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The purpose of this paper is to examine Briony’s moral awakening about her wrongs of past and the limitation of atonement the imaginative narrative has. Briony’s limited knowledge and misunderstanding of Robbie result in negative consequences. Ian McEwan examines false consciousness of upper class in Atonement in the era before the Second World War. Also, he tries to show the fundamental questions about narrative approach toward truth. McEwan describes Briony’s ethical growth as the work progresses, and at the same time, continuously tries to discuss the reliability of her atonement. Although this work resulted in tragedy, McEwan tries to expand individual atonement into the historical and social dimensions. McEwan suggests the clear narratives with the story of empathy with others and the importance of self-reflection by expanding this issue to social and historical views. He takes the sympathy and the ethical responsibility for Other in British society and history. In conclusion, McEwan urges people to progress toward open narratives from closed ones and stresses the open relationship based on empathy. After all, the reason why he tries to expand the narrative is that he had the sympathy and the moral responsibility for the social-economic Other in British society.

Analyzing Art Spiegelman’s groundbreaking graphic novel, MAUS in which the author represents the story of his father, Vladek, a Auschwitz survivor, this paper aims to delve into how literary representation works in MAUS in terms of ethics, politics, and aesthetics. As theoretical scaffoldings, the paper utilizes Jacques Ranciere’s theory of aesthetics-politics, Scott McCloud’s in-depth theoretical explanation of comics as a genre, Gilles Deleuze’s politics of faciality, and Giorgio Agamben’s philosophical analysis of testimony as lacuna and ethico-ontological deconstruction of bio-politics in Auschwitz. The paper argues that representation of historical atrocity through comics can attain its legitimacy through aesthetic deconstruction of representational hierarchy and philosophical reflection on the universal fatality of humanity. Later, the paper also proposes that ethical power of MAUS lies in readers’ active participation through imagination empowered by visualization of communication between the Auschwitz survivor, Vladek, and his son, Artie. This communication results in eliciting the universal accountability and responsibility of every human being for death camp of Auschwitz.

This essay aims to examine childhood in the Victorian era as portrayed in the poems of Hopkins. In the era in question, negative conceptions of childhood were common due to Darwinism, the prevalency of juvenile delinquency, and labor-related problems. Hopkins, as a Catholic priest, sought to lead the children into a sacred and innocent mode of life and then usher them, at a very early age compared to modern practice, into the adult world that is the work place. Both “The Child is Father to the Man” and “Spring” illustrate that his concept of youth is closer to the negative Victorian view than to the optimistic Wordsworthian view. “Brothers” and “The Handsome Heart” depict attitudes like submission, self-discipline, and gentleness, which were viewed by the Victorians as appropriate for the young, demonstrating innocence and suggesting a pure future. “The Bugler’s First Communion” features a double challenge; the boy must preserve his own innocent and holy mind while also serving in a dead-end job, laboring like an adult. Hopkins expects good children to effectively integrate themselves into society, which keeps society, including the working class, united and well controlled.

This study examines the odyssey in search of humanity and unremitting Mobius strip of misery in Derek Walcott’s Omeros which portrays colonial wound metamorphosing into a healing upon the here and now of St. Lucia. The past, the present, and the future exist simultaneously in the time/space of Omeros, in which a collective understanding of the colonial past and its persisting legacies is possible. The present study focuses on delineating how the fragments of colonial wounds are reassembled upon this simultaneous time/space of the Caribbean. Walcott’s characters are humble but noble because they are willing to heal their trauma of colonial history and maintain their national identity or spirit. Their nobility comes from the painful knowledge learned from isolation and suffering. The wounds materialize into instances of “past-in-present,” which haunt the island and its inhabitants. However, Omeros refuses to reject the cultural/ historical legacies of colonialism or return to African origins. St. Lucia and the Caribbean islands are centralized where indigenized fragments of history have taken root in the landscape of the island.

The purpose of this paper is to examine how the hero’s behaviors of revealing or hiding name under the “power of the name” in The Odyssey repeat in the “journey” of Cordelia of King Lear. In The Odyssey, a name plays a key role in the adventures of the hero. Odysseus calls himself “nobody” in his first encounter with Polyphemos, but later he reveals his real name, “Odysseus” to that monster. This brief moment in Kyklopes episode determines his forthcoming adventure. As he calls himself as “nobody,” the great hero, Odysseus becomes true nobody and is completely excluded from the society losing his glorious fame. His homecoming is delayed for ten years due to the “curse of the name,” which is layed upon him when he reveals his real name. This paper argues that this influential role of name also can be observed in Shakespeare’s tragedy, King Lear. Soon after Cordelia gives up her position as “Cordelia” by saying “nothing ” in the love test, she is completely excluded from the English society and forgotten from the audience. Without doubt, her hardship begins with the revelation of her real name, “Cordelia” in the final scene of this tragedy. The “curse of the name” under “the power of the name” becomes the most important cornerstone to analyze experiences both of the Trojan hero and the tragic heroine.

This study aims to illuminate Steinbeck’s view of man and dream by examining the nature of man and the attainable possibility of man’s dream in Of Mice and Men. The first title that Steinbeck gave it is “Something That Happened.” and it is meant to be a non-teleological tale. It covers two migrant laborers named Lennie and George, who take care of each other and look for their jobs to “live off the fatta the lan” in the 1930s. It takes its title from Robert Burns’s “to a mouse” and sets along the Salinas River “a few miles south of Soledad”, based on the Eden myth. Of Mice and Men addresses man’s isolation and the vanity of human wishes and it underscores the brotherhood that George and Lennie achieves in this work. Lennie’s poor, dumb impulses of love kill the mice and the puppy, only to kill the woman who lets him stroke her hair. Recognizing the hopelessness of defending Lennie any further, George kills him as mercifully as he can to save him from the savagery of the pursuers. With Lennie’s death, the dream of the Edenic farm dies with him. Their dream for the their own farm fails to be fulfilled but they achieve another dream of being their brother’s keepers. This novel highlights the value of the “Togetherness” of community based on compassion for one another.

During World War II, the Nazis massacred six million Jews. Unlike other literature, Holocaust literature aims to testify the horror and atrocity of the Nazis, presenting the unimaginable events to its readers. As a result, Holocaust literature gives readers the valuable lesson that racial hatred possibly leads to horrible massacre even today. Because of this educational outcome Holocaust literature has been taught as a part of curriculum in some high schools and universities in America. In this paper, I explore Elie Wiesel’s autobiographical novel, Night and demonstrate that teaching Holocaust literature can bring out some valuable lessons. To be more specific, I analyze how Wiesel presents the process of losing his faith in God and his concerns about his degraded filial duty in the inhumane concentration camp. Despite the fact that Wiesel was very religious in the past, he loses his faith in God when he encounters the atrocity of the Nazis in Auschwitz. In addition, though he loves his father, the horrible conditions in the camp weakens his filial duty. Nevertheless, he does not leave his dying father and shows feeling of guilt for neglecting his filial duty, which demonstrates that Wiesel does not lose his humanity in spite of the horror and cruelty of Auschwitz.

This paper aims to illuminate Hawthorne’s Irony by examining the main characters’ patterns of behavior in The Blithedale Romance. Section II deals with “Dramatic Irony” inherent in the radical reform movement. Section III concerns “Verbal Irony” conveyed by approaching the characters and the events of the book through the narrator, Miles Coverdale’s eyes. Any situation is ironic, to some extent, if it involves the dramatic contrasts between appearance and reality, expectation and event, or intention and accomplishment. Hawthorne presents the irony inherent in the Blithedale’s attempts at naturalness, practicality, and social humility. “Verbal Irony” is closely related to Miles Coverdale’s skepticism and introspection. As an aloof observer, Coverdale explores weaknesses of egotists, faithlessness of lovers, and hubris of the feminist, all of which diminish the lofty purposes of the Blithedale. Coverdale’s inability to do full justice to his Blithedale fellows ironically allows a self-disparagement, the disclosure of character broader and richer than that in the portrait of Hollingsworth and Zenobia. In permitting Coverdale virtually to construct his self, his voice, Hawthorne works off the ironic possibility of a narrater who unconsciously steps beyond the limits which he consciously observes.

In Harold Pinter’s A Kind of Alaska, Deborah, the heroine of the play, has slept for 29 years and awakes at the age of 45 due to an injection, L-DOPA. She finds herself awakened with an aging body and confused with the gap between chronological age and psychological age. To Deborah, everything is imprecise, unexplainable, unknown, or unremembered. While Deborah was sleeping, Hornby, a doctor who had looked after her for years, and Pauline, who is Deborah’s sister and Hornby’s ex-wife, took care of her and now they help Deborah to understand and realize the world. However, their ways of helping Deborah are not only caring for her. But they impose a certain relationship on Deborah to have power to govern the others. While Hornby and Pauline struggle to have power and try to force Deborah, she starts to determine what the reality is and makes her selection from the information presented to her by herself. In order to situate herself within the context of her family and the world, she tries to search for identity, and this search for her identity is the process of awakening in the play. Now, Deborah remains awakened by herself with her subjectivity and the process of her awakening can be the process of her realization of her new identity.

This paper explores how Jess Walter employs the narrative strategy of an ‘unreliable narrator’ not only to deconstruct ‘Americanness’ but also dismantle the boundary between the Muslim world and the Western world in The Zero. A hero of the 9/11 terror and mainstream American representative, Brian Remy is a character symbolizing the post 9/11 trauma. Through the aspects of the split of Remy’s whole identity into two selves, the author questions the ‘unreliability’ of the narrator and reveals how America with its exceptionalism and exclusive immigration politics makes the Third world the Other in order to maintain the current system of globalization. The author dismantles the dichotomy of the Western world and the Muslim world by having a Muslim character, Jaguar, speak the truth of the narrative as opposed to the unreliable narrator, thus making the reader sympathize with the Other and understand the American politics. As such the author’s narrative strategy fosters a sense of tension for the reader to delay their judgement and critiques the false image of ‘Americanness’. The paper examines how the novel looks at the 9/11 terror from a new perspective and suggests the possible solution of the conflict between the Muslim world and the West world through the sincere communication with the Others.

This paper aims at exploring possibilities of using parody texts in the English poetry course, focusing on three poems that revise or comment on Andrew Marvell’s “To His Coy Mistress.” As parody activates a re-evaluation of the original text and functions as double- voiced discourse, using parody in the classroom is an effective method to engage the students in discussions that compare and contrast a parody text to the original text. Richard Wilbur’s “A Late Aubade,” Diane Ackerman’s “A Fine, A Private Place,” and Peter DeVeries’ “To His Importunate Mistress” address important issues such as time, gender roles, sexual experience, and materialism. Through in-depth class discussions of these three poems in relation to Marvell’s original text, the students are expected to develop critical thinking ability as well as accurate reading habits. The students get to approach Marvell’s poem from a variety of perspectives and analyze 20th- century society based on the comparison between 17th-century poem and modern poems reinventing it. Moreover, the teaching method utilizing various parody texts can encourage the students to produce their own parody texts and re-create dialogues between the text of the past and the current society.

This paper aims to investigate whether or not our thought about abstract motion can influence our understanding of time in English and Korean. Two experiments examined that the direction of abstract motion through sequences of numbers would influence reasoning about time. The results of the two experiments indicate that abstract motion can influence temporal reasoning. Specifically, descending number order produced a greater proportion of Monday or leftward(←) responses relative to Friday or rightward(→), while ascending number order produced no reliable difference between the proportion of Monday or leftward(←) and Friday or rightward(→) responses. I suggest that the results should come from the fact that Korean’s familiarity with time-moving sentences in everyday language has more influence on temporal reasoning than their familiarity with forward movement in their everyday experience with motion. Both Experiment 1 that numbers and blanks were presented downward vertically and Experiment 2 that numbers and blanks were presented upward vertically gave the same results. This result indicate that reading and writing direction (downward versus upward) did not and English. Based on the results of this study, I conclude that abstract motion can influence the understanding of time in English and Korean.

This paper examines the humanness restriction on specificational Pseudo-clefts where the pseudo-cleft clause in subject position is followed by the post-copular, clefted constituent denoting a person. We will first note that the verbs within the pseudo-cleft clause at issue are restricted to what Moltmann (2013) calls ‘verbs describing (visual, tactile, or auditory) perception’ or what Akmajian (1970) calls ‘verbs which take as subjects (or objects) either abstract nouns or human nouns.’ Since like the subject of specificational copular sentences it is substituted for by it or that, but not by he nor by she, the pseudo- cleft clause is essentially construed not as a person but as a thing. The copula is required to be present in this construction and has the role of equating/identifying the open variable provided by the pseudo- cleft clause-internal gap with the referent of the post-copular, clefted constituent. However, the pseudo-cleft clause connected to the post- copular, clefted AP/VP constituent is not entity-but property-denoting, thus being resistant to its substitution by entity-denoting pronominals such as it and that.

The article delves into how epenthetic vowels in English loanwords can be analyzed from a constraint-based perspective. It is well known that some words in a language are usually affected by a wide variety of factors when they are borrowed into another language. Vowel epenthesis takes place in Korean (e.g., strike → [sɨtʰɨɾaikɨ], boss → [bos’ɨ], and march → [macʰi]) in order to avoid consonant clusters and meet the Korean syllable structure. In the case of word-final non-palatal consonants, the most unmarked vowel [ɨ] is inserted on the basis of factors like Korean phonetic/phonological patterns/ constraints. In the case of word-final palatal consonants, the high palatal vowel is inserted according to perceptional factors. Vowel epenthesis in English loanwords could be analyzed based on some constraints and their ranking (*Released-Coda, *Voiced-Coda, Max-IO, Ident-IO(release), AGR<palC>V[pal] >> Ident-IO(ObsVce), Dep-IO) within a constraint-based theoretic framework.

The present study aims to investigate the appearance of the English passive progressives and to understand how and why these constructions appear in the English language. Visser (1963-73) prefers to see the main reason for the appearance of the English passive progressive constructions as the “urge, permanently inherent in English as an analytic language, to signal separately every separate shade of meaning, function or connotation”. If we develop Visser’s idea and observe the change of the English verbal phrases, we find a direction of change concerning the English passive progressive as found by Traugott (1965; 1972). As language changes from Proto-Indo-European to Germanic to West-Germanic to English, the full inflections of Proto-Indo-European concerning the verb phrases are lost. English, an analytic language rather than a synthetic one, has changed to fill the systematic gap with periphrastic verb phrases instead of inflections. This process of maximizing the sequences of auxiliaries may be called the Principle of Maximizing the Sequences of Auxiliaries or the Principle of Filling the Systematic Gap left by Proto-Indo-European as a result of the loss of full inflections.

Wechsler (1997, 2005) argues that the DOR is not real by citing some counter-examples to it. In contrary to Wechsler (1997, 2005), this paper argues that the DOR stands as a viable standard condition on the resultative construction. Wechsler’s first case of the counter- examples, which concern the manner of motion verbs, can be successfully explained under the DOR through the conflation analysis of McIntyre (2004) and Mateu (2005). Wechsler’s second case of the counter-examples, which are on the subject-oriented resultatives in transitive constructions, is not the target of the DOR because the putative subject-oriented resultatives are in fact directional adjuncts. While the DOR is a fine regulative constraint for English, it does not hold in Korean. This paper argues that this difference between the two languages attributes to the syntactic status of resultatives. To be more specific, resultatives serve as an argument of the verb in English while those in Korean function as an adjunct. This view is also supported by the Japanese data. The DOR does not hold in Japanese because Japanese resultatives are adjuncts.

English is widely considered to be rich in near-synonyms of Germanic and Latin-Romance origins. It implies that EFL learners may find it very challenging to recognize the subtle nuances of the synonymous words. This study aims to explore the similarities and differences in meaning and usage of two near-synonyms, entire and whole, for EFL learners to avoid potential sources of errors. To get this goal, this study 1) surveys 82 Korean college students to examine the recognition of the two adjectives; 2) shows the stylistic and diachronic variation through BNC and COHA respectively; 3) summarizes the dictionary definitions retrieved from three online dictionaries and applies them to the extracted instances from BNC; 4) extracts 200 noun collocates (MI>3) from BNC and analyzes them using Wmatrix program to sort their semantic categories. The findings of this study clearly illustrate remarkable differences in meaning and usage of two near-synonyms. They indicate that utilizing the semantic categories extracted from Wmatrix program is very useful to clarify the subtle meaning differences between two near-synonyms and enhance the learning of lexicon.

The purpose of this study is to present the importance of stress in communicative language teaching and to find out how pronunciation and English stress are presented in the English textbooks for Korean middle school students. Six types of middle school English textbooks were used for the research analysis and the results were as follows. First, the pronunciation parts were very limited (less than 2% in a lesson) in the current textbooks. Second, textbooks ignored the general rules of stress―one of which was the standardized transcription method of stress. Third, most textbooks focused only on a single type of stress patterns, such as word stress or sentence stress. Consequently, the frequency of the stress presentation in the textbooks were very limited and the explanations of stress were quite unsystematic. In conclusion, to improve students’ communicative competence in English, 1) textbooks should increase pronunciation sections including stress materials; 2) the transcription method of stress should be more clear and precise in textbooks to reduce students’ confusion; 3) textbooks need to expand the scope of English stress to prepare for various communication situations. Moreover, the communicative value of stress should be widely recognized among teachers and students