The authors tried to show that the economical improvements followed by the successful publication and sales of Lady Chatterley's Lover lead to the gradual and important change in D.H. Lawrence's attitude towards his own economical conditions, which may even partly account for his slightly shifted world view, as seen in his later works. Mention is also made to the unpublished memos Memoranda Book, which distinctively shows how Lawrence struggled with the incoming flow of money by the sales of his most notorious novel of his day. His newly expanded income brought about significant changes to his life. Even his exodus from Britain, after the long-term confinement in the United Kingdom because of WWI, would have been impossible without additional income from his various literary activities. The change is quite well illustrated in his Pansies published in 1929, which appearstobe scatteredwithso many uses ofthe word,'money'and itsclosely relatedwords andphrasesinmanyofthepoemscontained. Someofsuchpoemsapparentlyshowthetrail of his thoughts which was changing from contemptuous to condescending ones, especially to people of all classes in the British society in his times. Contrary to the general evaluation of Pansies, the poems are found to be of great value to Lawrencian scholarship especially in the fields of his biographical incidence and poetic works.

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The melodrama The Bells will always be connected with Sir Henry Irving, acclaimed Victorian actor-manager of the Lyceum Theatre. The fortunate involvement of the actor with the play created a legend in the world of theatre. On February 13th 2006 at the Lyceum, to mark the centenary of Irving's death, the Bacchae Productions drew together a cast led by Steven Berkoff to pay tribute to the world's first theatrical knight. Although it cannot be denied that, in his day, his performances reached the hearts of his audiences, it seems worth considering why he is still closely related to the play, even though his enthusiastic audiences have long since gone. The main focus of this paper is to examine how the tight bond between the actor and the play was created, why Irving's impressive performances as Mathias still live on even a hundred years after his death, and the unique significance of this bond. To discuss these issues, some of the noteworthy productions of The Bells such as the first night, the performance at Sandringham House by royal command and the final performance are examined in order to shed light on the special bond between Irving and the play.

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In his The Elements of Law, De Cive, and Leviathan, Thomas Hobbes says that the English common lawyers in the seventeenth century confused lex with jus, law with right. He emphasizes that "Right, consisteth in liberty to do, or to forbear; whereas Law, determinth, and bindeth to one of them." (Leviathan,117) In brief, he regards right as liberty, or the absence of obligation and law as restraint, or the imposition of obligation. And he insists on a sharp distinction between right and law, and that right is priority of law. Hobbes's distinction between right and law is criticized by many commentators. For example, Richard Peters criticizes the word right Hobbes says for "a strange use." On the other hand, Leo Strauss admits the comment that Hobbes subordinates law to right. And Richard Tuck follows Strauss. Which comments are true? This is one of my subjects, though it is very difficult to solve. I dealt with this subject by Hobbes's method and his linguistic theory in De Corpore. And I reached the conclusion that the comment of Strauss is more proper than that of R. Peters.

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The heroine of Jerusalem the Golden, Clara Maugham, does not like her home and seeks to escape from it. She detests it because of her mother, Mrs Maugham. Mrs Maugham greatly differs from the stereotyped image of mothers; she is not kind, generous or affectionate. On the contrary, she is inconsistent, stubborn and spiteful. She torments Clara in many ways and weakens her power to live. Clara thinks that she has to escape from her home and her native town, Northam, in order to live her life fully and become happy. For her, Northam symbolises Mrs Maugham. On the surface, it appears that this novel depicts how Clara lives her life seeking happiness. But if we read it deeply, we notice that there exists a secondary theme: Clara's resistance towards Mrs Maugham's domination. In this paper, I have studied Clara's relations with each of her family members, especially Mrs Maugham. Furthermore, I have studied English middle-class family relationships by comparing the relationships among the members of the fictional Maugham family, and the relationships among the members of Margaret Drabble's actual family. Drabble says that relationships among family members in England used to be cold. She also says that she herself had a lonely childhood, especially because of a strained and unhappy relationship with her elder sister. Judging from her words and works, she seems to want human relationships in England, including family ones, to deepen.

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This paper argues that Moby-Dick can be read as a textbook on cross-cultural understanding and interaction, and that its narrator and central figure, Ishmael, proves himself an excellent cross-cultural educator. In the introduction, the relationship between this particular reading of Moby Dick and the ideas of well-known Melville critics.Matthiessen, Chase, and Arvin.is discussed. Then, after an examination of the difficulties that the first-person narration of the somewhat crazy Ishmael present, both the cross-cultural relationship between Ishmael and Queequeg and the way in which the whale and whaling become a metaphor for cross-cultural experience are examined in detail. Finally, seven lessons on the nature of cross-cultural understanding that Ishmael provides for readers are outlined. It is concluded that, though Moby Dick is "a very big book"(Kazin), one not easily summarized, it remains a book greatly concerned with cross-cultural understanding.and misunderstanding.

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Donald Barthelme's Snow White (1967), a metaphysical parody of the famous fairy tale "Snow White," has been often discussed as a representative of the postmodern fiction of the 1960s. Although a number of studies have interpreted on this novel with particular attention to its literary devices in the text, very few have centered on why Barthelme purposely selected "Snow White" from among numerous fairy tales for the groundwork of his narrative. From a cultural point of view, we can note that the family-like urban community, where an adult heroine Snow White and her seven lovers cohabit, mimics young hippies' communes of the mid 60s. Therefore, it may be justifiable to assume that the characters' flight from the original fairy tale setting is rather similar to the counter-cultural rebellion by the young against the existent patriarchal authority. In this paper, I would like to propose a hypothesis that the controversial "revirginization of Snow White" at the end of the novel is a postmodernist challenge to a mountain of traditional literary works. With a close analysis of both cultural and counter-cultural representation that this novel reveals, I shall examine how effective the "Snow White" motif is in Barthelme's highly deconstructive fiction.

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Truman Capote invented a new style of "non-fiction novel" in his work, In Cold Blood (1966). About 40 years after its publication, the situation of documentary has drastically changed. Capote's In Cold Blood adopted some elements of fiction into the documentary realm.a revolutionary approach to the genre. Indeed, many journalists were impressed by his work, and the movement of "new journalism" was brought about. The 2005 film Capote was focused on Capote himself who was making his new documentary work, In Cold Blood. In effect, the film Capote showed the "behind-the scenes" of Capote's struggle to create the non-fiction novel. Besides, the film represents an outstanding depiction of the transition of documentary over the past 40 years. In recent documentary works, extreme importance is placed on the viewpoint of camera. In Cold Blood did not directly depict the relationship between the author and the targets. Those targets were deeply affected after connecting with Capote himself, but Capote could not write about these aspects. The film Capote, on the other hand, emphasized the author's dilemma. This paper will reexamine the achievements of new journalism, and explore the possibility of docu/fiction bridging the gap between documentary and fiction.

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Previous work has attempted to account for a variety of linguistic phenomena specific to second language acquisition with respect to accessing Universal Grammar (UG) and resetting parameters from the first language to the second language (see Schwartz and Sprouse (1996) and White (2000, 2003)). Regardless of the degree of the access, partial or full, the possibility of access to UG does not necessarily mean that the processing proceeds in second language acquisition like it does in first language acquisition: first syntactic principles work and then semantic and pragmatic principles function in the language faculty, as presented by the Modularity Matching Model proposed in Crain and Thornton (1998). This paper demonstrates that semantic factors influence the acquisition of the syntax of negative polarity items in the language faculty in second language acquisition. Analyzing the results of elicited production tasks which were conducted on Japanese university students learning English, I will show that semantic and syntactic principles work simultaneously from the viewpoint of Antiveridicality proposed in Giannakidou (1998, 2000) and that of Feature Checking under the framework of the Minimalist Program proposed in Chomsky (1993, 1994, 1995, 2000)

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