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Henry Carr is introduced as the man who "dresses in a most elegant way and is especially interested in the cut of his trousers, [and] he has the figure for it." Actually he is a dandy and has a trouser-centered viewpoint. By only the trousers which at the moment he wore, he remembers the grave events in his life like as the outbreak of the World War, his participation in the war, and even the injury to his leg. And he judges others by how they put on their trousers. The motive that he accepts the role of Algy is also related to his costume. The court struggle between Carr and Joyce starts from Carr's resentment with Joyce's unthankfulness for Carr's contribution to the success of the play with his proper costume including the trousers Carr's unfinished memoir becomes a kind of story about "trousers". The title of Travesties seems to be derived from the very fact the hero attaches great importance to trousers. For he can be called by the name of "en travesty" in French. "a trousers role" in English, the term which originally points a woman singer taking part in man's role in man's clothing in a comic opera, and the play that the disguised character enters is called a "travesty." Travesties which has plural suffix is a parody of several works of different writers, and becomes an exquisite complex of several parodies. Its frame and characters are borrowed from Wilde's the Importance of Being Earnest, but its materials and methods from Joyce's Ulysses and his limerick poems, and Dadaist nonsense poems, a popular song, cabaret shows, and magician performances. Stoppard's Joyce, Lenin, and Tzara all are travestied characters, made to represent main art theories respectively. By the device of mistaken memory of Henry Carr Stoppard can provide the confrontation place for Art-for-art's sake, Marxism, and Dadaism. Stoppard doesn't pronounce who is the victor, but the play brings an impression that he takes Joyce's side. It's because his Joyce, like a magician, shows a live rabbit taken from a hat, and in a dream of Henry Carr still firmly answers Carr's reproach and irritates his nerves.

Although it has become standard for Herman Melville to be viewed as staunchly democratic, the author argues that Melville's views on the subject of democracy-elitism are far more complex. The origins of the idea that Melville was a democrat are traced to Melville's oft-quoted statements concerning his extreme egalitarianism, his sympathetic treatment of the socially-liberal Ishmael in Moby Dick, and the reinterpretation of Melville's work, and especially of Moby Dick, by scholars living amidst the anti-democratic philosophies that arose in Europe prior to the Second World War, and who were trying to reaffirm American democracy. However, if each of these is examined, more closely, it can be seen that Melville was far from consistent on the subject. In addition to his pronouncements praising the democratic ideals, he produced statements that were clearly of an elitist nature, and these statements grew in frequency as Melville aged, as did the conservatism of his work. This may have been influenced by Melville's personal plight of having to work at a low-paying job even though he considered himself to have qualities that should have precluded such a life. Looking closely at Mobv Dick, we can see strong elitist themes at work, not only in the presentation of the dictatorial Ahab as noble, but also in Ishmael's admiration for this supposed nobility, and indeed his profuse referrals to nobility in others. This inconsistency in Melville's views, this internal struggle between elitism and democracy, is not entirely negative, in that it endows his writing with an engaging complexity, depth, and contradiction.

Although William Faulkner inherited white racial prejudice from his traditional Southern community, he began to attack publicly the inequality in the black and white relations after the 1940s. Such anti-racist attitude was threateningly criticized by the white racists. The dialectical change from his racism to anti-racism results in his synthetic attitude toward racial problems. Accordingly, he took a so-called 'middle-road-position' in order to seek the solution to reconcile the conflict between the two races. To alleviate the torment caused by his middle-road-position, he drank much more alcohol for those days and thereafter created the comic novel, The Reivers, in his artistic world. In The Reivers, Faulkner portrayed, with his comic vision, an ideal, pleasant world similar to the 'good ole days' in which black and white races coexist in harmony. Ned McCaslin, a black comic hero created by Faulkner's brilliant comic vision, appears a fully developed individual. He is not 'an object of comedy,' but a subject of comedy, that is, he is a smart and intelligent black who controls a comic situation, not an inferior, rebellious and vicious negro stereotype.

Most critics have studied Jane Eyre mainly focussing on the success of Jane who used to be a poor and ugly British girl, but who changes her miserable life with endless effort and unyielding will. This kind of reading reflects the humanistic trend of criticism which emphasizes the universal truths of humanity. The criticism considers human beings as an existence that keeps a timeless human nature as a unified and autonomous subject, and considers authors as omniscient beings who are the origins of the texts, the sources of their meanings and the only authority for interpretation. Recent critics, however, argue that authors also internalize the ideology of their times as culturally artificial subjects confined by the context of time and space. This dissertation takes the latter point of view when reading Jane Eyre. With the view, Jane's success does not depend on her effort and will but on the sacrifices of the two human beings called Bertha and Mason living in a British colony. The author defines Bertha and Mason as barbarians to justify the marriage of between Rochester and Jane. It is the barbarian discourse to make a discrimination between Rochester and Jane, the British, described as civilized and educated people, and Bertha and Mason, the different race, described as the barbarious people who are uncivilized and uneducated close to animals. This contrast functions to provide the idea that the barbarious Bertha and Mason should be removed for the love of between Rochester and Jane. According to Foucault, discourse is the medium for the ruling class to control the lower class by using the knowledge invented by them to solidify their power. The knowledge about Bertha and Mason through the barbarian discourse by Rochester and Sane leads readers to rationalize their violent intention, cleverly working without being revealed, of driving Bertha crazy and taking advantage of Mason's cowardness and meanness for their superiority. However, the representation of Bertha and Mason in this manner conflicts with the meaning of the story it is displayed in. Bertha, as described in the story, looks exactly like Jane who is passionately revolutionary and rebellious against the injustice and irrationality of the ruling class as a marginalized person in the society at that time Meanwhile, Mason, her brother, is a submissive subject of imperialists, blindly following and imitating them. Jane, who is highly self-conscious, certainly ignores him. In this way, although their personalities clearly differ from each other, Jane unconditionally stipulates both of them as barbarians. She portrays Bertha as a vampyre and never questions why Bertha can not but become a mad woman. Her prejudice results from the racism unconsciously rooted deep inside her that white people, including the British, are superior to other races. especially Asians and Africans. This shows even Jane can not transcend the ideology of society and culture completely. Jane's limitation makes it clear that the arguments of Foucault and Althusser that nobody can absolutely overcome the social power and ideology of his days.

Ritual is discerned not as religion alone. but as a pattern conceived for the purpose of healing and rejuvenating a specific community, one that understands innate illustrative icons and symbols--music, dance. language and folklore. It is in this sense that Black drama has been delineated as ritual or ritualistic. Black artists facilitate the paradoxical process of refusing Western models through African ritual, what really turns out to be a denial of, arid reaction against, Euro-Western archetypes. For the Black playwrights such as Baraka and Shange, the quest into the ritual pattern is more than just another abstract aesthetic inquiry It represents, rather, both a means of emotional and spiritual self-preservation and a ritual of symbolic transformation. Baraka employs ritual to present theatre for social change. His theatre is one with an explicit social message that hopes to arouse audiences' social awareness and move that audience to social action. Shange's choreopoem is an innovative theatrical expression that combines poetry. prose, song. dance, and music to arouse an emotional response in the audience. Those elements define a distinctly Afro-American ritual heritage. As a theatrical expression, the ritual device of their plays emerge from a distinctly African tradition of storytelling, of movement. and of emotional catharsis.

It has been said that the 『Youth』is a prelude of the 『Heart of Darkness』and 『Lord Jim』. Many critics are hesitated to put works of Conrad to the best literature in the world. But the work of 『Youth』of Conrad has been respected by many critics who have researched his works, because there are many metaphors of contemporary events in the view of faith. The work of 『Youth』has a many effects of epic such as a Christian ones which are compared to a sinking ship in the work of Conrad. The relations of a sinking ship and Christian epic effects are similar to the religious collapse of the early of 19C. The role of Marlow, the narrator of a youth in this work is used to symbolize the collapse of the Christ in nineteenth century. 『Youth』as a miniature epic of the nineteenth century establishes the story as a work possessing greater depth and subtlety than it has generally been granted. 『Youth』was supposed to give the note for 『Heart of Darkness』and 『Lord Jim』, and it does so by setting the cultural, intellectual, and spiritual stage for two works. Indeed, it is precisely the metaphorical events of 『Youth』-the termination of the age of faith, the passing of the naive, unconscious, unquestioning youth of Western culture-that thrust men like Marlow rudely into the world of metaphysical incertitude of other two works and set the scene for that quest for meaning in a god-for-shaken universe that was to characterize the modem waste land.

Ezra Pound was one of the poets who contributed much to the birth and development of modem English poetry. He also was a poet who later had a great influence upon post-modernism poets. Earlier in his career as a poet, he once said that his purpose was "search for sincere self-expression and true self." In order to realize this purpose, he has groped for new poetic techniques constantly and experimented with them in his poetic writing all his life. And it was his groping for new poetic techniques and his achievements that enable him to be praised as "il miglior fabbro" by T. S. Eliot. What made Pound grope for new poetic techniques? Firstly, it was his desire to resuscitate the contemporary art that he thought to be dead. Secondly, it was his avant-garde spirit of experiment. Thirdly, it was his vision of perfection. In the process of groping for poetic techniques, what he found is allusive method, translation and the recreation of personae. These three poetic techniques are the writing devices which enabled Pound to put into practice the basic principle of his poetic writing, "Make It New." They have been used widely in his poetic writing in a variety of ways and for a lot of purposes.

The aim of this essay is to examine poetry not as a natural result of expression-the garb of thought- but rather as an integral part of a communicative process. The poetic communication requires the interaction of two participants, usually called an author and a reader. Poetry is an interactive mediation even if the reader does not know the author. As long as authors and readers collaborate in their complementary and reciprocal tasks of composing and comprehending, as long as authors write on the premises of readers and readers read on the premises of writers, the result is coherent communication. The poetic text transmits different information to different readers in proportion to each one's comprehension. It behaves as a kind of living organism which has a feedback channel to the reader and thereby instructs him. Also within the text, communication involves a fictional speaker transmitting a poetic message to a fictional listener. Therefore the thoroughgoing analysis of this communication is important and essential for understanding poetry. From this angle every poem can be defined as "the imitation or representation of an utterance," "quasi-quoted discourse," "speech within speech," and "pseudo-dialogues." Thus the poem represents not merely the words of an utterance, but a total act of speech. We respond not only to what the speaker is saying but to how he is saying and, thereby, to what is making him say it: his intentions, emotions, motives and dramatic situation. The speaker's counterpart, the listener is also important because the speaker's attitude, tone, and topic depend on the implied social relationship of the speaker to his listener.

The idea of alterity or heterogeneity has been one of the key issues in literature as well as in other areas of postmodern investigations, including philosophy, feminism, and postcolonial studies. Scholars in those fields argue that traditional Western philosophy revolves around the dualistic vision and self-other division that inevitably lead to an unethical view that regards the other as an ontologically and epistemologically inferior being. Postmodern philosophy questions the tradition of dualism in terms of its attitudes toward the difference between mind and body, humans and animals, men and women, and consciousness and subconsciousness. It also examines the tradition's attitudes toward temporality and productivity. Various philosophers argue that a person can never achieve a genuine identification with oneself, not to mention with others because one lives in an entirely different time than one's past or future selves and others. That is why one should never attempt to totalize other human beings; rather, one is a hostage to the face of the other because the other, with his or her infinite vulnerability, demands one's love and responsibility. Anti-productivity is another important postmodern concept that derives from such an attitude toward others including the environment and other people. The essay examines two novels, i. e. Ursula Le Guin's Always Coming Home (1985) and Toni Morrison's Tar Baby (1981) to see how such postmodern reflections determine and qualify the careers and moral standings of major characters and their societies. The idea of alterity takes on a more complex and disturbing character when it is associated with American Literature, since the history of the nation is riddled with conflicts, conquests, ethnocides and other forms of extreme violence perpetrated against various others such as Native Indians, blacks, non-Christians, women, and immigrants. The white Americans defined and defended themselves against the others and forged new identities for them. In Always Coming Home, Le Guin portrays a utopian community named Kesh, where the other is respected and loved (and sometimes just left alone), where men and women live in equality and freedom, and the characteristics of this good society are highlighted against the backdrop of a bad society called Dayao that bears a striking resemblance to the Judaic community in Old Testament literature with its monotheism and strict patriarchal system. Morrison likewise contrasts the blacks and whites in her novel to examine how the whites' misguided notions of time and history distort and erase the other, and how the same attitude alienates them from their own true selves. She creates a female character named Jadine Childs who is a black but thinks like a white, and her confused, fumbling, and eventually aborted search for black identity through her love affair with Son shows how tough it is to imagine the other, understand the other, and establish one's proper relationship with himiher. These novels are remarkable because they both show how the idea of alterity operates from both perspectives (that of self and of the other), how it can define and modify one's identity, and how it determines the moral and political character of a community. They both argue that only when one is able to establish an ethical relationship with the other, be it another human being, nature, or one's own unconscious, can one live a full and meaningful life.

This paper is to examine the double consciousness of Jews in Philip Roth's Operation Shylock (1993). This novel revolves around the ironic use of doubles and postmodernist bluring of the boundaries between fact and fiction, all related from Roth's particular Jewish perspective. He developed his art of impersonation into Operation Shylock's most excessive and audacious form. In Operation Shylock, subtitled with "A Confession", Philip Roth, author, insists that "it is not truth, but fiction." The novel describes an adventure in which Philip Roth, who is the main character of the novel and the same name with author, encounters Philip Roth, an impostor who claims himself as the novelist. The struggle between them, enacted mainly in Jerusalem, involves much verbal argument and soliloquy about the past, present, and future of the Jew, and it is full of controversial. As some critics said fiction is a world made of words, Roth wrote Operation Shylock in this manner with words. From this, we can see that he created the double consciousness of Jews, which is Zionism to build a new country in Jerusalem with the greatest hope for Jews in the past, and the Diaspora to rebuild a country in Europe through the history of Jews on the earth. We can also see he wrote it by using the main character Shylock in The Merchant of Venice written by William Shakespeare as a parody for metafiction, which is fiction itself, that is, fiction with self-consciousness.

Many critics have disputed the opening scene of King Lear. They have thought this scene was one of a fairy tale that it reduced the tragedy's effect. The irrationality about the scene comes from following two facts that why Lear orders his daughter to tell their love toward their father and why Cordelia stubornly rejects her father's asking for love. Most critics have thought Lear's abdication was an unreasonable and hasty decision. They also said that Cordelia was so christian that her character caused her and her father's death. When we read the text carefully, his plan was actually the result of his long-term trouble and wisdom. Lear's "darker purpose" which reveals his anguish as a governor was planed in order to solve the abdication problem wisely according to law processes but it misses the mark. Furthermore, his third daughter wanted to make her father aware that his demand was no better than what he would buy true love at the cost of giving bribe. We can understand that how difficult truth and justice come true in human society and how they can be easily abused by examining Lear's love-test and Cordelia's response. This assertion will make the tragedy of this text deeper.

Harriet Beecher Stowe wrote Uncle Tom's Cabin as a response to the fact that Christian and humane northeners has voted for the Fugitive Slave Law of 1850. As the daughter, sister, and wife of Christian ministers, she used this antislavery novel as a device to present the evils of slavery in the light of Christianity. Uncle Tom's Cabin is primarily a Christian novel. It includes many Bible texts and Christian characters, as well as comments and discussions on Christianity. The book has often been criticized as "a strange hybrid of polemic and sentimental melodrama," but I think this criticism rather favorable St. Clare's long discussion of slavery and Christianity represents the author's position on her contemporary social issue. St. Clare condemns the southern clergymen for bending the Bible to please planters, but he also aims criticism at northem Christians for their lack of true love for black people. Another characteristic of this novel is sentimentalism, with such scenes of Little Eva's death, Uncle Tom's passion, and Eliza's crossing the river appealing to the reader's sentiment. Eva, with vague longings to do something for the slaves, embodies egalitarian Christian love through her dying. Tom is Stowe's martyr. Although terribly whipped, he nobly rejects the offer of exemption from further punishment for the salvation of his soul in heaven. Stowe beseeches Christian mothers to pity Eliza and slave mothers who are constantly made childless by the American slave-trade. She argues that an ideal American Victorian woman must be a Christian mother, whose duty to her children is bringing them up in a Christian way. As a 19th Century American woman, she suggests a Christian homelife as a way to reform the evils of slavery. However limited her novel might have been from modern feminism and post-colonialism, it became a best seller and greatly influenced emancipation.

Toni Morrison tries to show in Sula the Black woman who defies overall patriarchal system of the Black community. It deals with the inseparable relationship between the community and the individual by focalizing the friendship between Sula and Nel. The relation between Sula and the community is explained on the ground of the concept of collective complex and the scapegoating of an individual. Sula, who has had no choice but to immerse in self from lack of specific tool for self-realization, plays the role of scapegoal and dies alone. Morrison's sharp observation exposes the dilemmas and double-consciousness inherent in African- American women experience, not only as African-American but also as a woman within the patriarchical social system. Morrison suggests as a means for self-awareness the restoration of sisterhood and African-American cultural tradition. The sisterhood between Sula and Nel is indispensable in searching for their own positive indentities. The community's unique sense of value and the individual characteristics of Sula are also important in achieving one's own positive self-discovery. Morrison asserts through Sula that the spirit that recognizes and asserts the precious value of self can become very important fundation for the Black Women's future.

Walt Whitman was a poet who established the new epic tradition. Americans, entering a new national era, intuitively felt an immense metamorphosis of expecting a new spirit and literature, diverging from Old World. Whitman tried to cast off Homeric heroic action, replacing it with an inner eye which included spiritual instincts. Thus, a new lyric-epic, personal epic resulted. Whitman adhered to the divine average influenced by Quakerism, Deism and Transcendentalism. He portrayed this divine man in his epic, Leaves of Grass. Thus, his song is the song of himself, of myself, yourself, and song of ourselves. Nothing was greater to one than one's self. With this faith, Whitman opened a new vista of religion in his epic. both uniting and responding to the new 19th century American spirit. At the core of religion, there stood Man. Whitman identified religious consciousness with self-consciousness; religious realization followed an individuals' inner light, by which they could realize their own divine being, seeing the kingdom of God with their own eyes. Whitman wanted to lead man to the moment of self-realization. At that moment, every person's chain would be released and gums from his eyes washed away. He would see his own divinity and have an insight into the secret of God hidden and scattered in the world. Whitman's religious vision indicates the path between reality and the human soul. His affection for and celebration of self and inner light was such that he has come to resemble Christ in our age, Savior, Messianic answerer, and Atlas bearing the earth on his shoulder. He desired for each and every person's purification and rebirth through this vision. This new birth is a homecoming, a return toward God, a moment towards the individual Self, and Soul, an everlasting voyage throughout our life.

Keats's Endymion is the longest narrative poem about a quest for romance composed of more than 4,000 lines. It is traditional to read the work as an allegory of the poet's desire for union with the spirit of ideal beauty. The critics who have stood for the allegorical view resolved the poem into stages of human development, beginning with the sensual love, leading to humane service and sympathy for fellow men, and ending with union with the ideal beauty which Cynthia symbolizes. Recently, however some critics attacked the allegorical interpretation of the poem because of the discursiveness and incoherence of the narratives. For them Endymion is an erotic love poem which reveals Keats's unconsciousness including his adolescent desires. But that Endymion is allegorical is apparent and the main problem is how to interpret the allegory. In any interpretation of the allegory, Cynthia plays the important role as a symbol of ideal beauty. She is described attractive as an erotic love-object, and Endymion's lengthy quest was for the erotic love with Cynthia. The women in Endymion are beautiful with easiness of temper, compassion, kindness and submissiveness which were thought as virtues of ideal woman in the Romantic period. The concept of an ideal woman then who engaged in such behaviour would today called female masochism. Without any historical survey of the concept of ideal woman in the age Keats lived, Endymion cannot function properly as an allegorical poem.

The aim of this paper is to find out some features and several kinds of onomatopoeias, mimetic words and the meaning of phonetic symbolism. Onomatopoeic words are created for an occasional use and not found in the dictionary. Each of them is used to describe a unique situation; e.g. in English, tra-la-la, zzzm, etc. Such expressions are widely spread throughout our daily conversations, comic strips and advertisements. They are in an ever-changing state very few of them survive to be established are regular linguistic forms. Onomatopoeic words constitute onomatopoeic expressions proper, which describe the phenomena ranging from audible sounds to manner of actions and mental states. We further classify them into two groups; one has those words which are fully lexicalized (e.g. chatter, sigh and sob), and the other has those words which still retain something of the onomatopoeic tone (e.g. bang, crack and splash) and which can be used in quoted forms such as "Bang!", "Crack!" and "Splash!". The principle of sound symbolism is based on man's imitative instinct which leads ws to use characteristic speech sounds for name-giving. We may imitate things which we perceive through our senses. As for direct imitation by speech sounds what we hear, i.e. noises, sounds. As, however. noises and sounds are often accompanied by movements (as in which, swish, dash, tap, etc), these also come to be denoted by symbols. By extension, even the originator of a sound may be characterized by the use of a symbol (e.g. pom-pom 'kind of machine-gun'). There is direct imitation of sounds only when we render our own vocal sounds or those of others. The sound then stands either for the position the mouth assumes of for the sound produced in the respective position. In bawl, the [b] renders the softened explosive opening of the lips, while in baa 'bleat' the [b] renders the opening of the sheep's mouth. The initial [p] of peep 'cheep' imitates the movement little birds make when opening their beaks for a cry. With regard to expressive symbolism I note that sounds are often emotionally expressive : [1] is suggestive of the subjectively, emotionally small and is therefore frequent with diminutive and pet suffixes. Initial [f], [p], less so [b] often express scorn, contempt, disapproval, disgust: pish, pooh, ph, fie, foh, fiddle-faddle, fingle-fangle. Only certain sounds lend themselves to being used as emotionally expressive symbols. The sounds [k], [g], [d] for instance are not used at all, [t] rarely.

This paper purposes to compare morphological and syntactical accounts of a structure-building rule focusing on the examination of several differences between the noun incorporations. We also take up unlisted morphological objects and listed syntactic objects and their blocking effects to know how Compound Noun Incorporation and Classifier Noun Incorporation can be accounted for on morphological and syntactical accounts. We reveal what is a real difference between their own properties, together with restrictions on incorporation. From a different angle, we analyze the arguments and models presented by Baker, Rosen, and Di Sciullo & Williams, to have the properties of noun incorporation. Rosen (1989) claims that Baker's (1988a) account of noun incorporation is incorrect, saying that noun incorporation comes in two types. We handle Rosen's theory in view of the transitivity of the verb and stranding. By studying Di Sciullo & Williams's (1987) argument that morphology should not be seen as part of the lexicon, we argue that they do not show that syntax and morphology are separate components. We also take up Baker's argument regarding head-to-head movement.

The derivation of English cleft sentences has been argued by many linguists about whether the focus is base-generated or is moved. This paper tries to accept CP Specifier Analysis (hereafter, CPSA) of English cleft sentences as the most desirable theory, but also shows the weak points of CPSA. The aim of this paper is to present one of the reinforced CPSA. If we accept the multiple feature-checking theory in the analysis of English cleft sentences, we can explain this linguistic phenomena more consistently.

Many of the problems of foreign language instruction can be traced to the student's physical isolation from native speakers of the target language. Despited its relative unpopularity, synchronous CMC (Computer Mediated Communication) seems set to have a huge impact, espeically in the area of education, in the very near future. This means that a particular Internet communications program, called MOO (Multi-user domain Object Oriented), will be able to be a partial answer to the problems stemming from the isolation of foreign language students. This study attempted to identify the potentiality and limitations of educational application in MOO-based learning community through understanding its special feature especially in foreign language learning. putting an emphasis on providing an authentic learning environment. The students participaing in MOO-based learning can interact with native speakers exchanging synchronous responds with each other, modifying their linguisitc input and output and finally achieving successfully the goal of English learning.

This study aims at skills of listening comprehension in English by means of 'physicalization'. Listening comprehension is composed of two processes. One is hearing. The other is listening. Hearing is the process that hearers can notice sounds of the target language. Noticing sounds can be done with sound physicalization. It is a state which sounds can be established and settled by constant exposure to the input in the brain. In other words, continual repetitions can enable the sounds of a language to be physicalized. English has syllables with many consonant clusters and it has stress unlike Korean. In order to physicalize English sound, Koreans should choose an audio tape and listen to it repeatedly until they can hear all ~ts sounds. After that they make dictation of the tapescript three or four times. And they should say out the tapescipt loudly. Through saying out loudly, they can make the image of sounds vivid in the brain. This process can make hearers notice and understand an utterance immediately. Listening is understanding an utterance properly according to the context. In order to have direct listening, we need to have much knowledge about various fields: politics, society, culture, and economy. Many vocabularies are not always necessary for listening skills. They communicate each other with about 3,000 words in daily lives. Listening skills can be developed by constant exposure to English and much knowledge about an utterance.

The purpose of this paper is to discuss the ECM Construction in English in the light of some assumptions in the Minimalist theory in linguistics. Chomsky's (1995) framework raises a question as to the intervening adverbials in the ECM constructions. He assumes in his footnote that the adverb will be relevant only if it has the feature that [Agr, V] complex can attract, which is plausible though not obvious. Under the Agree analysis in Chomsky (1998), the probe of the light verb o agrees with the goal to delete the uninterpretable feature. In order for Agree to be possible, the goal must have the uninterpretable feature for the purpose of being active. If so, an adverbial must have the uninterpretable feature as a closer element in order to be active in Agree. However, his consideration causes conceptual and empirical problems in the minimalist assumption. Rather, we may raise the embedded subject to the [Spec, V] in ECM constructions

In this paper, I have been investigating the relation between Argument Structure and Theta-role. This article mainly proposes that Argument Structure and Theta-role are reflection of two distinct lexical representations: the Predicate Argument Structure (PAS) and the Lexical Conceptual Structure (LCS). Though PASS do not directly reflect Theta-roles, the properties explicitly represent the meaning of verbs. The major goal of this paper is to explain the Argument Structure and the Theta role with the Locative Alternation Verb in English and Korean. The representative Locative Alternation Verbs are Load and Spray which have two distinctive representations: one is locative-variant and the other is with-variant. In English, Locative Verbs and Argument Structure Alternations can be found in following examples: "John loaded furniture onto the truck" and "John loaded the truck with furniture." The PASS of two sentences are different from each other. The problem here appears that one argument must be specified both as Theme as Goal. To solve this problem, I apply the Linking rule to the two distinctive representations. As a result, I can solve the Theta-role's problem only by analysing Theme. With the Linking rule, I analyze the types of Korean Locative Alternation Verbs within an Argument Structure and Theta theory account. As in English, I try to apply the Linking rule to the Locative Alternation Verbs of Korean which have also two distinctive representations. Since the phenomenon of Korean is similar to English. aforementioned analysis is well explained.