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Medusa and Freud Seokwoo Kwon (University of Seoul) There have been many pictorial as well as literary representations of Medusa from Homer to Freud, from Caravaggio and Rubens to René Magritte. The trite but widespread Freudian notion that Medusa mostly refers to female genitalia has not been under precise scrutiny. She has often been cited as one of the mythical feminine figures who advocates and reinforces the idea of psycho-analysis, one of whose main ideas centers around the notion of female castration and absence. Whether Freud interpreted Medusa's head as the one simultaneously bringing about castration and erection, it is true, however, that he contributed in the formation of negative Medusa. The head of Medusa per se has, however, no castrating function; castration rather comes from the sphincter, the male organ which alternates between inflation and detumescence through “repetition compulsion.” One can say, however, Medusa is still another name for female genitalia not because it signifies feminine hol(e)y absence, but because it incarnates the circular mystery of death and life.

As If There Were No God: A Note on Dawkins' Atheism and the Theory of Intelligent Design Kyung-Hwan Moon (Yonsei University) Richard Dawkins, beyond any doubt a fiercest advocate of a new brand of atheism, has declared war on religion, or rather on Christianity, in his determination to fight it until its demise is evident. This geneticist-turnedknow- it-all-opinionist fancies himself able to parade the most powerful array of arguments against religious faith, which he alleges as fomenting bigotry, misguiding children, and fueling hostilities among the human races. In reality, the bulk of his The God Delusion—or, for that matter, of any other anti-religious writings he puts to press—is replete with biased world view, extravagant self-assurance, cavalier attitudes, discursive anecdotage, distortions, false facts, thin mockery, and empty figurative language, all rolled into one— an "incurious, dogmatic, rambling, and self-contradictory" book, as a reviewer has put it in the Prospect magazine (November 2005). Why would one be so much of a religiophobe as to delve into such a mean-spirited, categorical denunciation of human spiritual traditions? First of all, he is too thoroughly imbued with the mindset of scientism to be in rapport with other modes of thinking. But he is also ill at ease with the growing number of population on the other side of the fence who claim that there must be some kind of "intelligent design" (ID) behind natural phenomena such as evolution and the very origin of the universe. Worse still, these contestants demand that science should therefore embrace supernatural explanations in terms of academic as well as public school curricula—'worse,' because this really means a deliberate attempt to undermine the foundations of modern science. Despite their persistent disavowal and dissimulation, what ID theorists propose amounts to creationism in disguise, nothing short of religious fundamentalism. The present essay centers around the status quo of Neo-Darwinism and Neo-Creationism pitted against each other with no sign of mutual understanding. The notion of "non-overlapping magisteria" (NOMA) is underscored as an important guideline for peaceable coexistence of science and religion. While it invited rebuttals from both Dawkins' atheistic and ID theorists' religious standpoints, and, surprisingly, from a more neutrally-minded personage, John Haught, as well, NOMA holds firm and true to the very natures of religion and science, and therefore is indeed a well-founded, healthful concept in its own right, apart from the conflict situations under discussion. We also dwell, albeit at limited length, on such concomitant issues as personified God and religious belief. The caption phrase "as if there were no god," which I borrow from Dietrich Bonhoeffer, is intended here not merely as a critical remark on Dawkinsian cult of atheism but at the same time, with no less monitory force, as a vital working principle on the part of the scientists of religious persuasion.

Perspectives on the Parameters of Fictional Reality in Drama Gi Chan Yang (University of Suwon) The definition of what is ‘fictive’, ‘fiction’ and thus ‘fictional’ today is a definition in constant change. Traditionally, the definition of fictive and what may constitute as fictional, is whether the suggested and proposed is ‘accepted’ as real or the suggested and proposed is ‘considered’ as real. This paper proposes to discern how fictional reality manifests in a dramatic environment, especially in that of the Avant-garde environment. In traditional fictional reality the fictive image that was presented as ‘being’ real was comprehended as such, but in the dramatic reality fictive image created is more psychologically based. In the Avant-garde theater the fictional reality manifests in a different manner, the reality is based on psychology. The fictional reality depends on the universalism in creating on stage the actualness needed. Comparing what is accepted and what may be accepted as real may be suggestive of the difference between traditional fictional reality and dramatic reality: acceptance through recreation of minute details of an actual reality to psychological acceptance of a fictive representation. Avant-garde theaters in this sense opens a new door in the parameters of fictional reality that goes against the traditional methods of defining the fictional reality.

Tolkien's Dragon, Dwarves and Spider : Economy of Retention Minwoo Yoon (Yonsei University) The Hobbit and The Lord of the Rings are all about the economy of losing, sharing, and forgetting. As an antithesis to the major theme of Tolkien's literature, the dragon, the dwarves and the spider all represent the desire to retain, thus standing antagonistic to that economy of expenditure. This economy of losing/possessing has much to do with the anthropological observation by Marcel Mauss that the donee's refusal to circulate a gift makes it come back as a poison to him, and Nietzsche's idea that the ‘weak’ never forget hurt or gift, and repay it on equal terms. Indeed, the dragons (Glaurung/Smaug) steal treasures only to hoard them without enjoying. The dwarves never forget their own treasure stolen by others such as the dragons; they swear revenge and nourish the “ressentiment,” awaiting a time to regain the treasure. Also, far from giving, the female spiders(Ungoliant/Shelob) devour everything entangled in their web, and their insatiable hunger goes as far as to consume even her own offspring and herself. The unforgetfulness can be said to have a close affinity to melancholia in Freud's “Mourning and Melancholia.” The Freudian melancholia is simply one's failure to forget the loss of an object, i.e., one's inability to break his excessive and subjective attachment to the object. Then, Freud relates the melancholia to the infantile oral and anal libidinal desires. The dragon's and dwarves' regressive desire for retention is analogous to the anal libido which comes from the fear that they may suffer from a lack. The anal libido is an infant's preliminary desire for possession and independence: by not conforming to the parents' call to discharge excrements, an infant experiences retaining something and resisting to parents. In turn, the spider is an embodiment of the great oral desire to engulf everything, even her own body. As Freud says in “Totem and Taboo,” the spider's sadistic destruction or eating of herself comes from her unforgetfulness of her own value―an extreme narcissism.

Rimbaud’s Poetic Dynamism through the poem Ma Bohême Min-Seok KWAK (Hannam University) Arthur Rimbaud seemed like a teenager in rebellion against all the conventions and traditions both in everyday and in literary life. In life and in his poetic career, he continued to move forward in search of novelty. He never rested, but always moved towards freedom without constraints, as we see in most of his poetic works, even in one of his early poems, Ma Bohême that we analyze here. The “passage”, this incessant movement, is one of his characteristics that attracts the reader: for example, the passage personal from Europe to Africa through the Middle East, and the poetic passage from the Parnassian verses to the prose poems of the Illuminations. In Rimbaud’s poetic world, we can verify without difficulty the frequent use of dynamic poetic words such as “movement”, “become”, “change”, “progress”, “walk”, “departure”, “forward”, etc. With his preference for the dynamics, Rimbaud shows his relentless search for novelty not only in his poetical works, but also in life. He constantly looks for something new, leaving everything ‘old’ behind, in life and in poetry. In his poetic world, Rimbaud wanted to reform and renew the established dogmatic orders so as to create a new universe of his own. He chose to refuse the means set by the poetic conventions or the poetic traditions and through it reform the poetic language: a quest for new forms and ideas. As he stated, “This is to arrive at the unknown through the disordering of all the senses (Il s’agit d’arriver à l’inconnu par le dérèglement de tous les sens.)”

Renovation of the writing of Raymond Queneau: By focusing on Exercises in Style Mi-Sung Kim (Yonsei University) ‘L’Ouvroir de littérature potentielle’, generally referred to by its acronym OuLiPo, is a group of literary writers and mathematicians who defined themselves as “rats who build their own labyrinth which they propose to get out.” The members of the OuLiPo meet to reflect on the notion of “coercion” and produce new structures of creation. Queneau’s Hundred Thousand Billion Poems and Exercises in Style are representative works. In this study, we investigate the writing renovation of Raymond Queneau, focusing on Exercises in Style. It consists of 99 Writing exercises, which are supposed to repeat the same episode every time by varying processes. They are a shining example of a constraint as a literary creative engine and as such is a precursor of movement OuLiPo text which Raymond Queneau is a founder. Queneau denies the myth of originality, inspiration that enhances the author. Lipogram is a text in verse or prose in which the author has emerged so as to omit the words without a certain letter. Now, in “lipogram” there has inevitably to be an E. Making this text a lipogram in E is equivalent to breaking the unity under-exercise. In our opinion, this is why the union has established Queneau Exercises in style by slipping an E. For “Translation” Queneau chooses the “method lescurienne S+7” which replaces every noun in a text (denoted by “S”) by yet another common name that follows in the dictionary. And “Translation” is treated as “S+6”. In addition, some exercises of style use foreign languages like English, Italian and Latin. They are written in both French and in a foreign language, in a rather complex manner, which refers specifically to the famous “Ortograf Fonetik” (phonetic spelling) invented by Queneau. The attempt to transplant Queneau in the French language the sound characteristics of the foreign language creates a cryptic language. In Queneau’s Exercises in Style, there is not the 100th exercise. If a reader assumes its own utterance, he is a player-author. In drafting the 100th exercise, he completes the work and thus justifies the literary process of Queneau. The reader-author participates in the potentiality of literature proposed by Queneau.

Translation Studies and Linguistic Theories Jung-Joon Park (University of Incheon) There are definitions and theories concerning translation. But they all seem to have one goal in common: good translation. This paper examines modern linguistic theories and their relations to translation methodologies. Futhermore, the paper examines the role of translator under these considerations. The various opinions of linguists and translation theorists presented here shows that meaningful translation is born through the harmonious integration of different definitions. In short, meaningful translation studies form a domain of reconciliation. Translation studies has to be managed and performed under strict guidelines, and to this effect linguistics may offer various possibilities to open new fields of methodologies where translation is concerned. Language has become an indispensable element in our existence, but like the air we breathe we do not recognize its virtues. Linguistic studies analyzes the structure of everyday language, while, literary works - personal artistic works - are the object of analyses for the literary studies. However, literary studies do not directly concern itself with literary creations. In the same manner, translation studies are not directly associated with the actual practice of translation. Because we consider translation as an integral part of the human linguistic activity, methodologies in translation should reflect linguistic methodologies. The paper's intention is to show the variety of possibilities, on how basic linguistic notions and translation theories can be utilized for translation works and its ensuing results. Accordingly, translation studies can be considered as an integral domain, where translation methodologies and linguistic theories are closely connected to each other.

Letters and Images: The Professor who Talks and the Student who Sees Kim Nam Youn (Kangwon National University) For an efficient class, the communication between the student who is adapted to images and the professor who delivers the message through letters to understand each other. To communicate better it is imperative that the professor expand the knowledge on images. There is a certain bias that professors who are more apt at writings tends to be hostile to images. The world we live in is made up of images. It is also true that images show qualities that the language lacks and that they have been incorporated in lectures already. Using letters and images together has already demonstrated its value. In today’s classrooms, creativity has become the main subject with image being used as the main tool. Images may be considered as an element which helps with communication, but since images themselves are a type of language they should be used as such. And finally, Images helps to broaden ones perspectives: “I see” denotes ‘to see’ but also ‘to perceive.’ In Conclusion, since it is impossible to separate the letters from the images they have to be used in conjunction. As Davinci, once stated, the drawing is the product of thoughts, while the picture is the key to understanding the world. Analysing images as language will lead to better communications in classrooms since Images which relates to language is the very definition of communication today.

Regional Traits of the Low Back Merger in Modern American English: On the basis of Actuation & Implementation Factors Choong-Yon Park (Gachon University) The purpose of this study is to find out regional traits of the low back merger that loses phonetic contrast between the vowels /ɑ/ as in cot and /ɔ/ as in caught in Modern American English, on the basis of actuation and implementation factors. The actuation factors responsible for triggering the merger /ɒ/ may be discussed in terms of internal and external factors. In some regions the merger could not be attributed to either of the two mechanisms proposed in the traditional literature that represents phonetically gradual approximation and lexically gradual transfer, since it shows its own way of progress, merger-by-expansion. An analysis of demographic and linguistic data from eastern Pennsylvania reveals that the result of the merger is a new phoneme with the combined phonetic range of the two phonemes that merged rather than a vowel intermediate between them in quality. On the basis of the observations, a mechanism of merger called "merger-by-expansion" is defined as the lexical constraints on the distribution of two phonemes /ɔ:/ and /ɑ:/ disappear as a result of contact with people who do not observe them, and a new phoneme /ɒ:/ occur. Merger-by-approximation requires no external trigger and proceeds below the level of consciousness. The agents of the merger are native speakers, and the suspension of phonemic contrast is the result of gradual phonetic change which may be occurred by approximation of the two phonemes to be merged. The actuation and diffusion of the low back merger in Kentucky and Cincinnati shows the internal factors such as near-merger in actuation and merger-by-approximation in implication.