Earticle

The purpose of this study is to suggest the efficiency of children`s poetry as we teach English for elementary or middle school students. For this purpose, this study suggests the criteria for the proper selection of children`s poetry. And according to these criteria I select the 57 poems for English teaching. I believe that these lists, although they don`t cover all kinds of children`s poetry, are available for English teaching for children. It is essential to apply appropriate teaching methods to maintain the interests and appreciation of children for the poetry. So I recommend three desirable teaching methods of English poetry to attract the young English learners. Enthusiasm is contagious. If a teacher is entusiastic for the teaching of children`s poetry, if he or she selects the appropriate teaching materials, and if he or she applies skillful methods into these poems, the effort of both the teachers and the students must be fruitful and paying off.

외국어 습득(Second Language Acquisition)에 대한 학문적 연구는 1967년 Corder의 외국어 학습자 오류에 대한 연구를 시발점으로 하여 약 30여년간 지속되어오고 있다. 외국어습득은 순수언어학 이외에 응용언어학, 심리학 그리고 언어교육 방법론 등 관련분야와의 영향을 주고 받으며 성장해왔기 때문에 외국어습득 고유의 학문적 영역의 범위가 명확이 인식되지 못하고 있는 경우가 있어 왔다. 본연구는 외국어 습득 연구의 역사적 흐름, 외국어 교수법의 발달, 그리고 이론적 체계를 살펴봄으로써 이것의 학문적 위치와 앞으로의 나갈 방향을 재점검 해보고자 하였다. 먼저 서론에서는 외국어 습득 연구의 역사적 고찰의 필요성을 지적하였다. 이는 외국어 교사들로 하여금 과거의 언어교수 전문가들의 이론과 방법론을 살펴봄으로써 통시적인 견해를 얻을 수 있도록 하며 또한 이러한 통시적 이해 속에서 현재의 주장되고 있는 다양한 언어교수법을 자신의 실정에 맞게 평가하는 안목을 갖는데 도움을 주고자 하는 것이다. 이어서 외국어 학습 연구의 발달과정을 살펴보았는데 여기에는 이 학문의 개념적 규정, 시작과정, 연구영역을 포함한다. 다음으로 19세기부터 현재까지 진행되어 온 외국어 교수법의 흐름을 각각의 이론적 배경과 방법론적 책략을 중심으로 알아보았다. 본 연구의 마지막 부분에는 외국어 교수법의 흐름을 각각의 이론적 배경과 방법론적 책략을 중심으로 알아보았다. 본 연구의 마지막 부분에는 외국어 학습 이론의 체계(framework)를 선험주의, 환경주의, 그리고 상호주의 이론을 중심으로 검토하여 외국어학습 이론을 이해하는데 도움을 주고자 하였다. 본 연구의 주요 목적은 외국어 학습의 역사적 흐름과 이것의 학문적 위치와 영역에 대한 검토를 바탕으로 하여 현재의 연구와 미래의 진행방향에 대한 분석적인 도구를 제공하는 것이었다. 결론에서 저자는 외국어학습 연구의 미래에 대한 긍정적인 견해를 표명하였는데 이는 방법론적인 다양성을 인정하면서 상호 보완적인 관계에서 발전되고 있음이 관찰되었기 때문이다.

미국사에서 격변의 시기중의 하나였던 1920년대에 할렘을 근거지로 하여 잉태된 흑인문학예술운동인 "할렘르네상스"는 흑인문학사뿐만 아니라 미국문학사의 모더니즘 형성에 큰 영향을 끼친 운동으로 평가되어진다. 본 논문에서는 이제까지 지속적으로 논쟁을 불려 일으켰던 이 운동의 결과적 평가, 즉 성공이냐 실패였는가? 라는 문제로의 접근은 피하는 대신, 이 문제의 본질적인 단서를 제공하는 흑인예술가들의 백인과의 관계가 어떻게 이 운동에 영향을 미치게 되었는가, 그리고 어떠한 의의를 지니는가를 탐구하여 보았다. 사실 1차대전 후의 미국은 전후 잃어버린 인간성에 대한 회복뿐 아니라, 문학과 예술에 있어서 새로운 형식과 주제를 탐색하는 작업이 절실히 요구되어지는 때였다. 이러한 와중에 백인들은 나름대로 유럽과 영국의 예술적, 문화적 테두리에서 벗어나고자 하는 욕망과 염원을 흑인들의 원시주의 또는 이국적인 면에서 찾으려고 하였다. 또한 흑인 작가들과 예술가들은 이 당시 백인들의 영향과 제어에서 벗어나 자신들의 문화와 예술을 꿈꾸며 그들만의 모더니즘을 창조하고 있었다. 양측의 이러한 입장과 상황은 "새로운 니그로"라는 모토와 함께 알레인 로크를 중심으로 주창된 할렘르네상스라는 주목할 만한 운동을 형성시키는데 상호 보완적이고 매력적인 동기로 작용하였다. 백인은 흑인들과의 관계에서 예술적 영감이나 주제등을 얻기를 원했고, 흑인들은 차례로 백인의 재정적 뒷받침을 통해 원하는 창조작업을 진행할 수 있었다. 그런데 이러한 공생적인 관계의 뒷면에는 부정적인 측면도 야기되었는데, 흑인들의 예술적 권위와 자유가 백인들의 지나친 간섭과 요구 때문에 침해를 당하게 되었다. 그러나, 간과하지 말아야 할 중요한 것은 백인들이 재정적인 후원이나 흑인작가들의 작품출판에 도움을 주지 않았다면 흑인작가들의 작품은 성공적으로 열매를 맺지 못했을 것이다. 더욱이 두 인종간의 예술적, 문화적 교류가 활발히 일어날 수 있었던 것은 서로에 대한 이해가 이 시대의 사회적, 문화적 아우라와 잘 맞았고, 할렘을 중심으로 한 문화적 열기가 팽창하는데 지리적으로 잘 맞았다. 할렘르네상스가 없었다면, 그 다음 30년대에 시카고를 중심으로 일어나 또 다른 문학운동이 가능했을까하는 의문도 갖게된다. 할렘에서 생성되고 축적된 흑인들의 문화적 열기와 역량이 시카고 르네상스 또는 그 이후의 60년대의 흑인 예술운동까지 연결된다고 본다면 할렘르네상스에서 두 인종간의 공생적 관계는 부정적인 측면보다는 매우 긍적적인 것으로 평가되어야 한다.

The Purpose of this thesis is to prove that dative/accusative subject exhibits behavioral, but not coding, properties in the transition from impersonal to personal constructions. Impersonal constructions have constituted one of the subjects most frequently dealt with in English historical syntax. One of the reasons for this interest is probably that they stand out more than other constructions, since such impersonal constructions had been widely used in early English but completely disappeared at the threshold of the Modern English period and are no longer found in Present-day English. Peter Cole, et al.(1980) examined the historical process of subject development and proposed a three-stage unmarked order of acquisition of subject properties. At an early stage in development of the construction (Stage A), the NP in question displays no subject properties, whether coding or behavioral properties. The coding properties, whether coding or behavioral properties. The coding properties are morphosyntactic properties, e.g. nominative case-marking and control of verb agreement. The behavioral properties are transformational properties, e.g. control of reflexivization. At a later time(Stage B), the analogous NP exhibits behavioral, but no coding, properties. If coding properties are found at any stage, the are acquired subsequent to behavioral properties(Stage C). In general, the nominative case is considered to be a subject in Modern English. This is true for OE too(Denison 1993: 16). Grammatical cases are not identical to grammatical relations. Thus case marking does not determine a grammatical relation. There are three stages in the acquisition of subject properties. Among them, it is the second stage that the NP begins to take on transformational properties associated in the language with subject. Therefore, in this thesis I insist that dative/accusative subject exhibits behavioral in impersonal constructions corresponds to Stage B.

Toni Morrison`s Jazz is a novel similar to jazz and blues. In this novel, Morrison uses several narrative strategies such as the structures and rhythms of jazz and blues, the call and response pattern of black church and a questionable narrator. By doing so, she makes this novel a "speakerly text". Henry Louis Gates Jr., in his Signifying Monkey, explains the meaning of the "speakerly text", According to him, It aspires to the status of orality and wants to resemble the black expressive culture. Morrison, in her interviews, points out the new aspect of her novel. In her viewpoint, black music loses it`s unique status because of commercialization and its multiple participants and audience. She insists that a new mode of novel which can play a healing and leading role for the reader is required. She consistently emphasizes the oral quality of her novel. She calls it "a talking book." Laying emphasis on Morrison`s aim in writing her novel, I adopted Gates Jr.`s "speakerly text" idea to analyse Morrison`s Jazz. According to Gates Jr., the orality in African American novelists` works varies. Gates Jr.`s analyses, from slave narratives to postmodern novels, also include Ishmael Reed`s Mumbo Jumbo. In doing so, he has found out the special oral quality of African American works. Jazz deals with the tripartite relationship between Joe, Dorcas, and Violet. Joe falls in love with young Dorcas, who reminds him of his mother, and in the end has to murder Dorcas in his confused feelings. The questionable narrator of this novel, "I", almost narrates this novel. With her narrative, readers travel the journey of the characters` traumatic past and present. To heal the trauma of the characters, Morrison uses special narrative techniques such as black music and call and response patterns. Each chapter of this novel starts and ends with reference words. In this way, she makes her novel "a music score" or jazz-like novel. The main aim of these narrative strategies is to make her readers participate in reading itself and reevaluate the true meaning of this novel; that is, give the readers multiple perspectives. As for her characters and the narrative, she makes them first confront their traumatic status and then renew themselves by dialogic relationship and self-interrogation. Morrison suggests the power of laughing and multiple standards of judgment by using her therapeutic narratives. At the end of this novel, the trio of Joe, Dorcas and Violet is replaced by the trio of Joe, Felice and Violet. At this time, there is no bloody or hopeless situation. Those, including the narrator, who suffer from their traumatic past, memory and incorrect judgment, become whole by remembering the lost value of their ancestors, and by being orchestrated by Morrison`s dialogic narrative strategies.

"Ash-Wednesday" often reads as a text portraying the conflict of the speaker`s spiritual salvation and human desire. Eliot`s use of Christian imagery and allusions, in relation to his own conversion to Anglican Church in 1927, contributes to the poetic effects of the text as a confessional religious work. In fact, the unity of consciousness resulting from the choice of the single voice of one speaker, compared with the multiple perspectives in The Waste Land, and the lyric style similar to those of "The Love Song J. Alfred Prufrock" and "Gerontion", seem to make "Ash-Wednesday" as a confessional text. But both Eliot`s use of images of multiple connotations, in particular that of the Lady suggesting three feminine types at the same time, and his paradoxical statements reveal that "Ash-Wednesday" does not represent a simple two-dimensional poetic world. Rather, the text conveys indefinitely suggestive meanings in it precise images to the readers. It is noticeable that the images` indefinite associations in consequence of the poet`s unique treatment of his imagery in indefinite suggestive ways prove that Eliot`s own cognitive method was rooted in F.H. Bradley`s epistemology. Above all Bradley`s "immediate experience"(/"feeling") plays a key role in our understanding of Eliot`s poetic ideal, "unification of sensibility" which means the combination of thought and sense, and Bradley "immediate experience" which indicates the primary experience in which the distinction of subject and object does not exist, reflect their common monistic epistemology. In conclusion, the ambiguity of Eliot`s poetic world derives from his monistic epistemology, which shows the influence of Bradley on Eliot`s poetics.

유진 오닐은 <밤으로의 긴 여로>에서 언어의 지시적 기능보다는 물리적 언어의 상징적·시적 효과를 통하여, 인간 삶에 대한 비극적 상황과 인식, 그리고 이에 대한 초월적 비젼이라는 극의 주제를 보다 효과적으로 표현하고 있다. 무대언어란 극중 인물의 대사는 물론 무대를 차지하고 있는 모든 요소의 상징적 언어기능을 포함하는 것으로서, 무대장치·제스쳐·침묵·음향·명암·침묵·休止와 같은 물리적 언어를 총체적으로 일컫는다 할 수 있다. 오닐이 <밤으로의 긴 여로>에서 사용하고 있는 물리적 언어는 출입문·방·서적·몸짓·표정·바다·햇빛·명암·안개·霧笛·술병·詩·음악·衣裳 등으로서 이 모든 것들이 직접 간접적으로 극의 주제를 보다 시적이고 예술적으로 표현하고 있다. 극 전체를 통하여 인물들의 정서·의식적 무의식적 상황·과거와 현재 등 모든 내용이 대사의 지시적 의미보다는 물리적 언어가 창출해 내는 시적·상징적 효과에 의해 관객에게 전달되고 있다. <밤으로의 긴 여로>는 무대언어를 사용한 표현주의적 기법으로 극의 자연주의적 주제를 부각시키고 있는 한편, 구체적인 상징물은 극에 사실성을 부여하기도 한다. 타이론家 라는 작은 배경을 霧笛과 안개와 같은 물리적 언어를 통해 바다라는 넓은 배경에 접속하고, 네 명의 소수 가족의 비극적 삶의 모습을 통해 인간의 보편적인 비극성을 보여 주는 동시에, 오닐 자신의 투영체라 할 수 있는 에드먼드의 비극적 조건에 대한 명상 속에서 이의 초월적 비젼을 제시하고 있다.

While Othello is man of great and royal blood, highly regarded for skill in war, Woyzeck is a character from the lowest echelon of society. In spite of this difference as well as several less common features, jealousy and murder are prominent points that the two plays share. Desdemona and Marie guarantee the superior meaning of life for Othello and Woyzeck. However when the male characters begin to suspect their wives` sexual betrayal, the entire moral construct plunges the male characters into a kind of chaotic frenzy or hallucinations. By expressing jealousy in part through abuse, Othello and Woyzeck crave proof of their wives` infidelity to end the agony aroused by what they cannot really see. Both Othello and Woyzeck alike perceive the possibility of female separateness as an affront to all males and a violation of a sacred cannon of the paternal/patriarchal control. Thus the erotic threat of the female body is physically contained by the male strategy of containment; by the representation of female character as a receiver of a male gaze which raises the question of voyeurism, or by means of a dramatic transformation of woman into a corpse as the restriction of her mobility and freedom. Woyzeck`s and Othello`s killing of their wives become the rational outcome of a process set in motion by masculine sexual politics. Their violent acts do not come from a sense of disappointed romantic love but rater from a sense of jealousy at having been found sexually and socially inadequate. Because the possession of the female body is a precondition of his coherent male subjectivity, the male character`s killing of the wife becomes logical step to reinstate a structure of morality, to demonstrate his ownership of the woman, and to re-establish his gender identity. Like Woyzeck, Othello seems driven by an impulse to regain control through a purifying violence, a killing committed so that social values may be restored. But murder is a metaphorical act for the male fear of female power; a barely disguised act of revenge for the woman`s sexual betrayal. Each play demonstrates that in a patriarchy the fidelity of a wife is the major prop and condition of social order. So the woman destroyed by the masculine code of male domination becomes the sacrificial victim in the play. Desdemona and Marie seem to take guilt upon themselves, assuming that they have somehow served to isolate and accentuate their husbands` anxiety and fear and are responsible for their predicament. Shakespeare and Buhner attempt to present things from the male point of view, and articulate the tragic hero`s conservative gender ideology. In both plays, however, patriarchal norms are compensatory for the vulnerability of men to the female powers.

Lost in the Funhouse에 관한 비평의 역사는 결국 포스트모던 작가의 위치와 자의식에 관한 연구와 직결된다고 볼 수 있다. 본 논문에 소개되었듯, 무수히 많은 비평가들이 Lost in the Funhouse를 이 두 개념--포스트모던 작가의 위치와 자의식--에 비추어 설명하려 하였다. 이들은 John Barth의 이론인 "고갈의 문학 (The Literature of Exhaustion)"과 "회생의 문학 (The literature of Replenishment)"을 토대로 그의 작품을 분석하면서, 종래 문학비평의 주요 과제였던 "영웅적 예술가"의 개념과 대비된다고 볼 수 있는 John Barth의 새로운 가능성--포스트모던 작가의 위치와 자의식--을 부각시키고 있다. 이들은 거짓 신원 (ID)과 가면으로 무장한 채 살아가는 Barth의 인물들을 분석하며 문학의 "고갈된" 가치를 형상화하는 한편, 그 몰락된 가치에서 출발한 새로운 가능성에 주목하고 있는 것이다. 그 가능성--포스트모던 문학--은 다소 생소해 보일지는 몰라도 "고갈"의 대지에서 완전히 벗어나 있기에 늘 새롭고 "희생적 (replenished)"인 존재로 남아, 이 "고갈된 (exhausted)" 시대의 마지막 대안으로 제시되고 있는지도 모른다.

In one of her major novels, To the Lighthouse, Virginia Woolf shows in contrast the destructiveness of Mr. Ramsay`s oppressive and authoritative attitude and that Mrs. Ramsay`s submissive self-sacrifice. Mrs. Ramsay is forced to obliterate her self-identity, remain an angel in the house, and finally comes to death and to self-effacement in the egoistic patriarchal society. But Mrs. Ramsay`s death ad resurrection in the consciousness of a woman artist, Lily Briscoe, represents her transformation from a docile wife to a real woman with her independent individuality. Lily, as a single woman with androgynous mind, frees herself from the criticism of female artistic inferiority, and completes her ten-year delayed painting by giving the picture balance and unity, with the epiphany of Mrs. Ramsay in her memory. Woolf`s feminist perspective resists against the male-dominant society and her writing strategy struggles against the existing men`s language, the symbolic universe of the father. They are strongly expressed in Lily`s painting in which she accomplishes her vision not verbally, but by visual representation. Lily`s final diagonal stroke on the canvas stands for the hard-achieved and well-balanced relationship between men and women, going beyond the established realm of men`s language and domination. By representing her vision and wish through the composition, Woolf shows at once the task and dilemma of the women artists working while still confined within the symbolic universe of men`s discourse, and the possibility of putting and alternative for the language of patriarchy. Woolf implies in this novel that the establishment of the female identity precedes or coexists with women`s language.

The purpose of this paper is to study some phonological phenomena which may require direct reference to specific syntactic structure. Odden (1987,1990) shows that the Vowel Shortening rule in Kimatuumbi, which shortens the long vowel of a stem when it is the head of a phrase and is followed b some elements within the phrase, makes direct reference to labelled surface syntactic bracketing. But Cowper & Rice (1987) re-examine the phonological status of Kimatuumbi Vowel Shortening and show that it occurs within a prosodic domain as defined by Selkirk (1986). However, I discuss some examples Cowper & Rice cannot account for. Then, discussing the so-called `-ko ha-` delection in indirectly quoted sentences in Korean, I show that the deleted elements in indirectly quoted sentences are rhyme part /a/ of th Infl `-ta` and onset part /h/ of verb `ha-` along with Comp `ko,` Kwak (1992) argues that the prosodic domain for n-lateralization in l-n sould sequence in Korean is an intonational phrase. However, I show that in some cases l-delection occurs instead o f n-lateralzation in l-n sound sequence. It is shown that l-delection occurs only between a Verb which ends in lateral /l/ and Infl, Comp or Conj which begins with a nasal sound. Finally, in an attempt to show that l-delection is not the only postlexical rule which requires direct reference to specific syntactic structure such as `between V and Infl, Comp or conj,` I discuss Predicate Tensing in Korean. I show that Predicate Tensing, whereby lenis obstruents are tensed after a verb stem which ends in a nasal, is also a postlexical rule in that it occurs between V which ends in a nasal and Infl, Comp or Conj which begins with a lenis obstruent.

Creative drama, an improvisational, nonexhibitional, process-centered form of drama, is way of learning, a means of self-expression, a therapeutic technique, a social activity, or an art form. It helps students to assume responsibility, accept group decision, work together cooperatively, develop new interests, and seek new information. For those reasons creative drama shares many objectives with modern education. Among them are 1) creativity and aesthetic development, 2) the ability to think critically, 3) social growth and the ability to work cooperatively with others, 4) improved communication skills, 5) the development of moral and spiritual values, and 6) knowledge of self. Recently, many teachers of elementary schools have made use of drama in English classroom, and it has been reported that the drama method has improved student`s communicative competence and made a remarkable influence on their achievement in English. Yet the drama method has not continued to develop into the `creative drama` and to function as a teaching tool in high schools. The term `creative drama` is used to describe the improvised drama of elementary students, but it belongs to no particular age level and can be used to describe the improvisation of high school students. This paper is designed to introduce `creative drama` as a new effective teaching instrument in the English classroom of high schools. It also deals with creative drama as a socializing activity, as a powerful way of learning, and as a form of artistic recreation.