韓·英語의 體系와 思考論理의 比較 : 韓國의 精神文化定立을 위한 言語와 思考의 相關關係硏究 For the Re-establishment of Spiritual Culture in Korea

韓永熙 檀國大學校英美文化硏究所 1981 英美文化 Vol.1 No.-

Benjamin J. Whorf's hypothesis that a language is closely related to thinking and culture of its speakers and that the former influences on the latter, has been refuted by sociolinguists who subscribe to transformational-generative linguistics, as too strong and unprovable. Experiments in the past to prove the validily of the Whorf's hypothesis have been conducted mainly with vocabulary words such as color terms and their perception, kindship terms and their relationship, etc., and seemed to have confirmed the hypothsis. However, the results of these experiments are refuted: what the experimenters termed and used as syntactic categories are interpreted as semantic ones, and therefore their findings are regarded as irelevant to the hypothesis. Besides, sociolingusits claim that it is first of all too coarse to compare a complex language that has various aspects in its system and use, with the mode of thinking of its speakers. The present paper has taken up the word order of Korean and compared it with the ways of thinking employed among Koreans and then compared its results with those derived from a comparison of the word order of English with the mode of thinking among American English speakers. It was found that there is a close relation between the language and the mode of thinking in Korean and also in English and that the relation varies according to a difference of languages. In these languages, the grammatical and cogitive modes and systems are quite opposite to each other. As such, these finding seems to confirm what the Whorf's hypothesis proposes as to the influence of a language on cognition and culture of its speakers and as to a cognitive and cultural difference according to a language.

『지평선 너머』의 언어 외적 표현 장치

김진식 檀國大學校英美文化硏究所 1996 英美文化 Vol.5 No.-

A playwright may communicate his meaning through dialogue only. He may also rely on nonverbal images, the emphasis being on spectacular effects rather than on the spoken text. He uses dialogue to present his themes but at the same time reinforce(or on occasion contradict) the ostensible meaning of verbal statement in the play by utilizing spectacular means of expression, that is, setting, properties, costumes, lighting effects, groupings, the actor's individual expression, his gesture, movements, make-up, vocal or facial expressions. Aural effects such as sound and music may be also considered as nonverbal means of expression. These elements are essential to the realization of a dramatic event in the theatre. Robert Mayo, the protagonist in Beyond the Horizon, is forced to face the meaninglessness of his dreams. When his efforts prove to be futile, death becomes the only possible way out for him. The course from hope and dream through the agony of disillusionment to death is illustrated by the plot and action of the play, but it is also implied by verbal and nonverbal images. The analysis of Beyond the Horizon proves that O'Neill focuses on the imagery of imprisonment, decay, and death, and the emphasis is on the loss rather than the longing. Interior scenes represent disillusionment, confinement, and eventually death. The exterior scenes, on the other hand, may symbolize the longing, but they are so permeated with the same imagery one finds in the indoor scenes that inevitability of loss is implied, too. In creating images, O'Neill uses both verbal and nonverbal devices; therefore, it is not possible to speak about purely verbal or exclusively nonverbal imagery in Beyond the Horizon. There exists a close relationship between the verbal and nonverbal images in the play-they are supportive and beneficial to one another. O'Neill begins with nonverbal images and then supports them by verbal references. O'Neill seems to be visually oriented technique, we may conclude, is direct, heavily charged, and expressive of more complex nuances. In fact, the verbal element in O'Neill's plays tends to provide the color for the nonverbal actions. The verbal elements thus serves to suggest to the audience the manner in which the nonverbal nuances should be viewed.

Death of a Salesman의 페미니즘 연구

심미경 檀國大學校英美文化硏究所 1996 英美文化 Vol.5 No.-

Feminist theatre originated from the women's movement. which started from a social movement in the 1960s and expanded into a cultural aspect. Feminism suggests that women have their own unique experience of life, system of values, and world-view, which cannot be properly expressed within the traditional form of male literature or art-form. Millers's Linda of Death of a Salesman is passive and receptive rather than active and aggressive. Simone de Beauvoir states that one is not born a women, but on becomes one. It means that women are conditioned not only by the education but also by the traditional image of women. Under patriarchial system, women have been constructed as men's other. Upon this theory Linda's passivity is the result of patriarchy. Through Lacan's diagrams, we can find the arbitrariness of sexual roles. The binary opposition of man (subject) / woman (object) is not absolute but changeable. We can find that men's control over women is determined by material base and patriarchy. Through Feminist Approach to Linda, We can find Linda passivity is endowed by patriarchial system.

T. S. Eliot의 시 "Journey of the Magi"와 "A Song for Simeon"에 나타난 영적 딜레마

최서래 檀國大學校英美文化硏究所 1996 英美文化 Vol.5 No.-

Focal Points of Maori Culture

김문수 檀國大學校英美文化硏究所 1996 英美文化 Vol.5 No.-

Word Order in Generative Grammar

Emonds, Joseph 檀國大學校英美文化硏究所 1984 英美文化 Vol.3 No.-

본 논문은 Chomsky가 제시한 주어명사구 (Subject NP phrases), 변형에 관한 구조보존제약 및 그외의 두(2)가지 조건들에 관한 이론이 문장의 중요요소의 어순에 큰 제약을 행사하고 있다는 것을 논증하고 이러한 제약이 Greenberg가 이미 제시한 어순의 보편성에서 실증될 수 있다는 것을 보여주고 있다. 특히 주어명사구와 관련하여 본 논문은 표층의 기본 어순이 VSOX로 된 문장도 심층에서 S는 VP밖에 존재하며 또 심층문장 SVOX와 SXOYV에서 도출된다는 것을 제시하고 있다.

A STUDY OF NATHANIEL HAWTHORNE AS A SYMBOLIST

Ro, Byung-yong 檀國大學校英美文化硏究所 1981 英美文化 Vol.1 No.-

英語의 省略에 관하여

李鳳三 檀國大學校英美文化硏究所 1984 英美文化 Vol.3 No.-

There are two types of ellipsis in English: the one dependent on linguistic context and the other on non-linguistic context. The deleted elements in the former are easily recoverable from the grammatical structures, while those in the later are not. The ellipsis dependent on the linguistic context can be classified into six parts: the ellipsis in 1)adverbial clause, 2)relative clause, 3)comparative clause, 4)supplementing clause, 5)appended clause, and 6)coordinate clause, The ellipsis dependent on non-linguistic context can be classified into three parts: the ellipsis in 1)dialogue, 2)formulaic expression, and 3)Block Language. 1. The deleted elements in an adverbial clause are easily recoverable, for they are the same lexical items as in the matrix sentence. When the lexical items in the VP of the adverbial clause are the same as those in the main clause, they are deleted under the deletion rule of DELETION UNDER IDENTITY, However, when the phonological form of the lexical items is a combined form of the two lexical categories, Aux(INFL) and V of the VP in the adverbial clause when the V is not the Empty Category of ‘BE’, the deletion rule does not apply to it. In an infinitive clause, the deletion of the VP is the same as in the finite clause except the ‘to’ which remains after the deletion. The subject of the infinitive is usually PRO, and the Complementizer is ‘for’ which assigns ‘Objective Case’ to the subject of the infinitive with the verb of the matrix sentence. The deletion of COMP usually depends on the subcategorization features of the matrix verb. The deletion involved in the Verbless Clause, sometimes called ‘Small Clause’, is actually the deletion of ‘INFL+V’ when the V is an Empty Category of ‘BE’. To give a full explanation to the deletion in the complicated structure of ‘too-to’ construction, it is necessary to introduce the Empty Category of ‘Operator’ to see the relation between the deleted element and its trace, which is also called ‘Parasitic gap’. In a participial clause, the deletion of ‘INFL+V’, when the V is an Empty category of ‘BE’, is the same as in the infinitive clause. The subordinator can be deleted according to the semantic features of the verb in the matrix sentence. 2. When there is already a Complementizer in COMP, the relative pronoun of ‘wh-phrase’, which is moved into COMP via Wh-Movement, should be deleted to avoid the violation of the MULTIPLY FILLED COMP FILTER; When there is no Complementizer, the deletion of ‘wh-phrase’, sometimes called ‘wh-relative’, is optional as long as it does not violate the EMPTY SUBJECT FILTER. 3. The deletion in the comparative clause is a ‘Wh-Deletion’, for the items compared in the comparative clause is a ‘wh-phrase’ which behaves like ‘that’, thus becoming a variable which can be moved into COMP via Wh-Movement. 4. The deletion in a supplementing clause or an appended clause involves the deletion of the same lexical items as in the preceding matrix sentences via DELETION UNDER INDENTITY. 5. The deletion in coordinate clauses also observes the DELETION UNDER IDENTITY and can be easily recoverable. It follows the general deletion principle that only the constituents or lexical items in the identical Phrase Category can be deleted. 6. Finally, the deletion in dialogue, formulaic expression, and Block Language can not be easily explained in terms of the syntactic description of the grammatical structure alone. In other words, the deleted elements are not easily recoverable through the analysis of the syntactic structure; instead, they can be recoverable only when the Speaker, the Hearer, and the Situation are all considered in connection with the elliped clause, thus requiring both the theory of psycholinguistics and that of socio-linguistics. It is expected that the further study in this field will clarify some of the problems which this paper could not handle or overlooked or inadequately described in the near future.

William Faulkner의 흑인관

박진섭 檀國大學校英美文化硏究所 1996 英美文化 Vol.5 No.-

The purpose of this study is to investigate the racial question in William Faulkner's Light in August, The Sound and the Fury, Go Down, Moses, and Intruder in the Dust. As a Southern writer, Faulkner dealt with uniquely Southern materials with much emphasis on Black and White relationship. I have carried out this study on the assumption that the racial theme is one of the main themes in his novels. In this study I have investigated the cause and effect of the racial question and Faulkner's attitudes toward the solution to this question.. The racial problem resulting from the peculiar history of the South, slavery, is one of the most complicated and subtlest social problems in America, and quite naturally many of intellectuals are seriously concerned for its ideal solution. By 1950, when the opposition to the civil rights program was threatening to become violent, Faulkner was compelled to express his views on desegregation, equality, and civil rights in serious nonfiction statements. But his nonfiction statements were made under the influence of the surrounding circumstances, some of which were ambivalent or contradictory. However, in his fictions where he could present his ideal without conflicting with reality, we can find a progression from his early Southern stereotype to personal vision of Negroes. These shifting attitudes were presented in his major Negro characters : Dilsey, Joe Christmas, and Lucas Beauchamp. Dilsey in The Sound and the Fury emerges from th traditional black image of a loyal old black servant and stands out as an embodiment of love and endurance. Yet, she accepts her subservient position as "nigger" and expresses no criticisms of social inequality or racial discrimination. Joe Christmas in Light in August is an image of a Negro in wander and resistance. Because of his dubious blood, he fails to identify himself and repudiates the society dichotomized to skin colors, and finally accepts death as the only way to peace. Evidently Faulkner deals with less sympathy mulattoes than pure Negroes, but he also suggests that miscegenation can be ultimate solution the problem of racial antagonism. Lucas Beauchamp in Intruder in the Dust is a self-proud black man who asserts his individuality and human dignity against white people, and finally makes white people recognize and accept him as an equal man. Faulkner suggests here that the only and the best way to the ideal black-white relationship is to transcend the racial barrier through pursuing and asserting humanity and dignity as individual human beings. Finally we should remember that Faulkner, as novelist, intends to portray various universal problems which a man can face through Negroes' concrete alienation and plight in the South America.

The Origin and Nature of New England Transcendentalism

Kim, Eui-Yeong 檀國大學校英美文化硏究所 1992 英美文化 Vol.4 No.-

It is generally agreed that Transcendentalism as a full-fledged movement of New England thought arose sometime between 1815 and 1836, and that William Ellery Channing was the first Transcendentalist in New England. But the acti-vation of the Transcendental movement on a full scale began with the publi-cation of Nature in 1836.