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From the beginning of his literary career, Jazz has been a key element in Langston Hughes’s literary works. As he asserted in “The Negro Artist and the Racial Mountain,” Jazz to him was “one of the inherent expressions of Negro life in America: the eternal tom-tom beating in the Negro soul—the tom-tom of revolt against weariness in a white world, . . .; the tom-tom of joy and laughter, and pain swallowed in a smile.” Such an understanding of jazz was closely related with optimism and black pride around the Harlem Renaissance because at that time not a few African American writers cherished a vision that the American dream would be realized sooner or later. However, the Depression and the Second World War narrowed the chance to open the door leading to the American dream. Out of the frustration, disenchantment, and revolt against the white-centered American society, African American jazz musicians created and developed so called bebop. And from the bebop, Langston Hughes heard “a prophetic commentary on the state of African American reality.” Thus, I want to examine Hughes’s Montage of a Dream Deferred based on the jazz aesthetics and find that Hughes is a writer “committed to the possibilities of language to generate social awareness and, ultimately, to compel social change.”

David Mamet investigates human relationship in the tripartite position of power, knowledge and language in Oleanna. He shows the impossibility of true human relationship in the contemporary society by checking how language intervenes in the practice of power and knowledge. Mamet presents the minimal theatre in terms of character, stage property, setting, and theatrical through-line with every intention to let the audience meet the actions on stage directly without the mediation of theatrical decoration and devices. He reveals how the substantial power is supported and subverted by the manipulative power of language in Oleanna. He insists that language is the central substance in drama in terms that the playwright presents every information of the characters in the dramatic world effectively and substantially through linguistic discourse. He even argues that language is an action in his drama. That is why further discussions over the role and function of language in Mamet’s plays are still important.

Browning deplores the contemporary trend of depicting faith and belief as civilization and science develop, and human reason has priority. He gives his own message to his contemporaries who are marvelling at positivism, scientific discovery, and material prosperity. At that time, the Victorian era and world view responded to the real demands of the people of the time, and ignored the invisible yet eternal world of reality, the divine world and providence. While staring at pitching of the British people's view of life values due to the rise of economic prosperity and the evolutionary theory, the poet experiences the wonder of God, which never shakes, and leaves it as a poem. It is a dramatic monologue, telling Lazarus' resurrection owing to Jesus Christ: "An Epistle." This poem is the Christian apologetics in Victorian era. In this poem, Browning presents Karshish, an Arab in the background of Palestine at the late 60s AD, but he wants to tell a contemporary story of its own. He claims strongly that despite scientific and medical advances, mankind can not go against God's creation and providence. And he chants God does not disappear or shrink for a moment because of positivism and higher criticism, but as it has been from the beginning, he also recites, God still and forever exists.

This study focuses on the libido theory-based narcissism of Sigmund Freud in “The Legacy” written by Virginia Woolf. “The Legacy” is the story of quite a successful politician, Gilbert, who is a self-centered man, unable to concentrate his attention on anyone but himself. There are some reasons to prove he is possessed by narcissism like this. He considers his wife to be his dependency rather than an independent one, being always inferior in intelligence to him. As a narcissist, Gilbert defines others by his own standards. He thinks Sissy Miller, who has always lived as a family helping his wife with her work, is just one of many kind, dull, and small women. He even decides that the B. M. in his wife's diary is a spineless man who talks his opinions among women and has never done honest things during the day. Furthermore, he lives in a world of his own megalomania. His world is so full of distorted reality that it is impossible for him to communicate with others. Even when his wife takes one step forward in her journey to find herself, he is completely unaware of it and only thinks of himself. After all, in his world, where she is only asked for service under the name of wife, Angela chooses death. Her death is believed to give Gilbert a chance to look back on his life and re-establish a relationship with others.

Toni Morrison’s second novel Sula is a centrifugal story where a lot of themes, motifs, and symbols compete to draw critical attention. Seemingly decentering and diffusive, however, Sula has a remarkable thematic unity, in that all of the three protagonists suffer from loss and trauma and try to handle them in their own unique ways. The story of Shadrack, a World War I veteran works as a frame to interpret stories of Sula and Nel. While Shadrack was witnessing an uncanny scene in the midst of a battle, he was bombed and became unconscious. Even though he was hospitalized for more than one year and eventually regained consciousness, he almost lost complete recollection of the accident. Returning home, he enacts a holiday known as National Suicide Day to deal with his trauma. Similarly, Sula and Nel struggle with their own loss and trauma. As for Sula, she suffers from the emotional loss of her mother’s love, which was worsened by her accidental homicide of Chicken Little, a town kid. Nel also suffers from the trauma of her husband and her best friend’s betrayal. Her trauma however, teaches her that she should struggle to put off the false self-sufficiency to find her true identity. Though each character experiences different kinds of wounds respectively, the author seems to support their quests for the reason that they face and struggle with them to the end.

Jacques Lacan describes the negative aspects of the Imaginary process implied in the mirror stage through which the ego is structured wrongly, thus, mis-recognizing it as a true self. However, the Imaginary ego is a driving force in terms of creating our social subjects. If the ego is not formed, mental representation could be impossible. By the result, fantasy could not be initiated through which humans ultimately make their social relations with the world. Therefore, without it, our social subjects also cannot be constructed. In Through the Magic Mirror, a young boy, Toby enters a mirror where he experiences his amazing fantasy. While he enjoys his ‘imaginary play,’ he is driven to achieve his wisdom and insight after overcoming his inner problems by enjoying ‘the game of illusion.’ Instead of being a prisoner of illusions, this uncanny fantasy leads him gaining an enlightenment of life - finally dismantling his dull, tedious and tiresome life. The imaginative fantasy provides him not only his growth and development but also the potentials for his liberation and freedom. This is the creative meaning of ‘the game of illusions’ occurring in joy and happiness.

Shelley identifies the poet is both “the creature of age” and “the creator of age.” It is true that the poet cannot but be affected by the ideology of his/her society, because he/she lives in the society. Meanwhile, the poet finds the future in the present. The thing which distinguishes the poet from common people is ‘imagination.’ ‘Imagination’ is the active capability of the mind that understands all the entities which can’t be identified with human being’s sensory perception. It is also the sympathetic power that relates to morality. So it serves as the power to love others. Shelley found the way that raised objection against the leading cognitive structure at that time from David Hume’s causal theory. By adding his own theory of imagination into it, he forms his identity as the poet who creates his own age in “Mont Blanc” and “Hymn to Intellectual Beauty.”

Owing to the legacy of Japanese Imperialism, Korea had a shameful past. When two nuclear bombs dropped on Hiroshima and Nagasaki forced Japan to surrender unconditionally during the War in the Pacific in 1945, people in the United States suddenly felt compassion and sympathy for the Japanese due to the explosions and loss of life. Crucially though, internationally, few people are aware of Japanese colonialism and the atrocious acts committed against Koreans. Year of Impossible Goodbyes is a novel about the plight of Koreans during the period of Japanese colonial rule, and the Koreans peoples' yearning for freedom. This paper studies five symbolic icons representing the freedom, identity and pride of Korean traditional culture and history, and examines how the Korean traditional patriarchal system or family system disintegrated because of Japanese colonial imperialism. This paper outlines how the colonial period school curriculum yielded educational products promoting a transition to the communist ideologies of 'Mother Russia' without clearing away the vestiges of Japanese colonialism, and traces the journey of the heroine who comes to the South seeking for freedom from the Russian communists and the Town Reds in the North.

This essay explores how body politics embody in Toni Morrison’s novels, The Bluest Eye, Beloved, and Home. Morrison delineates black people as the victim of racial ideology or white supremacy. She postulates that blacks are the victim of body politics by white people in American history as a means to their political and ideological end. As Morrison puts it, blacks are people marked because of their skin color in America, I try to elucidate her novels in terms of body politics. There is negative body politics victimized by white supremacy through her works. In her first novel, The Bluest Eye, she portrays black body as a victim of racial prejudice by white people. She also depicts body politics of black people by whites’ slavocracy in Beloved, her representative novel. In her recent novel, Home can be also read the text of black body politics of war and eugenics under the white supremacy. At the same time, she suggests solutions of positive body politics including communal ethics and blacks’ responsibility and identity. Describing herself as an egalitarian, Morrison provides insight into an egalitarian hybrid society based on tolerance by embodying negative body politics by white people and positive body politics by black people.

The purpose of this study was to investigate the effects of utilizing animation movies for teaching English language to elementary school students on their affective domain. To achieve these goals, 22 5th-grade students have learned English by using animation movie Finding Dory 12 times for a month. The students were given questionnaires for analyzing the effects of the treatment on the learner’s interest, confidence, participation and anxiety before and after the experiment. Paired-sample t-tests were implemented to find out whether the mean differences between two tests are statistically significant. The results indicated that a statistically significant improvement in the students’ interest and confidence. There were, however, no statistically significant differences in participation and anxiety. Based on the results of this study, pedagogical implications and suggestions for further research were discussed.

Compared to foreign language (particularly EFL) learning motivation, foreign language teaching motivation has rarely been investigated for the past 50 years. Not until at the turn of the 21st century, has it begun to attract academic attention (e.g., Pennington, 1995). However, given the symbiotic nature in the motivational mindset between a teacher and learners in the language classroom, the enthusiasm of the EFL teacher is transferred to students, resulting in enhancing the level of EFL learning motivation. In this paper, the major characteristics of teacher motivation in education in general are explained, and then focus on EFL teacher (de)motivation and its related socio-educational factors are explicated. Three major themes from previous language teacher (de)motivation literatures are introduced: 1) factors of initial teacher motivation among pre-service and novice in-service teachers, 2) major demotivational factors identified among experienced in-service teachers with specific emphasis on teachers’ emotion labor, 3) pedagogical implications and future research direction. By presenting both qualitative and quantitative previous studies, the complexity of EFL teacher (de)motivation and practical suggestions to prevent teacher demotivation in various school levels of EFL education in East Asian countries are also discussed.

This study explores how Korean EFL writers use their L1 when composing in their L2 by analyzing their writings, the questionnaire responses and interviews. Nineteen college students performed four in-class writing tasks in class and completed the questionnaire and five joined the interview sessions. Analyses of their writings revealed that there were not any statistically significant differences between the two writing mode (direct vs translated mode), regardless of the writing genre. The responses to the questionnaire and interviews reflected that college students were inclined to prefer the direct mode to the translated mode, and that they “visibly or invisibly” used their L1 as a useful resource when composing in L2, though the extent and manner of L1 use varied with the learners’ L2 proficiency and learning experiences. Some pedagogical suggestions are provided in the end.

This paper delves into L2 acquisition status about more sophisticated wh-questions patterns, compared to Lee(2017)'s argument that relative gap distance would be conclusive in distinguishing the (un)acceptability in a sentence. Meanwhile, this version is closely related with that-trace filter, CNPC and interpretative ambiguity on gapping. That is to say, considering that it remains unclear how to figure out more syntactically tough principle besides knowingly simple constraints, it is meaningful to catch their acquisition difference of between L1ers and L2ers. Here, three predictions are argued: first, L2ers will feel challenged to compare relative and complement clause, second, That-trace filter and CNPC are likely to be acquired to some degree, third, gap interpretation caused by the sentence-final PP will bring about syntactic confusion. Eventually, these hypotheses above are accepted by considerably understandable rate of L2ers selected.

The present study explores the effects of reading-based output instruction on productive vocabulary recall and recognition, as well as vocabulary learning strategies, focusing on Korean college students. This study adopted a within-subjects design. Eighty-four learners were assigned to either a summarizing, questioning/answering, predicting, or control group. A background questionnaire, a Vocabulary Size Test, pre- and post-Vocabulary Learning Strategy questionnaires, and pre- and post-vocabulary tests were used in the study. The findings indicate that the questioning/answering and predicting tasks had a significant influence on recall word knowledge gains, whereas all the experimental tasks were effective in yielding higher word recognition. Furthermore, word-focused output tasks done while reading saw learners improve memory and cognitive skills related to vocabulary learning strategies. Based on the results, pedagogical implications are suggested for L2 vocabulary instruction.