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We argue in this paper that the permitted/non-permitted overlapping reference in English may be consistent with Principle A and B, and that even though Korean plural dependent terms superficially show overlapping reference, this property does not come from reflexives and pronouns themselves, but from the property of the plural suffix tul. According to Cho’s (1996) analysis, there are at least two functions for the Korean plural suffix tul: one for ‘x and others’, and the other for ‘general plurality’. However, we argue that Cho (1996)’s analysis of tul in caki-tul as ‘and others’ has difficulty in accounting for all the functions of the plural suffix tul. We propose in this paper that there are four functions for tul, that the plurality encoded in the form of ‘NP + tul’ in Korean functions as structurally plural, but semantically it functions both as singular and plural, and that a BVA reading, a group reading, and a mixed reading (overlapping reference) are attributed to the properties of the Korean plural morpheme tul. If our analysis is correct, then there are at least four functions for the so called plural suffix tul: one for general plurality (ordinary plural), one for acting as a singular-denoting expression (a BVA reading), one for ‘x and others’ (overlapping reference), and one for ‘all x’ (a group reading). Therefore, it is fairly reasonable to conclude that Korean plural dependent terms reveal dualistic number properties: a structurally plural dependent term in overlapping reference is an NP whose referents consist of a single entity or more than a single entity.

Peter Shaffer is a playwright who tried to succeed realistic psychology traditions and a writer for the stage who combines verbal articulateness with exceptional theatrical inventiveness. And he intended to realize a total theatre through various dramatic techniques. Shaffer built drama on profound human issues. Especially, the major subject of his plays is the conflict between the protagonists and antagonists. He has always developed an established social system, religious factor, and primitive ego. In this study, I have studied private and public ego in his work, Equus which was worthy of notice and aroused impressive sympathy from not only our country but also all over the world. Originally, Equus is a symbol of a horse in Latin but has many other meanings in this play. The meanings include: god likeness, the bondage of destiny, cruel realities of life, and primitive ego. Dysart’s the protagonist and stands for socialized ideas, Alan had grown up with a very complex mental condition taught by his mother. His father, who was a stick socialist, considered religious things to be superstitions so that Alan conflicts about Equus, a Horse-God. In addition, Dysart is a symbol of mental conflict of modern man. He is suffering sorrow of life and his alter ego about barren and meaningless life and he comes to know the fact while he cures Alan. But Dysart cured Alan and returned him to the Normal world with the conclusion of human combination. Shaffer gave us a message that not only the id world that is passion and primitive ideas, but also the superego world that is moral and physical health, is very important in our present time.

The benefits of using films/movies in the English language classroom to teach culture and cultural awareness in addition to the four skills of language acquisition have been well documented. This study attempts to examine how Korean Americans are portrayed and depicted in Hollywood films which have traditionally reduced the complexity of Asian nations and cultures into simplified stereotypes. Most Asian characters were stereotyped as the “Yellow Peril,” “Lotus Blossom,” “Dragon Lady,” “Charlie Chan,” or “Dr. Fu Manchu.” Though these negative stereotypes were commonly used in early Hollywood films, they continue to appear in many contemporary films. In recent years, additional stereotypes of Asians and Asian Americans have appeared, such as the “Nerdy Shy Guy,” the “Anti-Model Minority,” and “The Greedy Merchant.” The study also examines how Hollywood deals with Korean women who do not fit the classic and contemporary negative Hollywood stereotypes. The study concludes by suggesting methods for identifying the negative stereotypes presented in Hollywood films in the English language classroom in order to raise awareness and when necessary to challenge these stereotypes of Asians and Asian Americans in films or other forms of media.

The purpose of this paper is to analyze Hamlet’s role-playing from the perspective of stage clowns’ traditions in Shakespearean theatre. First of all, I propose three kinds of Shakespearean clowns: professional actor- clowns, mock-clowns and clownlike role-playing. In Shakespeare’s comedies, clowns, or often called as a fool, are a kind of theatrical device to encourage the festivity and dynamics of the play or its performance, crossing the boundary between the stage and the audience. They are like a critical advisor within the play, while communicating directly with audience as an interpreter or a mediator like Greek chorus. Shakespeare’s tragedies are no exception. In Hamlet, it is Hamlet himself who plays a role of a clown by putting an antic disposition on. His mask allows him to enjoy the liminal freedom of playing at the area of platea, where he can view his world from a distance and closely connect with audience as a clown does. Hamlet also leads other characters, such as Polonius, Rosencrantz and Guildenstern, to share his role of clowning. They function as mock-clowns, unconsciously sharing Hamlet’s clowning for the effect of comic relief. In addition, Hamlet continuously prepares for his final goal of revenge on Claudius in his main plot through this comically metaphoric subplot playing with his mock-clowns. Therefore, Hamlet’s clowning strategy accomplishes Shakespearean theatrical rhythm which mutually complements tragic seriousness and comic playfulness.

This essay attempts to examine some implications of James Joyce’s “Eveline” and psychoanalytical theory. In mirror stage, according to Lacan, the infant identifies itself with the idealized image of the mirror and feels jouissance under the gaze of the Other, since the gaze indicates the Other’s recognition of the infant as subject, and the first object of desire is to be recognized by the Other. Eveline faces a sad reality, being suppressed by her patriarchal father and feeling no sense of fulfillment from her job. Her lover, Frank, wants her to leave and go to Buenos Aires with him but her mother’s dying words, “Derevaun Seraun! Derevaun Seraun!”, prevent her from going with him. Mrs. Hill has requested that her daughter should play her part as long as she can, but her final craziness, which Eveline a glimpse of this elsewhere where she upholds(unconsciouly) the question of her own jouissance. Lacan was a fervent reader of Joyce’s, he interested in Joyce’s “Lalangue”. In this work, “Lalangue” cannot be interpreted, it’s acting as a symbol. So Eveline, in her final moment, has glimpsed “a distant unknown country” where “she, Eveline” ex-ists.

David Milch’s Deadwood features a 19th century mining camp of the same name, focusing on the interactions between the historic notables of the camp, such as Al Swearengen, Seth Bullock, and George Hearst. Deadwood is an illegal camp established in the Indian Territory as a result of the Black Hill Gold Rush (1874-77). The White men’s ventures in the Indian Territory outside the state turned Deadwood into a burgeoning town in need of law and order for its further development. And the camp’s notables desperately need the region’s annexation to the US in order to stabilize and legalize their expropriated property. In this paper, while taking a cue from Giorgio Agamben’s idea of state of exception—the suspension of laws by the sovereign becomes a dominant paradigm of government—I argue David Milch’s Deadwood reveals that the suspension of laws is an integral part of capitalist expansion and accumulation. In arguing about Deadwood’s resurrection of the 19th century mining camp in our 21st century, I propose that this TV show depicts a reiteration of a certain past that has become dominant again in our present: the resurrection and repetition of Marx’s primitive accumulation in the contemporary form of capitalism, whether it is dubbed neoliberalism, unfettered capitalism, or disaster capitalism. By exploring the main characters’ motives and struggles over the Deadwood camp’s annexation to which a drastic capitalist reform of the camp leads, this paper reveals that the same sovereign logic of exception is innate in primitive accumulation.

The purpose of this study was to investigate the effect of corpus-based grammar teaching according to the learners’ English proficiency levels and cognitive styles. A total of 64 Korean high school students in two classes participated in the study. While English proficiency levels of the two classes were not statistically different, one class was chosen as a corpus-based learning group and the other as a traditional instruction group. The students in each group were also identified by both proficiency levels (i.e., high or low level) and cognitive styles (i.e., field-independent or field-dependent). Six grammar items were taught to both groups during an eight-week session. The results showed that the corpus-based grammar teaching was more effective than the traditional instruction especially for low level students. As the students identified as field independent in the corpus-based group showed a higher achievement, it seemed that the student’s cognitive learning style had an influence on grammar learning. In conclusion, the present study suggests that teachers need to consider both learners’ English proficiency and their cognitive styles when planning a corpus based grammar lesson.

This study aims to investigate how English learning motivation can contribute to Korean EFL college students’ English proficiency. Fifty-three Korean EFL students participated in this study. Participants were asked to answer the questions regarding their perceived English competence, English learning motivation, their English study time, and ways to study English. They were also asked to mark their motivational purposes regarding why they have to study English, or why they want to study English. In addition, they took a simplified TOEIC test for their reading proficiency, and a PhonePass test for listening and speaking before and after the camp. Through the statistical analysis of those data, the followings were revealed: 1) one of the learners’ integrative motivations, wishing to communicate with other people from other cultures, was significantly related to the result of posterior simplified TOEIC scores; 2) there were no significant correlations between the rest of integrative motivation and the result of posterior TOEIC scores; and 3) there were no significant correlations between the rest of integrative motivation and the result of posterior PhonePass test scores. Pedagogical implications and suggestions are made for encouraging English language learners to have a better English competence, and teachers for better instructional outcomes.

Main characters in Julius Caesar try to convince someone to achieve their purposes, all using the art of persuasion. Shakespeare reminds us that Rome was the city of rhetoricians and orators and the art of persuasion was cultivated. Caesar tried to create his great image in his manipulated manner. His art had a great effect on the general public, but became the cause of the Caesar assassination. It was because Caesar was too deceptive and despotic. Cassius manipulated each man to bring him to his side by using the rhetorical speech and persuasive writing. Especially, he persuaded Brutus into joining forces against Caesar by arousing Brutus’ desire. Cassius’ art of persuasion was very effective. He made Brutus a leading murderer in Julius Caesar. In Julius Caesar, the most critical moment of the story is the public oration at the Caesar’s funeral. The ways that the two speakers, Brutus and Antony, persuade the plebeians are very different. Brutus appeals to the logical thing and insists on just the reason that Caesar be killed for Rome. On the other hand, Antony appeals to the emotional thing. He focuses on Caesar’s death and funeral and shows how much Caesar loved the Romans. Hearing Antony’s oration, the plebeians realize who the villains are. The arts of persuasion are diversely used in accordance with the situation. But they are effective when speakers accurately understand the situation and use it to their good advantage.

In Korean, either nasalization or lateralization occurs to avoid nasal- liquid sequences. However, the choice depends on the lexical items. For example, some words like /shinlaŋ/ ‘husband’ undergo lateralization resulting in [shillaŋ], whereas others like /ɨmunlon/ ‘phonology’ undergo nasalization resulting in [ɨmunnon]. According to Lee (2006), nasalization occurs when nasal and liquid sounds appear across the morpheme boundary. Thus, /ɨmun+lon/ causes nasalization instead of lateralization. Then, how are English words including nasal-liquid sequence pronounced by Korean speakers? To answer this question, this study examines the pronunciation of 10 Korean female middle-school students about nasal- liquid sequence found in both Korean and English. The result of the experiment exhibits some aspects: (i) nasal-liquid sequences are actually pronounced as various ways according to speaker’s recognition of each lexical item, (ii) such optionality of Korean words is consistently transferred into English, (iii) ungrammatical processes in Korean such as deletion or insertion to avoid nasal-liquid sequence never occur in English pronunciation as well. This study provides explicit account for such aspects by adopting optional lexical indexation (Park 2008b) within the framework of Optimality Theory (Prince & Smolensky 1993, McCarthy & Prince 1995). In addition, this study shows that optional lexical indexation is superior to the previous approach of constraints re-ranking in accounting for phonological optionality and transfer.

This essay studies some elements of children’s literature in Charles Dickens’s Hard Times, along with a possibility of regarding this novel as children’s literature though it is usually known as social novel or industrial novel. First, I consider the concept of child and childhood, the definition of children’s literature, and elements and characteristics of children’s literature. And then I also examine pleasure and enjoyment, usefulness for education and vicarious experience, imagination, and treatment of social issues as elements of children’s literature. Particularly among the elements of children’s literature, this essay considers the concept of fancy or imagination, what Dickens says about fancy, how his imagination is represented, and what effect the lack of fancy has on people and society in the novel. Based on the fact that Dickens had deep interest in fairy tales for his whole life and used fairy tales in his novels, this essay studies the aspects and effects of the fairy tale and how and why Dickens uses the fairy tale in the novel. This essay proves that the novel has various elements of children’s literature, that the fairy tale is used for Dickens’s literary and moral purpose, and that this novel can exert a similar effect on readers though it is not easy yet to regard Hard Times as children’s literature definitely.

The poetry of Janet Hamilton, the best known working-class woman poet of Scotland in the Victorian age, guides best readers to the less appreciated world of working-class women’s poetry. Hamilton, a self- taught poet and shoemaker’s wife, fought contemporary prejudice against women and working-class people regarding their ability to write poetry. Her poetry shows a deep understanding of the social problems that working-class people, especially women, faced in nineteenth-century English society, such as male sexual irresponsibility, wage disparity between working-class men and women, and rapid industrialization and its negative influences on the human mind. Hamilton is a mild feminist in that her poetry makes a sharp critique of various forms of powers that oppress working-class women. Hamilton attributes a special power to women in educating children, and she emphasizes the importance of self-education of working-class women for such purpose.

Alice Walker’s first novel, The Third Life of Grange Copeland is the story of three generations of the Copeland family from the Southern sharecropping system in the 1920s to the Civil Rights movement in the 1960s. Walker illuminates the racial history of the South, which is seen in her description of the Copelands’ everyday lives and her development of the novel’s three main characters—Grange Copeland, Brownfield Copeland, and Ruth Copeland. They are dominated by the oppressive and dehumanizing sharecropping system, which destroys their lives. Although the Copeland family is pained and overwhelmed, Walker dramatizes the possibility of change through the figure of Grange. Grange takes responsibility for his own life and is able to change. He can effect his own personal change, which changes Ruth and is able to pass on the possibility of surviving whole to Ruth. To achieve wholeness, Ruth must escape from the racist society and struggle toward the whole society. By reflecting on the racial experiences of the Copeland family, Walker produces a representation of the African American history and addresses social and political issues. This paper focuses on the Copeland family and will show how The Third Life of Grange Copeland is rewritten by the historical representations of the racial experiences.

Margery’s The Book of Margery Kempe redefines women’s corporeality through bodily manifestation of a life. While living through the body, Margery shows that her body can be part of her spiritual experience by emphasizing the physical aspects of her mystical experience. Regarding an access to the spiritual and sacred through her bodily experiences and manifestations as a privileged communication with God, Margery discovers a new source of her authority and sanctity as well as crucial positionality of her voice. Considering Margery’s recognition of the alternative hermeneutics of a refigured and reconstructed female body and femininity, this paper aims at discovering the relationship between the mystic’s female body, mystical experience beyond the patriarchal economy, and feminine subjectivity revealed in The Book of the Margery Kempe. Considering the rigorous masculine culture in the Middle Ages, the religious authority and subjectivity Margery gained during that time should never be ignored as unworthy and meaningless. Instead, her unbridled mystical practice and mobility should be considered as challenging and subversive enough to be rewarded. We need to view Margery’s experience as the disruption of boundaries between the transcendent and immanent, the overcoming of dichotomy and dualism, and the creation of a fluid subject that facilitates free actions within her world.

This study reports a small but fully transcribed database of spontaneous English speech spoken by Korean learners of English. The spontaneous speech was gathered under a naturalistic setting, using a problem-solving task (called the Diapix task from Van Engen et al., 2010) involving two talkers. Using the database, we examined whether the communicative characteristics of Korean users’ English speech differ depending on the language background of the conversation partners with whom the Korean users interact in a given discourse. For this, we focused on examining how efficiently the Korean talkers communicated with their conversation partners by considering three primary measures, namely (i) how fast they completed the dialogue task, (ii) how balanced the conversation was, and (iii) how many types of English words they used. The data showed that for all three measures the native language background of the interlocutor with whom a Korean learner of English interacts in a dialogue affects the speech characteristics of the Korean learner of English. Discussions of the current results and implications of them are provided.

The purpose of this study is to analyze Annie John as a female Bildungsroman. Female Bildungsromans structurally and ideologically prefer the autonomous individual who feels at odds with society. Female Bildungsromans don’t follow the development of a coherent universal subject and they don’t valorize social integration that requires the partial denial or repression of the subject’s identity like traditional male Bildungsromans. The subject of female Bildungsromans also chooses to remain marginalized at the end of their text. Female Bildungsromans also refuse closure by preferring an ambiguous textual ending that affirms the provisional nature of identity. Considering these characteristics of female Buildungsromans this paper focuses on Annie’s troubled relationship with her mother and the severance with her; her intense childhood friendships with Gwen and the Red Girl; her experiences as a black Antiguan who is taught in school to see life through an English point of view; her mysterious illness which symbolizes her death which plays a role as a metaphor of the irremediable loss of childhood innocence; obeah cure by Ma Chess and her rebirth through the image of the water; the gaining of independence by leaving Antigua for England.

This paper differentiates the structures of various floated quantifiers, criticizing previous works that place them uniformly in the same structure. Considering that the precise syntactic nature of an expression can be determined only when its semantics is taken into account, the current work articulates the semantic differences found among floated quantifiers along with their distributional discrepancies. The quantifier each, as a distributivity marker, has three uses that are closely associated with three arguments that it is essentially composed of while the quantifiers all and both, as universality markers, are partitioned into two parts, manifesting only two uses. The distinction between the three-part and the two-part structures brings about the distinct syntactic positions of the floated quantifiers. Represented in a flat string, their positions seem identical but, at the hierarchical configurations, their structures must be differentiated. Yet, scrutinizing not only transitive and intransitive constructions but also the ditransitive construction, it is emphasized that the constituent to which the floated quantifier each attaches must be generalized to be the relation-denoting expression of the sentence that is sectioned into three parts. This paper further assumes a movement of the direct object when the floated each occurs in the ditransitive construction and finds that this theory-internally motivated movement is, in fact, empirically justified.

As Brown (2007) and Weinreich (1976) say, negation is a linguistic universal and deserves studying. English negation has been traditionally classified according to four criteria, that is, sentence vs constituent negation, internal vs external negation, number of negatives and scope of negation, but also can be classified by several more criteria. And the characteristics of negative sentences can be best understood when compared with positive sentences. Accordingly, this study first classifies negative sentences and then distinguishes negative sentences from affirmative ones in terms of seven categories. The seven categories are either-conjoining, negative appositive tags, tag-questions wihout ‘not’, neither tags, negative agreement responses, nonassertive items and assertive items. In particular, English negation is hard to interpret when combined with quantifiers, because of the difficulty in determining the scope both of the negatives and the quantifiers. Consequently, the scope of negation with quantifiers is an interesting subject matter for many linguists.

Many critics have not paid much attention to William Wordsworth’s reliance upon the concept of unpredictability which is fundamental to his poetic project. He holds a strong faith in the notion of chance, the limitless nature of possibility. He strives for an understanding of nature which is separated from Enlightenment notions of causality. Critics’ reading of his poetry is quite related to Laplace’s way of reading of the universe as controlled and structured by orderly laws. Wordsworth indicates that the manifestations of nature provide an abundant description of the idea of chance. This paper elaborates upon The Prelude (1799, 1805, 1850) to explore Wordsworth’s representation of unpredictability. The Prelude demonstrates from the start that unpredictability is inherent and chance is a natural aspect of nature. Much critical attention has been paid to his “spots of time” which are associated with his memories of chance. These are related to his recollection of childhood events that have no absolutely discernable cause and effect. These implicate that his imagination is derived from numerous accidents by chance. He suggests that distortions and disruptions of the natural world cannot be explained or rationalized. What he recognizes through numerous accidents in nature is chance, flux, change, and dynamics.