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This study examines both Ken Liu’s short story, Good Hunting and Oliver Thomas’ Netflix animation with the same title as literature of cognitive estrangement. According to Darko Suvin, true science fiction provides a socially transformative vision of the real world as the literature of cognitive estrangement. Science fiction achieves this goal through a novum, “which is so central and significant that it determines the whole narrative logic regardless of any impurities that might be present”(70). The magic as a novum in Good Hunting serves as a catalyst for perceiving the difference between the text and the readers’ worlds. A son of a demon hunter Liang and a nine-tailed fox Yen have continued to transform for survival in the new world. At the beginning, both hunters are hostile to each other, but overtime, they form a bond that ensured their survival. Yen, alienated and victimized in the human village due to her heterogeneous biological structures, embodies the transcendent monstrousness that can be reached as a benefit of science and thechnology with the help of Liang. In the process, Yen’s body, located at the intersection of colonial power, extreme technological optimism, and gender conflict, reveals various side effects of high technology. Also Liu’s cyborg nine-tailed fox character is reproduced as a more dramatic posthuman subject in the animation and expands it dynamic behavior. Therefore, Liu presents topics to seriously contemplate, such as new concepts of life and ethical issues that arise in the post-human era.

Shelley thinks the fair order has broken down in his time and argues that the poet’s role is to correct this phenomenon through poetry. Shelley aspires to live in a society where a poet’s status, which he elevates to that of a legislator, or agent or representative of the governed, can be fully realized. He dreams of a world where a poet is acknowledged as a legislator. This aspiration is expressed in all of his poems, most prominently in ‘To a Skylark.’ In the poem, Shelly defines the “Skylark” as the ‘Spirit of Poetry’ that symboizes a world filled with complete joy. Comparing the “Poet,” a character in this poem with a “Skylark” from the narrator’s viewpoint, Shelley traces a poet’s identity as a legislator. This is a proess of exploring whether the “Poet” in this poem can achieve the complete joy symbolized by the “Skylark” and simultaneouly establish a poet’s status as an acknowledged legislator. Shelley confesses the “Poet” in ‘To a Skylark’ is an “unacknowledged legislator.” This confession is his candid acknowledgment of the status of the poet in his time. At the same time, he longs for an era in which poets become acknowledged legislator in this poem. Even if Shelley’s aspiration is a “magnificent fantasy,” his great aspiration to change the world with his imagination makes us solemn.

This study analyzes the reinterpretation of Freud’s psychology theory related to Terry Johnson’s play Hysteria. It processes characteristics in Freud’s unconscious with the motif an encounter between Freud, the psychoanalyst and the surrealist, Dalí. The characters in this play all symbolize parts of the unconscious, thereby revealing Freud’s inner world is related to each character. Jessica symbolizes the “id,” Dalí the “ego”, and Yahuda the “superego”. This paper reveals that the underlying unconscious represented by the characters is caused by Freud’s suppressed trauma. Freud has two traumas. One is guilt for the suicide of his former patient, Jessica’s mother, following Freud’s faulty counseling. The second trauma relates to his guilt of leaving his sister in Vienna when he escapes from Nazi Germany. This study contrasts Freud’s suppressed identity with Dali’s expressed idea, revealing the relationship between Freud’s suppressed trauma and Dalí’s surrealist representation. At the end of the play, Dali appears and causes the realization that Jessica signifies Freud’s trauma. Freud, who is trapped in his unconscious, realizes and reconciles with his traumas. Johnson uses this dramatic representation of psycholanalysis as an opportunity to look back on old Freud’s life. Although the theme of Hysteria is the rather dark and serious unconscious, Johnson redefines hysteria along with the issues of Freud's unconscious. In this way, Hysteria takes a look back at Freud’s life. This study revisited Freud through Dalí and the characters.

While Samuel Taylor Coleridge’s famous poem “Kubla Khan” stands as an important work within the literary critical context and aesthetic mythology of Romanticism, remaining relevant through its influences on modern and contemporary poets worldwide, it also occupies a special place within the field of dream studies. Coleridge’s dream poem, along with Robert Louis Stevenson’s “Doctor Jekyll and Mr. Hyde” and Delmore Schwartz’ “In Dreams Begin Responsibilities” may be considered one of the seminal works of dream literature, a subgenre comprised by works of literary art which have their origins in, or are otherwise stylistically, formally or thematically derived from dreams. This paper explores the ways in which Coleridge’s poem―a work from the early Romantic period―serves as a bridge to modern poetry and a useful pedagogical tool in the contemporary poetry classroom. Arguably the most preeminent dream poem of all time, Coleridge’s “Kubla Khan” not only allows students and teachers to enhance their understanding of the literary quality of “dreamlike-ness,” but also provides valuable instruction in the fundamentals of poetic composition, such as rhyme, meter, musicality, imagery and evocative juxtaposition while encouraging students to enjoy and engage through active improvisation and collaboration in the composition of their own original verse.

The American novelist Sherwood Anderson rejected the emphasis on plot that was common among his precursors and promoted a new mode of writing. In seeking to express the ineffable feelings and emotional realities of humans, he created narratives to imitate the core features of a character. Published in 1919, Winesburg, Ohio (1919), a collection of short stories, expresses what lies behind surface realities, with multiple sensory images and visually arresting scenes. Intentionally highlighting the grotesque features of a character, the tales arouse a sense of eeriness in the reader’s mind but, ultimately, lead one to rethink what is beautiful and lovable. By focusing on the first Winesburg tale, “Hands,” this paper unravels the meanings that can be drawn from Anderson’s representation of the main character. Given the interesting affinities between Anderson and Vincent Van Gogh, who sought to examine the emotional realities of human beings, this paper reads “Hands” alongside The Potato Eaters by Van Gogh.

This essay examines the postmodern understanding of fact, fiction, and truth in Hanif Kureishi’s The Last Word in order to contend that postmodernist doubts about universal Truth should not be conflated with post-truth politics. Studies on post-truth phenomena have claimed that post-truth politics simplified and misused postmodernism. The essay suggests that we need a theoretical ground to criticize post-truth politics without reinstating universal Truth and that The Last Word might help understand critical differences between postmodernism and post-truth. A ‘biographical-novel-in-disguise’ that has been read as a fictionalized account of V.S. Naipaul, The Last Word depicts a young biographer’s struggle to represent a renowned writer’s life, blurring the boundary between fact and fiction, or biography and the novel. Like ‘historiographic metafiction,’ The Last Word is based upon postmodernist doubts about our ability to unproblematically know and transparently represent the past—which is always already textualized and subject to interpretation. The Last Word paradoxically reveals its interest in truth by delving into the complexities of representing truth. In The Last Word, facts are to be interpreted to be meaningful and the struggle to know truth leads not to the discovery of what really happened but to a rewriting of the past. What The Last Word teaches us is not that facts do not matter but that they are not enough. To conclude, The Last Word offers postmodern insights that should not be conflated with the disregard and rejection of fact and truth in the post-truth era.

This paper studies the intertextuality between painting and poetry through an examination of two works by Jean-Francois Millet and Markham. EMarkham wrote a poem inspired by Millet's “The Man with the Hoe”. Millet did not use traditional painting techniques to convey his message of social criticism. Likewise, Markham did not follow traditional poetry rules and voiced strong social criticism using alliteration, consonance, rhetorical questions, anaphora etc. Like Millet through his painting, Markham emphasized humanity in his work. In conclusion, Markham correctly identified the language text delivered by Millet’s work and recreated it as his own text. Poetry and art only differ in their methods of expression, but they clearly exist in intertextuality. It is considered that poetry and painting are transitive and intertextual.

In John Fowles’s The Collector, the conflict between a Few who sees human life as an artist’s work and a Many who sees it as a reproducible product is drawn in one space. Clegg who represents the Many can be considered as a commercial novelist while Miranda who represents the Few, as an artist. The Collector does not show the aspect of overcoming the contradiction of abstract space through mutual understanding and harmony between a Few and a Many. It only shows the contradictory situation of modern society where abstract space is overwhelming, such as photographs and butterfly specimens symbolizing automatic reproduction, through the rural house. Miranda’s death by Clegg reveals that the absence of differential space is reality. The Collector paradoxically depicts the fact that we must face the reality, overcome the contradiction of space, and aim for the differential space. It can be linked to Fowles’s worries about novels, worries that can go beyond the separation between repetitive and reproducible products and unique works of art, even if they are contradictory. Fowles's troubles about the paradoxical relationship between life and art are revealed through the allegory of contradictory space in The Collector.

This study focuses on reading the coming of age novels of Sandra Cisneros and Denise Chavez, the representative writers who led the renaissance of Chicana literature, in the frame of feminist spirituality. The two works, which share the grammar of Chicana Bildungsroman and the scale of the family saga, can be classified as representative spiritual feminist novels in that they realize the politics of Mujerista’s heroine narrative. While Caramelo depicts an aesthetic portrait of the Millennium Guadalupe through spiritual connection between a working-class indigenous grandmother and a half-sister, Face of an Angel symbolizes a strong portrait of the worker Mujerista, who embodies the matriarchal genealogy and the solidarity with the Kin-dom of Mother God. In both works, the universe of spiritual mestizaje, a space of fluid hybridity between indigenous spirituality and Catholicism, is foregrounded. However, while Caramelo focuses on the symbolism of Guadalupe, the ‘brown’ Goddess, and consecrates the soul of the Indian-Mestiza, Face of an Angel can be seen as maximizing Catholic aesthetics in the landscape of Mother God and alternative angels, represented as the ‘Blue’ House.

This study approaches Percy B. Shelley’s poetry from the perspective of ‘eating’ to clarify the eco-centric consciousness in his poems. The organic process of eating is tied with, what M.　M．Bakhtin (1895–1975) called, ‘dialogic imagination’. As both require ‘interaction between subject and object’ and have ‘dialectic developments’, the linking of eating and dialogic imagination is quite suitable for explaining the intrinsic relation between the inside and the outside, one and the other, and human beings and nature. The eating in this study　has gradual steps following every natural dietary process: 1) A Prescription for Natural Diet, 2) Indigestion as the Absence of Communication, 3) Digestion as Communication with Nature, and, in conclusion, 4) The Production of Biocentrism. Shelley’s early production, Alastor, or The Spirit of Solitude, acts as ‘A Prescription for Natural Diet’ by showing what prevents a natural diet. The poem shows a young poet who wants to satisfy his mental hunger for his soul not the physical one for his body. Prometheus Unbound shows ‘Indigestion as the Absence of Communication.’ The indigestion comes mainly from the lack of consideration of ‘the eater’ for ‘the eaten’ clearly seen from the eagle who violently devours the liver of Prometheus. Queen Mab clarifies ‘Digestion as Communication with Nature.’ The queen asks humans to extend their senses to accept and comprehend “all that the wide world contains”(21). Only after the extension does she believe, “no longer now / He slays the lamb that looks him in the face” and “see(s) a baby sharing his meal with a basilisk”(28). All of the processes lead organically and naturally to ‘The Production of Biocentrism.’ In the poetry of Shelley, the biocentric world is one in which “An equal amidst equals stands” (28), as Queen Mab says. Bakhtin’s dialogic imagination denies absolute or authoritative (monologic) consciousness, believing that reality is based on the interactions of a variety of subjective (dialogic) consciousnesses. ‘Eating’ in Shelley’s poem, consequently, is considered to be a dialogue between ‘the eater’ and ‘the eaten’ without any discrimination between ‘superiority and inferiority’ nor between ‘strength and weakness’―a poised and harmonious dialogue between human beings and nature. With the ‘physical and existential’ dialogue, human beings recognize the object eaten, nature, without which they cannot survive. This daily-based recognition may be the most powerful remedy for the existing environmental war. Consequently, “eating” in Shelley’s poetry is considered to be a “dialogue” between human beings (the eater) and nature (the eaten). And with the ‘physical and existential’ dialogue, human beings recognize the object eaten, nature, without which they cannot survive. This daily-based recognition can be the most powerful weapon against the existing environmental war.

Exit Ghost is one of Philip Roth’s most interesting works in that Nathan Zuckerman, Philip Roth’s ‘alter ego’ who kept a certain imaginary distance from the author and closely traced his personal life and history as a Jew American, makes his final appearance. This study examines the novel’s characters’ reactions to the American political and social atmosphere in the wake of the 9/11 terror attacks and the successful 2004 re-election of George W. Bush, who maintained a hardline stance on Middle East policy. In particular, a young intellectual couple, Jamie and her husband Billy, criticize the Bush administration strongly and express a strong desire for change in American society. In Exit Ghost, Zuckerman is now an old man, sapped by illness, doubting his own talent, but determined to never give up his mission as a writer. Through tracing the anecdote of Amy and Richard Kliman, this paper tries to reveal Zuckerman’s attachment and anguish of life. This study argues that Zuckerman’s choice in the last part of Ghost Exit to ‘become a ghost’, that is, to live a life that disappears forever, is an expression of the author’s dilemma that he cannot express the truth or suggest a direction for life in the age of terror and treachery. In other words, Zuckerman was disillusioned with real politics and skeptical of the idea for the establishment of the United States, so he expelled himself and wanted to remain as an eternal ghost with a powerful message strategically as a writer.

J.M. Coetzee’s Boyhood is part one of his autobiographical trilogy: Scenes from Provincial Life: Boyhood, Youth, Summertime. By defining Boyhood as an autobiography, this paper examines how Coetzee employs third-person present tense point of view as a strategy for revealing his truthful confession, (un)belonging. First, the use of the third-person present tense in Boyhood allows the narrator to present his estranged self and then to more objectively confront the historical self. The distance created by this point of view enables the narrator to avoid self-deception and generates a dialogue between the ‘self-of-writing’, which is doing the writing, and the written self. This leads the reader to consider the protagonist John’s confession as Coetzee’s own. Second, John, who experiences the prevalent (post)colonial dichotomy and discourse, resists belonging to the discriminatory system in South Africa. John responds to it by engaging in his unusual relationship between his father and mother and by experiencing emotional and physical reactions such as his vulnerable mind, illness, and even favorable response to English culture. Finally, John’s (un)belonging status between Afrikaans and English culture is transcended through identification with the farm. John recognizes that the farm, which is the land, does not represent any of the systems of Afrikaans Nationalism, English culture, or native South Africans.

This study aims to analyze the deboundarization in posthuman novels from Gilles Deleuze’s perspective. Deleuze draws the aspect of deboundarization through a continuously fluctuating act of desire which deviates with endless versatility and mutation. This study analyzes The MaddAddam Trilogy, in which Margaret Atwood points to the political, economic, cultural, and environmental destruction intertwined with scientific and technological ethics. Posthuman novels shed light on the diverse forms of life produced: the fundamental coexistence of human beings and posthumans created by boundless scientific imagination. This thesis elucidates The MaddAddam Trilogy from the Deleuzian viewpoint of deformation through the use of the concepts of difference, becoming, and abstract machine. Reading posthuman novels through the Deleuzian perspective traces the line of flight of non-humans that destroys the existing governing structure and hierarchy.

This paper investigates the difference in the distributional patterns of four types of adverbs between native speakers and Korean EFL learners. An on-line grammaticality judgment task constructed based on the syntactic analysis for adverb placement was administered to 58 college students in Korea and 39 native speakers. Following Cinque (1999), we assume that adverbs are base-generated in the specifier of hierarchically ordered functional heads, and the data analysis supports the proposal. The findings in this study present both theoretical and pedagogical implications. Firstly, the data of native speakers on adverb placement support Cinque’s proposal. The positions above T were rated high for the high adverbs, such as evaluative and epistemic adverbs, and the lower positions below T were rated high for the low adverbs, such as frequency/habitual and manner adverbs. Secondly, unlike the native speakers, the Korean EFL learners did not tend to differentiate adverb types. Regardless of the adverb classes, they preferred sentence-marginal positions. Thirdly, although the complete developmental picture was not captured in this study, it is suggested that as learners advanced to higher proficiency level, they converge with native speakers judgments in adverb distribution patterns.

This paper suggests that there are two types of preposed PPs in English: locative PPs and subject PPs. This is on the basis of the syntactic patterns of preposed PPs in PP Subject Constructions. In explaining preposed PPs, locative PPs have subject and non⋅subject properties differently from subject PPs. I proposed that subject PPs are induced by syntactic EPP; however, locative PPs are motivated by discourse EPP. More precisely dual properties of locative PPs can be covered by assuming a new projection RefP(Referential Phrase) in terms of Split CPs, thereby extending Last Resort to Scope-discourse interpretive property in Rizzi(2004). This paper shows subject PPs occupy Spec TP and locative PPs occupy Spec RefP, and that the mixed properties of subject and non⋅subject that the preposed PPs display can be explained under (non)Specificity.

The current study aimed to examine the validity and reliability of the Academic Satisfaction Questionnaire to determine the nature of the academic adjustment for international students studying in Korea. A total of 101 iinternational university students in Korea took part in the online survey. The collected data underwent exploratory factor analysis (EFA) and confirmatory factor analysis (CFA) to verify the five-factor structure of the questionnaire. The EFA finding supported the five-factor structure being divided into five subcategories:　Academic and Faculty Support, Social Interaction, Academic Adjustment, Personal & Social Adjustment, and Friendship. The CFA results verified that the ASQ can be partially satisfactory to measure international students’ academic adjustment in the hosting country. Last, all the reliability index indicated high internal consistency of the questionnaire. The findings highlighted the significance of validating and confirming the ASQ structure and provide new insights into the application of the ASQ across different academic contexts.

This research investigates not only the perceptions of adult Korean EFL (English as a foreign language) learners, who start college at the age of 26 or over, in terms of two different general English courses, but also the factors influencing their preferences. Twenty-nine adult learners who have taken both Practical English and College English participated in this research. Data from pre- and post-surveys and in-depth individual or group interviews with 15 adult learners were collected and analyzed quantitatively and qualitatively. The results of the surveys indicate that adult learners slightly prefer Practical English. However, the findings of the interviews show that the participants want both kinds of courses because of a sense of achievement, culture acquisition, usefulness in everyday life and travel, English education for their children, and teaching methods. The findings support the necessity of culture-related reading courses implementing Content-based Instruction and Critical Literacy for adult beginners.

This study explored a humanities-enhanced STEAM (H-STEAM) model to promote 72 EFL undergraduates’ deep thoughts and affective domain. To stir learners’ deep thoughts, the humanistic materials of a literary text, Wuthering Heights, and a philosophical concept, mimesis, were converged. They were based on (a) multistep inquiry (MSI) to activate learners’ inquiry state, and (b) visual thinking skills (VTS) enhancement to stimulate critical thinking. With the visual resource of Wuthering Heights, students analyzed the text and the contemporary issues in the aspect of mimesis and experienced the MSI process: Provocation, pre-discussion, demonstration, post-discussion, and learning-related essay writing. The statistical result including multiple regression shows the interaction of VTS, challenge, achievement, and efficacy. VTS and achievement were the key factors to develop a workable H-STEAM (R2= .723) among variables. Therefore, H-STEAM can contribute to higher education by conjugating visual stimulus and inquiry.

The purpose of this study is to find out the effects of self-evaluation, peer-evaluation and teacher-evaluation on students’ English microteaching competence and investigate students’ perception of those evaluations in the process-focused assessment. The participants of the study were 20 students in their senior year. The findings are as follows: the 19 students report that the self-evaluation, peer-evaluation and teacher-evaluation helped to enhance their abilities in English microteaching. The students considered the teacher-evaluation as the most helpful and they chose the teacher-evaluation to get themselves assessed for their English microteaching among those 3 evaluations. The reasons of their choice were that teacher-evaluation is expert and objective assessment. Although self-evaluation and peer evaluation were big helps for the students to improve their English microteaching competence in the process-focused assessment, it was found out that the students rely on teacher-evaluation more than the other evaluations for their study. If right perception of self-evaluation and peer-evaluation as formative assessments were established, process-focused assessment by driven students would be performed on the right track.