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History is a discourse that is contextualized by a historian's rhetorical purposes. So some historical data are chosen by a historian, and some are completely ignored or silenced. The master texts of history, in its traditional sense, are therefore discursive dialogs that silence the powerless voices. History-making certainly is a process of mystifying the violence toward the powerless. Charles Dickens's A Tale of Two Cities is a novel in which those who have been silenced in history in its traditional sense raise their voices to the extent that they can overthrow the whole system of society. Their force seems to be powerful enough to disconnect the major historical stream that has silenced the powerless. However, the seemingly new start of history is achieved by extreme violence and sets up the same kind of power system as before, the oppressors and the oppressed, with the only difference of the subject of oppression. History is a dialogical process rather than a dialectic process. Dickens reveals the false justification of “historical truthfulness” by inflicting self-violence upon his own narrative. He continually tells us that history is a repetition of the past, and at first the narrative seems to support the statement. However, as the story proceeds, there are a lot of contradictions that deny the statement. And the mystic ending where Sydney Carton dies for Charles Darnay completely destroys the narrative coherence. This testifies that history always defies any attempt to find a coherence in it and (de-)mystifies the violence in the process of history-making.

The problems of the assignment of holocaust and survivor are aimed to study through the works of three Jewish American writers, Saul Bellow's Mr. Sammler's Planet, Edward Lewis Wallant's The Pawnbroker, and Bernard Malamud's The Magic Barrel. and The Fixer. Mr. Sammler in Mr. Sammler's Planet, who has been moving toward a relationship with God for several years, confirms that relationship at the death of Elya. He has come to understand that his assignment is from God, and becomes, like Job, a meditator between his friends and God. Sol Nazerman in The Pawnbroker is finally a Holocaust survivor with a chance for an optimistic future. Those who have suffered extremely tend to become instead the nurturers, preservers. Interestingly once these survivors recognize, acknowledge, accept their roles, their lives improve. Malamud's The Magic Barrel and The Fixer, emphasizing as the other works do the moral and ethical values culled from the teachings of Judaism, makes clear the possibilities for being a good Jew even if one is not an observant Jew. Levin in The Magic Barrel and Yakov Bok in The Fixer know very well the religious observances he left behind.

This article discusses the subjectivity in The Rainbow of the D. H. Lawrence and in the books of M. M. Bakhtin, especially The Problems of Dostoevsky's Poetics and Dialogic Imagination. Lawrence embodies Ursula Brangwen, the subject who coexists among others, and determines everything for himself. Analogically, Bakhtin explores the novelistic world which is akin to that of Lawrence. As a result the subject Bakhtin defines can be characterized as following: He or She establishes his or her own subjectivity by coexisting responding continuously among the others with the various ideas or ideologies. This novelistic world represents the individual condition in our society. It also seems to be an ideal of the society which Lawrence and Bakhtin map out. Lawrence's novelistic subject must successfully accomplish if she are to overcome her ethical solipsism, her disunited idealistic consciousness, and transform the other person from a shadow into an authentic reality. At the heart of the catastrophe in Lawrence's novel there lies the solipsistic separation of a subject's consciousness from the whole, her carceration in her own private world. Whether the life of his heroine is tragic or not, Lawrence, like Bakhtin, tries to emancipate his novelistic subject from the monological, suppressive ideas or ideologies in both his traditional and modern societies.

Anthropologists have observed among certain peoples a custom according to which the father retires to bed while his child is being born and behaves as if he were in the throes of giving birth to it himself. This custom is called the couvade. I think Cymbeline might be regarded as one long couvade in the guise of a dramatic romance. My angle on the play is that it makes sense of the apparent conflict between the Cymbeline plot and the Posthumus plot ― a conflict that seems to consign the script to structural incoherence. On the face of it, the two plotlines are pulling in opposite directions and endorsing contradictory views of women and of men. Cymbeline acts out the oscillating pattern of the romances as a whole: the plot that would recover trust in the female is frustrated and baffled by the plot that would recover masculine authority; the two remain incompatible. And yet this very incompatibility allows the two plots to protect one another.

For Irish woman the attempt to (re)discover their feminine identity has been overshadowed not only by imperialistic, nationalistic masculine patriarchy and the dictates of patriarchy but also by the otherness of Ireland. Retaining the image of the relationship between Great Britain and Ireland as one between masculine and feminine, the metaphors most frequently used have been those of robbery and rape. Irish feminity in Heaney's poems is identified with nationalistic and romantic Irish poets. Heaney, likening woman to Ireland, chants the rebirth of Ireland,－the Ireland as woman, the woman as Ireland defeated by Imperial. So the study of Irish feminity agrees with the project for recovering identity and culture of the lost Ireland. For long hidden under patriarchal imperative the Irish woman has been doubly denied her voice. The Irish woman silenced and marginalised by patriarchal power and the Irish language(Gaelic) devalued and minimalised by British imperialist culture make it more difficult to express Irish women's experiences or national experiences. In this context, what is colonializing the language and image of the female is a commonplace. The patriarchal language colonizes the self-image of woman by presenting the male as the norm and the female as an aberration. For recovering the value of feminity oppressed, silenced, and marginalised by the otherness of Ireland and sexual difference, it is necessary for Irish women to improve their roles through sexual redress, political redress and cultural redress which Heaney explicates in The Redress of Poetry.

As a woman poet seeking to authorize herself and her voice within a predominately male literary tradition, Dickinson seeks in effect to locate herself and her creative practice in relation to the most articulate women writers of her age such as Charlotte Bronte, Elizabeth Barrett Browning and George Eliot. Under their influence, Dickinson discovered an elastic power that enabled her to dance like a Bomb, abroad" and dream terrorist dreams of annihilating the Puritan fathers, New England culture, and ultimately the entire edifice of America itself. This study attempts to analyze Dickinson's letters and poetry in the light of female poetic theory. Dickinson's femaleness is the source of the vitality of her poetry. The main concern in this study is to trace an outstanding imagination, the surprise of her novel, verbal strategies, her bold disregard of conventional shapeliness, and female consciousness peculiar to her in her poetry and to show that she is one of the most innovative female poets in revealing women's own experience of literature and women's ways of knowing. Emily Dickinson’s life and works enact the symbolic dynamic that structures the poetic tradition and larger cultural relations it represents. Dickinson’s shifting and shifty language of breaks, ellipses, compression, disjunction, indirection and logical contradiction gestures towards the language of the “maternal body” that traverses and ruptures the symbolic language of the fathers. As a female poet who reflects human situation truly, she transforms human sufferings into vast resources of poetic energy and miracle of art.

Strindberg's Creditors, written in 1888, was presented right after his two representative plays(The Father and Miss Julie). While he was writing the play, he was interested both in psychological studies and in the social reformation against the establishment. Strindberg artfully embodied his interest through the play's plot and theme. The play intimately reflects the characters' social environment as the background for their psychological conflict. Performing Creditors on stage, there can be two productible psychoanalytic interpretations in defining the origins of the characters' psychological struggle. The first way of interpretation is to find out the origin of their psychological conflicts from their own emotional defects such as mental illness or hysteria. For this analysis, this paper examines the three characters' positions in the plot, and scrutinizes Strindberg's biographical elements which may be reflected in characterizing the three characters. The second way of interpretation is to find out from the characters' social backgrounds what deliberately distorts or perverts their psychology and constructs a state of psychological conflicts. For this analysis, this paper tries to seek the sources of the characters' mental struggling from the cultural structure of the society which can classify people's mental and physical behaviors according to their gender, class, economy. Depending upon which directorial interpretation might be taken to find the cause of the characters' psychological conflicts, the thematic message of the play will be different. The fundamental goal of this research is to examine the two producible psychoanalytic interpretations of Creditors. The play will provide two different thematic directions according to how we interpret character's psychological conflicts.

Nathaniel Hawthorne's “The Birthmark” has been said to be a story on the problems of modern science. But this thesis, clarifying the moral aspect of Aylmer's ambition, asserts this story is about the American ideal of Eden. Aylmer is usually treated as a representative of Hawthorne's scientist villains. But when we consider his notion on the human perfection, we cannot simply say he is a villain. Through his effort to erase Georgiana's birthmark, what he wants to accomplish is a new human state. He is a kind of god to make a new Eden where he, as an Adam, can make love with his new Eve. In this point, he is an Endicott. Just as Endicott tried to build a new ideal society with his sword, so Aylmer wants to make a new world which he thinks morally perfect. But his failure comes from the contradictions contained in his moral ideal. He succeeds in making his wife “perfect.” But he fails to make a new world where he can make love with his wife as a human being. Through his failure, Hawthorne shows that Americans' original dream of building a new Eden in the wilderness resulted in making only a deserted garden. He seems to say that, “If we want to live and love each other as a living thing, a totally different and new ideal should be found in America!”

Setting up a new concept which can disintegrate what has been occupying the highest order of thoughts using the name of the logos, Gilles Deleuze and Felix Gattari, in their book named A Thousand Plateaus : Capitalism and Schizophrenia, designate it the nomos which is to be placed opposite to that hierarchical stratum. Though their work arrays themselves in the major trends of twentieth century concepts originating from a simple binary system which comprises the interplay of two sets of contrasts, they are useful when we try to capture the subtlety of the fluid nature of the nomos's strategy when to constantly undermine the rigid norms of the State space. The clear distinction of bifurcation--the gridded State space and open-ended space of the nomad--is taken advantage of by the analysis of the three major characters in the poem--the Knight, the Lady, and the narrator. The Knight represents the State space with his efforts to identify her in his conceptual schemes and to define her using the terminology of courtly love, ordering her status in the fixed hierarchical system of the chivalric world. Nevertheless she shakes the foundation of the root-based thought with the idea of rhizome, acting like a “war machine,” using her body as a good weapon to de-territorialize Knight's homogeneous world. His efforts to agglomerate her diverse acts in a semiotic chain of the logos always fail, because he is always “palely loitering” outside the life of immanence--that of the nomad. Keats, however, was wise enough to realize the extremity of confrontation of the two opposites--the cosmos and the chaos--and even much wiser than Deleuze and Gattari in his subtle handling of the narrator who is working as a mediator, integrating them under his world of chaosmos, the final site of enlightenment.

Beckett seems to contend that man attempts to create arts to avoid his consciousness of the painful conditions of existence such as chaos, frustration, anxiety, meaninglessness, and alienation. But, in the absurd world, even the artist, who is supposed to possess the keen consciousness of the depth of being, can not but fail in transforming his vision of the painful realities into a sulimate artistic creation. Embers(1959) dramatizes the protagonist Henry's dilemma in sublimating the painful past of his existence into a story. In the play, Henry persistently attempts to create a fictional story to avoid the sound of sea symbolizing his consciousness of the painful past in his existence. But his vision on the realities of his existence is too fragmented to create a sublimate art. In the play, Beckett suggests that the painful consciousness of existence can not be overcome by man's attempts to sublimate it into an artistic creation. After all, Embers, one of the Beckett's best radio plays, emphasizes again the author's pessimistic view of existence.

F. R. Leavis's interest in D. H. Lawrence is at the center of his literary criticism. After the pamphlet D. H. Lawrence Leavis dealt with Lawrence mainly in reviews until twenty years later when he published D. H. Lawrence: Novelist in 1955. Even in those early years Leavis recognized and praised the religious aspect of Lawrence's works. This thesis aims to discuss and examine the development in Leavis's response to Lawrence and the nature of his early religious concern. Leavis's ultimate concern is with the place of a religious sense in life and literature. The term “religious” first appears in “reminiscences of D. H. Lawrence” Here the qualities of life―wholeness, spontaneity, naturalness―that Leavis claims Lawrence sought are recurring terms in Leavis's attempt to define his use of the word “religious”. With the publication of A. Huxley's edition of The Letters of D. H. Lawrence Leavis now perceived a religious concern embodied in Lawrence's work as well as in his life. Leavis refers to a religious sense that leaves his criticism much ore open then the later Eliot can be. And In Revaluation Leavis makes use of the term “religious” only in connection with Wordsworth. Leavis wrote the review of The Letters of D. H. Lawrence in the Listener in October, 1932, in which he associated Lawrence with the religious nature of his concerns. He gained at least three things from reading The Letters; they are deeper insight into the religious sense Lawrence represents, new awareness of Lawrence's abilities as a literary critic, and greater understanding of Lawrence the man. Leavis's review of The Letters established some of the main lines that his later defense of Lawrence would take. An article by Leavis entitled “Restatements For Critics” carried on the argument about the proper approach to Lawrence. What Leavis was concerned about was the total failure of Eliot and The Criterion to recognize Lawrence's greatness. The number of essays and reviews Leavis wrote on Lawrence between 1930 and 1933 shows how deeply he was involved with Lawrence at the very beginning of his critical career.

In The Scarlet Letter, Nathaniel Hawthorne's desire to connect his narrative strategy with a particular literary area is first represented by frame he uses. The writer's purpose is to tell the truths of the human heart. Hawthorne, as narrator, allows us the freedom to choose from among possible meanings. He often makes us see how differently the same reality may be read. This ambiguity in the novel is the important aspect of Hawthorne's method and cannot be other than intentional. Hawthorne's ambiguity in The Scarlet Letter is more than a matter of theme. In fact the settings of his works are unique what we call neutral ground which is neither an actual nor an imaginative world. In The Scarlet Letter, the actual world mainly means the history of New England used in his works. The Scarlet Letter contains contradictory elements, and invites diverse, even irreconcilable readings, and obliges its readers to choose among various explanations. From the novel's opening sentence to its ending, the ambiguity in theme is born out of Hawthorne's carefully structured ambiguity of form.

The purpose of this research was to investigate the various ESL programs for the limited English proficient students in the United States. The results were as follows: 1) The programs were either stand-alone ESL or English-plus ESL. 2) Stand-alone ESL programs were divided into pull-out, inclusion, resource center programs according to the setting of learning. The programs focused on developing English proficiency needed for the transition to the mainstream classroom. As a result, most students tended to fall behind their English-speaking peers, and suffered identity problems. 3) The ESL-plus programs oriented both content knowledge learning and the language use. By integrating content and the language, using native language to teach notions and contents, some of the programs were successful. Based on the research findings, some implications were made related to Korean Elementary English education: 1) Korean elementary English education needs to teach content area knowledge using English as a medium of instruction. 2) For that, teachers need to improve their English proficiency in a higher degree. 3) English education needs to consider the students' linguistic, academic, and cognitive levels. 4) Finally, English language learning experiences in and exposures to the English speaking societies of many students and teachers need to be persisted and reinforced through the nation's ongoing efforts.

The Internet can be used as a useful educational tool for Koreans to use to teach writing in the English language. Excellent sources for learning and gaining experience would include: on-line, (cyber) universities, e-mail, chatt rooms, newsgroup, and other sites where the Internet users communicate each other. Since the Internet offers us access to a vast source of information on writing English, we need to find ways to use it effectively. Copyright laws cover most work in the English language on the Internet. Thus, it is important that the learner understands the fair use of this copyrighted material, information, and data in classroom work. Strict adherence to the standards of fair use of information, and continuous practice in writing English using those Internet venues or locations where people exchange information will certainly lead to better use of written English. In the future the Internet will certainly be available for Koreans who wish to learn or to improve their English writing.