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Although most writing test batteries include grammar as one of scoring criteria, there has been a hot debate concerning the effect of grammar teaching in writing class. Recently, represented by Weaver (1996, 2008), a minor group of researchers emerge and advocate the teaching of grammar for writing. The researchers, including Weaver (1996, 2008), suggest that grammar be taught not in isolation but in context. We note that student writing provides language teachers with a valuable context for teaching grammar. This paper reviews the typical grammar errors made by native college students and examine the corresponding ones made by Korean EFL learners. Korean EFL learners exhibit a remarkable error rate in ‘subject-verb agreement’, ‘article’, ‘subcategorization’, and ‘collocation’. I attribute this to cross-linguistic differences or transfer between the two languages. One of the best ways to narrow such differences might be teaching grammar not in isolation but in context, especially in the context of student writing.

According to Poe’s poetic theory, “the contemplation of the beautiful” or “the Human Aspiration for Supernal Beauty” functions as the poetic principle and makes it possible to experience the pleasurable excitement or the poetic sentiment. But Poe’s beauty is differentiated from ‘beauty’ in the classical aesthetics such as Edmund Burke’s or Immanuel Kant’s in that it is defined as not a main source for order and balance but as “a something in the distance,” and related to the unattainable like the death of a beautiful woman. Rather, Poe’s beauty can be said to have a similarity with the role of ‘sublime’ argued in Burke’s or Kant’s aesthetic theory. We come to find a paradoxical structure based on Poe’s definition of beauty as the unattainable repeated in Poe’s detective stories. For example, in “Ligeia” the relation between a husband and a wife represents the typical structure of other detective stories in that the husband’ efforts to fathom something profound in his wife’ face fails in the end and both of two can’t escape their tragic destiny repeating the endless chase like vampires. In “the Man of the Crowd,” this chasing structure deepens more and is presented more variously through the relation between ‘I’ and “the man of the crowd.” Finally, we find that in “The Purloined Letter” which shows how the chase go when the chased object doesn’t allow it to be read, the place of subject is determined by that of the unreadable object and the one replaced endlessly by the other without finding any solution or safety.

In this paper, I have discussed scrambling from kes constructions. In terms of scrambling, kes constructions are considerably freer than other types of complex noun phrases such as the HeRC and the free nominal CNP, which are a strong island for scrambling. However, this does not entail that scrambling from kes constructions is always acceptable. That is, kes constructions show some island effects on scrambling. For example, adjuncts cannot be scrambled from both the HiRC and the NCC constructions. This implies that kes constructions are always an island for scrambling of adjuncts. Also, the HiRC differs from the NCC; namely, scrambling from the HiRC construction is more restrictive than the one from the NCC construction. In particular, an element can be scrambled out of the HiRC construction if and only if it is the internal head of the relative clause. Otherwise, the HiRC is an island for scrambling. In contrast, the NCC construction is free from such island condition on the semantic properties of the scrambled element. In conclusion, in terms of scrambling, the two types of kes constructions are distinguished from each other. In other words, scrambling is a useful syntactic tool to divide kes constructions into two types: HiRC vs. NCC.

This study analyzes how contemporary plays try to repeat Shakespeare’s works with ironic distance as a means toward a parodic echoing of Shakespeare. The Marowitz Hamlet, written by Charles Marowitz, rearranges the plots and lines of Shakespeare’s Hamlet, using the collage technique. The multi-layered plot, consisting of a main plot and its inter-reflected subplots, is designed as one of Shakespearean staging strategies to actualize his plays on the proscenium stage. This plot structure also heightens the themes of Hamlet, such as revenge, honor, life and death, by showing them repetitively through multiple representations to the dramatic rhythm of similarities and variations. Based on this dramatic structure, Marowitz tries to explore a new approach to Shakespeare. While Shakespeare concentrates on Hamlet himself through his long monologues, Marowitz let Hamlet share his tragic burden with other characters like Fortinbras. Reorganized plots and lines can change the meaning of the original text and its themes. We can observe how Hamlet copes with his problems more actively with the help of dynamic exchanges of dramatic lines and actions. Therefore, contemporary Shakespearean adaptations can provide an effective way to communicate with Shakespeare from a new aspect.

The purpose of this study is to investigate the speech act of refusal of Korean EFL learners, to classify the refusal strategies used and to assess the appropriateness of the speech act to the particular situations. The study employed 139 Korean university students and divided those subjects into two groups, Advanced group(74 students with TOEIC scores about 800), and Intermediate Group(65 students with TOEIC scores about 400). This study used 10 discourse completion tasks to elicit the subjects’s refusal utterances and 16 kinds of refusal strategies to classify the utterances. Ten judges (5 native English teachers and 5 non-native English teachers) assessed the learners’ performances of 10 refusal situations. The findings are as follows. 1) The refusal strategies used are excuse, apology, non-performative statement, alternative, insult, and philosophical strategies. 2) There is a significant difference between the advanced learners and intermediate learners in the use of refusal strategies. Advanced learners use strategies more frequently than intermediate learners. 3) There is no significant difference among the sociocultural variables in the use of refusal strategies. 4) The overall appropriateness level of Korean EFL learners’ performances of the speech act of refusal is between ‘often inappropriate’ and ‘slightly appropriate’. 5) There is a significant difference in the appropriateness level between the two groups. 6) 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 refusal tasks.

The purpose of the study is to investigate which kind of focus-on-form instruction is effective in promoting incidental learning of English verb patterns in meaning-focused reading classes. The study compared the effectiveness of three kinds of focus-on-form instruction in learning 7 English verb patterns incidentally by 94 Korean university students with low English language proficiency: (1) the use of a dictionary, (2) the provision of marginal glosses, and (3) the provision of input enhancement and sentence-level translations. The study found that the provision of marginal glosses had a significantly greater effect on promoting incidental learning of the target verb patterns than the use of a dictionary and the provision of input enhancement and sentence-level translations. This result may be due to the fact that the target verb patterns were not noticed when dictionary use was allowed or input enhancement and sentence-level translations were provided, whereas the learners’ attention was drawn to marginal glosses and so the target verb patterns were noticed.

The understanding of prosodic features is very important for the development of listening competence in a language as rhythmic as English. Competent at prosodic features, a fluent listener can organize a speaker’s sentence into meaningful units, and then selectively pay attention to the units—more attention to more important units, thus achieving listening fluency. Despite this importance, English teachers in Korea appear inclined to employ the segmental approach to teaching listening skills. Their inclination might be rooted in the skepticism that the competence of English prosodic features has no effect on listening competence. Thus, it seems urgent that more studies should be conducted to promote the use of the prosodic approach among them by reducing their skepticism. The purpose of this study was to investigate the relationship between the understanding of English prosodic features and English listening competence. The participants’ levels of understanding English prosodic features were measured by their performances of English prosodic reading, and their levels of English listening competence were assessed by the TOEIC test. The data analysis indicated that there was a moderate and significant correlation (r = .493, p < .01) between the two variables. At the end of this study, implications for English education for listening skills were discussed.

‘Travel’ has recently emerged as a key theme for the academic disciplines of literature in terms that the travel writing text could be appreciated as a body of work which offered an insight into the complex and intermixed hybridity of cultures in the colonial or postcolonial era. The paper argues that travel writing text is a kind of cultural translation on the basis that translation can be viewed not only as linguistic translcoding but also as interpretation or criticism of a culture, and it largely focuses on the mode of cultural translation of Stedman’s Narrative of a Five Years Expedition to analyze cultural complexities or hybridities of “contact zone” between the non-European and the European cultures. Stedman was standing on the boundary line of culture, race, and politics as a cultural translator who has am ambivalent perspective, and produced a travel writing text which contains the colonial expansion of Europe, the revolts of natives against the Europeans, exotic nature, and ‘romantic’ transracial love between a marron slave girl and the writer himself. It is very interesting that the authenticity of contents of this text uncertain because Stedman, a translator interpreted and transformed the original text(sources of text) according to the taste of receivers, and also he became somehow assimilated to the culture of Surinam. The text produced under these contexts is a representation itself of cultural hybridity of contact zone, and I think it is an essence of cultural translation text.

This paper aims to examine the diverse kinds of chaos presented in Kurt Vonnegut’s novels and to show how the leading characters overcome it and reach their ideal worlds. Even though all the characters experience different types of chaos, they have in common their might to get over their difficult situations. Vonnegut describes the tragic life of human beings in Slaughterhouse-Five and Galapagos, chaos and crisis caused by scientific civilization in Deadeye Dick and Cat’s Cradle, and the erosion of values and absurdity in Breakfast of Champions and Timequake. After trial and error, the protagonists finally find their own way of overcoming their difficulties and reaching their Shangri-La: Billy’s trip to Tralfamadore in Slaughterhouse-Five, Rudy’s drama titled Katmandu in Deadeye Dick, and the science fiction of Trout who appears in God Bless You, Mr. Rosewater, Breakfast of Champions, and Timequake. Consequently, these contrivances help the characters get over their difficult situations, establishing their objectives in life and their sense of values. They basically represent the eternal pursuit of Utopia by human beings.

This paper aims to examine the meaning of Oedipa’s waiting in Pynchon’s The Crying of Lot 49. Many critics insist that the meaning of Oedipa’s waiting is useless and pessimistic because the Trystero is an ambiguous entity itself in terms of deconstructive criticism. According to their views, the novel is a pessimistic text. This perspective, however, doesn’t make sense when we consider Oedipa’s Quest of America. Of course, it is true that the deconstructive and postmodernist notions are embedded in the novel. Thus, it is difficult to read hope in the novel’s indeterminacy. But the religious imagery at the end of the novel is suggestive and hopeful. Since Oedipa left Kinneret for San Narciso to execute her late lover’s will, she discovers that people like Inverarity have attempted to remake reality into a super-efficient sameness and to replace all difference and diversity with a useful sameness. Inverarity’s greed combined with the over-idealization of efficiency creates a very undemocratic America. Yet Oedipa can nevertheless produce a critique of Inverarity’s America. Pynchon relates sameness and efficiency in postmodern capitalist culture to Tristero as a social metaphor of difference and diversity which plays an essential metaphorical role in the novel. Finally, in view of Oedipa’s journey of discovery I insist that The Crying of Lot 49 is not the pessimistic text but optimistic text and Oedipa’s waiting is not useless but hopeful and positive.

This paper explores the role of the trickster in Kenneth Grahame’s The Wind in the Willows. Toad among the main characters plays a role as a trickster who engages in trickery, deceives and violates the moral code of the community, and who at the same time conveys moral lessons within a society, allowing him to mock and subvert the existing system. This trickster is usually humorous and the tales generally combine both comical and satirical elements. On this account, the trickster is essential in literary fairy tales, where writers reflect their need for escape from necessity, conflict, or compromise. In The Wind in the Willows, after stealing one of the finest cars to drive down a dirt road, Toad is an infamous outlaw, hopping trains and river rafts and trying to play a trick on officials at every turn. But while he finds pleasure in doing these things, his friends, Rat, Mole and Badger, fret over him as time goes by. What is worse, without Toad around, his friends have not been able to defend themselves against the scheming Weasels that have overthrown the Toad Hall. After retaking the house, Toad decides to lead a quiet, steady, respectable life, looking after and improving his property, and moreover doing a little gardening. Accordingly, I argue that this work is about a tale of the aesthetic of domestic life of the middle class in the Victorian Age, and that Grahame looks back to a Victorian imagination that holds deeply to ideals of pastoral and quiet life through the trickster Toad.

Language reinforces a codification of the world according to orthodox categories and classifications. The human face serves as a substance of expression for linguistic forms of expression, each speech act resonating with an accompanying facial expression. According to Gilles Deleuze, the elementary unit of language, the statement is the order-word. He insists the function of language is not to be informational and communicational, but to transmit a order-word. In this sense, Deleuze suggests that a regime of signs is divided into four general categories: a presignifying primitive regime, a signifying despotic regime, a postsignifying passional regime, and a countersignifying nomadic regime. The face plays a different role in each regime of signs. The important thing is that a regime of signs has a power structure that forms individual subjects and places them in social and political relation to one another. This is called the politics of language. Similarly, the face forms the relation of power, especially, in the signifying despotic regime and postsignifying passional regime. The former represents a frontal face and deception, the latter an averted face and betraval. Deleuze also insists the face is a politics. But each regime of sings exists in a mixed semiotic system and comes out differently in various assemblages. Certainly, the regimes of sings can be applied to Hamlet. the four regimes appear in Hamlet according to the relation and placement of characters.

This paper examines how Robert Lowell escaped from the desperate frustration and emotional turmoil which resulted from both World War 1 and World War 2. This study includes the question as to what Lowell wanted to tell in his confessional poetry and who he wanted to tell. Life Studies was written as a kind of therapy to overcome his early trauma, as well as the social problems contemporary Americans and Lowell were confronted with. In this study, the conflicts which Lowell fought against will be discussed in the consideration of his philosophical view. Viewed as a whole, especially Lowell’s “Skunk Hour”, one poem of Life Studies deals with how his comtemporary Americans as well as the poet himself could overcome the frustrating situation which almost led them to ‘death’. It goes without saying that Lowell found out his way to head for through “Skunk Hour”, which functions as a conclusional poem in Life Studies. Finally, Lowell recharged himself with the vitality of a nocturnal animal, ‘skunk’. It also implies the restoration of American literature by the influence of American women writers, Marianne Moore and Elizabeth Bishop.

The friendship of Wordsworth and Coleridge is very famous in the history of English literature, but Coleridge had much inferiority complex to his friend. Women around Wordsworth, Annet Ballon, Dorothy Wordsworth and Mary Hutchinson, were all wise and friendly but Coleridge’s wife, Sara Fricker was an ordinary woman who could not understand her husband’s artistic world. Both of them were suffered for their financial problem in their young time and the first part of “Immortality ode” was written for that. But it was more serious for Coleridge who had to write many prose writings to bring up his family, while Wordsworth happened to inherit from his friend to be able to devote himself to poetic creation. And Coleridge got to love Wordsworth’s sister and sister-in-law but his love could not be realized. At last, he could not but admire Wordsworth for his making great achievement of his literature surrounded with good women. This relationship of two friends is expressed well in two poems, “Immortality Ode” and “Dejection Ode”. Wordsworth fell in sadness because of his lost paradise but he overcame it through his meditation and characteristic philosophy. Coleridge fell in endless desperation not to overcome it. It seems not so good to compare the two poems on their artistic value, but “Immortality Ode” is good in its excellent poetic expression and its meditative idea and “Dejection Ode” also gives deep echo to readers with its personal desperation.

Toni Morrison’s Beloved and Sok-yong Hwang’s The Guest mainly deal with the consoling of vindictive ghosts. Hwang’s The Guest(New York, Seven Stories Press) was translated into English by Kyung-ja Chun and Maya West in 2005 and got several positive reviews from prestigious journals including The Nation. Both writers have been influenced by the magical realism of Jorge Luis Borges and Gabriel Garcia Marquez. Morrison and Hwang introduce a revised magical realism and new types of ghosts in their novels. The ghosts in these novels play a major role in rehabilitating the repressed history and the concealed trauma of a diverse cast of characters, and in making other traumatized people overcome their divided selves. In a sense, these ghosts are both healers and destroyers. As healers, they give comfort and vitality to the characters, and, as destroyers they first open the wound and then lead readers and characters to investigate it and finally suture it. The ghosts in these novels stubbornly resist going to the world beyond. They think that they have to be in harmony with their beloved people and that they have to receive the proper respect and mourning. They have to tell their untold stories before they go to the world beyond. By allowing the ghosts to speak freely, Morrison and Hwang intersect multi-layered narratives to right/write the twisted truth and history. Morrison and Hwang emphasize the roles of mediators in these novels. In Beloved, Baby Suggs, Denver, Ella, and Paul D are mediators, who, like exorcists or shamans, maintain order and seek the wisdom of survival. Likewise, Uncle Somae, Yohan Ryu’s wife, and Yosop Ryu in The Guest take the role of mediators who soothe the traumatized ghosts and provide people who are living in this life with various ways and methods to cope with present difficulties.

This study examines W. B. Yeats’s later poetry in The Tower, The Winding Stair and Other Poems, and Last Poems from the Perspective of Humanities Therapy. Humanities Therapy pursues mental health and happy living by preventing and curing mental and emotional problems of modern people with a humanistic spirit and method. One of its specific methodologies is poetry therapy. And the principle of poetry therapy that provides self-examination to those who suffer from mental crises coincides with the process of acceptance and recovery that Yeats found in his old age poetry. This process, of reading and writing poetry, is therapeutic because it helps people newly understand others and the world. In his old age, Yeats, who then had physical limitations, has more affection for a body that contains youth, sensuality, and power, than he had before. He then sails to the eternal spiritual world to be rewarded for his bodily decrepitude. However, he realizes that the soul exists within the body. The body and the soul have their real value when they are complementary and are one. Then, we can attain harmony. Yeats describes this state, employing images of dance and trees, in his poems, “Among School Children” and “Vacillation.” Therefore, Yeats’s long journey of conflict is complete, and he finally finds relief. In this sense, Yeats’s later poetry deals with the growth of the self and this theme coincides with the aim of poetry therapy.

The purpose of this study was to examine whether the pre-reading discussions that employed text-based chatting would positively affect the reading achievement by college students. For this purpose, this study investigated the effects of text-based chatting relative to those of oral discussions on students’ reading achievement. In addition, topic interest and reading proficiency levels were treated as variables affecting reading achievement. This study further examined the effects of text-based chatting and oral discussions on the reading achievement of global questions. Participants were administered a pretest to diagnose their reading proficiencies and a survey was conducted to identify the learners’ topic interest. The students’ progress was assessed on the basis of their midterm and final exams. The results of the study indicated the following: Pre-reading discussion employing text-based chatting significantly contributed to the reading achievement as compared to oral discussions. However, neither the topic interest nor reading proficiency level resulted in any significant difference in the reading achievement. Similarly, the effects of text-based chatting on the reading achievement of global questions were significantly higher than those of oral discussions. However, the effects of the topic interest on achievement were more salient. Text-based chatting for high interest topics was significantly more effective than oral discussions. No effects of the reading proficiency level were observed.

Poe’s early literary inspiration as a fiction writer was clearly Blackwood’s Edinburgh Magazine and other popular periodicals. However, one of the most significant sources critics have left out of critical consideration is Washington Irving. While Irving’s influence on other literary figures such as Longfellow and Hawthorne is relatively well documented, his influence on Poe’s work has gained little attention in the scholarly circle. When Poe turned from the creation of poetry as his literary mainstay to the writing of fiction in 1832, the short story as the peculiar magazine form was already flourishing in the hands of Irving. Poe was well aware of Irving’s tales and envied his reputation as one of the day’s most famous and well-paid American writers. In this study, I have explored the specific intertextual connections between Poe’s “The Man of the Crowd” and Irving’s Mysterious Stranger tales such as “The Little Man in Black,” “The Stout Gentleman,” and “The Adventure of the Mysterious Stranger.” Poe carefully studied Irvingesque Mysterious Stranger stories with special reference to their construction and subject matter, and thus effectively perfected his own techniques in writing “The Man of the Crowd.”

One of the representative plays by Tennessee Williams, The Glass Menagerie shows Williams’ typical women characters who cannot confront with the real world and, as a result, withdraw into their own imaginary worlds. That is why they are called ‘fugitive’ characters. Beneath their helpless fugitiveness, there exists an irredeemable crevice between body and soul, the past and the present, the reality and the ideal, and so on. In this essay, I want to use the frame of a fairy tale in analysing their fugitive stories, and thereby gain an insight of understanding their calamity. In many ways, Amanda and Laura belong to the group of female characters in the fairy tales who helplessly wait for a Prince Charming to come and rescue them. The narrative tallies with Propp’s narratemes, which are a result of the Russian formalistic analysis of the Russian folk tales. The only difference is that Amanda’s and Laura’s tales don’t end with the happy ending: they lived happily ever after. Even though their situation can be quite controversial in a feministic point of view, still, their story of failure to consummate with Prince Charming and their image of incarceration in the glass menagerie underline Williams’ dramatic world filled with conflicts and anxieties.

Eubank, Bischof et al. (1997) reported optional verb-raising during the course of second language acquisition. Following Beck (1998), they have suggested, accordingly, that L2 knowledge of functional categories associated with feature strength is permanently impaired. In order to reexamine Eubank’s view, this paper investigated EFL learners’ grammars. An oral translation task and a grammaticality judgment task were administered to explore their knowledge of English (ir)regular verbal morphology and verb placement, respectively. This paper argues that despite overall suppression in adult learners’ performance involving lexical verb and adverb placements, the adult EFL learners in this study as well as the study of Eubank and his colleagues attain significant sensitivity to the discrepancy in grammaticality between unraised and raised verbs. Moreover, as far as the EFL learners’ accurate use of suppletive forms is concerned, an agreement feature-checking mechanism appears to be operative in learners’ grammars. Hence these findings call for a reconsideration of Eubank’s view on variability in verb placement in adult learners’ grammars.

This study explores why different effects are obtained through recasts, drawing attention to the nature of the target construction of recasts. During last decades, the negotiated interaction model have got much popularity in the study of language learning including EFL learning. One of the issues in this model is how errors are corrected through interaction, and researchers have got interested in cognitive processes that can be identified through conversational interactions. In particular, it has been found that recasts serve as a tool for providing negative evidence and constitute contingent responses to L2 learners’ ungrammaticality. It has been tested in several studies whether or not and how much recasts are effective in error correction (Mackey & Philp, 1998; Long, Inagaki, & Ortega, 1998; Phip, 2003). The findings reveal that the effects of recasts are quite different among target grammatical constructions. I argue in this study that the observed differences in the effects of recasts may root in the different grammatical properties of the target constructions among other factors and L2 learners’ sensitivity to those properties. For pedagogical implications, I suggest that recasts should be taken to be a tool not for direct error correction but for building implicit knowledge of certain grammatical items.

Most recent gender research has its main focus on the social construction of gender, rather than bodily differences. A review of the commentary on Visions of the Daughters of Albion shows that writers have usually focused on the figure of Oothoon as, at one extreme, a pathetically subservient female uncomprehendingly reflecting male domination, and, at the other, an avatar of twentieth-century sexual liberation punished for her forwardness. Also tending to read this poem ahistorically in light of Blake’s later works and expecting to find clear references in the poem to twentieth-century attitudes toward social roles, recent critics have been troubled about what Oothoon howls to post- moderns. This poem demonstrates the state of the dis-union among men and women in his time. In terms of literary convention, it follows and in many ways subverts the pastoral tradition of the male lover who idealize the female loved. Oothoon exchanges the position of observed for observer, the direct subject of power and surveillance for surveiller of power and reminds of the bitter import of the motto “The Eye sees more than the Heart knows. In her speech, Oothoon follows the male equations and thus ends her final attempt at changing men’s perspectives. She will accede to their traditions but will also try to use them as a wede into a position of power. She is now not merely the “seen” but also the “seeing.” Oothoon has thus run the gamut of roles: suffered rape and captivity and rejection by her beloved, expressed anger and offered appeasement, exhausted for now her strategy of exploration and retreat, offered her sisters up as means to a power position, and tried to use what she knew to observe women’s roles from a shared perspective of power.

Through rereading English Renaissance & Modern poetry from the perspective of death, we can see that view of death varies depending on periods. English Renaissance poetry shows that people of the era stand faced with a sense of fear and anger towards death, -like a warrior who resists the tyrant, saying “I’ll feed on death that feeds on man.” Meanwhile English Renaissance people associate death with sin, although they want to be a overreacher, which reflects that English Renaissance people are obsessed with immortality. Christopher Marlowe’s and John Donne’s poems are the examples which show they are fully wrapped with will to live. Meanwhile the English modern poetry indicates that death is brought by the destruction of ecology by modern civilization rather than by the moral sin, accepting death as a routine in a friendly way and even praising death as the mother of beauty. Thus death is considered something acceptable rather than dreadful. D. H. Lawrence’s remarkably sensitive sensibility describes death in an aesthetic and scientific way while Emily Dickinson describes it in an ordinary and metaphysical way. In sum, English Renaissance poems are occupied with the will to live, which is also called “eros”, while English Modern ones are packed with the will to die, that is, “thanatos”.