D. H. Lawrence had been interested in all kinds of arts including painting as well as writing for his whole life. In The Rainbow and Women in Love there are overwelming pictorial elements expressed in an opulent color sense. Such an aesthetic is to make up for the gap of a language system between signifier and signified, and to give an immediate visionary awareness to readers. This paper aims to examine the pictorial or visual elements in which Lawrence narrativizes the reality of objects in The Rainbow and Women in Love, comparing to his nonfiction writings including essays and letters related to his alternative aesthetic. In the chapter, “Class-Room”, Birkin as the representative of D. H. Lawrence, tells the meaning and importance of making pictures in catching the reality of an object. And in the chapter, “Sketch-Book”, Lawrence embodies the visionary awareness of Ursula and Gudren with the use of delicate and colorful visual imageries. Furthermore, Lawrence suggests copying a picture delicately could be closer to the reality of an object than reading books in the chapter of Birkin's copying a Chinese picture. This examination proves how Lawrence deconstructs the binary opposition of Logocentrism in the Western Culture with the use of various colorful signifiers, how much he tries to find a new alternative writing to get over the gap of signifier and signified, and how much he intentionally puts his text in the flux of the present not to be fixed.

As Melville's frustration grew deeper as a result of the reading public's misunderstanding of his novels such as Moby-Dick and Pierre, his family urged him to travel around European countries and put a stop to his career as a writer. However, in the period of the mid-1850s, he went down the path of more professional artist. In order to satisfy the tastes of the reading public and to pursue his own truth-seeking mission, he made a decision to write short stories for the popular Putnam's and Harper's monthly magazine. For the purpose of analyzing Melville's message in this period, I focused on the collection of short stories, the Piazza Tales, and especially on one story, “The Bell-Tower.” The first story, “The Piazza”, functions as an introduction, presaging the ensuing message of criticism of slavery and emphasizing the unreliable narrator's viewpoint. Based on these directions, I analyzed “The Bell-Tower.” As an ideal type of intellectual, Bannadonna tries to realize the Renaissance humanism by constructing the bell clock tower, and in the process he is sacrificed by the mechanical utilitarian society symbolized by Talus' attack of his brain. As seen in his death and the fall of the bell tower and the old capital, it is necessary to find a way out from the social contradiction of the 19th century U.S.

This paper seeks an answer to a few specific questions in reading Toni Morrison's fifth novel Beloved: how different types of memory are represented, how individuals heal from unmentionable past, how does a community re-member a group that have been dismembered? And lastly, how does storytelling which requires mutual technique of telling and hearing function in the text? Morrison draws various types of memories in Beloved: an individual, vicarious and generational memory represented through Sethe, Paul D, and Denver, and also a collective and social memory which a small fictional community in Cincinnati, Ohio creates. Beloved describes how these fragmented memories are conjoined together as the pieces make parts and the parts become a whole like a patchwork quilt. Although Morrison ironically emphasizes that “it is not a story to pass on” since it is too painful to mention, still, the story needs to be told and listened to. By sharing memories and stories, Morrison presents how to unveil the traumatic past and heal it as she resurrects Margaret Garner's voice through literature. This is the power of the narrative in which Morrison becomes a shaman author who reveals the dark history of slavery which has been shadowed and forgotten under white national amnesia.

The purpose of this research is to analyze Lawrence's view of Male Supremacy in 'Tetra-Love' of The Plumed Serpent. Lawrence is called as an anti-feministic writer or a feministic writer according to his view toward woman all through his works. He dealt with male priority and female submission in the later work, The Plumed Serpent. In this Novel, Kate who married to Cipriano gives up herself and submits to the strong phallic power of a man. Teresa who married to Ramon doesn't insist on her individuality and tries to make Ramon into a big, golden full glory of a man. Lawrence's male supremacy is revealed through the relationship of 'Tetra-Love' between Kate and Cipriano, between Ramon and Teresa. The male supremacy to the female is achieved when the man is active and dominative and the woman is submissive and dependent. Lawrence strongly expresses his anti-feministic point of view that the man must display the strong leadership to revive the power and the right of the man, and the woman gives up self and the independence and submits to the strong man leader. Thus, this work shows Lawrence's side as a male supremacist, and another world view he built in his later years of life.

This essay explores the construction of Salome in Wilde's Salome as the degenerate Jewish femme fatale, her transformation into a covert male transvestite, John the Baptist's affiliation with fìn-de-siècle decadents, and his alliance with Herod against Salome and Herodias. Drawing on Huysmans's reading of Moreau's Salome, Wilde carries on with constructing Salome's image as the perverse femme fatale echoing the male decadents' misogynous and anti-Semitic discourses. His text generates the Jewish femme fatale indulging in Oriental promiscuity, which brings Salomania into vogue throughout Europe. Wilde's depiction of John the Baptist was influenced by Pater's worship of Da Vinci's portrayal of the feminized prophet, which embeds a cryptic code of homosexuality within the play. This secretly changes the cultural stereotype of the Jewish femme fatale into a male transvestite and hints at Wilde's challenge to the taboos on homosexuality. However, the encryption of homosexuality also helps Salome reveal Herod's alliance with the Baptist, who acts as a misogynous male decadent like Wilde himself, and their antifeminism. Thus, Wilde's Salome turns out to be a self-contradictory text where the anti-patriarchal challenge to sexual taboos collides with patriarchal notions of women.

In Saul Bellow's novels, the writer's personal criticism of existentialism recurs. Herzog, one of Bellow's major works, is a novel in which writer's critique of existentialism is overtly manifested. Herzog, the hero of the novel, criticizes Heidegger's existentialism, so-called “the fall into quotidian,” emphasizing the importance of the ordinariness of reality. However, while Herzog emphasizes the preciousness of everyday life, he lives a life that is in conflict with what he believes in. In other words, he devoted himself to pursuing the intellectual goals and was living away from everyday life by trying to see reality based on his intellectual and ideal world. However, the main character, who lives a life of incongruity as such, goes through the process of returning to “ordinary” by various dramatic settings set by the writer. In short, Herzog realizes that the intellectual world he created is an illusion that is far away from the ordinary. In the end, he returns to his ordinariness of his life through the recollection of what he saw and experienced during his childhood, the real and immediate awareness of the reality that is actually happening, and the sensual love with his lover.

The main purpose of this article is to examine how Chapter 6 of John Donne's Devotions upon Emergent Occasions features the author's keen observations into his internal disquietude caused by fear. Donne's diagnosis of the dread is associated with his inquisitive attitude toward such haunting phenomena of inner anxiety. Donne's broad range of conceiving the significance of fear links with his recognition of its paradoxical aspects, which brings about self-diagnosis and discovery based on his diverse biblical accounts. The combined concepts of fear and inquest affect his spiritual arousal to overcome the irresolvable predicament of his inner phenomena. Donne's reliance on the Almighty becomes one of his solutions to the depressing facet of human weakness, which tends to be wavered by internal and external ambiences. Devotions upon Emergent Occasions VI is indeed charged with the writer's dynamic development of three unified sub-sections, namely contemplation, inquiry, and prayer to God, in dealing with the problem of human dread necessitated by physical infirmity and its consequential reverberations.

Saturday is a realistic novel reflecting Ian McEwan's intention focusing on the most monumental events in this era. In this paper, my aim is to examine the violence of self-identity and the community life with the Other, focusing on the concept of Levinas and Bakhtin. For this purpose, I dealt with the issue of face and ethics, the core of Levinas's ethics of the Other through the relationship between Henry and Baxter, which shows epistemological attack and verbal violence. The ethical relationship with the Other, which was emphasized by Levinas, is that violence of identity must be handled by violence. On the other hand, Bakhtin's communal relationship means the pursuit of a community life that lives with the Other. In Saturday, Henry and Baxter need a specific time, place and event to make a community together, and Bakhtin named it Chronotope. The encounter between Henry and Baxter in this novel is a condition of Chronotope. Henry must acknowledge the presence of the Other, and seek the coexistence with him in this Chronotope. To sum up, what McEwan emphasized is to see the face of the Other and speak to him which can result in a harmonical community with the Other in Chronotope.

This paper is designed to make an East Asian approach to The Merchant of Venice in terms of Zhong Yong (The Doctrine of the Mean), one of the Four Books of the Confucian Classics. The Aristotelian “moderate” outlook on life underlies Portia's Belmont on various levels of life, but she is seen to have internalized the cardinal virtues of a Confucian gentleman, who seeks to embody the “three universal virtues” of Zhong Yong: wisdom, benevolence, and courage. Her virtues of “Zhong Yong” are well manifested in the three significant scenes of the play: box selection scene (3.2), court scene (4.1), and ring episode scene (5.1). The box selection scene demonstrates the paradoxical truth that the mystery and truth of life is inherent in the ordinary daily affairs. In the court scene Portia puts her late father's good will into social practice: her social effort comes quite close to the Confucian filial duty, “hsiao” of Zhong Yong. Ring episode scene is concerned with Portia's sincerity to herself: her sincerity is laden with the cosmological significance of being true not only to herself but also to the universe. Eventually, Belmont in the last scene is described as the place of “Zhong Yong,” the place of “sweet harmony” where people worship God yet keep distance from him, and where man interacts with nature and lives with the joy of heaven on earth.

This paper aims at probing into the dramatic effects of Channeling and the missions of The Young Soldier's Ghost in Steven Dietz's Last of the Boys. This play dramatizes the difficult lives of the bereaved family of the Vietnam War (Lorraine and Salyer) as well as the Vietnam veterans (Ben and Jeeter). Ben's Channeling with Robert McNamara's spirit made four times in the play makes it possible to reenact and argue on McNamara's policies on Vietnam in the 1960s. The Gulf of Tonkin Incidents, the Resolution of Tonkin Gulf, the bombardments of Hanoi and Haiphong, and the escalation of the American military personnel in South Vietnam dealt in the play are some of his policies on Vietnam. In relation to this, The Young Soldier's Ghost appears on the stage four times, helping Ben assume the costume of his father, inducing McNamara's spirit to reenact self-justifying statements on his policies, correcting his spirit's distorted viewpoints on the human nature and the history of mankind through three baptisms by water, and making his spirit apologize to Salyer for her father's death in the Vietnam War.