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The paper examines the role ‘Silence’ and ‘Pause’ play and signify in Modern drama or simply Avant-garde theater through the analysis of Pinter’s drama The Homecoming. ‘Silence’ and ‘Pause’ in Modern drama are technical directional elements which transforms the fictive dramatic imagery to a mirrored imagery of reality. They may be defined as extensions of conventional language which are used preferentially to better mimic the reality that is being mirrored. ‘Silence’ and ‘Pause’ are non-verbal communicative tools and are sub-textual in manner. The use has become one of the distinguishing elements that represent and characterize the Modern drama in that they no longer remain as simple directions where needed to stop a continuation of action on stage but accentuate and futhermore demand and bring about an engagement from the audience/reader. The use of ‘Silence’ and ‘Pause’ represent for the dramatist an active recognition as to what an actual reality is and what the stage supposedly should reflect. In conclusion the use of the two elements functions in narrowing the perspective that separates the dramatist and the audience/reader regarding what is actually real and as to how reality be it fictional be represented on stage.

하나의 번역을 접할 때 특정 부분의 정확성에 대하여 궁금증을 품는다거나 오역의 가능성을 떠올려보는 것은 매우 자연스러운 일이다. 물론 번역에 있어 서 ‘정확성’이란 무엇이며 ‘오역’이 과연 무엇인지 구체적으로 의문을 제기하 기 시작하면 실로 복합적인 문제들이 모습을 드러낼 것이며, 정확성의 판별이 결코 쉽지 않음을 직감하게 될 것이다. 두 말할 나위도 없이 번역은 매우 다 양한 논점들을 품고 있는, 실로 복잡다기한 작업이다. 이를테면 ‘정확성’의 문 제와 함께 ‘가독성’ 또한 번역에 대한 논의에서 빈번히 등장하는데, 가독성을 추구한 나머지 번역문이 마치 원전처럼 자연스럽게 읽히면 안된다는 입장이 있을 수 있다. “번역문이 귀에는 번역문처럼 들리고 눈으로 보기에 번역문처 럼 읽혀야 한다”([ix])는 나라시만(Narasimhan)의 주장은 번역문의 가독성이 번역으로서의 정체성의 문제와 직결되어 있음을 일종의 역비례 관계에 놓여 있음을 암시한다. 쓰지 유미의 질문도 유사한 맥락에서 이해할 수 있다: “번 역은 외국문화의 ‘이질성’을 반영한 것이라야 하는가, 그렇지 않으면 번역은 어디까지나 자국의 문학작품처럼 읽힐 수 있는 것이라야 하는가[?]”(150). 본고에서는 번역이 항상 정체성의 문제와 결부되어 있다는 점을 상기하면 서 번역과 관련된 사회문화적 관계의 형성에 주목하고자 한다. 대저 모든 번 역의 가장 기본적이며 공통적인 맥락은 출발어와 도착어가 대변하는 두 문화 사이의 역학관계이며, 원저자, 번역자, 그리고 독자는 그러한 관계에서 특정 한 위치들을 점유하고 있다. 번역에서의 정체성은 이러한 위치들 사이의 관계 혹은 상대성에서 비롯하는 역사문화적 구축물이다. 이는 당연히 문화간의 힘 또는 권력(power)의 문제와도 맞닿아 있다. 본고에서 논의될 번역의 사례들은 진달래꽃 을 포함하는 김소월의 시의 영역, 에드워드 피츠제럴드(Edward FitzGerald)에 의해 페르시아어에서 영어로 번역된 『오마르 카얌의 루바이야트』(The Rubáiyát of Omar Khayyám), 그리고 망명객 강용흘이 미국에서 영어 로 써서 출간한 후 유영에 의하여 국역된『동양선비 서양에 가시다』(East Goes West)이다. 원작에 대한 충실성이나 가독성과 같은 번역의 질을 논하기 보다는 번역을 통해 정체성의 문제가 어떻게 구축되거나 드러나는지를 살펴 보고자 한다.

This paper explores the question of identity in the broad conceptual context of translation while making references to the English translations of Sowol Kim’s “Azaleas,” Edward FitzGerald’s Rubáiyát of Omar Khayyám, and Yeong Yoo’s translation of Younghill Kang’s East Goes West. In general, an act of translation (re)defines not only what is translated but the translator himself or herself in multiple cultural contexts. For example, many Korean translators have translated “Azaleas” into English, which amounts to a collective construction of the Korean people’s lyric identity; it remains unclear, however, whether the English translations of “Azaleas” have potential to strike the chords of the readers in the English-speaking world. In contrast, FitzGerald’s Rubáiyát serves as an example of poetry translation functioning as a cultural resource to enrich the poetic soil of England. The Rubáiyát stands for a felicitous convergence between the “spirit” of the original and the need of late nineteenth- and early twentieth-century readers. The translation of East Goes West was motivated by the translator’s desire to uphold certain traditional values as representing the protagonist’s—and his own—cultural identity. On the contrary, the novel is mostly about troubled and troubling cultural border-crossings and the narrator’s fluctuating cultural identity, which the translator fails to see due mainly to his narrow focus on the spiritual superiority of East over West.

There have been lots of previous researches investigating various figures of femme fatale in Western literature and painting; however, scarcely have there been ones which are dealing with the reason for femme fatale’s preponderance in the fin-de-siècle Europe and America. Even if we acknowledge that every age produced its own femme fatale, the fin-de-siècle Europe and America was notoriously unique for their mass production and consumption of various evil femme fatale figures like Lilith, Salome, Judith and Lulu, to name a few. This article is, therefore, an effort to investigate the reason why femme fatale phenomenon was rampant especially in the 19th fin-de-siècle, while analyzing the transmutation and degradation of femme fatale to prostitute at that specific period especially in France. Even if one explains femme fatale is a phantasy and masculine projection derived from the fear of feminism in the anxious age of urban industrialism and imperialism, one cannot easily identify its popularity in the end of the 19th century because this definition of femme fatale is not directly related to its formation and genesis. The question to be raised here is therefore that why there was a reflective projection against women and how could easily be the process of projection made? The fin-de-siècle men could do this because they could find an appropriate projection in the iconic figure of prostitutes, the number of which was notoriously increasing around that time. Among many various figures such as “prostitute, new woman, suffragist, virago, primitive woman, and liberated woman” (Stott 30), prostitute was an easy projectile target for a decadent symbol in the fin-de-siècle Western defensive male imagination because she was easily to be regarded as a death dealing agent of then incurable syphilis which haunted men for several ages. The rampant existence of prostituting femme fatales in the end of the 19th century left a very negative impact upon the image of women. However, the namesake of femme fatale is soothsayer (託宣巫女), “a figure who transmits heaven’s will and order,” and even can be understood a manifestation of female subjectivity in modern sense. It is time now therefore to recover the initiatory meaning of femme fatale, “the one who gives life,” as evidenced by original femme fatale, Eve whose literal meaning is, as contrary to popular belief, life (Hawah), not death.

Victorian society asked that people should uphold the strict moral rules and monolithic convention of Puritanism. Marriage of the Victorian era is the most representative “Victorian value” fusing morals, values and ideology of the age. Wilde indirectly criticizes and mocks Victorian marriage using rebellious daughters, adulterous gentlemen and seemingly stiff old ladies in a comedy that questions everything through a bombardment of irony, wit and paradox. In his plays, marriage seems nothing more than a business contract. In The Importance of Being Earnest, Wilde sets up Lady Bracknell as an example of the upper class women and describes the marriage as a contract by consent. His satire on Lady Bracknell is a criticism of the marital standards of the upper classes. Victorian people did not truly concern themselves with love, but with financial and social status as the condition for marriage. Wilde shows that characters treat their marriage lightly revealing the paradox of valueless value. To criticize earnestness of the Victorian era, Wilde paradoxically expresses the value of earnsetness through Dr. Chausable and Miss Prism ‘s secret love affair. Young male characters, Jack and Algernon take delight in their double lives putting on masks and engaging in the act of bunburying. This emphasizes the adultery of the upper class men and shows the duplicity of marriage in the Victorian era. Similarly and paradoxically Gwendolen and Cecily's seizing of power from Jack and Algernon is a comment on sexual discrimination of the time. Though Wilde concludes this play with the marriages of the main characters it is only superficially a tale of happy ever after. As indicated above, Wilde's drama with his own dramatic style and excellent artistry continue to echo down the centuries and are studied and reinterpreted by scholars.

In this paper, I discuss the cognitive analysis on the understanding of English compounds, especially focused on the compounds including the color terms. I deal with one of the word-formation process, that is, compounding process within the framework of Cognitive Linguistics(Langacker(1987), Lakoff and Turner(1989), Johnson(1987)) to suggest the cognitive analysis on the opaque meaning of the compound based on metaphor and metonymy system. I classify the compounds according to their morphological structures and their semantic structures. I discuss the meaning relations among the constituents composing the compound word. Of the many possible relations I suggest that we select one as primary understanding based on the Relevance Principle and Maxim of relevance. To understand the composite meaning of the compound, Metaphor and Metonymy system need to be introduced. To explain the specialized meaning of color-term compound, I used the conceptual metaphors such as QUALITY IS A COLOR, EMOTION IS A COLOR, SIGNAL IS A COLOR. and PURPOSE IS A COLOR etc.. I applied more specific conceptual metaphors GREEN IS NATURE for the individual cases of color-terms. In English, every color has its own metaphorical meaning, as well as conceptual metaphors associated with emotion, sentiment, and social situation. We can find the similarities and differences in Korean uses of color-term compounds.

This paper investigated the distribution of modal auxiliaries in a corpus of essay written by learners of English. In particular, tokens of Modal auxiliaries are extracted from TOEFL11 corpus, which is a corpus of TOEFL essays written by different proficiency levels and by test-takers who are from 11 different countries. The number of essays is 11,000 for each language (that is, 121,000 in total), but the number differs in terms of the level of proficiency. In order to compare the distribution of the modal auxiliaries, relative frequency, rather than raw frequency is used. The paper examined the relative distribution of modal auxiliaries from the perspectives of L1 languages of the test-takers, proficiency level, and the prompt that the test-takers are instructed to write on. The results indicates similarities and differences in the distribution of modal auxiliaries. Among various modal auxiliaries, can and will are the most frequently used, even though the most frequent one may vary according to languages. The choice of modals is also found to be influenced by the prompt that is given to the writers. The paper serves as a foundation for further details studies on modal auxiliaries used by learners of English.

This paper examines the elements of Islamic identity represented in the Constitution of the GCC states, which are commonly denotable in the 57 OIC member states, in terms of political, economic, and socio-cultural situations. GCC states are based on the hereditary monarchy system with Islam as their national religion and Arabic as the official language. In addition, their resources are based on oil fields. Although GCC states declare themselves as Islamic states in the Constitution, they are adopting the western-style constitutional concept based on the traditions of Islam. Their source of legislation is the Islamic Sharīʿah the people, differdnt from the GCC states Saudi Arabia bass its legistative laws on the Qur’an and Sunnah. In conclusion, GCC states political, economicel, and cultural ldentities on Islam and the cause for Ummāh. The Islamic elements in the constitutional law of the GCC states, will provide an in-depth study base for GCC research in the future.

The Vegetarian, authored by Han Kang, is a serial novel that won the 2016 Man Booker Prize. While the previous studies focused on the contents of The Vegetarian, this paper provides a new, glossematic interpretation of The Vegetarian. Focusing on the variation of the linguistic symbols contained in The Vegetarian such as the personage nouns, the problems between the tense and the viewpoint, transcription style, and so forth, this paper illustrates the prominent role of In-hye, who tends to be regarded as a background character. By shifting the focus, this paper proposes In-hye’s role as another main character in The Vegetarian along with Yeong-hye. Also, this paper redefines the topic of The Vegetarian through the analyses of the symbolic value of the “White-Eye event” and the difference between “becoming a flower” (in Mongolian Spot) and “becoming a tree” (in Tree Flame). That is, a true vegetarian refers to a state of living a life in harmony with nature, by overcoming the inherent predatory nature of humankind, the top-of-the-food chain predator. The Vegetarian illustrates how the two sisters, Yeong-hye and In-hye, overcome such inherent predatory nature of humankind, and in so doing suggests that an ideal state of living a life is to become “coexisting tree-like brothers.”

Conventional user interface backgrounds on smart devices are mainly organized using static contents for decoration purposes. Therefore, displaying information as a form of user interface background has not been considered to be very useful. To overcome this limitation, this paper presents a dynamic method that improves the utility of user interface backgrounds by converting them into live or active backgrounds. In order to display useful information as the background of a user interface, information such as user interests needs to be collected from the users. Based on this user-originated information, contents to be presented on the background are organized in the form of images and can be tailored to meet the individual needs of the users. This progressive method has already been implemented and made commercially available to users, as proposed by the current study. The effectiveness of this active background system has been confirmed by the throughput observation among users.

This study investigated the accuracy of Vietnamese learners’ production of Korean syllable final lateral sounds. Due to the lack of syllable final liquids in Vietnamese, low accuracy (lower than 80%) with regard to Vietnamese learners’ production of Korean syllable final laterals was predicted. Our prediction was proved to be correct in general. In addition, we could find several more points. Firstly, Vietnamese from northern area were better than those from middle and southern areas. This seemed to show that L2 learners who have different L1 dialects can make difference in L2 sound production. Secondly, unlike Piske et al. (2001)’s assertion, our result showed that gender factor was influential in L2 learners’ L2 sound production. Thirdly, L2 Learners’ continued L1 use appeared to function as a negative factor in L2 sound acquisition because the learners using Vietnamese with their roommates after school showed lower accuracy than those using Korean. Finally, different phonological conditions in relation to Korean syllable final laterals were closely related to the highest production accuracy in the condition of syllable initial consonant(CP), compared to the two other conditions(VP and LP).

This paper explores the characteristics of ambisyllabicity in order to investigate a motive for it. After reviewing previous explanatory methods, we suggested a new approach based on prosodic structure, and through the new representation, we can account for the sonorant devoicing and the difference of segment duration in gemination by ambisyllabicity. First, we critically reviewed some approaches depending on an ambisyllabic rule and the syllable weight principle, but those analyses did not provide a satisfactory explanation regarding the reason for the intervocalic consonant to be treated as an ambisyllabic consonant. However, when we adopt the moraic structure, we can show ambisyllabicity well in the correlation between syllable weight and stress. As regards flapping and ambisyllabicity, which are regarded as occurring in the same environment, to the contrary, in this paper, we can recognize that the environments of each of ambisyllabicity and flapping are not always the same. Also, with respect to sonorant devoicing, when the intervocalic consonants are treated as ambisyllabic, we can well account for the reason why the sonorant devoicing occurs. Finally, with respect to gemination, although gemination has the same environments as ambisyllabicity, we can demonstrate that, first, gemination phonologically derived across a word boundary results in ambisyllabicity, and second, geminates are not the same in segment duration depending on the ambisyllabic structures. Thus we can say that geminates do not exhibit the same characteristics as ambisyllabicity, and geminates are longer in segment duration than a singleton.

This study accounts for the acquisition of English onset /s stop r/, /s stop/ and /stop r/ clusters by Chinese and Korean learners. Participants in this study include 10 low level and 10 high level Mandarin and Korean EFL learners each. The material includes 27 words of target clusters. The results show that Mandarin and Korean speakers tended to make more modification in the more marked tri-consonant clusters than the less marked bi-consonant clusters. In addition, high level subjects performed noticeably better than low level subjects in both groups. Korean and Mandarin speakers’ simplification strategies were different: Mandarin speakers inserted /u/ or /ə/ into the clusters, whereas Korean speakers preferred to replace one of the consonants (often /r/) with another consonant in tri-consonant clusters and /stop r/ clusters. Both Korean speakers and lower English proficiency Mandarin speakers mistakenly aspirated the voiceless stops /p, t, k/ in the onset /s stop/ clusters.