Earticle

Even though The White Devil has been considered as a tragedy, it lacks the central traits of traditional tragedies. We cannot find the profound tragic vision accompanying moral lesson and the recovery of order. However, the lack of tragic traits and of moral purpose does not derive from Webster’s lack of tragic vision but from his intentional violation of the tradition of tragedy. Webster’s vision is not just to present the negative and pessimistic view of the contemporary society through the morally corrupted characters, but to subvert the moral value that the traditional tragedy seeks for. It is certain that The White Devil is a kind of satire or accusation play rather than tragedy. That is why the play takes the characteristics of a combination of various genres. He represented a society where immoral women and typical villains are less hypocritical than cardinals, dukes, and even popes.

This paper explores the romantic epic features in The Prelude, analyzing the narrator’s self-consciousness in writing. As The Prelude is a story about poet-hero’s own life, the narrator should find and justify his own heroism. The narrator’s self-consciousness of writing shows both his anxiety of this quest, as well as the settlement of it; the epic of The Prelude is composed along with the narrator’s self-heuristic and self-performative writing. Writing between doubt and faith, the narrator shows and accepts the mission of “a Work that shall endure,” and invoking his “Friend”, he supposes the virtual readers’ responses and directs them toward those of ideal readers. With this self-criticism and self-acknowledgement, Wordsworth shows his own project and process of epic, embodying his romanticism in the spirit of epic.

Macbeth is a man honored by his countrymen for his courage in defense of his land. As the play goes on, however, Macbeth becomes ambitious and murderous. Macbeth is both noble Macbeth and devilish Macbeth: good and evil parts are mingled in him. Such a tension between good and evil impulses is conspicuous throughout the play. Macbeth is also caught between his noble and ignoble qualities. Finally, although Macbeth is evil, he provides us with a sense of human greatness. In his speeches, we have the most positive thing of all to set against a sense of human evil. In this respect, by examining the duality in Macbeth’s nature, we have come to see the deepening of Shakespeare’s tragic consciousness.

This paper aims at analyzing some Faulknerian characters in terms of three Christian worldviews such as fundamentalism, evangelicalism, and Calvinism. The former two regard this world and its culture as worthless or even harmful to their spiritual pilgrimage. The last, however, has a more positive and active perspective on this world. Percy Grimm, Simon McEachern and Doc Hines in Light in August represent religious fundamentalism, which is closely related to White Supremacy. Reverend Hightower, in the same novel, can be called an evangelical, in that he comes to make much of personal charity and sympathy. There is another group of Faulknerian characters who exemplify Calvinism or the Reformed tradition. Bayard Sartoris in The Unvanquished and Lucius Priest in The Reivers fight against corrupted social practices and perform their duties to change their own communities into better ones.

The three classes of African people, in Isle des Chevaliers symbolically show the aspects of colonization in modern American society. Sun who unexpectedly intruded and disturbed the colonized territory is the ‘Rabbit’ of the folk story, and Jadine is the ‘Tar Baby’ educated by the whites to seduce and catch it. These two young Africans represent the two opposing aspects of identity in the modern Afro-American society. When they fail to seduce each other into his or her own territory, each of them takes his own way to their symbolic homeland, Jadine to Paris, and Son to his ancestors’ hills. Here, Morrison’s message is that Jadine, her entirely new feministic character, can never be free from the African Other of her cherished identity. Tar Baby warns the modern African people that it can be dangerous and reckless for them to pursue freedom and self-realization, rejecting the traditional culture of their African community.

This paper aims to shed light on the dialectics between modernity and postmodernity as open form of thinking. Modernity contained the negative from the beginning, for it concealed the purely emotional side of existence. In the era of postmodernity stirred by Nietzsche, the spirit of Dionysus, the Other of Apollo, is the key to the comprehension of art which has long been suppressed by reason. Consequently it may be that postmodernity is considered to be the advent of the artistic, rediscovered by Nietzsche. The negative of modernity, in itself, already had a dual meaning to realize the way of dialectical thinking. Modernity and postmodernity, after all, not rejecting each other, are genuinely clarified only in the process of dialectics.

The aim of this paper is to read some poems of G. M. Hopkins in the context of Zen Buddhism. Though it seems somewhat irrelevant to study Hopkins’s “Christian” poems in relation to Zen Buddhism, this approach could appreciate Hopkins’s poems in a new perspective, and also could bridge the gap between the Eastern and Western ideas. The enlightened Zen mind transcends cause and effect, connects past and present, and does not distinguish between ordinary and holy. Hopkins showed through his poems revolt against such mutually exclusive dualism as the world of becoming and the world of Being, spirit and matter, and so on. Thus Zen Buddhistic approach to Hopkins’s poetry reveals that through his revolt against dualism and the quest toward the vision of wholeness, Hopkins tried to liberate man’s consciousness from the spiritual dungeon of Cartesian dualism typical of the Western thought.

This century has witnessed environmental destruction on an unprecedented scale. Our use of technology and the consequent damage to the environment is a very serious matter. In the face of the current environmental crisis, nature-oriented, ecocriticism takes as its subject the interconnections between nature and culture, specifically literature. The purpose of this paper is to be aware of deep ecology by studying in the early poetry of T. S. Eliot, “The Love Song of J. Alfred Prufrock” and The Waste Land. His works include many social crisis, we must recognize that his literary consciousness aims to pursue the harmony between the relationship of nature and human being. He tried to link the human and nature, focusing on the ecopoetic relationship between various ecological imagination. The purpose of ecological literary was to investigate interrelations between ecology and literature to find solutions within literatures in order to overcome ecological crises.

It is generally thought that ecology is a study of nature and environment. However, the meaning of the word is more comprehensive. Ecology is the science of the relationship between organisms and their environment. Organisms include all the elements of the universe such as rocks, air, mountains, water, cloud, animals, plants, planets, and even humans. It is when they are in a state of pure immanence that their ecological relationship is the most stable and sound. According to Gilles Deleuze, the pure immanence is ‘complete power’ and ‘complete bliss’. To establish the pure immanence, all the elements should be in the most optimal relationship in which one does not otherize the others. In that sense, cyborg in Thomas Pynchon’s V. and Gravity’s Rainbow is a good example with which the favorable interrelationship between humans and the other elements can be discussed.

Wordsworth’s achievement through The Prelude is that his conscious mind not only admits the existence of an unconscious realm, but it also consents to join in the exploration and revelation of the experiences which it had itself repressed and earlier denied. His fear is the main threat which his ego has to deal with. His fear was specifically a fear of punishment. That fear was consciously experienced only after the death of his father. What he, as a boy, feared was a fantasy of punishment. He knows what this fantasy means for its real consequences in psychological and creative development as the poet. His desires were so repulsive to something in his mind that the boy needed chastisement for them. His conscience was his super-ego which has taken the place of his father for which he must wish to become free.

This paper aims to explore the psycho-political implications of multiple, intergenerationally transmitted traumas portrayed in Jean Rhys’s Wide Sargasso Sea(WSS). As the novel depicts the process in which Antoinette, a white Creole in the West Indies, is victimized by her English husband Rochester, it also foregrounds a striking similarity between Antoinette and her mother Annette. That the mother and the colonized motherland remain always “Other,” in the sense of being inaccessible, marginalized, and even debased, is one of the root causes of the multiple traumas in WSS. Antoinette’s and Annette’s predicaments illustrate the particularly pernicious type of trauma that compels subaltern subjects to live in a prolonged state of helplessness and terror. Another type of repetitive trauma, early deprivations and losses in childhood, brings Antoinette and Rochester together in their search for self- validating security in marriage, which only locks them in an abusive relationship.

This study explored students’ and teachers’ perceptions of the qualities of a good English teacher by administering a questionnaire (Kim, 2002) to Korean high school students and English teachers in Seoul. The questionnaire consisted of 40 items concerning teaching, testing, interaction, and the personality of the teacher. Thirty six teachers and 172 students participated in this study. When data was analyzed, some differences as well as similarities were found in the perceptions of teachers and students in terms of their responses to questionnaire items. Results of the study showed that teachers perceived four skills (i.e., speaking, listening, reading, and writing) as the most important, followed by impartial treatment of students and sincere attitude. Students perceived impartial treatment as the most significant, followed by the four skills, and sincere attitude. Although teachers rated the four skills slightly higher than did the students, both groups of participants viewed them as essential and one of the most significant qualities in association with a good English teacher.

There is an increasing need for English communicative competence in the field of bio-industry owing to the increase of international trade. Future technicians’ writing ability for the target language use is required by companies and research institutes. The research explores the possibility of identifying the writing tasks for English for Specific Purposes (ESP), to help future bio-technicians learn how to write in English. The research questions are (1) What are the English writing tasks that technicians think are important? (2) What are the English tasks that technicians think are difficult? (3) What are the tasks that are salient in the workplace? (4) What else should be considered to design English writing courses? Some ways of teaching writing will be discussed based on the results.

It has been generally assumed that asymmetric extraction is allowed when the conjuncts can be perceived as expressing a “unitary” event, which renders asymmetric conjunctions systematically immune to Ross’ CSC and the ATB requirement. Yet, the range of semantic relations between the events in asymmetric conjunction is apparently so diverse as to defy a unified semantic account. This paper provides a unique characterization of the event unity along the line of Jo’s (1993, 2007) analysis of serialization: the diverse meaning dependencies (i.e., a causal relation, a causally-involved relation, or a figure-ground relation) that give rise to the perception of unity of the coordinated events are all analyzed as instances of underlyingly the same relation, namely counterfactual dependency. The counterfactual dependency can be safely taken to represent the sense of “inseparable connection” between events that are perceived as forming a complex unitary event.