• English Language & Literature Teaching
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• v.16 no.4
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• pp.223-238
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• 2010

This article analyzes and discusses M.M. Bakhtin's dialogics with the perspectives of what it emphasizes and how it makes the Russian Formalism and the Marxist literary theory together in his dialogics. This article considers conversion in the literary texts the central idea of dialogics, and it takes place through satire and parody. As Bakhtin stresses in his works, this article also examines the novel as the dominant genre in the nineteenth and twentieth centuries. Such satire and parody shows the ambivalence of the Russian Formalism and the Marxist literary theory. Bakhtin states that novel per se is very conversing. It has turned over the position that has been occupied by epics (poetry) and play for thousands years, and taken it over in the nineteenth century. Thus, novel is a literary genre in which a variety of conversing struggles occur throughout the texts, which makes it different from epics and play. Throughout such analyses and discussions, this paper considers Bakhtin's dialogics a complex of semantic, pragmatic, and semiotic elements.

• Journal of English Language & Literature
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• v.64 no.2
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• pp.203-217
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• 2018

Both in terms of frequency and importance, sympathy is one of the most central themes that Mary Shelley's Frankenstein (1818) delves into. While not a few critics have written on the subject, one crucially important aspect has been overlooked in the previous discussions of sympathy in Frankenstein: Shelley's critical intervention in the term's long lasting association with the notion of one body from a single origin. Focusing on the novel's central theme of sympathy, my paper addresses this oversight in the existing Frankenstein scholarship. I argue that Shelley's main agenda regarding sympathy in the novel is to problematize the logic of self-reproduction implicit in the notion of sympathy as an essentially familial tie. The reading of the novel as a warning against human violation of nature has been prevalent both in academia and popular culture. Nonetheless, in terms of sympathy, this paper offers an alternative reading in which the novel questions, not valorizes, the naturalization of nature. Far from valorizing the inviolable sacredness of nature, I argue, Frankenstein is a literary project attempting to disassociate sympathy from the natural bond that one is born into, and instead, re-associate it with fellowship as a second-nature to be continuously reinvented and reeducated.

• Journal of Institute of Control, Robotics and Systems
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• v.20 no.8
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• pp.815-821
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• 2014

In this paper, we propose a novel CALL (Computer-Assisted Language Learning) system, which is called POMY (POSTECH Immersive English Study). In our system, students can study English while talking to characters in a computer-generated virtual environment. POMY also supports haptic feedback, so students can study English in a more interesting manner. Haptic feedback is provided by two platforms, a haptic chair and a force-feedback device. The haptic chair, which is equipped with an array of vibrotactile actuators, delivers directional information to the student. The force-feedback device enables the student to feel the physical properties of an object. These haptic systems help the student better understand English conversations and focus on studying. We conducted a user experiment and its results showed that our haptic-enabled English study contributes to better learning of English.

• Journal of English Language & Literature
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• v.57 no.3
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• pp.515-527
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• 2011

Miss Pettigrew Lives for a Day, Winifred Watson's novel of 1938, is a fairytale in novel form. Set in London of 1938, the story revolves around a one-day adventure of an ill-starred but truthful governess who is granted a second chance. This light-hearted comedy of manners was turned into a film by director Bharat Nalluri in 2008. An Anglo-American collaboration, co-scripted by Simon Beaufoy and David McGee, the film converts Watson's quaint novel into an edged heritage piece that encapsulates the 1930s, the problematic decade between the two World Wars. The film, while sustaining the narrative core of Watson's Cinderella story, attempts to place it firmly within a wider current of the novel's setting or London in 1938, tapping into the major concerns of the interwar years that engage with characters in one way or another. Stylistically, the film presents Art Deco as a main visual idiom to convey the prevailing mood of nihilism and decadence of the day. The setting here takes on significance in that it offers a telling counterpoint to the giddy superficial world of the novel. The 1930s was a highly charged decade under the threat of fascism and the Great Depression, fraught with economic and socio-political tensions and apprehensions. The film makes an explicit reference to the dismal context which is suppressed in the original text. The thirties is, therefore, portrayed as a decade of contradiction. It features gay buoyant festivity, rampant consumerism, and shifting morals and attitudes towards love, marriage and sexuality. Yet lurking beneath the surface glamour are the symptoms of crises and the deep-seated anxieties on the eve of World War II. In this way, Watson's novel of manners has been recreated into a defining film on the 1930s with its period feel propped by the atmospheric lighting, the exuberant Jazz score, and the splendid Art Deco costume and production design.

• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.228-234
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• 2018

The aim of this study was to analyze the empathy represented in the learners' group journal of integrated English class using literature. 15 high school students participated in this class. In this study, integrated English class using literature was carried out by supplementing the point that amount of the English classes using literature had been focused on reading activities. In addition, not only communicative abilities but also learners' empathy to the main character in the literary was taught. In order to analyze the empathy expressed in learners' group journal, the integrated English class using literature was conducted in the second period and the class was recorded by video. The empathy was based on the community competence mentioned in the 2015 revised curriculum, and learners were asked to write the group journal. As a result of the research, the learners showed an understanding of the context in the novel and learners' group journal showed that their empathy to the main character in the novel. It is expected that the data on the empathy represented in the learner group journal of the integrated English class using literature will be used in English class.

• English Language & Literature Teaching
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• v.15 no.4
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• pp.331-344
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• 2009

The purpose of this study is to explore sorts and roles of Afro-American music genres such as jazz, blues, gospel, and swing which were shown in post-structural Afro-American literary works: Toni Morrison's novel Jazz, Alice Walker's novel The Color Purple, and August Wilson's play The Piano Lesson. It has been phenomenal for several important Afro-American writers to create their works in which they invite traditional Afro-American music genres. This has made significant effects to depict a wide range of episodes in their works, which are historically and culturally associated with such music genres. This paper analyzes varied ways in which the writers combine these two artistic fields, which are all Afro-American, and express their authenticity and identity as being blackness.

• English Language & Literature Teaching
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• v.9 no.1
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• pp.189-203
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• 2003

This paper attempts to prove Dickens's hopeful view of the future in his last completed novel Our Mutual Friend. This novel has been usually regarded as one of the "dark" novels, "dark" in the sense of viewing social reality and the future negatively. However, although it has the dark descriptive color of society typical in Dickens's later novels, it still contains some elements that point to a better future. To prove this positive view of future, this paper will disentangle the intricate narrative structure of Our Mutual Friend and find out the true meaning of the dust--money. In addition, it will investigate how people react to dust(-like money). From a close study of several characters' lives, it will testify that the dark world of Our Mutual Friend, in the end, could be a world of regeneration, a world that will lead to a better future.

• Journal of English Language & Literature
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• v.64 no.4
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• pp.531-550
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• 2018

This paper contemplates egalitarian ethics and ecumenical consumerism suggesting expansive possibilities of Northern Ireland's sectarian limits towards unlimited spatialities in Robert McLiam Wilson's Belfast novel, Eureka Street. This paper argues that Northern Ireland's (Belfast's) (post)modernity and a social ethics promoting outwardly mediated relationships are a vision for nonidentity Eureka Street espouses against the identity politics of Protestant-Catholic schism. Eureka Street remarkably challenges Northern Irish sectarian politics propelling inwardly unmediated relationships by ethical possibilities of infinitively mediated relationships. In the argument for a postmodern view of the novel, commodity fetishism and consumerism are considered as key to a prospect of emancipation of Northern Ireland from the political fetters of total identity the partisan communities impose on themselves. This paper also demonstrates that a post-national cosmopolitanism Eureka Street envisages embraces a new social solidarity predicated upon socio-political pluralisms against Northern Irish sectarian identities.

• Journal of English Language & Literature
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• v.64 no.4
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• pp.551-564
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• 2018

Laodiceanism is the blueprint from which Hardy draws one of his most ingenuous effects: the creating of a Laodicean around which the novel constructs its ambiguity. Hardy's command of "ingenuity" joins both the leading heroine Paula and the minor character Dare into the same category of a Laodicean. Alongside Paula, Dare is the most important ingredient in the novel in that he acts as an enigmatic persona defying the reader's attempts to establish a coherent type. This paper aims to offer a close reading of Dare's life story, which is chosen for discussion as he has been deemed as a simple functionary and thus apparently escaped serious critical notice thus far. It is stressed that the structure of sensations Dare embodies is fascinating in the sense that it is a locus where the coexistence of both meaning and nonmeaning would not amount to harmonious peace or stability so much as permits the impossibility of single and central significance. In this coexistence is inscribed a notion that the binaries in opposition are endlessly inter-mingled in dialogic tension, which is the hallmark of Laodiceanism that Hardy aims to present through the creation of Dare.

• Journal of English Language & Literature
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• v.57 no.6
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• pp.1199-1212
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• 2011

This paper is to scrutinize Jean Rhys' Wide Sargasso Sea through a Marxist criticism. While critics were industriously excavating discourses of feminism, post-colonialism, and racism in the novel, they tended to regard the Marxist attribute as supplementary material and to diminish the significance not considering as an independent subject to be examined. However, the novel, in which all the major relationships are based on capital, exemplifies class conflict between the bourgeois and the proletariat. Marx and Engels believe that the foundation of our society is capital and that society evolves through class conflict to obtain more capital, and thus they assert people's relations are the product of the commodification of individuals. Furthering their study, Louis Althusser specifies the power system through the (repressive) state apparatus and the ideological state apparatus. With the theories of the thinkers' above, this paper analyzes the relationship between Annette and Mason, Antoinette and her nameless husband, allegedly Rochester, Rochester and Amelie, and Rochester and Daniel Cosway. This paper offers an alternative reading of a classical feminist and post-colonial text.