Earticle

It is unfair for the critics to go beyond Hawthorne's historical approach in studying on Hawthorne's The Scarlet Letter. His concerns on history was the attempts to search for the 'spiritual significance' of the facts. To convey the spiritual significance or his moral, Hawthorne seems to use a very special form, 'a parabolic form'. A parable is a narrative form. Its first appearance and most frequent use can be found in Bible in which Jesus Christ often uses it to deliver what he would like to say to the twelve Disciples and the public. And it was a . very effective way of conveying what he wished to say to the people. Due to its unique narrative way, it is considered as a porter of a instruction or moral. The Scarlet Letter is 'a parabolic text' realizing all of the requirements to be a parable. Why did Hawthorne want to convey his moral using the parabolic form in his work through a risk of various interpretations of The Scarlet Letter? About this question a great french writer Gregoire answered in his book' "Quand je vous parle de Dieu, vous dormez, mais pour ecouter des fables, vous vous tenez en eveil," (When I speak of God , you sleep, but to listen to the fables, you keep vigil.) In The Scarlet Letter Hawthorne realized "the darkening closing of a tale of human frailty and sorrow." And also in Chapter I, he himself had prophesied Chapter XXIV using the aesthetics of Parable. Therefore he succeeded in showing as high a gift as to be a prophet of art and at the same time a fulfiller of the prophecy in The Scarlet Letter.

This essay focuses on the description of the human subject in M. M. Bakhtin's earliest writings and how it is related to his later works. In the history of the Westerners' receiving and appropriating Bakhtinian discourse before the translation and the publication of his earliest manuseripts, as his theories have been presented as dialogism which implies the linguistic approach to them through the French and American translations under the postmodern and poststructural climate, the problems of the subject conceptualized in the Western metaphysics his earliest manuscript raises have been attenuated relatively into a new dialogic condition for the inquiry of the subject Thus, this is to re-contextualize his major works with the help of his creative deseription of the subject in terms of ethics and aesthetics so that we may overcome the fatal theoretism immanent in the pre-existing narratives which presume the center or no center in the subject. Bakhtin's ideas about the subject start from a non-alibi in being and the architectonics of the subjects, which are ethical critique of one-sided theoretical transcription for Being-as-event once-occurrent in time, irreplaceable in place, and unique in axiology. This concern with the subject as agency continues to be a study of human authorship in "Author and Hero in Aesthetic Activity," which portrays the subject not only authored by the other but also authoring through the relationship between self and other in the ocular and somatic realm, which is cognitive and aesthetic critique of the finalized and monologic representation of the subject. Then, his description of subjects finds its best way into the novel through which the heteroglotic/polyphonic reality can be visualized and audible enough to make concrete the dialogic subject moving on the junctures of all discourse in the social/historical/political situation. This creative understanding and literary valorization of the subject as dialogic agency through the eyes of the novel can provide the centrifugal power against the image of de-centered, anti-humanistic subject whereby the networks of centripetal power in the late capitalism try to finalize us.

This paper considered the distinction between four-beat and five-beat verse in syllable-stress meter, and the variations line-lengths and stanza forms in which they are used. Much syllable-stress four-beat verse has the same characteristics as four-beat verse in stress meter, including virtual beats and the use of stanza forms that divide and combine the four-beat units. Verse which does not fall into the 4x4 formation comes closer to the rhythms of speech; this includes five-beat verse and verse with varied line-lengths that cannot be read as a variant of the 4x4 formation. Four-beat verse can also be written in a way that counters the 4x4 formation by syntax and choice of stanza form. Five-beat verse is almost always iambic: it is very rare to find examples in trochaic or triple verse (or stress verse). It has a relatively weak rhythmic architecture, neither dividing into half lines nor forming larger units. It can be rhymed or unrhymed (blank verse), stanzaic or continuous. It makes no use of virtual beats. These characteristics make it particularly suited to the evocation of speech and thought, to drama and to long narrative or meditative poems.

This paper is to surfie the purgatorial vision in Eliot's later poems. In Dante's Commedia we have a Paradiso and an Inferno, and two intermediate worlds on the surface of this earth. One is the world of experience that permeates the whole poem by allusion and illustration. The other is the mountain of the purgatorio, where Dante journeys upward in quest of innocence and reaches the Garden of the Eden. Eliot's later poems belong to his purgatorial vision. Ash Wednesday presents us with a desert, a garden and a stairway between them. The stairway is the escalina or winding mountain of Dante's purgatory. In St. John of the Cross the dark night of the soul is described as a spiritual dryness like that of a desert, and here again is a ladder, equated with the figure of the ten stairs of St. Benedict referred to in "Burnt Norton." Desert and garden are central symbols in our literary and religious tradition, and a number of complexes of this symbolism have become so closely associated as to be readily identified.

A variety of studies of Eugene O'Neill have extended both the horizon of evaluation of him and that of meaning of his dramatic writings. Critical investigation has established him as the foremost influence in the shape and development of the modem American drama. This study aims at interpreting the later plays of Eugene O'Neill from the perspective of the Theatre of the Absurd and evaluating him on the context of "the absurd." O'Neill's vision of the absurd may be viewed as the con~cious and strenuous effort to face human existence as it really is in a purposeless universe. His vision of the absurd can be traced in all his plays, although its specific aspects are not altogether alike. And his later plays show his vision of the absurd well. His vision of the absurd converges into the context of the absurdity diagnosed and analysed, by Albert Camus, in The Myth of Sisyphus. The Iceman Cometh and Hughie can be employed as the most exemplary plays which reveal O'Neill's vision of the absurd. In these plays, O'Neill examines the absurdity of human life in our world and attempts to make the audience face the human condition as it is with deep confidence in man's ability to reach the genuine meaning of human life. Analyzing the specific aspects of O'Neill's vision of the absurd, we might call him the forerunner of the American dramatists of the Absurd, and that will help us extend O'Neill's influence on American drama as a man of the theatre as well.

Feminism has been one of the major discourses across disciplines throughout the twentieth century. By this powerful reawakening movement, forgotten or erased voices of females could be restored, and the quality of human life and humanistic resources have become richer. Some radical feminists, however, have pushed their political, as well as theoretical, standpoints far to the extremes that, by all their rights and benefits, women should construct a counter-society of women to the present patriarchy. Mary Daly, for example, voices the main tenor of this radical feminism. In her Pure Lust, she maintains that women should live separately from men because they cannot achieve the goal of becoming the true, natural women, "hags," when with men around. This radical feminism, however, seems to be too political because women as well as men should live together, as independent beings, in a community. George Eliot's A&m-Be& provides a model text that illustrates my argument. Traditionally, Eliot has been regarded as ambivalent toward woman issues. However, her first successful novel well reflects her deep thought about the issues. Main female characters, Hetty Sorrel, Dinah Moms, and Mrs. Poyser, are all incomplete feminists in a sense, and their incompleteness derives from thc faulted values of their own community. The ethics or values of the community, in other words, govern the lives of its members. Although the values of the community are male-oriented and authoritative, no one can live away from it. What is left in the end in the reader's mind is the keen awareness of the injustice or distortion in the values that the community upholds. Eliot's ambivalence toward woman issues is due to this clear recognition of the difficulties in approaching the issues within the contemporary society.

Terry Eagleton's historical materialism began at Cambridge University in the 1960's under the influence of Williams, and reacted against the critical rthodoxies of the New Criticism and especially those inspired by F. R. Leavis' liberal humanism. This reaction is evident in Eagleton's first book, which attempts to reconcile Roman Catholicism with social humanism Again Eagleton's subsequent Shakespeare and Society treats Shakespeare's plays not as autonomous but as inseparable from the fundamental social issues. Critical text of Exile and Emigres establishes Eagleton as a critic of the twentieth century. With essays on Conrad, Waugh, Orwell, Graham Green, T. S. Eliot, Auden and Lawrence, The Text's aim is to trace a common thread in 20th century authors who write from positions spiritually and geographically external to the culture they address. Like that book, in Myths of Power Myths Eagleton has begun to depart from the high valuation of English literature as Leavis's writing. In Criticism and Ideology and Marxism and Literary Criticism Eagleton shows how a Marxist criticism tries to grasp forms, styles and meanings as the products of a particular history and even individual psychology as a social product. During this period Eagleton was more Hegelian than Marxist and prefers Pierre Macherey's view of text as decentered from and its incompleteness of structure. He also expresses sympathy with Walter Benjamin's assertion of the need for a revolutionary art.

The purpose of the essay is to review Nature and Art shown through characters of The Man of Mode which is known to representative Restoration Comedy of England. Nature and Art is continuously shown firsthand or secondhand in the literature throughout every period. But this problem is especially remarkable in Restoration Period which Charles II brought the fashionable and corrupt culture to the Court and the upper-class. In those days, the aristocracy were depraved and they ran after worldly pleasure. The showing off, refined manners, and wit were more highly valued than inner virtue of man. So attitude of people is transformed into falsity, affectation, and hypocrisy. In such a period, it will be significant to review elements of Nature and Art in The Man of Mode which presume essential question of man. The substantial theme which defines Nature and Art was studied with binary elements of term which are mostly used in Restoration Comedy. The list of binary oppositions which plays the part of Nature/Art in this play is face/mask, fact/falsity , mind/words, reality/appearance, honesty/deceit , instinct/ manners, country/town, and passion/love. They sometimes play as the part of individual or unity which puts together both sides, too. Dorimant, hero has unity which puts together both sides. In other words, it is wit requested by Restoration Society. So, Dorimant who adequately uses Nature and An in his own way is a gentleman created by Restoration Society.

Pynchon's world, in his work, shows entirely chaos surrounded with deep desperation, helplessness, and nihilistic senses. There is also a tensioned world in V, changing the original meaning of love and life due to the rapid scientific development and willing to happen a bloody war for their business. That has made people gradually difficult to evince humanity and has accelerated inanimate. Herbert Stencil's pursuit of V's identity symbolizes as a searching the trace of history. Pynchon put forward the claim spiritual stir to the problems of lost humanity, lost women's beauty, and yo-yo life style in the closed and decadent spiritual world. Pynchon seemed to regard science and social system with absolute value in the past as the principal of crise de conscience and crise de confidence. This is why his literary background was full of fretting about losing belief in human history and finding false of scientific development and of regretting for being enervated himself in front of them Consequently, Pynchon emphasizes and desires that we should pursuit of recovering a new order of historic, a certain continuity, and optimistic view instead of losing the dignity of man, with a creative paranoiac view.

Marlow tells us at the beginning of his narrative that there are those voyages that seem ordered for the illustration of life, that might stand for a symbol of existence. Thus he develops the implications of a single event, the baffled voyage of the Judia to the Bangkok shaping it into an intensely metaphorical statement. The freshness and appeal of this statement is due to Conrad's bold experiments with impressionistic techniques. The use of Marlow as narrator opposes the spontaneous egoism of twenty to the wary wisdom of forty-two in a way that relativizes romantic illusions. The dual perspective also allows Conrad to distance himself from the text, to explore moral issues with flexibility, and involve his readers through a surrogate audience, those four listeners grouped around the mahogany table. Marlow gives the simple tale of catastrophe at sea thoughtfulness it finally posses. His important object is to change certain conventional notions held by his four respectable listeners. He emphasize the glamour and beauty of youth over the old men's tendency on their younger selves with patronizing indulgence. He thinks youth should not be patronized but respected. for it offers an important and unique opportunity. To his mind, it is only time when one can be boldly and wholesomely egotistical and still mange to get away with it. Because life has not yet become tentative and morally compromising, simple heroism is always possible. And because of this singularity. youth, the years of power and illusion is the best time of one's life.

After mid-eighties, ecocriticism like feminism becomes to be what will survive from the intellectual ferment of the 1960s. It is true that ecocriticisrn comes in many guises and brings conflicting agendas. But we can put simply what ecocriticism means. Just as feminism criticism examines language and literature from a gender-conscious perspective, and Marxist criticism brings an awareness of modes of production and economic class to its reading of texts, ecocriticism takes an earth-centered approach to literary studies. All ecological criticism shares the fundamental premise that human culture is connected to the physical world, affecting it and affected by it. Ecocriticsm takes as its subject the interconnections between nature and culture, specifically the cultural artifacts of language and literature. It is extraordinary how profoundly the romantics seem to have thought so many of the problem which ecology think. Romantic poetry seems often to express an ecological point-of-view. Both preferring what nature can teach to what man has taught, and finding true and unalienated life in rural, pre-industrial communities seem equally characteristic of the Green movement and romantic poetry. For that reason, Green Romanticism will be at the center of any historically-informed ecocriticism. William Wordsworth's poetry is best suited to the easy conservationism, one of the so-called shallow ecological attitudes. His can be quoted praising the rural life of individuals and decrying the depersonalized life of people in industrialized cities. His bears witness to a profound interchange between man and nature, one of many questions from ecocritics and theorists. His "Nutting" is an ecological poem because of the clarity and sympathetic intelligence with which it looks into the reasons why we destroy our environment. He has learnt to understand some of the motives for his behaviour, but his poem recognizes that knowing the reasons is not the same as either knowing the answers or solving the problem. His early poem, "Lines left upon a seat in a yew-tree" is concerned with the man-nature relation, but it approaches the subject indirectly. Again, it is no simple poem about the influence of natural objects, but rather it concerns the failure of one recluse to derive comfort from the external scene. It suggested that the recluse failed to feel comfort because he cast the same misanthropy and self-pity on the landscape as he did on the cities. In order to derive comfort from nature, he should have experienced the profound interchange between himself and nature. This experience was described in "I wandered lonely as a cloud" perfectly. Nowhere is the interrelationship between the natural world and the human world more forcefully celebrated than in "I wandered lonely as a cloud". Finally, when we recognize that some doctrines in ecocriticism are 'How is nature represented in this poem? and What role does the physical setting play in the subject of this poem?', the main subject of the man-nature relation in Wordsworth's poetry is to be suited with ecocriticism.

In recent years, the extensive publication and study of Yeats's revisions has given us a figure of Yeats, who weighed carefully every word, every caesura, every syntactic form. Although examination of the revisions has prompted interesting speculations about the evolution of Yeats's poetic style in general, the sound features of the lyric poems remain largely unexplored. Though Yeats's own theory of poetic style is never systematic, his incidental comments make clear that he considers stylistic problems of the great importance. His care in selecting rhymes is revealed in many passing remarks about his poetry. These statements really show that Yeats's poetry depends more heavily than he himself realized upon the control of rhyme. The theory that rhyme is a device that unites similarity of sound with disparity of meaning has been largely ignored. In recent years, however, some literary theorists have argued that the crucial point in discussing rhyme and meaning is not whether the rhyme words are semantically divergent or congruent, but that they are, in either case, related. In the case of Yeats's poetry, there is a great divergence between the relative semantic weight of the early rhymes and those of Yeats's maturity. This thesis aims to describe the process of this stylistic evolution.

Ernest of Hemingway's major theme is the tragedies Hemingway's attitude toward tragedy is that is that of the symbol The purpose of this study is to clarify the symbolic tragedy in Hemingway's major novels, especially 『The snows of Kilimanjaro』concerned with death. Tragedies mean a natural desire to derive the order from death and regard them as the happiness The predominant system exposes an invisible force that cause the spiritual decadence and social degradation of all people. I think that the novel hero 'Harry' is the incarnation of Hemingway Harry's anxiety end! with death, thinking that he will be going to Arusha. After all, according to Hemingway, tragedies mean the origin of life and death, and the mysterious domain of transcendental energy. He maintained that one who experienced 'tragedies' could realized in his mind that old experience disappears while the new one comes nearer. He thought that his idea of tragedies is concerned with melancholy past of himself. As a conclusion, it is claimed that Hemingway showed his mental vision by describing how the tragedies can be harmonized through the tragedies of the novel.

It is said that Nabokov is a doubly obscure novelist. This saying might have various meanings; for he is a Janus novelist : Professionally he created works inaccessible to all but the few privileged readers capable of deciphering his intricate patterns. Personally he wanted to make himself the sole author of the image of "Nabokov" he presented himself to the world, agreeing to grant interviews only if the question could be submitted to him beforehand in writing. It means that he wishes to control his own art by the power of his will. Nabokov emphasizes the absence of reality : it means his novels do not represent his past. However, he uses lots of his personal experiences in the novels. He writes a sort of autobiography or biography in most of his novels. It is the same with Pale Fire. On the surface Pale Fire has a simple structure where the two characters Kinbote and Botkin arc Nabokov's doubles in a doppleganger device. The two characters become Nabokov's galley slaves, creating their master's autobiography. However, in the deeper structure the main characters Shade and Kinbote are combined in contrapuntal theme. The most Nobokovian character Shade represents reason, present, and hetrosexual love which are related with limited life and death while Kinbote represents insanity, past, and homosexual love which is related with unlimited illusion in Nabokovian sense. On the surface each character cannot express any meaning within their own world. But when they are combined in a contrapuntal theme, they do have, meaning, though they are not independent, a kind of existential meaning. Shade feels the meaninglessness of his aunt, daughter and his own death. He creates meaning by including their deaths in the novel. Kinbote, who represents the illusion's world, also gives a meaning to his insane world within Shade's world. When the two worlds are mixed, it is not the world of representation but that of topsy-turviy coincidental texture. That is the kind of world that Nabokov wants to create in his novels. The novelist who doubts the representation of reality tries to create his own artificial world. On the surface Kinbote becomes Botkin, Botkin represents Nabokov, so they are his doubles. And in the deep structure Kinbote and Shade are combined into one in contrapuntal device. So all the characters become the doubles of Nabokov. Nabokov creates his artificial world by making the characters play his roles, using his own perceptions and personal experiences, and then distorting them. That is a world where he can live consciously and eternally.

Many modernist critics blamed Steven's poem because there's no organic whole in his poetry. Nevertheless, he is still regarded as one of the most important poet in the 20th century. What I propose in this study is to establish his poetic status as a post-modernism through deconstructive reading of poetry. After losing the belief of God, there's nothing absolute and final in the world. He perceives the reality becomes, changes, and dies. He regards the poetry also as a supreme fiction in the relative world. His poetry is a paradigm of deconstructive writing as becomes such thought. He represents the possibility of the supreme fiction by destroying traditional form and trying many revolutionary techniques in his poem.

The purpose of this paper is to examine John Donne's poems through feminism. A few suspicions might be raised when a feminst reading of Donne's poems is suggested, since he has not known as a feminst poet at all. John Donne wrote his poems in the period when feminism had not been imagined by most people in the traditional patriarchal and phallocentric ideology. In this period, the physical beauty was the best virtue of a woman. But being different from the convention, the description of a woman's physical beauty is hardly found in Donne's love poems. For him beauty of natural world is of little estimation as it is simply a thing that happened by chance. Rather the psychological emotion or inner experience were described exactly in the place of a woman's body. Donne seems to recognize the fact that a woman is more than a sexual partner in the relation with a man. In some of his poems a woman's influence upon a man is so great as if to infer that a man's existence is dependent on his lover just as solar energy on the moon. As a matter of fact, Donne compared the sun to a woman, the moon to a man. But in other poems he revealed the patriarchal inclination toward the women who turned their back from the lovers. This kind of contradictory attitude towards a woman appears in Donne's poems. A feminist reading of Donne can achieve two things at least. Firstly, we can trace the historical procedure in which women were oppressed by patriarchal ideology. Secondly, a feminist reading may provide and contribute toward an extension of interpreting the text from another perspective.

W. B. Yeats' poetic material is so complicated and various that we can't divided chronologically. In his early poetry Yeats' is related searching for an ideal world; in his middle period involves a turning from the ideal world to the real world and his poetry is concerned with a dualism, the conflicts of opposites; in his last and final phrase Yeats is concerned to resolve the conflicts and seeks for a unifying theme and image. Yeats' dualism placed sharply by his poetic turning process. Also his dualism has been rotated by dualistic conflicts in birth, growth, and decline of self and anti-self. And he considered the history of Ireland as the circular movement of the sun and the moon, and regarded a gyre as repeated in birth, growth, and decline in twenty-eight lunar incarnations. In the Second Coming Yeats represented the history is rotating in birth, growth, decline per around 2000 years, for ending christian civilization and coming soon another one as "the falcon cannot hear th falconer, Surely the second coming is at hand". In tile G!,res he described all reserved things loosed action and alive such as "for beauty dies of beauty, worth of worth". In Leda and the Swan he thoughts beginning of new another history as intercourse Leda with the swan: such a history and civilization as "death in life, life in death". Finally in Sailing to Byzantium he realizes all things has the circular process limited physical as well as the history, toward the Byzantium of combination of immortal, spiritual, and artistic world to overcome his physical limit. I insist that Yeats saw the history of Ireland as if all things have structure of circulation of structure of birth, growth, and decline, and tried an art of joy and satisfaction unifying dualistic conflicts between the ideal world and the real world, and between the mortal world and the immortal world.

본 논문에서 필자는 에디스 워튼과 한국의 여류작가 강경애를 그들의 작품 연락의 집과 어머니와 딸을 중심으로 에이 오우엔 알드리지의 parallel literary study의 방법으로 비교 분석하였다. 두 작가는 비록 문화적, 역사적 배경 면에서는 유사점을 찾기 힘들지만 이들의 유년시절, 결혼생활, 그리고 문학관 등에서 많은 유사점을 찾을 수 있으며 특히 이들의 소설 대부분에서는 남성편향적인 사회구조 속에서 살아가기 위해 분투하는 여성들의 현실과 고뇌와 분노가 다루어지고 있다. 본 논문에서 다루어지고 있는 두 작품의 여주인공들인 옥이와 릴리를 비교하면서 이들의 삶에서 한국적 한의 속성인 삭임이 어떻게 나타나고 있는가를 살펴보았다. 삭임은 원망, 슬픔, 탄식과 같은 한의 부정적인 속성에서 출발하지만 끊임없는 자기성찰과 인내의 과정을 거치면서 내면의 힘을 키우게 되고 점차로 화해와 재생을 이루어 가게되는 과정을 말한다. 옥이는 슬픔과 고통 그리고 분노를 삭임의 과정을 통하여 독립된 자아를 찾는 데 성공하고 있으며 반면에 릴리는 자신의 굴절된 삶을 벗어나는 방법으로 자기 성찰이라는 내면적 힘을 키우기보다는 외부적인 환경 변화를 찾아 방황하다 결국 자포자기의 절망상태에서 죽음을 택하게 된다. 두 작품에서 에디스 워튼과 강경애는 자아에 대한 개인적 성찰, 즉 삭임은 여성의 정체성 찾기 라는 보편적 문제를 해결하는 한 창조적인 탐색이 될 것임을 제시하고 있다.

The aim of the paper is to investigate the main causative factors of Old English sound change whereby vowels were lengthened before certain consonant groups like nd, -ld, -rd, etc. The vowel lengthening in question can't be explained without reference to a second Old English sound change, whereby vowels were shortened before two or more consonants. The crux of the paper is to discover how the two changes are related and systematize the Quantity changes in Old English period. Vowel lengthening seems to have occurred before consonant combinations than in non no syllabic forms. The conditions under which vowel lengthening occurred in Old English are described as follows: All Vowels were lengthened before -ld, -rd, -mb, -nb. -ng, -rl, -rn, and ra and rs if the latter two were prevocalic. Lengthening failed if a third consonant followed, or if two unstressed syllables followed. Lengthening occurred in dissyllables as well as monosyllables. Of the consonants before which the vowel was lengthened, the first had to be a liquid or nasal in English. Short vowels were lengthened before certain consonant clusters(esp, a liquid or nasal + homorganic stop), or in compensation for the loss of 'g', 'h', and nasals in certain positions, and final short vowels were lengthened in open monosyllables. Long vowels were shortened before double consonants, or before two consonants in words of more than two syllables. Vowel lengthening may be fairly dated as beginning in the latter half of the 9th century and continuing probably no longer than the 10th. Vowel shortening is dated by Luick as a century later. This leaves a gap of at least 90 years between the two changes.

The purpose of this study is to increase the practical understanding of how a properly chosen MOO (Multi-user domain Object Oriented) environment can function as a foreign language learning procedure. The goal of this study is to investigate the claim that a MOO site can be used successfully as an learning tool in foreign language classes. In preparing such a study, the following related fields will bc explored: some problems with EFL environment, necessities for CMC in foreign language learning, CMC for comprehensive input & output, CMC for lowering affective filters, MOO for foreign language learning, and SchMOOze University for foreign language learning. SchMOOze University, one of language education MOOS, is introduced to alleviate many of the problems stemming from the isolation of foreign language students in Korea.

본 논문은 허사 there와 it에 관한 문제점을 해결하는데 그 목적이 있다. 그 문제점이란 SPEC-T 혹은 목적어 위치에서 허사의 병합이 순수병합은 일치를 유인하지 못한다는 Chomsky(1998)의 주장을 위반할 수도 있다는 것이다. 본 논문은 허사 it가 의미역 표시된 절의 SPEC-C에서 C와 최초로 병합하며 격자질을 수반하는 완전 φ-집합을 포함하고 있다는 가정에 이른다. 더 나아가 본 논문은 허사 there가 탐구의 EPP-자질을 생략시킬 수 있는 범주자질 [+Adv]를 포함하고 있음을 입증해준다. 그리하여 본 논문은 또한 허사 there가 의미역 표시된 DP의 SPEC-D에서 D와 최초로 병합하며 범주자질 [+Adv]을 포함하고 있다는 가정에 이른다. 위의 두 가지 가정을 기초로 하여, 목표 허사의 완전 혹은 불완전 φ-자질은 탐구 Tcomp 혹은 Tdef에 의해서 그들간에 일치를 위하여 유인되어야 한다고 본다. 그밖에, 허사 there의 비해석성 φ-자질은 생략될 EPP-자질이 더 이상 남아 있지 않으면 생략될 수 있다고 본다.

The purpose of this paper is to analyse compensatory vowel lengthening with /h/-deletion in Old English by employing the framework of Moraic Phonology(Hayes 1986). In Old English, deletion of /h/between wowels and sonorants triggers compensatory lengthening of a preceding vowel. In this paper, I show that moraic phonology can account for the phenomenon in a straightforward way. Specifically, I claim that, compared with CV phonology (Clements and Keyser 1983), moraic phonology can provide a more satisfactory account of compensatory vowel engthening.

In this paper, we briefly review the syntactic, morphological properties of '-ita' and '-issta' in Korean and analyze the underlying structure of them which are especially taking a constituent of 'clause + noun.' We treat both of them as verbs and show that the copular verb '-i' acts like a A-operator, sharing the same index as the noun right before the copular verb and activating a complex predicate. Based on Lasnik's(1992) assumption, we also show the possessive '-issta' assign the nominative marker to its complement and take an external argument as its subject like other verbs do.

No matter how intercultural perspectives come into a foreign language teaching. all foreign language teachers must possess certain basic understandings about language and culture. An important rationale for dealing with the intercultural perspective is the knowledge of the cultural background of a target language is necessary for mastering the language. From a practical point of view, the foreign language learner who has no understanding of the target culture cannot progress in acquiring the language. It is up to foreign language teachers to make their students learn a target language simultaneously with its culture. This paper is an attempt to improve the cultural teaching of secondary school English in Korea: First. the recent trend of working at cultural teachings at home and abroad was reviewed. Second. the secondary school English teacher's recognitive quotient of British and American cultures and their education was investigated by a questionnaire. The responses were documented. Third. the cultural contents of secondary school English textbooks were examined and itemized. Fourth. finding better approaches to cultural teaching with textbooks and other materials was discussed. Fifth. supplementary cultural textbooks alongside main textbooks were selected from a large body of English language academic materials and a systematic scheme of their practical uses of cultural teaching was devised. Lastly. applicable examples of the above supplementary textbooks were presented for secondary school English teachers.