This essay aims to analyze the reaction of religious camps to secularism as seen through the debate between Charles Kingsley and John Henry Newman, both of whom were well-known religious leaders in the Victorian age. First, a scientific and rational faith was observed in Kingsley's claims attacking Newman's faith. Kingsley denounced Newman's faith as lacking historic evidences and scientific rationality. Kingsley believed newly discovered scientific knowledge should be incorporated into and bolster religious convictions. Kingsley's vision for the progress of the world is exemplified by his poems, “Saint Maura: A. D. 304” and “The World's Age.” On the other side, Newman responded to all critiques raised by Kingsley by elevating the value of the Church's history and tradition. He recommended using imagination to understand the Church's history, instead of scientifically deducing what happened. Newman's two poems, “Hidden Saints” and “Warnings” reflected on how to oppose the tendency to analyze faith with new scientific knowledge. Newman's vision for a traditional world was clearly in opposition to Kingsley's progressive one, yet in their own way they were both suggesting a solution to the same problem; a way for religion to cope with the rapid spread of secularism.

This paper aims to find why crying and language of children with brain damage play an important role in lots of Don DeLillo's works and to analyse the similarity between words unconsciously used by ordinary people and 'Human stain' in Philip Roth's The Human Stain. All human languages are contaminated by experiencing historical events like wars, murders, the threat of nuclear, and capitalism and have negative aura. Consequently, All human beings except children with brain damage live together with terror of death. This is similar to Coleman Silk who is imprinted as a racist. He is also represented as a representative intellectual and seems to be contaminated by knowledge. Teaching Greek in college, reciting Shakespeare's works and arguing about feminism are examples of how people have become polluted by knowledge.
To look for the purest language, Don DeLillo has regressed into the past and found roots of words. He has consistently tried to use absence of a predicate, short sentences, and conversations consisting of only monosyllables and repeated phrases which are like chanting a spelling in most of his works. But the most extraordinary tool he used is children with brain damage because only children with brain damage are not stained by human's negative aura.

This article aims to examine how socio-econo-political values of homelands interrupt immigrants' adjustment to American society by reading Cristina García's Dreaming in Cuban, Chang-rae Lee's Native Speaker, and Jumph Lahiri's The Namesake in the perspective of M. M. Bakhtin, emphasizing the importance of ideas or ideologies in a hero's identity formation. In these novels, the authors commonly criticize that the ideologies of homelands make it impossible for immigrants to enjoy a free and independent life. Here, ideological criticisms are entirely done in the way that anachronic ideologies in mother cultures are meticulously projected into the images of ancestor characters, and the absurdities are candidly exposed by protagonists interacting with them. Why these ideological criticisms are persuasive is that the incompatibility between traditional values of homelands and American reality is revealed through the protagonists' ideological becoming. As a result, it is found that Cuban androcentrism and Castro's communism, Korean Confucian patriarchy and careerism, and Indian family centrism are inappropriate for the diasporic reality. With the world being globalized and expatriates increasing, understanding these ideological problems is important not only to immigrants, but also to immigration policy-developers.

This study focuses on finding the multiple queer meanings in the three novels of Willa Cather. Her works having various backgrounds show flexible queer traits of identities of characters, places, nature, and work, etc. Thea in The Song of the Lark exerts her own efforts to be a true artist in the queer space of the opera. In the process of pursuing her dream, she overcomes the qualities of her acquaintances like paedophile characteristics and their desires for materialism, and thoroughly tries to embrace old ancestors' value in the Panther Canyon. Likewise, although Ántonia in My Ántonia is an alien in Nebraska, she finally builds her own queer world by making her constant physical labors erotic and meaningful. St. Peter in The Professor's House himself shows biophilia by preserving ancient spirit and their relics against his family members' soulless materialism. This work especially includes diverse erotic scenes of Tom and St. Peter that can destroy a heterosexual frame and it leads to enhance the queer atmosphere in general. To sum up, the queerness of Cather as a way of being has numerical values and its own ethica, so it has positive influences on the readers, Cather's other novels, and American novels.

Throughout her entire life, Elizabeth Bishop constantly reveals her preferences for writing poems full of images and motifs of water. Bishop's poems often suggest elusive meanings like the dual properties of water which shows the difference between the surface and depth at the same time. Particularly, it is worthwhile to note Bishop's third book of poems entitled Questions of Travel. This book includes a number of poems about recognizable water images from Nova Scotia to Brazil where the poet spent precious periods in her life. Images of water in a lot of her poems set in North America are described as dry and barren landscapes due to her sense of homelessness derived from the loss of her parents in her early childhood. This is best exemplified in her expression of “the water doesn't wet anything.” However, it is important that Bishop's maternal desire is latent under the surface of her poems on the loss of maternity. Her maternal imagination linked to the water images is most manifested in her poems on the “Brazil” section of Questions of Travel. Moreover, a series of poems with images of water devoid of fluidity and maternity set in Nova Scotia allude to Bishop's latent maternity. Bishop's water images lurking in maternal desire act as a source to dissolve the dichotomous thinking originated from Western Chauvinism.

The purpose of this paper is to examine Nathaniel Hawthorne's major novel, The House of the Seven Gables from ecological perspectives. What Hawthorne makes an attempt to pursue in his works is an ecological community whose primary goal is symbioses. In The House of the Seven Gables the garden makes visible co-existence that is including all life forms. The garden's setting facilitates a diversity that defies oppositions between such concepts as nature and culture, the country and the city. And the garden facilitates reciprocal communion. Hawthorne accords Phoebe as a resolution to the problems of the society, by endowing her with ecological virtues such as sympathy, caring ethic. Phoebe illuminates light on the dark garden and gloomy house of the seven gables and supplies Hepzibah and Clifford with vitality by caring for them. The marriage of Phoebe and Holgrave preludes the recovery of Eden, which, although some skeptical commentators have been quick to point out, is not recoverable, if it ever existed. Hawthorne presents a possibility of an ecological community that can be recovered by love and care for others. The ecological utopia emphasizes interdependence and symbioses in the ecological vision.

This study focuses on modern Antigones' ordeals and sufferings caused by the irrationality and partiality of laws in Antigone Project. It also examines their continuing efforts and struggles against the suppression and unjustice in modern democratic societies. Five plays included in the work were written by 5 female playwrights. In the work, Antigone symbolizes a conscientious fighter as well as a person excluded from public areas by power and laws. Each playwright commonly thinks that the modern Antigones' efforts toward peace or justice are in crisis more severely in the process of 'the war against terrorism' due to the leaders' hysteric reaction and the suppression of governmental authorities in democratic countries since the 9/11 terror. They also think that reviving Antigone is needed because she acts against the unjust reality, and is willing to sacrifice herself for defending human rights and dignities. This is why the work uses the motif of revival. When Antigone rises again, she does not adjust herself to her fate, but continues struggles to change the society, as the hope and potential for a new history are achievable. Moreover, she invites people to take part in her efforts to stop injustice and suppression under modern democratic countries.

The position of W. B. Yeats as a poet in the twentieth century English literature is firm. He won the Nobel Prize for Literature in 1923 and has been universally regarded one of the greatest poets in the last century. Throughout his lifetime, he wrote a considerable amount of plays, novels, and prose besides the poems. Among them, he had a great interest in drama throughout his life and wrote plays until just before his death. Not only did Yeats write a lot of plays, he also founded a theater (The Abbey Theatre) and had done many innovative experiments there. But Yeats's reputation as a playwright or dramatist is not so high. One of the reasons for his low reputation as playwright is the negative estimation of influential critics. The purpose of this paper is to defend Yeats as a playwright. To do so, this paper seeks to find causes that Yeats's theatrical endeavors have not been recognized so far and tries to refute the critics' negative arguments. To explain the nature and characteristics of Yeats's plays which are very different from the realistic ones, At the Hawk's Well, one of his dance plays, is examined as an example. And then tries to examine what Yeats wanted to accomplish through drama and his contribution to the European drama.

One of well known ways to quantify an event is via quantifying an object in the assumption that the quantification force of an object can be transferred to an event. Unlike this common means to quantify an event, there is another way to contribute to event quantification with a verbal classifier. A verbal classifier consists of a classifier and a numeral and it quantifies an event denoted by the VP, similar to a nominal classifier that quantifies a noun. This paper examines a verbal classifier in Mandarin in comparison to a similar type of adverbial in English, Russian, and Finnish. It is shown that verbal classifiers in Mandarin are also a means to quantify an event like adverbials in those languages. However, this paper shows that verbal classifiers in Mandarin have interesting differences from the adverbials in those languages. For example, unlike Russian or Finnish, verbal classifiers in Mandarin are not (accusative) case marked. Moreover, unlike those languages, verbal classifiers in Mandarin are associated with a particular type of an event, namely semelfactives. This paper provides evidence that verbal classifiers in Mandarin are associated with the countability of semelfactives. The consequence of this paper suggests that semlefactives can be viewed as an independent class of an event, which is not a common assumption in the literature.

This paper aims to examine whether Korean people's experiences with the cultural artifact, namely calendars, can influence our understanding of ambiguous metaphorical expressions about time in English and Korean. Two experiments investigated calendars would influence reasoning about time. The results of two experiments indicate that the calendar that the days of the week were arranged in ascending order from left-to-right can influence temporal reasoning. Specifically, in the case of English target sentence, the calendar produced a greater proportion of Friday responses relative to Monday, while in the case of Korean target sentence, the calendar produced no greater proportion of Friday responses in the Normal Calendar conditions than in the Metalinguistic or Reverse Calendar conditions. I suggest it is because Korean's familiarity with time-moving sentences in everyday language has more influence on temporal reasoning than their experiences with the cultural artifact, namely calendars. Based on the results of Experiment 1 and 2, I conclude that Korean participants may also use culturally specific spatial representations when reasoning about time but they have a tendency to prefer the time-moving perspective to the ego-moving perspective in their interpretation of ambiguous metaphorical expressions about time.