Sam Shepard`s Buried Child is considered his best drama. Even though the setting of it appears very realistic, it still contains many elements of absurd drama. The message is not so concrete because the motivation of characters` action can not be verified and sometimes the dialogues which characters speak are contradictory. Therefore, it is not so easy for the readers to understand the meaning of the drama. Some critics argue that there does not exist any hope in the drama, but others comment that they can find some optimism in the drama. In this thesis, the vision of salvation is investigated in Buried Child The atmosphere of this drama seems to be hopeless but if we analyze the drama in a comprehensive way by unifying images, characters, dialogues, metaphors etc., we can recognize the vision of salvation out of the past curse suggested in the drama. The cause of curse on the Dodges is incest between Halie, Dodge`s wife and Tilden, his eldest son. As soon as the child was born, Dodge drowned it and then buried it on his farm. Because of the curse, the relations among the family collapsed. Husband and wife can not communicate each other. We can expect nothing from the three sons. However, Vince, Dodge`s grandson is a young man who has the positive values of cowboys and can inherit the tradition of the family from Dodge. Also, the plants such as corn and carrots which Tilden brings from the back yard can considered as the symbol of rebirth. The plants mean new life out of the sterile farm. The characters confess and admit their sin and forgiveness and expiation are possible. The last scene presents the striking visual image of the rite of confession. Buried Child can be a metaphor of American society. In conclusion, Shepard suggests that American society still has a vision of salvation to escape from the present situation through candid acceptance and confession of their past sins.

Nathaniel Hawthorne penetrates into the essential truths of the human heart in "Young Goodman Brown", one of his most profound tales. The central theme of the story is the problem of moral growth which Young Goodman Brown can not accomplish through the fallacy of insight. In the story one of the basic causes producing a bad effect on Brown`s morality seems to be the fallacy of insight into the disjunction between reality and appearance. The fallacy inevitably brings about moral weakness that leads to the failure of moral growth. Brown`s failure of moral growth makes his dying hour gloom. This study is to examine the insuperable moral weakness of human being which in the story consists of two main factors. This tale suggests the two factors that may make life gloom can be doubt and arrogance. The acceptance of evil as the final truth about man has turned Brown into a darkly meditative, distrustful human being. Unable to deal with his own frailty, Brown sees and hates it everyone else. Arrogance arise for want of compassion on human frailty and it is detrimental to solidarity. Arrogance, one of the main factors leading life to darkness and failure, may be the moral weakness that author intends to indict through the tale. This arrogance can be considered in connection with the Unpardonable Sin which might consist in a want of love and reverence for the human soul. In conclusion, the truth that the tale pursues seems to be humanity.

Shelley presents the ecological topography of mind in his "Mont Blanc." He understands human mind from a perspective of holism. For the poet, human consciousness cannot be identified without the existence of nature, and the Power of Mont Blanc cannot be identified without the existence of a perceiving mind. Shelley`s consciousness continuously designates the Power of the nonhuman natural world as the figure of "other," which directs and redirects the poet toward nature. This interdependent relationship between Shelley`s consciousness and Mont Blanc reveals that human mind pursues an essentially open-minded attitude toward "other." I suggest that this attitude arises from the mind of love and evaluate Shelley`s consciousness as one toward love. Shelley employs some ecological perspectives to describe the mind of love. The poet calls Mont Blanc "you" and thereby holds his interanimating relationship with it. For him, the natural world is not an instrument for human beings but a partner communicating with them; the natural entity is seen from the web of relations. Shelley denies the Enlightenment dualism by criticizing the man-made world which denigrates the power of nature. More importantly, the poet emphasizes the recognition that every individual, whether it is human or natural, undergoes the process of cycling and recycling. This process implies that mutability is the principle of the universe in which energy flows.

The goal of this study is to investigate the roles and effects of extracurricular activities in the short-term immersion English program for Korean students. This study explains the roles and effects of extracurricular activities and makes some suggestions to improve the extracurricular activities and special events in the five-week immersion English program implemented by KAIST in summer 2001. The immersion English program is designed to develop the students` communicative competence in speaking English with native speakers at the age of globalization, by providing students with the English-speaking immersion setting. The results of the students` survey concerning the extracurricular activities reveal that extracurricular activities including special events are very significant in improving students` communicative competence by performing the student-centered and task-based activities and in attaining the high motivation for the natural English communication by providing students with the interest, comfort and confidence in speaking English. Hence the extracurricular activities and special events have the effects on the students` creative, interactive, and positive attitudes in enforcing and improving the learning of communicative English.

The purpose of this paper is to fill the gap of no discussion about alternatives to the raising analysis of modal auxiliaries like must, may, ... etc. When we analyse the behaviors of modal auxiliaries, we have used a traditional method of the raising analysis of modals. But we did so without explicit motivation and discussion of alternatives. We need some discussion of alternatives. During the discussion, we compare the empirical predictions of the raising analysis (type) with the predictions of several different kinds of non-raising analyses. We find that the behavior of the modal auxiliaries is indeed accounted for more successfully by the raising analysis than by any of those alternatives. In addition, we have seen that there is a way to account for both de re and de dicto readings within an analysis of modals that does not involve raising of the subject from an underlying position below the modal nor any covert lowering-operation like reconstruction, but treats the subject as a genuine argument of the modal. The price we had to pay was a rather complicated lexical type for the modal, and some type-shifting operation affecting either the modal or the DP.

This paper aims to present the syntactic derivation of middle constructions in particular and other similar constructions in general showing verbal transitivity in the minimalist framework. We assume that the characteristic of implicit argument in passives, middles, and ergatives is different. We also follow Case-agreement system in Chomsky (1998, 1999): Case is valued (and deleted) under the matching of φ-features. Under this assumption, middle constructions could be formulated within the minimalist framework. The external argument in a middle is not projected in the syntax because it is absorbed in the abstract middle feature. Meanwhile, since the incomplete functional head v cannot assign the Accusative Case, the object is valued and deleted by another functional head T triggering object NP/DP-movement. If we follow this line of reasoning, passive constructions and ergative constructions can also be naturally accounted for in the minimalist framework.

The purpose of this paper is to examine how the aspects of dramatic irony are figured in Doctor Faustus, and to illuminate how its tragic effects mirror Marlowe`s view of morality and religion. Faustus has, often, been acceptedd as the tragic hero who attempts to go beyond human limitation in quest of knowledge, or who reveals the Renaissance struggle for human freedom. The two perspectives may, in a way, mirror Marlowe`s personal views for/against Christian metaphysics and ethics. The ironies are dramatically structured in two patterns of action; the repetitive pattern of moral choice, and the pattern of contrast.^13 Of course, the aspects of repetitive contrast are the following: sin/salvation, God/not-God, heaven/hell, worldly pleasure/heavenly bliss, hope/despair etc. Faustus as a "miserable man" is locked in a death alienated from God he can neither reject nor love God. Though Faustus fails to become the demi-god which he aspires to be, trapped by his errors, his weaknesses and his illusions of ambition, he is worthy of interest as a character. There is no doubt in that his mistakes are ironically the mirrors of his humanity. Faustus, as a result, may be `a scapegoat` sacrificed for the powerful commitment of contemporary morality and religion by Marlowe`s puritan imagination, which is evidently presented in the closing statement of Epilogue of Doctor Faustus: "Faustus is gone: regard his hellish fall,/ Whose fiendful fortune may exhort the wise".

문학작품은 과학지상주의 관점에서 보면 일종의 가짜서류 (false document)라고 할 수 있으나, 실상은 다른 어떤 장르의 글보다도 보다 더 타당하고, 실제적이고, 진실한 서사라고 E. L. Doctorow는 주장하였다. Hayden White는 과학적인 방법으로 쓰여졌다고 주장하는 역사적 사실에 대한 모든 글들은 문학적 형식과 형태로부터 자유로울 수 없는 상상적 담론이며 상상적 서사 (imaginary discourse and narrative) 라고 하였다. 문학적인 담론과 과학적인 혹은 철학적 담론사이의 구분을 거부하는 포스트모던 입장을 대변하는 이들 두 사람의 주장은 D. M. Thomas의 The White Hotel가 보여주는 창조적이고 비평적인 문학적 힘을 통하여 효과적으로 입증될 수 있다. Thomas는 Freud의 정신치료사례 집 (case histories)과 이론을 재구성하여 이 소설을 집필하였다. Freud는 소설 속의 작중인물로서 환자를 치료하는 정신과 의사로 등장한다. 문학적 창조력과 상상력으로 만들어진 The White Hotel은 일종의 가짜 정신치료서류로 만들어진 상상적 서사 (imaginary narrative)라고 할 수 있지만 이 소설의 내용이 담고있는 문학적 상상력의 힘은 Freud와 Lacan의 정신분석학이 지닌 모순과 한계를 드러나게 하고, 그들의 과학적 담론이 내포한 인간정신에 대한 몰이해를 통찰력 있는 직관을 통하여 과감하게 비판한다. 모든 것을 성적억압과 어린시절의 정신적 충격을 바탕으로 하여 해석하려 하는 Freud와, 인간의 마음이 상상계나 상징계의 영역에 작용하는 언어적 효과에 의해 결정된다는 Lacan의 정신분석이론을 Thomas는 The White Hotel을 통하여 비판하고 있다. Thomas는 인생의 신비로움, 난해함, 복잡함, 그리고 소용돌이치는 역사적 현실들은 인간의 마음과 정신을 결정하고 형성하는 핵이라고 주장한다. The White Hotel이 보여주는 문학적 상상력, 통찰력, 직관적인 힘은 정신분석의 과학적이론보다 더 심원하고 포괄적으로 인생과 인간 마음에 대한 진실과 진리를 보여준다고 할 수 있다. 이것이 바로 상상적 서사 (문학작품)가 지닌 창조적이고 비평적인 힘이다.