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The purpose of this paper is to review Jane Eyre in terms of nomadic thoughts. Charlotte Bronte shows a dynamic life-long movement of Jane whose react is against the Victorian social norms in Jane Eyre. Bronte describes Jane as a progressive woman while trying to seek her identity. Jane has spiritual relationship with other people and leads to making harmony with others through nomadism which includes deterritorialization, vegabondage & connection, and rhisome. First of all, the paper analyzed the ideologies and social norms which Jane faces, and focused on Jane’s controversial words and deeds through Deleuze’s nomadism. Bronte offers an idea of androgyny as a way for the sexes to harmonize so that Jane can experience life to the fullest. Jane also experiences ‘becoming-woman’, ‘becoming- minoritarian’, and ‘becoming-everyone’ by leading a life as a nomad and following the way of thinking to move to a new domain continually. However, she tends to contradict herself by going back to the image of a traditional woman in the end. Therefore, we should consider positive vision on the 21st century woman’s self identity through this work.

Gene Roddenberry’s Star Trek franchise is an icon of American culture. For more than fifty years, this mega-text has cultivated a religious and cult-like following. The appeal of Star Trek lies in the utopian aspects implicit in the franchise. It presents a future where problems such as illiteracy, famine, disease, and racism have been abolished and replaced with the desire to improve humanity while exploring the galaxy. The Star Trek franchise also features a multiracial crew that works together in harmony reflecting the cultural diversity of the planet and the Federation. Though praised for dealing with social and political problems of the day, the franchise has been criticized for projecting a white liberal humanist ideology into the future; a future where the dominant ideology of whites continue to exist at the expense of non-whites being assimilated and marginalized. This paper examines and critiques aspects of the Star Trek franchise that continues to portray Asians using contemporary stereotypes as well as depicting Asian men as desexualized, homosexual, or queer. Roddenberry’s utopian world is thus a future where the present white hegemony is projected into the future.

The aim of this paper is to explicate the categorial status of whether. In current generative syntax, whether is classified either as a complementizer or as an interrogative adverb. I have shown that both analyses are untenable, considering that they can account for neither the differences between whether and if nor the differences between whether and the other wh-expressions. As an alternative, I proposed a new analysis in which whether is characterized as a QP and taken to be base-generated in Spec-CP. These two assumptions concerning the categorial status of whether have been shown to be sufficient to account for its syntactic behavior.

The purpose of this paper is to analyze the correlation between trauma and the sublime in Owen’ war poetry. Having experienced shell shock, Wilfred Owen leaves the front and all his traumatic memories are repressed into his unconscious. However, for the sake of truthfulness in his poetic portrayal of war, he intentionally recalls and faces his terrifying experiences. Unexpectedly, he confronts his negative identity, both being the source of others’ trauma as a commander and slaughter and also as one helplessly suffering within the traumatic scenes. His sense of self is seriously damaged. He reshapes all the painful memories to ones more positive and suitable to his existing world view. The war becomes a sublime spot and what was in reality terror becomes a feeling of exultation. Finally, all the negative elements of his character and experiences are sublimated into a new, triumphant identity. Despite managing to recover from mental wounds and emotional scars, war can never truly be a pleasing experience. Therefore, the more keenly he feels the terror of war, the more sublime war becomes in poems like “Apologia pro Poemate Meo.” The sublime is the psychological counterpart of Owen’s trauma because it reflects his desperate intention to dissociate himself from the horror of war after the intense delight of emerging alive.

This paper examines the use of collective nouns by Korean learners of English (KLsE). Collective nouns are generally known to induce verb and pronoun agreement. It has often been noted that BrE and AmE differ in verb agreement with collective nouns, but as Levin (2001) shows, both dialects in fact prefer singular verb agreement, whereas they prefer plural pronoun agreement. Beginning with this general pattern of collective nouns for native speakers, we have employed (the two sets of) the questionnaire and the Generalized Linear Model-based statistical analysis to delve into the use of collective nouns by KLsE. The result of the questionnaire reveals that KLsE use verb and pronoun agreement with collective nouns in the similar fashion as native speakers of English. They also tend toward singular verb agreement and plural pronoun agreement. However, there was no interaction found between the former and the latter, which renders compelling evidence in favor of the thesis that verb agreement is differentiated from pronoun agreement: in other words, the former is a syntactic process, whereas the latter is a notional or semantic one.

This paper undertakes a close reading of Karen Tei Yamashita’s I Hotel to explore the novelistic experiments the writer endeavors in reconstructing the history of the Yellow Power Movement. I Hotel is an experimental, multi-genre narrative based on the struggle of Asian American activists in the late 1960s and late 1970s to prevent the demolition of a rundown hotel (International Hotel) on the edge of San Francisco’s Financial District. Among the numerous manifestations of Yamashita’s experimentation with the form and style, this paper analyzes the ‘house of fiction’ metaphor, which David Plumbo-Liu evokes in his essay “Embedded Lives: The House of Fiction, the House of History.” Another conspicious feature is the hybridity and the intertextuality the novel performs on and thrives in. The intertextuality both with exterior texts and within the various inner elements works as a way of recontexualizing the historic movement, providing links between the genres and narratives in the text. Yamashita achieves a rare feat of reconstructing a comprehensive history by combining playful novelistic techniques with compelling individual stories.

This paper aims to examine the relationship of mother-son in “The Grandmothers” in light of Erich Neumann’s theory of the terrible mother and their son-lover. The terrible mother acts as a good mother when the son-lover is weak and dependent on her, but starts to show her antagonism against the son-lover who tries to be independent since the son-lover has his nature that he has to differentiate himself from the mother. Sometimes the son-lover can be manifest as a struggler or a man-killer who is under the control of the mother and at the same time as her destructive consort. These images are in parallel with the developmental process toward centroversion, which can be explained as self-realization. The forbidden relationship between mothers and her best friend’s only sons in “Grandmothers” is closely related to the absence of fathers in the family. Fathers or husbands are fleeting, which causes their sons to be fixated upon their mothers who block the sons’ psychological development. This brings to mind Lessing’s complicated relationship with her parents, in particular, her father who used to suffer from depression and anger with his amputated leg after World War Ⅰ. He was like a sort of shadow in the family until his death. Therefore, such absence of fatherhood is repeatedly reflected in the negative images of fathers in “Grandmothers,” including her other novels.

This paper aims to investigate the stress patterns of compound nouns in English, comparing them with noun phrases, and to attempt to analyze the stress patterns by using the framework of Optimality Theory. We review the previous analyses of the stress patterns and account for irregular patterns as well as regular ones in a more formal way. Traditionally, compound nouns have been assigned fore-stress while noun phrases have been assigned end-stress. Noun plus noun combinations in English such as bállroom, cónfidence man, and cábdriver usually have fore-stress, but there is some variation in their stress patterns, as shown in such examples as Madison Ávenue, silk shírt, and singer-sóngwriter. Giegerich (2006, 2009) attempts to account for them from various perspectives. On the basis of various factors such as syntactic category/structure, semantic transparency, markedness, etc., we have proposed seven constraints and their hierarchy―*[A/NŃ]CN, *[Á/ŃN]NP, *[NŃum], *[ŃNm] >> *[Arg-Héad], *[Mód/Áttr-Head] >> *[NŃ] and analyzed the stress patterns.

The purpose of this study is to investigate the effects of short-term English camp participation on some affective factors and students’ school activities. The subjects participating in this research totaled 160, including 15 elementary school teachers and 67 students’ parents. The students took part in the 5 night-6 day English camp held by a regional university, financially supported by a regional government. The results are as follows: First, the camp helped to increase students’ interest in English. Second, the camp had a positive effect on enhancing students’ self-confidence in English and the understanding of their teachers’ native English. Third, the majority of the students were satisfied with the camp textbook, facilities, and class organization. When it comes to the effects of short-term English camp on the students’ school activities, the camp also has a great effect on their attitudes towards the classes in school. The students who participated in the camp reportedly showed more active participation in their English class with more self-confidence than in the past. In addition, it was claimed that some students showed better capacity for self-expression in English. In conclusion, the English immersion program proved to be one effective program for students of a rural area’s elementary school, providing them with opportunities to have a good experience in taking native English speakers’ classes.

The purpose of this study is to investigate the acoustic characteristics of Korean velar tensification between normal and fast speech rate. This study focuses on four acoustic characteristics of two-syllable words with tensed velar stops for 34 female speakers: VOT, CoG, Closure duration and H1-H2. According to the study, these four acoustic features become lower or shorter as speech rate increases. 1) VOT is affected by the articulation place of the coda preceding velar tensification. VOT is the shortest when the coda is a velar stop. 2) CoG shows the same value at the same speech rate, regardless of the coda preceding velar tensification. However, CoG depends on the articulation place of consonants that precede velar tensification. 3) Closure duration becomes shorter at fast speech rate than at normal speech rate without exception. Closure duration is a lot longer in the word with a stop coda than with a sonorant coda. 4) As speech rate increases, H1-H2 moves in the negative direction. 5) The closer the articulation place is moved toward the velar, the lower the correlation between fast and normal speech rate becomes in VOT, CoG, and Closure duration. H1-H2 shows the high correlation between fast and normal speech rate in all words except of ‘palgil’ with the lateral coda.

Since OE through ME, and until EModE, HAVE perfect usually occurs with transitive verbs whereas BE perfect occurs with intransitive verbs (especially, mutative verbs i.e. signifying a change of state or a place and/or verbs of motion). Against the demarcation of the HAVE perfect into two categories, ACTIVITY and UNREALITY by Rydén-Brorström (1987), I suggest that the assumption of the cluster of the syntactic-semantic features, [+BEING], [+STATIVITY] for the BE perfect, the cluster of the opposite syntactic-semantic features, [-BEING], [-STATIVITY], or [+ACTIVITY], [+ITERATION] and [+DURATION] [+UNREALITY] and [+COUNTERFACTUALITY] for the HAVE perfect can explain the BE/HAVE paradigm. Concerning the demise of the BE perfect, counterfactuality proposed by McFadden and Alexiadou (2005) is suggested as the catalyst for the eventual loss of BE. In the first half of ME, counterfactuals categorically required the auxiliary HAVE on the perfect. This requirement was strong enough even to override the otherwise categorical selection of BE by verbs like come, yielding their first appearances with HAVE. My assumption of the feature [±BEING] can explain this. My data (Table I) also shows this in that only 17 cases in King James (1611) and 18 cases in Tyndale (1526) of the BE perfect appear, mainly with the verbs come and go. PE shows a productive use of Be Gone in daily life. One reason for this being that Be Gone has a functional load differently from Be Come, which has no distinctive meaning or function. While he has gone means he is not here, but you may get him easily, but he is gone means separation or farewell, he may not come back again or it is hard to find him. So he is gone may mean in common language he is dead. This kind of functional load prevents contrast loss, so it prevents the loss of the Be Gone. If we use the syntactic-semantic features concerning the pair HAVE Gone vs. Be Gone, HAVE Gone may be featured as [-BEING], [+ACTIVITY] and Be Gone as [+BEING], [+STATIVITY]. HAVE Gone is focused on action or activity whereas Be Gone is focused on stativity or state (that is, being dead or separated). My feature system can also differentiate the demarcation between the pair HAVE Gone vs. Be Gone.

The purpose of this paper is to investigate how exactly learners are aware of English tense-aspect and to emphasize the importance of teaching tense and aspect focusing on their meaning differences. Even though it is impossible to understand English without a clear notion of tense and aspect and subtle differences sometimes play a pivotal role in communication, those differences have not been considered significant until now. In order for students to clearly distinguish the relative differences in various tense-aspect features, it is probably a good way to make students exposed to as many contrasting examples as possible. For this study, twenty seven university students participated and they are divided into three groups according to their TOEIC score. They are given 14 contrasting sentences showing meaning differences between various tense and aspect features and they are told to translate those sentences into Korean or write down any differences they recognize between the contrasting sentences. The result shows that most students do not have clear notion about English tense-aspect regardless of their TOEIC score. Also, it reveals that they have difficulty distinguishing some specific differences; strong continuation versus possible continuation between present perfect and present perfect progressive, indefinite query versus definite query between simple past and present perfect, no room for change versus room for change between simple past and past progressive.

Toni Morrison’s Home describes the unspeakable traumas of main characters, Frank Money and Cee. Their traumas are from Korean war experiences, poverty, racial discrimination and the evil experiment of a white doctor. Morrison shows a long cure process of treating unbearable traumas. Like Morrison’s other novels, there are also wise black women and men who can heal the wounded Cee and help Frank find a safe way to rescue his sister. They are healers unlike the selfish white doctor, Beau who is reflecting a long history of medical apartheid in U. S. A. In this paper, I point out the importance of italicized chapters of this novel which are similar to the counseling session between a psychotherapist and a patient. Those chapters give Frank clarity and make him find a method to repent his sins and heal his traumas. At the ending of this novel, Frank and Cee give a proper burial and mourn for an unknown black man under the beheaded and split but surviving sweet bay tree. Morrison emphasizes the fact that like that tree, they will survive regardless of their misfortune and burdensome traumas.

Featuring the only black protagonist in William Shakespeare’s plays, Othello (1603) is distinct from any other Shakespearean tragedies. Called the “noble Moor” of Venice, Othello discovers a place for himself in the dominant white order as a general, winning recognition as a noble man. At the same time, however, he is dragged down to an ‘inferior’ status because of his ethnic identity as a “Moor.” He tries hard to assimilate in order to resolve this dilemma, but this effort distresses him and makes him feel alienated, both psychologically and socially. This agony of Othello can be explained through the framework of Frantz Fanon’s theories about alienation of black people, who suggests that the alienation of black people owes to two reasons: a racist society that supports various myths of blackness, and by black people themselves who accept these fabricated ideologies without properly questioning them. This article attempts to explain the pain of Othello by adapting Fanon’s framework, and suggest ways in which black alienation maybe confronted and overturned.

Emily Dickinson is a poetic genius who left as many as 1775 poems, all of which show the poet’s idiosyncrasies, particularly in the originality and succinctness in their forms. But the genius of the poet is expressed the most effectively in the vast scope of her imagination as well as the profundity of her concepts and speculations. Among the various themes of hers, Dickinson’s main concerns are the ontological questions of life, death, and immortality, and through the speculations of these fundamental questions, she literally “assimilates two millennia of western experience” in her poems. The purpose of this paper is to study Dickinson’s poetic imagination in relation to the ascending images in the themes of volcanos and escapes. The movement of Dickinson’s imagination has been approached from Plato’s Idealism. Also for an effective tool of reading Dickinson’s poetry, this one owes greatly to Bachelard’s poetics such as Fire and Air images, especially his theory of “the four elements as the hormones of the imagination.” It deals with Dickinson’s ascending imagination, a means of transcendence, where the symbolic meanings of various ascending images are examined in detail. Particularly, it is shown that the poet’s desire to escape from the gravity of earth into the freedom of endless sky is substantiated by the images of volcanos and escapes. Finally Dickinson’s will to transcend reality is symbolized through the image of ascending symbols.

Fong and Ginsburg (2013, 2014) propose a new theoretical framework for Agree relations, namely the stack mechanism. Its core idea is the stack. It is a kind of buffer which stores Syntactic Objects with an unvalued feature temporarily. The stack mechanism is argued to be more economical than the probe-goal search of Chomsky (2001) because, with the stack, there is no need for a probe to check all of the labels within its search domain. Fong and Ginsburg (2013) try to make their stack mechanism empirically motivated by demonstrating that it can successfully account for the notorious violin-sonata paradox. Their analysis, however, has two drawbacks: the indetermination of stack order in the case of doubling constituents and the wrong assumption that there is no A'-movement in tough constructions. To solve these problems, this paper suggests the A-over-A Constraint on Stack Order, and shows that Hicks’ (2009) doubling structure is more appropriate for doubling constituents. With these minor modifications, the stack mechanism is still a viable solution for the notorious violin-sonata paradox.

The purpose of this study is to compare the discourse function of English relative pronouns used in ‘news report’ and ‘editorial’ of newspaper. It is assumed that these different registers in newspaper deliver different purpose of discourse respectively. Therefore, it is possible to hypothesize that relative pronouns appearing in newspaper can show different discourse function depending on its discourse purpose. To get this goal, 266 relative pronouns in ‘news report’ and 265 relative pronouns in ‘editorial’ were collected. They are also classified by the types of OS, OO, SS, SO and by restrictive or non-restrictive usage in order to identify discourse functions. The results showed that both ‘news report’ and ‘editorial’ have common characteristics such as the preference of 4 types of relative pronoun and more dominant using of restrictive usage. It is because cognitive language processing ability and discourse functions are applied in most of our language registers. The findings of the study also indicate that different preference of certain type of relative pronouns between ‘news report’ and ‘editorial’ is derived from realizing distinctive discourse purpose. The findings in this study are believed to improve our understanding on specific relative pronouns used in order to reflect discourse functions in accordance with discourse purpose.

This paper aims to investigate the manner in which identity, eavesdropping and settings are portrayed in The Woman in White. Wilkie Collins demonstrates a plot and a melodramatic story of the sensation novels of the 1860’s. By adopting the form of the sensation novel, he could attempt to use the romance mode to deal with realistic problems. Especially that his settings should be frightened with not only psychological but also historical meaning shows a credible and necessary manner for the mid-victorian writer. The setting in The Woman in White is functioned as a signifier Blackwater Park, standing in so staunch an opposition to Limmeridge, takes on the characteristics of the marriages and the identity which it houses and begins to appear as a refuge/prison. I see Blackwater Park as a narrative in its own right, a narrative of an aristocracy which has moved from the medieval privilege to the modern panopticon. That’s why the house itself implies secrets of the people who lived in a long time ago and reveals the ugly desire through atmosphere, portraits, cracked walls and rotten lakes. Collins’s construction and ordering of the narrative is designed to create the narrative secrets for as long as possible and to maximize the sensational effects of the sensation novel. For this goal, male narrators struggle to have narrative authority and involve to control an individual’s identity. In contrast, female narrators use a narrative method which based on the irrational suspicious of the narrative that conceal far more than they reveal. Eavesdropping, the usurpation of other people’s private information for one’s own ends, suggests that women have very different narrative strategy than men do in the novel.

The purpose of the study was three-fold: 1) to analyze vocabulary size in English texts written for the secondary school English curriculum, 2) to examine the effects of 80% vocabulary control on vocabulary size in different sets of textbooks, and 3) to compare vocabulary size between CSATs and textbooks. The study compiled a million word corpus of curricular texts including textbooks, CSATs, and EBS books. RANGE program was used to analyze the vocabulary size and text coverage in the corpus. The results demonstrated that 4,000 to 5,000 words were needed to reach 95% text coverage of curricular texts, which is at odds with the myth that 3,000 words are enough for the school curriculum. The analysis of textbooks showed that a learner is likely to encounter 4,000 words through the textbooks, while acquiring less than 3,000 words if low-frequent words are excluded for consideration. Those 3,000 words were far short of vocabulary size necessary for CSATs, which required more than 5,000 words to reach 95 percent coverage. After all, the vocabulary control movement in the national curriculum produced a large difference in vocabulary size across textbooks, which does not ease the students’ vocabulary learning burden. The paper ends with suggestions for future directions for revision of the vocabulary control in the national English curriculum.

This paper is aimed at ascertaining the types and frequencies of the grammatical (i.e., number-gender) agreement errors in Korean students’ compositions to show what the most troublesome error is. The data used in this research are extracted from a learner corpus based on compositions written by 137 students who major in Humanity and Arts at a university in Seoul area. All the errors in grammatical agreement are classified into the following three categories: (1) agreement in subjects-verbs, (2) agreement in determiners-nouns, (3) agreement in nouns-anaphoric pronouns. Through a careful examination of these errors, it is found that agreement in subject-verb relationships is the most common error in terms of the frequencies (189 tokens), whereas the percentage of the trials and errors for noun plurality agreement is the highest (37%). Since subject-verb agreement in the Korean language is totally absent, it is easily expected that subject-verb grammatical mismatches are the most frequent. However, the fact that noun plurality agreement, which exists but is optional in the Korean language, has the highest percentage of the errors may imply that intralingual elements of the Korean language may interfere grammatical agreement in English compositions.

To date few studies have been conducted on language teachers’ assessment practices in university since they are given almost almighty authorities in the assessment process as well as instruction. Potential threats to the ethical/fair use of classroom assessments are easily foreseen in this society. The present study looked into an English teacher’ assessment practice (assignments and tests) to identify unethical uses of classroom assessment in a college course. The study took a self-reflective research method with data collected from focus-group interviews, self-teacher journal entries, and class observation under the framework of critical language testing (CLT). Major research findings were: (1) students raised a concern over self-assessment as a reliable source of assessment, (2) scoring criteria were not clear for a group article summary assignment and (3) too heavy a portion was given to final exam. It was concluded that the involvement and active participation of students was possible and essential for ethical uses of classroom assessment. Further, students’ overall evaluation of their teacher’s current assessment practice played a major role in challenging the assumptions of each assessment component and its negative consequences on their learning. Classroom implications were also discussed at the end.

The Bible was appreciated as a great work of literature and an artistic inspiration for Renaissance writers. Yet a controversy concerning the question of how Shakespeare himself regarded the Scriptures has not come to an agreement among scholars. Quite a few scholars read Shakespeare’s biblical references as didactic reinforcement of Christian doctrine. Shakespeare employs various biblical elements in his plays, yet he often deconsecrates them in terms of Renaissance humanism, turning upside-down Christian theology or the patriarchal pattern of the Bible in his tragedies. This paper explores how Shakespeare deconsecrates some biblical elements in King Lear, with focus on Act 4 scene 7. The so-called reconciliation scene demonstrates the subversion of the biblical story of ‘prodigal son’ into the story of prodigal father in which father asks for his daughter’s forgiveness. The play also deconstructs the biblical account of creation and order through differentiation and division in Genesis, and suggests Cordelia, a symbol of all-producing and all embracing “nothing,” as our new Savior whose commandment is “Love, and be silent.”