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Since the advent of structural and generative linguistics in the 20th century, traditional school grammar has been attacked as being inadequate, illegitimate, and useless (Haussamen, 2000). Nevertheless, this traditional grammar has remained the basis for grammar instruction worldwide and is still being used as the primary method of English grammar instruction in Korea’s EFL classrooms. Recently, there have been hot debates on the integration of generative linguistics as a supplementary resource for grammar instruction (Bae, 2003; Kolln & Hancock, 2005; Park, 2009). This paper examines the perceptual pattern of SVOC constructions, an equivalent to the 5th predicate form in Onions (1932, 1971), through the survey among college students. The findings of the survey reveal that the analysis of those constructions within the traditional school grammar runs counter to the subjects’ perceptual pattern of them. Rather, it conforms to the analysis within the generative linguistic paradigm. I accordingly suggest the integration of some important concepts of generative linguistics within the main syllabus of traditional school grammar

Although it seems to be intuitively plausible that there is some degree of productive formation of some verb-particle combinations, it is not easy to predict which particle combines with which verb to create a new phrasal verb. This study aims to present a cognitive model for the relationship between the meanings and high frequency of verb-particle combinations in English, and to demonstrate why a particular set of particles (i.e., out, up, down, back, away, etc.) is frequently used to combine with a particular verb. It is suggested that the high frequency of a limited set of particles in verb-particle constructions is motivated by the conceptual features based on a human cognitive system: the verb-particle combination can be best understood given a cognitive or conceptual characterization with respect to the meanings of the attached particle. Based on a cognitive-functional approach, this study also proposes that the verb-particle combinations are likely to be created on the basis of the human conceptual system that serves to organize categories. Finally, it is suggested that the frequent use of a limited set of particles is closely related to their cognitively-semantically salient properties.

This paper attempts to read August Wilson’s four plays, Jitney, Joe Turner’s Come and Gone, The Piano Lesson and Two Trains Running from a postcolonial point of view. Wilson is a black cultural nationalist and his texts contain postcolonial resistance discourse to imperial discourse. So his four plays are constructed as an elaborate counter discourse for expressing African Americans’ resistant consciousness against white ideology through African ritual, warriors, and rewriting African American history. Wilson assumes the term “cultural difference”, a significant postcolonial concept suggested by Homi Bhabha, to examine the relation between blacks and whites. Wilson makes use of African Americans’ culture to overcome white dominant discourse. Wilson has written ten cycles plays that deal with African Americans’ experiences of the twentieth century since Emancipation. He is concerned with cultural values and the quest for African American identity through the African ritual. In Jitney Wilson created his first warrior, Booster, who refused to work for the white man. Wilson said that he wrote Joe Turner’s Come and Gone in order to teach the importance of African American cultural and racial past. For Loomis the journey toward self-knowledge includes two apocalyptic rituals. At last he is born again as an African Loomis by finding his own song. The themes of separation, migration, and reunion are central to Wilson’s exploration of the search for cultural identity and self-affirmation. In The Piano Lesson Boy Willie and Bernice have fought with the white ghost of Sutter trying to exorcise him from their lives. In Two Trains Running Hambone’s loud talking protest reveals the fundamental injustice of an American economic system. Wilson regularly insists that African American ancestral voices must be heard. So the lesson of four plays is that African American voices and culture must be sustained through spiritual reconciliation. As a black cultural nationalist August Wilson stresses the need to cherish and enhance the cultural values of African Americans in order to establish the subjective relationship with American society. Because Wilson’s four plays stress African Americans’ struggle for black liberation, a postcolonial reading that insists on African Americans’ resistant consciousness becomes possible

This action research was intended to collect information about L2 readers (n = 131 undergraduates) in terms of their needs, interests, motivations, and perspectives on an L2 teacher’s role and their own in L2 reading. The ultimate goal of this study was to establish a more productive L2 reading teaching program on the basis of the information. To collect the desired information, this study used a survey with 10 open-ended questions, and data collection was conducted three times: at the beginning, the mid-term, and the final-term of a semester. The participants’ responses to the survey questions were coded and classified into categories. The coded responses were analyzed as frequencies, and converted into percentages. Findings of this study indicated that L2 vocabulary, L2 grammar, appropriate L2 reading materials, and motivation were significant factors in facilitating the acquisition of L2 reading competence and fluency. It seems that L2 teachers should be careful in designing an L2 reading teaching program because L2 students’ needs, interests, and motivations were various according to their developmental stages. In regard to the significant factors, some implications and perspectives on ways of dealing with L2 students were discussed at the end of the study.

Recent discussions of interstices between races, ethnicities, nations, states, and cultures produce a delicate and complex concept of hybridity within the context of globalization and transnationalism. What is at stake in this new discursive dynamics is diasporic subjects and borderline areas of cultures. In recent postmodern cultural studies, “diaspora consciousness” moves beyond the essentialist concepts such as ethnicity and race, and comes to denote hybridity, heterogeneity, identity fragmentation, double consciousness, roots and routes, multi-locationality, and what not. This disapora consciousness is a product of cultures and histories in collision and dialogue, and diasporic subjects are distinct versions of modern, transnational, and intercultural experience, as James Clifford perceives. In this context of diasporic identities and hybridity, networks of transnationalism can provide a clue to unknot the complicated intermixture of terms which span from diaspora, postcolonialism, and postnationalism. The purpose of this paper is to investigate the nature of the concepts of diaspora, colonialism, and nationalism from the contradictory counter- concepts of diasporic double consciousness, postcolonialism, and postnationalism. Then, based upon this geneology of emerging transnational cultural logic, this paper demonstrates how “reggae aesthetics” of Kwame Dawes transforms itself into the cultural logic of transnationalism in connection with his hybrid reggae music, diasporic life-styles, and cross-national commodification of reggae music, and flexible citizenship.

This study aims to investigate the effects of using children’s English newspapers on 6th grade students’ English reading skills. This study intended to find answers to four different research questions. First, what effect does the use of children’s English newspapers (compared with the use of reading materials included in the textbook) have on their reading abilities? Second, what effects does the use of English newspapers have with level-based groups? Third, how are the different areas of reading skills affected by newspaper reading activities? Fourth, what are the participants’ reponses to newspaper reading activities? In order to find the answers to these questions, an experimental group of 6th grade students participated in newspaper reading activities while a control group of students participated in regular reading activities following the teacher’s guide of the 7th National Curriculum. In the results, children who were taught with English newspapers showed a greater improvement in their reading skills than those who were taught with reading materials from the textbook. This was confirmed in both higher- and lower-level groups. The participants of this study showed a medium level of interest in newspaper reading activities. The results suggest a need for on-going use of English newspaper materials accompanied by level-appropriate activities to enhance children’s reading skills.

Robert Lowell is one of the major poets in the modern American poetry world. Among the various poetic tendencies, Lowell is generally considered the leading confessional poet. Robert Lowell’s major work, Life Studies, is a representative of confessional poetry. It deals with the subject of the poet’s private life under the psychological pressure, using the poet- protagonist. In this poetry, Lowell describes his distinctive vision of the relationship of painful world and suffering self. Lowell adopts a comic strategy for Life Studies. The comic character of the work deserves commentary as an effective way of seeing Life Studies. Adopting the seriocomic vein, a comic tone and the rhetorical function is a considerable departure for Lowell. So the comic vein of Life Studies is wry, not full of happy feeling. It is rhetorically well supported, on a theory of the comedy that owes much to Fry and Bergson’s laughter under life’s pressures, desperation, and pain. Therefore, Lowell uses “the mixture of pity and wry humor” describing the figures as thoroughbred mental cases and conducting himself as one of them. Humor extends the private event to a public dimension.

Cartesian philosophy occupies an important place in Beckett scholarship. It revolves around concepts such as the cogito, the subject, the object, and dualism of body and mind. Since the beginning of Beckett scholarship, Beckett’s works have been examined against the background of the Cartesian system of philosophy. Such an examination reveals several similarities and discrepancies between the worlds of Beckett and of Descartes. In Beckett’s first published poem, Whoroscope, René Descartes is placed at its center. Murphy clearly presents the significance of Cartesian philosophy in this novel and other works by Beckett. In this work, particularly the Occasionalist philosopher Arnold Geulincx, who pushed Cartesian question of how the mind and body are connected, holds an important place. Beckett presents the main character Murphy being acutely aware of the dualism of body and mind, without knowing, unlike Descartes, how they are connected. The playwright goes beyond the limits of Cartesian dualism and presents a tripartite structure of Murphy’s mind. Thus re-interpreting Cartesian and Geulincxian ideas, Beckett presents the world where Cartesian concepts exist only to be questioned. For that reason, in spite of the prevalence of Cartesian elements, Beckett’s position cannot simply be called Cartesian or Geulincxian, and his main character Murphy’s death symbolically caricatures the death of Cartesian man.

This study analyzes the distribution and interpretations of negative forms in Korean from functionalists’ viewpoint of language, because they are heavily influenced by functions associated with constituents in a sentence/discourse. This study establishes a functional and discourse approach in the analysis of negation under the assumption that the interpretation of negation in Korean can be better explained by their functions in discourse. On the basis of this assumption, the distribution and interpretation of NEG-forms are examined in terms of transitivity. In addition, to examine why the two NEG-morphemes are so distributed, a transitivity theory is applied. In this theory, an can be regarded as an unmarked NEG-morpheme which negates predicates of either high or low transitivity, but mot must be regarded as a marked NEG-morpheme and is specialized to negate predicates of high transitivity only. The semantic interpretations of the NEG-morphemes an and mot then follow naturally as a consequence of derivation from the degree of transitivity each NEG-morpheme is associated with in the given predicate. In short, this study shows that the distribution and interpretation of NEG-forms cannot be explained in terms of purely syntactic form, but they can be explained better in terms of their functions in discourse.

The purpose of this study was to investigate EFL college students’ expectations of and affective involvement in a domestically-run English camp, which is a three-week boarding style camp. This intensive English program was designed to increase the opportunities for college students to participate in the communicative setting, to enhance their English proficiency and to gain an understanding of cultures and customs of English speaking countries while meeting with native teachers in the camp. Forty-eight students participated in the camp for three weeks, staying in a dormitory. The results of the study indicated that the students were strongly satisfied with the program, and the program was adequately effective in lowering students’ affective self-defense system. Furthermore, the program seems to be very effective in saving money and time for studying English in the Korean setting. Some issues and concerns were emerged as the program progressed, and those issues, problems and concerns were mentioned for practical future programs.

Othello is usually referred to as ‘a tragedy of jealousy.’ Since A. C. Bradley’s study on the characters, the word ‘jealousy’ has been recognized as a tragedy-causing factor in Othello. But the important thing that we never have to pass over as the tragic factor in this play is an issue related to racism. The racist insinuations are displayed by Iago, Roderigo and Brabantio who are Venetians. These Venetians hate Othello. The seeming reasons are that Othello promoted Cassio as a lieutenant, and for Roderigo and Brabantio, that he married Desdemona. But the concealed reason is that Othello is a black man. Othello tries to settle in Venitian society by marrying Desdemona, but he meets a long-rooted social convention, a prejudice against other race. Especially, the fact that black Othello married Desdemona, a white lady of Venice, makes these Venetians arouse their great indignation. Their hatred stretches into racial attacks. They name Othello such contemptuous things as “an old black ram,” “devil,” “a Barbary horse,” “a lascivious Moor,” “the thicklips,” or “foul thief.” For them, Othello is only a mercenary soldier and black Moor. Iago plays a leading role in using racism against other race. He disdains Othello’s racial heritages(his black skin and appearance). But for Othello, he is always an honest Iago. For his purpose, Iago continuously stirs up Othello’s inferiority complex on black skin. And he implies to Othello that Desdomona’s love to him may be changed. Increasingly, Othello is fallen into a ruse by Iago whom he always thinks of ‘his honest ancient’. Iago destroys Othello’s superiority by destroying his belief in the relationship with Desdemona. Then, Othello starts exposing his barbarism and concludes that Desdemona is “an impure woman.” Finally, he loses his reason and suffocates her to death. Othello clearly exposes ‘racial prejudice’ in Venetian society. Othello’s black appearance and nature are used as the strong racist factors. Othello and Desdemona are victims by the conventional racial prejudice that has deeply been rooted in Venice.

Bolinger (1977:preface x) mentions the old principle that the natural condition of a language is to preserve one form for one meaning, and one meaning for one form. This means, if two expressions have the same form, they have the same meaning (function), and if different forms, different meanings (functions). There is an apparent counterexample to this: the coalescence of the present participle functioning as verbal (adjectival), and the gerund functioning as nominal in -ing form as in the sentence, Flying kites can be dangerous in a public building. Through the diachronic study of Old English and Middle English, it is found that the Old English present participle form -end(e) has double functions, nominal and verbal. The gerund -ung has a nominal function. So, it is proposed that Modern English form ending -ing is a counterexample to Bolinger’s old principle and also an example of economy of using one form. In Old English, -end(e), which represents the present participle, functions as nominal and verbal (adjectival), and -ung, which represents the gerund, functions as nominal. They share the same function of nominal, both resulting in -ing for economy characteristic of language acquisition or growth as pointed out by Chomsky (1995).

Donne’s poetry was a good example to the modernists in the early 20th century. It is because of his peculiar imagery which was originated from his wide knowledge of new science of those renaissance days. All of the peculiar imagery in Donne’s poems are related with his curiosity for the newly found science and geography. For example, the passion and desire for women are expressed with every image using the new science things. The telescope, compass, magnet and the alchemistic knowledge are good devices for his poems: these new things were revived in his poetry as good images. In his love poems he does not moan or admire like the other sonnet poets of Elizabethan period. He persuades women with logical dialogues and uses scientific things to express his emotion. His poetic dictions and phrases are colloquial and they are similar to the dialogues of a drama. As if the heroes of Shakespeare talk on the stage, Donne’s poetic speakers persuade their lovers with logics. As a conclusion, we can tell Donne a poet not of heart but of logical mind. Imagery from his logical mind and colloquial expressions made Donne the best example that in the early 20th century the modernists imitated.

This paper examines the social alienations inherent to racial oppression such as miscegenation and family violence by using maternal discourse in Harriet Wilson’s Our Nig. Our Nig begins with the life of Mag Smith, who is a white woman. Mag is regarded as a fallen woman because of a transgression of feminine virtue, sexual purity. Mag soon marries a free black man, Jim and it makes her sever her ties to white society by violating the social prohibitions against interracial sexual unions. Wilson juxtaposes Mag’s unforgivable social offenses to her extreme hardship and criticizes the dominant ideology of white society. Frado, the child of a mixed-race marriage is abandoned by Mag, her biological mother. Frado is left at the Bellmonts, a white household in North, where she is taken in as “our nig,” an indentured servant. Frado is overworked and repeatedly beaten like a female slave by Mrs. Bellmont, her surrogate mother. The domestic violence against her daughter is so brutal and wicked that Frado cannot live a comfortable life. Depicting Frado’s circumstances which are similar to those of a slave, Wilson portrays her white mothers as cruel, lustful, and unmotherly and attacks traditional images of white women as nurturing, kind, and chaste. And Wilson reconstructs a recovery of motherhood and criticizes the typical racism in the post-slavery society.

The age of Tennyson was the age of change and progress. During the reign of Queen Victoria, England attained a marvellous development throughout all over the areas of politics, economics, culture, and science. In this age of fast-paced expansion, the social function of the poet became a social issue. Victorians’ attitude toward the poet, as much as the poet’s own, was ambivalent. They inherited and in a sense gave more significances to the romantic view of the poet as hero and prophet. They demanded that the poet should guide and edify the public who were put in a spiritually impoverished condition of their society. So they bestowed on the poet the role of prophet and paid excessive tribute to his power for social good. They wanted help from the poet, and some writers complied with the public wish. Tennyson was the poet who was more sensitive to the social demand than any other poet in his age. But in an effort to satisfy the public need, Tennyson was torn between two impulses: his natural bent and public’s insistence. His natural bent was for intensely personal expressions. But to provide a firm guidance in the problems of his age, was a task that sometimes appalled him. The result was a conflict between the poet as a public leader and the poet as an aesthetic recluse which is manifested in Poems, Chiefly Lyrical(1830). To examine this process is the purpose of this paper.

The purpose of this paper is to study W. B Yeats’s early play Deirdre as a Cuchulain play. The hero Naoise, who holds the championship of the Red Branch, dies, making way for the successor in the championship, Cuchulain. To clarify the relationship between Naoise and Cuchulain, the character of Naoise is closely examined. Such a study reveals several significant similarities between the life and death of Deirdre and Naoise and the unfolding of the careers of Cuchulain and Emer. Yeats altered his source material for his dramatic purpose. Yeats’s alterations are intended to contrast the world of protagonists with that of antagonist and he places much value on those qualities that he most admired: fidelity to love, honor and a refusal to indulge in crowd-pleasing, foredoomed heroics. By contrast, he makes the antagonist Conchubar the antihero of his Red Branch plays. Unlike the source, Yeats did not consider a violent death the only heroic answer to betrayal and entrapment. For this reason he changed the martial reaction of the source to one of calm acceptance when Naoise learns of Conchubar’s treachery. The reaction to deceit reveals that Naoise, like Cuchulain, is a semi- autobiographical hero who embodies many of his creator’s ideals. Thus Deirdre can be considered as one of the Cuchulain plays and Naoise and Deirdre as the prototypes of Chuchulain and Emer. Yeats created in 1907 a compressed, moving version of an old folk tale that deserves a place along with other early masterpieces.

In this essay, I discuss the characteristics of Hardy as ‘a cinematic novelist’ which can appeal both to audiences of films and readers of novels, by comparing some aspects of narrative techniques found both in Hardy's novels and their adaptations to screen. Hardy employes ‘verbal description as a film director uses the lens of his camera,’ which can be analysed in cinematic terms: long shot, close-up, wide angle, telephoto, zoom, visual perspective, and flashback. These cinematic equivalents for the narrative techniques in Hardy’s novels give a ‘Hardyesque’ feel to their adaptations to screen. In fact, many film directors such as Winterbottom, Polanski, Schlesinger, and Agland have picked up characteristic narrative techniques from Hardy's novels, such as their use of specified observers, restricted narrators, ellipses and omission. Thus, it is true that they have found not only stories as a raw matter but also their narrative techniques in the novels of Hardy. Hardy anticipated modes of film narration, which has been a gift for modern film directors.

Eliot’s poetry is considered aesthetics of absence and presence. The subject in earlier poetry which lacks in the true signified lies in the chain of desire and meaningless language, so the subject goes through frustration. Understood in these terms, the subject in earlier poetry is held to be the signifier without the signified. So it remains clear that the subject in Eliot’s earlier poetry is not a fixed subject at all. Seen from theological point of view, however, Eliot’s poetic subject changes into spiritual subject, which can be a new type of the subject to cope with materialism in the age of late-capitalism. Therefore it must be said that even if the subject in earlier poetry is split, it is complete through Logos in later poetry. Phrased in these terms, this paper aims at dealing with how the subject overcomes the frustration of the signifier, finally showing that Eliot’s poetic subject certainly rejects the Cartesian self in which the subject was further in despair.

This paper purports to discuss Henry James’s criticism of the Victorian society in the 1890s in The Awkward Age which is represented through the world of Buckingham Crescent, the world of a high-class society whose true wits are Mrs. Brookenham, Vanderbank, Mitchett, and the Duchess. Almost all the characters entering this world show openly or covertly their inclinations to get money. Mrs. Brookenham and the Duchess represent the cash-nexus or cash-and-carry relations dominating all the nooks and corners of the society in this work. They use all the intrigues and tactics in order to get their niece and daughter, Aggie and Nanda, married to the rich man, Mitchett. Therefore, these young girls are prepared for “consumption” in the marriage market. The major members of the “temple of analysis,” another name of the world of Buckingham Crescent, enjoy “freedom of talk”, “freedom of mind”, and “high intellectual detachment” through their indirect and imaginative talks and by avoiding vulgarities and emotional expressions. But their “high intellectual detachment” represents a trend of the English Decadence in the 1890s, whose creed is supported most noticeably by Vanderbank. Finally, their ‘high intellectual play’ brings about the coldness of their hearts, as is shown in Nathaniel Hawthorne’s “Ethan Brand”.

Station Island is a culmination of inner emigration expressed in “Exposure” of North. The difference between North and Station Island in the respect of the spiritual wandering lies in the fact that the purpose of wandering in North is to escape from Ulster violence while that in Station Island is to flee from Catholic bondage. Identifying himself with Sweeney, an Irish symbol of the wandering artist, the writer pursues the pilgrimage for becoming the world writer, not confining his talent to the local vision. In this sense, Station Island seems to belong to the same category as James Joyce’s A Portrait of the Artist As A Young Man. Although the voluminous poetry in question seems to lack in consistency, the writer seems to show us a constant idea, that is, the dream for flight as a free artist through Sweeney, the symbol of a free artist. This work consists of three sections: the first section dealing with sense of sin, the second with pilgrimage for curing some sense of sin, and the third with flight as an artist free from some bondage and searching for the new-style poems. This poetry looks similar in structure to Dante’s Divine Comedy: during pilgrimage the writer encounters 12 ghosts who have influenced the writer’s life. This pilgrimage includes a kind of the poet’s survey on the Irish Republic spirit as well as the pilgrimage about Irish history of politics. Through this pilgrimage, the poet comes to ensure his position as a free artist. Although he makes sure that he is a free artist, he feels his poetic materials are drying up. In brief, Station Island is another poetry where the poet confesses that he becomes an artist free from bondage, which means that Heaney also follows the Irish artistic tradition inheriting from Sweeney, the historical person who abandoned his throne as king and wandered searching for the artistic freedom.