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Lillian Hellman is considered as an ideal woman for many feminists and many liberalists. Her courage against McCarthyism makes her famous, but her works are underrated for their melodramatic elements. According to the traditional view, melodrama is considered inferior as compared with tragedy and realistic drama. Melodrama exaggerates the characters and the events in the play, so people think it does not reflect reality correctly. But this traditional opinion is blind to melodramatic imagination through which the fears and the desires of people are revealed without any coverage. In the melodramatic narrative structure, menace is indispensible. Unlike many traditional melodramas, Hellman's works connect menace with political and social situations. Menace in Hellman's plays is not a dramatic technique without any connection to politics. Hellman thinks there is a struggle between good and evil in our real life. Fascists, McCarthists and many conservative capitalists are the menace to the harmonious community. Hellman's representation of villains provoked conservative critics and aroused much reaction among the audience. The Great Depression is the most influential element in her works, and it has the deep influence upon Hellman. This event is a true threat to the happy lives of the common people, so it awakens her social and political responsibility. In her work, she directly deals with the Great Depression and investigates it's origins and effects. According to Hellman, the Great Depression is the beginning point of the breakdown of the harmonious world, which villains destroys for their own greed. She tries to rewrite American history from the view point of a progressive liberal. In her liberal perspective, many rich men's greed and their will to power are the true menace to American democracy.

I tried to analyze the Bunburism in Oscar Wilde's play, The Importance of Being Earnest. Wilde strongly attacked the hypocrisy and materialism of the Victorian society in his drama. He is against the Victorian vulgar moralism and philistinism. Wilde's Bunburism derived from his aestheticism and it was embodied through homosexuality and realization of true self. He insists that the personality and self-expression are the most important elements for the artistic life. In The Importance of Being Earnest, Wilde uses not only the convention of the melodrama, but a purely farcical intrigue, Bunburism. In this play, an individualist is expressed by the name of ‘dandies’. Two male dandies's Bunburing is a means of breaking out of the restrictions imposed upon them by their social obligations and escaping from the Victorian convention. They try to pursue their own selves through Bunburing. This device that is used in the play is a medium to attain an ideal self-realization which Wilde pursued through his life. Above all, his individualism differs from the egoism because of the importance of other person's personality and dignity. In conclusion, he has a critical attitude toward the utilitarian philistinism, narrow puritanism and privileged conventional morals prevalent in the Victorian society. Wilde criticizes all these inhumane elements in an eloquent and paradoxical way of dialogues through his Bunburism. Wilde's Bunburism consists of individualism, homosexuality, parody of his age and self-realization.

In Shakespeare's tragedies the less worthy instincts in human beings create disorder in society. This is again the basic pattern in his romances. All four romances present a conflict between an idea of disorder and an idea of order. In all of them evil disrupts the life of a noble family. An idea of order is set against the disorder that can disrupt life. Unlike the major tragedies, however, in the romances the members of the family are reunited in acceptance and reconciliation. Prospero and Gonzalo, as we have seen, are the sympathetic figures of the play. They are not worldly human beings. They are universal lovers, not by principle but by nature. Gonzalo is the type of the good adviser to rulers. Prospero has rich cause for vengeance, but Prospero is reconciled with his old enemies. Shakespeare values the good and humane instincts in human beings, seeing what such feeling can contribute to the social order. It may be that Shakespeare is emphasizing the human quality of Prospero and Gonzalo. They, the good characters, have something positive to contribute in that forgiveness and love will enrich society. Their sympathetic characters are very important to this play, for it is through them that Shakespeare demonstrates humanity, the ultimate human quality, even though humanity has been destroyed.

This study examines that 'silence' as an instrument of communication is often more effective and important in Henry James's The Portrait of a Lady (1880) than verbalization. 'Silence' is defined here as the lack of speech, the locus of silence where speech is delayed, or concealed by the narrator of by the character. The lack is filled in by gestures, facial expressions or eye contacts. James uses silence not only as a medium of significant expression but also as a strategy for structuring the plot. In The Portrait of a Lady, the element of silence-- silent, implied gestures, the fragmented and uncompleted speech, and mute, static objects are her food for imagination. Whereas such figures as Osmond, Merle try to use silence as tools of manipulation. They conceal their reality beneath the brilliant surface. Here the reader must commit himself to active reading with imagination, thereby being aware of the questions the text raises. Finally James lets Isabel Archer have “a fine consciousness” after passing through the suffering and recognition. James frequently and effectively uses silence The Ambassadors, and The Golden Bowl which contributes to the development of method of such modern novelists as James Joyce, Virginia Woolf.

Lawrence once said of The White Peacock, “It is a first novel . . . publishers take no notice of a first novel.” His observation might well be extended to include critics and scholars who have generally ignored his first book. His later works have been discussed at length, but a lack of comment and study has kept The White Peacock from the status it richly deserves. Many of the symbols and most of the themes and preoccupations of the later Lawrence are established in his first novel: his annunciation of paganism and his return-to-earth motif; his outrage at the humiliation man suffers before a woman-administered idealism. And a variety of themes and motives are stirring in The White Peacock; some are hinted at and dropped, some are partly developed, and almost reappear in Lawrence's maturer writing. The interaction of man and his setting becomes almost the governing feature of Lawrence's first book. Lawrence did not ignore the predatoriness instinctive in both animals and men. We need to avoid sentimentalizing his view of nature. In this first novel the sense of the seasons passing, of terrain always changing and evolving, of weather and animal life at first harnessed by and then hostile to man, is a constant element in the novel, and a strong one, despite some immature lushness in the writing.

This paper attempts to delineate A. R. Ammons' poetic vision focussing on “Corsons Inlet,” a well known and most frequently anthologized poem. I would wish to contend that Ammoms puts most of his fundamental themes and the motifs of his poetry, in general, throughout this particular poem. The three important points discussed in this paper are as follows. First, in “Corsons Inlet,” Ammons embodies his poetics of action: poetry is action or poetry is a walk. This metaphor is significant in that it suggests Ammons' idea of poetry as an embodiment of visible referential realities. In other words, Ammons endeavors to merge seeing and thinking into this poem. Thus, he attempts to avoid his poetry to become too abstract. Second, Ammons often observes objects of the world scientifically and draws the ontological status of each individual object. Third, Ammons assumes that every single object is a part of the whole and draws his theory of “one: many” mechanism. The idea is directly related with the eco-consciousness which accepts the idea that the human world and the nonhuman world are not separated but, to the contrary, are interrelated. The above mentioned poetic vision is extended and more delicately treated in many of Ammons' later poetry such as Garbage(1993), Brink Road(1996), and Glare(1997) in which Ammons ever seeks to put referential reality and biocentric perception into his poetry. Thus, “Corsons Inlet,” I would suggest, is the epitome of Ammons' poetry.

This paper aims at discussing how effectively and artistically Murdoch and Fowles express their theories of freedom and reality with transformed realism. Through Murdoch's transcendental realism, she shows us the vision of freedom which is followed by complete recognition of true reality. This vision means that we should admit the otherness of people and the contingency of outer world through a loving attention so that we could see the true reality without any distortion or fantasy. In this way, we can get over the egoistic instinct, experience love and freedom, and then come closer to true reality. Fowles uses realism-parody which is much the same as Victorian novels. Although he accepts Victorian stories and situation with time order, he stresses the importance of free characters in fiction. He comments on the action, but he does not control it. In addition, meta-fiction method, three different endings, and mirrorlike form make the reader including characters break the boundary between the real and fiction, then they could be free from their form. He attempts to free the readers from the traditional role of passive and uninvolved observer of the action. Fowles, in breaking down traditional reality and fiction dichotomy, depicts the recognition of freedom and true reality.

In the essays on novel, Iris Murdoch puts emphasis on the importance of shaking ourselves free from selfish fantasy to have a renewed sense of the complexity of the moral life and the opacity of persons. In her novels, she lays open a figment of our self-centered fantasy. She shows that only when we dismiss subjective fantasy, we can understand the reality of others and love them. In The Bell Murdoch presents a group of pious Christians who adhere to the Church's teachings. The lay Catholics who live together at Imber Court unify human beings according to the rules of the community taking no notice of diversity and complexity of others. Their lack of human understanding and love is observed by an outsider, Dora and exposed by the symbolic meaning of the legendary bell and in the course of the breakup of the Imber community. When he rids himself of orthodox way of thinking, Michael Mead comes to understand the reality of others. Furthermore, he recognizes that he confined the indefinite God to a pattern in his own romantic imagination. What Murdoch tries to bring to light in The Bell is a figment of fantasy of the pious believers who stick to the literal meaning of the Church's orthodox teachings.

The main purpose of this study is to classify conversion into two types: primary conversion and secondary conversion, and to deduct and classify the meaning patterns and grammatical functions from the conversion process and reveal the characteristics of the conversion of nouns, verbs, and adjectives. It also aims to show how conversion in English should be rightly interpreted in English sentences without any misunderstanding from the semantic aspect. This paper is aimed at reviewing the blocking phenomena of conversion from the standpoint of phonological blocking, morphological blocking, and semantic blocking based on blocking and principles pre-emption suggested by Aronoff(1976) and Clark & Clark(1979). I have also revealed why those words used in conversion are blocked and pre-empted in the process of conversion.

This paper examines a natural lecture text recorded from an ESL class to see how the short-term memory works to process linguistic information in natural utterances. The examinations show that linguistic information is processed based on thought groups and that all the sentences consist of no more than 5 units of thought group. Over 90% of the sentences appeared to be 3 or less units. The results of the study suggest that English teaching should consider how the short-term memory works, especially how it processes linguistic information in terms of thought group. In addition, teaching vocabulary for vocabulary to students lacking oral skill is not effective and even can be dangerous to them because it tends to pull them down from the sentence to word level. A student whose processes of linguistic information remains on the word level can hardly expect to be fluent, however many vocabulary items they memorize.

There are two kinds of structural relationships between V1 and V2 in Korean SVCs. One has a head-adjunction structure, and the other has a head-complementation structure. In dependent construction, V1 either changes the selectional restrictions of V2, or plays a role of an argument for V2, which motivates the complement status of V2. In coordinate construction, on the other hand, no such dependence is attested. The distinction between the coordinate construction and the dependent construction is identified by SE-insertion test, which has been used to set SVCs apart from the auxiliary verb construction. Contrary to the common assumption, dependent construction and the auxiliary verb construction are grouped together, given the parallel complement-head relationship between V1 and V2.

Jackendoff (1989) contains an analysis of the meaning of the verb climb in terms of preference rules. In such an analysis, we can define a given use of a word as more ‘prototypical’ if more of the “preference rules” are satisfied in the situation in which the word is used. In his two frame semantics articles, Fillmore (1982, 1985) suggests another analysis of ‘prototype effects’ of the kind Rosch (1981) studies. The question in part of this paper is, what would be the analysis of climb in a frame semantics approach? How does it account for the relative prototypicality of the uses of the word climb? It has frequently been discussed (e.g., Austin 1964) that a word like imitation does not semantically modify a noun in the standard ‘set intersection’ way. For example, something correctly described as imitation coffee looks and tastes like coffee; but, whatever it is, it is not made of coffee beans. (Fillmore 1982: 133) The second half of this paper will discuss the so-called syncategorematic terms like imitation, which do not work like other noun modifiers.

The purpose of this paper is to deal with the syntactic properties of PRO on the basis of Control Theory. Chapter 2 is to distinguish obligatory control from optional(arbitrary) control by analyzing the syntactic relation between the controller of PRO in the matrix sentence and the function of PRO in the infinitive clause. And PRO must be c-commanded by the obligatory control but can't necessarily be c-commanded by the optional control. But c-command can't be an absolute condition in discriminating the control types of PRO.

This thesis is written with a view to doing three things: (ⅰ) to review various theories about the stress, intonation and rhythm of the English Language, (ⅱ) to adopt a theoretical background which is indispensible for teaching stress, intonation and rhythm, and (ⅲ) to devise an improved method for teaching the students who studies English in the general culture course. I propose (ⅰ) 10 ordered steps for teaching beginning learners, (ⅱ) 5 ordered steps for intermediate learners and (ⅲ) 5 ordered steps for advanced learners. Because stress, intonation and rhythm are very directly connected to the focus of discourse in English, these 20 ordered steps should help the students to improve their command of these suprasegmental features. Reviewing the trends of English education tell us that the area of stress, intonation and rhythm is allotted a smaller part of time and is taught later than the semantic or syntactic areas. In this respect I conclude that we must establish a systematic teaching method of stress, intonation and rhythm in advance and improve the method continually in order for this area to be integrated into the whole English teaching program. After that we have to place communicative emphasis on the relations between speakers and listeners.