Earticle

The purpose of this study is to explore the figure of Pan, a Greek nature god, in Kenneth Grahame’s The Wind in the Willows. The Literature of the Edwardian period used Pan to depict fantastic traits like supernatural phenomena, magic, and mystery. Pan is considered to be a symbol of dreams and wishes that cannot be achieved in real life. Grahame's portrayal of Pan evokes nostalgia for a pastoral life and a desire to return to an idealized nature. Through Pan, Grahame transforms a realistic space into a romanticized landscape in which light and sound are combined. The moonlight, whispering wind, and the iconic sound of Pan’s pipes embody the paradisiacal natural images of Grahame’s ‘Arcadia’. Pan can also be seen as a healer, who helps people to overcome the anxieties of reality and provide an opportunity to fulfill wishes through fantasy. Furthermore, Pan becomes a source of literary inspiration that elicits profound creativity and awakens the aesthetic sense of human beings. It could also be said that Pan inspires humans to look for possible alternative ways of life by sublimating mundane experiences into artistic creativity. Grahame’s version of Pan symbolizes his timeless imagination that is able to transcend the boundary between fantasy and reality.

In “The Muse’s Tragedy” and The Custom of the Country, Edith Wharton questions the literary production in which male poets/artists seek inspiration from their female muses, believing that their fount of creativity would not run dry as long as the fantasy about the muses lasts. In “The Muse’s Tragedy,” Vincent Rendle’s poetry is inspired by Mary Anerton and their relationship is likely to be repeated between her and Lewis Danyers. However, when she becomes aware that she was deprived of her own identity by Rendle, she refuses to be Danyers’s muse and chooses to be the author of the third part of this short story. By adding asterisks to Rendle’s letters, she also demonstrates that she is the origin of meaning. In The Custom of the Country, Ralph Marvell wishes to write poems inspired by Undine Spragg. However, Undine is not a passive muse that can be transformed by a poet to fill his dream. In the literary production in which a female muse is the source of inspiration for a male artist, she is a signifier for his creativity and an object rather than the subject of her desire. Wharton argues that the idea of a Romantic muse along with its production of classical literature is anachronistic because it neither satisfies the aspirations of the New Woman nor meets the needs of the modern-day patrons of art and literature.

Goldsmith’s “The Deserted Village” has drawn the attention of English readers for its lyrical quality and poetic perfectness. However, the more important reason that the work deserves a critical attention is its poignant social criticism. The eighteenth-century English society welcomed with enthusiasm the wealth coming through foreign trade, but Goldsmith blames the newly emerging merchant class for acquiring extensive land to accommodate their luxurious life, thereby causing devastation and depopulation of rural areas. Goldsmith emphasizes that the rapid growth of trade and mercantilism, though it may seem to make Britain rich and strong, will prove disastrous for Britain by destroying the peasant class. Therefore, Goldsmith considers it his role as a poet to enlighten and educate the English people on the issues. In making a critique of trade and mercantilism, Goldsmith creates a poetic self who detaches himself from people and, alone in rural landscape, contemplates on the social changes that the contemporary English society was experiencing. His poetic self speaks in a pastoral mode, but not of comfort and abundance of country life but of the very lack of them, subverting the neoclassical poetic conventions.

Zoopoetics means the making of animals. Derrida’s experience of being caught, naked, in the gaze of the cat, which he expounded in The Animal That Therefore I Am, was the beginning of philosophical thinking about animal others, and it overthrew the traditional Western philosophy of logos-centrism and anthropocentrism. Zoopoetics takes both human and nonhuman animals to be not only the objects but also agents of representation, and its central tenet is that nonhuman animals are makers and that they have agency in that making. Therefore, in the poetic discourse of zoopoetics, animals no longer function as symbols or analogy but have their own poetic functions as makers. In zoopoetics, texts, bodies, and entanglement are central terms. Zoopoetics is intertwined with the relationship between animals and poetic language, and it is about entanglements of body and text. Heidegger’s “zwischen(between)”and Derrida’s “limitrophy” are the keys to untangle the entanglements. In Whitman’s animal poems, “A Noiseless Patient Spider,” “My Canary Bird,” and “The Dalliance of the Eagles,” the gestures of animals are the original power for making, and they become the texts by encounters and entanglements with the poets. As Whitman’s poems are barbaric yawp in the wilderness, the animal’s gestures and its making are an unheard yawp.

The main purpose of this paper is to apply Theodor W. Adorno’s non-identity thinking and negative dialectic to the major themes of J. M. Coetzee’s Elizabeth Costello. Elizabeth Costello is a dying female writer who travels around the worlds and gives lectures in the novel. Among many other issues, she accuses the deceitfulness of human subjectivity and its violence against animal others by the name of the Reason. Another question this paper examines is Coetzee-Costello’s writing ethics and how it can be used as a strategic tool or a distorting apparatus reflecting reality. This paper approaches Coetzee-Costello’s writing ethics and their rhetorical strategy through Adorno’s commitment to the formative nature of writing. Moreover, Coetzee’s critique of any kind of essentialism and attempt at illuminating different kinds of values, more immanent to the objects, are well demonstrated in Costello’s effort to embrace the (im)possibility of hearing the voices of the others. This paper, focusing on the commonality between Adorno and Coetzee-Costello writer, argues that their bleak and indifferent narrative style—that often uses the inter-contradictions to criticize the work itself—reveals the very limit of representation and proceeds toward the recognition of unknowability of others.

Shakespeare has not been a popular subject of adaptations in film history. But in the 1990s, Shakespeare boom started in Hollywood. Hollywood succeeded in popularizing Shakespeare by taking various commercial strategies to maximize the product value of Shakespeare films. The problem is that Hollywood can dismantle and undermine Shakespeare’s unique literary and originality by transforming Shakespeare into American culture. Shakespeare films of the 1990s contain American capitalism, commercialism, heroism, and ruling ideology. In particular, Zepirelli’s Hamlet(1990) leads Hollywood’s Shakespeare strategy in the 1990s and represents the phenomenon of Americanization. Zepirelli attempted a popularization strategy by casting Mel Gibson, an American action hero at the time. In the film, Hamlet played by Gibson recreates a very masculine, hot-tempered, even violent American hero, unlike Hamlet, the contemplative and melancholy character, in the original play. Zepirelli proves that Hollywood treats British Shakespeare as if it were its own culture by creating a new kind of Hamlet. Therefore, in the educational field, instructors should pay special attention to making students aware of the problems of Americanization in Shakespeare films and the differences between original plays and adaptations.

This essay aims at probing into the dark truths and the issues in Albert Einstein’s life in Mark St. Germain’s relativity. The playwright dramatizes Einstein’s lesser-known public and private life. In the process, he does not force his viewpoint but induces readers/audiences to reevaluate his life as a whole. Einstein’s dark truth in his public life is that he made a crucial mistake of signing a letter to Franklin D. Roosevelt to develop an atomic bomb prior to Nazi Germany. Einstein’s private life discloses the dark truths in his relationships to his first wife, Mileva Einstein, and their two sons, Hans Albert Einstein and Eduard Einstein. The dark truths revealed in his private life can be summarized as his disloyalty to Mileva, his inappropriate advice or warning regarding Eduard’s career and his campus dating as well as Hans’ career and his marriage. Besides, the play dramatizes the issues on Einstein’s view of religion, Mileva’s contribution to Einstein’s scientific research, Lieserl Einstein’s whereabouts, and the controversy on Greatness vs Goodness between Einstein and Margaret Harding/Lieserl Einstein in the play. Therefore, Mark St. Germain’s relativity is adequate to get critical attention in that the play induces readers/audiences to reevaluate Einstein’s public and private life without imposing his viewpoint on them.

In the studies of event telicity, it is well known that a property of an object such as quantity is associated with a telic interpretation of an event. In English, for example, an object with quantity like ‘four apples’ can contribute to event composition so that an event with such an object can be telic. However, there are some data from other languages that indicate that elements other than a quantity object can contribute to event composition. For example, in Slavic, a preverb that appears as a prefix on a verb is associated with a telic event. This paper discusses several languages that indicate telic events by means of linguistic elements different from English, namely Slavic, Korean, and Mandarin. In these languages, the role of a quantity object is found to be very minor in indicating a telic event, compared to English. In some cases, an event with a quantity object does not show an absolute telic interpretation. In others, the presence of a verbal morpheme such as a preverb or an auxiliary verb can indicate a telic event, even without an object. This paper also discusses how the different means discussed in this paper can mark the same semantic property of an event, telic. It is suggested that like a quantity object in English these different means mark a predicate with the feature [quantity].

Transitive and unergative resultative predicates in Korean are nonfinite CP structures which might contain a null little pro, whereas the resultative phrases in unaccusative resultatives are adverbs. They all adjoined to VP. The subject of an infinitive in English cannot usually be an overt NP, so PRO has often been taken to be in complementary distribution with overt pronouns. The most relevant kind of example of a deficient/weak pronoun for the null subject of the transitive/unergative resultative in Korean is a little pro. Notice that pro can be replaced as an overt inalienable possession, which means that the latter is a deficient constituent. The weaker the pronoun is, the more likely it is to be null. In this vein, the deficient/weak pronoun must be picked over strong pronouns such as the overt pronoun when there is a choice between the two (Satık 2022b). This is captured via Cardinaletti and Starke’s(1999) economy constraint to minimize syntactic structure. The transitive verbs such as twutulita ‘hammer’ and talita ‘iron’ do not imply any change of state or any result. Nevertheless the sentences certainly imply some result when napcakhakey ‘flat’ and ppasppashakey ‘stiff’ appear as their respective transitive predicate. To reiterate, such resultatives are path and telicity related constructions with pro.

Although much research has problematised the monolingual mindsets of English language teachers, relatively little research has explored how they can agentively negotiate internalised language ideologies. Drawing on works on language ideologies, this study examines Chinese pre-service English language teachers’ adherence or resistance to dominant language ideologies regarding three contentious linguistic concepts: ‘native English speakers’, ‘Standard English’, and ‘China English’. Using qualitative content analysis, the study compares dominant language ideologies that emerged from a set of written narratives about the three concepts completed at the beginning and end of a sociolinguistic course introducing counter-narratives. The findings reveal that participants neither blindly perpetuate monolingual ideologies, nor did they uncritically adopt the course messages. Instead, they were sharply aware of the affordances or constraints that adoption of a particular language ideology can offer them, and they strategically moved back and forth from monolingual to pluralistic ideologies based on the multiple layers of contexts they were embedded in. This study provides insight to teacher educators who are interested in challenging internalised language ideologies of pre-service language teachers in contexts where monolingual ideologies prevail.