• International Journal of Computer Science & Network Security
• /
• v.22 no.11
• /
• pp.324-330
• /
• 2022

The United Kingdom is known for the quality of its qualifications. There is a strict quality system with reputable bodies responsible for ensuring that high quality standards are met. In order for new qualifications to be accredited, they must meet all the requirements set out in the regulations for the quality and informatization of Education. The crucial role of the Agency for Quality Assurance of Higher Education (QAA) in the UK for creating high-quality management of higher education institutions is revealed, the influence of informatization tools on its effective mechanism as an independent entity is shown, and positive experience for the educational sector is highlighted. While the universities themselves are responsible for reviewing educational programs at the subject level, the QAA review focuses on verifying internal quality assurance, as well as systems and improvement strategies. The QAA uses a peer review process in which teams mostly consist of academic staff from other institutions to assess the quality of the institution's education. In Scotland, the team also includes an international reviewer. The student is also a member of the Scottish teams. In the UK, attention is paid to providing a cohort of experienced reviewers who can conduct high-quality monitoring and help with advice on improving education. All reviewers must complete training and have permission to participate in the review of educational programs. There are selected committees that are members of the QAA council, each of which is headed by a member of the Council or an independent person approved by the Council. Attention is drawn to the main areas of the QAA's work in the framework of environmental, social and corporate governance.

• Journal of English Language & Literature
• /
• v.55 no.4
• /
• pp.567-596
• /
• 2009

A staple of feminist literary anthologies which was instrumental in reevaluating the writer Susan Glaspell, Trifles(1916) has received numerous comments from feminist scholars so far. Most of them tend to concentrate on the themes of female solidarity and justice challenging the androcentric system of law and order. Lacking in the plethora of thematic approaches to the play's feminist subject, however, are formal analyses considering the way in which the play's generic form assists in communicating such thematic concerns of feminism. An alternative to the typical scenario at the courtroom whose mistreatment of women must have loomed large to the young Glaspell as she revisited the old trial of a midwestern murderess which she had covered as a journalist for a local newspaper in Iowa, Trifles serves as a corrective to the courtroom dynamics offering a 'dramatic justice' as opposed to a strictly legal procedure. What this article discovers at the heart of this dramatic justice is the celebration of the unsayable, or what Wolfgang Iser termed negativity, of women's experience which has no room for reflection in the legal discourse at the courtroom tyrannized by the sayable and the evident. Examining how the dramatic form of Trifles gives a voice to the unsayable of woman's experience, which can not be properly represented at the courtroom governed by the straightforward and definitive male rhetoric, the article argues that the play is a better form than its fictional adaptation "A Jury of Her Peers"(1917) in that it syntactically suppresses the monopolizing operation of the verbal by giving precedence to the scenic and non-verbal which is constituted of setting, props, gesture and eye contacts. As a theoretical frame of reference with which to examine the modes of the unsayable in the play the article brings the concept of 'negativity,' defined by Iser as textual effects or modes of the unspeakable and unsaid, into the discussion of the taciturnity of the absent heroine and the non-verbal representation of drama.

• Journal of English Language & Literature
• /
• v.55 no.4
• /
• pp.693-718
• /
• 2009

Kate Burns, a disillusioned Irish woman in Quetzalcoatl, has alternating feelings of fear, repulsion, oppression, compassion, and fascination vis-à-vis Mexican people. Together, these feelings are constitutive of a psychic process in which an imaginary appropriation of the other takes place. In this process white subjectivity represents or reconstructs the dark race precisely as its other. At the same time, Kate's feelings register her anxious recognition of the resistant, unappropriated being of the dark people: their true 'otherness,' or what Žižek calls "the excess of existence over representation." The otherness, frequently racial and sexual, evokes mixed feelings in the white subject. Kate's at once amorous and aggressive response to Ramón's body provides a case in point. Kate's emotional undulation is considerably mitigated in The Plumed Serpent, the revised version of the novel in which the theme of 'blood-mixing' is pushed to the ultimate point. Yet the interracial marriage resolves neither the racial nor the ontologico-sexual issues raised in the first version. Kate is still attracted to Ramón in his sagacious sensuality but goes on to get married to Cipriano, a pure Indian, only to find his mechanical masculinity ever unpalatable. This shows, not just Lawrence's wilful commitment to the 'blood-mixing' theme, but perhaps his lingering taboo against miscegenation as well. Changes in the plot entail those in the narrative voice. In Quetzalcoatl, Owen, a spectatorial and gossipy character, frequently competes for narration with the fully participant third-person narrator. In The Plumed Serpent, the third-person narrator becomes predominant, now attempting with greater confidence to present the reality of the racial other immediately to European readership. While such immediacy is illusional, narrative insistence on it implies a struggle to displace racial stereotypes and offer an experiential understanding of the other.

• Journal of English Language & Literature
• /
• v.56 no.5
• /
• pp.773-796
• /
• 2010

This essay examines, first, the possibility and limitation of Asian America as a category of identity and its political and cultural implications through various theoretical perspectives. Here, by closely reading David Mura's poem "The Colors of Desire," I will argue that "Asian America" as a category of identity is now on the verge of falling apart and its politics of identity is no longer an effective way of fighting back against racism in the US. It is because Asian America is indeed what might be called a historical block, a product of ad-hoc coalition between different ethnic groups historically situated and constructed. In this sense, it is a kind of phantasmal object that is marked by practical absence. This fabricatedness inherent in Asian America as an identity category signifies that it has no essence that is meant to define the group in a transcendental way. The internal totality and coherence of that identity can thus be achieved only by suppressing differences between various ethnic groups and positing a single 'authentic' Asian American identity and culture. More dangerously, according to Viet Nguyen, such idealization of a single subject position can reinforces ideological rigidity that might threaten the ability of Asian America to represent itself in a unified fashion. Then, he predicts, Asian America will lose its cohesive force and fall apart. Eventually, every group within Asian America will be ethnicized. The only way of escaping from this bleak situation, as Vincent Cheng argues, is to foregroud the fabricatedness and ad-hocness of Asian America and to perform "inauthenticity," because Asian America is nothing but a functional category that is marked by absence of essence or authenticity. If Asian Americans admit that they have no essence and that they are essentially inauthentic, the practice of performing inauthenticity can become what we might call an alternative Asian American culture and identity.

• Journal of English Language & Literature
• /
• v.57 no.6
• /
• pp.999-1016
• /
• 2011

In The Turn of the Screw, the go'erness encounters with the apparitions that harrow her throughout the story: she sees a frightening male ghost that Mrs. Grose identifies as Peter Quint, deceased former 'alet of the children's uncle, who had pre'iously shared the charge of the children with the pre'ious go'erness, Miss Jessel. The appearance of the ghosts hails the go'erness and thereby forces her to be jarred out of the comfortable habits of indi'iduality and plunged into a negati'ity de'oid of the socio-normati'e directi'es and guarantees. Such an encounter shows the idea that consciousness is a plenum of existence e'ocati'e of human mind as a decentered pandemonium. For the go'erness in The Turn of the Screw, the foundation to force her to experience the uncanny, as an inconsistency in the symbolic order, is particular. Its particularity is absolute in the same way e'ery one of us dreams his or her world. It resists mediation and cannot be made part of a symbolic medium. Just as Lacan's conceptions of desire, feminine sexuality, 'Object a,' not-whole, sla'ery, mastery, self-deception, authenticity, and act of psychoanalysis help us understand our contradictory social reality, so does The Turn of the Screw help us make sense of the way the go'erness, as the being who is capable of raising the question of being, questions the idea of being. In conclusion, the particular way the go'erness dreams her world is e'ocati'e of an excessi'e being, an anatomical complement, and a particular experience, such as the go'erness's encounter with the ghosts testifies to a knowledge that escapes the knowledge of the speaking being.

• Journal of English Language & Literature
• /
• v.55 no.1
• /
• pp.153-176
• /
• 2009

This paper attempts an allegorical reading of female sexuality in Henry James' The Aspern Papers, wherein the narrator reveals his obsession with the love letters of the dead poet, Jeffrey Aspern. Not only the old papers, but does he also fetishize female protagonists in order to maintain his belief in the "great poet." Discussing such fetishistic elements in the novella is in order firstly to reveal the self-splitting logic of phallocentric language, and secondly to analyze the limitation of such language, which resonates with the Freudian construction of female sexuality as critically presented by Irigary. The first part of this study explains the binary structure of The Aspern Papers crystalized in the symbolic courtship in the Bordereaus' garden. It also represents the psychological mindset of the narrator/protagonist: symbolically located "outside," the narrator describes the two Bordereaus as being closed "inside" in a dark mansion, concealing the precious papers from him and the public. In other words, the women are nothing but the obstacle for the self-elected agent, the narrator, from the publication of the language and ideas of the "great man". The women are associated with secrecy and surreptitiousness, while the man with transparency and the truth. Second part of this paper mimics this In/Out binary as a means to reveal insufficiency, if not impropriety, of the predominant discourse of female sexuality constructed and controlled from the male perspective. Employing Irigary's argument, this paper reads the female characters as allegory for female sexual organs, which explains the narrator's inevitable failure. That is, female sexuality is something that cannot be articulated by the intruding language of a masculine subject. since the female sex as such is not only plural but also harmonious and self-contained,

• Journal of English Language & Literature
• /
• v.58 no.5
• /
• pp.903-941
• /
• 2012

This essay examines Edward Said's Culture and Imperialism focusing on the concepts of 'culture,' 'empire,' and 'nation'. The approach is critical, theoretical, and historical rather than explicatory. Consequently, the range of the essay is not limited to Said's own explanation and argument about Western imperialism and its culture presented in the book. In doing this, this essay finally purposes to be a discursive resistance to the current global empire, the United States, via a critical reading of Said's work. Said's notion of culture is set upon to disclose the function of culture as an apparatus of ideological consent of the dominated to the dominant. When applied to imperial practice, Western culture functions to subject the colonized to the colonizer. Said's geographical approach to imperialism complements the historical understanding of imperialism. Imperialism is not only the practice of Western-centered historicism but also the spatially mutual interaction between the West and the rest of the world. Along with European imperialism, Said poses the current global empire of the United States as his main target of criticism. Said's problem is that he takes the United States as a nation-state. When examined, the United States is not a nation-state, but today's empire. The empire in the appearance of the nation-state United States does not work for the interest of the American nation, that is, the American people. The empire is the transnational and postnational political and economic institution that works for the interest of global capital. In order to resist the current global empire, this essay suggests that the building or restoration of nation-states with its basic principle of people's sovereignty is in need.

• English & American cultural studies
• /
• v.14 no.1
• /
• pp.95-116
• /
• 2014

Paul Auster's The Locked Room, the third novel of The New York Trilogy, has been examined by many critics in terms of anti-detective fiction or postmodernism. However, this paper focuses upon how the author adopts and utilizes some key elements of the traditional detective novel and its literary tradition. Mystery storytelling is one of Auster's literary strategies and the theme of the double is another. For his novel Auster explores the theme of the double as in Poe's "William Wilson." In The Locked Room, the narrator "I" is described as a shadow of his childhood friend Fanshawe. After Fanshawe's disappearance "I" becomes a literary agent for his friend, and becomes a husband of his friend's wife and a father of his friend's child. Searching for information to write a biography of his friend, he realizes that his friend has always been living inside his skull condemned to a mystical solitude. When Fanshawe appears in the narrator's mind as an image of the door of a locked room, the locked room is also a metaphor for the closed consciousness of the narrator. In his strategy of mystery storytelling, Auster employs the quest of detective fiction as well as the irony of Oedipus the King, where the criminal pursued by the king turns out to be himself. The Locked Room starts with the mystery of Fanshawe's disappearance, and as the novel develops, the narrator pursues numerous clues about his biographical subject like a private eye. Ironically, however, he finds that the ghost of Fanshawe has always been with him and that this is inevitable. As the narrator resolves to quit his life as a double, he contrives to name a strange man Fanshawe as if he tries to turn his biographical subject into a fictional character in the same way Fanshawe has controlled the narrator like a character in Fanshawe's novel. Beaten by the fictional Fanshawe and recovering from a near-death experience, the narrator prepares for his final showdown with Fanshawe. The transcendence of his existence as a double is epitomized by his act to tear off the red notebook handed to him by Fanshawe, which confusingly delivers a message that a life is doomed to be a failure. The narrator's act to cut off Fanshawe's influence bespeaks his breaking out of his locked consciousness and a new start for his life with his own identity.

• Cross-Cultural Studies
• /
• v.51
• /
• pp.329-356
• /
• 2018

Types of emotional expressions are comprised of vocabulary that describes emotion and composition of sentences to express emotion such as an exclamatory sentence and a rhetorical question, expressions of interjection, adverbs of attitude for an idea, and a style of writing. This study is focused on vocabulary that describes emotion and analyzes the aspect of translation when emotional expression of 'Kyo(驚)' is shown in "Kokoro". As a result, the aspect of translation for expression of 'Kyo(驚)' showed that it was translated to vocabulary as suggested in the dictionary in some cases. However, it was not always translated as suggested in the dictionary. Vocabulary that describes the emotion of 'Kyo(驚)' in Japanese sentences is mostly translated to corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Different vocabulary was added or used to maximize emotion. However, the corresponding part of speech in English was different from Korean. Examples of Japanese sentences expressing 'Kyo(驚)' by verbs were translated to expression of participles for passive verbs such as 'surprise' 'astonish' 'amaze' 'shock' 'frighten' 'stun' in many cases. Idioms were also translated with focus on the function of sentences rather than the form of sentences. Those expressed in adverbs did not accompany verbs of 'Kyo(驚)'. They were translated to expression of participles for passive verbs and adjectives such as 'surprise' 'astonish' 'amaze' 'shock' 'frighten' 'stun' in many cases. Main agents of emotion were showat the first person and the third person in simple sentences. Translation of emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as in Korean. However, adverbs of time and adverbs of degree were ended to be added. The first person as the main agent of emotion was positioned at the place of subject when it was translated in English. However, things or causes of events were positioned at the place of subject in some cases to show the degree of 'Kyo(驚)' which the main agent experienced. The expression of conjecture and supposition or a certain visual and auditory basis was added to translate the expression of emotion when the main agent of emotion was the third person. Simple sentences without the main agent of emotion showed that their subjects could be omitted even if they were essential components because they could be known through context in Korean. These omitted subjects were found and translated in English. Those subjects were not necessarily human who was the main agent of emotion. They could be things or causes of events that specified the expression of emotion.

• Cross-Cultural Studies
• /
• v.53
• /
• pp.131-161
• /
• 2018

Emotional expressions are expressions that show the internal condition of mind or consciousness. Types of emotional expressions include vocabulary that describes emotion, the composition of sentences that expresses emotion such as an exclamatory sentence and rhetorical question, expressions of interjection, appellation, causative, passive, adverbs of attitude for an idea, and a style of writing. This study focuses on vocabulary that describes emotion and analyzes the aspect of translation when emotional expressions of 'Hu(怖)' is shown on "Kokoro". The aspect of translation was analyzed by three categories as follows; a part of speech, handling of subjects, and classification of meanings. As a result, the aspect of translation for expressions of Hu(怖)' showed that they were translated to vocabulary as they were suggested in the dictionary in some cases. However, they were not always translated as they were suggested in the dictionary. Vocabulary that described the emotion of 'Hu(怖)' in Japanese sentences were mostly translated to their corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Also, different vocabulary was added or used to maximize emotion. However, the correspondence of a part of speech in English was different from Korean. Examples of Japanese sentences that expressed 'Hu(怖)' by verbs were translated to expression of participles for passive verbs such as 'fear', 'dread', 'worry', and 'terrify' in many cases. Also, idioms were translated with focus on the function of sentences rather than the form of sentences. Examples, what was expressed in adverbs did not accompany verbs of 'Hu (怖)'. Instead, it was translated to the expression of participles for passive verbs and adjectives such as 'dread', 'worry', and 'terrify' in many cases. The main agents of emotion were shown in the first person and the third person in simple sentences. The translation on emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as it was in Korean. However, adverbs of time and adverbs of degree tended to be added. Also, the first person as the main agent of emotion was positioned at the place of subject when it was translated in English. However, things or the cause of events were positioned at the place of subject in some cases to show the degree of 'Hu(怖)' which the main agent experienced. The expression of conjecture and supposition or a certain visual and auditory basis was added to translate the expression of emotion when the main agent of emotion was the third person. Simple sentences without a main agent of emotion showed that their subjects could be omitted even if they were essential components because they could be known through context in Korean. These omitted subjects were found and translated in English. Those subjects were not necessarily humans who were the main agents of emotion. They could be things or causes of events that specified the expression of emotion.