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This paper explores the interaction between subject and object, mind and nature in the early poetry of Coleridge. The Conversational poems including “The Eolian Harp” and “Frost at Midnight” reveal the One life between human and nature, and God. In his emblematizing of nature to his poems, Coleridge has spoked the voice of nature, that is, the language of nature. Coleridge firmly believes the external signs of nature convey to us the divine attributes. Therefore, the natural objects such as breeze, air, lake, cloud, and sky which reveal their unfallen and permanent attributes as linguistic signs take the form of the language of nature in Coleridge's Conversation poem. Because of their vivid imagery of nature, and because of the language of nature, “The Eolian Harp” and “Frost at Midnight” can be said to be the true examples of Coleridge's poems of nature.

This study explores the thematic significance in Tennyson's "Maud". In the poem Tennyson shows a morbid, poetic soul. He dramatizes his precarious mental balance and allows him to embody the kinds of psychic confusions about social animality, lack of human value and mammonism that fill him and his society with anxiety. So we can say that Tennyson makes the role of the mad speaker in "Maud" as the means of divulging the corruption of society. Tennyson does not stop showing the sharpest criticism of the moneyed society, but tries to overcome it with love theme. Tennyson's position on love in "Maud" is somewhat aggressive. For he adopts the martial power and love as a personal and social redemption from the destructive world. So Tennyson seems to represent a positive answer to the problem of his society.

Riders to the Sea is about a fate-ridden mother, Maurya, facing the tremendous destructiveness of the Sea which has drowned the last of her six sons. It describes the real lives of people, their language and their social customs in Ireland, and may seem to be a simple disaster of a family, not a tragedy. Although the raw material is present in his essay The Aran Islands, Synge presents an unimpassioned telling which is unified, focused and given wider context for the purpose of his dramatic recreation. J. M. Synge gives the simple incident story divisive and extended meanings, using his peculiar tragic view and symbolic realism and a rich verbal expression which makes the play poetic. The story is based primarily upon his observation of an actual incident in Inishrnaan, the middle island of the Aran Islands. Synge artistically compresses the thirty year history of struggle between the hostile ocean and Maurya into a short one-act tragedy of classic simplicity. Synge transforms Maurya fiom an old and miserable woman into a tragic heroine, by evoking a mood of stoical acceptance that dignifies the primitive humanity of the helpless survivor. Maurya becomes a noble figure of stark, epic dignity who maintains her self-restraint. Although the loss of all six sons, as well as her husband and her father-in-law is dramatized in the sorrofil mood of resignation, her individual fate is extended to the fate of all left behind when fisherman meets tragic ends at sea. The heavy loss of life among the Aran fishermen in the turbulent ocean and a mother's intense sensitivity to universal tragic meanings produce in Maurya a new awareness of the real meaning of her life. To emphasize the fundamental tragedy of life, Synge dramatizes banal lives in Ireland through poetic and symbolic forms. Especially, Synge makes effective use of poetic dictions and expressions from the colloquial dialogues of primitive Irish society. The various forms of native speech or peasant idioms and syrnbolistn work as a tragic device in the play, and may be said to be an organic aspect of his tragic theme.

Movie Samson and Delilah directed by Cecil B. DeMille and Milton's Samson Agonistes have the same soizrce of the Samson's story in the Bible. However, there are a lot of differences between the two. The story of Samson, the strongest of men, felled by the temptress Delilah is brought to the screen in majesty and splendor. The Samson of the Movie possesses several traditional heroic traits such as strength, vengefulness, and cleverness. Nevertheless, Samson shows lots of weaknesses and makes many mistakes again and again. He is not a stable character. Especially, DeMille focuses the dramatic love affairs between Samson and Delilah. On the other hand, Milton's Samson Agonistes dramatizes the recovery of self and the salvation of man by examining Samsons's suffering and inner transformation. The movement of the drama is focused on Samson's transformation fi-om a hubristic Hebrew Hercules to a humble and obedient servant of God. Milton presents not Samson's outward appearance but his interior progress to us. He excludes all the physical actions. They are only reported rather than played out before the audience. Most of all, Milton parodies the old testament emphasis on Samson's strength and heroic exploits in the nonbiblical figure of Harapha who taunts Samson. He rejects the quasichivalric hero of brute physical endowments in the medieval age. He creates a new Christian hero who is well possessed with spiritual values. His emphasis is on the hero's inner virtue and growth.

Toni Morrison's novels usually represent the influences of the racial oppression by the whites upon black individuals and their communities in America. Moreover Morrison criticizes the black people who follow the destructive ideologies of the whites. She opposes any oppression and alienation of the weak by the strong resulting from racial and patriarchal domination. Ultimately Morrison emphasizes harmonious cooperation through love and responsibility for others in human society. This essay aims to examine aspects of 'otherness' in Morrison's early three novels. In these novels, black women and children are established as American society's 'other'; epistemologically inferior beings in white-dominated and patriarchal society. In The Bluest Eye Morrison establishes Pecola, the ugly black girl as an 'other' of the segregational and sex discriminative American society. In Sulu, Morrison creates a woman character who resists the black community that follows the values of white society. Sula is treated as an evil, that is, 'other' because of her subversive behavior against traditional society which is founded on the alienation of 'other'. As a result she is excluded from her own community. In the third novel Song of Solomon, Morrison provides the examplary black woman, Pilate, who loves others and has a spirit of tolerance. Pilate becomes a protective being as a subject not as an 'other' for her black community, although she is in an inferior situation in race, class and sex. She is able to deconstruct the dominant culture that creates the dichotomy of white and black, man and woman, and self and other.

Hemingway is considered one of the most important war novelists. He has experienced four wars, directly or indirectly - World War I, Greco-Turkish War, the Spanish Civil War, and World War 11. In addition, he went to Hong Kong to cover the Chinese-Japanese War and even met Sun Yat-sen's widow. Regarding the Cuban situation, he blamed Gerardo Machado's dictatorship and supported Cuban Revolution. Hemingway served World War I for a brief period of time as he got wounded by mortar and machine-gun fire near Fossalta di Piave. He participated in other wars as a war correspondent. His coverage of the war scenes were so vivid and powerful, especially the Spanish Civil War coverage, that he wrote 30 articles to North Atlantic Nms Alliance, one to Pravda, 12 to Ken, and a narration to "The Spanish Earth," a propaganda film from the Republican side. He was faithfbl to his political ideas opposing fascism and he addressed an anti-fascist speech at the American Writer's Association in New York and made an effective fund-raising to help the Republicans. He openly expressed his support for the Republicans out of a very personal reason. He liked Spain with its unspoiled nature and the Spanish people, very pure and living in an unspoiled environment. Moreover, he cared so much for bull-fighting and appreciated the true spirit of bull-fighting that he was called the only non-Spaniard aficionado by a famous Spanish writer Salvador de Madariaga. Hemingway portrayed a sacrificial figure Robert Jordan in For Whom the Bell Tolls who risks his life for his love of Maria and the Spanish people. Through knowing the Spanish situation and by falling in love with Maria, his hatred of fascism increased, and through Robert Jordan he expressed his political ideas.

This article explores the intertextuality between literature and philosophy. Deleuze has utilized Bergson's discovery of the pure past to arrive at his own very creative time-image. Proust and Beckett have also been greatly influenced by Bergson's theory of memory in formulating their own idea of the relationship between memory and subjectivity. Deleuze, in turn, interprets and explores the literary world of both writers applying his 'critical and clinical' theory of literature the formulation of which attests to the Bergsonian ideas of difference and vitalism. After briefly introducing Begson's theory of pure recollection and Deleuzian metaphor of time, ie. the crystals of time, the article compares the literary and artistic style of Proust and Beckett. Deleuze finds the literary expression of a virtual past in Proust: Combray surges forth within the present taste of the madelaine. But that combray is itself a difference, not the Combray as experienced in the past, but an essence of Combray. In "The Exhausted" Deleuze discusses Beckett's image in terms of exhausting the possible. The article argues that the Beckettian 'pure image' in ... but the clouds...is a virtual(recollection) image which has never been present. It is a pure intensity, a difference, a 'light', a life above, which "appears in all its singularity, retaining nothing of the personal, nor of the rational, and ascending into the indefinite as into a celestial state."

Wilson's strategy of writing a play for each decade of the twentieth century focuses attention on the long journey with little progress and change, one that so many African Americans have taken. In order to examine a present in which African American characters struggle within the socio-economic climate of the twentieth century, Wilson revisits the past. Wilson believes that "you should start making connections to your parents and to your grandparents and [start] working backwards." In Two Trains Running, Wilson revisits the Great Migration, the exodus of African Americans from the South to the North in search of the promised land, and dramatizes the consequences of this shift in population in the lives of Memphis Lee and the patrons of his restaurant in the late 1960s. Memphis owns and manages a restaurant that soon will become a casualty of the city's renovation plans. During the course of the play several characters(Holloway, Sterling, Lisa, Hambone, West, Wolf, etc.) discover the importance of perseverance, despite past hardships and injustices that plague their present lives. Wilson recalls his '60s and suggests they return to the past.

The paper attempts to interpret The King Lear in view of the Christian salvation pattern. The whole plot of The King Lear can be analysed as salvation through torture and repentance after the sin(fal1). King Lear banishes Cordelia by misunderstanding her plain love commitment as deficient cordial piety while he overpraises the overflown flattery of love declared by Goneril and Regan. Contrary to his anticipation, King Lear rushes into madness because of the ingratitude and cruel attitude acted by Goneril and Regan after they got the alloted territory. King Lear rushes into a wilderness at night with his Fool, caught in a merciless storm and rain. But this extreme situation, however, makes him discover his identity through the nakedness of his physical and mental state. The very bad news of Lear's bitterness and agony brings Cordelia back to battle against Britain with a French force. Before the battle Lear recognizes Cordelia's cordial piety and asks forgiveness while Cordelia redresses Lear as the father of the prodigal son in the Bible. In this sense Cordelia symbolizes Jesus Christ by working as a regenerating agent to Lear. At last King Lear, Kent and Gloucester comes to self-discovery and salvation of their souls through torture and repentance after the faults such as misjudgement, wrath, voluntary exile or misunderstanding.

Fielding attempts to show the system of human's eclectic psychology by provision of nature in his novel. Most humans have the sources of both good and bad, but one of the two is stronger. As we can see through the extreme characters of Blifil and Tom, some humans possess goodness and others possess badness. The disposition, or the basic temper, in the center of their minds, controls various elements of their minds, or determines the relationships between the two. The arbitrary role between this disposition and impulsive passion is influenced by reason. Sometimes the reason is the basic element of the good disposition, and the disposition is even a mechanism which can lead to passion. Love and vanity are the main passions of humans, and they are the basic disposition of humans. They are the terms of desires, the special responses against practical phases. Fielding dramatizes the working of the ruling passions, good and bad, as we can see in the dramatized contrast between Tom and Blifil. Fielding is wholly interested in the external expression of human nature, and he describes them by comparing various types of human nature. The behaviors of humans are determined by one of the leading passions, which are good and bad, in their varied human minds. A man is more or less proud, but if pride is his leading passion, he cannot be a good man. If he is attracted by the passion of love, he opens the eyes for merciful behaviour. The interaction of these elements composes Fielding's psychological system, and shows that he is devoted to the portrayal of good nature through the contrasting duality of human nature.

Since the publication in 1905, Edith Wharton's The House of Mirth has attracted diverse readings from many critics. The dominant trend of the interpretations, however, is to emphasize the stark determinism of the text extended to literary naturalism. According to the trend, the protagonist Lily cannot devise an alternative against a naturalistic world in which she eventually becomes a totally determined product of social and economic environment. In other words, incarcerated in the social network of power structures, Lily does not produce any convincing possibility of resistance that might change the structures. It is true that the socioeconomic base and the patriarchal culture are dominant in the text. but the deterministic readings cannot do justice to the multiplicity of the text. Here lies the prime purpose of this paper: how can we salvage the seed of resistance against the power structures? For this purpose this paper makes use of Bakhtin's theory of monologism and dialogism. As well known, while monologism unifies all ideas and voices into a static and objective oneness. dialogism allows a multiple interaction between the characters and points of view so as to show contradiction-ridden and tension-filled reality that denies the domination of an authoritative center. This paradigm of monologism and dialogism gives us a useful vocabulary for and a new way of thinking about the text. When we use this paradigm, Lily's final death can be interpreted as an attempt to overcome the merciless logic of society that discards the rebellious spirit into a dustbin. Lily's ambivalent confrontation with the dominant ideologes of America at the turn of the century suggests both an act of subversion and an effort at appropriation and redefinition of them. The ambiguity of the ending revitalizes the seemingly one-dimensional world of the naturalistic novel with its tension-revealing inconclusiveness that invites the reader's volutary participation in the ongoing praxis for a better society.

When Henry Thoreau moved to Walden Pond, what he had in mind was to contrive an economy of living for his own use. In carving a niche in the woods he had the advantage of distance enough to take a more critical look at his own self as well as others. He initiated his beanfield as part of his inward-looking effort at self-cultivation. This bean-raising project afforded him the opportunity to get more acquainted with the soil. His farm work helped him to feed his hunger for wildness and practice the transcendental ideal of self-reliance. His beanfield set Thoreau up as a husbandman, whose concern was more with the process than with the result. He appeared more interested in coming by 'intangible' profits: what figured highest in his harvest were seeds of a different kind than beans. Thus he identified himself as a tiller of the mind, rather than as a cultivator of the soil. This difference seems sufficient to characterize his idea of husbandry: it is based on Jeffersonian agrarianism, but more pastoral than practical in that his vision tends toward spirituality. This is how Thoreau stood in his beanfield with the purpose of achieving inner wealth.

There is a lot of literature available in the field of transformational grammar on how to analyze cleft sentences. Unfortunately, however, the previous approaches, which are mainly limited to give pure syntactic explanations for the phenomena, leave many of the problems unexplained. The purpose of this paper is to provide a discourse-functional account of the cleft constructions with the basic assumption that language is a communicative device and a representation of human behavior. Throughout this paper, it is shown that it is necessary to go beyond sentence level in the examination of linguistic phenomena such as cleft constructions to account for the reality of language use in actual discourse.

This paper delves into some aspects and issues that relate to grammar instruction in some representative language teaching approaches in the past four decades. With the advent of CLT as a turning point in ESL pedagogy, we have witnessed the decline of grammar instruction simply due to its lack of contribution to language proficiency. It is demonstrated in a host of ESL research, however, that grammar instruction still finds its vitality even in communicative instruction for enhancing learners' linguistic accuracy. Building on this exemplary evidence for the necessity of grammar instruction in language pedagogy, I argue that explicit grammar instruction is more effective in the EFL setting, in which meaning-focused interactional activities are scanty. In addition, I suggest the use of the Internet corpus as a valuable means to provide a rich and varied context for instructed grammar structures in and out of class.

A drastic increase in the number of ethnically and linguistically diverse immigrants has become the target of a heated controversy surrounding the exclusive use of the English language in the States. This paper examines the ideology relative to the English Only movement that has existed as a result of a pro-English initiative. The claims professed by the two major organizations devoted to passing English Only legislation, U.S. English and English First, are encapsulated, along with opposing views explored in this initiative. In American society which is traditionally characterized by pluralism, which tends to favor ideas such as multilingualism and multiculturalism, the concerns expressed by opponents have proven to stem from the recognition that the English Only movement and the resultant legislation passage would not necessarily function as an integrating force for the nation, and that English Only policies are most likely to serve a gatekeeping function that bars language minorities from access to political, social, and educational arenas.