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In Western litetradition, stories of the human search for meaning are almost exclusively male centered. However, Willa Cather challenges long established narrative codes which forbid women's spiritual journeys in Western literature. In The Song of Lark, Cather's protagonist, Thea Kronborg, creates a vision for her life out of the vast space and startling forms of the Western landscape. In order to express female self-assertion, Cather puts the landscape as an integral part of Thea's spiritual renewal in The Song of Lark. Establishing a relationship between nature and the female protagonist is a way to represent spiritual experience in terms of the continuum of transformation and rebirth available in natural metaphors. The metaphor of nature as a cyclical process of life, death, and rebirth takes the vital principle of life as a pattern of narrative which permits Cather's character to escape the spiritual death of narrative closure. In the pattern of Western narrative, female experience is subordinate to and peripheral to the male establishing self-definition. The heroic quest is solely for the male character, with the female serving a limited function as a boundary or a space through which the male passes. Thea, however, is modeled upon Cather's own determined refusal to tailor her spirit to the limited roles of women. Cather reverses the usual gender scenario by having Thea rejects completely the role assigned to her as a female and is single-minded in her devotion t her art. Cather establishes the link between Thea's dedication to becoming an artist and her refusal to engage in the marriage plot very early in the novel. For Cather, art is not an idle pursuit but a serious discipline upon which the artist's spiritual survival depends. Thus, the visionary force in Thea's life is art, not a relationship with a lover. This keep Thea out of the trap of the romance plot, and gives her the emotional and physical freedom normally claimed by the male artist － to define herself through her art rather than through marriage. Cather's most radical innovation, however, is to ally Thea to the sweeping spaces of the Western landscape. In establishing the prairies of the West as her literary landscape, Cather claims the frontier as a place where a woman may define a vision for her life, as well as private, art as a way of locating her experience. In the creation of Thea's spiritual journey, Cather develops a new paradigm for a woman's relation to the landscape. Thea's experience in Panther Canyon provides her with the spiritual authority to carry her vision forth into the world. In short, Thea's story is such a spiritual landscape, in which Cather explores the inner landscape traversed in the creation of a female artist.

This essay discusses the irony of ‘interior monologue’ shown in Eugene O’Neill's Strange Interlude. Almost experimental in its form and technique, this epic psychological drama was O’Neill’s greatest achievement in the 1920s and the dramatist was awarded his third Pulitzer Prize for this play. While some critics deplored its melodramatic aspects and sensationalism, it did receive favorable notices. The strength of the play lies in its characterizations and what O’Neill accomplished through the use of thought asides. These were far more comprehensible and meaningful than the masks in The Great God Brown. In a sense this play was an attempt at the new masked psychological drama without masks. Most were aware of the author’s attempt to explore the depths of the inner being, the dark side of the self. Primarily, however, they were captivated by the characters of Nina, one of O’Neill’s most fascinating female creations. During nine acts lasting several hours, the leading character, Nina Leeds, and the people surrounding her reveal themselves and analyze each other. The play recounts Nina’s life and her desperate search to find fulfillment and meaning after the death of the one man she truly loved. The length of the play, its epic intentions, and its experimental technique made it most memorable production of its time. We discover that both the asides and the length of Strange Interlude are dictated by a psychological need―to delay, to avoid coming to grips with reality. The function of the asides is to cushion the action and make it oblique. And this same obliqueness creates the need of spreading the story over nine long acts. O’Neill presented both the external action of his characters and their inner thoughts and torments. To do this, he invented the “interior monologue.” The asides and soliloquies are used more boldly and freely than ever―they constitute over a third of what the audience hears―to give voice to the characters’ secret thoughts. Time and again the asides heighten the emotion or significance of a scene, provide ironic contrast, or add to a characterization; equally often, though, they seem either repetitious, telling us what we already know, or merely an easy way for the author to get across exposition he should have woven unobtrusively into the dialogue. The mask-face dichotomy in The Great God Brown represents the character’s public and private images, what they pretend to be opposed to what they really are. Strange Interlude conveys the same idea about its characters’ schism, but it relies on thought asides to do so. As a dramatic technique, the asides and soliloquies offered something for easy discussion and for prediction concerning the future of the theatre. The play’s narrative, which dealt so frankly, even clinically, with matters of abortion and adultery, gave the play a success of scandal. Each character speaks both his public and his private thoughts, a device which allows the play to develop on two levels. The interior monologues characters use essentially cause strong irony. Usually they produce comic irony. Therefore a brilliant trick of irony using interior monologue is the life of this play.

Fowles constructs quite a unique vision of mystery which is presented as a system of ideas in The Aristos. Mystery, for Fowles, has multiple layers of meaning in itself. At its fundamental level, mystery means an “unknown” or “unknowable” thing that surrounds human existence and conditions every element of human life. In its second dimension, mystery is conceived of as man’s source of energy, a life-giving force. Finally, since mystery is an unattainable and inexplicable thing in itself, even though mystery guides the human being in his way of the quest, it never gives him an answer or a solution to his existential problems. Instead, mystery gives him the wisdom that he should go on whatever answer he himself finds. Fowles adopts the romance tradition recurrently in most of his major novels, and uses his philosophy of mystery as a structural principle in characterization and plot development. In the novels, examined here, each male protagonist is a quester for mystery, searching for true selfhood or authenticity in his present meaningless existence. Each novel has a mentor figure of mystery who is in fact a disguised figure of the novelist and teaches the protagonist along the way of his existential quest. In each novel, a female character, as an agent of the mystery, comes in and indicates that the protagonist should face the presence of mystery in his own life.

Wallace Stevens chanted the earthly things in his poems. To him the ephemeral beings are not only the component parts of the earth but those of Eternity, like a William Blake's poem: 'Eternity is in love with the productions of Time.'(from "Marriage of Heaven and Hell"). As it is manifested, to exist on the earth means to belong to the solar system. The solar system is in the universe, likewise, the universe is in the eternity or nothingness, because everything that exists inevitably will be gone some day. Therefore Wallace Stevens had deep affection for the transient beings owing to their finiteness. From the point of his world view, Wallace Stevens said that 'Death is the mother of beauty; hence from her,/ Alone, shall come fulfilment to our dreams/ And our desires.' So he could perceive the paradisiacal phenomena in our daily life by dint of his positive insight on the earthly things. Northrop Frye, therefore, called him 'the realistic oriole' as an angel. From that point, Wallace Stevens took the role of an angel of the earth. In fine, Wallace Stevens perceived the eternity in 'now and here'. In a sense he might have been solitary in a mess of many ideologies and religions, for he wanted to see things as they are. But he led his life stately with believing in himself and his poetic world. The great artist has also the great critic within himself.

쏘로우의 목가주의는 자연을 이상화하여 문학이나 사유의 대상으로만 삼지 않았다. 자연을 찬미하고, 자연과의 교감을 강조하며, 친화를 주장한 점에서는 낭만주의를 계승하고 있지만, 자연을 신비화하고 이상화하지는 않았다. 오히려 자연을 관념화한 초월주의의 한계를 넘어서서 자연 자체의 존재가치를 인정하고 실체의 요소로 취급했다. 또한, 그는 인간을 자연의 일부로 생각하고, 자연을 보다 실제적이고 실천적인 태도로 대함으로써 이를 일상의 영역으로 끌어들였다.쏘로우 자신도 문학적 명성을 얻으려고 노력했겠지만, 그 노력 이면에는 자신의 생각을 알리려는 사상가적 욕구가 존재했다. 마찬가지로 분업 등을 통해 효율 극대화를 우선시한 다른 산업보다 땅과 노동에 바탕을 둔 농업에 대한 신뢰가 높아, 손수 콩을 심어 노동의 의미를 체험했다. 그는 매일 같이 숲, 강과 같은 고향 산천을 가까이했고, 이들에 대한 애착은 남달랐다. 이는 자신이 살고 있는 자연 공간에 관한 관심과 애정의 결과로, 배타적이거나 지역주의적인 태도는 아니었다. 이타주의의 시작이 자신에 대한 애정에 있듯이, 이러한 태도는 자신이 일상으로 대하는 환경에 대한 자연스러운 관심으로 나타났다.이와 같이, 쏘로우의 목가주의는, 자연을 인간의 이익을 위해 파괴해도 무방한 무감각한 물질계가 아니라, 생명의 근원으로 전제함으로써, 인간도 그 일부분인 세계로 존중하는 태도였다. 따라서 그는 자연의 파괴는 곧 인간 파괴와 다르지 않으며, 자연을 인격적으로 대함으로써 자연과 인간의 상생이 가능하다고 믿었다. 그리고 산업화와 도시화의 폐해를 예견하여 자연보호와 환경의식을 주지시켰으며, 청빈하고 간소한 일생을 통해 이를 직접 실천함으로써, 탐미적인 낭만주의나 관념적인 초월주의를 상당 부분 극복한 선구자적 면모를 보여주었다. 월든 호수가의 생활로 상징되는 쏘로우의 목가주의는, 종래의 목가주의 전통이 갖고 있던 도피성, 신비화, 심미주의 등을 지양하였다. 또한, 자연 자체의 가치를 인식하고, 생명의 원천임을 강조함으로써 오늘날의 생태주 의와 환경주의 사상에 크나큰 보탬이 되었다. 쏘로우에게 있어서의 목가주 의는 이렇듯, 문학형식을 뛰어넘는 실천적 가치였으며, 인간이 자연과 공동 체임을 일깨움으로써 아직까지 그 생명력을 이어가고 있다. 특히 『월든』 은 그의 이러한 생활이 기록된 일지로, 자연 중심주의 사상의 기념비적 고 전으로 남아있다.

The Sun Also Rises is the first important novel by Hemingway that attracted wide public interest. He portrayed post-war expatriate American lifestyle then in fashion. And was thus regarded as a representative writer of the lost generation. He created a very special male character type that resides in a male world aloof from female governance. With his boy-like male characters and distinctive hard-boiled style he has contributed much to American literature. He has also contributed in making American literature which deals with international themes and surroundings. Nobody in The Sun Also Rises feels safe and secure from the war shock―physically or mentally. Jake Barnes becomes impotent from a bomb explosion and cannot unite with Brett physically although he truly loves her. Bill Gorton cannot sleep well at night because of the noise from his ears. Robert Cohn carries racial inferiority of the Jew since his Princeton days. To overcome this inferiority, he gets hard training to be a middle-weight champion at Princeton in his youth. Brett Ashley lost her first love in the war and suffers from her ex-husband’s violence and she is proceeding a divorce. All the characters in this novel seem insecure and unpredictable. Jake and Bill start their trip to Spain. They meet Cohn in Bayonne and resume their trip to Pamplona. After that they are scattered to move in different directions. Brett and Mike follow Jake to Pamplona but Cohn disturbs their trip. Cohn bursts into violence at Mike, Jake and Romero, thereby destroying San Fermin festival to the distaste of Montoya. Mike also cannot control his temper due to his financial uncertainty. Consequently, The Sun Also Rises can be regarded as a representative novel of the post war generation reflecting the insecure and embarrassed life styles of the lost generation.

This essay aims to trace the moral vision in Joseph Conrad's Lord Jim and its articulation, focusing on the hero, Jim's subjective and independent attitudes to his life. The hero Jim is against the customs and conventions of his society and pursues his own dream to be a hero. His dream is romantic and idealistic in that his pursuit is beyond the realities and his main concern is honour of his own sake. But Conrad shows many aspects of his actions through the narrator Marlow's continuing and developing responses to Jim. Jim's encounters with other characters give us some insights of his character. He does not admit his own limits as a human. Also, he is egocentric and does not recognize the existence of the other, making him alienated from others. The aescetic world of his own collapses when the other side of his self, Brown intrudes into his consciousness. Jim's death is not tragic but romantic because he always runs away from the realties and lives in his own dream. He is one of us. His attitudes to life is too much subjective and lacks the balance and order of Stein. His frustrated quest for personal salvation is Conrad's distressing prophecy for the modern man.

영국에서 내란이 있었던 동안 많은 팸플릿이 출판되었다. 일반적으로 정 치적인 팸플릿은 사람들을 자기편으로 끌어들이고 상대편 적을 비방하기 위한 목적으로 쓰이기 때문에 지금까지 이 시대의 팸플릿을 하나의 문학작 품으로 인식하지 못했었다. 그러나 이 시기의 정치적 팸플릿은 산문풍자로 서의 문학적 특성을 충분히 갖추고 있으므로 하나의 문학 장르로써 연구할 가치가 있다. 이 시기의 팸플릿을 통해 표면적으로는 이 시대의 복잡한 정 치적 사건들을 알 수 있지만, 특히 주목할 점은 그 표면적 사건들에 대한 묘사 이면에서 이 시대의 여성관을 밝혀낼 수 있다는 점이다. 이들 팸플릿 이 상대편을 비방하기 위해 상대편 적을 여성화시키고 있기 때문이다. 물론 이들 팸플릿이 여성 그 자체 를 비방하는 것은 아니지만, 그 시대에 널 리 퍼진 왜곡된 여성 이미지를 이용하여 상대편 적을 여성화함으로써 이 시대의 (넓게 보면 르네상스시대의) 왜곡된 여성관을 드러내고 있다. 팸플 릿 작가들이 정치적 목적을 위해 젠더를 이용하고 있고 적을 여성화시켜서 풍자화하고 있다는 점에서 이 시기의 팸플릿을 (여)성화된 알레고리라고 볼 수 있다. 여러 팸플릿 중에서도 찰스 1세를 옹호하는 왕당파 작품인 “The Parliament of Women”(1646), “The Parliament of Ladies”(1647)와 이들 팸플릿의 응답 작품인 의회를 옹호하는 공화당 작품인 “The Ladies Parliament”(1647)와 이에 대한 응답 팸플릿인 왕당파 팸플릿 “Match Me These Two”(1647)에는 정치적으로 대립하고 있는 두 진영이 서로를 비방 하고 비난하기 위해 상대방을 부정적이고 왜곡된 특질을 지닌 여성에 비유 하고 있다. 특히 르네상스 시대에 여성을 부정적이고 왜곡된 이미지로 인 식하는 배경에는 여성을 남성에 종속된 존재로 보는 사도 바울의 관점과 남성을 가장(머리)으로 여성은 남성에 종속된 존재(몸)로 보는 아리스토텔 레스의 정치철학과 여성의 열등성을 당연시하고 있는 성경 구절들이 한 몫 하고 있다. 여성의 열등성, 종속성, 부정성에 대한 관점이 지배적이었던 시 대에 상대편 적을 여성에 비유하여 표현하는 것은 최고의 정치적 비방수단 이었던 것이다. 이 시기는 정치적으로 혼란된 시기였고 따라서 검열이 엄격하지 못했던 때였으므로 팸플릿뿐만 아니라 다른 많은 글쓰기가 성행했다. 또한 그 어 느 때보다도 여성작가들이 공적인 목소리를 낼 수 있던 시기였다. 그럼에 도 불구하고 정치적인 팸플릿을 쓴 여성작가는 없었다. 이는 남성뿐만 아 니라 여성혐오적인 사회에 길들여진 르네상스의 여성 또한 계급적이고 가 부장적인 사회구조 속에서 남성작가들의 글 속에서 재현된 왜곡된 여성을 보지 못했음을 의미한다. 이 시대는 여전히 여성이 결코 들어갈 수 없는 남성들의 성역이 존재했던 시대였다. 여기서 여성은 단지 남성에게 힘을 실어주는 “확대반사경” 혹은 “타자”로서만 주변에 위치할 뿐이었다. 이와 같이 영국 내전 시기에 성행했던 팸플릿에서 (여)성화된 알레고리를 읽어 내는 작업은 지금까지 간과해왔던 고전작품들에서의 젠더의 문제를 재검토 하는 기회가 될 것이다.

본 논문에서 필자는 재귀사의 결속과정에서 나타나는 지시현상을 고찰하 였다, 특히 결속현상에서 대상을 손으로 가리키거나 특정어휘가 초점을 받 는 경우를 살펴보았다. 이 방법을 통하여 필자는 자기와 같은 짧은 재귀사 는 고유한 재귀적 속성을 갖지 못하고 화자의 의도에 의해서만 결속됨을 확인 했다. 반면에 긴 재귀사들은 화자의 의도가 필요 없는 본래 재귀적인 지시를 선행사로부터 상속 받음을 확인했다. 일련의 이런 결과는 결속원리 가 결속변항 현상만을 제약한다는 기존의 가설에 의문을 제기하기에 충분 한 것 같다. 게다가 지시효과는 재귀대명사뿐만 아니라 한국어의 공대명사 의 결속현상에 커다란 영향을 주는 것으로 확인 되었다. 이글에서 필자는 재귀사들의 결속 방식을 고찰 했는데, 이러한 결속 현상은 언어마다 상이함을 드러내고 있는 것 이 사실이다. 따라서 어떤 이론으로도 그 본질을 포착하기가 어렵다는 말로 결론을 내리고자 한다.

The purpose of this study is to classify the types of English verbs in terms of progressives, clarify the possibility of using each type as a progressive, and investigate the meaning, types, and usage of progressives. English verbs can be classified as activities, accomplishes, achievements, and states according to their meaning. Or accomplishes and achievements can be grouped together. Or English verbs can be classified as dynamic verbs and stative verbs. No matter how they can be classified, it is clarified that stative verbs can not generally be used as progressives. And it is shown that sometimes some stative verbs can be used as progressives when the verbs are used as dynamic usage. As for the meaning of progressives, Quirk et al say that in addition to process and continuation, there can be a number of concomitant meanings or overtones that go with the progressive aspect, such as limited duration, incompletion, simultaneity, vividness of description, emotional coloring and emphasis. And Givon says that progressives including the auxiliary verb ‘be’ can have such properties as unboundedness, proximity, simultaneity, habitual progressive, and progressives including other verbs can have continuous-repetitive aspectuals, inceptive-progressive aspectuals, terminative-progressive aspectuals, etc. The types of progressives can be classified as present progressive, past progressive, future progressive, present perfect progressive, past perfect progressive, and future perfect progressive. And the usage of each type is manifold. In conclusion, it is important and difficult to classify the types of verbs in terms of progressives. And because many verbs have more than two meanings, it seems that, when we classify verbs in terms of the possibility of using verbs as progressives, it would be good to classify verbs according to their dynamic usage and stative usage. And the meanings of progressives can be classified variously depending on their criteria and the usage of each type of progressive is manifold. It seems that it is very important to correctly understand the usage of progressives and put them to practical use.

The purpose of this paper is to study the sound symbolism of Korean and English liquids ([ㄹ],[l],[r]), based on the hypothesis that language contains many sound-symbolic elements. For the sake of this purpose, this study shows the evidence that there is a sound symbolism of “movability” in the Korean and English liquids through the analysis of the onomatopoeia and mimesis words, and extends the evidence to the general words. Finally, I propose that the Korean and English liquids have the same sound symbolism of “movability” in common, in spite of the fact that there must be different linguistic and psycho-cultural points of view in making the mental image of “movability”.

This paper aims to seek how to describe speech acts properly within the theory of situation semantics. Since speech acts do not come from the level of sentence but rather from the one of utterance, it is almost impossible to describe them in terms of the traditional truth-conditional semantics. Devlin(1990) is the first attempt making situational logic for describing numerous meanings which are dependent on the situational context. In particular, he presents an innovative method to describe speech acts with situational logic. However, It is doubted that his approach has a slight misunderstanding on the nature of speech acts by Austin(1962) and Searle(1979), etc. In this regard, I will investigate the characteristics of speech acts in respect to the communicative point of view in chapter 2. I will review his approach briefly in chapter 3, where I focus on the notion of 'impact' and 'infons' that Devlin(1990) presented in order to formalize the information of speech acts, and point out his misunderstanding on choosing causality of speech acts. And in chapter 4, I will try to give two alternatives, in accordance with the nature of speech acts, in terms of the communicative point of view by Searle(1979) and Jeon(1988).