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This paper is a study of Korean reflexives and their reference. Section 2 has been focused on distinguishing anaphors into three types. We have postulated two types of N-features in the sense of Chomsky (1995), namely, phi-features and U-features. Anaphors with underspecified U-features are local rather than long-distance anaphors, whereas anaphors underspecified for phi-features are subject-oriented in our analysis. Anaphors which are underspecified for two kinds of features are both local and subject-oriented. Section 3 is concerned with the referential difference between caki and caki-casin. The difference between anaphors becomes sharper when a QP or a WH-word occurs as the antecedent. QPs or WH-words excludes the possibility of coreference. In section 4, other differences between anaphors on the basis of the notion of ‘guises’ have been discussed. It supports our hypothesis to the effect that local caki can induce coreference. On the other hand, the hypothesis that non-local caki and caki-casin can be construed as anaphoric reference indicates that non-local caki and caki-casin cannot evoke guises. Finally, we have assumed that if two anaphors act as the same reference and given a choice between them, the two anaphors are in competition and C-anaphors are preferred over B-anaphors.

This study aims at analyzing the process on how main characters in Jazz form their own relational self in their African American community. Morrison approaches African Americans’ lives on more complicated terms than on these two opposed attitudes. Although main characters including True Belle, Violet, and Alice Manfred have suffered from racial estrangement based on the oppressive past in their black community, they have kept their cultural roots connected to African history and tradition. Particularly these female characters have acted their traditional roles as tar quality which black women historically have served. As they solve hatred, contempt, and pity through warming sisterhoods with which female characters share, their roles are beyond the privileged racial ideologies. Namely, as their sisterhoods is formed by their complicated human relationship in African American community, it has the meaning of their relational self, which is connected to the double consciousness due to their particular human conditions. Accordingly, her double consciousness is associated with the complicated relational self which contains the unforseen interconnectedness.

The purpose of this paper is to examine the validity of the levels of beginning, intermediate and advanced English conversation classes divided and classified by students’ own choices depending on their English competence and to assess Korean university students’ listening comprehension of English according to different listening materials, question types and question tasks. The subjects in this study included 264 university students, 115 in the beginning level, 94 in the intermediate level, and 55 in the advanced level classes respectively. To analyze the subjects’ listening capabilities, they were assessed twice, at the beginning and at the end of the semester in terms of interactive and non-interactive discourse, global and local questions, and searching for topic, key word and the main idea. Statistical measurements used were mean, mean deviation, t-test and ANOVA. The results of the study found that the classes classified were not adequate. Students only in the advanced class conducted showed a considerable improvement of listening comprehension through English conversation class in the semester. They were better at listening to dialogues at the pre-test, but non-interactive listening materials at the post-test. They were better at listening to global questions than local questions. In task questions, they searched for the main idea better than topic and keyword. This paper discusses the listening process, input theory and schema theory as important theoretical constructs and also provides efficient classroom implications for teaching listening of English.

This thesis begins with the question why Blake calls the history of 1800 years a “female dream” in Europe: a Prophecy. The perverse doctrine of “Woman’s love is Sin”, which is the agency of a “female dream”, can be regarded as a “Female Will”. It is, for him, the cause of the 1800 years of error and delusion since it has been originated from the notion of the Virgin Birth. The doctrine of ‘Chastity’ and the ‘Moral Law’ of Christianity is a major axis of a “Female Will”. With American and French Revolution, Blake identifies the Nativity of Christ with the appearance of Orc, the embodiment of revolutionary energy. He also comprehends that ‘Orc-Jesus’ is both the actual occasion of a “female dream” and the clue to the exposition of the origins of the oppressive history. In short, the aim of Blake’s portrayal of 1800 years as a “female dream” is to explore the oppressive history under which the creative energy of sex has been repressed and corrupted by the religion of ‘Chastity’ and the ‘Moral Law’. The sneaking submissive strategy of ‘male’ Fairy reveals a “Female Will” to be the doctrine of the material world, while the shadowy female’s question of the binding of ‘the infinite’ reminds us of the Fall into the material world and the redemptive ways. On the ground of this relationship between the material world and a “Female Will”, the ‘Prophecy’ proper explores the historical origins of oppression. The ambiguous conclusion reflects Blake’s ‘prophetic’ attitude to the confusing and dark 1794. Jerusalem manifests the way Los dissolves a “Female Will” a brief survey of which makes it possible to evaluate the ambiguous and problematic vision of Europe in the larger reference frame.

This paper examines the characteristics of time in Waiting for Godot based on Paul de Man’ “Rhetoric of Temporality”. The time in Waiting for Godot is not a linear one but a broken and ruptured one that can’t be perceived as the material and objective time by the characters of this play. For these reasons, this play has been viewed as a postmodern play in terms that it doesn’t have “center” and “Godot” is only “non-center” like “a” in “différance” concept of Derrida. However, there is central sign on the stage, which is a “willow” whose traditional biblical meaning is “Christ”. In this point, de Man’s concept of “allegory” is more effective to explain the nature of time in Waiting for Godot. By de Man, the allegorical sign can consist only in repetition of a previous sign with which it can never coincide, since it is of the essence of this previous sign or the origin sign to be pure anteriority. “Godot” in this play can be assumed as the “origin”, and the “repetition” in this paly is not the trace around the “non-center” but “authentic condition of human time”, which means the representation of sign can’t be coincided with the past, the origin. Therefore the “void” can be produced between “Godot” as the “origin” or “pure anteriority” and the sign or the representation of Godot. The subjects have to act fictional “writing” to fill out the void and to keep their existence, but the characters of this play have to act fictional behaviors, “waiting” for Godot. In this sense, “writing” in de Man’s “Rhetoric of Temporality” can be applied to “Waiting” for Godot on the stage.

The purpose of this study is to investigate whether or not teaching and learning English using ICT in a high school English conversation class brings about the positive changes on students’ affective factors and communicative competence. Tasks from each unit of the English conversation textbook were reconstituted to carry out ICT using activities and ICT resources were selected which can provide supplementary or enriched lessons for the students. The findings of this study are as follows: Fisrt, communicative activities based on the teaching and learning model using ICT were effective in increasing high school students’ affective factors. Second, teaching and learning English using ICT showed statically meaningful improvement of the students’ listening ability. However, their speaking ability didn’t improve much because ICT was used just as the presentation tools for aiding the speaking activities. Third, students’ answers on the questionnaire and comments showed using on-line cafe in English class was useful for the students. In conclusion, teachers should make good use of ICT in high school English conversation classes. It would be better if ICT resources can be used as the supplementary or enriched learning materials relating to the topics or communicative functions of the textbook.

The first two novels by Chang-rae Lee, Native Speaker and A Gesture Life, deal with the issue of identity as experienced by minority immigrants in America. They explore how Korean Americans react to notions of ethnicity and race as they are encountered in traditions and the family in the United States. Chang-rae Lee shows how minority immigrants waken to a sense of identity through the process of self-reflection. Their realization of who they are begins with the understanding of the relation between self and society. “Double Consciousness,” as defined by W. E. B Du Bois, refers to the fragmentation of consciousness among blacks when forced to look at themselves through the eyes of others. The characters in both novels experience this in a very similar way. Henry Park and Franklin Hata undergo a crisis of identity because of the double consciousness they experience as the Other in the dominant white society. Their lives, however, change when their sense of non-being is replaced with a sense of being through the process of self-reflection. This paper explores the process in which their sense of non-being is transformed into a sense of being. In his struggle to assimilate to American society, Henry develops a sense of self that embraces the heritage of his parents and their lives as Koreans. He comes to embrace a sense of ‘us’ and becomes a new person. Hata hides behind a mask and the gestures of daily life in his attempt to maintain his reputation in the community and fit into white society. Yet, his disguised life is not authentic and he comes to realize that it is only a gesture. After the reconciliation with his adopted daughter, Sunny, he transforms into a responsible and loving person and finally experiences what it is like to be truly alive.

Zora Neale Hurston’s Their Eyes Were Watching God is an African American woman’s story of her search for selfhood. It is the story of a spiritual journey of Hurston’s female protagonist whose name is Janie Mac Crawford, who initiates her marriage to Logan Killicks. Even Logan is a farmer who has achieved material success and can provide financial security to her, Janie’s first marriage which was arranged by her grandmother is failed. Through their married life, Hurston portrays their concerns in different ways. For Janie, passion is a her dream. However, Logan’s concern is to work hard in order to be a successful farmer. So Janie does not love the prospect of a life of toilsome farm work that Logan seeks. This causes Janie to turn to Joe Starks. Janie runs off with Joe because he speaks on what she is dreaming about. During her second marriage, however, she is controlled by Joe’s economic power and class status. Janie has recognized that she has an inner self which is separate from him. Thus, Janie chooses Tea Cake Woods because he has the ability to express his feelings more intensely than the other men in her life. In her marriage with Tea Cake, Janie flourishes in love and experiences the respect of an equal that she so desired in her earlier marriage. After his death, Janie returns to her hometown with nothing. However, she gets her story and finds fulfillment which represents an alternative source of meaning for the African American female.

This paper aims to analyze Vonnegut’s two novels, Galapagos and Timequake, which show the present crises that modern society is undergoing and the possible disasters it might meet. In Galapagos, the author studies the corrupt nature of human culture as it is controlled by Big brain and presents an apocalyptic warning regarding many problems of modern society, including overpopulation, war, terror, slavery and environmental pollution. In the process he asks humankind to recover its humanity and preserve its dignity, while developing a world view which will help us overcome these cultural crises. In Timequake, Vonnegut thinks that mankind is threatened by an absurd social system, inhuman policies, destructive wars and cold-hearted selfishness. After contemplating the problems of modern society, he suggests practical measures to improve conditions and offers a reformative vision of how to better his fellows. As a consequence, Vonnegut has a deep insight into many problems of modern society and tries to make humankind aware of the crisis through his apocalyptic warnings. As his intention is to make us aware of our need to become more human, he presents a message of salvation for mankind through these works.

In Doris Lessing’s The Diary of a Good Neighbor (1983), the protagonist, Jane Somers, attempts to be reconciled with her mother as well as to play a role as a good daughter opposite to the female characters who, in Lessing’s early novels, always struggle with their mothers. Such a change of Jane can be seen in her inner world, particularly described in her diary, related to the relationship of Maudie Fowler and herself. So it is possible to read this novel from an analytical psychology, especially with Neumann’s theory of the terrible mother. Neumann says that the terrible mother, who personifies the destructive and devouring aspect of the unconscious, sometimes helps the ego to achieve centroversion or sometimes prohibits the ego from trying to do it. The terrible mother in The Diary of a Good Neighbor is embodied as death, for the journey of Jane toward centroversion is mainly developed in overcoming the fear of death or, literally, death, such as, her husband’s and mother’s and Maudie’s deaths. Through the three deaths, Jane comes to accept the dark side of her life and is changed from ego-centrism to altruism, leading her to help her niece. As a result, it is believed that she can solve her problem that she has no affection for others resulting in being isolated from her family. Accordingly, Jane perceives life as more important, realizing how precious it is to love each other.

This paper examines Milton’s view of womanhood through an analysis of Eve in Paradise Lost. Recent feminist studies of Milton are very conflicted. One group considers Milton as misogynist or male chauvinist, referencing his supposedly Pauline description of women. Another group claims that Milton’s view of women is as revolutionary as his thoughts on other political issues. This paper agrees with the latter position, focusing on Milton’s shift from a dualistic distinction of mind and body to a monistic view of humanity. Liberated form this conventional dichotomy, Milton’s Eve is no longer a “bodily”, hierarchically beneath the “spiritual” man. If Milton’s Eve is analyzed through his philosophical understanding as well as his religious belief, Eve becomes representative of Milton’s innovative view of women. Although Milton can not be regarded as a feminist by contemporary thought, he did attempt to depict women as intellectual and spiritual unlike most of his peers.

The purpose of this paper is to study constraints on middle verbs and implicit argument focusing on its way of presence and genericity. We examine affectedness constraint, aspectual constraint, and causativity constraint, and among them, aspectual constraint is proved to be the most convincing constraint of middle verb formation. We also prove that presence of an implicit argument is a defining characteristic of middles. The implicit argument of middle is syntactically unexpressed but semantically present. However, there are different opinions of the way of presence of an implicit argument. In addition, although the external argument is understood to be people in general, even middles lacking genericity involve an implicit argument. A specific person can be engaged in the interpretation of an implicit argument. Therefore, genericity is not an essential property of middles.

This study found that the applause from Cosmopolitan on Toni Morrison as a “Shakespeare singing the blues” was owing to her new thoughts and aesthetics on the African American history. Therefore, this essay showed that at first the ‘incest scene’ from The Bluest Eye does not have common issue with the similar one from Invisible Man by Ralph Ellison. Secondly, it clarified that the consciousness in flux of characters in Sula and the dictions in Beloved contribute the text’s achievement for the meaning as well as the intention of open-ending, which argue powerfully Morrison’s abhorrence of the conservatism having been long spurted by the ‘White Mythology’. Thirdly, the Solomon Song in Song of Solomon and the jazz in Jazz represent themselves for both affirmative and negative needs from the history of African American people, which combines the dichotomical elements to be supplemented functionally and symbolically by their counterparts. In all, this study supports Morrison’s statements of “encompassing the black music” rooted in her belief of depth that the structural dichotomies in her texts such as ‘private thing’ and ‘public consumption’ or ‘centered’ and ‘off-centered’ and ‘gain’ and ‘loss’ appear to be counterparts of no reconciliation at all, but actually they are to be supplements to each other.

This paper, by examining the two works, “The Old Cumberland Beggar” and “The Ruined Cottage,” tries to analyze the nature of sentimentality in the poetry of William Wordsworth. In that analysis, Adam Smith’s The Theory of Moral Sentiments and Edmund Burke’s Reflections on the Revolution in France are also discussed along with the poet’s moral philosophy. The positions of those two contemporaries provided the parameters Wordsworth’s poetry worked upon after his political apostasy from the French Revolution. Wordsworth’s conservative turn in the Revolutionary politics, this paper concludes, invoked his interests in the moral sense theory which sentimental literature in the period relied on. Smith and Burke emphasized the role of ‘habits’ in the making of the modern enlightened self. Their line of thinking, Wordsworth views, is in open opposition to the French theory of reason, which levels all the ‘prejudices’ and ‘customs,’ releasing the destructive energies to rend the fabrics of the human society. “The Old Cumberland Beggar”, when we read it in Smith’s views in The Theory of Moral Sentiments, seems to argue that the free circulation of moral sentiments premises the harmony of a society, which the French Revolution failed to recognize. Wordsworth wanted to achieve the moral hygiene in the English society by providing the stimuli in the tales of Lyrical Ballads, which precede and induce moral consciousness and sympathy. “The Ruined Cottage” exemplifies that procedure in telling Margaret’s tragic story in the form of the ‘framed narrative’ with the separation of the narrator and the listener.

English and Korean have a distinct phonemic system with different number of phonemes and with phonemes that are not equivalent. These phonemic differences in the two languages cause Korean learners of English to have difficulties in acquiring English vowels and consonants, sometimes leading to communication breakdowns. This paper aims to investigate how the English textbooks, currently used in middle schools since 2000, include the vowels that are troublesome to Korean learners. My concern is, however, limited only about the strong vowels among the phonemes in the textbooks. To do this, the phonetic alphabets used in the textbook are not only reviewed but also compared to those by some representative phoneticians and the vowel chart of English by Ladefoged (1982) and that of Korean by Hyeonbok Lee (1989) are compared, in order to select some pairs of vowels that are not easy for Korean students to acquire. Some results of analysis are discussed and then the corresponding relation between spelling and pronunciation, not the one between phoneme and pronunciation, is presented as another result of study. In the end, some suggestions are given that should be considered when producing the next middle school English textbooks.

Southern American literature reveals various responses and representations of the Old as well as the New South, and the Civil War is the distinctive boundary in terms of characteristics of Southern literature. Until the Civil War, Southern literature had a tendency to support and justify the South’s viewpoint, especially regarding the issue of slavery. However, after the war, the main current of Southern literature, particularly in the 20th century, shifted to “a review of Southern history.” The uniqueness of Southern drama is the same as that of Southern literature: the conflict between the Old South and the New South, and the introduction of strong Southern females. Tennessee Williams is considered to be the artistic paragon of Southern Drama. His The Glass Menagerie and A Streetcar Named Desire center around two strong Southern women conflicted between the industrial present and the glorious old South. Amanda and Blanche, unable to overcome reality because of their strong attachment to their Southern past, descend into a desperate psychological state. Trapped in the terrible loneliness and despair of the present, they try to ameliorate their suffering with romantic flights to the past, flights which only exacerbate their misery in the present. Through their eventual downfall and failure, Williams periphrastically criticizes the new view of a value system brought on by sociological changes in the South.

This paper maintains that any literary tendency such as ‘modernism’ can cycle over the whole literary history, even though its original definition has long been fixed both in terms of historical and literary significance. The tendency to ‘modernism’ becomes strong during the period from the end of the 19th century to the 1930s. Its major modes of expression are three things: first, ‘impressionism’ which is related to the ‘intense moment’; secondly, ‘subjectivity’, related to the mental exploration of the self; and thirdly, ‘symbolism’, related to the thematic description. Lord of the Flies created by William Golding and published in 1954, three decades after the modernist flow, embodies these modernist modes of expression. Golding relies on a impressive method to make the reader see the ‘intense moment’; he introduces into the core of this work the symbols that in the various ways recurs in the major works written by the modernist writers. Finally, central to this work is the concept of ‘salvation’ symbolized by ‘fire on the mountain’. In this context, this paper aims at finding the modernist elements in Lord of the Flies to regard this work as another successful modernist masterpiece, and to expose the recurring literary tendency such as ‘modernism’ at any possible point of literary history.