Earticle

This paper begins with the observation that the English singular reflexive himself, though inherently reflexive, does not induce even a distributive reading and that only plural anaphors such as the English reflexive themselves give rise to the distributive/collective ambiguity. The Korean reflexives caki and caki-casin, even though they seemingly look alike, have radically different distributive properties. Local caki evokes a single individual, but does not evoke a collective figure such as John and Mary. This is because caki co-reference is ruled out by the incompatibility between caki (singular) and its conjunct NP antecedent (plural). On the other hand, the Korean reflexive caki-casin cannot evoke the guise of the collective figure of the antecedent. This property, called guises, accounts for the distributive reading in Korean. When the Korean plural reflexives caki-tul and caki-casin-tul occur with a plural NP antecedent, they induce dual readings, namely, a distributive reading and a collective reading. The Korean reflexives caki-tul and caki-casin-tul are specified as plural, but they can also appear in the singular form with a plural NP antecedent. This distributive/collective ambiguity is possible only with Korean plural reflexives, not with their singular counterparts, which induce only a distributive reading. Unlike English, however, this property can be reduced to a property of the Korean plural suffix -tul and not necessarily to that of the plural reflexives themselves. In conclusion, one hypothesis which can be applicable to both English and Korean is that to give rise to the distributive/collective ambiguity, structurally plural anaphors must be linked to plural antecedents.

This paper aims at analyzing Milkman's reintegration into the southern blackness of African American communal rites. As he seeks the past in a journey to the south, his geographical journey expands. His knowledge of the southern past gradually gives Milkman a sense of place in the African American culture, as well as a sense of belonging in the connectedness of the natural world. Another meaningful vehicle for his initiation occurs in the bobcat hunting scene in Shalimar where he experiences a spiritual transformation that puts him into contact with the natural world. The bobcat hunt, which provides Milkman with illumination and psychic clarity, echoes the cultural rituals of southern blackness. Milkman's re-immersion into the southern tradition of his ancestors enables him to gain an understanding of the nature of the language in which the African American vernacular is rooted in. In this milieu Milkman can enter into dialogue with the trees, the spirits, and the earth itself. Milkman is then prepared for the learning of southern blackness through encounters with Shalimar's landscapes, its communal subversive languages, and Shalimar children's ring games. Morrison's use of the traditional southern landscapes ultimately connects African Americans to their congenital places.

This article suggests that T-to-C movement occurs in a main-wh interrogative even when the subject is a wh-phrase. When the subject wh-phrase in Spec-TP moves to Spec-CP, suppression of agreement on C is assumed to occur, which is also found in languages like Turkish and Palauan, though in different ways. In this case the trace of T is visible to affix hopping. When the object wh-phrase moves to Spec-CP, the suppression of agreement on C does not occur, which makes do-insertion applicable. Therefore, the contrast between subject and nonsubject asymmetry with respect to do-insertion follows.

The purpose of this study is to investigate how Korean EFL speakers understand conversational implicatures. Although EFL speakers may have an advanced level of grammatical knowledge, they sometimes experience communicative difficulty with speakers from English speaking countries. This is mainly because EFL speakers lack knowledge of conversational implicatures in learners' communicative competence. In this study, participants were divided into two groups (group A and B). Group A consisted of 44 subjects (24 males and 20 females) who stayed in English speaking countries for less than 3 years, while group B consisted of 33 subjects (13 males and 20 females) who stayed in English speaking countries for more than 3 years. Four types of implicature were used: Pope Q, relevance, indirect criticism, and the minimum requirement rule (MRR). The three research hypotheses for this study were as follows: First, residence in an English speaking environment positively influenced understanding of conversational implicatures. Second, "indirect criticism" and "pope Q" are the most difficult types of implicature to interpret for Koreans. Third, females are better than males in understanding implicature. The results of this study indicated that the duration of residence in English speaking countries was positively correlated with understanding conversational implicature. The study also showed that the most difficult types of conversational implicature for Koreans were the "minimum requirement rule" and "indirect criticism," and that the difference of gender in the performance of conversational implicature was statistically insignificant (p=.497).

This paper aims to examine how violent the historical base and the artistic inspiration for Beloved are and to insist that the way of solving the violent history of slavery lies in discontinuity from the past, not the repeated recovery of the past. In Beloved, accidental violence is pervasive and surrounds the central scene of violence, Sethe's killing of Beloved and attempted killing of Buglar, Howard and Denver. Beloved, in which the theme of violence is closely combined with the rhetoric of violence, seems to be a document of all different types of violence: hanging, cutting, poking, skinning, hurting, screaming, whipping, beating, and more. A chokecherry tree on Sethe's back is a symbol of the black female body being thoroughly victimized as an object of labor and reproduction under the institution of slavery. Beloved not only bears witness to the violent history inscribed on the black female body, but also insinuates ways in which historical trauma can be solved. As Morrison does, many critics like Deborah Horvitz and Trudier Harris assert the importance of reliving the unaccounted for and unacknowledged past. Although in part agreeing with their method of dealing with the past, this paper insists the whole clearing of the past should not be the repetition of, but the discontinuity from the past.

This study aimed to investigate the effects of explicit vocabulary teaching through making picture dictionaries on 3rd grade students' English vocabulary skills and interest levels. The research questions were, first, how effective is it to teach vocabulary explicitly through the process of making picture dictionaries, compared to teaching vocabulary implicitly through oral activities. Second, what impact does making picture dictionaries have on children's interest in learning English? Third, do the children remember vocabulary in a different way depending on how they learned words? The results indicated that the experimental group studying vocabulary explicitly showed greater improvement in their vocabulary skills than the control group being taught vocabulary through implicit instruction. However, there was no significant difference between the groups in their interest levels. Also, while the control group remembered vocabulary more in words than in pictures, the experimental group remembered in words and pictures evenly. Teaching implications and suggestions for further studies are also discussed.

This paper attempts to explain why the rating criteria for English language oral proficiency tests should be reconsidered and how the perceptions of rating criteria could be applied to language assessment. It introduces the needs of World Englishes (WEs) and their perspectives on the issue of English language testing in Korea, and shows different perceptions of rating criteria for the assessment of English language oral proficiency among three different groups of English teachers: native English teachers in Canada, non-native English teachers in the Philippines, and non-native English teachers in China. This study shows the complex relationships among English teachers’ language backgrounds, perceptions of rating criteria, task types, and their actual rating behaviors. It then focuses on the implications for language assessment of non-native speakers’ English language oral proficiency.

This study examines Nella Larsen’s Passing (1929) as one of the modernistic texts written by African American writers during the Harlem Renaissance. Though influenced by modernism as introduced by white Americans, black writers nevertheless wanted to establish their own literary achievements as differentiated from those of their Caucasian counterparts. The Harlem Renaissance made this possible by encouraging black writers through promotion of their racial pride and identity. Produced at the peak of this significant literary movement, Larsen’s Passing deals with a multifaceted culture in which the concepts of race, sex, and class are intricately intertwined. In the midst of the white discourse on these concepts, Larsen endeavored to create a novel taken from the perspective of a black woman who physically embodies all of the elements that define one’s identity. The novel not only forces us to reconsider the conflicts and desires of African Americans who pass as whites, but also debunks the white discourse on race and sex. Larsen is especially concerned with the conflicts and inner struggles that the growing black middle class experiences, as well as the changes that occur in black women’s social status. Her characters bring to life their diverse takes on the issue of passing in relation to race, sex, and class. Ultimately, Larsen demonstrates that African Americans’ loss of ‘blackness’ through self-negation for the pursuit of white standards and ideology would bring about psychic disorder and disruption.

The main theme of Tennyson's In Memoriam A. H. H. centers around the growth and change of the self. The sudden death of his friend, Hallam, left him in deep grief and doubt. Nevertheless, he overcame his grief and found hope through the doubt and pain, and grew into a greater person than before through the faith that he found. In the process of that growth, writing poems played an important role. The sorrowful poet showed that writing poems consoled his mind as "the coarsest cloths against the cold." He accepted that others go through the same grief as he did and he paid attention to others, so for him, poetry was the very medium of self-recovery. At first, the poet was "an infant crying in the night" who didn't know who he was and was isolated in the castle of the self. But, gradually, he became wiser through the sorrow and tears that he was accustomed to and matured into an adult who realized that Hallam and he were the same being, and destined to the same place by experiencing mystical self-awareness. Therefore, we can say that he recovered from the sorrow by writing poems. This theme coincides with the principle of poetry therapy, which provides opportunities for self-examination to those who suffer from mental issues by making them read and write poetry, and let them recognize others and their world in a new way, as well as cope with life changes. This is the main subject in Tennyson's In Memoriam A. H. H., which I pay the most attention to.

Anaphoric phenomena happen not only in the intra-sentence domain, but also in the inter-sentence domain. This paper focuses on resolving pronoun interpretation at the inter-sentence level, in particular in the monologue discourse, in comparison to the most recent studies at the intra-sentence level. Of particular concern is research for seeking a proper algorithm that determines the discourse referent as anaphora for referring expressions if there is more than one antecedent in the monologue discourse. The algorithm is for calculating which referent is preferred to others, when more than one referent is given in the previous discourse as a candidate of the antecedent of anaphora in the current utterance. To do so, this paper aims to investigate how to identify candidates of antecedents in monologue dicourse, and how to select an antecedent of the anaphora from a list of candidates. Two algorithms for resolving pronoun interpretation are also investigated. In this regard, this paper presents some preferences for selecting an antecedent from the candidates in Section Ⅱ, investigates a salience weight algorithm and a centering algorithm in Section Ⅲ, and discusses some features and limitations of them in Section Ⅳ.

This essay examines the dissolution of what Heidegger calls 'the age of the world picture' in Lewis Carroll’s book Alice's Adventures in Wonderland. 'The world picture' is a term coined by Heidegger to express the essence of the modern age. It does not simply mean the image of the world, but signifies the world as represented or set up by 'the I' who has a continuous and stable identity. Heidegger suggests that the modern age started with the liberation from the bonds of the Middle Ages, but argues that the essence of the modern age lies in the fact that the certainty of truth is only found within 'the I'. According to him, by acquiring the validity of subjective truth, humans consider their own conception of the world as the 'true' world. Alice's Adventures in Wonderland presents some circumstances that the validity of 'the world picture' is no longer guaranteed. As a person who sticks to the “above ground” order and values, Alice tries to arrange and give order to things in Wonderland according to her own norm, but doing that she only finds her efforts fail her. She even feels that her own identity is unstable. In Wonderland every ground order and system is ignored or blurred: the hierarchy between man and animal is overturned; the roles of animate things and inanimate things are switched; there are no rules on games and trials. Perhaps Carroll, like Alice, feels more comfortable with the modern age where the world is orderly and comprehensible. However, in many cases he must feel that real circumstances are absurd or discordant to the existing world order, as is reflected in Alice's Adventures in Wonderland. Reluctant as he may be to admit it, he feels what Heidegger calls 'the age of the world picture' is nearing the end.

This paper aims at exploring the possibilities of syntactic explanation for resumptive pronouns occurring in English relative clauses. The 'spelt- out trace' approach to resumptive pronouns, in which they are considered to be Spell-Outs of illicit traces and thus to save violations of syntactic conditions, is claimed to have some theory-internal problems. Instead, we assume the 'base-generation approach' to resumptive pronouns on the hypothesis that a CRP (Covert Resumptive Pronoun) is base-generated and converted to an ORP (Overt Resumptive Pronoun) following the 'visibility condition of resumptive pronoun[s]' proposed by Gu (2001). However, the required qualification of the licensor, which needs to be defined by parametric variation, plays an important role either in converting the CRP to ORP, or in preventing the CRP from converting to an ORP. But Gu's (2001) 'visibility condition of resumptive pronoun[s]' is found not to be sufficient enough to account for some structures in English. Thus, along with parametric variation of licensors, his 'visibility condition of resumptive pronouns' can be revised to account for incorrectly predicted grammaticality of some English sentences, including resumptive pronouns in relative clauses.

The purpose of this paper is to study the aesthetic world of love and accommodation represented in Saul Bellow's Herzog, and to gain a deeper understanding of his vision for man. Moses Herzog in Herzog suddenly faces a crisis in his family; divorce from his second wife, Madeleine. Following the crisis, he discovers his life is disorderly and disharmonious. Until now he has lived only pursuing an ideal world remote from actual reality, so he has failed to live in reality. Herzog, therefore, tries to solve his problems via self-examination, by taking a mental journey. Having reexamined his present and the past life, Herzog finally changes himself into a realistic character, and begins to love his family and other people. Through suffering and mental anguish, Herzog reaches a vision of love and accommodation, which restores his love for his family, brotherhood and society. He starts from selfhood toward brotherhood, and then to community. Bellow is always interested in problems such as how individuals live in this absurd world, how they maintain their dignity, and how they come to terms with feelings of alienation. Therefore, his heroes come to spiritual maturity as a result of overcoming hardships. Bellow in this novel, Herzog, successfully shows that Herzog, the protagonist, escapes his trying situations and achieves spiritual maturity. Finally, this novel represents Bellow's beautiful world of love and accommodation through Herzog's mental journey.

This essay seeks to examine the artistic relationship between Nietzsche, Lawrence and Artaud. Their common ground is that they are all Dionysian artists. Despite their marked differences, for them the Dionysian vision of the cosmic cruelty are the ultimate ‘reality’ of life. Nietzsche, Lawrence and Artaud are closely connected in terms of the Dionysian vision of life. Nietzsche’s The Birth of Tragedy, Artaud’s ‘Theatre of Cruelty’ and Lawrence’s Mexican (Aztec) Myth in The Plumed Serpent are designed to promote their life-affirming vision by revealing the fundamental ‘reality’ of life. Their Dionysian vision of life is associated with the cosmic cruelty of the mysterious pagan world. The ancient religious rites and rituals (in ancient Greece, North American Indian rituals and Aztec myth) were created as the artistic sublimation of natural cruelty. This version of the Dionysian vision guides us to look into the terrible destructiveness of ‘real’ history, as well as the inhuman cruelty of nature. The revelation of cosmic cruelty exposes an absolute determination to unravel all the false images which surround us. Thus, the presence of the cosmic cruelty artistically drives us to ‘see’ the hidden truth of life. This cruel vision dynamically reveals the uncanny ‘reality’ that we resist seeing while we are trapped in our accustomed life. Influenced by Nietzsche, both of Lawrence and Artaud create their own ‘Dionysian vision of the cosmic cruelty’ through their innovative art-works. According to them, the total destruction of Dionysian ‘reality’ is a necessary precondition for achieving new vitality and spirituality for mankind.

In a sentence like "Mary braided her hair tight", the sentence-final predicate tight is predicated not by any overt syntactic constituent, but by the hidden final result incorporated in the meaning of the verb, i.e. the braid resulted from the action of braiding. Calling these kind of predicates pseudo-resultative predicates, Levinson (2007) argues that they are semantically predicated by the root of implicit creation verbs like braid, and that this prediction is reflected in the syntax, assuming that the pseudo-resultatives are adjectives, and so it is possible for them, in the syntax, to be predicated by the root of an implicit creation verb, which is assumed to denote an individual. However, Levinson's compositional syntactic approach to the pseudo-resultative construction cannot be maintained for two reasons; first, contrary to her expectation, so-called pseudo-resultatives are not adjectives but adverbs, and so they cannot serve as the secondary predicate predicated by the root of the verb. Second, Levinson's suggested syntactic structure is problematic in that it exploits an impossible configuration, one in which P takes a propositional complement. Considering these problems, the puzzle of finding arguments for the so-called pseudo-resultatives should be solved not by a syntactic solution, but by a pragmatic interpretation rule like the Predicate Transfer.

One of the characteristics of a modern poet is his painful consciousness of alienation from his society. Ezra Pound, one of the pioneers of modern poetry, was also conscious of his dislocation from a larger reading public. His anxiety about his inadequacy, however, did not drive him to the dead-end of alienation from his audience, though he would not make a compromise with the contemporary philistine public. From the beginning, Pound incessantly tried to communicate with his audience. His earlier poetry, before the period of the Imagist movement, employed a plain style of writing to facilitate the understanding of his verses for his readers. As a kind of prescription for the disease of contemporary poetry, which was too sentimental and used too many redundant words, he gradually developed a new poetics of Imagism based on precise expression, condensation, and ellipsis, which he learned from the study of Romance and Oriental poetry. This new poetics used a juxtaposition of two or more phrases and sentences without any connecting or explanatory parts, so that it made his poetry hard to comprehend. Pound's new poetics was not a temporary tactic against the hostile public. It was a result of his tenacious endeavor for exact and compressed expressions in verse. Pound was a poet who forged not an exclusive but an inclusive audience for his poetry throughout his long poetic career.

The main themes of the tentative 2006 Primary English Curriculum still maintains learner centeredness, emphasizing teaching based on students' language level. Even though the importance of teaching by level has been recognized, its implementation has not effectively progressed. In addition, the criteria for developing activities by students' language level have not been clearly defined. Thus, this study aims to develop differentiated multimedia-assisted English classroom activities for 5th and 6th graders in elementary school. In order to accomplish this purpose, the current activities for 5th and 6th graders were analyzed and found to be focused mainly on speaking skills; criteria for developing differentiated multimedia-assisted English classroom activities were then developed as a result of synthesizing three elements: language, task, and multimedia. For further research, the newly developed activities should be implemented to investigate how they are applicable to the classroom

Jonathan Swift's Gulliver's Travels and Thomas More's Utopia portray an ideal world in which they dreamed of solving contemporary social problems. Following Plato's Republic polemical discussions in philosophy and literature about how the ideal world could exist erupted. Philosophers and writers introduced utopian notions and thoughts in literary works and philosophical logic. Utopian novels had stories to subvert or revolutionize the already-made bases in society by a traveller who delved into the imaginary place but nowhere just in the fictional worlds. Utopia gave rise to imaginary resources of the possible worlds. They are called affirmative and negative utopian worlds. And it was the imaginary places to form man's right and proliferate scientific thinking as a notional tool. The hypothesis of utopia provides the basic framework to writers to scrutinize the events of social righteousness and the problems of the real world. For example, Swift represented many places fictionally describing them in a uniquely imaginative manner, but he didn't have a logical explanation specifically for the places. To him, utopia is the place where we can explore and enjoy it. But for us, it is the place where we can be understood, deviate and think of other places. Therefore, this paper studies possible worlds to access different fields as an interdisciplinary relation, debating the notion of utopia between philosophy and literature.

Although its spiritual power does not call so much attention as that of Howards End, Wickham Place is certainly another house in Forster's Howards End that deserves careful examination. The house constitutes the origin of the Schlegels, and the Schlegel sisters' physical separation from the house betokens the novel's disavowal of Romantic idealism associated with the late Mr. Schlegel. In the earlier part of the novel, Helen's critical voice dominates, penetrating the reification of the contemporary British society and recognizing the existence of class struggle. Yet, following the sisters' move out of Wickham Place, the narrator gradually distances himself from Helen's idealistic voice and endorses the view of the novel's ultimate heroine Margaret. As a member of “the rentier class”—those who live mainly on investment income, Margaret chooses to resolve the moral dilemma of her class by reconciling with the industrial capitalists such as the Wilcoxes. In order to achieve a difficult harmony, Margaret invents a symbolistic vision of unity that can replace a reality full of problems and struggles. Thus, Howards End, which represents England as a whole, comes to function as a synecdoche. However, this use of synecdoche displaces the other parts of the whole, while cultivating the particular and polishing the fragment. This inorganic synecdoche reveals Forster's tentative solution to the problems surrounding the relationship between the aesthetic and the practical in the contemporary society.