Earticle

This paper intends to make a distinction between grammaticality and non-ungrammaticality with respect to the superficial errors made by native and non-native speakers. Non-ungrammaticality is, in principle, assumed by the hypothesis that native speakers are incapable of producing ungrammatical utterances in normal speech activities. This paper also delves into the neurophysiological status of anomalous utterances due to spoonerism, various types of aphasia, and online English text-chatting by entry-level non-native speakers of English. It is also suggested that some anomalous utterances do not relate to deficits in the faculty of language comprehension but rather look like some specific symptoms of Broca’s Aphasia.

This study has made investigation into small clauses. The main findings are as follows: First, a full clause and a reduced small clause have a common feature in that both of them have a predication relation, but they also have syntactic and semantic differences. Second, there are some theories which deal with small clauses, such as Predication Theory, Complex Predicate Theory, Small Clause Theory, etc. Predication Theory and Complex Predicate Theory argue against the existence of an autonomous structure for small clauses, but Small Clause Theory states that a small clause is a syntactic unit and, as such, possesses an intrinsic identity. Third, there is a claim that a small clause does not contain any functional category at all, but the claim that a small clause also has a functional category like a full clause seems to be more persuasive. Fourth, adjectival small clauses and bare verbal small clauses show differences in predication, subject position, topic, passivization, etc. Fifth, it has been found that in there-sentences, in some cases the post-copula NP and a predicate following it form a small clause or in other cases they create a NP. In conclusion, the proper syntactic treatment of small clauses remains a matter of considerable debate and complexity, but it seems to be desirable that we should regard a small clause as a syntactic unit with a predication relation and a functional category.

This essay attempts to read John Donne’s “The Canonization” as an anti-Catholic parody. As we read the poem, we seldom see that it was a poem of parody by a poet who was a bright young man aspiring to a court-based career. In the poem, the poet degrades the honored tradition of canonization in the Roman Catholic Church in which Donne’s ancestry had kept firm faith. Despite his biographical ambiguity, Donne’s life and writings before 1601 show how strenuously he strove to reason himself into a higher career like a lawyer or a courtier. For him the Catholic background of his family, in which he was deeply involved, was a big burden, since England was fighting against the Catholic Church. This religio-political situation of the time seems to have driven him into a very awkward hole, forcing him to choose between the different Churches for his future career. Intentional or not, he wrote poems which twisted and parodied Catholic traditions, thus seeking to establish himself as an exemplary person of the nation who was neutral to religion or at least unsympathetic with Catholicism. From the New Historical perspective, this aspect in his poetry can be understood as resulting from his agonized responses to the religio-political interests of the time which he tried to take advantage of.

In reading African literature, as in consuming any text cross-culturally, we encounter more than the ranges and plays of meanings which the text as figure has from its author and that author’s cultural context; we encounter, too, our own habits of categorization and configuration, of reading between figure and ground, text and context. Cross-cultural reading is as much a process of interpreting ourselves－of reading across, not merely through, our own frames of references－as it is of interpreting texts and their (alien) contexts. Emecheta’s version of human reality resists overtly utopian visions: life is inherently problematic, troubled by tensions that cannot be resolved. The site of these tensions, however, is the only opportunity that we have to act on and fulfill our humanity－whatever that might turn out to be. Emecheta’s ironies argue a resistance to the alienating dichotomies, typified by the Cartesian split, that characterize “modern” culture, and which enable the various rationalizations, alienations and exploitations that that culture is built on. As we have seen, the crossing and interaction of these spheres in Emecheta’s narratives, rather than multiplying the possibilities open to her characters. It seems possible, however, that in considering the effect of multiple marginalizations, we might learn to shift our focus from the multiply crossed-out, multiply bound space that remains within the frame of the cultural crossings and crossings-out of the human. Although Emecheta offers no utopian vision, her literary production argues for the presence of a genuine humanity which exists at the margins; there is in Emecheta’s fictions an implicit argument for “life outside the text,” for an “ungraspable middle space” in which the paradoxical effort to figure the unfigurable, in fiction or in life, is at once unavoidable and good.

The purpose of this paper is to investigate the need to develop a field-friendly ESP curriculum for college English majors and to suggest a development model of the curriculum. For this purpose, the previous studies of ESP and customized curriculum were reviewed. Also, the English programs of three junior colleges were analyzed. Based on the literature review and the case analysis, the field-friendly ESP curriculum development model which incorporates DACUM (Developing A Curriculum Method) and the Delphi technique into ESP curriculum was suggested. The model includes two essential stages: the needs analyses of both learners and field and the job analysis of the field. The subject matter experts (SME) participate in all the stages of curriculum development as content source and decision-makers. The field-friendly ESP curriculum is expected to satisfy both college ESP learners and the field by providing a customized English education.

As a neo-slave narrative that emphasizes the impact of slavery on the descendants of African Americans living in modern America, Paule Marshall’s Praisesong for the Widow depicts how individual and cultural memory function in overcoming the disinherited body and soul of African Americans. Blending legends, dreams, memory and ritual, Marshall portrays Avey Johnson’s physical and spiritual journey that intersects the wide geographical regions of Africa, the Caribbean, and the United States of America. Estranged from blacks’ cultural and racial heritage in the pursuit of upward mobility as well as white’s values, Avey Johnson regains her cultural and racial identity through the help of her ancestral figures such as Great Aunt Cuney and Lebert Joseph. Cultural and racial identity through individual and collective memory help her rediscover her blackness and inheritance. The discovery of her blackness is made possible by remembering her past through her memory. This paper explores the way in which Avey Johnson restores her memory. The paper investigates not only how Avey’s memory of past experiences affects her current life and what it is to make this happen, but also how she re-establishes it through the symbolic ritual of rebirth and forgiveness.

This article studies the aspects of social absurdities in American novels of the early 20th century, in relation with capitalism and its effects on human nature as degeneration by the distorted desire, as violence for their result, and as madness that resists against the capitalist-leading culture. American dream of success is a kind of optimistic value, but in the society where systemized capitalism exists, it also effects the lives and the minds of the individuals. People in this system naively bows to it, but in their minds there also exists a sort of conflict between the inner nature like desire and the oppressive system of capitalism. So the aim of this article is to find out their traces from the beginning of the 20th century, the era when the American capitalist culture began in earnest, and their aspects of transformations in the place where all the capitalist rendezvous meet. In Frank Norris’ McTeague we may find the aspects of conflicts between the distorted desire for success and their instinctive brute within, and the negative aspects of excessive desire for the material sense, which is the basic form of capitalism, resulting in its bursting out as a violent murder. In Nathanael West’s The Day of the Locust, we may find the ungrounded desire in the systemized capitalist culture, Hollywood. characters in this work search for their way of success, but they are frustrated in the horrible emptiness of massive, systemized capitalist culture, and it bursts out in a form of massive madness and riot in the central place of systemized materialist culture.

I explore how Janie defeats her false gods in Zora Neale Hurston’s Their Eyes Were Watching God. Her false gods signify her oppressors, such as Nanny and Joe, and the constricting conventions of the dominant culture. At each stage of Janie’s development, they pressure her to deify white culture. Janie fights her way out of them and, through the signifyin(g) discourse, comes to find her own voices in life. These voices are paramount to Janie’s growth. As a young girl, Janie is confronted with her grandmother’s desire that Janie have everything she did not have. When her grandmother, Nanny wants Janie to be totally under her control, she calls repeatedly on the Lord. The frequency of these references attests to the depth of her need to achieve her wishes rather than the strength of Nanny’s conviction. Nanny’s apostrophes to God are transformed into Joe’s own ultimately rigid and stultifying godhood. “I god” interjects Joe over and over as he wields his big voice. Joe believes that the acquisitions of wealth and status would make himself a big voice and bring him closer to the white culture which thought him inferior. Hurson details Janie’s fight for self-growth by negating the values imposed by the false gods. Janie has taken on the role of the folk trickster, “the signifying Janie,” and resisted the false gods of the white world.

Lewis Carroll’s Alice in Wonderland is a fairy tale but readers are often at a loss to its uneasy feeling in the book. The feeling of unease and strange unfamiliarity from the fairy tale approaches us through the familiar objects and circumstances. This uncanny feeling is the most common feature readers find in the book. According to Freud, there is the uncanny when the desires oppressed or surmounted in the past return to the familiar context of the present. The grotesque and fantastic scenes such as the transforming body, automatism of the dead objects, ego-centric characters and their linguistic-logical irregularities in the book reflect the traces of the oppressed or surmounted. They become the uncanny when the protagonist contrasts them with the orderly reality of the present. This means the uncanny arises from the conflict between the desires oppressed or surmounted in the past and the present orderly reality which denies the past. The protagonist and the reader therefore experience the uncanny when they cannot escape from the simultaneous dual perspectives of the past and the present. Carroll’s book has many interesting characteristics including puns, logical problems, grotesque images among which the uncanny element is the most striking feature. The study of the uncanny, therefore, is a must step for the full understanding of fairy tales and fantastic literature as well as Carroll’s book.

It is regarded that some of Hemingway’s works are deeply related with sex problems. As the ideal, Catherine Barkley, Maria, and Renata stand out. The following are the negative types-Doctor’s Wife, George’s Wife, Brett Ashley, Helen, and Margot Macomber. There are several differences between the former and the latter. In the first place, the heroines of ideal type are docile, submissive, or sentimental to their men. The negative women, on the other hand, take the opposite attitude of the affirmative. Secondly, the ideal types such as Catherine or Renata wear their hair long. But the negative, for example, Brett Ashley, puts on a mannish felt cap and her hair style is brushed back like a boy’s. In short, the ideal woman cherishes a true womanhood, while the negative does not, it seems. (Jeonju University)

The relation between modernism and postmodernism can not be described exclusively in terms of dualism, continuity or discontinuity. This means that postmodernism cannot be considered either a pure continuation of its predecessor, modernism, or a complete anti-modernist movement. Likewise, romantic poetics and modernist poetics do not form a relation only in terms of dualism, because some major modernist poems include not a few technical elements, including rhetorical devices and descriptive strategies, which make it impossible to discuss them without regard to romantic poetics. Apparently, T. S. Eliot, a major poet and critic of literary modernism, attacked the romantic poets and poetics for several reasons, which led to his being regarded as an anti-romantic writer. But, as shown in recent revisionist studies, his poems and poetics can not be approached satisfactorily without considering the romantic influences on them. Particularly the ‘unification of sensibility,’ Eliot’s own poetic and critical term, reveals that it has some epistemological affinities with the monistic romantic poetic theories of Coleridge and Wordsworth that require the ‘coalescence of subject and object’ and the ‘vital union of thought and feeling.’ Eliot’s ‘unification of sensibility,’ which means unification of thought and feeling, reflects his monistic poetic ideal that poetry has to represent a unified—not divided—experience. In fact, his whole poetic life seems to be a series of efforts to restore our lost immediate approach to experience and things. The evaluation of his achievements in his texts can vary according to critics. Nevertheless, the fact that ‘unification of sensibility’ was one of his major poetic concerns proves that Eliot‘s poetic world never excludes romantic poetics, including monistic epistemological frame and poetic techniques such as dramatic monologue, animation of natural objects, or personification.

The purpose of this paper is to study the process of self chaos and its accommodation in Dangling Man. Essentially. Bellow has an optimistic view of man and the world in spite of prevailing nihilism, dehumanization and immoralism just in American society and its literature. Therefore, protagonists in his novels try to accommodate and overcome their sufferings, especially those elements which lead their lives to chaos or disorder. Joseph, the protagonist, in Dangling Man has been an outsider in his society and family, dangling between civilian society and prospective military life for about a year. As a result, he has been completely alienated from the world. He is, in a sense, in mental suffering and predicament because he has no character in his society. But he finally escapes his trying situations, and enters into the community of order and harmony by volunteering instead of enlisting in the army. Actually he tried to solve his own problems through self-examination and mental process. So he changes himself into a realistic character and joins society as an ordinary citizen accepting himself, others, and the world as it is.

The word insanity has been associated with a state of mental derangement or craziness that goes against the will of a rational society, which tends to label a person crazy when he/she acts irrationally and incoherently. I am interested in discussing how the meaning of insanity has been misused and how often people confuse the unconscious with craziness. As we see in The White Hotel, society is usually the one that accuses one of irrationality and incoherence, causing him/her to transform into the stage of insanity. If we take insanity as some kind of reactionary behaviour or state caused by the rational oppression of a society, however, there is really no reason that one should feel insecure about his/her insanity. The White Hotel serves as an allegory that disqualifies the traditionalists－Sigmund Freud, Ernest Jones, and D. H. Lawrence－who constantly highlight what is visible (the symptom), and promotes a new line of psychoanalytic theorists－R. D. Laing and Jacques Lacan－who seem to be much more interested in what is invisible. The first group is mostly interested in deciphering the operation of the unconscious and therefore attempts to treat the symptom, while the new line of psychoanalysts engages in investigating what is invisible and consequently takes madness as something intrinsic.

The transcendentalism in Moby-Dick is the combined outcome of Melville’s checkered experiences and the turbulent American society in the 19th century. So, it assumes a distinctive aspect, different from others’, imbued with thoughts on Confucianism, Hinduism, Mohammedan, Upanishads, etc. To convey these diverse elements, Melville put manifolded heroes in his work. Ishmael, Melville’s altar-ego, unfolds the story of Moby-Dick as a narrator. He symbolically identified himself with Queequeg, a barbarian, to realize his ideal world. Queequeg is depicted as a supernatural man who follows and practises the transcendental thoughts as the man who loves all, transcending creed, color, religion, and race. Also, though stammering, he performs his duty faithfully and nimbly, braving death, which enables him to be reputed as a noble man like the gentleman called by Confucius. Melville-Ishmael gives an explanation of his having experienced the pantheistic world in marine life, harmonizing himself with the flow of the sea. The transcendentalism in Moby-Dick is not a theoretical and romantic one in vogue at that time, but a unique and diverse one tinged with oriental and empirical elements. Through this, Melville tried to instill a new vision of hope, morality and value into Western society.