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This paper investigates Mark Twain’s critical attitude to sentimental romanticism by analyzing two major novels, The Adventures of Huckleberry Finn and A Connecticut Yankee in King Arthur’s Court. These novels deal with the criticism on sentimental romanticism. In the first chapter, the sentimental romanticism of Southern American society is criticized indirectly. Through many episodes, we can know that Huck’s simple and direct behaviors are better than Tom’s selfish and sentimental principles. Also, the feud of the Grangerfords is a good example of the hypocritical and sentimental romanticism, because many things in the house mean their blind and superficial obedience to European culture. Especially, Twain shows the fall of Southern romanticism by naming a wrecked steamboat ‘Walter Scott’. Another instance of sentimental romanticism is shown by the title of ‘King’ and ‘Duke’, two impostors. Their title means Twain’s ridicule to sentimental romanticism. In the next chapter, Twain criticizes the romantic illusion about European medieval society, using the age of England as the allegory of American age. He makes fun of the dignity, bravery, and justice of medieval knights through the journey of Hank and Sandy. Like this, Twain is essentially an American social critic. Focusing on the falsehood of sentimental romanticism, he tries to reveal the false aspect of Southern society.

This paper examines the effectiveness of output on the second language acquisition in the light of theoretical claims and empirical evidence found in the previous studies. For theoretical claims of output, the current study explores a number of models mainly grounded in psycholinguistic and cognitive theories to provide better explanation of how functions of output are involved in second language acquisition. For empirical evidence to support the effectiveness of output, significant studies that dealt with the relative effects of input and output are reviewed. Major findings are 1) processes involved in language production are similar to but separate from those involved in language comprehension, 2) the process of language production involves not only a fixed outcome, but covert or overt self-monitoring of that outcome, which enables learners to engage in continuous tuning, feedback, and reorganization, 3) the relative effect of input and output instruction needs to be examined in the light of the importance of the methodological issues involved in experiments, and 4) the relative effect of input and output instruction should be compared with consideration of how both types of instruction are defined and operationalized. Pedagogical implications and further research direction are also discussed.

The purpose of this study is to investigate the speech act of apology of Korean EFL learners and to assess the appropriateness of the speech act of apology to the particular situations. The study employed 139 Korean learners of English and divided those subjects into two groups, Group A(74 students with TOEIC scores about 800), and Group B(65 students with TOEIC scores about 400). This study used 10 discourse completion tasks to elicit the subjects’s apology utterances and 9 kinds of apology strategies to classify the apology utterances. Ten judges (5 native English teachers and 5 non-native English teachers) assessed the learners’ performances of 10 apology situations. The findings are as follows. ① The apology strategies used are illocutionary force indicating devices, explanation, acknowledgement of responsibility, offer of repair, upgrader, downgrader, discourse marker, promise of forbearance, and denial. ② There is a significant difference between the advanced learners and intermediate learners in the use of apology strategies. Advanced learners use strategies much more frequently than intermediate learners. ③ There is a significant difference among the socio-cultural variables in the use of apology strategies. ④ The overall appropriateness level of Korean EFL learners’ performances of apology is between ‘often inappropriate’ and ‘slightly appropriate’. ⑤ There is no difference between the two groups of judges, native and non-native English teachers in the assessment of the subjects’ performances of 10 apology tasks.

The purpose of this paper is to review May’s (1977, 1985) Quantifier Raising in Autonomous Syntax, to look for problems in QR and to find out how the native speakers express themselves when there are some problems. First, in Autonomous Syntax the Empty Category Principle doesn’t play enough role to get rid of ill-formed sentences with regard to quantifier raising in Logical Form. Second, Quantifier Raising does not show consistency in raising quantifiers because sometimes quantifier adjoins to VP and other times it adjoins to IP. Third, there are some differences between Indo-European Languages and East Asian Languages in the interpretation of (1). (1) Someone loves everyone. (2) a. There exists (very loving) x such that for every y, x loves y. b. For every y, there is (in this lucky world) some x or other who loves y. Even native informants have a hard time obtaining (2b) reading. And even if they want to have (2b) reading, they do not speak like (1). Rather, they would speak like (3a, b). (3) a. Some other persons love everyone. b. Some other people love everyone. Interestingly, the claim exists in the literature that in East Asian languages, (2b) reading is not possible either. So we should analyse languages differently according to the intuition of the native speakers.

This essay examines the ecological content and significance of nature poems by Gerard Manley Hopkins. It starts with examining the views of Ignatius Loyola in terms of the man-and-nature relationship in a theological context, from which Hopkins develops his own idea of how nature serves to form a salvific vision for humans. On this basis, the essay reviews and analyzes four of his nature poems, which represent and support his ecological views of nature and humans. From this analysis, it is suggested that Hopkins' nature poems embody several focal ideas which modern-day ecocriticism involves: nature as a subjective entity, nature as a tragic figure, and nature as an essential for human existence. In conclusion, the essay argues that in Hopkins nature and humans are not in a mutually exclusive relationship but in an ecologically-linked subjective relationship of interplay through which each serves to fulfill the divine purpose for the other.

This paper aims to examine the principles and the historical arguments of the sublimity, an affection, which can be experienced through the works of arts and the cultural products in multimedia era. Lyotard argues that it is the time of postmodern, and the term presents the shifted meanings on aesthetical experience in terms of different principles of images and narratives from the traditional ones. And he also presents the sublimity as the dominant aesthetic affection after the avant-garde period, and traces the historical disputes and notions of the sublimity. I think, with Lyotard’s perspective on sublimity, Burke’s notion on the sublime is also very important in aesthetics history in the fact that he was the first theorist that examined the sublime and distinguished it from the beauty. His philosophical inquiry in the sublime suggests that the feeling is contradictory because it causes pleasure and pain, joy and anxiety, and exaltation and depression simultaneously, and I think, the feeling is the same affection that we can experience through the multimedia-based arts and cultural products. In addition to these benefits, Burke’s arguments are very useful to understand and reflect on the relationship between images and words or poetry and paintings, which is very crucial in multimedia era, because he suggests we can experience the sublime through the verbal representation or poetry while we can experience the beautiful through the paintings. He also proposes, I suppose, the sublimity isn't simply the cognitive perception but an affection that can cause the physiological changes of human bodies, and this notion is very helpful to grasp the origins and the principles of the sublimity and to understand the meaning of experiencing arts physically in this digital era. For these reasons, I conclude, to explore the sublimity is essential to interpret the works of arts and the cultural products not only in present time but also for the future.

The purpose of this study is to evaluate Yun Chi-ho’s diary and investigate a change in his writings over time. To achieve the goal of this study, T-unit analysis was initially adopted to ascertain the average length of the T-units, the ratio of clauses per T-unit, and the ratio of error free T-units, and to measure the sentence maturity. Secondly, TWE holistic evaluation was implemented to demonstrate clear writing competence on both the rhetorical and syntactic level. Thirdly, a TEEP analytic evaluation was initiated to demonstrate cohesion, adequacy of vocabulary, grammar, and spelling. Fourthly, an error analysis was used to investigate the accuracy development by checking error types and frequency. Finally, type-token ratio analysis was employed to measure capacity to diversify the vocabulary. From the T-unit, TWE and TEEP evaluation, Yun Chi-ho’s diary was evaluated as exhibiting high maturity with simple sentences. According to the results of the error analysis, Yun Chi-ho’s diary contained an average of two errors per one diary, while the structure were almost perfect. As the number of errors was reduced, it can be considered there was a relative development in accuracy. Type-token ratio was 35% on average; this result could be interpreted to mean that Yun Chi-ho’s diary exhibited a high level of vocabulary richness. In conclusion, The evaluation results fluctuated from 1890 to 1943, but they sustained high quality on aspects of sentence maturity, grammatical accuracy, and vocabulary diversity.

Henry James employs silence as part of his narrative strategy in many of his tales. Such a predilection for reticence, the withholding power of not telling the whole story, adds to the complexity of James’s literature. This paper aims to examine the ways in which James develops the meanings of his tale and the sense of knowledge that grows in Maisie, by exploring the silence symptomatically manifested in the narrative of the juvenile protagonist in What Maisie Knew. Maisie’s reticence signifies a strategic withdrawal from the material world into the depths of her interior. James is preoccupied with providing a detailed record of Maisie’s development, with great appeals for the language of silence. Maisie’s interior is explored in terms of knowledge and sexuality growing through her encounters with the corrupt adult world. The sexual, ethical, and social challenges the process poses to Maisie constitute a huge part of Maisie’s education and the major concern of the author. Maisie’s assertion for knowledge at the end remains problematic in determining its epistemological entity. It does not share the moralism of her governess nor the gravity of the author’s preface. It appears as Maisie’s way of summing up her courage to face the world again, despite the failings of the adult.

Previous research has shown that L2 learners differing in their degree of proficiency may employ different modes of processing while reading. The research questions are the following: (1) Is there any relationship between ESL learners’ reading strategies at each proficiency level and their reading comprehension ability? (2) Is there any difference in reading strategies used by low and high proficiency L2 learners? The subjects who participated in this study consisted of sixty-one ESL students. In order to divide students into higher and lower proficiency levels, the researcher used the Test of Adolescent and Adult Language (TOAL). For the purpose of identifying a subject’s ‘reading strategies’ items, the researcher used the Reading Strategy Questionnaire (RSQ) (Carrell, 1989; Pritchard, 1990; Rusciolelli, 1995). The results show that top-down reading strategies were preferred more by all students than bottom-up reading strategies when they read in an L2.

Lady Macbeth, an ambitious character set in a time when women had little power, is a product of Elizabethan times and is not a feminist by today’s standards. She is not consciously aware of the ways in which the patriarchal system restricts her or of her reactions against that system. The best policy that Lady Macbeth can do to have power under the current social system is to place her husband in its highest position. If so, she can influence his careers in her own. way. Before the murder, Lady Macbeth is dominant. She speaks her mind to Macbeth and manipulates him with her words, unlike the silent and manageable ideal wife. She also uses her sexuality to bend his will. This behavior is in opposition to the Elizabethan ideal of chastity. Furthermore, she refuses to be submissive and yield to her husband as if she were superior. The result of these actions is that she initially directs his behavior instead of allowing him to direct hers. In her dealings with Macbeth, she has been dynamic, absolute and scornful of his hesitancy. However, after the murder, Macbeth ends Lady Macbeth's control by simply keeping her out. Finally, Lady Macbeth faces polarized expectations for masculinity and femininity. She adopts the masculine stereotype because it is associated with power. Since masculinity includes destruction and cruelty, she embraces evil to gain power. This manliness is manifested in her sexuality, her relationship with Macbeth, and her interpretation of life. Her role-changing results in disaster and ends with madness and suicide.

The purpose of this study is to investigate Korean EFL learners’ performance in Korean and English storytelling. This study examined ‘personal photo’ and ‘story stem’ and ‘picture book’ stories produced by nine elementary school students with special attention to the story structure. A total number of 54 samples were transcribed and analyzed. This study first analyzed samples by using the framework of Stadler and Ward(2001). Then story grammar components appeared in each sample and its episode completeness were explored. The main findings were that the storytelling performance in English and Korean was highly correlated. It was found that the storytelling task type had a significant impact on students’ performance. The issues for further research were discussed.

Many critics denounce that Tom Stoppard has borrowed plots, dialogues, dramatic actions, characters, and dramatic devices from other writers’ works. In addition, they dismiss his writing style as a mere imitation and look over the intrinsic qualities in his style: what he wants to achieve through this writing style, and how his writing style contributes to develop his view of theatre. However, he did not merely imitate them, but creatively reconstituted them, put them into new contexts, and gave them new meanings. The purpose of this paper is to investigate diverse aspects of creative transformations in The Real Thing, which consists of a variety of ‘plays within a play.’ In The Real Thing, like his other works, Stoppard transformed the existing works to achieve his dramatic purpose. Namely, he explored the content and ideas rather than the forms of the plays, which he had set as his main goal in writing his plays. He believed that adapting other writers’ works as his dramatic elements was much more economical and effective than originally writing plays on his own. Also, he thought that his writing style was the most effective way of expressing theatre’s artificiality and self-reflective aspects. Stoppard’s plays are not merely parasitic imitations or mimicries; rather, they are considerably meaningful in that they are creatively transformed and recreated as new types of works. Ultimately, through his unique writing style, Stoppard demonstrates that excellent plays can be created not only by use of the playwright’s imagination, but also through creative transformations.

Ernest Hemingway could collect various sources to write his works from the travels and many experiences. To evaluate his works rightly, there are many important things which are worthy of attention in both his travels and experiences. When he was a reporter at the Kansas City Star, he was trained for not using superfluous words. In Paris years, he could learn how to write a story like a painting through the iceberg theory and it had a strong influence on his works. Hemingway learned “the modern space conception” from iceberg theory, which are charactered by solidness, endurance, grotesqueness, simplicity, enclosure, expansion, and omission. After he was influenced by the painting technique, Hemingway could create his iceberg theory. The definition of the iceberg theory is as follow: one eight of the iceberg is above water and seven eighths of it is under water. Like this iceberg principle, a writer should omit and eliminate unnecessary parts and details of a story. After “Up in Michigan” in which the use of photographic realism is obvious, Hemingway used different techniques in his works. This change of technique in Hemingway’s could be formed from the travels and influences he accepted from the people and works he encountered. Hemingway tried to minimize the explanation and descriptions about the main theme as did, and to transmit the themes through clear and concrete nouns. But while this method can have simple structure and excellent visual effects, it can also cause overly simple and awkward sentences. To solve this problem, Hemingway used staccato sequence of motion and facts, and repetition technique to achieve rhythmic style which successfully reduce the stiffness of his sentences. As Hemingway tried to write his novels by using the iceberg theory, readers also need to consider the theory to understand what he says in his novels. When Hemingway tried to write his works without considering the effects of the iceberg theory, he failed to create a critically successfully work. when Hemingway wrote For Whom the Bell Tolls, Across the River Into the Trees and To Have and Have Not, these were not considered to be successful from a critical standpoint of Hemingway's own style. Those novels were critical of society and For Whom the Bell Tolls has political undercurrents. The themes of the works were not suitable for delineating his real aesthetic theme, the matter of perpetuity of human beings. Under the iceberg theory, social and political stories cannot be effectively described. After writing a series of works unfavorable to critics, he wrote The Old Man and the Sea which demonstrates the general effects of iceberg theory such as painting effects of style, objective words, image words, effects of blank, forward and backward movements of narrative pattern, and the sense of rhythm. In conclusion, the iceberg and can help readers understand the themes and characteristics of his style. The style of Hemingway is feat that demonstrates overcoming the limitation of expression of prose and transmits a powerful consciousness of the theme of a novels without particular depiction. Hemingway could enlarge the domain of novels by taking the influence of other arts into his style.

The dominant psychoanalytic tradition in Poe criticism has sought to find out the pathological cause of Poe’s aberrant personality and diseased fantasies, disregarding the specificities of the historical, economic, political, and social context that informs the author’s creative activity. Poe’s 1844 short story, “The Literary Life of Thingum Bob, Esq. Late Editor of the ‘Goosetherumfoodle’ by Himself,” has been analyzed in psychoanalytic terms. Emphasizing Poe’s early life in Richmond and his unhappy relations with John Allan, psychoanalytic critics have focused on uncovering Poe’s hatred for his father and the unconscious Oedipal revenge implicitly acted out in his fictional text. Departing from the traditional psychoanalytic tradition, I will demonstrate in this study that Poe’s satirical piece, “Thingum Bob,” cannot be appropriately understood without reference to its complex socio-historical context. I will situate Poe’s “Thingum Bob” in the context of the mid-nineteenth-century literary conditions including the birth of the professional author, the emergence of publishing as a formidable business, and the literary conflicts between Poe and the influential New England literary cliques. In so doing, I will demonstrate that Poe’s “Thingum Bob” was conditioned not only by the writer’s pure artistic imagination alone, but also by his constant literary relations and struggles with the publishing world in the first decades of the nineteenth-century America.