• English Language & Literature Teaching
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• no.1
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• pp.1-20
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• 1995

Nowadays in Korea the subject of English education has been rising as one of the essential matters which need to be emphasized, reorganized, and thus refined. From the history of about one century to the current, English education may be compared to an adolescent who should be paid much more attention to grow as an independent adult. Although we recognize that there was much improvement in the past age of English education, a lot of assignments to solve await us. This study aims to suggest a recipe for optimal learning in English classes by linking theory with practice: First, the nation-wide academic associations of English teaching should act more energetically and cooperatively than ever. They need further specialization, dynamic participation, and systematic organization. At the same time the academic journals of their own should be publicized broadly, internationally as well as nationally. Second, there should be close contact and discussion between professors and secondary-school teachers. To achieve better learning in English classes, an effective cycle of equilibrium ought to be maintained by combining theory with practice. For example, language institute in universities/colleges can serve instructional programs such as lectures, colloquiums, and intensive courses for conversation. Third, native speakers of English should be positively utilized. Teachers had better keep close contact with native speakers as frequently as possible if they want to become fluent or at least acceptable speakers in English. Teachers may also use native speakers as aides in their classes.

• Journal of architectural history
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• v.1 no.2 s.2
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• pp.116-136
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• 1992

Architectural essence of John Ruskin's discourse can resolve itself into natural beauty, craftmanship, and truth in structure, surface, and process. His theories became disciplines of modern English school, Art and Craft and Free architecture, in aspects of organic architecture, morality, and rationality. These concepts disseminated continental Art Nouveau and also became it's basic principles. But his empirical theories hated use of machine, and should find a ideal model in medieval romanticism of Gothic. Anti-machine, as a instictive guideline of English modern architecture, couldn't cope with the industrialization of 20th century, and Gothic revival interfered with creating a new style. Muthesius' discourses were taught by the power of group movements and modern concept of form in English school, originally by Ruskin. But he accepted the potentiality of machine and mass production, and stressed creating the new German style suitable with machine. With the progress of Deutscher Werkbund, his theories were advanced to 'quality' connected with craftmanship, to discourse on mechanical 'form', and lastly to 'standardization and type' for mass production. Mechanical functionalism of Muthesius and DWB were sophiscated and handed down to Bauhaus, and then finally helped establishment of the Modern Architecture and Internationalism. Both English and German modern architecture owed their contribution as well as limitation to Ruskin and Muthesius as theorists. Through this comparative study, we can see the priority of theory to practice, the theoretical justification based on insight for its society and future, and the practical character of theory itself.

• (The)Study of the Eastern Classic
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• no.59
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• pp.233-261
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• 2015

This paper describes the system and check the characteristics of Korean classic literature in English. Examine the name of the classic novel, classification. More specifically would described the Purpose of writing of Korean classic novel(soseolsa). Name of the classic novel, How classic novel genre classification, Classic novels are classified into several types, Are some types of literature are applicable, How to determine the type of name, how did the name written work, a description of the work is to encompass any attitude looks. This paper is significant to the Korea Arts and Technology of Korea as an classic novel in English.

• Korean Journal of English Language and Linguistics
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• v.1 no.4
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• pp.509-536
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• 2001

The traditional typology of English poetic meters makes a binary division between strong-stress (or accentual) meters and accentual-syllabic (or syllable-stress or syllable-accent) meters. According to this typology, Old and Middle English alliterative poetry was composed in strong-stress meter; the iambic pentameter from Chaucer to Yeats and on to the present has been an accentual-syllabic meter. Intersecting with this literary typology is a linguistic typology that classifies languages of the world as stress-timed or syllable-timed or some mix of the two. English is a clear example of a stress-timed language. Whereas most descriptions of strong-stress meter focus on the counting of stresses, the present study focuses on the patterns of unstressed syllables between the stresses (possibly at isochronous intervals). The implications of this analysis suggest a new typology in which certain forms of English verse follow strict grammatical stress (mainly Old and Middle English, but for reasons different from “strong-stress” expectations) and other forms are shaped by a compromise of grammatical stress and the metrical template. Within this later group, iambic pentameter contrasts with trochaic, anapestic, and dipodic meters in lending itself more readily to modulation. Some of this modulation comes from an easy incorporation into iambic pentameter of elements associated with Old and Middle English meters.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1091-1103
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• 2010

Absalom, Absalom! is not only about family history but also about the nature of reconstructing history. Faulkner shows us what will happen if we give too much credit to the person having the authority; he first makes us listen to Rosa, so we just listen without doubt until we arrive at the question of the objectivity of her narration, when we get to know Sutpen's design. Meanings of "facts" change depending on who perceives the facts. The incremental repetition of the narrative in the novel resembles the process of our thinking mind and the process of history being constructed. Time is a significant element in determining the meaning of an event, not only because the event cannot be understood without its social, cultural context of the contemporary, but also because only the later events make it possible for the perceiver to categorize it in its proper place in history. Furthermore, through his narrative strategy, Faulkner suggests that imagination play a large part in recreating history. He blurs the distinction between facts and imagination, making us regard Shreve's and Quentin's conjectures as facts in several ways. The conversation between father and son, and the two brothers, which is an imagination constructed through the clues Mr Compson has offered, becomes a fact willingly accepted by the readers as well as Shreve and Quentin. The people in the past, present, and future may be very much unlikely to agree on the same event, because the gap in temporality will keep widening our perceptions. Faulkner demonstrates the nature of history in such a way that we can compare our understanding of the Sutpens' history in the earlier and later part of the novel through repetitions.

• Journal of English Language & Literature
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• v.54 no.1
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• pp.129-147
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• 2008

Since the beginning of her dramatic career, Suzan-Lori Parks has considered digging up and restoring African-American history buried under the dominant white Anglo-Saxon history as her mission as a playwright. In Red Letter Plays, she attempts what Deborah Geis called "canon-critique" by taking canonical work by Nathaniel Hawthorne and casting an African-American character as the main character and describing her oppression as an African-American female. This paper argues that Suzan-Lori Parks accuses the oppressive social system by restoring and representing the history of sexual, economic, and racial exploitation that African-American females had to suffer through the dominant image of body and blood. Parks had to rewrite the history of black female characters on their bodies and in the blood because their bodies have been the ultimate object of revulsion and attraction in the perspective of white male. While abhorring and despising Hester La Negrita's abject body, male characters in In the Blood nonetheless not only exploit her sexually and economically but also impregnate her. Hester resorts to her only means of revolting against this oppressive system; she kills her most beloved son and writes "A" on the floor with his blood. Likewise, Hester Smith in Fucking A, who wears "A" on her bosom like Hester Prynne, which in this case means "abortionist," "saves" her son from the hunters by slitting his throat. Abundant graphic and sensational images written on black female body and in the blood are Parks's dramatic strategy to rewrite the forgotten and hidden history of black women's history.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.23 no.4
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• pp.479-496
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• 2012

English is an important tool of information literacy in terms of global information sharing environment. This impacts readers advisory services of public libraries in many ways. In order to identify status of English reading programs in public libraries, this paper investigated 50 public librarries' services for non-English speakers in California, which has long history serving readers advisory services to them. As a result, it is suggested that public libraries have to play a key role to help adult users to be competent in English with English reading programs. Public libraries also need to support families to build English reading environment at home to expand reading activities in libraries. In addition, reading habit in mother tongue is also important for English reading ability, so public libraries consider to build a bridge between them to provide effective English reading programs.

• Journal of English Language & Literature
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• v.58 no.5
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• pp.809-837
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• 2012

Philip Roth rejects the narrative unity and singularity of the traditional novel and creates instead a multi-levelled, fragmentary, and repetitive narrative. It is not easy to distinguish fact from fiction in The Plot Against America. As an entertaining and creative work of the postmodern historiographic metafiction, Philip Roth's The Plot Against America interrogates the existence of historically verifiable facts, the validity of authentic and official version of history, and reexamines the narrative conventions of history writing. The aim of this paper is to examine Roth's narrative experiment or 'thought experiment' and to explore the intention of creating alternative history in The Plot Against America. Roth does a 'thought experiment' in The Plot Against America. In this cautionary "what if" political fable, Roth hypothesizes that in 1940 aviation hero Charles Lindbergh, an ardent isolationist who was sympathetic to Hiltler, won the presidency. Jewish communities are stunned and terrified as America flirts with fascism and anti-semitism. Reimagining his children-with considerable fact mixed in with the fiction-Roth narrates an alternative history that has an unsettling plausibility. Roth has constructed a brilliantly telling and disturbing historical prism by which to refract the American psyche as it pertain to the discord of individual, race, history in The Plot Against America. Roth analyzes the life of individual in a historic space, the situation of anti-semitism in world of invisible order, racial conflict between black and white in world of visible order, and the darkest side of national power in this work. Roth's stories argue for the equality of various cultures grounded on the common notion of humanity, for an ethic of mutual respect, and for the peaceful resolution of conflicts.

• English & American cultural studies
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• v.9 no.1
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• pp.323-348
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• 2009

Kazuo Ishiguro's fifth novel When We Were Orphans (2000) tells the story of Christopher Banks, a private detective, who embarks on the ultimate case of his career, the puzzle of his own life. The novel consists of two overall parts, one taking place in London, the other in Shanghai-a division which reveals one of the novel's major themes, the relation between home and abroad. Set in the 1930s, Ishiguro's novel on the one hand contains all the classic ingredients of the so called golden age detective genre-an archetypal English private detective, equipped with fierce deductive skills and a magnifying glass, as well as suspects, criminals, and victims-and yet on the other hand it also deviates in significant ways. In this article, I will attempt to make some links between When We Were Orphans and the genre paradigm of the golden age detective story, arguing that Ishiguro's novel offers an exploration of the genre's ideological connections to a larger historical discourse of imperial nostalgia and decline.

• Journal of English Language & Literature
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• v.60 no.2
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• pp.339-363
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• 2014

This essay reconsiders the subject of Romantic self-consciousness in a post-de Manian perspective. Self-consciousness is an attribute of Romantic lyricism whereby the poetic speaker I remains conscious of how (s)he feels or lives here and now. This self-reflective feature of Romantic poetry has been controversially interpreted either as self-centered solipsism or as self-expressive objectivism. The question is stirring more disputes among Romantic critics after the advent of New Historicism and Feminism. These two historicistic approaches reprove Romantic poetry for a lack of the sense of history and ascribes it to Romantic self-consciousness. They argue that Romantic poets in general displace historical materiality into an object of internal consciousness, so negating absurd social realities "merely to gain their own immortal soul." This essay targets to overcome this negative stance on Romantic self-consciousness with a "subversive" return to Paul de Man's criticism of Romantic internality.