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This paper aims at analyzing the narrative of memory and healing about a girl who ran away to avoid sexual violation but returns after 25 years in Sapphira and the Slave Girl. Upon creating and solving the sexual sadism based on the cruel plotting of Sapphira against the sick body, Cather is connecting Sappphira’s violence to the ugliness which often hides beneath the serenely natural world such as the Double S ravine. As a violence lurks everywhere, Cather wants to acknowledge the need to comprehend the violation and solve it within the larger context provided by endurance, memory, and forgiveness. As the seasonal circle happens, Henry, Rachel, Till, and Nancy promise their reunions colluding to cure the ugliness of the unforgettable past in order to get on with their lives. Cather’s characters accept the passage of time as well as loss and pain, being confident that reconciliation and recuperation can make up for them. They believe the sustainable connection between past and present, based on the essential role of memory in all the processes of endurance and understanding, on memory as an essential component in the process of healing. By the way, Cather thinks of this healing power as an intrinsically natural force rather than the identification of some regenerative force with a specifically female identity.

This essay aims to analyze the influence of Hopkins’s critiques of Dixon’s poetry, found mainly in letters exchanged between Hopkins and Dixon. Dixon’s poems, featuring the characteristic of a Pre-Raphaelite in his young age, hadn’t drawn much attention. After starting a corresponding with Hopkins, he restarted his writing and published poems influenced by Hopkins’s critiques. Hopkins’s influence on Dixon could be categorized as direct and indirect. First, Dixon directly took to heart Hopkins’s corrections like those found in “Life and Death” and “The Spirit Wooed.” Therefore, Dixon chose not to publish many poems after receiving a negative critique from Hopkins. This could be seen as indirect and negative effects resulting from Hopkins’s critiques. However, in most cases Hopkins’s words had a significant positive influence, as proved by “Ode to an advancing age.” This shows Dixon took on Hopkins’s poetic theory and experimental style such as sprung rhythm to improve his poetic skills. Contemporary critics praised him for the freer style in the rhythm and elongated poetic dictions, all shadowing the character of Hopkins’s poetics. This means Hopkins’s new revolutionary poetic skill would have a chance of being warmly received and that Hopkins’s poetry thusly gained the power to spread during his lifetime.

This paper aims to explore Harold Pinter’s Family Voices in Sigmund Freud’s psychoanalytic aspect. The characters are only three Voices which seem to be a son’s, a mother’s and a father’s. They speak but it seems they can’t hear each other. To understand its supernatural and illogical situation, we will consider the voices are being heard in the son’s mind who are in the middle of ‘Family Romance’. ‘Family Romances’ are fantasies which children (or the neurotics) dream of when they feel disappointed with their parents because of their personal flaws or strong sense of rivalry with the parent of the opposite sex. Through this fantasy, children can be separated from their parents. Here, the son who suffers from obsessive-compulsive neurosis because of his strong oedipus complex also fantasizes ‘family romance’. Since his romance gets influenced by his sense of guilt which is distinguishing characteristic of obsessive-compulsive neurosis, he fails to be separated from his parents. When his romance comes to an end, it turns out that he still unconsciously desires attachment relationship with his mother and his father’s death. To conclude, the play is dealing with the mother-son’s dual relationship and patricide desire of the obsessive-compulsive neurosis son and his fail of the separation from his mother.

From her early poetry in the 1930s, Elizabeth Bishop has invariably revealed her interest in surrealism in literature and art. Most significantly, the poet aspires to create the “surrealism of everyday life” in her poems in contrast with orthodox surrealism led by a French poet Andre Breton. Fascinated by the paintings of Giorgio De Chirico, a precursor of Rene Magritte, Bishop develops her own unique style of “surrealism of everyday life.” Her early poems blur the boundaries between reality and fantasy instead of inquiring into the realm of dreams and the unconscious. Transcending the bounds of genres and media, Bishop’s “surrealism of everyday life” shows remarkable similarities with Magritte’s surrealist aesthetics. In her poems, as in Magritte’s paintings, Bishop shows a new world which is not capable of seeing from a stereotypical perspective. Unlike the orthodox surrealists, both Bishop and Magritte represent the grotesque images which provoke the feelings of strangeness, mystery, uncanniness as well as laughter. Bishop keeps developing the grotesque images of “surrealism of everyday life” by emphasizing the “uncertainty” which she regards as a catalyst of exhilaration in everyday life. In her late poem “Rainy Season; Sub-Tropics,” Bishop minutely describes the grotesque animals with disproportionate freakish bodies like “Giant Toad” and “Giant Snail.” Through these animals’ humorous self-mocking monologues, Bishop creates a mysterious and fantastic world hidden beneath our everyday life.

This paper examines the performer’s self-reflective process in Lisa Kron’s autobiographical therapeutic theatre. Kron’s 101 Humiliating Stories is based on Kron’s subconscious anxiety about revealing her sexual identity as a lesbian performer in high school reunion. In 2.5 Minute Ride, the description of remains of Holocaust leads to the discovery of her father’s lost history and present identity. The metatheatrical play Well is about Kron’s conscious effort to work through her internal trauma related to her mother’s illness. The conflict in each play appears in the derailing of the story’s planned course, resulting in a performer’s completely unanticipated revelation. The unsettled vulnerability from disclosure can be a mirror of performer’s inner state, which reaches for self-awareness and healing. This unique characteristics of Kron’s works corresponds to a method of Renée Emunah’s Self-Revelatory Performance. It is defined as both a form of drama therapy and a genre of experimental theatre, focusing on performer’s current life issues in need of healing. This article thus explores Kron’s journey of self-discovery through the emotionally intense scenes and mastery of a theatrical quality from various dramatic devices.

Andy is a typical patriarch and he is dying alone in Moonlight. At the last moment of his life, he found his life a failure. His two estranged sons don’t come to his deathbed and Bridget, his daughter haunts on the stage as a ghost. He has failed to be held in respect as a good father in his family, although he boasts he was respected and admired by a lot of people while working as a civil servant. The underlying cause of his failure was that he became a figure of domestic dominance in his family in pursuit of social success in the past. Since he had a strong desire to occupy a dominant position in a bureaucratic system, he neglected his duty as a father and became foul-mouthed and irascible at home. In this paper, his desire is explained as a wish to sustain leading position in social life, i.e., the Hegemony of R. W. Connell. According to Connell, gender is a way in which social practice is ordered and multiple masculinities are recognized in gender relations. Even though only small number of people can meet the normative definition of the hegemonic masculinity and the hegemonic position is always contestable, Andy chose to devote himself to the status. In the end, Andy regrets and it is Bridget who is a useful device for Pinter to show what Andy lost in his life by adhering patriarchy.

Because of the multilayered nature of the text, M. Butterfly is Hwang’s most famous play and accounts for a majority of the scholarly works by him. Above all, this play puts forward three crucial, controversial questions related to gender, postcolonialism, and deconstruction matters: Does Song Liling subvert the stereotype of Asian women or weaken the image of Eastern masculinity? Is Gallimard gay? Does M. Butterfly deconstruct Orientalism? Hwang deliberately leaves these controversial questions open. After analyzing various critiques of the play, it appears that this play has limitations in subverting stereotypes of Asian women, because Hwang is stuck in the binary opposition of two stereotypes of Asian women. Second, Gallimard is not gay because of his desire to have a Madame Butterfly, his belief in the fact Song and he had a baby, and his genuine pain after realizing Song’s gender identity. Lastly, M. Butterfly attempts to subvert Orientalism, but failing to implement it. The failure is related to the author’s understanding of Chinese culture, his personal identity, and his utilitarian desire. Hence, this study examines how M. Butterfly reflects the dominant discourses of the late 20th and early 21st centuries which will subsequently strengthen the understanding of M. Butterfly.

This study aims to investigate the rhetorical figures and their effects in Emily Dickinson’s poems. Dickinson is well known for her mysterious, ungrammatical, and idiosyncratic use of language. Above all, one of her distinctive styles is the repetition of the same words, phrases and/or clauses. This study attempts to interpret and understand how repetition works and why it is frequently used in her poems by analyzing rhetorical figures derived from rhetoric. These figures are the literary device to deliver the speaker’s message. Thus, this paper examines two specific rhetorical figures designating the repetition of words or phrases: 1) polysyndeton—the repeated use of conjunctions in linking words, clauses, or sentences, 2) symploce—the repetition of the same initial and final words in successive clauses or sentences. This study analyzes how these figures are used in Dickinson’s poems and their effects in delivering each poem’s message to the reader. Using the figure polysyndeton, the speaker can create rhythm, enhance the speaker’s credibility, and deliver her message by slowing down or speeding up the pace. The symploce also creates rhythm, makes the image of the circuit, and reveals the inner conflicts of the speaker. It is also found that the effects of the same figure can differ from each poem depending on the context.

Some infinitives in English are classified as raising and others as control. In some infinitival constructions, both of these characteristics are present. The purpose of this paper is to investigate the variation in control structures with a survey asking acceptability judgments from English native speakers and verify the survey results conducted earlier by Hendrick (2020). Hendrick (2020) attempted to figure out the pattern of the variation in raising and control structures through a survey of acceptability judgments. Similar results were obtained using the same questionnaire as Hendrick (2020). The survey items were manipulated with the expletives there and it and control predicates promise, try, allow, and force. Contrary to the standard syntactic theory, both expletives there and it were accepted in control structures though they were more likely to be rejected than accepted. Both expletives appeared to be more accepted in the object position. These two properties were common. The expletive there was more likely to be accepted in Hendrick’s (2020), but while the expletive there seemed more accepted in subject position, the expletive it was preferred in object position in our survey results. This paper explained the variation in terms of thematic relations and the survive principle.

This study aims to investigate whether the gradient effect of OCP (the Obligatory Contour Principle) can mirror the co-occurrence restrictions across a syllable boundary in English phonotactics. For this purpose, this study collected the data from the Carnegie Mellon University Pronouncing Dictionary and employed the Observed over Expected (O/E) analysis which is introduced by Pierrehumbert (1993) to measure the OCP effects. As a result, our finding is that the co-occurrence of the two consonants sharing the same manner feature across a syllable boundary is strongly restricted by OCP. In terms of OCP-place, the effect plays a role in an opposite way in that the co-occurrence of two consonants sharing the same place features are more likely to be represented than other combinations. In conclusion, the heterosyllabic clusters represents an asymmetric tendency with regard to place and manner features in English phonotactics: they tend to be similar violating OCP in terms of the place of articulation, but they tend to be different satisfying OCP in terms of the manner of articulation. We can also capture the effects are applied in gradient fashion. Additional finding of this study is that the OCP-voice and the Syllable Contact Law (Vennemann 1988) effects are not active in heterosyllabic clusters of English words.

There is a peculiar syntactic difference between focus phrases and relative words with respect to extractability from the TP-ellipsis site. In order to account for it, this paper suggests a novel analysis of TP-ellipsis which is based on three basic assumptions; First, the split CP periphery in the sense of Rizzi (1997, 2001, 2004) is derivationally constructed by means of Merge in a bottom-up fashion. Second, the TP-ellipsis site must undergo topicalization before ellipsis. Third, in the extended spirit of Johnson (2001), the topicalized phrase is adjoined to TopP, and so it becomes an adjunct island in the sense of Ross (1967). Under this theoretical framework, this paper argues that the extractability from the TP-ellipsis site depends on the landing site for the extracted element. The lower head projects before the higher head does in a derivational left periphery, and so extraction of a focus phrase from the TP-ellipsis site may occur before the TP in question moves to TopP. In contrast, extraction from the TP-ellipsis site to the edge of ForceP is impossible since it is done after the TP in question becomes an adjunct island. This paper also shows that its analysis can be extended to explaining embedded sluicing, split questions, left-dislocation, and the survival of topic phrase in sluicing.

The purpose of this study was to find out the relationships among learning styles, strategies, awareness of learning of Korean college students as they took an online class during the pandemic. In order to achieve the purpose, specific questions were established: 1) what types of learning style do Korean college students have? 2) what kinds of learning strategy do they use in online classes? and 3) how do their learning styles, strategies, and awareness of learning correlate with each other? Twenty-two college students responded to the questionnaires; the O’Brien (1989)’s Learning Styles Questionnaire, the Oxford (1990)’s Strategy Inventory of Language Learning, and the Rovai (2002)’s Classroom Community Scale. The Pearson correlation efficient was used for the relationships among the three variables. The results of data analysis showed that the least preferred learning style was the auditory style, and more than half of the students indicated that they would learn best as they were involved in some kinds of physical movement. Also, they used the meta-cognitive strategy the most, and the affective strategy the least. Finally, kinesthetic learners were likely to have a statistically significant correlation with the sub-construct, ‘Mutual dependence and cooperation.’ Based on the results, suggestions and implications for the classroom are presented.

This study aims to investigate Korean-speaking elementary school teachers’ perceptions of teaching English pronunciation mainly from an EIL perspective. For this, a semi-structured questionnaire consisting of 11 items was conducted to 55 in-service Korean-speaking elementary school teachers. The results of this study were as follows: 1) The majority of the teachers tended to recognize the importance of pronunciation for communication while they lacked confidence in their pronunciation. 2) The majority of the teachers appeared to spend time on teaching English pronunciation, placing more focus on suprasegmentals than segmentals. 3) In the questions that could tap into the teachers’ perceptions of teaching English pronunciation from an EIL perspective, the majority of the teachers seemed to agree on the significance of intelligible, rather than native-like, pronunciation; Approximately half or more than half of the teachers tended to prefer native English speakers and accents to nonnative ones as instructional models, be hesitant to expose their students to a variety of English accents, and perceive native English accents as superior to nonnative ones in linguistic value and importance; Two-thirds of the teachers regarded both native and nonnative speakers as the owners of English. Based on these findings, suggestions were made for teacher education and materials development concerning English pronunciation.

This study was conducted with the recognition of the problem that English speaking research is relatively insufficient despite the active use of movies in the field of foreign language education. The purpose of this study is to examine the effects of movie use on self-efficacy in speaking English for learners of Korea Polytechnic College. It is expected that meaningful research results will be derived when considering the correlation between movie use and English speaking, and English speaking and self-efficacy. The subjects of this study were English learners majoring in Power Plant and Diving, which are degree courses at Korea Polytechnic College, and a total of 33 students participated. As a research tool, an English speaking self-efficacy questionnaire was used, and for the analysis of the results, a case study method was adopted and quantitative analysis was performed using Jamovi, a statistical program. The results are as follows: First, learners showed high self-efficacy in speaking English through the use of movies. Second, the self-efficacy of speaking English was higher in the case of having previously experienced film use classes. Third, the movie use class showed statistically significant English speaking self-efficacy regardless of learners’ English level, but it was particularly effective for upper-level learners.

This study aims to explore the perceptions about English literacy education of primary school teachers to find ways to improve elementary English literacy education. For the study, on-line questionnaire was administered to 169 teachers. About 50 percent of teachers felt that reading & writing activities in the new English textbooks reflected the revised curriculum to an appropriate degree, but the amount of reading and writing activities in the textbook was not enough. Fifty percent of teachers answered that the difficulty of reading and writing activities in the new textbooks was appropriate. Teachers in large cities, however, responded that reading and writing activities in the new textbooks were easy for students, and teachers in small cities seemed to have reacted the other way. Teachers responded that students were not satisfied with textbook activities, since they were not interesting and filled with many repetition exercises. To overcome the monotony of these textbooks and differences in children’s level and to ensure the practicality of reading and writing activities in English classes, teachers seemed to reorganize the contents of the textbooks. Based on the results of the study, several implications were suggested for the development of the primary English literacy teacher training program.

The purpose of this study was to investigate how pre-service elementary school teachers perceive using classroom English(CE) in teaching English. Eighty-one pre-service teachers from the course ‘Elementary English Education II’ participated in the study. The data were collected from their self-reflection journals of English microteaching. An inductive theme-based data analysis through open coding revealed that the pre-service teachers’ perspectives on using CE were categorized into five themes. The most frequently mentioned theme in their journals was using CE with a careful consideration of students’ English proficiency and their understanding. The pre-service teachers showed their great concern about what kinds of CE they need to use for students in terms of word difficulty, sentence length, and CE expression variety. In addition, they paid much attention to some linguistic (pronunciation, accuracy, fluency) and para-/extralinguistic (rate of speech, volume & tone, facial expressions & gestures) features of using CE. Lastly, the pre-service teachers addressed their use of Korean for teaching English along with affective aspects such as anxiety towards using CE. It turned out that the pre-service teachers perceived using Korean as resources for teaching English, rather than as problems.