전 작품은 비전의 획득과정을 형상화한 하나의 유기체로서 다루어져야 한다. 그러므로 시간 속의 존재의 모습과 시간을 초월하는 장미 정원의 계시의 순간의 의미는 균형 있게 평가되어야 한다. 이를테면 분명한 종교적 계시를 명확하게 진술하지 못했다고 해서, 그 부분을 실패작으로 규정하는 것은 성급한 판단이다.

Tonny Harrison is a faithful and genuine working-class poet. He was born in Leeds and educated at its Grammar School, and he studied Classic in its University. As a lectuer in English at Ahmadu Bello University in northern Nigeria, he translated Aristophanes's Lysistraia into the pidgin English of the Hausa people. He, as a freelance poet, writes poems in the voices of working-class British expatriates. He has been called 'our Best English', 'a major dramatic poet', 'a major social and a radically innovative dramatist', and 'our greatest modern theatrical poet' The subjects which have dominated Harrison's poetry are family and community, art, and war - class war. His poetic voice is inflected by political and social struggle. Though he does not restate a radical agenda for social revolution with his poems, he is neither reactionary nor narrow-minded. His literary colleagues are like to think that he is a radical rather than a literal perspective, but he is a poet resisting powerfully a violence and radicalism as a political trick. Like Larkin and Hill, Harrison has a strong sense of history, but his perspective is more political and his politics are political activities about the exploiter and oppressor. Class conflict in Harrison's poems is caused by a social atmosphere of 1930's. In this period, material greed and ideological contention are no more historically specific and no less generalized, and abstract than original sin and the darkness of the human heart. This is mystification and obscurantisms with political effects. Harrison take Gorgon as metaphor - the Kaiser for this poetic function. Ideological contention and material greed make war and social violent history. He presents these violences of history. So revulsion against war becomes a source of his lifelong moral. Harrison's lyricism, like Larkin, draws from an ability to engage with materials of ordinary life. He is the five senses, as well as the conclusions that can be drown from them. Things in his poems are the self-conscious objective correlative. As Dunn says, his work is also a poetry of subjective dilemmas and dramas. The mood of Harrison's poem has elegiac element. Elegies cannot by definition prevent or cure the specific ill. So elegy is the form of poetry natural to the reflective mind. Its subject is a past time, its form is the historical epitaph, the meditation over a vanished past. Such an epitaph is a declaration of the death of working industrial England, and a political act. Therefore, Harrison's poems has a characteristic of gloomy historical meditation.

This paper introduces Hemingway's basic pattern or aesthetics of simplicity and rhythm, the two great wheels of his style, and then makes an extended analysis of this pattern or aesthetics in its varied aspects. Many of the characteristic features of Hemingway's writing such as understatement, painting technique, rigor, terseness, repetition, concreteness, omission, ob-jectivity, and rapid tempo can be traced back to this basic form of simplicity and rhythm which are closely interdependent in the actual operation. Ma-jor influences in the formation of this technique are his journalistic experience on the Kansas City Star and his exposure in the Paris years to the doctrines of Gertrude Stein and Ezra Pound. During his Kansas City Star days, C. G. Wellington and Galhoun Moise introduced him to a discipline of simplicity based on the Star's style sheet which contains 110 rules on writing. Rule 1 is: "Use short sentences. Use short first paragraphs. Use vigorous English, not forgetting to strive for smoothness. Be positive, not negative." More importantly, Rule 21 could have helped the young journalist to "avoid the use of adjectives, especially such extravagant ones as splendid, gorgeous, grand, magnificent, etc." It is noteworthy that under the tutelage of Moise, Hemingway could learn to create pure objective writing which is, according to Moise, the only true form of storytelling. It was during these years that he also could incorporate the device of brevity in his style, which was to mold his fiction in several important ways. In his Paris years Hemingway was under the direct influence of Gertrude Stein in terms of the technique of repetition and the treatment of time and he could use these stylistic devices for the development of his rhythmic style. Through his relationship with Ezra Pound he could gain masterful control over the technical method of simplicity and the rhythmic sentence or paragraph.

Steinbeck's novels in general contain some myths or mystical elements; and his 7'o a God Unknown in particular, seems to be unrealistic mysticism in a superficial view as its title suggests. In fact, not a few critics thought so. But, in the light of the modern psychology, it is found that it has more concrete grounds to be construed rather real than ethereal, rather natural than supernatural. This thesis is to study the background of its birth and scrutinize its plot to find the true theme of the novel. As the result, it reached a conclusion that it is a novel of subconsciousness, that is, a psychological, and it shows that the two opposing elements - the world of mankind and the world of nature - can be harmonized only through the subconsciousness; and the circulation of man and nature potentially exists in it.

"This thesis aims to analyze Lawrence's view of woman and his anti-feminism in Aaron's 깽, Kangaroo, The Plumed Serpent. Lawrence's view of woman is very important for him. Lawrence is called as an anti-feministic writer or a feministic writer according to his view toward woman. When we devide Lawrence's literary history as four periods, he is a feministic writer except the third period. Lawrence became anti-feminist in the third period. In Aaron's Rod, Aaron's attitude to his wife is thoroughly patriarchal. Aaron's disappearance from home proves that he is selfish and irresponsible. Aaron's giving up family is the step for the woman conquest Aaron's attitude to the woman conquest is exposed in the women whom Aaron met after his leaving from his wife. Aaron and Lilly indulge in long misogynistic diatribes. Lilly who asserts that his wife must submit to him is the same as Aaron. Lilly and Aaron think that the right of man is declining after war. So they feel a sense of duty to revive the right of man. The comradely union of Aaron and Lilly is developed into the leadership theory that all women and the inferior men must submit to the leader who has the great spirit. Lawrence finds that Frieda is the lady who is difficult to control as she is so obstinate and a lady of strong personality. As Frieda refused to give up her right, Lawrence and Frieda were in conflict each other. This conflict is exposed as the form of woman's submission to man and the man's domination to woman in Kangaroo. In The Plumed Serpent, Kate who married to Cipriano gives up her self and submitts to the phallic power of Cipriano. At the end of The Plumed Serpent, Kate appeals Cipriano to let her stay at him. The result is the culmination of anti-feminism. Kate gives up her self completely and submitts to the strong phallic power of man. Lawrence's man superiority is exposed through this process. In The Plumed Serpent, when the man is active and dominative and the woman is submissive and dependent, the balance between man and woman is achieved. Lawrence strongly expresses his anti-feministic point of view that the man must display the strong leadership to revive the power and the right of man that is lost owing to the war and the woman must give up the self and the independence and submitts to the strong man leader. Lawrence became anti-feminist after the first world war. The reason why he became anti-feminist from feminist is as follows: the first is that Lawrence has the antipathy against the movement of woman's right that emphasize excessively the emancipation of woman, the second is the ever-increasing participation of woman into society after the first world war, the third is the fear of woman who is independent and has the strong personality owing to the discord with Frieda.

It is clear that every work is influenced by social conditions. That is why Heart of Darkness and A Passage to India are criticized by post-colonialists. While Conrad and Forster may have been nominally anti-imperialist, they ultimately would have favored the subjugation of inferior races. They were not entirely immune to the infection of the desires and hates on imperialism of their age.

The aim of this essay is to investigate the multi-dimensional meaning of irony in William Blake's Songs of Innocence & of Experience The primary background of this kind of reading is the poet's own announcement of the purpose or intention of the Songs, that is, "Shewing the Contrary States of Human Mind." To 'show' something, we should keep a distance from it. Blake stands somewhere detached from the states of Innocence and Experience, satirizing both states by means of irony. The typical examples are the contrary songs of the same title: "The Chimney Sweeper," "Holy Thursday." In these lyrics the speakers are criticizing each other, revealing their own limits at the same time. Some other contrary songs of the different title are also ironical, intending to point out the faults of each other but displaying their own simple-mindedness. But the contrary structure of the Songs is not so symmetrical. Some songs represent Blake's own voice or vision, transcending the both states. This is, we can say, a deliberate strategy of the prophet-poet, who does his best to escape from the Newtonian vision.

This study aims to investigate chance revealed in James Joyce's work. He has well recognized chance in the world and represented chance vividly in his literary works, especially in Ulysses. The protagonist of Ulysses, Leopold Bloom, experiences many coincidences during a day and realizes that something he cannot know exists in his world. He cannot know what the future will bring. He understands very well the complex system of his own world constructed upon "uncertainty principle". The philosophy of chance has raised the question the confidence with which we interpret world or text. The indeterminacy of character and the structure of open-ending interweaved in James Joyce's literary works deny a transcendent meaning. There only exists an unpredictable spectrum of possibilities among them. Joyce helps us better understand our own life and world by representing the contingent and accidental nature of our life and world in his works.

The works of Hwang Soon Won and Nathaniel Hawthorne deal not only with the original sin but also with salvation from the sin through warm human love. Therefore it is not surprising to find that their masterpieces, The Descendants of Cain and The Scarlet Letter, are similar in many ways: the one searches the original sin in terms of possessive desire for the land, and the other the sin of adultery which the puritans despised most; in each novel the characters have their counterparts, especially Ojaknyo in The Descendants of Cain is very similar to Hester Prynne in The Scarlet Letter. Ojaknyo and Hester Prynne are playing twofold roles in each work: the role of woman committing the sin of adultery and giving salvation to the heroes, Park Hoon and Dimmesdale. Their twofold roles are implied in the books' titles and their names. The title 'The Descendants of Cain' shows both Cain's sin from Adam and God's abundant grace bestowed on sinners killing his brother. And the title 'The Scarlet Letter' means the letter 'A' worn on Hester's bosom, which symbolizes the sin of adultery and the promise of forgiveness given to men after repentance. They, who are strong in character, have unique thinking different from that of the others. They want to protect the heroes in each work in spite of all troubles sacrificing themselves, never thinking that their love is illegal. They can be the channel of salvation through this pure and warm love, which makes the hero Park Hoon escape from the circumstances and makes Dimmesdale gain victory in the struggle with Chillingworth. Their love is contrasted with their former unnatural love with Mr. Choi and Chillingworth. Through this true and motherly love they can be emerged as a symbol of both adultery and salvation.

Although no direct influence of Eastern works to Walt Whitman has been traced, records show that Emerson and Thoreau found some aspects of Oriental ideas in Whitman" The Leaves of Grass. From this fact, we can infer at least the following: Emerson and Thoreau, who in their own ways influenced Whitman, had interests in the Oriental religion/philosophy; Whitman came to have some influence from the Eastern ideas, if not from direct sources, through his acquaintance with them; and Whitman's work has some elements that makes the readers including Emerson and Thoreau relate it to the Oriental ideas. Starting from this inference, this paper aims to compare the ideas represented in The Leaves of Grass, especially in "Song of Myself," to those shown in Tao-te Ching, one of the representative works of Taoism. In comparing the two works, this paper intends to argue that, although no evidence of direct influence can be found, both works, through the related images of grass and water, and through the shared rhetorical device of paradox, hold in common the principle of equality of not only among the mankind but all beings in the universe. Further, through their concern with the relation between the self and the environment, both works diagnose the fundamental ecological problems caused by human beings and offer, in their own aesthetic/metaphysical ways, an alternative proposal.

The main essay in Preface to Film, "Film and Dramatic Tradition' shows Williams' most insight into the development of the concept of structure of feeling. Roughly surveyed, the idea of it used as a deliberate challenge and alternative to the existing explanatory framework of Marxist literary and cultural analysis. New Left Review team criticize it; it seems to refer to a generation, and yet at time to have a longer lifespan than any single generation, it seems far too unitary in its expression of social consciousness with its casual reference across classes. Williams thinks the dramatic conventions of any given period are fundamentally related to the structure of feeling in that period, and it is only realizable through experience of the work of art itself, as a whole. He uses this term because it seems more accurate than idea or general life. If we examine the actual emergence of the term, we soon know that it is best understood as Williams's most significant attempt to preserve and yet to go beyond the Marxist argument concerning literary and cultural reproduction which had been so thoroughly criticised within the literary criticism of Cambridge English. The means of this supersession is to be the idea of 'structure of feeling'. Its task is then twofold: first, to explain the nature of major shifts in dramatic convention, but second, to explain these shifts without recourse to the clumsy Marxist metaphor of 'base and superstructure.' The analysis and interpretation of dramatic form make us to see through to the fundamental convention with we classify as society itself, what Williams refers to as 'a structure of feeling in a precise comtemporary world.

As a story-teller Graham Greene describes the interior narrative of conscience with the political and psychological narrative in The Quiet American. The book contains more direct reportage of 'The Third World' than in any other his novels. Using his protagonist's immediate, first-person narrative, Greene introduces a more vivid perspective which moves between the antagonist's own innocent fanaticism and the protagonist's realistic view of the warfare in Vietnam. Greene's first person narrative is well suited to the aim of exposing America's desire to dominate the world by supporting Pyle. the antagonist. Greene shows us abstract opinions and concrete reportage. For him to presume is to be blind; to report is to remain sensitive to empirical reality. As he tells us about the well intentioned but dangerously innocent American, Pyle, whose absorption in the dilemmas of Democracy and the responsibilities of the West leads him to the Cao Dai General The to murder many guiltless people, Fowler's passivity turns into involvement. But he hides the part he plays in Pyle's assassination. Even though the Catholic Church plays a great role in the Vietnam War, Greene does not describe much about Catholicism in The Quiet American than in any other his Catholic novels. He just uses Catholicism as a means of mobilization. To him sin is identifiable with moral evil and becomes reprehensible when it is a deed done consciously in deliberate disobedience to one's conscience. Greene has great versatility as a writer. He is not content with writing novels for the limited purpose of moral, hut has a moral vision in a much wider sense, accepting life in all aspects. Actually The Quiet American was the beginning of Greene's political works. The romantic love story is only a background of political intrigue in it. He describes the specific conditions of our times; his novels show us the unchangeable human nature and also the comtemporary situation with its own unique features.

자아와 타자의 관계는 전통적으로 이원이위적으로 대립된 간계로만 인식되어왔다. 이와 같은 이해는 자아의 측을 구성하는 항들에 우위를 부여해왔으며, 우열의 가치체계는 절대화된 타자라는 개념을 형성했다. 인간과 자연의 관계도 이 우열의 가치체계를 벗어날 수 없었고, 자연은 절대적인 타자로만 인식되어 인간을 위한 도구로 전락되었다. 생태학과 환경에 대한 관심은 인간과 자연의 관계를 재검토할 것을 요구하며 공존을 위한 새로운 패러다임으로 이 간계를 볼 것을 요청한다. 이 글의 목적은 바흐친의 이론과 스나이더의 시를 통해 우리가 어떻게 인간과 자연의 관계를 서열없는 관계로 인식할 수 있는지를 살펴보는 데 있다. 바흐친은 자아와 타자의 관계가 근본적으로 상대적인 차이 속에 놓여진 상호적 관계임을 제의한다. 바흐친에 따르면, "나"라고 하는 존재는 구체적인 시공간에서 재연될 수 없는 행위성 그 자체를 창조하며 다른 "나"들 또한 반복될 수 없는 행위성을 창조한다. 즉, "나"와 다른 "나"는 구체적인 시공간 속에서 각각의 행위의 주체가 되는 것이다. 이러한 개별 존재의 구체성 속에서 "나"는 다른 "나"와 공유의 순간을 갖는다. "나"라고 하는 존재는 다른 "나"의 존재에 상호 연결되어 책임감있게 그 다른 "나"의 행위에 참여하게 되고, 다른 "나" 또한 "나"의 행위에 참여하는 존재가 된다. 구체적인 한 행위의 동인이 둘이라는 생각은 자아와 타자가 행위를 중심으로 연결되어 있음을 인정하는 것이며, 자아가 타자보다 우ㅜ얼하다는 생각을 해체한다. 거북섬에서 스나이더는 상호의존, 상보성, 또는 상호연결이라는 주제를 다룬다. 이 주제의 이면에는 자아와 타자의 관계에 대한 스나이더의 통찰력이 존재한다. 스나이더에 따르면, 자아와 타자의 관계는 절대화된 중심이 배제된 상호영향의 관계이다. 그는 인간을 자아의 위치에 놓고 비인간의 영역을 절대 타자화하는 전통적인 이분법을 해체한다. 스나이더에게 비인간 존재는 생태계의 패턴을 유지하고 순환시키는 주체들로서 인식된다. 인간과 자연이 서열없이 세계의 두 중심임을 천명함과 동시에 바로 이것이 인간과 자연의 올바른 서식을 위한 존건임을 암시한다. 스나이더에게 자아와 타자의 서열없는 상호성은 하나의 비전이다. 그것은 인간중심주의를 부정해 생명공동체의 건설을 지향한다.

In this paper, I aims to show the need of a semantico-pragmatic analysis of English Dative Constructions. I introduce the semantic analysis of the iconicity principle and the pragmatic analysis of the given-new information strategy for the claim. I propose that we use the internal dative constructions when the agent and the recipient are conceptually closer and when the speaker consider what happened to the indirect object as more important than what happened to the direct object, or the speaker's attention focuses on the indirect object of new information. And we use the external dative constructions when the agent and the recipient are conceptually more distant and the speaker's attention is to direct object of new information. On the basis of our analysis, it is demonstrated by empirical data that the principle of iconicity and the discourse phenomenon of given-new information provide a satisfactory account of English dative constructions. Therefore, I conclude that English dative constructions do not show free variation but it is determined whether they are internal dative constructions or external dative constructions according to the conceptual distance and the information status of objects.

This paper reviewed critically various approaches to grammar teaching, based on the processes of second language acquisition and the construct of communicative competence. Second language acquisition was considered in terms of cognitive approach and the components of communicative competence and experimental studies related to them were reviewed. On the basis of such background, four different approaches were classified: the structured input approach, the product approach, the skill approach, and the process approach. The advantages and weakness were pointed out for respective approaches. The structured input approach enables learners to notice the targeted form through providing comprehensible structured input, especially developing learners' listening skills. The product approach contributes to taking in and structuring the focused input by explicitly focusing on specific forms and meanings so that it can promote learners' declarative knowledge of the target L2 grammar. The skill approach carefully guides learners to utilize grammar for their own communication. The process approach gives learners practice the skills of language use, facilitating the transition of their declarative knowledge into procedural knowledge so that L2 learners can develop the pragmatic competence and strategic competence of L2. Therefore, taken together, these approaches provide a comprehensive basis for effective grammar teaching. From this comprehensive point of view, grammar teaching can play a useful role as a tool for communicative language learning.

The purpose of this paper is to discuss binding conditions-the structural requirements governing certain anaphoric relations. Huang(1982, 1983) suggests that when anaphors and pronominals are not in complementary distribution, they can be in non-complementary distribution if they have a different governing category of the binding theory (A) and (B). However, Huang's modified governing category has some problems. Chomsky's (1986a) binding theory that anaphors undergo LF movement to the INFL position, or to VP by adjunction shows that LF anaphor movement can not be motivated because it can violate the Empty Category Principle and the Adjunction Principle. It also shows that the long - distance binding cannot simply be characterized as subject - oriented. Williams' (1989)-binding theory can solve the problem of the cases of reconstruction, which can not explain the problem caused by not establishing the governing category and LF anaphor movement. Only the structural patterns such as Chomsky's, (1981, 1986) binding theory, Williams'(1989) 0 -binding theory, Belletti & Rizzi's (1988) S-structure and D-structure level, and so on can not solve the problems of the binding theory. Under the Attract-F, Minimalist framework, we will capture the anaphora binding in English. We suggest a lexical condition for the anaphora, which says an anaphor must be moved in logical form by feature checking under the Attract-F approach. Given this condition, we can provide an explanation for why LF anaphora movement is forced and can get rid of condition (A) from the Binding Theory.

The aim of this paper is to examine how Case-feature checking takes place in infinitival constructions under Chomsky's(1993,1995) Checking Theory of the Minimalist Program, In spite of its advantages mentioned and accusative Case assignment, the duplicate Case assignment and Exceptional Case marking. The Case-feature checking of an objective subject of the infinitival complement clause taken by ECM verb like 'believe' and 'expect' was made possible by Chomsky's(l991,1993) AgrOP Analysis under Pollock's(1989) SIH. But the solutions to the problems of Case Theory provided by Comskys's AgrOP Analysis becomes meaningless if AGR as a functional category which triggers Attract/Move-F is excluded from Grammar. As a matter of fact, Chomsky(1995) got rid of AGR as a functional category because of its irrelevance to Lf and PF. IF this is the case, the syntactic description of the nominative Case-checking in infinitival structures should be made in the following directions. First, the lexical properties of verbs must be fully explored. Second, the scope of syntactic analysis must be extended from sentence to discourse, because the reference relations of PRO have something to do with contexts. Lastly, the syntactic properities of TP must be explored, together with those of infinitive particle 'to'.

The purpose of this paper is to show that the information structure is a basic component of the English language which interacts with phonology, syntax and semantics as well as pragmatics. The information structure marks the organization of sentences into focus and topic constituents. Focusing plays a central role in grammar, and the identification of a topic is characteristic of linguistic structure. The linguistic level of information structure is a fundamental part of Universal Grammar which determines the class of possible languages. Information structure mediates grammar and phonetic form. It is necessary for the derivation of intonation and phrasal accent. In English topic identification is an innate and essential pan of conceptual-intentional structure itself, and focusing is an innate reflex ,essentially involved in perception as a whole. The canonical information structure in English takes the grammatical subject or alternatively a stage as a sentential topic, whereas languages like Japanese and Korean have morphological markers to make the topic prominent. Different languages have their own canonical information structures. The connection between basic word order and the fixed positions for the focus has been discussed by many linguists but their information structure-oriented approach prompts various perspective on this problem. This paper introduces three types of information structure proposed by Lambrecht (1994) and reinterprets them by the Erteschik-Shir's f-structure rules. By looking at English sentences from above, information structure analysis enables us to understand English grammar as an ecological system.

The purpose of this paper is to explain that the phrasal construction determines the meaning of Korean idiom phrase with two examples, mom_sal and kkoch_tun, within HPSG framework, following the spirit of concept of Construction Grammar. To do so, the paper introduces two English idiom studies of Riehemann et al.(1997) and Cho(1999) and Korean idiom explanation of Suh(1996) as the previous study. A hierarchy for Korean idiom is suggested on the basis of Cho(1999) and two criteria like semantically decomposable idiom phrase and semantically non-decomposable idiom phrase.

With the development of ICT(information communication technology), recently there has been many efforts to apply the Internet to English learning in EFL. But most of them are only theoretical studies, and actually there are few cases to use the Internet as an English learning material in the classroom. The purpose of this paper is to investigate the possibility that our students can improve their English writing abilities by using the Internet forum through interdependent collaborative learning. It is based on constructivism that WBI, by offering socio-cultural interaction engineered towards learning, creates the environment of collaborative learning which discusses and solves problems each other. The result can be summarized as the following two facts. First, by using in real situation English expressions which they learned in the classroom, they can acquire affective motivation, that is, the great interest and confidence that is the most important in foreign language learning. Second, they can enhance their English speaking abilities as well as English writing through their common subject and problem solving by means of E-mail exchanges with their fellows and native speakers in the world. These facts are in accord with the recent language learning theory which makes our students learn the foreign language through contact with authentic linguistic materials.