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That Renaissance humanism was a broad intellectual and cultural movement toward a new outlook on human dignity and capacity reaching over the dominating Christian values should not blind us to the fact that the Renaissance was in effect a strongly aristocratic age. While the over-riding goal of humanists was to pursue learning with a view to rediscovering the place of mankind in nature, there was no room of learning for ordinary people. The humanists took pride in their difficult achievement and were loath to open their learning to anyone who could speak only his native language. Their 'mother tongue,' as it were, was the object of contempt, what they saw as Classical Latin carrying the weight of their great authority. It takes a feat of the historical imagination to realize how much they scorned the people who were ignorant of the classical language, and how much, for that matter, they hated the people themselves. The hatred was raised almost to the state of aesthetics in their proclamation, Odi profanum Vulgus 'I hate the profane mob.' They spoke of 'vulgar Latin' and 'vernacular languages' without ever doubting whether the spoken language of Cicero differed any more from his written expressions than in our own days a dialectal form of a language does from its standardized version—without ever giving a thought to why before them Dante, Petrarch, and Boccaccio had chosen to write in the vernacular. From the fourteenth to well into the seventeenth century, those who wanted the glory of being read by posterity would not fail to reserve a high place for Latin over and above their own native tongue. The present paper centers around the distorted nature of the linguistic philosophy that characterized Renaissance humanism.

Shin Jaiyo and Pak Heonbong were not Pansori performers themselves, but they supported modern development of Pansori and established infrastructure for Pansori. They were experts in Pansori knowledge, and they used it to educate Pansori performers and improved on theoretical aspects of Pansori. They were genuine patrons of Pansori. They assisted the performers by both material and spiritual means. They also were composers, who wrote modern Pansori music and lyrics. With their authentic knowledge for Pansori, they wrote many important books on the subject. They were Pansori educators as well, Shin Jaiyo bringing up many gifted performers in his household, and Pak Heonbong establishing Seoul Traditional Music School(국악예술학교). They made invaluable contribution to Pansori, bringing it up to its perfection, is priceless effort. They were great thinkers, disclosing philosophical meanings embedded in Pansori lyrics. The Pansori today owe great deal to those two.

History contains countless experience. Through the past experience of history we are intending to acquire instructions. enlighten the ture meaning of our future and pioneer the better road. History does not stay in a outmoded form. For history revives as a living history in everyday lives. But how could we resurrect the dead history and breathe a new form in the present? It is not a easy project to pursue the revival of history and to make past here and now. We should not determine history only form materials and facts. That there are a lot things floating wait to be settled in the outdated question 'What is history?'. Vocational historians introduce ideas and definitions that commit lasting questions on history and new epistemological perspectives. This proves that history doesn't fixed in facts themselves. In the field of narrative historians investigate the humanity and are against putting the past experiences without being looked back. Narrative does not hesitates in front of the given present and goes over the historical present. This genre converges things that dreamt of and hoped of by people. This study contains the evaluations on 'Chang, Po-go Novels'. And it presents a new and different perspective on the life of him. This will enlighten the text of narrative writers and present their perspectives on his life, searching for the delayed answers to the substantial matters owing to the lacks of materials. Furthermore this evaluation focuses the narrative attempt to revive the existence which extends its outstanding life in a literary dimension. Literary revaluating assignment is connective with the retrospective insights to the past history. We go over the past not because it shows only the beautiful aspects but because it contains the diverging instructions from the historical tragedy of the repressed and injured past with tears and blood.

Brett Ashley, the heroine of Ernest Hemingway's The Sun Also Rises, along with Catherine Barkeley and Margot Macomber, has been the most maltreated and villified literary figure as a "bitch." However, a feminist reading enables us to read and excavate a different aspect of Brett Ashley, who is portrayed more than simply a femme fatale (fatal woman) or vagina dentata (vagina with teeth). In fact, she can be seen as a benevolent woman who takes care of Robert Cohn or Mike Campbell, and loves the castrated Jake Barnes, while refusing Count Mippipopolous' offer of great money for her sexual privilege. In particular, the fact that she refuses Pedro Romero, an embodiment of powerful patriarch, can be interpreted that she actually represents a "new woman" in the 1920s. The text which has been considered one of the most masculine and patriarchal texts, is heavily loaded with its implication and allusion of oral pleasure between Jake and Brett and homosexuality between Jake and Bill Gorton, the practices of which could not be described explicitly in the 1920s. It succeeds, however, to contain such issues as oral sexuality and homosexuality by adopting the style of stoicism -- the author's famous technique of iceberg, or "saying less telling more," and thus escapes censorship to be published. The feminist reading which regards Brett as a new woman or a benevolent woman prompts us to read the whole Hemingway oeuvre in a subversive way. In short, Hemingway has proven not to be such a writer who has been believed notoriously for his admiration of a strong man and negative portrayal of a woman.

Raymond Queneau, véritable esprit encyclopédique, s'intéresse toutes les formes de savoir, et particulièrement aux mathématiques et à la langue soit littéraire ou écrite, soit orale ou parlée. A travers ses explorations du langage et du nombre, ses activité d'écriture, c'est d'abord d'inventer des structures, des formes ou de «contraintes» nouvelles, susceptibles de permettre la production d'œuvres originales. Dans cette recherche, l'importation de concepts mathématiques et l'utilisation des ressources de la combinatoire sont les instruments principaux. De là, avec l'OuLiPo, (l'Ouvroir de Littrature Potentielle), il fait l'expérimentation de nouvelles structures littéraires, et élabore de multiples contraintes formelles, considérées comme autant de nouvelles voies pour la création littéraire. Leur idée est de montrer que l'on peux écrire des textes magnifiques tout en respectant des contraintes très fortes, des contraintes qui ressemblent pour beaucoup à des structures mathématiques. Par exemple, c'est le cas de la méthode «S+7» consistant à remplacer chaque mot d'un texte (à l'exception des mots-outils) par le septième qui suit dans un dictionnaire donné. Aussi, la passion et la recherche de Queneau pour les jeux de langage nous font voir sa conviction sincère de la nécessité d'une nouvelle expression verbale fondée sur la langue parlée populaire la plus contemporaine. C'est ce qu'il appelle le «néo-franais», caractérisé par une syntaxe et un vocabulaire typiques au parlé et par une orthographe plus ou moins phonétique. Pour cela, Queneau bouscule les mots et utilise à profusion les calembours, inversions, mots-valises et autres trouvailles littéraires qui, jointes à l'importance qu'il accorde au rythme, lui donnent ce style si particulier. Toutes ces tentatives de Queneau vise principalement à créer la nouvelle écriture par la nouvelle langue, et ensuite à élagir l'espace de la littérature.

In his most controversial work, The Satanic Verses (1988), Rushdie criticizes discrimination against colored immigrants in British society where ethnic minorities have to be silenced. This paper addresses how Rushdie reveals in the novel the distorted representation of racial Others in white discursive practices. In addition, my arguments focus on the author's attempts to subvert the linguistic hegemony of mainstream British society. In the work, Rushdie explains that the dominance of white class is backed up by the support of racist language. He demonstrates how the British media and authorities manipulate the images of immigrants by demystifying the conventional language that has been thought to be objective truth. Rushdie also sheds light on immigrant existence in British history by employing a variety of words that mirror the hybrid history between Britain and India. The hybridized English that the author employs in the novel, that is, Angrezi, presents an instrument to challenge the authority of white mainstream society.

Diese Untersuchung geht von der Auffassung der Ambiguität als einer Eigenschaft von Ausdrücken natürlicher Sprache, denen mehrere Interpretationen zugeordnet werden können, bzw. die unter lexikalischem, strukturellem, kontextuellem u.a. Aspekt in der linguistischen Beschreibung mehrfach zu spezifizieren sind. Dabei beträgt sich die beabsichtigte Ambiguität als eine rhetorische Figur, die Doppel- und Mehrdeutigkeiten ausnutzt, um Begriffe, die an sich ohne Beziehung sind, miteinander in Beziehung zu setzen. Ambige Formen sind sehr verbreitet in deutschen Werbeanzeigen, die von den Experten der Werbebüros kreiert werden. Obwohl die traditionellen Typologien auf dem Gebiet der Ambiguität (lexikalische Ambiguitat vs. grammatische Ambiguitat oder lexikalische vs. strukturelle Ambiguitat usw.) noch problematisch sind, ist die Ambiguität in deutschen Werbeanzeigen wie folgt zu charakterisieren: Die meisten Ambiguitäten in der deutschen Werbung sind häufig zunächst lexikalischer Natur: Homonymie, Polysemie. Hieraus entsteht auch eine kontextuelle Ambiguität, wenn es darum geht, Wörter und Sätze in ihrem Kontext zu interpretieren. Wegen der Ungeduld der Konsumenten ist aber die strukturelle Ambiguität, die sich erst in der Verbindung von mehrdeutigen Kasusmarkierungen und variabler Wortstellung ergibt, nur mit wenigen Werbungen konfrontiert. Und durch die von ihr in Beziehung gesetzten positiven Begriffe führt die Werbesprache dazu: Potenzielle Kunden sollen der Werbung Aufmerksamkeit schenken, ihr Informationen über die beworbenen Produkte oder Dienstleistungen entnehmen und bestenfalls zum Kauf und Konsum animiert werden.

This article discusses unremarkable language user interface of human computer interaction areas. Growing demand for language performance in user interface design systems is creating new opportunities to use computer and all applications. Unless systems have proper user interface, there are more stringent constraints on cost and power consumption that lead to design for many applications. In terms of understanding basic challenges faced by user interface, we explore the challengers and goal of user interface. We show three case studies that there are guideline study of speech interface, experimental results on language interaction study, user study on new technology as wearable computer.

This paper aims to describe Korean language's Address Terms Usage and their honorific levels. Korean's address terms are different with many foreign language from their relation restriction and situation sensibility. Even the identical form cannot be used when its relation is changed, and honorific level also can be changed when its situation is different. Therefore this paper considers the most important address terms - name, 'ssi', 'nim', MKT(Metaphorical Use of Kinship Term), Tek(Teknonymy), KT(Kinship Term). As a result we came to know when we choose address terms private/public relations, intimacy, recognition acts as a valuable variables and by these variables their honorific levels are changed even in the same forms. These traits presents address terms level as a non-linear forms. Additionally in cases of MKT and Tek which use KT for a form, it was found that they have some restrictions. MKT has distance, sex, age restrictions and Tek has age, generation, range restrictions.