Earticle

This paper aims at analyzing John Steinbeck’s ecological view of biological world, which he draws all of his ideas from Ed Rickets, the marine biologist, and at finding a reality of the essential ecology. They glean from their experiences in the tide pools of the Sea of Cortez, and then extend their horizons to a full scheme of being that means holistic world-view. As they have some striking similarities and differences in their ideas concerning the concrete methods of life, the exact approach of their world view can help grasp the contemporary ecological point, and simultaneously set its desirable course.They regard the doctrine of non-teleological thinking as a coherent method by which man can perceive the cosmos as an integrated whole. But Ricketts emphasizes non-teleological quest for the deep thing, a highly complex philosophy of breaking through as the means by which he seek to go home. Ricketts defines breaking through as an inner coherency of feeling and thought which leads man into a deep thing, and makes him connect apparently unrelated pictures, and see that the whole is more than the sum of its parts.Unlike Ricketts, Steinbeck observes that man is not a creature of an unknowable pattern of existence, but potentially all things. Although Ricketts ignores the more mundane problems of existence which enslave most men and limit their vision by viewing the everyday world with understanding-acceptance. Accepting the worldly problems of life, Steinbeck believes that man is not a heaven-bound pilgrim, but a creature of earth. Rather Seinbeck attacks Rickets’ passivity, moving beyond his point of instant-acceptance and trying to deal effectively with the burdensome problems of human existence. Believing that the universe is an evolving rhythmic unity, Steinbeck shares a feeling of organic wholeness. Accordingly, as Steinbeck's ecological view contains practical meanings, I think a deep approach of his thoughts contributes to take shape the contemporary abstract ecological analysis that lacks a concrete method. Because his biological world view accepting potentially complex things related to problems of life reflects on the original cosmos as an integrated whole.

“Visions of the Daughters of Albion” works out a dramatized discussion of Blake’s radical challenge to the dualism and its abstract philosophy. He suggests that the human imagination should disrupt the inveterate error in metaphysical dualism, primarily of the soul and the body. This thesis argues that at the core of the poem, the questions of sense, sense-experience and perception are closely related with the criticism of the dominant sexual ideology. In the context of an argument of the creative human perception, Blake continues the exploration of sexual freedom, which leads to the liberation of both body and women. This radical approaches enable him at once to fully criticize the oppression of women and to examine the mechanism of internalization of the oppression under the political, social and religious systems. With the reflection of her own bitter experience, Oothoon comes to win the recognition that the female sexuality is socially made and both man and woman are victims of the oppression of desire. Her creative expansion of perception is bound up with the critical examination of the working principles of the sexual ideology. In pursuit of “an improvement of sensual enjoyment”, she reconfigures the innocence of desire as “Infancy, fearless, lustful, happy”, which overwhelms the conventional dichotomy between ‘body-energy-evil’ and ‘soul-reason- good.. It is the basis of the “happy copulation” of eyes and heart. This envisions the creative relationships in redeemed world in which ‘the minute particulars’ could love fully without possessive jealousy. Echoes of the daughters of Albion (who, enslaved, hear Oothoon’s woes) raise the issue of the strategic status of this poem. And the title with a grammatical ambiguity emphasizes the plurality of “Visions” and overrides the distinction between subject and object of them. After many years, in the last poem, Jerusalem, Blake sings that he who finds a Grain of sand which is translucent and has many angles will find Oothoon’s palace. This indicates that always, now, here, Oothoon’s vision and Daughters’ echoes are created for us to open our eyes and heart so as to find ‘a lovely heaven’ within a Grain of sand.

In the traditional thought of patriarchy, women’s activities in society were restricted by an exemplification of their role. In this system, women were regarded to as a kind of a possessed thing, men’s property, inferior to men. But this thought started to be gradually changed in the age of Renaissance, and its focus was also changed form God into human. In addition, a new thinking about human began to make people recognize women’s existence and ability. Thomas More, in his Utopia, also insisted that education be provided for everybody, men and women alike. Maybe, the ruling power of Queen ElizabethⅠ and her political success had a great effect on all of these changes. The playwright who excellently reflected this sort of change and the women’s social role in plays, especially in his comedies, was William Shakespeare. In his plays of comedy, he give an important role as a solvable agent to women-characters. And the women characters solve the conflicts caused by men in an amicable way. For examples, Rosalind in As You Like It, Viola in Twelfth Night, and Portia in The Merchant of Venice are characters with their wisdom and wit who solve the problems caused by stupid men. I will approach The Merchant of Venice on a matter of feminism. The Merchant of Venice displays the conflicts in a patriarchal society where freedom of human soul is oppressed, especially for women. Most of the men in Venice are materialistic snobs. They are deeply steeped in deceit, debauchery, sexism, and racism. They also have discrimination and contempt in a religion and a job. So, they are always unhappy in reality though they seem to be happy in appearance. Especially, Antonio and Shylock are the central figures who are opposed to each other on their religion, race and way of life. No one can solve this absurdity of their lives. Only Portia resolves this disorderly situation by means of her wisdom. Thanks to her wisdom and modesty, all the characters including herself can be finally freed themselves from all kinds of disorderly absurdities. Shakespeare characterized Portia as superior to men who caused problems in this play. He makes her solve the problems caused by some stupid men in Venice who seemingly look gentle and noble. Of characters in this play, Portia plays a role as a leader in guiding the stupid characters into the right. She is like a divine leader. She is the mortal breathing saint as if characters expressed her in their remarks as “a secret pilgrimage”(1.1.120), or “the joys of heaven here on earth”(3.5.70) . Portia directs the men-oriented traditional practice into the women -oriented one. But she never becomes a destroyer of traditional practice. She just plays a leading role in solving the problems without force. Therefore, Portia who Shakespeare created is a model of a woman with modern thinking who actively and voluntarily conducts her business. Shakespeare definitely emphasizes that woman could play an important role in a patriarchal society by selecting Portia as the character to repair the disorderly situation. Her role in this play brings people to the social realization of women and their social status in Shakespeare’s age.

Joyce said that a text should not be planned out beforehand, and he was a believer in the role of chance in gathering and in elaborating source materials. So the elements of chance and randomness are sprayed in many ways throughout Ulysses. The multiple styles which are extensively used in the second half of Ulysses are good ways to represent the contingent nature of his thought. This study aims to reveal that multiple styles are James Joyce’s strategic treatment of chance in writing Ulysses. Joyce employes them to enjoy the maximum freedom of adding materials to the text when writing the second half of Ulysses. The first half of Ulysses(with the exception of “Aeolus”) is composed of “initial style” such as free indirect style, interior monologue, and the third person narrative. Joyce provides the readers with the stream of consciousness technique through which we can recognize the characters’ situations and thoughts. Joyce adapts various styles which become more and more complex, and deliberately includes random details as the text progresses. The latter part of the text took Joyce much longer to write than he expected and is marked by expansion, elaboration, and extrapolation. Through multiple styles, Joyce depicts the world of uncertainty in which there is an absence of a definitive or fixed interpretation. Ulysses gives the readers an overwhelming number of styles and facts through which the readers interpret reality in different ways. In this sense, in Ulysses, reading is an ongoing dialogue between the reader and the text.

In Cymbelin, Shakespeare explores with his profound poetic intuition the underlying reality of life, which is presented with new intensity as the order of “divine nature” within the traditional romance framework. Thus a deeper understanding of the natural order provides a key to unlock the door to a wider critical horizon of the play, one of Shakespeare’s most enigmatic plays. It also presents an answer to the central problem of the last plays: what value can be attached to a life where everything passes away? Imogen, like Perdita in The Winter’s Tale, and, to a lesser extent, Miranda in The Tempest, is the key figure as a symbol and embodiment of the natural order. Her presence binds up in an indissolvable union the apparently hopelessly varied plot threads and the seeming incongruity, and her unshakeable virtue provides the standard by which all other actions are measured. Not only does the natural order restore family relationship between husband and wife, father and daughter, father and sons, but it eventually affirms an ultimate bond that joins all of the characters in the brotherhood of one family. At the end of the play, the natural order completely brings us to the recognition of not only what we are but also of what we have become, one family including all of humanity. It brings us to the total union with the heart of the world - the end of individuation.

The reader is implicitly inscribed in the text the writer creates. This paper explores the readership assumed in Steven’s poetry by critically examining his theories of poetic writing found in his essays and letters and a selection of his poems that metaphorically addresses the issue of the reader/audience. Stevens’ pure, and often abstract, poetry is marked by impenetrability, a natural result of the kind of writing he had intended to write. Stevens considered poetic art an act of the mind, a cognitive process enacting a mind thinking. It’s no accident that his poetry seems indifferent to his readers. His many self-reflexive poems about a mind describing itself are necessarily personal, not social, and Stevens wrote first and foremost for himself. When he did address a particular audience, it was as a prophetic or patriarchal figure addressing the privileged elite. And while he claimed art was something to be experienced rather than understood, his seemingly closed texts don’t leave much room for the reader to participate in the meaning-making process involved in the act of reading. If Stevens is one of greatest of modern poets, he was also the most asocial and apolitical of American poets when considered against the historical climate of the early twentieth century in which he was writing.

본 논문은 한/영 양 언어의 반복의문문의 억양을 비교/대조시켜 보여 줌 으로써 한국인 영어 학습자들이 영어 반복의문문의 올바른 억양을 습득하 도록 돕는 것을 목적으로 한다. 본 논문은 우선 양 언어에 나타나는 반복 의문문들의 종류와 그에 따른 억양을 조사하였다. 문맥을 고려하지 않는다 면 억양 유형은 대체로 문장의 종류에 따라 결정되므로, 반복의문문의 표 면형에 나타나지 않는 본래의 완전한 문장 구조를 복원하여 그 문장 종류 를 알아내도록 하였다. 이어서 각 반복의문문의 담화기능이 문장 종류에 의해 부여된 억양 유형에 어떤 영향을 미치는가 고찰하였다. 어조 변화의 방향이란 측면에서 보면, 두 언어 모두에 있어서, reclamatory 의문문만이 여타의 반복의문문과 달리 문장 종류에 따라 부여되는 억양곡선과 상이한 유형을 띤다. 그러나, 두 언어 모두, reclamatory 의문문 이외의 반복의문문 에서의 억양곡선이 비록 그 본래의 문장 종류에 부여되는 억양곡선과 같은 유형을 띤다 하더라도, 음조 높이까지를 고려해 보면, 대조 쌍을 이루는 두 문장에서 동일 어조 층위로 실현되는 음절 또는 음절군이 취하는 음조에 뚜렷이 차이가 있음을 알 수 있다. 따라서, 반복의문문의 억양은 어조 변화 의 방향이란 측면에서는 두 언어 간에 별 차이가 없다고 하겠다. 다만, 우 리나라 대부분의 초/중등 학교 교과서에서처럼 저/중/고 3개 어조 층위만 설정하는 경우, 두 언어에서 모두 동일 어조 층위로 표기되는 경우라도 음 조 높이까지를 고려해 보면, 일부 반복 의문문에서 해당 음절 또는 음절군 이 취하는 음조의 고저에 약간의 차이가 나타난다.

This paper aims to grasp the actual problems of sC clusters in the syllable theory and to find the right approach to them. Generally, sC clusters are considered as consonant clusters with /s/ plus voiceless stop which may or may not be followed by a liquid or a glide. As a result of careful examinations, the following findings appear: (1)The Core Syllable Branching is the optimal syllabic template. N'' constitutes the syllable node which branches off to its left as the Onset. The intermediate projection, N', constitutes the Rime node, branching off to its right as the Coda. (2)The /s/ seems to have greater liberty than other consonants in clusters. In Onset, /s/ is the only segment that violates Sonority Sequencing Generalization and Minimal Sonorant Distance. Thus, it will be the best solution to treat /s/ in sC clusters as Extrametrical, which is the peripheral segment from the core syllable. This paper distinguishes Extrmetrical from Appendix which is limited to the morphological suffixes. For example, texts /teksts/ will be analysed as the permissible Rime /ek/ followed by Extrametrical /st/ followed by Appendix /s/. (3)The medial sC cluster can be syllabified as /V.sCV/, /Vs.CV/, /VsC.V/. The correct syllabification will be derived according to some combination of three principles: Maximal Onset Principle(MOP), Stress Attraction Principle(SAP), and Ambisyllabicity Principle(AmP). Words such as ‘Boston’ will be syllabified /bɔ.stən/ by MOP, /bɔst.ən/ by SAP, and /bɔst.tən/ by AmP. Thus, the optimal syllabification is /Vs.CV/.

활성역이라 불리는 Active Zone은 Langacker에 의해 처음으로 제안된 인지의미론의 한 이론으로, 단어와 단어와의 관계에 있어서 때로는 서로 직접적으로 연관되는 명사가 주로 생략되는 현상이다. Langacker 스스로도 그 언어 현상이 가능한 이유를 설명하였지만, 그 규칙의 복잡성 때문에 의 미적 분석은 시도하지 않았다. 또한 유사하거나 독특한 예들이 국어에도 많이 존재하고 있는데, 아직까지는 본격적인 연구가 이루어지지 않았다. 본 논문은 영어와 국어에 나타난 활성역의 예들을 정리하고 두 언어의 공통점 과 (예를 들면, 사람들의 모든 행동에 구체적이고 직접적인 주어는 생략) 차이점을 (예를 들면, 영어는 ‘소리’, 국어는 ‘맛’의 주체가 생략) 살펴보았 다. 본 논문은 또한 활성역이 언어의 특질상으로 보아 세계언어 공통적인 것(language universal)과 언어 개별적인 것(language specific)으로 구분될 수 있다고 주장한다. 다만 이러한 분석은 처음으로 제안된 것이기에 더많 은 예와 다른 언어의 분석이 함께 이루어져야 한다고 본다.

Children’s production of speech at the early stage of language development is characterized with children’s erroneous pronunciation that results from simplification and reduction of speech sounds and their sequences. This article treats this issue in two folds. First, it discusses a possible explanation on children’s speech production pattern on the basis of the notion of sonority hierarchy. Most of the previous studies in child phonology focused on the ease of articulation in association with simplification and reduction. But I argue that auditory distance must be considered as a potential factor of English-acquiring children’s characteristic sound patterns, pointing out that sonority hierarchy could play a crucial role. Second, well-know examples of child English phonology are analyzed in terms of non-linear phonology. In doing so, it will be shown that English-acquiring children’s speech data at the earliest stage of language development include assimilation, deletion, reduction, and/or substitution, which are nicely described and explained under non-linear phonology.

The 7th National Curriculum compelled schools to establish and enhance extra curriculum activities. To supplement the shortage of English class hours and improve students’ communicative competence, this study focused on reorganized extra curriculum activities via the project learning. The purpose of this study is two-fold. First is to explore the effectiveness of project learning in extra curriculum activities and second is to diversify the types of activities for primary English education on the basis of research findings. Thirty-one 4th graders in S elementary school in Masan participated in this study. The findings of this study were: (1) students felt a sense of fulfillment and gained confidence through project learning. (2) Project learning kept up students’ interest in learning and students learned more effectively after the project learning was implemented. (3) Students could find direction and motivation for self-learning through the planning and implementation of project learning. (4) Extra curriculum activities improved the effectiveness of learning through group-based activities.