Earticle

It has been argued in this paper that Korean reflexives and pronouns reveal murky cases where dependent terms c-command QPs at PF and that syntactic coindexations cannot not distinguish between a BVA reading and a group reading. Here a BVA reading and a group reading induced by Korean plural dependent terms are attributed to a property of the Korean plural morpheme tul and the dual readings induced by the plural dependent terms are accounted for by adopting linking at LF. That is to say, the dual readings can be disambiguated by adopting linking after QR, depending on whether the dependent terms are linked to the trace of QR or the operator itself at LF. To account for the semantic difference between singular terms and plural terms, all we need to assume here is that the interpretative difference between singular terms and plural terms results from the Korean bound morpheme tul. Put in a different way, the Korean plural morpheme tul functions as a dependent term which induces a group reading and a BVA reading, whereas singular reflexives function as a distributor which induces a BVA reading. This semantic difference between singularity and plurality in Korean leads us to conclude that in Korean, a structurally singular NP functions as semantically singular, whereas a structurally plural NP functions either as semantically singular or plural. As a result, the Korean plural dependent terms reveal dualistic number properties: structurally they function only as plural, and semantically either as singular or plural.

The principal aims of this thesis are (i) to provide an analysis of direct perception complements within Chomsky’s(1995) minimalist framework, (ii) to provide an answer for the old puzzle of why these verbs appear to select for different infinitival complements in their active and passive forms within Chomsky’s(2000, 2001) Agree framework. Section 2 and 3 deal with the meaning and syntactic structure of perception verb complements, respectively. Perception verbs followed by bare infinitval complements denote the immediate sensory perception of an event or situation. When combined with a fully infinitival complement, on the other hand, perception verbs take on an epistemic reading, giving rise to what we have called an indirect perception interpretation. In section 4, some assumptions are made in order to analyze the syntactic structure of perception verb complements. We suppose that the eventive reading in the case of a bare infinitive is associated with TP, whereas the epistemic reading with a to-infinitive is associated with CP. Also, the infinitival marker to in the passive form is analyzed as a dummy Case-marker used as a last resort strategy to license the infinitival projection. We propose, in section 5, that the unavailability of perceptual reports in the passive can be derived from the familiar assumption that the argument structure of -en participle is impoverished, and the Case- checking theory.

The purpose of the study is to compare and analyze the use of learning strategies by middle school English learners in Korean and Chinese EFL contexts. The study pays special attention to whether some variables such as sex, grade and extra-curricular activity affect learning strategies used by Korean and Chinese middle school students. For the study, 185 Korean students and 194 Chinese students were asked to fill out a questionnaire which is based on Oxford’s (1990) Strategy Inventory for Language Learning (SILL). The results show that they used compensation and memory strategies more than affective and social strategies. and the learners who have extra-curricular activity about English use learning strategies more often than learners who do not. Female learners use learning strategies more often than male learners.

This paper argues that morphemes and words form the basis of morphological theory. We have compared the morpheme-based theory and the word-based theory in English word formation. The latter is more suitable than the former in that it is more explanatory for both derivational and non-derivational processes. However, morphemes and words are equally essential units to analyse the morphological or phonological facts in English.

This paper is to find out phonetic evidence to argue sequences of /s/ and a stop consonant occurring in the onset of English form a single unit. An acoustic experiment measuring duration of singleton consonant onsets and bi-consonantal onsets was conducted with various null and alternative hypothesis to check if the sequences of /s/+stop in the onset are as long as one segment or two. The result shows that the consonant clusters beginning with /s/ is as long as one consonant, supporting the phonological argument that /s/ and the following stop sound are not consonant clusters but a single complex sound.

The purpose of this study was to investigate how pre-service teacher practicum affected future teachers’ beliefs and features, which they should have as teachers. More specifically, this study attempted to seek what pre-service teachers expected and sought as future teachers throughout the four-week-long practicum in local schools. Additionally, it sought to see how pre-service teachers saw themselves as future English teachers. Data sources came from pre-questionnaire, their practicum logs, and in-depth interview with focus group of six students. The findings of this study indicated that preservice teachers did not have specific information about schools such as what kinds of English textbooks they have used, how their curriculum have been structured, except basic information of the local schools such as their locations and size. Also, the findings showed that preservice teachers focused on how effectively they taught students English, not on what kind of content they taught. Additionally, preservice teachers asserted that the four-week-long practicum provided opportunities to think about their belief as teachers. Finally, advice and instruction presented by inservice teachers were critical, in that inservice teachers can provide fresh and lively instructional skills in the practical classroom. Drawing upon these findings, implications for the teacher development program, and specific recommendations for future research are proposed as well.

This paper investigates how Korean learners of English produce coronal stop-lateral sequences in words like potluck and padlock, explores what factors can have an effect on their production, and gives a constraint-based account of L2 phonological variations. The main findings are that Korean learners of English transferred coronal stop lateralization, thus turning English coronal stop-lateral sequences to lateral-lateral ones. Vowel epenthesis also occurred. This is attributed to Korean phonological system in which a stop is assumed to appear syllable-initially if it is voiced. Voicing and gender played a role in coronal stop lateralization, and voicing and word boundary had significant effects on vowel epenthesis. These L2 variations could be accounted for by using Davis and Shin (1999)’s constraints and Park (2006)’s *V[-pal, -lab, -low], and by taking up the idea of floating constraints that produce the variable rankings apparent in L2 phonology.

There are plenty of phonological processes in natural language that only occur in the context of particular morphemes or lexical categories. The question is how such morpheme (or lexicon) specific processes, sometimes called exceptionality, can be captured in the framework of Optimality Theory (Prince and Smolensky 1993, McCarthy and Prince 1995). Two different types of treatment have mostly been proposed: (i) structural prespecification like floating features, mora, underspecification, etc (Zoll 1996, 2001, Inkelas, Orgun and Zoll 1997, Inkelas 2000, Wolf 2007, Kager to appear, and many others), and (ii) diacritic approach, mostly employing morpheme-specific constraints (Hammond 1995, Golston and Wiese 1995, Golston 1996, Russel 1995, Yip 1998, Pater 2000, 2004, 2007, Ota 2004, Green 2005, Flack to appear, and many others). The purpose of this study is to compare the two different views and to show that the latter is superior to the former in accounting for exceptional plural formation implemented by umlaut in English and German.

This paper examines William Wordsworth’s epic sublime analyzing his childhood episodes in nature. Wordsworth’s defines epic with two main terms: the sublime and the religious. Those two words characterize his epic. As this definition implies some influences from Longinus and Dennis, Wordsworth’s practical application of it in The Prelude seems to be quite original. Wordsworth does not directly link the sublime and the religious with God’s wrath and Man’s ineluctable fear. Rather, he supposes the sublime comes from the mind’s interaction with outward beings; accordingly, he suggests the religious subject should focus not on God’s will or providence but on man’s creative sensibility and its influence. Although Wordsworth introduces himself as a Nature’s chosen son and presents Nature as an epic machinery, his religious subject is mainly concerned with the discovery of divinity in man’s mind instead of the deification of Nature. The Prelude, as the embodiment of Wordsworth’s own epic rules, can be read both a traditional and experimental epic, of which the sublime episodes are constructed with his own recollected inglorious anecdotes.

This study aims to explore how Korean graduate students’ identities and needs in academia influence their motivation in learning English and shape their verbal interaction which they strongly desired to improve speaking abilities. Findings of the study indicated that their academic priorities as graduate students and changing identities across time and place played an important role. The participants established their primary identities as graduate students, which made academic achievement their main priority. Although they strongly desired to improve speaking abilities, their focus on academic success led them to invest most of time in academic studies and the rest of it in the English skills they wanted most for their immediate or ultimate academic achievement. Sometimes, their identities as peers influenced their intent to engage in verbal interaction with NSs at school. When their identities as peers were at risk, they gave up interaction opportunities and remained silent. These instances were prevalent in on-campus situations. Identities of students are always in a state of flux, not fixed across time or location. The changing identities of the Korean participants influenced how they interpreted the power relations between NSs and themselves. The varying interpretations affected how students acted in a variety of situations.

In Tar Baby, Toni Morrison uses Tar Baby folklore to represent the protagonists’ whole survival. The main characters of this novel, Jadine and Son, are like Tar Babies in the folklore which ensnare others. Jadine is a new black woman who has the ability to succeed in a white-dominated world, but doesn’t have a useful connection with the African American community, culture and history. Son is a nature-friendly man who thinks highly of brotherhood and the black community. There are other characters who have much influence on Jadine and Son. Especially, there is Valerian Street who supports Jadine’s education and tries to instill white values and standards into her. Therese, on the other hand, makes Son avoid getting trapped like a rabbit who sticks to Tar Baby. Morrison shows the conflicts resulting from the different views of these characters. However, Morrison doesn’t show any easy solution or preferable choice. Rather, she makes the reader and characters ponder over a course for the whole survival. The conclusion of Tar Baby also emphasizes Morrison’s intention: Jadine gets on the plane for Paris, and Son runs into the place where people think the legendary blind cavalry soldiers ride horses timelessly. This open-endedness, like Ralph Ellison’s The Invisible Man, clearly shows the possibility of whole survival and expanded vision.

Unlike Shakespeare’s other plays, Henry V is not an obvious metadrama. It has, however, metadramatic elements: the player king who performs a remarkable role as a leader and the chorus who leads the audience to use their own imagination. There are two major film adaptations of Henry V that well-comprehend and further develop the metadramatic elements of the original text, one directed by Laurence Olivier in 1944 and the other by Kenneth Branagh in 1989. The metadramatic elements represented in the works are summarized as follows:. Firstly, despite the cinema’s characteristic of unlimited time and space, the chorus still asks the audience to “work their imagination”. The presence of the chorus and the necessity of imagination remind us of the self-reflexivity of the original text that both Olivier and Branagh put a high value on. Olivier places his chorus on an Elizabethan stage, and Branagh’s chorus introduces the audience into a film studio and reports on the military situation from the battle field of the Argincourt. Secondly, the films clearly show the metadramtic element as Henry makes a successful leader by acting an ideal king in the war. He is an ambiguous man, as his inner world is rarely revealed. His appearance, on the contrary, shown through his rhetorics, decisiveness and passion is considered to be a clue to a model hero. And lastly, another metacinematic element, film within a film. The device comes from flashbacks of Boar’s Head scenes. Although Falstaff’s death is described only by the narration of Mistress Quickly in the original text, Olivier overlaps the images of the death onto the Quickly’s verbal depiction and the words of Henry’s refusal quoted from Henry IV. In addition to the simple recollection, Branagh inserts two scenes from Henry IV as flashbacks to show Henry’s firmness

The purpose of this paper is to account for the asymmetry between a suffixed word and a prefixed word or a compound in Korean Coda Neutralization within the framework of Correspondence Theory. The asymmetry is shown to result from difference in a constraint ranking. Specially, I propose that the relative position of Base-Identity constraint, which requires an identity relation between the source word base and its output form, is responsible for the asymmetry between a suffixed word and a prefixed word or a compound. In a suffixed word, the markedness constraints and IDENT-IO constraint, which requires an identity relation between input and output, dominate Base-Identity constraint (IDENT-IO≫Base-Identity). On the contrary, the markedness constraints and Base-Identity constraint dominate IDENT-IO constraint (Base-Identity≫IDENT-IO) in a prefixed word or a compound. In addition, I consider n-Deletion in English between level 1 and level 2 suffixes, which shows the similar phonological asymmetry with coda neutralization in Korean, and show that the phonological difference resulted from English affixation can also be accounted for by the same line with coda neutralization in Korean.

This paper is an essay intended to trace and explicate some influences of Neoplatonism which are explicitly and implicity apparent in Ezra Pound’s poetry. Pound has admitted not a few Neoplatonists in a broad sense in his poetry and adapted their main notions for use in his poetry. Among those Neoplatonic philosophers can be mentioned Plotinus who had inherited Plato’s philosophy and several other philosophers such as Eriugena and Grosseteste. But it is Plotinus that has a lasting influence on Pound throughout his poetic development from his early poetry to the later Cantos. As a result, Pound has shown or revealed some thoughts which are derived from Plotinus. Both of them propose the return to the origin. Pound emphasizes the return to the origin as nature and reason, while Plotinus had espoused the One as the arche of beings in the universe. The One is God of the Good that has created the universe, but transcended it. In his poetry, Pound is recurrently interested in the notion of Nous as the supreme realm of light next to the unreachable One. The Nous is no other than reason, intelligence, essence, pure thought, or divine mind that the poet should attain in his poetic process. Pound has dealt with it in his poems on the alchemical transmutation of the poet into the real self, the identification of the poet with other beings by virtue of his metamorphic experience, and the return to the paradise as the world of light and love.

T. S. Eliot’s poetry of “the first voice,” distinguished from Browning’s dramatic monologue, which he called poetry of “the second voice,” is in fact his vision and revision of the traditional form of dramatic monologue. It signals an effort to find an objective form beyond traditional generic boundaries, in order to accommodate the highly subjective content of the modern self. This effort dates back to Browning, and continued by Yeats and Pound before Eliot took it. The objective of this essay is to investigate how much Eliot’s poetry of the first voice owes to Browning, Yeats, and Pound, and how far it moves from them by his re/vision. It is Browning who established the form dramatic monologue with its distinctive conventions, the idiosyncratic persona, the silent listener and the irony originating from the tension between the persona and the audience. Yeats’s theory of the Mask, seeing oppositions as a necessary ingredient of life and step towards a unity, modernized and developed it, introducing morality and a self divided within. Pound then elated its morality to the theological plane by coloring it with the Dantean voice, whereas Laforgue tightened it with his peculiar irony. Finally it is Eliot who, standing on these precursors’ efforts, completed it into a form of perspective, with the self vacillating between various points of view, where the inherently subjective content, the “psychic material,” is rendered impersonal.

Arguing mainly for the socio-ideological importance of art, some critics from the School of Social Responsibility (Shelley, Gardner, Bakhtin, and Horkheimer) note that writers are a group of influential people who should be responsible for what they create in their literary practices. Many characters in contemporary discourses, however, represent a persona who hardly worries about the possible consequences of his/her writing and defies the traditional image of a responsible writer. Replenishing the brand-new value for the postmodernist writer who refuses to believe in transcendental truths and interlocking social and ideological systems, these characters seem to support the notion that the social responsibility of literature is nothing but an illusion and fake intellectuality. In fact, an increasing number of contemporary theorists (Federman, Gass, Derrida, and Barthes) have struggled to save what some people might call art for art’s sake by defending the kind of art that seems to stay away from the socio-ideological function and didactic/rational responsibility. Used to such literary terms as antinovels, metafiction, surfiction, or postmodern imitation, a plenty of contemporary writers like D. M. Thomas tend to wave away the burden of truth and reality, releasing themselves from the cage of conventional morals and ethics.

The physical and psychological landscape of the home portrayed in Eugene O'Neill’s Desire Under the Elms is similar to the landscape that Harold Pinter places the heroin Deborah in his play, A Kind of Alaska. Pinter’s Deborah functions as the object of the male look and desire, and her true nature is denied. Deborah lives in “a kind of Alaska” where she is more like an ice marble, a voiceless sculpture in a patriarch world. Likewise, in Desire Under the Elms, the dead wife of Cabot, whose name we never know, is also oppressed in a patriarchal home. The namelessness of the unnamed woman is a symbol of denying her identity. In life and even in death, she was/is only Cabot’s wife or Eben’s mother. She is located off stage, already dead from the beginning of the play. She too once lived in the frozen landscape of the law of father, the law of patriarchy that the icy man Cabot backed up. She is given no voice of her own, and is heard only through the false and distorted utterances of the male characters. Her absence and silence force her into a position of the insignificant Other in patriarchal space, never allowed to express any of her desires and sufferings. If the unnamed woman were to awake from her sleeping－death like Deborah, she would also cry out for her own voice and identity, denying the place of the Other in “a kind of Alaska,” and shattering the false male mirror. Therefore, the reader/audience must reread/re-see the female characters represented in male authors’ works with the attitude of the “resisting reader/audience.” If one uses the method of a feminine reading, new voice, where no voice was present before, will emerge: the voice of women oppression and awakening.

Despite its popularity and potential in second language acquisition, text-based online chat has an inherent problem to be used for the educational purpose because there is frequent omission of function words during chat. To reduce this problem, the current study employed textual enhancement of the target feature, which is conducted by students along with chat activities. The combination of these two sessions is premised on the belief that by enhancing the target item students can be more aware of and use the target item correctly during the chat session. However, the results showed that input sessions did not motivate students to be aware of determiners, and, accordingly, did not promote the use of them during chat. One possible explanation is that textual enhancement requires the student’s receptive skill, while the script from online chat reflects the student’s productive skill. Therefore, it seems that meta-cognitive awareness during input session is not necessarily transferred to during online chat.

This study aims to descriptively investigate the forms and functions of infinitives in Old English as a stage of examining English infinitives chronically, since in Modern English infinitives are used extensively with multiple functions, despite the fact that their forms and structures have become very simple because of the loss of complicated inflectional systems of Old English. Old English infinitives can be classified into two groups, that is, simple infinitives and inflected infinitives. The simple infinitives of Old English, the origin of Modern English bare infinitives, ended in -an, -ian, -on, or -n, which functioned as subjects or objects of sentences, and were also used to express purposes and played other important roles with causative verbs, verbs of perception and several common verbs. The inflected infinitives have also been called ‘gerundial infinitives’ or ‘prepositional infinitives’, which reflects the characteristics of the inflected infinitives. That is, the inflected infinitives were inflected as nouns in the dative case. And they were also governed by the preposition ‘to’, which has come to be felt as the sign of the infinitives in Modern English owing to the loss of complex inflectional endings of Old English. The inflected infinitives also played various important roles in Old English in addition to the roles as nouns.