• Journal of English Language & Literature
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• v.57 no.5
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• pp.839-870
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• 2011

This study compares and contrasts Jane Austen's novels of sensibility with those of Rousseau and Goethe. In Julie, or The New Heloise and The Sorrows of Young Werther, the passionate but doomed love of the heroine and her lover is juxtaposed with her passionless marriage to the virtuous husband. In Sense and Sensibility and Pride and Prejudice, Austen revises Rousseau and Goethe's novels of sensibility to accommodate them to the puritanical English literary conventions. She parodies the basic plot of Menage a trois found in their novels of sensibility and transforms her novels into British Bildungsroman, focusing on the heroines' maturation. In Sense and Sensibility, Marianne stands up against the mercenary and snobbish high society. However, Austen represses Marianne's sensibility since the indulgence in sensibility can bring about sexual fall, as is evidenced by the cases of the two Elizas. Marianne's dangerous fever following Willoughby's betrayal emphasizes that female sexual desire should be punished for her continued existence in the high society. The taming of her sensibility and body through the fever is posited as a prerequisite for the happy marriage. In Pride and Prejudice, Elizabeth favors the deprived Wickham over the wealthy Darcy. As Wickham turns out to be a debauched lover, Darcy snatches sexual charms from him and is transfigured into one of the most virtuous and attractive husbands in Menage a trois of the novels of sensibility. Acknowledging sexuality as a vital element of a courtship, Austen embeds sexual desire in dances and glances. However, Elizabeth has to repress sensibility and desire and the complete gratification of desire is continuously deferred to some indefinite period in the future. Marriage is a synecdoche for the union of the bourgeois and the aristocracy in Austen's Bildungsroman and Marianne and Elizabeth are bestowed with happy marriage in return for repressing their sensibility and desire. Since their 'normality' and 'maturation' have been achieved at the expense of subversive sexual power of deviant sensibility, they look too impotent to gratify their desire when they finally secure comfortable but mediocre upper class life.

• The International Journal of Costume Culture
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• v.8 no.2
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• pp.61-70
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• 2005

A representative British designer, Vivienne Westwood's work. world from radical punk style to aristocratic historical dress is explored in context in terms of Englishness. National identity opens up into the process of mobilization of collective sentiment in the national context, unlike nationalism, and Englishness signifies the idea or emotion of England in contrast with Britishness, the political constructor influenced by geographical aspects. There is no doubt that Vivienne Westwood is central to ideas about creativity and originality in English design on subculture. However, in evaluating a designer and her work we should consider the entire context surrounding her from a broader view, rather than arguing only her own ingenuity. In this article, through reconsidering her originality in the historical reference as well as the resistant punk style in aspect of fluid national identity, I show a case of a constituted Englishness, forged by Vivienne Westwood as a cultural creator of national identity. Vivienne Westwood's case hints the complexities of national culture, which constantly shifts, translating her understandings of history and culture into fashion in her contemporary insight and glamorous ways.

• Journal of information and communication convergence engineering
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• v.20 no.2
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• pp.113-124
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• 2022

News in the form of web data generates increasingly large amounts of information as unstructured text. The capability of understanding the meaning of news is limited to humans; thus, it causes information overload. This hinders the effective use of embedded knowledge in such texts. Therefore, Automatic Knowledge Extraction (AKE) has now become an integral part of Semantic web and Natural Language Processing (NLP). Although recent literature shows that AKE has progressed, the results are still behind the expectations. This study proposes a method to auto-extract surface knowledge from English news into a machine-interpretable semantic format (triple). The proposed technique was designed using the grammatical structure of the sentence, and 11 original rules were discovered. The initial experiment extracted triples from the Sri Lankan news corpus, of which 83.5% were meaningful. The experiment was extended to the British Broadcasting Corporation (BBC) news dataset to prove its generic nature. This demonstrated a higher meaningful triple extraction rate of 92.6%. These results were validated using the inter-rater agreement method, which guaranteed the high reliability.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.1
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• pp.61-72
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• 2002

This paper is the second part of a series of the research about the Teddy boy style which is to examine various fashion changes in subcultural styles in 1900s. The main concern of this research is to investigate the creation and meaning of the Teddy boy style, how it interacted with the elements of class and generation and how the materials needed by the group constructed and appropriated into the visible systematic cultural form of correspondence. The Teddy Boys are the first recognized members of the British youth culture, which is known as the new Edwardian because of their dress. They had created the concept of the "teenagers," which forms the basis of the sense of a "generation" in the 20th century. The Teds set the style that would be used and modified in the following generations. They adopted the Edwardian style of the upper class, and changed it into their own style by modifying it and adding to it some other elements. The Teddy boys style is a special version of the sartorial appropriation encountered in the sphere of the fashion history. It actually began immediately after the war by the upper class youth far from the working class neighborhood. In the late 1953, the elitist aura surrounding the Edwardian suit was suddenly shattered. Within just a few months, the Edwardian suit became a source of social anxiety and the focus of a symbolic battle. Although the Edwardian look had initially went back to the upper class root, it became a symbol of rootlessness. In appropriation of this image, The Teddy boys were also rejecting the sartorial conformism of the English working class with its modest tradition. In this respect, the Teds effected the ascent or fall of the working class in the area of fashion. The Teds dress was not a merely borrowed fashion, but was a bastard fashion in the form of American trends, the Zoot suit. At this time members of the working class possessed only work dress for the week and waist suits for the Sunday outings. Teds broke this pattern, and developed the working class dandyism of wearing clothes simply to show off. The results were that they succeeded in opening the teen market, and popularizing a working class style for the first time in British history. The Teds became the first British street style with ties music, and remain as an symbol of the rising of a new age of values and styles.f values and styles.

• English Language & Literature Teaching
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• v.10 no.2
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• pp.159-176
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• 2004

Mark Twain's works are very good texts for students' understanding of American literature and culture deeply and comprehensively, However, professors teaching Mark Twain could be confronted with several problems: how to teach vernacular language in his works; how to deal with the massive volume; how to teach various issues systematically. This article aims to present a way to solve these problems, based on my experiences of teaching Adventures of Huckleberry Finn and A Connecticut Yankee in King Arthur's Court in novel classes. One of good methods of discussing the various issues systematically in his works is focusing on his contemporary dominant discourses and his critiques on them. In teaching Adventures of Huckleberry Finn, the black discourse is the comtemporary dominant dicourse to concentrate on. I tried to discuss various issues in my classes, mainly relating them to exploring how Twain was contained in his contemporary black discourse and how he resisted it at the same time. The representation of the blacks in the work is a good example to show this. To what extent Huck can have human relationship with Jim is an important question to contest his interaction with his contemporary discourse. In my paper I examine various issues and problems I was faced with in the classes. In teaching A Connecticut Yankee in King Arthur's Court, the crucial discourses are industrialism and modernity. Here, what must be paid attention to is that although industrialism is a part of modernity, it is convenient to deal it separately from the issue of modernity. Twain was dominated by those discourses, but he criticized them on the other hand. Various issues can be discussed, related with the question how much he was contained in the discourse of modernity and how much he criticized it. Students' understanding of this work and his contemporary dominant discourses can be enhanced by discussing his ambivalence toward modernization, democracy. and the Medieval feudalism.

• English & American cultural studies
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• v.9 no.1
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• pp.239-272
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• 2009

Our investigation of the intricate relationship among nationalism, humanism, and imperialism begins from reading Song of Ariran, the auto/biography of Kim San recorded by Nym Wales, together with Margaret Drabble's fictional adaptation of Lady Hong's autobiography, The Memoirs of Lady $Hyegy{\breve{o}}ng$, in her novel The Red Queen, in which the story of Barbara Halliwell, a modern female envoy of Lady Hong, is interweaved with Lady Hong's narrative. In spite of their being seemingly disparate texts, Song of Ariran and The Red Queen are comparable: they are written by Western female writers who deal with Koreans, along with the Korean history and culture. Accordingly, both works cut across the boundary of fiction and fact, imagination and history, and the East and the West. In the age of globalization, Western women writing (about) Korea and Koreans traversing the historical and cultural limits inevitably engage us in post-colonial discussions. Despite the temporal differences--If Song of Ariran handles with the historical turmoils of the 1930s Asia, mostly surrounding Kim San's activities as a nationalist, The Red Queen is written by a twenty-first century British woman writer whose international interest grapples with the eighteenth-century Korean Crown Princess' spirit in order to reinscribe a story of Korean woman's within the contemporary culture--, both works appeal to the humanistic perspective, advocating the universal human beings' values transcending the historical and national limitations. While this sort of humanistic approach can provide sympathy transcending time and space, this 'idealistic' process can be problematic because the Western writers's appropriation of Korean culture and its history can easily reduce its particularities to comprehensive generalization, without giving proper names to the Korean history and culture. Nonetheless, the Western female writers' attempt to find a place of 'contact' is valuable since it opens a possibility of having meaningful communications between minor culture and dominating culture. Yet, these female writers do not seem to absolutely cross the border of race, gender, and culture, which leaves us to realize how difficult it is to reach a genuine understanding with what is different from mine even in these 'universal' narratives.

• Journal of English Language & Literature
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• v.58 no.5
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• pp.859-880
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• 2012

This paper aims at analyzing Robert Southey's Thalaba the Destroyer in relation to cultural colonialism of the British Romantic period and investigating the ways in which this text portrays the Other through its literary representation of the East. Especially, this paper attempts to show that the Oriental world constructed in Southey's text reveals the imperial subject's self-conscious awareness of its unstable relation with the unknown Other. For this purpose, this paper attends to the formal aspects of Thalaba the Destroyer, examining the process by which the reader's generic expectations about the "epic" undergo complex revisions and frustrations through reading this text. The epic elements contained in Thalaba the Detroyer include the battle between good and evil and the hero's moral epiphany arising from his struggle against malicious enemies. Yet, Thalaba the Destroyer constantly destabilizes the distinction between self and other by leading the reader to recognize the uncomfortable similarity between the poem's tyrannical figures and imperialistic monarchs in the Western civilization. Thus, when the hero enacts a revolution against despotism, the resistant power points not only to the imagined false kingdom within the text, but to the core of the real Empire that seeks to construct its own "garden" in the global scene. In addition, Southey's "panoramic" description of Oriental objects and stories in his footnotes lacks a framing perspective, erasing and de-stabilizing subject/object distinctions. In these footnotes, he exposes his profound attraction to the culture of "Other" and also conveys his aspiration to transforming Eastern myths and stories into profitable literary texts. Southey's attitude to the East in the footnotes appears to be partially grounded upon the interest of mercantile capitalists of the West, who need to discover potential commodities. Yet, simultaneously, he reveals a sense of moral hesitation about his own desire for the materiality of the East, along with deep anxiety arising from the fear of punishment.

• Journal of English Language & Literature
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• v.56 no.2
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• pp.237-253
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• 2010

In Christopher Marlowe's Cambridge days in the 1580s, the British forward wits were engaged in the curious pursuit of magic and occult philosophy in order to discover the mystery of things. Magic, together with judiciary astronomy, astrology, mathematics, and logic, was one of the most practical disciplines. Marlowe, Shakespeare, and Jonson demonstrate their deep interest in magic and its language of spell and charms in the light of their analogical application to the alchemical theatre. As Shakespeare says that the poet, the lover, and the madman are of the same because they give forms to airy nothing, a magical illusion is, for the three playwrights, similar to the theatrical illusion in that both magic and theatre work in and by a language and both give us sportive pleasures through the deceptio visus. However, while Jonson is rather puritanically antagonistic to the illusive language of alchemy and magic, Marlowe and Shakespeare are attracted to the rapturous nature of the absolute language of magic. Doctor Faustus' indulgence in magic stands for the Marlovian aspiration for the absolute language which allows no discrepancy between thinking and willing, conceiving and actualizing. His uses of spells, charms, anagrams, and magic books are transformed and translated in the play into an alchemical theatre. Faustus is dependant on and bound by his books of magic, as is the actor on the stage. Faustus is the poet condemned from the beginning. Though he is mistakenly thinking that it is he himself that manipulates Mephostophilis the magical agent, it is otherwise. Faustus is a shadow or an actor in the Elizabethan language. He remains a farcical figure during the twenty-four years which are given to him for his sensual dalliance. Marlowe never forgets through his farcical clowning to satirize such Catholic rituals as exorcism and benediction for their illusive theatricalism. The sports of Faustus' playacting and play-directing rise at the last hour to the height of a tragedy. Ironically Marlowe the playwright succeeds as a tragedian at the point where Faustus fails as a magician.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.745-765
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• 2009

The Eighteenth Century Shakespeare's Women Audiences: From Objects of Sexual Appetite to Ladies of Quality Abstract Younglim Han (Kyungpook National U) This paper aims to give an account of the eighteenth century Shakespeare's women audiences who marked a turning-point in the history of Shakespeare's popularity. The 1736 formation of the 'Shakespeare Ladies Club' as a leading group of the female audience encouraged the theater managers to perform more Shakespeare. Stage productions relied more than ever on the favorites of women audiences. The establishment of female patronage was associated with the popularity of Shakespeare's crossed-dressed comedies and actresses in 'breeches' part. The outstanding achievement of the Ladies was their contribution to the promotion of Shakespeare's status as an embodiment of British culture and the acknowledgement of the dignity of national literature. They were successful in securing the native sense of Shakespeare in place of Italian opera and Harlequin pantomime. The recognition of the national significance of Shakespeare led a campaign to erect his monument in Westminster Abbey. The female audience's claim to the respectable Shakespeare provided the stimulus for transforming his plays in the interests of family values such as marital duty and domestic morality. Marina (1738), George Lillo's adaptation of Pericles that was dedicated to the Ladies, was an exemplary case. The domestic versions of Shakespeare stressed the importance of women characters and the idealization of them. Thus the reception of Shakespeare in the eighteenth century was characteristic of formulating the women audiences-performers-characters association. The female yearning for a refined theater was a significant achievement, considering its influence on ways of establishing the canonical Shakespeare in the eighteenth century.

• Lingua Humanitatis
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• v.2 no.2
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• pp.203-221
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• 2002

The ideal of middle class British masculinity and the representative of the new Victorian respectability, the ″gentleman″ was difficult to define amidst the class mobility and social change of the nineteenth century. Was the gentleman to be identified by class and by money\ulcorner By behavior and clothing\ulcorner By religion and morality\ulcorner This essay focuses on the problem of the ″gentleman″ as it was debated in the Victorian era and as it was reflected in the biography and work of the mid-nineteenth century's most important English writer, Charles Dickens. I examine the critical debate surrounding the Victorian idea of the ″gentleman″ by comparing the arguments of Shirley Robin Letwin's The Gentleman in Trollope(1982) and Robin Gilmour's The Idea of the Gentleman in the Victorian Novel(1981). Letwin views the ″gentleman″ as largely transcending class structure, while Gilmour's more historically-conscious view locates the gentleman as emerging out of, and even enabling, the class negotiations of this period. Against the backdrop of such debates, I discuss Charles Dickens's struggles with the idea of the gentleman in theory and in practice. In his novels, especially his semi-autobiographical bildungsromane about the growth and development of boys into adulthood, Dickens prominently engages with the identity and definition of the gentleman. As I demonstrate in this essay, this interest originated from Dickens's own childhood trauma and his subsequent drive to attain gentility, a necessity complicated by the vicissitudes of his personal and professional life.