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This qualitative case study explored Korean ESL students’ expectations and experiences in an English-speaking country. The participants were two Korean students who were studying ESL in an intensive language program at a university in the United States. Through the inductive analysis of the interview data, it was revealed that the participants were unsatisfied with their experiences in the United States. The participants brought their high expectations of developing friendships with Americans and improving their spoken English skills with their American friends. However, their real experiences in the United States were totally different from what they had expected. Unlike their anticipation, the participants did not have any American friends. Instead, they tended to bond with Korean friends because of their need for social cohesion. Due to their unfulfilled expectations, both of the participants struggled. However, the ways they dealt with their social and cultural struggles were different, depending on their personalities, their degrees of motivation to study English, and the atmosphere of the groups in which they got together. Based on the findings, I provided suggestions for language institutes, teachers, and Korean ESL students to help Korean ESL students have more satisfying L2 learning experiences in an English-speaking country.

The purpose of this study is as follows: First, it aims to investigate the differences between the words say and tell in terms of their semantic and syntactic properties. Second, to look into what kinds of syntactic structures are used in high school English textbooks and the SAT (for university admission) reading section. Third, to evaluate how well high school students understand the properties of these two words and use them. With regard to the first purpose, several references and Collins COBUILD Advanced Learner’s English Dictionary are referred to. For the second one, 17 high school English textbooks and SAT reading sections from 5 different years (totalling 165 questions) are analyzed through a simple concordance program. For the third, 111 female high school students were given three kinds of tests, which consist of 50 questions. The results show the following: First, say and tell have different distribution and usage even though they are likely to be treated as synonyms. Second, some syntactic structures are overused in the high school English textbooks and the SAT reading section. This may inhibit the students’ acquisition of the diverse syntactic structures of these two words. Third, although students’ understanding levels of both these words are similar, their capabilities of using each word are significantly different; they show more accuracy with tell.

Based on a pragmatic-functional perspective, this study examines a relationship between the syntactic structure of a passive voice and its discourse-motivated pragmatic functions. To find out the pragmatic- oriented tendency and pragmatic factors that determine the choice of a passive construction, three information structure principles are consulted as anchoring-points: 1) the principle of ‘end-weight’; 2) the principle of ‘end-focus’; 3) the principle of ‘topic preservation’. Through a data analysis, it is proposed that the frequent occurrence of a particular type of passive in discourse is one of the reflexes of its structural advantage functionally associated with its pragmatic-motivated tendency; as a multi- functional category, passives serve as a useful text-structuring tool to thematize a given entity in patient-position and focalize a new entity in agent-position, making a rhetorical contrast between the two entities more prominent. Finally, it is suggested that the choice of a passive construction in discourse contributes to the effectiveness of message presentation and discourse organization, serving as a discourse device, creating textual coherence, and facilitating language production.

During the early 1620’s, the Church of England was the site of escalating religious conflict between the Calvinists and the Arminians. The Arminians and William Laud, the Bishop of Bath and Welles, were gaining power during this period while the Calvinists were growing out of favor with Charles I. The Arminians and Laudians articulated a position on free will and grace that was opposed to the Calvinist doctrines of election and limited atonement that was reflected in the English Church’s Thirty-nine Articles of Religion. As an ordained priest and later the Dean of St. Paul’s, Donne was often divided between theological straits in regard to such religious doctrines but did not waver in regard to the doctrine of original sin. Borrowing from Augustine, Donne labeled humanity as massa damnata (the mass of the damned) in reference to the sinful nature of mankind. But more radical than the Augustinian view of the nature of man, Donne reflected a more Calvinistic view of mankind in the form of total depravity. Though Donne held doctrinal positions that were associated with Arminian as well as Calvinist doctrines, he firmly upheld in his Sermons, the Calvinist doctrine of total depravity and humanity’s inability to contribute to the process of salvation.

This paper examines two of Caryl Churchill’s most successful plays Cloud Nine and Vinegar Tom in terms of how the playwright effectively uses places presented in the works. In Cloud Nine’s first act, she presents male and female characters each associated with outside and inside of the house. Women, particularly Betty is associated with the house and family, and is called “angel of the house.” She is controlled and influenced by patriarchal society’s power over women. In the second act, the first act’s house has already been destroyed—most symbolically in Cathy’s painting. All characters interact with one another in a most public place—a park. No house is actually presented but only talked about. Characters are in the middle of destroying and reconstructing their homes. Churchill does not present any positive image of a home in which women have freedom and independence. She only gives a promise of a start of a new kind of a family as Betty, Lynn and Edward start to live together with two children. In Vinegar Tom, all houses/homes except one present negative images. Betty and Alice wish to leave their homes while Jack and Magery’s home is a place where the woman continues to work while the man surveys her. The only place of an alternative order is Ellen’s cottage, where equality and freedom of women are supported. However, as Ellen is hanged by witch hunters, her place cannot be a place of a promise to women. In Churchill’s drama, often cross-casting of actors and actresses has been the most examined point. As this paper’s analysis shows, however, close examinations of places used in Churchill’s plays enhance the understanding of her works.

We have discussed the phonological characteristics of glide sounds in American English and analyzed by means of various theories, such as, an insertion analysis, a deletion analysis, non-linear representation and OT. First, an insertion analysis has the problems of abstract underlying representation, phonological rules and derivational processes. In addition, it did not mention the CwV glide type, even though CyV were explained with exact formalism. Second, a deletion analysis succeeded in the postulation of underlying representation, that is, įu, which we accept in OT. However, it also needs a derivational process and resyllabication. Third, nonlinear representational theories use separate tiers or levels to explain various phonological patterns. However, due to the rich representation, it should put on a burden on the grammar of learning. Finally, we have accepted OT theory, which is a surface-oriented and constraint-based theory. We could solve the problems pointed out by earlier theories. We have accepted the input form, įu, of Cyu glide type which is postulated by deletion analysis, and explained all types of glides in English by the fixed constraint hierarchy. Besides, we support for the feature of [±vocalic] by means of the ID(vocalic) constraint in OT.

As a precursor of the discourse on the issue of race and passing in America, Charles Chesnutt, in his novel The House Behind the Cedars, argues that racial blending might help solve the race problem in America. Employing the trope of passing, he represents two siblings, John and Rena, who take different positions on passing for a white and end up living a different life. John pursues his own dream by passing as a white, leaving his family in poverty and distress, whereas Rena returns home after a brief period of passing as a white woman when she decides to work for the black community. Chesnutt’s narrative demonstrates the fluidity of the border of racial identity in the person of the passing figure in which he or she holds two sides of identity that can pass for either race. He criticizes the evil practice allowed under the name of law that has caused such social turmoils. Through the passing trope, Chesnutt represents the sheerly artificial constructedness of the discourse of race and tries to dismantle white racial supremacy. By making Rena die as a tragic mulatto at the end of the novel, Chesnutt demonstrates the powerful forces of racial prejudices inflicted on black persons of mixed blood.

This paper aims to examine various aspects of irony and identify that they play the most important role in understanding this novel. Bellow shows us that he intended to represent the dehumanization caused by the competitive life in money-oriented society and to pursue the empathic relationship with other people through various aspects of irony. The first layer of irony is that Bellow allows Wilhelm as a social failure to make a serious search for the meaning of life. In appearance he is a social failure. He is dependent and asks his father to help him financially. But Wilhelm criticizes his father’s vanity and concern about his physical success. In reality he is a social failure with an ability to love while his father is a social success without an ability to empathize with other people. The second layer of irony is that Wilhelm’s spiritual ascent is paralleled by downward movement of image of drowning man. The third layer of irony lies in Bellows’s description of human relations. In the case of Wilhelm’s wife she hits him although he loves his wife. His wife’s sadism deepens to intensify his isolation. In relation with his father, although Dr. Adler as his father is a perfect man in terms of social success, he fails to give his son much love. As a result, Saul Bellow shows us a positive vision of empathic life for survival instead of self-centered life in money-oriented society through multiple layers of irony.

The purpose of this study is two-fold: (i) to review various approaches to ‘long-distance assimilation’ (namely, harmony) within the framework of Optimality Theory (Prince and Smolensky 1993), and (ii) to examine which approach is the most successful to the process. In autosegmental phonology (Goldsmith 1976), the process is mainly accounted for by feature spreading, formalized by association lines between features and segments. However, the Optimality Theoretic approach requires a different perspective: it needs to involve, not rules forcing the harmonic features to spread, but constraint interaction filtering wrong candidates that are under- or over-harmonized. Various approaches have been introduced in this connection. This study classifies them into two main streams: (i) the autosegmental spreading approach, and (ii) the agree-based approach. Through the examination, this study shows that the agree-based approach, especially no-disagreement, is more successful than others to account for harmonic process. The approach without autosegmental representation does not require any specific pro- spreading constraint or representational modification for harmony, and does not induce any problems others have, such as wrong typological prediction and ‘sour-grapes property’. In conclusion, this study verifies that harmonic process can be accounted for without autosegmental spreading.

In Buddhism, everything does not have its own fixed reality. Because everything is always changing by dint of their innumerable elementary particles working incessantly within themselves. Even though the objects seem to be fixed, they are changing essentially. The particles are called ‘quarks’ in the theory of elementary particles. The quarks, as the ultimate particles of matter, have the electric force and spin, but they can not be observed by physical eyes. Therefore matter is regarded as ‘something empty’ or ‘no-self’ in Buddhism. In other words, matter can be existed only by ‘something empty’[‘no-self’], that is to say, ‘quarks.’ And we can also imagine ‘something empty’ as ‘something infinite,’ for the invisible world belongs to the infinite. In “Song of Myself” Walt Whitman perceived the immortality in human being and every matter, and he regarded not only himself but others as divine. Because, as in his poetry, he beheld God in every object and saw something of God each hour of the twenty-four. Therefore, we can imagine every object has an immortality in the context of its own Godhood. As just as mentioned above, Whitman’s recognition about the self is very similar to the no-self in Buddhism as well. Because they both have a common insight into matter[object] in the light of the being’s immortality. In conclusion, everything[phenomena] is in the absolute equality among themselves, because each matter has its own infinity regardless of its size, quantity, and its durability. Therefore everything, including human being, is one family.

This essay analyzes how Nathaniel Hawthorne’s The Blithedale Romance responds to the new womanhood suggested by the women’s rights movement in nineteenth-century America. The novel is often misunderstood as a conservative work that conventionally typicalizes women into the two categories of the angelic and the evil and punishes the evil woman. However, this essay argues that the novel does not reiterate such a conventional attitude toward women, but rather it examines how the cult of true womanhood is constructed by patriarchal ideology and explores how the newly suggested womanhood conflicts with conventional womanhood. The novel deals with such critical points through the relationship between woman’s veil and male gaze on it. By putting the white veil, or the cult of true womanhood, on women, the patriarchal society maintains male supremacy over women. The Blithedale Romance particularly focuses on male intellectuals’ ambivalent reaction to the new womanhood through the narrator Coverdale: although he intellectually understands the power structure related to the conventional womanhood and has curiosity about the new one, he is still bound to the conventional ideas of women and thus constantly attempts to keep the unconventional woman Zenobia under his gaze. Coverdale’s attitude toward Zenobia illustrates male intellectuals’ anxiety over the advent of new ideas that may threaten the existing social order.

As his statement “my book and the war is one” clearly proves, Whitman has an indivisible connection with the Civil War. Whitman’s wartime writings such as Drum-Taps, Memories of President Lincoln, and Memoranda during the War are worth reading in relation to his desire for capturing “the real atmosphere of a battle.” Above all, the wartime writings show remarkable photographic images derived from his profound recognition for the limits of verbal representations. As a pioneering war poet, Whitman manifest his preoccupation with photography considered a product of “the realities and science.” His intimate relationship with contemporary photographers such as Mathew Brady and Alexander Gardner enables him to incorporate the elaborate details and objective realism of photography into his texts. Whitman wants to visually catch and deliver “the real war” of which “the writers catch very little” by trying to “photograph a tempest” of the Civil War. His wartime poetry and prose describing the wound and the debris of dead soldiers reveal overwhelming photographic images. Thus, it is not surprising that his wartime writings are prominently in accord with the photographs taken by Brady and Gardner. Obviously, just like a cameraman rather than a painter, Whitman could thoroughly represent the actual physical things which cannot be captured by the naked eye. In this regard, Whitman as a cameraman strongly reminds Benjamin’s assertion that “magician and surgeon compare to painter and cameraman.” Accordingly, it becomes evident that the images of the Civil War are strikingly captured in Whitman’s camera eye.

This study is to analyze the Usage & Meaning on the English Passive Construction in Middle School English Textbooks. The basic form of the English Passive Construction is the <Subject + be + pp + by Actor> in English Structures. Many students understand and use this form the basic form of the English Passive Construction. In the English Passive Construction, there are many kinds of structures. For example, they are Actional Passive, Statal Passive, be-Passive, get-Passive, etc. Firstly, we should understand these Passive Structures. It is the first step to understand the Passive Constructions. There are many constraints in English Passive Constructions. They are Verbal Constraint, Prepositional Constraint, Objective Constraint, and Meaning Constraint. First, most students have to know and understand these constraints. Second, after understanding these Passive Constructions and Constraints, we are able to use and speak English Passive Constructions clearly. In the Middle School English Textbooks, Passive Constructions are appeared a few sentences. But the number of passive construction Sentence is limited in the Textbooks. Because Korean people don’t use and speak Passive Construction frequently, many middle school students are not easy to understand and speak Passive Constructions clearly. Step by step, students have to learn, understand and use Passive Construction Sentences. In conclusion, the Passive Construction is just a kind of many English sentence structures, so Middle School students should use them easily and clearly. In learning English Passive Construction, the Middle School English Textbooks should be written easily and clearly.

In Optimality Theory (OT: McCarthy and Prince 1993, Prince and Smolensky 1993/2004), sound change is accounted for by constraint reranking. However, it does not properly show the ‘gradual’ aspect of a diachronic change, though the unranking process is introduced for variation e.g. [knou] > [knou, nou] > [nou] (Cho 1998). Following Oh (2002), this paper proposes an alternative approach to the representation of historical sound change within the OT framework, on the basis of the sound change of know ([knou] > [hnou] > [nou] > [nou]) in Early Modern English (Dobson 1968). To show the gradual changes of [k], MAX, *VL NAS, IDENT [cont], and *σ[kn- constraints are interacted with each other. To display the gradual change of frequency among variants, the meaning of dotted lines is reinterpreted as weak domination contrary to that of straight lines as strong domination, based on Oh (2002). This paper concludes that gradual diachronic changes can be fully represented within the framework of OT through a series of unranking, reranking and ranking tools.

The main purpose of this paper is to provide an account of why in certain environments bare plural objects get a generic interpretation and what the semantic core of their genericity is. Generally, bare plurals have been regarded as having two different interpretations (i.e. generic and existential), and nor only in subject position but in direct object position bare plurals show this difference. There are two kinds of verbs that can have generic bare plural objects (i.e. individual-level predicates and habitual verbs), so proper theory must give an account of generic objects of both kinds of verbs. In this paper, I present two major types of previous approaches that deal with the problem of generic bare plural objects in terms of syntactic information and semantic roles respectively, and I point out each approach has its own problems. Adopting the notion of possible worlds and intensionality as relevant factors, I provide a fundamental explanation about the genericity of bare plural objects. Furthermore, it is also shown that the notion of possible worlds gives us a way to deal with generic objects of individual-level predicates and habitual verbs in a unified way.

If kes in the head position of NP has no argument status in its preceding clause, then it undertakes a certain functional role, whereas kes in the head position of NP is a referential head if it is related to a variable or precedent in its preceding clause. In this paper, kes in the HiRC construction is an anaphor, which cannot be distributive. The bare noun like haksayng, which is generic, bears a collective reading, which cannot license the distributivity of its following tul-marked anaphor caki; hence, bare nouns cannot serve as an antecedent of a distributive floating quantifier. This is complementary in that the third person singular can occur with its c-commanding anaphor bearing overlapping reference. The anaphor kes in the sentence is collective, which is what bare nouns show. On the other hand, the distributivity of the tul-marked kes in the HeRC can be reconstructed to the original site in order for the distributor kakkak or a tul-marked adverbial to be licensed. The noun kes can also have a distributive meaning, when the plural marker tul is attached to it. While the reflexive anaphor should be c-commanded by its antecedent, the donkey anaphor is not c-commanded. In this vein, kes in the HiRC and the donkey anaphor have a property in common. However, the two anaphors are different in the sense that while the former bears an exclusive collectivity, the latter can bear a distributivity.

The purpose of this paper is to analyze elementary school English CD-ROMs to investigate if the CD-ROMs have tools to support learners’ self-regulated learning. For this purpose, the study identified the eight supporting tools or functions of CD-ROMs facilitating self-regulated learning on the basis of Knowle’s learning model. Ten CD-ROMs have been analyzed with the checklist, and the study also examined how each function or tool were utilized in each CD-ROM. The results of the study showed that all the CD-ROMs did not have the designated functions for self-regulated learning. Regarding LMS only one CD-ROM had the function. Besides, there was no consistency in presenting the tools among the analyzed CD-ROMs. To improve the functions of the CD-ROMs there is need to set criterion of developing e-textbook. Additionally, the result of the need analysis conducted to the users of the CD-ROMs should be reflected to this process.

This article focuses on the Ireland’s cultural project in the age of globalization through the American in three plays by Friel, The Freedom of the City, Aristocrats, and Give Me Your Answer, Do!. All three plays dramatize the conflicts and exchanges between the American, an intellectual, who tries to understand Ireland by constructing her as an object of investigation, and the Irish who define themselves against the national other. The American intellectuals attempt to investigate an aspect of Irish culture and turn it into an object of analysis framed by an American discourse which is destabilized by the Irish counter-language. In these plays neither Irish nor American discourse can claim indisputable ownership of authority and truth. Instead the plays construct a diversified ideological and cultural field against claims for global homogeneity. In a context of varied collective identities permeated by contradictions and fragmentation, the divided self is preferable to the notion of a homogeneous and unified identity. The analysis of this juxtaposition has a twofold function: first, it reveals the relationship between power and knowledge as the American attempts to define and thus immobilize Ireland; second, the principle of permanent and absolute cultural difference is dismantled as the American occasionally desires and ultimately finds in Irish culture what is missing from his own; in the process a split self emerges. But the Irish, too, are occasionally involved in this gesture of the divided self.

It is generally accepted that there are fierce conflicts between two opposing forces, that is, body and soul, eternity and transience, ideal and reality, etc. In the later poetry of W. B. Yeats, Yeats himself, however, was against the body-soul(or mind) dualism that the human mind and soul are entirely distinct. The Western society has long assumed that the soul is superior to the body. Yeats seems to have overcome this powerful dichotomy and even put more emphasis on the body than the soul especially in his later poetry. I would call this body-centered attitude to the human-being “new” humanism. In this context, we may turn to Maurice Merleau-Ponty, a French philosopher of phenomenology, who returned to phenomena and the body. He argues that the body will carry with it the intentional threads linking it to its surrounding and finally reveal to us the perceiving subject as the perceived world. The aim of this paper thus is to read the later poetry of Yeats again in terms of Merleau-Ponty’s discourse on the body as a locus of both human perception and action. If we reread closely some of Yeats’ later poems in this perspective, we may come to the unexpected conclusion: in the poems such as “Crazy Jane Talks with the Bishop,” the body is more reliable and meaningful than the soul. It is significant to look closely at what is implied in the rediscovery of the body in reality and human life in Yeats’ later poetry.

The purpose of this study is to show that a study of literature has a place within the range of linguistic studies. It is commonly thought that poetic language is beyond ordinary language; that it is something essentially different, special, heigher, with extraordinary tools and techniques like metaphors, an instrument beyond the reach of someone who just talks. The advent of the cognitive linguistics laid foundations for the discussion of metaphor. Lakoff and Johnson(1980) argue that metaphor is deeply pervaded in everyday language, thoughts and behaviors, and not just poetic language. These cognitive linguistics say that metaphor is a way of understanding and experiencing unfamiliar concepts via familiar ones. Metaphor is necessary not only for our imagination but also for our reason. Great poets can speak to us because they use the modes of thought we all possess. I pose a general question of the theory of metaphor; ‘Conceptual Blending Theory(Turner and Fauconnier, 1998)’ and more widely, within the theory of metaphor, I try to examine the metaphoric system of Robert Frost’s poetry. As a result of analyzing Robert Frost’s poetry, “Never Again Would Birds Song Be the Same”, contrary to the general beliefs, a literal study of literary texts is claimed to be highly interrelated with cognitive linguistics.

This article deals with the last four novels written by a British SF novelist J. G. Ballard: Cocaine Nights, Super-Cannes, Millennium People and Kingdom Come, or shortly, The Suburban Disaster Quartet. Unlike the common expectation, Ballard describes life of the people from the middle class who have become the new proletariat group and revolt against modern society which makes them tamed. Through the violence against modernity itself, Ballard’s characters (re)gain animal-like instinct, therefore, violence becomes new energy. The four novels commonly find the cause of violence in the middle class: boredom. This article finds causes of boredom in the middle class in three reasons: the life without stimuli, fun culture and the dearth of human relationships. Firstly, residences in luxurious gated communities are described in Ballard’s novels as “Eden without a snake.” Life in gated communities is convenient but at a cost; the characters have lost all the energy and instinct, thus they try to retrieve what they have lost in the modern technological life through violence. Secondly, modern culture is represented by “fun,” and as Bertrand Russell articulates human beings have great fear of boredom. In Ballard’s novels, violence plays a role of antidote of boredom. Thirdly, lack of human relationship due to high competition in capitalist societies causes boredom in the middle class. Ballard paradoxically shows affirmativeness of violence, making it inevitable in modernity. This article reads Ballard’s Suburban Disaster Quartet as a paradox, which shows affirmativeness of violence but at the same time it is an inevitable result of modernity. By closely looking at the problems in the middle class, this article highlights problems of modernity.