Earticle

This paper delves into the properties of the subject and accordingly suggests teaching implications. The subject seemingly appears to be explained in connection with Case theories and Ɵ-roles. This causes much ado in teaching the subject to EFL students. In this paper, I examine some major properties of the subject. First, the subject does not necessarily carry nominative Case; sometimes it takes some other Case when there is no Case assigner available within a clause that it belongs to. Second, agent is not a sole Ɵ-role assigned to the subject.; the subject is not always the doer of an action. Finally, the subject position can be filled by either expletives without any meaningful content or PRO, an empty category. Conclusively I argue that the subject is purely a syntactic concept and should be determined by its structural position. Case and Ɵ-roles are simply peripheral to its syntactic account and accordingly suggest teaching implications appropriate to secondary school students.

John Steinbeck’s The Grapes of wrath(1939) and Thomas Pynchon’s Vineland(1990) have similarities. In their works the concern with salvation centers on an ecological awareness. The two writers’ ecological imagination is based on the left wing’s radical lyricism of the 1930s and the 1960s which is related to the unity of human fellowship by the strong bonds of family community. They believe that this consciousness can certainly afford a cohesive force to the bewildered individuals alienated from the dominant systems of the modern society. Particularly, in Rose of Sharon’s helpless condition and in her inability to cope with the invisible powers arrayed against her, what preserves her humanity is the recovery of a neighborly symbiosis. In Vineland district, northern California’s logging country, the Traverse-Beckers hold their picnic to celebrate a bond between two Wobblies, and have their momentary stay from the modern political and social confusion. Their absorption in family community as a medium of reconciliation with people versus people gives us a sympathetic perspective on human life. Here we feel ecological lyricism pervading the superiority of human virtues and pleasures to the accumulation of riches and property, of kindness and justice to meanness and greed, and of life-asserting action to life-denying.

A critique of Edward Albee’s Who’s Afraid of Virginia Woolf? reveals language that may be viewed as anti-feminist. The language used by the male characters in the play is patriarchal, hierarchical, and phallocentric in nature and reflects their desire to control and dominate women. Hence, the language used by the female characters reflects their desire to challenge the patriarchal, hierarchical and phallocentric notions of society by using phallocentric language, seduction, and by neutralizing the phallus. The language used by both sexes is therefore political because it is used to exert power and to control the opposite sex. The patriarchal nature of the play is depicted by the power and influence associated with Martha’s father. The patriarch’s power and influence permeates and controls George and Martha’s lives. The hierarchical nature of the play is reflected in the relationships between the men in the play. It is a relationship based on privilege, force, and authority. Power is transferred from Martha’s father to George and from George to Nick. And finally, the phallocentric nature of the play is represented in the language used by both the male and female characters. The influence of phallocentrism is deeply ingrained in the psyche of the men and women in the play and both sexes use language that alludes to the power associated with the phallus.

Along with the rapid development and pervasive distribution of simulatory technologies and media such as television and the Internet has come the era of images, simulacra, and virtual reality, which the French sociologist Jean Baudrillard (1929- ) explores with keen insights to it. The initiative for this paper originates from my speculative concerns over such Baudrillardian postmodern culture. Possible negative impacts of simulatory culture on human perception and conception of the real are explored in detail from a theoretical perspective. Baudrillardian culture is often summarized in the well-known dictum, “the loss of the real.” It is thus a highly postmodernized culture in which the virtual becomes more real than the real, and so the conventionally held boundary between the real and the virtual is terminally blurred. The paper starts out by explaining major characteristics of Baudrillardian postmodernism. Then, the principal concepts and theoretical positions are introduced to better understand the questions posed above. Toward the conclusion, it explores some possible impacts that cultural manifestations of Baudrillardian postmodern society may have on today’s society, centering on the way in which traditional perspectives of the real have been altered in Baudrillardian postmodern culture.

Malthus, in his famous Essay that triggered nationwide sex panic, suggested moral virtue and the restraint from marriages as a powerful check on increasing population. He even denies the poor the right to subsistence, blaming their poverty on their moral laxity. Francis Place, severely attacking his prejudice, contradicts all of his assertions in detail from the view point of the poor laboring class. In Every Woman’s Book Richard Carlile, on the other hand, positively asserts the value and importance of sexual love. Then he turns his attack on the prohibitive moral code of Christianity that has denigrated love into a fancied sin. He attributes prostitution and other sexual perversions to the mistaken notions of chastity and its hypocrisies. As is manifest in his view of “Society for the Suppression of Vice”, his argument took on an aspect of class strife against aristocracy. Blake seems to have alluded to these contemporary discourses on sex, which not only provide a perspective from which his advocacy of free love should be read, but a clue to his ambivalent attitude to sex. As their assertions on sex implied protest against the ruling class, Blake’s indignation over sexual repression should not be taken literally but as a way of expressing his outcry for political emancipation.

의미론적으로 타동사를 일반동사를 취하는 사역구문에는 세 개의 참여자가 존재하게 된다. 이 때 제2행위자는 동작연쇄의 머리인 제1행위자와 꼬리인 피영향자 사이에 존재하여 머리인 제1행위자로부터 입력된 힘은 도구역인 제2행위자를 거쳐 꼬리인 피영향자에 도달하게 된다. 그러나 제1행위자로부터 전달된 에너지는 사역동사에 따라 제2행위자의 행위자성에 다른 형태의 영향을 주며 변화한 제2행위자성의 정도는 사실성의 정도를 결정하게 한다. 행위자성은 자발적 의지와 통제력을 이용하여 그 정도를 나타내었으며 사역동사에 따라 다양한 값을 가진다는 것을 보였다. 또한 변화한 행위자성의 정도로 사실성의 정도를 알 수 있다.4장에서 조사한 사역동사에 대한 제2행위자의 변화한 행위자성과 일반동사V2의 사실성을 이용하여 (표2)를 얻을 수 있다. 가로는 변화한 제2행위자의 행위자성을, 세로는 일반동사 V2의 실현인 사실성의 정도를 표현하여 각각의 사역동사가 가지는 두 값을 상관 관계표로 나타내었다. (표2)를 통해 사역동사들이 뚜렷하게 두 그룹으로 구분되는 것을 알 수 있다. 첫 번째 그룹은 i에 해당하는 사역동사들이며 두 번째 그룹은 ii부터 viii까지의 사역동사들이다. 첫 번째 그룹은 행위자성과 사실성 사이에 아무런 상관 관계가 없는 것으로 제2행위자의 행위자성이 매우 작음에도 불구하고 사실성에서 큰 값을 보이는 것은 변화한 제2행위자의 행위자성이 사실성의 결정에 영향을 주지 않는다는 것을 의미한다. 즉 제2행위자성과 무관하다는 것은 제1행위자의 의도가 그대로 사실성에 투사되어 나타난다는 것을 말한다.

This thesis is to show that the causative verb in English determines the degree of the secondary agent’s agentivity, and also the degree of the factuality of the second agent’s action. The causative construction in English has the primary agent as the head of an action and the secondary agent as the instrument. The secondary agent is both an agent and a patient. It is an agent in the sense that it is affected by the primary agent. If an agent is to perform an action, it needs two factors, volition and control. They vary according to the type of agents, the context, and the construction, thereby creating different degrees of agentivity. The degree of factuality, ie., whether or not the secondary agent actually does the action, is determined by the lexical meaning of the causative verb and the agentivity of the secondary agent. The secondary agent’s agentivity is determined by the type of the causative verb. Accordingly, the causative verb is the crucial factor in determining agentivity and factuality. To conclude, there are two groups of causative verbs. The first group has the highest degree of factuality regardless of the instrument’s agentivity. The primary agent’s intention is projected on the factuality. In the other group, the instrument’s agentivity is projected on the factuality. Here, agentivity is roughly proportional to factuality

The purpose of this study was to examine the effects of culture teaching in college English classes. The research questions for this study were set up as follows: First, how about the students’ perception of culture teaching in their English classes? Second, what effect does culture teaching have on their cultural awareness? Data was collected from 75 Korean college students enrolled in an Audio-Visual English class, and a questionnaire was used as the tool for the study. The results showed that students’ perceptions on culture teaching were very positive so they had more interest in English and realized learning American culture is important in learning English. They also showed teaching American culture in English classes did not cause the inter-cultural barrier, and it didn’t raise an awareness of natal culture, either. This study concerned culture teaching in English class could provide not only English skills but cultural knowledge for the students. From this concern and the results, the study suggests the importance of culture teaching in college English classes should be emphasized, and this could make the students more competitive international people in the global context.

The purpose of this study is to find out the differences between American and Korean elementary school students in their patterns of routine speech. The 7th national curriculum for primary English education has the goal to improve communicative ability to understand and use daily routine speech. However, routine speech varies among cultures and individuals. In this study, routine behavior, speech, and activities are referred to as scripts. First, appropriate scripts for third to sixth grade students were chosen from English textbook CD-ROMs for intercultural comparison. Second, students in this age group wrote about the events depicted in these scripts. Third, on the basis of their descriptions, cultural differences and similarities were displayed. Overall, the participants in this study exhibited linguistic-functional differences as well as a sense of cultural awareness. In conclusion, the usage of scripts was found to be successful in the development of Korean students learning English as a Foreign Language.

Suzan-Lori Parks’s Topdog/Underdog (2001) was awarded the Pulitzer Prize for drama in 2002, making her the first African-American woman playwright awarded the Pulitzer. This article examines the relevance of African-American history and literary tradition to this play, using some tropes of African-American race theory: W. E. B. Du Bois’s “double-consciousness,” and Henry Louis Gates’s analysis of “signifying monkey” and “tricksterism.” Topdog/Underdog, which has many implicit metaphors and symbols, is a story of tragic homicide involving two black brothers playing a game of 3-Card Monte. As a joke, the brothers, Lincoln and Booth, were ironically named by their father after real historical figures who were enemies in American history. First, I examine the consciousness of the main character, Lincoln, who struggles to escape from the legacies of blackness but fails at last, from the viewpoint of Du Bois’s “double consciousness.” Secondly, I analyze the two brothers’ narrative tactic of “signifying.” It is a theoretical term that refers to a genre of African-American narrative often employing indirect attack against a stronger opponent. Lastly, I point out how prominent the “trickster” theme, a common legacy of African-American literature, is in this play. In Topdog/Underdog, the 3-Card Monte, as a primary metaphor of this play, symbolically alludes to the trickster tradition of African- American history and literature. The tragedy of this play lies in the fact that both the brothers, inevitably, can not avoid their history, their black legacy. Parks once said that her task as a playwright is to show us forgotten African-American history on the stage. She always exhibits an awareness of African- American history in writing plays, wants to show the relevance to it, and does it in this play.

This study aims at the father-daughter relationship in Thomas Hardy’s The Woodlanders drawn heavily on his family background. It reveals the effect which the parent’s social and economic ambition for a child have upon individual, family and social life. Throughout the novel, Melbury, a father, has to bear the suffering to see his loving daughter’s unhappiness in a disastrous marriage into which he urges her, and Grace in practice suffers from her unhappy marriage. This study focuses on how Melbury tries to materialize his strong ambition in his daughter and to settle her unhappy marriage, and on Grace’s course of life into a disaster caused by her father’s demand and her own submission and insufficient self-assertion, such as her education which makes her a conventional woman, her rejection of Giles, her attraction and marriage to Fitzpiers and her unhappiness. Eventually, this study tries to show that this novel is a tragedy resulting from the close father-daughter relationship by studying the aspects of this relationship.

In this paper, I mainly deal with African American authors like Charles Chesnutt, Zora Neale Hurston, Ishmael Reed, Toni Morrison, Gloria Naylor, and John Edgar Wideman, focusing on the return of the repressed diasporian religions: Voodoo, Hoodoo, and Cantomble. These diasporian religions have been relentlessly repressed and nullified out of interests of White imperialists. Like a sprout inside barren earth which nevertheless grows to bear good fruit, these diasporian religions have survived through harsh discrimination and degradation. The main reasons why these writers continuously return to the diasporian religions are manifold. With these religions, some African American writers retain their homeland’s culture and history, healing rituals, survival strategies, identity politics, etc. They revise other writers’ works and rewrite/right literary works and American canons by representing the supernatural power and imagination of the diasporian religions. In a sense, the diasporian religions play a string-like role in connecting the literary worlds of some African American writers. When slaves came to the Americas by force, the slaveholders purposely scattered them into different plantations in order to disrupt their communication and cooperation. By doing so, the slaveholders tried to prevent the revolt and riot of the slaves. However, the diasporian religions play a major role in connecting many slaves who came from different parts of Africa, thus helping them to fight the imperialists. Likewise, the diasporian religions of some African American writers’ works have the same meaning, and they not only present a back-talk to literary canons and imperialists’ interests, but also create a wider horizon of mutual existence and coexistence.

The female characters of Harold Pinter have developed from mere archetypal figures to existential individuals who struggle to establish their identities and create their ideal self-images in an active way. Deborah, in A Kind of Alaska, is one of the existential beings. Deborah is confronted with an unusual situation. Pinter tells the story of Deborah and her awakening after L-DOPA(an injection for cure) from a lethargic state which had lasted twenty-nine years. Deborah fell asleep when she was sixteen and comes back to life at forty-five. She suffers from being in different worlds between her ontological and her official age, between her adolescent fantasies and her adult body. Therefore, she has to patch together an existence of disparate moments, years apart in time. However, Deborah does not use the ways of previous female characters of Pinter. They just accept their physical world as their ideal world or escape from the real world to their fantasy world to make their own existential space. In the case of Deborah, she does not select one of two worlds passively but she makes her own choice in real world actively. In the process of her frustration, realization, re-ordering the materials of her life, Deborah is neither marginal nor secondary to her counterparts any longer. In A Kind of Alaska, Pinter develops his female characters into full-grown ones and, even allows them to be protagonists.

Tom Stoppard was generally said to borrow plots, dialogues, dramatic actions, characters, and dramatic devices from other writers’ works. He did not merely imitate them, but creatively transformed them, put them into new contexts, and gave them new meanings. However, many studies on Stoppard’s plays regarded his writing style as a mere imitation and looked over the qualities intrinsic in the style. The purpose of this paper is to investigate these qualities. Stoppard explored the content and ideas rather than the forms of the plays, which he had set as his goal in writing these plays. He thought that borrowing from other writers’ works was much more economical and effective than originally writing plays on his own. Stoppard used famous classical plays as frameworks of his own plays. Especially, he consistently transformed Shakespeare’s works. He used them not to take advantage of the reputation of the plays, but to attract readers/audiences and to enhance the dramatic effect through the familiarity of the plays. Also, it is highly probable that he borrowed from the classical plays to ensure the authenticity of his works. In conclusion, Stoppard’s plays are not merely parasitic imitations or mimicries; they are very meaningful in that other writers’ works are transformed and recreated as new type of works. He demonstrates that excellent plays are created not only by using the playwright’s imagination, but also through creative transformations.

The reconstruction of shared elements in RNR constructions can make us find out the grammaticality of each conjunct clause. When we separate each conjunct clause, the grammaticality of the first conjunct clause doesn’t matter. However, the ungrammaticality of the first conjunct clause needs our much attention. For example, there are ‘that clause’ which cannot be taken as complement, negative polarity items without licenser, disagreement relation in the first conjunct clauses. It will be shown how these ungrammatical sentences are ommitted in RNR constructions. And when ‘distributor and number’ contained-shared elements, especially ‘same and different’ are reconstructed, the problems unexpected happen in the aspect of interpretation. To solve the above problems, mid-way conjunction analysis proposed by Park(2005) will be employed.

In general, for the explanation of language processing of morphologically complex words, there are two competing models; the continuous (or left-to-right) processing approach and the discontinuous (or decompositional) processing approach. One of the typical arguments for the discontinuous processing approach is the Prefix-Stripping Hypothesis(cf. Taft and Foster 1975). The main claim of the Prefix-Stripping Hypothesis is that prefixes should be stripped off before the lexical access, since the lexical access can be done via only stem. In this paper, we provided an account of some asymmetrical behaviors of English prefixes and suffixes on the basis of the language parsing processes. Moreover, we attempted to provide further evidence supporting the Prefix-Stripping Hypothesis. As discussed in Melinger(2001) and Wurm(1996, 1997), prefixes and suffixes in English exhibit several asymmetrical behaviors. For instance, when suffixes are attached to the stem, they cause changes to the consonants of the stem. However, prefixes do not cause such change. In addition, we can find more suffixes across languages than prefixes. Through explaining and analyzing such prefix/suffix asymmetries in English, we provided further evidence for the Prefix-Stripping Hypothesis and argued that the Prefix-Stripping Hypothesis is more advantageous for the explanation of the prefix/suffix asymmetries in English.

This paper examines the female characters who have a mythical image, particularly, the image of the ‘Earth Mother’, in Eugene O’Neill’s plays. The Earth Mother was a Goddess worshiped in the Near and Middle East before the advent of the Christian religion. O’Neill’s female characters reflecting the image of the Earth Mother fall under the female stereotype the author craved to create throughout his career: a good woman like ‘a mirror’ possessing power, identity and autonomy to enlarge O’Neill’s male characters called ‘the misbegotten’. In O’Neill’s plays, the female characters who have a mythical image are Abbie in Desire under the Elms, Cybel in Great God Brown, Nina in Strange Interlude, Dynamo in Dynamo, and Josie in A Moon for the Misbegotten. The female characters function as a ‘Mother-mirror’ satisfying the appetite of immature male characters’ desires. Although they are portrayed as the mythical women, they are the ‘others’ of men; the traditional females who sacrifice themselves only to lose their identity. That is, O’Neill’s female characters who have a mythical image are oppressed women in patriarchy however adroitly they are idealized and mythicized in his works. They are the result of the male writer’s masculine perspectives, and reflect a fictitious image men fake in their immature mind. Therefore, the readers are required to have a new critical reading to unveil the true nature hidden behind the distorted image of mythicized female characters in O’Neill’s plays.

A wh-in-situ must be somehow associated with C, possibly as a way of scope taking, in order to ensure proper interpretation. So far, there have been two approaches concerning the fact that a wh-in-situ can have both a wide and a narrow scope. One is that a wh-in-situ undergoes movement at LF to the Spec of Comp by Aoun, Hornstein, and Sportiche(1981), Chomsky(1981), Hung(1982), Kayne(1984), Lasnik and Saito(1984), May(1985), Watanabe(1992), Tanaka(1999), and so on. The other is that a wh-in-situ does not undergo LF-movement at all and it is unselectively bound by the Q-operator instead. This approach was done by Pesetsky(1987), Stroik(1992), Aoun and Li(1993), Tsai(1994), Reinhart (1995), and so forth. In this paper, a new approach is proposed to explain why a wh-in-situ has an ambiguous interpretation. This approach along with the assumptions of Chomsky(1998, 1999) assumes that a null operator with an uninterpretable [wh] feature and an interpretable [Q] feature undergoes XP-movement overtly. With these assumptions, this paper shows that the reason that a wh-in-situ has both a wide and a narrow scope is the result of null operator movement to the position where the scope is marked.