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Images, especially created images, are very effective “cultural devices to subject minorities of a society to the prevailing social norm.” In other words, as Abdul JanMohamed notes, they are metaphors signifying the “manichean opposition between the putative superiority of the European and the supposed inferiority of the native.” In this context, the image of Africa Langston Hughes embodies in his works reveals his viewpoint on the world and life. Furthermore, it is also a door through which we can approach the role and ultimate goal of Hughes. Particularly, his African experience around the Congo River for about five months was a greatly important event in uplifting his understanding of the reality of African Americans and their identity. And it is a kind of “rite of passage” to establish his own identity as an African American poet. The lessons Hughes learned while he stayed in Africa as a mess boy of a freighter can be summarized as follows. First, his earlier romantic view of Africa was turned into a realistic one after seeing the “rape of Africa” by the European colonialist countries. Second, he came to know the reality of colonialism and the international dimension of the Afro-American tragedy. Africans and Afro-Americans are, he thinks, common victims of political oppression and economic exploitation in a world dominated by the West. Third, he experienced the reverse dilemma of “double consciousness” through a chain of unexpected experiences in Africa where he was thought a white person, not a black. Such a situation gave him a chance to reconsider his identity. Fourth, he met a Mulato boy by accident and used the ‘tragic Mulato’ theme later as a symbol to challenge the hypocrisy of American democracy. Considering these lessons, Hughes's African experience was a turning point in his literary career. After that, he came to put himself more tactically between the African and the American aspect of the “double consciousness” and attempted to integrate these two aspects into a single vision of the poet. And based on such a vision, he continuously made efforts to overcome the “manichean allegory” which includes “oppositions between white and black, good and evil, superiority and inferiority, civilization and savagery, intelligence and emotion, rationality and sensuality, self and other, subject and object.” In a sense, this was a watershed which made him different from other contemporary writers such as Vachel Lindsay and Countee Cullen.

The general conflict between the repressive influence of civilization and the uninhibited freedom of the natural world interested Faulkner from the outset of his career. In The Sound and the Fury, Caddy's natural instincts are inhibited by the entire Compson family, Quentin's by her uncle, Jason, who literally locks her in her room. This general pattern of a young woman's natural instinct to love being inhibited and in some instances perverted by repression and confinement is repeated with certain variations in the characters of Ruby Lamar and Temple Drake in Sanctuary, Lena Gove in Light in August. Parental or societal restrictions placed upon the natural instincts in the natural world create problems and lead to disaster in a significant number of Faulkner's novels. In The Sound and the Fury the abundance of images of restraint in the industrial civilization helps to make a general statement, at times metaphysical, regarding the nature of human existence. In Sanctuary Faulkner uses prisons to suggest the ubiquitous nature of evil and the inefficacy of our modern social institutions. In Light in August the rebellion of Christmas against those people who have authoritarian patterns is easily seen. His rebellion against the society which has twisted his personality is seen in terms of representative associations with other people in the civilized world. The opposition of points of view is the crucial structural element of Faulkner's novels. Faulkner shifts back and forth from members of the family to outsiders, using thought patterns appropriate to each person. The technique of oppositions in Faulkner's novels is broadly this : the conflict between nature and civilization, between freedom and repression.

In A Midsummer Night's Dream dances give the play beauty and mysterious appeal. The work was made to be a wedding celebration for an aristocrat couple and it specially needed graceful adornments. But the dances function more than that. They have power to live human in order and harmony. The dances are like prayers and benediction, they make the play a ritual. The fairy queen laments that, from the interrupting of the dance of fairies, the order of nature is disturbed, the climate changed, plants rotted, death and desertedness occupying, games and sports disappeared, and seasons confused. Her long description contains the terms of English folk dance and other traditional dances such as morris dancing, ringlet, round, and carol. Those mentions remind the audience of the absence of dance and the loss. In the latter part of the play the disagreement between the fairy king and his queen is solved and they dance “the dance of amity”. The dance is the visual sign declaring the harmony of the couple. In this play dance symbolizes order, harmony, peace, happiness, and festivity. As the peace of the fairy kingdom is extended into the human world, from Theseus' palace the entanglements and conflicts of lovers are disappeared and the marriage ceremony is reported. The group dance of fairies of the last scene is accompanied by singing. That brings up the image of a medieval ritual dance, carol. And the carol performs the roles of blessing, praying, and warding off evil. Therefore it can be said that the dance functions as a kind of ritual dance.

This paper investigates how Vladimir Nabokov put into practice his narrative strategies. He used many experimental techniques in his fictions. So many critics judge him as a modernist or postmodernist, but we need to search for his ‘literariness' before making such categorizations. Vladimir Nabokov remarks that ‘reality’ is a subjective matter, saying: “You can get near and near, so to speak, to reality, but you never get near enough because reality is an infinite succession of steps, levels of perception, false bottoms, and hence unquenchable.” Reality actually remains for Nabokov the inexhaustible source of his fictions. In short Nabokov‘s statement is really a metaphor for his own fictional techniques. His fictions are composed like chess problems, parodying to some degree traditional literary forms: melodrama(Lolita), the definitive biography(The Real Life of Sebastian Knight), the critical analyses(Pale Fire), family(Ada), and so on. Nabokov regards parody as his main literary narrative strategy. The parody of conventions is a way for Nabokov to trip up his readers and to involve them, as he notes, “Satire is a lesson, parody is a game” Nabokov's fiction are full of allusion and illusion, verbal felicity and wit and so on. Some critics underestimate his fictions by insisting that they have no serious theme. But he is simply not a trickster, or hoax player, but a serious artist. The games and deceptions, the parodies and distortions, the allusions and illusions through his works suggest that they are an integral part of his total art; that they, in fact, suggest a whole vision of reality and life. Narrative strategy makes Nabokov perhaps the most consistently successful master among contemporary writers, and it is the triumph of his art.

Sylvia Plath’s poetry has been divided into two periods―one centering on her first volume of poetry, The Colossus, the other on the Posthumous volume, Ariel. Most of Plath criticism, however, whether psychoanalytic, feminist, or mythical, have been concerned with her suicide. They tend to emphasize that her poetry is an impulsive death wish. Such criticism ignores the fact that most of Plath’s mirror imagery have already appeared in her poetry. This paper aims to analyze the images of mirror in Sylvia Plath’s poetry with the intention of showing the continuous development of her poetry. Images of mirror such as ices, window panes, surfaces of water, pervade throughout her poems. They in one way distort feminine selves by reflecting them in grim weather, desolate surroundings, and sometimes on mirror itself. While the trauma, lose, and anger work staged in her poems can never be entirely disentangled from the narrative of her life and death, it nonetheless exceeds the personalization of biography. In this case, we can infer that mirrors are, the poet, sites of self-making, feminine identity, though they are also, at the same time sources of self-division. Therefore if her poetry is analyzed with the recognition that mirror imagery was one of Plath’s major concerns from the beginning of her poetic career and it evolved from the early poetry, some prejudices against her imagery will be modified, leading to a fuller understanding of her poetry.

One of the characteristics of Robert Creeley's poetry is that it is immediate, spontaneous, naturalistic, and open in forms. Robert Creeley, along with Charles Olson, is one of the leading theorists of “open form” whose mode of writing is without closure except the vividness of each instant moment. In order to express the point-by-point vividness of instant moment, Creeley suggests, the poet must loose himself and follow the peculiar shape and movement of language. If the poet ceases to impose his own meaning and verbal structure on language, the language will generate its own meaning and direction. What we can observe in Creeley's poems is that language speaks itself without the poet, and that the poet, who is however necessarily involved in the process of writing, is nothing but a body through which language moves in a poem. So to speak, the poet's heart beats and breath rhythm are used as a kind of mediating system whose very act of mediation between perception and communication provides both form and content of poetry. Consequently, the poem is not the poet's. He is rather possessed by the aspects of the language he is using. Language is its own occasion, its own subject, rather than a means of expressing or communicating human subjects. “Words speaks everything” (“The Language”).

The Great Gatsby shows that Fitzgerald's efforts to reach a deeper understanding oerican Idealism are intertwined with his creative attempts to combine the traditional elements of romance and realism with his elaborate artistic treatments employing irony and comedy. Fitzgerald proves these attempts very effectively in analyzing the double-faced nature of American idealism.. The structure of the novel is largely based on ironic comedy which arises from the balancing of illusion against reality through its scenic construction. The ironic relation between Gatsby's romantic attitude and the American rich is conveyed comically and dramatically, however, by Nick Carraway's satiric tone. The comic elements in Gatsby revealed through Nick Carraway's testimony not arouse only superficial laughters, but appeal to critical visions of life or society itself. Accepting Gatsby's death as the loss of his dream, Nick decides to return his hometown, the Mid-West. Indeed his return reveals a sort of regression in his critique of an American idealism which is corrupted with materialism. In other words, while criticizing an American materialism, he seems only to suggest that an American idealism may be essentially the back side of the shallow materialism rather than the object for overcoming the flaws which are inherent in the idealism. However, this seems to be an irony which Fitzgerald employs as an artistic treatment for seeking a harmonious reality in the conflict of ideal and reality in the life of man, but not a thematic default.

In her poetry, Louise Bogan transcended cultural limitations of gender as she struggled for artistic control and personal maturity. During the twenties and thirties, conflicting images of women grew in response to contradictory discourses of gender. Therefore both thematically and stylistically, her poetry must be understood in terms of her unique experience of gender. This study explores the specific gender ideology of Bogan's time and examines the ways in which she engaged that set of cultural assumptions in her criticism and poetry. It also points out other factors such as class and artistic temperament important to an understanding of her work. Within this context, it presents a feminist reading of Bogan which avoids reducing her to a patriarchal cripple. Bogan's ambivalence about feminine nature informed her views on women's poetry and its marginal position in the literary scene. The voice in “Women” totally internalizes the enemy and turns on her own feminine self. The poem's unrelieved bitterness toward gender epitomizes the worst kind of isolation, extending to encompass both the outward and inward world. Bogan's style is plain, terse, bare to the point of austerity. She depicts with severe economy, with reticence and by implication and her images are objective. As a female poet who reflects human situation truly, she transforms human sufferings into vast resources of poetic energy and miracle of art. Her poetry is a record of her progress as a poet and person.

King Lear's tragic experiences dramatically represent the crucial problem of how to cope with the tragic features of human life and moral order. Man's tragic experiences can be considered either as a fruitless waste of life or as a fruitful suffering which leads to purgation of evil. As many critics have pointed out, King Lear's tragic experiences are so horrible that the audience are likely to regard them as a fatalistic waste of life. But the closer analysis of his experiences show a progress of his spiritual restoration from ignorance to awakening, from egotism to altruism. The development of the play turns on the progress of his spiritual regeneration. Lear's perception of Cordelia's death has provoked a hot discussion among the Shakespearean scholars. A. C. Bradley interprets Lear's final words on her death as an illusion, while J, Stampher refutes Bradley, and hold that Lear is fully aware of her death. In either case, however, the important point is that they both interprets Lear's final attitude toward Cordelia's death as emphasizing Lear's great suffering which has led to his restoration. These critic's arguments therefore prove that the meaning of Lear's tragic experiences lies in his order restoration, which he achieves by way of his suffering and purgation.

In this paper, choosing Shelley's The Cenci, I will discuss how language is involved in ideological power, and how ideology and social orders influence and determine the discourse and action of the major characters. Tyranny, revolution and social change had been Shelley's major concern in his literary career. The Cenci in this respect is one of his major work in which Shelley investigated a form of social tyranny and attempted to conceptualise the idea of revolution. They are closely related with language activities in a social context. Language and ideology exert controlling power on each other. Linguistic activities in this respect are closely interconnected with social activities. They are conducted in the name of ideology. The relationship between language and ideology or ideological influence on language is fully represented in The Cenci. In the interplay between language and society, ruling orders and conventions are strongly protected and words are directly connected to power and authority. Resultingly individuals are subjected to the socio-linguistic conventions and power, in which language is continuously abused and distorted. Such manipulation and distortion of language are a major task in Shelley's composition of The Cenci.

This thesis aims to examine whether Nathaniel Hawthorne was an orthodox espouser of patriarchal attitudes or an author of a feminist stamp. But my final opinion is that, although Hawthorne is not easily categorized, he is, at least in The Scarlet Letter, a strong feminist. There are many critics who insist on Hawthorne's ambivalent and ambiguous attitudes in the plot of this novel. Judith Fryer revealed patriarchal attitudes in Hawthorne while recognizing other conflicting attitudes, those that in Nina Baym's words had always presented problems for early feminists. Kristin Herzog, however, has perpetuated Fryer's image of Hester as a darkly sensual type of Eve. Mary Suzanne Schriber points out that Hester is herself ambivalent, or self-divided. Regarding the novel's ambivalent attitude toward Hester, Schriber suggests that it results from inconsistencies in the mind of the unreliable narrator, as well from differences between the narrator's views and those of the implied author. A male feminist Leland S. Person argues that Hawthorne is not really a nineteenth-century feminist and that The Scarlet Letter is unsettled and unsettling in its treatment of women. Shari Benstock also shows that, at once backward- and forward-looking, Hawthorne is as patriarchal as he is prototypically feminist. Hawthorne describes Hester as subverter of the Puritan-patriarchal laws of meaning in two ways. First, she embroiders and embellishes the letter A, thereby confusing it. Second, Hester refuses to name her child's father, thereby placing Pearl outside the bounds of Puritan ideology. In this case we think the author as a feminist. Above all Hawthorne, in the “conclusion” of his story, emphasizes that “Hester assured them, too, of her firm belief, that, at some brighter period, when the world should have grown ripe for it, a new truth would be revealed, in order to establish the whole relation between man and woman on a surer ground of mutual happiness.…The angel and apostle of the coming revelation must be a woman, indeed, but lofty, pure, and medium of joy; and showing how sacred love should make us happy, by the truest test of a life successful to such an end.”

It is right that most critics regard the film version of The Third Man directed by Carol Reed as more successful than its literary source. It deserves the accepted complementary opinion that the film preserves the basic themes of the novel more effectively. Graham Greene's own statement that the film is better than the story because it is in this case the finished state of the story would seem to support such an opinion. In my view the film does not preserve the themes of the novel; rather, it develops themes and concerns which the novel suggests. The movie objectifies the ambiguity in Martins and it suggests Harry Lime as his double or alter-ego. The film's omniscient narration opens with Martins's voice-over describing postwar Vienna. It then switches to central narration, following the events as they unfold from Martins's perspective, using the main principal of the action as a filter. The effect of this is to make Martins's experience contemporaneous and immediate in contrast to the retrospective first-person narration of the novel. I believe, therefore, Graham Greene's The Third Man is a case of a novel whose narrator is less effective than others that could have been used. By making Calloway the narrator and having him tell the story, the novel dissipates much of the suspense implicit in the situation. Greene tries to get the thriller effect into the passage by making the narrator enigmatic and gives the impression of uncertainty about whether a given comment is to be interpreted as Calloway's or as Martins's. Even worse, comments are assigned to Martins in a way that seems completely arbitrary and unmotivated. It is not only suspense and clarity of theme that is undercut by the novel's decision to make Calloway narrator, but perhaps most of all the atmosphere and setting in which the events must be imagined. That is where Reed's true genius emerges, and the film will always be one that sets standard for its genre. The film version of The Third Man follows a simple structure familiar to the detective thriller genre: the search, through interviews with witnesses, for the murderer of one's friend. Thus the design of the plot itself suggest the crescendo of suspense not only as the answer is approached, but because the approach entails greater and greater risks to the protagonist-searcher, by choosing Martins as the narrator. This rising tension is deflated by the novel's decision to tell the story through Calloway. The theme of The Third Man blossomed better in the cinema than the novel. Carol Reed maximized the power of the medium expecially with respect to the cinematic narrator.

The purpose of this thesis is to research the Web-based Primary English Teaching-Learning based on Synthetic Teaching Method, and to try to prove the excellence of this approach than traditional English teaching strategy through an experimental school teaching. The writer made a development process, a learning model, a teaching model and a primary English syllabus based on Web-based Synthetic Teaching Approach. I also made self-web pages. The result of experiment shows that the new approach is more effective than traditional one or the Synthetic one (Kim, 2003) in academic achievement as well as in the interest and self-confidence in English. So the writer recommend that teachers' efforts, sacrifices and abilities in both spiritual and physical aspects as well as the positive financial technical support of government and the active cooperative participation of parents should be needed.

This paper examines English passive construction. It is argued that purely syntactic approaches should fail the correct analysis of passive sentences. In order to analyze the passive sentences correctly, we must consider various discourse-pragmatic factors. That is, the grammaticality of the passive sentences depends on discourse-pragmatic factors such as contextual factors, transitivity, thematicity. Therefore, we conclude that the reason a speaker uses the passive sentence is that he intends to make an NP(or object) the theme in discourse.

Reduplication is a type of morphological word formation process in which the actual shape is heavily dependent upon the root or stem to which it applies. The reduplicated construction of the world languages shares an array of meanings which recur so frequently in so many languages: plural, emphasis, continuity, plurality etc. We can explain this phenomenon by the sound symbolic characteristics of the reduplication, which means that they have iconically motivated concepts, a direct match between form and meaning. The iconic characteristics of the reduplicated words can be divided into quantity and quality. The meaning ‘plurality’ comes from the former and ‘child’ from the latter. And the various analogous meanings of reduplicated words are due to their semantic extension from this sound symbolic interpretations. The relation of meaning and the types of reduplication is not consistent among languages of the world.

Giving speeches is becoming a major activity for students of language learning. Whether a learner is in elementary school, middle school, or high school, speechmaking is an opportunity for language development. This paper will provide relevant insights for assisting the Korean English teacher in leading their students to excel at making speeches in English. The world of the Korean teacher of English as a Foreign Language (EFL) seems to be expanding beyond an expertise of teaching grammar, honing listening skills and improving communication ability. These days, providing proper speech techniques for students, who are attempting to compete in regional and national speech competitions, has become another area of importance for the English teacher.