• Journal of English Language & Literature
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• v.64 no.4
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• pp.565-584
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• 2018

The pedagogical dynamic dramatized in Shaw's Pygmalion, which sets man as a distinct pedagogical authority and woman his subject spawning similarly patterned plays many decades later, has been relatively overlooked in the play's criticism clouded by its predominantly mythical theme. Shaw stages Eliza's pedagogical subordination to Higgins followed by her Nora-esque exit with the declaration, "I'll go and be a teacher." The central premise of this article is that the pioneering modern playwright and feminist's pedagogical rewriting of A Doll's House sets out a historical dialogue between Eliza, a new woman who repositions herself as a teacher renouncing her earlier subordinate pedagogical position that is culturally ascribed to women while threatening to replace her paternal teacher, and her immediate precursors, that is, Victorian women teachers whose professional career was socially "anathematized." Through a historical probe into the social status of Victorian women teachers, the article attempts to align their abortive career with Eliza's new womanly re-appropriation of the profession of teaching. With Pygmalion as the starting point of its query, this article conducts a historical survey on the literary representation of pedagogical women from the mid to late Victorian era to the turn of the century. Reading a wide selection of novels and plays alongside of Pygmalion (1912), such as Jane Eyre (1847), A Doll's House (1879), An Enemy of the People (1882), The Odd Women (1893), and The Importance of Being Earnest (1895), it contextualizes Eliza's resolution to be a teacher within the history of female pedagogy. This historical contextualization of the career choice of one of the earliest new women characters in modern drama helps appraise the historical significance of such choice.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1339-1360
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• 2010

An analogical reading of socio-historical context of Harold Pinter's The Caretaker employs some postcolonial discursive analyses of postimperial British capitalistic interests in their post war reconstruction. It is also concerned with causes of so-called broken society. The Caretaker dramatizes minimal actions: a tramp is invited by the elder brother; a job as caretaker is offered; he is reluctant to accept the first offer by the elder brother, but is willing to the second by the younger; eventually, he is excluded because he makes noises while dreaming. These trivial actions produce serious and critical speech acts with their socio-historical implications. The tramp Davies is socially and thereby existentially excluded from the centre of the cold, banished to even colder peripheries. The audience face to the question. Why is Davies excluded? This study tries to answer the question, uncovering deep-rooted capitalistic racism, and reading its symptoms. Even after 50 years The Caretaker was staged, post-imperial broken society tries to operate the betrayals of disparity between the cause and effect of what has gone wrong. Pinter confirms that the action of the play takes place in a house in west London. With the city of London as its capitalistic centre, British imperialism lavished much of its wealth which has only served sectional interests dividing people against themselves. Pinter dramatizes the root of broken society. On the one hand, Pinter foregrounds the very general conflicts between individuals and forms of power; on the other hand, he underlies the very specific strategies of socio-historical exploitation, domination and exclusion.

• Journal of English Language & Literature
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• v.58 no.5
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• pp.881-901
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• 2012

Since 2006, heated debates have taken place on both sides of the Pacific over the historical accuracy of Yoko Kawashima Watkins's So Far from the Bamboo Grove, the "historical novel" that depicts the author's painful escape from the just-liberated Korean peninsula to Japan. This study re-visits the controversies that fired up not only the whole Korean society but also not a few Americans and the American press. However, unlike most previous Korean studies on this novel, this study mostly focuses on both the responses of Korean feminists and those of Americans and the American press to the issue. This paper argues that the Korean feminists, who criticized their male compatriots for their feverish reaction, have the same problem as their compatriots, that is, the problem of seeing through a binary perspective that drowns or blurs individual differences. A similar framework is found operating in the Boston Globe's articles on the same issue. This study proceeds to discuss the pitfalls of liberalism underlying the American parents' and the American civil organizations' defence of Watkins and analyzes their poor historical awareness. The conclusion of this study is that So Far from the Bamboo Grove, dictated by an ideological prolepsis, erroneously inscribes the Cold War in the geographical space of the pre-Cold-War Korean peninsula and, as a result, symptomatically participates in the United States' anti-Communist world view.

• English Language & Literature Teaching
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• no.6
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• pp.75-88
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• 2000

There are many reasons why foreigners have difficulties learning English. In addition to the difference between English and the learner's grammar, the large number of irregularities found in English become another obstacle to learning English. Understanding the difference and the irregularities will help us not only have a good command of English but also teach English more effectively. Many irregular or alternating patterns, or even anomalies in Modern English are the results of historical changes. In this paper, I would like to focus on some of the irregular or alternating patterns found in different components of the grammar of English and to show how they can be accounted for historically. Through this study, I would like to show that the irregular patterns and anomalies in English were once regular and systematic, they have deviated from the regular patterns of the grammar as time has gone by, and they have survived in Modern English as irregular and alternating patterns. Many of the irregular or alternating patterns can be traced back by phonological, morphological and/or semantic changes in the history of English. Finally, by looking at language history, we can hold a more tolerant view on many anomalies present in English.

• Korean Institute of Interior Design Journal
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• no.11
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• pp.26-30
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• 1997

By personally visiting a location, we have a much more complete and accurate feel and understanding of the interior design, then we can receive from pictures or descriptions. Because of this, in researching the history of interior design, it is impossible to experience the space in the design by not viewing it in persov. Instead, we must experience it indrectly through the use of descriptive language. Therefore it is important to deliver our meaning of the space in the interior design through clear and specific modern language rather than using classic language, which could be more confusing. In this study, the 7 most basic items of invariability among Bruno Zevi's modern language has been applied to describe the space in Wright's historical Prairie House. Thereupon, Wright's interior design concept and essential point is grasped through the analyzing of his space with modern language. Bruno Zevi's 7 items of invariability are suggested as an alternative which can deliver a clear and scientific meaning of interior desigv.

• Journal of English Language & Literature
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• v.57 no.4
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• pp.599-624
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• 2011

Cormac McCarthy's Blood Meridian (and the Border Trilogy) can be used as a touchstone with which the limit of American literature is tested. For his text is particularly significant in the sense that its language mixes English with Spanish; its characterization confronts Americans with non-Americans; and its narrative structure traverses the geographical and symbolic borderlands between America and Mexico. In this sense, his novels deserve to be reexamined under the rubric of Chicano/a Studies, Hemispheric American Studies, transnationalism, etc. Rereading McCarthy's Blood Meridian, this paper attempts to rethink its historical complexity in relation to Manifest Destiny, focusing on the border-crossing motifs of filibustering and scalp-hunting. For this purpose, I pay due and careful attention to the ways in which the ideology of Manifest Destiny was created, circulated, and manipulated among the 19th century American expansionists and border-crossing agents. Of course, my discussion does not omit the significance of the U.S.-Mexico borderlands in the contemporary Chicano/a Studies and Hemispheric American Studies. In these historical and interdisciplinary contexts, I investigate how the 19th century filibusters like Captain Smith and his followers fall prey to the imperial practice of Manifest Destiny. I would also interrogate whether and how the Glanton Gang's scalp trade is involved in the capitalist desire of Manifest Destiny.

• English Language & Literature Teaching
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• v.11 no.2
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• pp.171-194
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• 2005

The essay attempts at a critical reading of Thomas Hardy's The Mayor of Casterbridge (1886) in terms of character and socio-cultural change. Juxtaposing the story of Michael Henchard's career with the social and economic changes in the agricultural town, it attempts to elaborate on the complex ways in which Hardy relates the old modes of life and thinking to the material culture. Though the novel is centered on the story of Henchard, the Henchard-Farfrae clash represents the conflict of "old" and "new" modes of socio-economic organization and consciousness. The story of the rustic man of character struggling with his contradictory traits of strong will-power and emotional collapse suggests that Hardy's literary representation of the rural community and the rustic protagonist is deeply rooted in historical reality. However, while there is the interlocking of the changes in personal fate and social change, the representation is a "reinvented" literary construction with complex mediation. Despite the narrator's emphasis on Henchard's immutability, peculiarity, and resilience, his character is, in a complex, mediated way, shaped by the material conditions of English rural community in the late 19th century. The mediating role of Elizabeth-Jane as a narrative resolution embodies Hardy's ambivalent historical position concerning the period undergoing change and conflict.

• Cross-Cultural Studies
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• v.29
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• pp.201-232
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• 2012

In the world history in the rein of totalitarianism cultural project of government had been activated, and consequently of it official culture had been organized. But at the same time on the other side of it people('narod'), who didn't have cultural means for active expression of own opinion on the reality, had expressed world-view and judgement informally in everyday language. In the literature of autocracy, subjected to censorship, had been expressed and fixed mythically idealized image of sovereign and his works. But in the folklore the image of ruler had been created by liberal fantasy of people. This article examined russian literature and folklore texts of 18 century, when russian people suffered from rapid and dramatic changes, caused by Peter I. Although russian literature of 18 century had gone over to the new literary regime, it still accepted political mechanism as dominant of age, and consequently in the literary texts of this century Peter I was represented as ideal person and great monarch. But various images in folklore texts show that people's opinion on ruler and his activities couldn't be controlled. In other worlds, diverse images of Peter I in folklore texts reflect clear and plain historical consciousness of people. This analysis reveals not only difference between mechanism of idealization of government and historical consciousness of people, but also meaning of cultural memory as indicator of historical reality.

• Archives of design research
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• v.17 no.2
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• pp.15-22
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• 2004

Recent complex visual culture is the visual world widely magnified according to the images like image, graphics, photograph, movie, and television, etc. by the development of digital technology. Because it conveys meanings and contents inserting sound and letters, it may have multimedia character conveying and communicating information beyond general language and letters. The vision for various images at that time is inseparably connected with language. And imaginative order of image and vision are composed of special way in culture and history. Language is different in society, culture, and history. Accordingly, if visual experience is communicated with language partially, it is difficult to have university. So, role of linguistic order plays an important role in forming and defining the social and cultural differences among the visual systems. Historically various visual and optical devices with this visual language have influenced a lot. These visual technologies are concrete and physical practice determining a way to get together with the subject and the visible object in the visible world. The visual language is connected with dimension like these symbols of images and the dimension like visual technologies to series of historical physical and institutional practices. It determines social visual mode toward object world in one of visual system. Accordingly, this study is to understand visual language with social and historical character according to the changed concept and characters as development of media technology. And it is to explain it in view of visual language as a dimension of symbol and visual technology of institutional and physical practice. After all, it cannot explain the effect on the function and visual mode of visual technology as its technical element only. It also cannot separate with the practice with coherent discourse and the physical and institutional practice. The possibility, technical element of technology contains, does not realize as it is but the effect is always communicated in the social veins and realized with a restriction.

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.207-214
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• 2012

Today, museum exhibition can be divided into two sub-categories: a. informative exhibition with various useful auxiliary media to convey knowledge and b. appreciative exhibition considering aesthetic conveyance and visual/perceptual environment. In addition to this, the concept of memorial exhibition as a field that tangible and intangible memories are transmitted and reproduced is creating another genre of exhibition. As an example of such a memorial exhibition above, the work of de-constructive architect Daniel Libeskind was selected. Jewish Museum and Imperial War Museum North both of which maximized the exhibition space by grafting architectural language to exhibition narrative were analyzed and compared to see if the same architectural language can be displayed differently in another form of exhibition after being drawn into the exhibition space depending on the changes in time and perspective. Therefore, in the narrative display combining the selection of exhibition contents and storytelling, the formative language of space can confirm that exhibition narrative as an ending structure changed into a retelling story with more extended meanings through interactive factors. Eventually, in this formative narrative, when the display of historical facts and exhibition themes is combined with the architectural language in an exhibition hall according to the approach direction, the memorial exhibition can create a formative language stimulating sensibility in the memories of space and a differentiated formative exhibition space where one is truly moved by oneness of contents.