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In his poems, Roethke describes the relationship between nature and man. Focusing on natural energy, he shows us the organic processes of nature and urges the reader to feel a similar process within human consciousness. His descriptions of the seasons and scenery of the natural world parallel changes within the human mind and reveal a new meaning of life. Searching for a hidden reality brought forth by nature in mystical moments, he believes that nature is as physical and spiritual as a human being. He thinks that the human self evolves when it touches the source of the life force in nature. Roethke’s poems deal with the natural energy of the sun and indicate that the same power is locked up in the human body. He believes, so to speak, that rivers run in our veins and that the sea is our eternal home. He shows us that human life is a part of nature, and that nature teaches us what we need to know. The poet waits and prepares himself to receive the sudden mystical spirit that comes and wakes him. He believes that there is an immense growth of the self when it gains a feeling of ‘oneness’ with nature. Entering the center of universal life and joining its cycle, the self becomes all and eternal. Roethke’s poems place the natural world within our consciousness, accompanied by a kind of enlightenment.

Doris Lessing sympathizes with contemporary human conditions, cultural situations and prevalent thoughts of her age and tries to describe them in her works. In “The Small Personal Voice”, Lessing asserts that a writer is “an architect of the soul”(7) who creates the new vision in the age of disruption of culture and society. She is concerned about the future society with a point of view of a prophet and tries to show the way of possible solution to many problems happening in the world. In Martha Quest(1952), Martha sets off in quest of identity away from the unchanging reality of the white colony. The period from her awakening in adolescence to her first marriage is covered here. From the closed Anglo-colonial society she takes a hard journey toward her ‘ideal city’ where there is ‘no hatred or violence’. Therefore, this study shows the improvement of human relationships through the change of internal consciousness of human beings and disrupts selfishness, indifference and disbelief which are problematic in modern society.

David Henry Hwang, a Chinese-American playwright, shows that imperialistic fantasies exist between the West and the East in his best play, M. Butterfly(1988). These fantasies are formulated in ideas such as the West considering the East as a woman and Western men thinking Eastern women to be submissive, modest and shy. These stereotypes of the Orient and Oriental women originate from Orientalism. Hwang thought that Westerns have imperialistic fantasies about the East and such typical cultural prejudices can be found in Giacomo Puccini's opera Madame Butterfly (1904). He tries to reverse the basic structure of Madame Butterfly in M. Butterfly. In the opera Pinkerton is a cruel white man and Cho-Cho San (Butterfly) is a submissive Japanese woman who sacrifices herself for the love of a worthless western man. Rene Gallimard, hero in M. Butterfly, a French diplomat in China meets Song Liling, a Peking opera singer. Gallimard considers himself as Pinkerton and that Song is like Cho Cho San. However at the end of the play, Song turns out to be a man as well as a spy who passed critical information on to China from Gallimard. Finally, Gallimard realizes that he is a Butterfly and Song is Pinkerton and commits hara-kiri. Hwang tries to break imperialistic fantasies through such issues, as Song an Oriental man acting as an Oriental woman, transvestism, and reversal of roles. Hwang aims to demolish the stereotypes of Asian Americans and to find the proper identity of Asian Americans. It is doubtful that Hwang succeeded in achieving his initial aims, but he contributed to causing white American audiences to be more interested in various kinds of problems between the West and the East.

Blacks peoples increasingly demanded realistic screen images. As the works of black writers realized the experience of black people more fully and more sympathetically, film-makers looked into the works as the basis for their productions. When black writers’ works, however, were adapted as motion pictures, they were often reworked for mainstream audience so that much of their cultural and idiosyncratic importance was lost and/or downsized. A Raisin in the Sun, Lorraine Hansberry’s most distinguished work, was twice adapted into films, by Daniel Petrie in 1961 and by Bill Duke in 1989. These two films seemed to be faithful to the original text, but were not escaped from the Hollywood’s commercial conspiracy. This shows how hard the black films represent the blacks in the real environment and how subtle and cunning the racism in the screens is.

This paper analyzes the narrative strategies with the complicated process for the characters to extricate themselves from the track of traumatic past in Toni Morrison’s Jazz. In the novel, Morrison shows the dispossessed characters’ intense confrontation with the oppressed past traces and celebrates their survival in the mystery of human love. By exploring the characters’ intricate stories, she emphasizes the necessity to find and reestablish the useful history for the African-American to live meaningful lives. To meet her aim of fictional reestablishment of the past, the unique narrative strategies are employed, such as creating a self-reflexive narrator, giving the text the oral and musical quality, and blurring the traditional boundaries of narrator, character, and reader. All the narrative strategies contribute to making the text sound like a great Jazz performance. Through the unconventional and experimental narrative, Morrison accomplishes her goal of writing the history of the future and possibility.

In this paper, George Bernard Shaw’s ideological backgrounds will be investigated, and the discourse of Eliza, protagonist from Pygmalion, will be analyzed through her dialogues in order to prove that she has a “Life Force,” which is a key element of Shaw’s ideology, essential to renovate and develop the world. Eliza was a very poor and dirty girl, and could not speak well. But, after having struggled with oppressions and violence at the hands of her antagonist, Higgins, she has finally become a strong and proud person, thanks to her Life Force.

This paper aims to review the Roland Joffe’s film of The Scarlet Letter and compare it with the novel by Nathaniel Hawthorne. It is said that the film is “freely adapted from the novel.” It contains erotic scenes before the novel and shows the quite different endings followed by the witch trial and the Indian attack on the Puritan society. Joffe changes a lot from the novel. Is it the worst remake of the novel? Or does it suggest to examine the novel compared to the film? This paper rereads the novel in view of feminism focused on Hester and Mrs. Hibbins, and examines it in view of post-colonialism focused on the description of Indians. The author of the 19th-century wrote the novel set in the 17th-century Puritan society. He couldn’t insist on the feminism and post-colonialism overtly because of his limits of the social and historical context.

This paper aims to study and analyze influence on America literature through a comparative study of symbolism, similarities, and differences in the works of Hawthorne and Hemingway. Hawthorne’s symbolic technique was an attempt to escape from the restraint’s that his predecessors built in their literature work and tried to show the conflict of the human condition through symbols such as the church, death, darkness, numbers, crucifixes, etc. We can also observe the way Hemingway did not proclaim that he was personally a Christian in public, however, his piety was ingrained from his parents, and portrayed Christianity acutely all of his works of literature, and especially to the main character, Santiago, in ‘The Old Man and the Sea’. We can observe the way Hawthorne used characters’ names and objects to symbolize ideas in the representative work ‘The Scarlet Letter’, the way Hemingway shows symbolism in all of his work. Readers of their work can easily and plainly find signs of Christian symbolism.

This study attempts to draw out how the effects of performance and cultural project can cure the city people and social ills as well as boost the city economy through urban planning based on sustainable development theory. Performance and cultural experience have activated urban regeneration project which consists of many factors; social, spatial, physical, political restructuring, and cultural resources. It results in comprehensive and integrated harmony among city people towards the self-contained city and creative city as well. Urban regeneration policy is widely considered as a government's revolutionary step to boost decades long sluggish economy and refurnish cities which contain many signs of malfunction and social ills. The well considered and determined action among communities now can make a huge difference to the quality of life of Newark residents, not only in the towns and slums, but in the very inner city. Finally, the emphasis on culture-related policies examines alternative visions of how cultural planning might contribute to social, political changes.

This study aims to discuss D. H. Lawrence’s postmodernity in the light of Friedrich Nietzsche’s unchristian thought and Edmund Husserl’s phenomenological epistemology. Lawrence, as Nietzsche does, puts emphasis on the self whose body and mind are inextricably interwoven founded on a intersubjective correlation. He shows his ideal aim of this kind through Ursula’s and Birkin’s efforts which mutually search for an inter-perceptive and inter-subjective basis in their relationship. And Lawrence, as Husserl does, explores and describes the inner reality of being through its external phenomena. The initial encounter between Tom Brengwen and Lydia in The Rainbow, or the intuitive perception between Birkin and Ursula in Women in Love, is a process of knowing each other through phenomenological intuition. The particular point in question is well illustrated by the scene in which Ursula is posited before a group of black horses, immediately after she has broken with Skrevensky.

Wordsworth as an artist transforms unrealistic needs of his instincts into something more achievable and desirable within his psychic territory through a defense mechanism, sublimation. The immediate purpose of his poetry as an art, which he majestically searches for, is not the mere admiration of nature through his versification but the meditation of nature of life. His artistic sublimation presupposes the suppression of his instinctual drive. However, his sublimation serves to relieve the instinctual repression within the range of reasonable acceptance of the artistic and cultural development. The successful sublimation of his psyche entirely depends upon his insight into the social and cultural conditions of his time, not merely upon the exhibition of his aspiring instinctual urge. His poetry is a statement of this process at work.

The purpose of this paper is to investigate the multifaceted sides of Mazeppa’s physical and mental sufferings, revealed by the symbolic ramifications of his compelled expedition into the dark, vast woods. It will examine how Byron’s Mazeppa depicts the procedure in which Mazeppa undergoes his physical and mental torments, unveiling his diverse and complex attitudes toward the adverse states of distress and misery. We will scrutinize the dynamic and subtle layers of Mazeppa’s thoughts and actions, which feature his various responses to the ordeals, and his attempts to resist or embrace them through his willpower. The essay will also consider how Mazeppa’s spiritual journey, accompanying his stoical search for vitality and relief, is enriched with an extensive range of unexpected and ironic consequences, which pave the way for the heroes of Beppo, The Island, and Canto III of Don Juan.

A freshman English course called College English has long been criticized because of its ineffectiveness. The purpose of this study is to examine how college students perceive on College English in terms of the instructors’ teaching methods. A total of 263 university students were questionnaired in the survey. The results of this questionnaire show that while most of the students have great interest in improving their English proficiency, they are not very satisfied with the current College English course. Some of the main reasons are: College English is too heavily focused on grammar and reading comprehension with less or little emphasis on speaking and writing. Second, the teaching method is too much teacher-centered rather than student-centered, thus often failing to meet students’ needs. Third, teachers are not skillful at encouraging active student participation.

This study surveys some features of native teachers’ verbal behaviour in Korean basic English conversation classrooms based on T.A.s’ transcription, applying the functional analysis of Sinclair and Coulthard (1975), Bowers (1980), and Rogers (2002). In the case of the relation between function and forms unmarked forms are preferred to marked forms: for example ‘elicitation’ and ‘check’ are realized by interrogative, almost all of ‘informative’ by declarative, and about three quarters of directive by ‘imperative’. As for subordinate acts such as ‘prompt’ and ‘loop’ which do not have instructional purpose, they are often expressed in basic simple grammatical forms like other instructive acts, the result which is a little different from the research of Sinclair and Coulthard (1975). In relation to the instructional act, ‘elicitation’, display questions and referential questions are equally distributed even though much of the referential questions are closed ones. For ‘evaluation’ we also found as many simple sentences as formulaic expressions. Regarding Sinclair and Coulthard’s (1975) fixed categorization, it needs some change or adaptation because in the contemporary EFL classes subsidiary acts like ‘discipline’ and ‘sociative’ are uttered much more frequently and taking more emerging prominence.

The purpose of this paper is to explain the behavior of quantifiers and NPI licensing in Korean Negation ‘an’ and ‘anh’. The main assumption is that ‘anh’ in LFN projects the NegP and ‘an’ in SFN occupies the [Spec, NegP] position like French negation. I suggest that the SFN ‘an’ is a negative adverbial prefix occupying [Spec, NegP] and the LFN ‘anh’ is a negative verbal head, projecting NegP. In SFN, I assume that ‘an’ in [Spec, NegP] is responsible for the scope relationship with quantifiers, and the head of NegP, ‘anh’ is responsible for licensing NPIs. In LFN, I assume that ‘an’ in [Spec, NegP] is a null category. The null negative adverb, ‘an’ adjoins to any syntactic position marking the scope of negation in relation to quantifiers. In conclusion, I analyse that ‘an’ is a scope marker and ‘anh’ is a NPI lincenser.

This study examined the situated writing process as realized through instructional procedures in one L2 writing course and teacher-student interaction during these instructional procedures. To examine this writing process, the database of this study included observation notes, transcripts of classroom interactions, interview transcripts, and teaching materials. The findings are meaningful in twofold. First, the details of process-oriented approaches revealed the teacher’s pedagogical beliefs about L2 writing instruction and the teacher’s interpretation of contextual factors like program goals. Second, interactions between the teacher and students highlighted topics and patterns of classroom discussion with the sequences of classroom talk referring to the goal or pedagogical foci.