This paper aims at analyzing the ironical relation of the black fatherhood and the imaginary self working through the repression and the dominance embedded in the unfair structure of black patriarchy in Toni Morrison's Love. Emotionally detached by fathers, May, Heed, Christine, and Junior give themselves over to the patriarchy, the man who looms even larger in their imaginary self than in their real lives. To overcome the trauma of their parental abandonment and betrayal, they seek the physical and psychic solace, and the protection in Bill Cosy. However, the fantasy experiencing from Cosy's hotel and resort magnify the desire for support from the larger symbolic structures to prevent anxiety and fear. Even though May, Heed, Christine, and Junior see Cosy through idealizing eyes, his patriarchy mimics the hierarchy and the exclusive structure of the white dominant culture. The imaginary self on Cosy's patriarchy can trigger the vicious circle of repression and discrimination. Accordingly, parental affection, family nurturing, and community solidarity can contribute for black women to recover their earlier friendship and love by perceiving the reality of Cosy's patriarchy.

The struggle for national independence and the search for an authentic cultural identity often coincide. In the case of Africa, where an entire continent has been subjected to unprecedented levels of exploitation as a result of Western imperialism, cultural assertion and the revival of indigenous social traditions have gone hand and hand with the political struggle for freedom from foreign domination. The work of the Ghanaian writer Ayi Kwei Armah continues this tradition. Like the generation of writers who wrote during the period immediately preceding and following independence in the late 1950s and early 1960s. Armah was inspired by the anti-colonial struggle and shared the hopes and aspirations of the broad masses. Like these writers, he exposes in his work the destructive nature of imperialism, documents the mental anguish that results from colonial racial policies and sets out to rehabilitate Africa's history by evoking the sense of continuity that has existed throughout the continent's long struggle to survive the onslaught of European domination. What distinguishes Armah's novels from the literature that was produced on the eve of independence is their exposure of the betrayal of African independence and their condemnation of Africa's new ruling elites. The purpose of this paper is to trace the intellectual and artistic progression in Armah's work and in doing so to demonstrate that the strength and limitation of the author's vision is his radical nationalism.

This paper explores Alice Munro's discourse on the lives of old age in the context of the ageing society in which the discourse of the elderly can make a positive role in social change. Based on the discourse of elderly people in the fields of social science, geriatrics, psychology and women's studies, two works by Munro, “Dance of the Happy Shades” and “Dolly” are used as texts for this research. These works deal with characters who are able to work on their own in their seventies or eighties. This paper, in the elderly discourse of these works, tries to draw a positive aspect from the elderly and to find a productive way to become an anti ageist. The characteristics of Munro's elderly discourse is unique. Munro does not expose the negative stereotypes of the elderly nor condemn false beliefs and ageism prevalent in society. Munro does not claim the need for reconstruction of contradictory order, but shows a reconstructed world already dismantled for readers. Munro presents an exemplary model that readers may follow. As Munroe's method of elderly discourse suggests an alternative solution, more concerns and efforts are projected than other discourses that call for the need for reconstruction.

While McCarthy's earlier novels deal explicitly with violence, murder, torture, rape, and incest, The Road surpasses them in its almost absolute atmosphere of meaningless and menace. In this novel, the world seems to be dead in terms of nature and morality; a world where cannibalism is a constant threat and civilization is beyond saving. However, it also depicts the hope and redemptive love that can come from the bond between father and son relationship, intense, devoted, self-sacrificing. They are referred as the good guys who will not succumb to immortality on their journey south, whatever happens. After the father's death, the boy who always holds a metaphoric fire is to found by a family of four, the new “good guys,” and with them he can continue to carry the fire. The woman at the end of the book is positioned as a good mother. When she meets the boy, she provides immediate maternal care through enfolding him in her arms. She also talks to him about God. In the end, his spirit will rise above the devastation, representing the promise of resurrection in the aftermath of death's finality.

As the main concept of Homi Bhabha's postcolonialism, hybridity refers to the area on the borderline overlapping between contrary concepts such as white/black, colonizer/colonized, and west/east which was used to justify Western domination over the East. Hybridity is also presented as 'in-between' space, interstitial passage, and 'beyond' borderline in Bhabha's postcolonialism and can have the role of resistance in such dichotomy focusing on the third space/area on the borderline. This study aims to probe into a variety of aspects of hybridity through character, space and so on in On Such a Full Sea. In this novel, the protagonist Fan is a symbol of hybridity as a resistant character who has free will and explores her own future and B-Mor is another symbol of hybridity as an 'in-between' space between 'Charter' and 'open countries'. Furthermore, Changrae Lee presents various aspects of hybridity through time, geography, and a narrative voice. Through describing the resistance of hybridity, Lee suggests that individuals should recognize the 'in-between' spaces which can be the resistance area to break the dichotomy and the power of community of 'individuals' not a single 'individual'.

This paper discusses the exclusive relationship between a mother and a son and the son's mother fixation. Harold Pinter's A Night Out seemingly appears to be a story of a widowed mother who is possessive of her impotent son trying to escape from her influence. The conflict between the mother and the son could be seen as the Pinter's typical power game between male and female characters. Therefore, many critics focus on whether the power has moved to the son or not. However, I argue that we should go further into the background of the text. What lies underneath this mother-son relationship is negative effect of the male-dominated system which systematically locates women in the domestic sphere while men work for society and capitalist production. This perpetually generates sexual and familial division of labor and justifies women's mothering and absence of the fathers at home. In this sense, the mother and the son turn out to be victims of the patriarchy and their exclusive relationship is the consequence of this women's mothering causing the preoedipal mother-son relationship and the son's difficulty to be separated from her to become an independent man. To support the idea that the play is not about the power but the gender problem, Nancy Chodorow's concept will be used.

The purpose of this paper is to examine Africa as a place for Henderson's maturity by applying Donald Winnicott's object relations theory in Saul Bellow's Henderson the Rain King. Winnicott argued that infants can form a creative and healthy self through the environment provided by 'maternal preoccupation' that their mothers make to them. He also explains that good environment allows an infant to escape from dependence to develop into an independent self and to have a realistic perception. Therefore, he says that an 'intermediate area' is needed for stable change into an independent self for the infant. Henderson is confused as a toddler for maturity. He is not adjusting to the problem of his reality. So he tries to escape from the repeating inner voice, which is one of his problems. However, the attempt worsens the relationship with the surrounding people. Henderson, the self-disjointed and alienated, chooses the journey to find the answer to the problem in his chaotic reality. The Africa he escaped to is a space of rest; namely, the 'intermediate area.' It is the place for his change and maturity proposed by Winnicott. Henderson experiences the reality through contact with various events and people here. And he finds a path for coexistence and matures himself as a noble life. Finally he awakens to his self and maturity through the experiences of transitional phenomena and transitional objects in Africa which is the 'intermediate area.'

The purpose of this paper is to analyze control sentences under Survive-minimalism, following Stroik and Putnam (2013). Unlike the standard Minimalism, LEX, NUM, and CS are located within the CI and SM performance system in Survive-minimalism. It is also assumed that only Copy operation is used to build a syntactic structure in Survive-minimalism instead of External and Internal Merge. In addition, the derivation begins and proceeds by a Feature Matrix, which is a set of hierarchically structured features. A subject control clause is analyzed in this paper in a Survive-minimalism manner. CASE feature of the embedded subject is somewhat complicated since the subject of the control clause is not pronounced unlike canonical subjects even if it has semantic interpretation. By dividing tense-heads into three categories and assuming control infinitival tense-head has a weak CASE-selecting feature, control clause could quite successfully be analyzed under Survive-minimalism.

A primary stress is positioned within the rightmost three-syllable windows in English. Antepenultimate, penultimate, and final stresses are equally distributed on the surface. Word stress patterns are different according to parts of speech, that is, noun and suffixed adjectives have antepenultimate or penultimate stress, and verbs and simple adjectives have penultimate or final. Extrametricality and catalexis are an opposite concept in metrical theory. Consonantal and syllable are in the peripheral position and ignore in metrifying and counting the foot. But zero syllable or null vowel can be added to supplement the word final. Extrametricaly and catalexis correspond with NF and FILL constraints respectively in OT, which are used to integrate into a unified constraint ranking schema. All major categories are likely to satisfy three-syllable windows by means of NF and FILL constraints.

This study examined Mandarin Chinese-speaking learners' production of English RCs to probe whether they show the same asymmetry patterns as native English speakers do. The study reduplicated Kim & O'Grady's (2016) elicited production task and focused on comparing subject relatives with indirect object relatives and comparing direct object relatives with oblique relatives. Forty college students participants were divided into two groups depending on their proficiency and the results showed that it was much easier for MC-speaking learners to produce subject relatives than indirect object relatives. However, it was difficult for them to produce both direct object and oblique relative clauses, especially for the low intermediate proficiency group. Furthermore, oblique relative clauses were more challenging for both L2 groups. The results almost conformed to Kim & O'Grady's (2016) findings: native English speakers were more likely to produce subject relatives than indirect object relatives and both direct object and oblique relatives were difficult for children (not adults) to produce.