This paper argues that The Woman in White is a forerunner of the detective fiction in Britain. The Woman in White shares the same formulas with the British detective novels: the British home and family are threatened by the foreign criminals; the detective solves the mysteries surrounding the crime; and the safety of the nation and family is reassured. This paper aims to examine the possibility of gender disruption in The Woman in White focusing on the representation of a female detective. In The Woman in White, Marian investigates crimes to defend Laura, the victim, and to restore Laura`s inheritance and identity. Since a detective`s attributes are such masculine qualities as independence, assertiveness, decisiveness, bravery, the representation of Marian as a woman engaging in detection can subvert the hierarchical positioning of male and female. The subversive possibility inherent in Marian is, however, contained by representing her as extremely unfeminine and excluding her as anomaly. Her threatening potentiality as a female detective is removed by confining her within the conventional feminine roles and domains. While Walter, the male detective, investigates crimes outside, Marian stays at home to care for Laura. Thus The Woman in White strengthens and reassures the dominant gender ideology.

Jack Clayton`s 1974 film adaptation of F. S. Fitzgerald`s The Great Gatsby faithfully preserves the main plot of its original text. At the same time, Clayton transforms the novel into a romantic melodrama in an individual dimension as well as an indictment of society which drives Gatsby into a pathetic victim. Clayton`s cinematic translation is generally recognized as a failure. There are several reasons. The first reason for it is that Clayton`s version does not convey the novel`s pivotal theme which elevates the novel to be a ``great`` classic. The theme is as follows: Gatsby`s dream of new identity, the relationship between Gatsby`s dream of Daisy and his dream of identity as well as the connection of Gatsby`s dream to American Dream. In addition, Clayton`s piece does not contain narrator Nick`s meditation about Gatsby except his intermittent voice-overs and Nick`s maturing story of realizing Gatsby`s greatness which are essential to deliver the novel`s theme. The second reason is that there is a discordance between romantic melodrama of love and death and the superficial representation of American Dream. Gatsby`s dream does not stand for American Dream and Daisy is not represented as a symbol of American Dream. In Clayton`s version, therefore, romantic melodrama does not nicely incorporate with the representation of American Dream. A small modification and transformation while sticking to the original text results in an unsatisfactory movie in the case of Clayton`s work. Despite Clayton`s film technique, visual symbolism, and many creatively invented scenes, his attempt to gain two contradictory goals proves to be a failure.

This study deals in a great measure with the re-interpretation of the modern city represented in T. S. Eliot`s poetic works. Many modernist scholars have regarded his fragmented visions of the modern city as the locus of disillusionment and despair: “Unreal City.” However, Eliot, urbanite and cosmopolitan, was attracted to the bustling metropolis and he enjoyed enthusiastically its urban culture: popular music performed in vaudeville and music halls, street slangs, melodramas, bawdy comedy, and so on. High culture and urban culture in the modern city have formed his creative mind which incorporates the chaotic, irregular and fragmentary experiences and turns them into new wholes. My goal here is to show that there are decisive links between Eliot`s poetic works and the urban culture of the twentieth-century metropolis, such as Paris and London. The modern city which provides the modern material for his modern poetry is an aesthetic space for Eliot who strives towards a synthesis within the urban chaos by means of the unified sensibility.

Edwin Arlington Robinson is well known for his style of "the old way of being new." He usually worked in the traditional poetic form, but this poetry showed a modern sense of experiences. Many of his poems are a study of the residents of Tilbury Town, an imaginary community which Robinson created based on his home town. Although he did not study Freud or Jung, his poems sometimes show his keen psychological probing that revealed the dark side of the human soul. People in Tilbury Town are wrapt in the rapid change of social and economical structures, and the ontological limit. And the town is filled with failure, alienation, solitude, deprivation, and loss. It also serves as a metaphor for dislocation and uprootedness. The residents of the town feel frustrated and out of place, but they seldom know where they have to find alternatives. Thus, they are required to make the best of bad things and also to accept what they are, although they are aware that what they might have been is the best. While a few people are able to endure themselves, others are forced to choose antisocial behaviors such as suicide or isolating themselves into themselves. And the ontological fear that all living things in the world are supposed to fade into oblivion also leads people to (metaphysical) loneliness, despair, and frustration. In Robinson`s poetry, the social aspect and the ontological aspect are combined to make Tilbury Town much gloomier.

As the two most influential contemporary wars in Korean history, the Korean War and the Vietnam War not only caused heavy results in the participating nations but also revealed the dramatic conflicts of different religions and cultures in the violent confrontation. Among many English-written narratives related with these two wars, Richard Kim`s The Martyred and Junghyo Ahn`s White Badge are the most well-known and popular novels for Korean readers, which respectively delineate the Korean War and the Vietnam War with the emphasis of tragical and heuristic aspects of ideological warfares. In general, the war fiction contains two contrasting aspects of the artistic and the moral features. While Richard Kim`s novel mainly focuses on the total realities of the war by encouraging the objective and existential viewpoints, Junghyo Ahn`s novel faithfully follows the moralistically scathing satire on the war maintaining the constant strong stance of antiwar spirit. However, both novels have a lot in common in that the protagonist`s consciousness has dramatically changed into the humane or the susceptible by valuing life and peace above all violent causes after their bitter experiences of the war. The contrastive conclusion between the minister Shin`s heroic apotheosis and the private first class Byun`s suicidal bathos only confirms how important the community listeners` careful acceptance of the war victims` post-traumatic stress disorder is in healing the deep pain. Only when community`s sharings occur like the Greco-Roman tragic narratives` condolence rituals for the war victims, the violence and conflict caused by the confrontations of different religions and cultures can be healed as the wholesome community level, not as the individuals` struggles.

In this interdisciplinary essay, I combine literary and cultural- studies approach to the relationship between road-making and copyright in the context of the new turnpikes. The enclosure of lands and the construction of turnpikes and canals not only broadened opportunities for travel and navigation but also accelerated the dissemination of commodities of all sorts. These geographical developments expanded, sometimes beyond the point of recognition, familiar notions of place that were framed by a parish or estate or even a metropolis. By poising the Foucauldian and economic views of the implications of the turnpikes, I argue that the turnpike road system made geography fragmented but it simultaneously reshaped fragmented geography into a more organized network of improved roads. Highlighting the spread of turnpikes and canals and the laws of copyright in the late eighteenth and early nineteenth century that defined how literature could be owned and exchanged, I aim to contribute to the intersection of geography and literature. In a telling phrase which chimes through “the great thoroughfare of the Brain,” Daniel Defoe establishes a sense of the place that locates authors within specific circuits of information, particularly within the turnpike road system as the medium and outcome, the precondition and embodiment, of the modern production of space. Crusoe`s voyage beyond the island of Juan Fernandez enfolds a return to the present Britain to reconfigure Defoe`s sense of the cultural geographies of intellectual property.

Doris Lessing has repeatedly written about her parents throughout her literary career, and published works about her father including “My Father”(1963) and Alfred and Emily(2008). Her father, a wounded veteran of the First World War, has been depicted as a flat character who always talks about his wooden leg and the trenches, where his comrades were all killed. Lessing confesses there is a hiatus, a lack, or a blur between her parents and herself, and she cannot understand their uncomfortable relationship. According to Judith Herman`s trauma study, the first step to help victims to overcome their trauma is to diagnose the symptoms, and, then, to lead them and their family to remember and mourn their memories. This paper uses family trauma, mainly due to her father`s lost leg, to follow Lessing`s writing through remembering and mourning the past of her father. While she describes her father`s obsessive talking about the trenches, she comes to realize that the best of her father died in the war and his spirit was crippled by it, and finally she suffers the same experience. Her father was known as a romanticist who knew how to enjoy watching the sky, the mountains and the stars, but through Lessing`s remembrance and mourning, one inconvenient fact emerges that she has the same and repeated memory about a ``tickling`` game with her father in her childhood. So, this fact disturbs Lessing`s intention to conclude the stories about her father as she mentioned that Alfred and Emily would be her last work. Even this leads to create a hiatus in the story of Alfred and Emily, where she deleted the war which was considered to destroy the life of her parents, as well as she deleted Lessing herself by marrying her parents to different people. Lessing seems to write about her father in “My Father” and Alfred Emily, but nevertheless the story is about herself as a secondary or vicarious victim in the family trauma. This is why she has been writing about her parents not only unconsciously but also consciously all her life.

How is it possible to reclaim voices silenced in official histories? How to get to be heard and known those alternate versions marginalized or erased by a single-version history, or grand narratives? Have the resisters with failed free enterprises, the natives enslaved by “civilized” Westerners, and black bodies thrown overboard from a slave ship on a high sea when typhoon coming on, ever had any chance to tell to the world their stories and their ways of seeing? Can writings or storytelling be effective strategies as “free enterprise” to make free the hidden and the oppressed? Barbadian English writer George Lamming (1927-) and Jamaican American writer Michelle Cliff (1946-) attempt to find answers to those questions through their writings: The Pleasures of Exile (1960) and Free Enterprise (1993). Lamming tries to change ways of seeing on and of both “Caliban” the colonized and “Prospero” the colonizer. He reflects his own consciousness and experience as an exile to analyze the Caribbean as well as British cultures, and carries on a dialogue with The Tempest (Prospero`s text) and The Black Jacobins (Caliban`s text) to revise all-negative image of Caliban and all-positive image of Prospero. Cliff achieves powerful subversions of official stories on “John Brown`s raid” through an imaginative life-story of “a friend of John Brown,” Mary Ellen Pleasant, while providing voices to yearnings nearly unimaginable and untold of marginalized others such as women, slaves, colored, and colonized natives. In Cliff`s narrative, not only colored women`s histories silenced by both white and colored man`s narratives have been re-lived, the processes themselves of history production and history silencing are dramatized in various episodes. The texts of Lamming and Cliff, despite their being “minority literature” within each nation`s boundary, deals with almost universal and typical experiences of colonization, slavery, and resistance of peoples in the New World, the Americas. Those “free enterprise” narratives of America (not U.S.A) require us to develop new paradigms necessary to fully understand and evaluate trans-national, post-national, and trans-boundary “minority literature” with justice.

The essay discusses the significance of domesticity in Margaret Oliphant`s posthumously published autobiography, revisiting her reviews of autobiographies published in Blackwood`s Edinburgh Magazine and drawing insights from Nancy Armstrong`s study on Victorian domesticity and female subjectivity. Oliphant`s theory and practice of autobiography is based upon the gendered distinction between the private and the public that have been culturally constructed as female and male domains respectively. Oliphant does not challenge this gendered division; instead, she challenges the hierarchical relation of the two spheres, firmly placing herself in the private and claiming the commonplace as something worth recording. Oliphant suggests that it takes a hermeneutic effort to appreciate the banal everyday life. Presenting herself as a tragic domestic heroine equipped with a hermeneutic ability, Oliphant fashions herself as an autobiographer par excellence. Particularly significant in her autobiography is the ways in which she orchestrates the genre (autobiography defined as a record of the commonplace), her subject matter (domestic details), and her autobiographical self (the deep introspective self). Situated as a mother, domestic woman, and Victorian writer, Oliphant utilizes domesticity as a valuable asset for self-invention by constructing the domestic as an archeological site that needs to be excavated and interpreted. Oliphant then becomes an interpreter and transmitter of secret meanings of domesticity, positing the ``deep self`` as a proper agency for this work and incorporating a middle-class work ethic into domesticity.

Kate Chopin`s novel, The Awakening(1899) is usually evaluated to be about the necessity of being free to choose one`s own destiny. The heroine, Edna Pontellier is admired for her courage in acting upon her artistic and sexual impulses and even in committing suicide as a free act of self-recognition and refusal to return to the bondage of her domestic life. Many critics including Sandra Gilbert attempt to prove that Edna is resurrected or reborn as she swims out into the sea. Her awakening is to the irresolvable conflict between her vision of herself as an independent woman and the social force of Creole Louisiana near the end of the nineteenth century(Dingledine 212). However, these analyses do not seem to be very likely. The emphasis of her death ignored the morality of family but implied the story of a woman`s growing awareness of her own sensuality. That is the reason why the novel is called the American Madame Bovary. This paper is an attempt to reinterpret Edna`s death focusing on the family structure and frustration of love. The novel reflects this aspect rather than a woman`s vision. Edna fell in love with Robert Lebrun even though she ought not to. She seems to have decided that she would not have anything to say to her husband. When her husband, Leonce pleased her, his absolute devotion flattered her before their marriage. Edna fancied there was a sympathy of thought and taste between them, in which she was mistaken(22). The narrative seems to describe her marriage as a mistake and her new love with Robert and her inner sexual life as a true life to wake her. After experiencing the series of events Edna did not try to convince her husband what she wanted and why it was important because even she did not understand what happened to her. She presented significant problems as self-destructive in the complex narrative. However, her awakening about her mistaken choice of marriage would have to be taken responsibility to extend the process of instant love. If she had wanted to struggle for patriarchy, she would have searched another resolution instead of death. Unlike many critics` insists, her death does not seem an act of self-knowledge or self-assertion nor a wish to protect her children(Sullivan and Smith 69). It is doubted that the result of a series of depressions becomes suicidal after Robert leaves her. In this respect, The narrative of the novel should expand Edna`s awakening to the practical act of struggle for recognition between her and her husband. Hereby, what is called as awakening should be the ethic for her own life.