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Since the Gifted Education Promotion Law was proclaimed in 2001, gifted education has become a catchword among educators and school practitioners. Accordingly, math and science have been selected as two core curricula areas for gifted education. Compared to these core areas, language—especially English—fails to be valued as much. I attribute this to the following two facts. First, the government views verbal giftedness as less contributing to the country’s technological development than the two other areas. Second, it is also attributable to the general belief of educators and school practitioners that language is rarely endemic to giftedness. With respect to institutions for the gifted, there are three representative institutions for gifted education: gifted schools, gifted centers, and gifted classes. Verbally gifted education is, however, offered at the latter two types of institutions. This paper argues that verbally gifted education should be offered mainly in gifted classes for the following two reasons. First, it might be easier to implement regular and continuous language instruction in school classes, enabling more effective language acquisition. Second, offering regular gifted classes during school hours ensures that identified gifted students take only those classes, not both ordinary and gifted ones, consequently challenging the gifted's interest and level of ability.

When Philip Larkin died in 1985, his fame was great and his claims on literary immortality were considerable. But, with the publication of the Selected Letters of Philip Larkin by Anthony Thwaite in 1992 and his biography by Andrew Motion in 1993, opinion has been changed sharply. Larkin had become to be thought of as a misogynist, who was foul-mouthed, neurotic, and even addicted to pornography. But the relationship between Larkin's life and work is highly problematic and teasingly oblique. So, in order to understand Larkin’s dichotomy between his social life and his writing life, we should return to the rhetorical strategies which make his poems simultaneously self- revealing and self-protective. It is important to recognize that the attitudes towards women which he expressed in both letters and poems is not predatory, but defensive. He shunned all aspects of everyday life including women to procure the independence and freedom allowing him to devote himself only to art. All his life, he wanted to be a true writer, and this literary romanticism remained in lifelong creative conflict with the so-called misogynistic philistinism.

Verbs that participate in their argument alternation, the so-called locative alternation, have received considerable attention from the areas of syntax, semantics, and language acquisition. In particular, researchers have so far focused on the holistic interpretation that the locative alternation demonstrates. On the other hand, a few researchers have noticed that not all of the Spray/Load verbs listed in Levin (1993), which participate in the locative alternation, show the same syntactic behaviors in terms of a PP (prepositional phrase) omission test. Few researchers have explained why Pile-class verbs systematically show different syntactic possibilities from the Spray/Load verbs, even though they all participate in the locative alternation. In this paper I propose that unlike the Spray/Load verbs, the Pile-class may select transitive prepositional phrases as complements. I presented an analysis for the Pile-class, which is a subclass of the Spray/Load verbs. I also capture other aspects of the Pile class, based on the obligatoriness of the with phrase, the failure of the verbs to undergo the adjectival passive, the failure of the with phrase to prepose, and the failure of the Goal direct object to be raised in subject position.

The purpose of this essay is to examine the collision between Ian Watt’s and Levi-Strauss’ perspectives on the novel genre, to critique them and to establish a more properly generic perspective on Pamela. Watt maintained that Pamela is the first novel because it satisfies his premises that the novel rose out of Protestantism and capitalism, and that the novel represents formal realism. But Lévi-Strauss and Northrop Frye consider the novel as exhaustion of myth. Frye considers genre as coming from literary tradition, and, then, realism is not the first novel genre. Pamela is the exhaustion of “Eros and Psyche” and “Cinderella”. Both of these perspectives have their own weakness. One is to sacrifice realistic accuracy for morality and gender ideology, and the other is to exclude the historicity and to present the secret of a forgotten freshness. To tackle these collisions and weaknesses, it is useful to examine another perspective that views as the novel the amatory fictions by Aphra Behn, etc. Though those fictions have been criticized as amoral, the representations of women as desiring subjects and political metaphor lead to requiring that they should be revised and aligned with Pamela as the novel. It will be insisted that the amatory fictions are the first English modern novels, and, then, Pamela is not the first novel but a successor to the amatory fictions.

The present study used a within-subjects design to examine the effect of the type of written exercise on the acquisition of the ability to produce English sentences with verb patterns. Thirty-eight low-intermediate Korean university students practiced 15 new verb patterns in three types of written exercises conditions: four fill-in-the-blank exercises, two translation exercises, and two original-sentence-writing exercises. Three types of posttests corresponding to the three written exercise conditions were administrated. The findings showed that the translation exercise was more effective in helping the learners acquire the ability to produce English sentences with verb patterns than the fill-in-the-blank exercise and original-sentence-writing exercise. This result was consistent with Barcroft(2000)’s type of processing-resource allocation model, which focuses on the dissociation between semantic processing and structural processing and the relationship between types of processing and their learning counterparts. Producing English sentences with verb patterns, which was measured by both tests of translating and original sentence writing, required the learners to demonstrate their knowledge of the structural properties of verb patterns. Translation exercise was found to be the most effective because it was deemed to involve the most structural processing of the three written exercises.

This study investigates the use of learning strategies by Korean college students. It also evaluates the effects of strategy training on listening comprehension ability. Ninety-one participants were divided into two classes, one class was assigned to an experimental group, and the other to a control group. Each student completed a listening strategy questionnaire and the listening comprehension test before and after the treatment period. In addition, a TOEIC practice test was conducted to evaluate students’ English listening proficiency. Listening strategy training was implemented to the experimental group for 12 lessons during one semester while no treatment was provided to the control group. The results showed that students used a variety of learning strategies. There were significant differences in the use of strategies depending on their listening comprehension proficiency. The subjects who had experienced the listening strategy training significantly increased the use of strategies and improved their listening comprehension as well. Some evidences of a relationship was found between the use of strategies and their listening comprehension ability. The findings of the study indicate that the strategy training was successful in terms of the development of the students’ listening comprehension skills and strategies. This study suggests that explicit strategy training enhances comprehension of authentic materials.

This study aims to read the aspects of discourse and ethics in Salman Rushdie’s major political novels—Midnight’s Children, Shame, The Satanic Verses, and The Moor’s Last Sigh—in terms of Jacques Lacan’s theory of discourse and ethics. His theory of discourse is useful in understanding how a discourse is formed and works in society and how antagonism arises from discourses in conflict, while that of ethics suggests an alternative to the problem of discourse. The ‘Rushdie Affair’ caused by The Satanic Verses shows the discourse of religion can function as Master’s discourse in a society. And also this point is well described in Midnight’s Children, Shame, and The Moor’s Last Sigh. For example, the Indian subcontinent is divided into India and Pakistan by two master signifiers of Hinduism and Islam. Both religions continue to have negative effects on the politics, thereby making dictatorship prevail in both nations, especially in Pakistan. The antagonism between the Islamic and Western world, as shown in the ‘Rushdie Affair,’ can never be solved. Likewise, as indicated in the division of India-Pakistan, the reconciliation and harmonious living between Muslims and Hindus also cannot be accomplished. In this sense, the ‘Rushdie Affair’ and his political novels reveal the impossibility of a true ethical act in the level of discourse, without identification with symptoms.

Thematic progression has been widely used as an important factor at a discourse level in L1 writing instruction. (Fries,1983; Danes,1974; Halliday & Hasan,1976). However, little research has been done on the thematic structure in L2 writing practice and pedagogy. The purpose of the present study is to introduce the concepts of Theme and Rheme, which contribute substantially to the thematic progression in a written text and to suggest the relevant evaluation process and revision strategies. For the purpose of this study, 24 student-written essays were analyzed in comparison with linguistic corpora of experienced writers, with focus on thematic progression. The finding suggests that the examination of Theme and Rheme revealed in student-written drafts proved useful for the analysis and revision of student writing. Furthermore, through this empirical analysis, college students could direct their explicit attention to thematic progression, an important factor in maintaining the coherence of a text. Finally, pedagogical implications for EFL writing at the discourse level of texts were discussed.

In order to provide an accurate measure of test-takers’ English language abilities, test developers should minimize the influence of intervening factors such as raters’ backgrounds on test results. The purpose of this study is to investigate the effects of raters’ language backgrounds and their attitudes toward WEs on the assessment process and to analyze the complex relationships among rater, task, and test scores in English language oral proficiency tests. Three groups of English teachers from the UK, Malaysia, and Japan took part in the study, providing scores for 12 Korean students’ speech samples. The main finding was that raters’ English language backgrounds and their attitudes toward WEs had a significant impact on their rating perceptions of rating criteria. In addition, raters’ language backgrounds, their attitudes toward WEs, and the task-type were also revealed as significant factors that influence the assessment process of English language oral proficiency tests. These results suggest that well-structured test-type and well- trained raters enhance the validity of English language oral proficiency tests.

For Gilles Deleuze, theater is a form of becoming. A becoming involves an unspecifiable and unpredictable disruption of codes in a metamorphic zone between fixed identities and rushes toward becoming-imperceptible. The imperceptible is the immanent end of becoming. Then Deleuze’s concept of becoming is compatible with actor's training and performance. All becoming is a becoming-minoritarian and is related to the minor. While majority implies a constant serving as a standard measure, minority is characterized by the puissance in variation. So the major is a constant and homogeneous system, and the minor is a potential, creative becoming. In a minor way, Deleuze emphasizes the continuous variation of language and gesture in theater. He calls this continuous variation a generalized chromaticism that offers pragmatism its intensities and values. In particular, Bene’s theater enters into a process of this continuous variation. Bene’s theater is a theater of subtraction. In Richard Ⅲ, Bene subtracts all male characters except Richard. In Bene’s play, the subtraction of characters brings with it the construction of other characters. Bene expresses the theater that actualizes the virtual through the subtraction of an original text and the continuous variation of language and gesture. Bene also embodies politics of creation that overthrows the power of representation by manifesting creative appearances as well as new variations in his theater.

Caribbean-born writer Jean Rhys’s Wide Sargasso Sea tells the story of Antoinette Mason drawn from Jane Eyre. The aim of this paper is to investigate the relationship between the circular structure in currents of the ‘Sargasso Sea’ and the circular characteristics in the narrative structure of the text. At first, currents and reproduction of sargassum symbolize the life of Afro-Caribbeans who were forced to leave their homeland and driven into a foreign land. Its circularity of currents are related to the circularity of narrators and the anachronistic narrative structure of Wide Sargasso Sea. This polyphonic form not only provides the chance for readers to integrate various narratives and grasp the essential facts through it but contains the emphasis of meanings according to the plural point-of-views. On the other hand, these limited unreliable narrators create the uncertainty of vision and interpretation, resisting fixity and stable identifications, for the ‘opened’ narrative structure. Lastly, through Antoinette’s clairvoyant dream, she tells the story which is highly limited in the real world, so dream and reality are mixed and circulated. So Rhys named the title of her novel as Wide Sargasso Sea to suggest the circular structure of the novel as a metaphor.

This study aims to find out the protagonist, Dubin’s moral growth from the perspective of transcendental consciousness. It can be assumed that Malamud’s hero has the potentiality to overcome negative conditions through suffering. The very nature of transcendentalism is the positive assumption of the human innate goodness that makes up the central idea of Malamud. When the novel begins, after 25 years of boring married life, Dubin wants to “live” his own life. Dubin is alienated from his friends, even his own family. He has an illicit affair with Fanny in order to find a new life. As a biographer, he is absorbed in a biography of Lawrence. He doesn’t understand other people, including his own family. He suffers a lot of hardship because of the lack of self-containment and self-knowledge. It is important to have assimilation with nature from the transcendental view. While lost in the blizzard, Dubin follows a white owl and it takes him to the open. The protective coloration of the owl suggests that Dubin must put himself back in harmony with nature. At the end of the novel, he grows to be considerate of others, especially of his wife Kitty, and recovers his relationship with his daughter Maud. He gives Fanny advice on how to lead a decent life. Dubin’s transcendental awareness through restoration of relationship can be found in his developed ways of life.

The term ‘Postmodernism’ has been one of the most shared senses since the 1960s. Simply put philosophically, postmodernism represents a radical break with modernism. In terms of continuity, however, postmodernism can be understood as a cardinal logic of late capitalism. In the view of capitalism, postmodernism may be, allegedly, a radical modernism, deepening the ideology of capitalism deeply linked with commercialism. In this paper, I tried to explore some contradictions inherent in postmodernism as a principal logic of late capitalism. In Jameson’s terms, postmodernism overrides our world of daily life, bears witness to commercialism, and dominates even the unconscious. In this respect, postmodernism can possibly be no way out of modernity or, more precisely, totality because it provokes a prodigious expansion of a commercial “culture industry”. This is, as Habermas pointed out, why “modern project” should continue even in the era of postmodernism. To put it another way, postmodernism was too easily assimilated into the logic of capitalism to the extent that it arouses the commercial desire, resulting in the weakening of historicity and depthlessness, Postmodernism, in this light, can no longer be a deep suspicion of ‘metanarratives’. With the advent of late capitalism remained only “pastiche” and “schizophrenia”. So it is time to “wage a war” on the ideology of capitalism.

This article brings up theoretical shortcomings of the Structural Distance Hypothesis (SDH), claimed in O'Grady et al. (2003). The SDH alleges that there exists a syntactic dependency between the head noun (filler) of relative clause (RC) and the Case position (gap) of the operator (OP) in L2 RC. This dependency accounts for the processing difficulty captured within the RCs of the NPAH (Noun Phrase Accessibility Hierarchy, Keenan & Comrie, 1977). This article, however, submits the arguments against the SDH: (i) The role of filler seems to be pointless because the position of gap is sufficient to calculate processing difficulty. (ii) The gaps in SUB RCs and DO RCs have different syntactic properties for fair comparison. (iii) The role of OP is crucial during relativization, but it is completely overlooked in the SDH. And, (iv) the SDH cannot predict processing difficulties for homogeneous RCs. In contrast, the phase analysis under the minimalist framework (Chomsky, 1998, 1999, 2001) provides an alternative account for determining the processing difficulty for SUB RCs and DO RCs as well as for other RCs on the lower end of the NPAH. The alternative account hinges on the occurrences of phase penetration by the target features, as being probed and agreed by C and T and merged into Spec-C and Spec-T. By restricting the processing difficulty within the conditions of phase penetration, L2 acquisition studies can be shed light on with a more principled insight into anticipating the UG-constrained developmental order in RCs.

Hale and Keyser (2002) try to solve the mystery of the ban on depictive predication with an indirect object with recourse to the suggestion that a derived DP position is not relevant to depictive secondary predication. Their suggestion cannot be maintained because a derived DP can serve as the host of a depictive in the case of subject-oriented depictive predication, On the basis of this observation, this paper proposes a new configurational approach to depictive predication. The proposal is based on the following three basic assumptions. First, in English, object nominals raise overtly to the specifier of a functional structure, which is between vP and VP. Second, the attachment site of depictives is confined to v' and V' due to their semantic relevance to an event. Third, the subject of a depictive is determined by two configurational conditions: the c-command condition and the MDP. Under this theoretical framework, the ban on depictive predication with an indirect object is accounted for as the MDP violation. The counterexamples to the Hale and Keyser’s conjecture, from Koizumi (1994) and Arimoto (1991), are not problematic in our theoretical framework since we do not assume that a derived DP is inappropriate for depictive predication. Maling’s (2001) examples, in which a depictive can be predicated of an indirect object, do not constitute a challenge to our proposal since they can be analyzed as light verb constructions.

The Winter’s Tale is divided into two distinct halves separated by sixteen years. These two halves present us with two different kinds of time: linear time and cyclic time. The two kinds of time are portrayed through contrasting genres: linear time is seen as tragic time, which dominates the first three acts of the play; cyclic time is seen as comic or natural time which underlies the rest of the play. The play proceeds from this crucial design to its very comprehensive awareness of the meaning and nature of time. Time in the play is, as in the philosophy of Tao, comprehended as the ultimate reality, and moves in a cycle of return which is the principle of Tao, the totality of time. The passing of time is the dynamic and orderly progression of cosmic order (Tao). Within The Winter’s Tale as in Tao, cyclic time follows organic life-producing principles. Time is itself timeless and there exists no separate world of the timeless. Transcendence or immortality is to be found within the change of time. Shakespeare, like the Taoists, grasps time as the ultimate reality of all things in the world of change. In the play, he seizes upon man’s deepest desire for permanence and works through to an exploration of the universal and ontological problem of how man can fruitfully accept his own mortality and secure his infinitude of immortality. He explores how man can give passing time meaning, and experience his life as significant in itself. In his total vision of time and order, the best images and parables of the play speak of time and becoming; and they are an eulogy and a justification of all transitoriness.