R.S. Thomas, a priest and poet, suffered from so much stress caused by complex human relationships, especially with parishioners who lost their faith, in his second parish, Eglwys-fach, Wales that he believed the reality is harsh and absurd. This led him to compose a lot of poetry involving his agony. He raised questions and doubts against not only the absurd reality but also God's existence. However there was no answer. Then he kneeled down before the "untenanted," or empty, cross in his church by himself for the vigil to pray or query to God. "Untenanted" means Christ's absence on the Cross because he was deposited from the Cross and thus his absence proves his presence. So does God's absence. At last Thomas concluded that we could reach for God's realm, "truth," through "imagination" and called it "imaginative truth." He also said God revealed Himself through the medium of nature. So he left church and wandered in the wild nature to search for God or God's absence that proves His presence. This is paradox; but this paradoxical idea is made from his strong faith and his harsh experience in Wales.

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D. H. Lawrence (1885-1930), generally viewed as a tenacious traveler, embarked upon a journey in 1922, and continued to travel abroad until his death in 1930. It is obvious that the discussion over the foreigner became a recurring theme in his writing. As is so often in the Western classics, Lawrence tends to give the foreigner negative characteristics, by describing them as strange and horrible. Nowhere is this tendency more apparent than in Kangaroo (1923), written during his stay in Australia. Kangaroo, prompted by the desire to explore Australian cultural otherness, gave rise to controversy among critics because of its ambiguous description of the foreigner. This notion of the foreigner can be linked with Julia Kristeva's theory of abjection, which insists on the blurring of the boundary between the subject and the object. It is fair to say that Kristeva, drawing from Freud's essay, "The Uncanny (1919)," discloses the true characteristics of the foreigner. Referring to Kristeva's Strangers to Ourselves (1991), this paper explores where the foreigner/abject exists in colonial discourse in Kangaroo and clarifies why we feel intimidated when exposed to the foreigner.

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Cleansed (1998) premiered at the Royal Court Theatre as the third play by Sarah Kane (1971-1999). Set within a male institution, this drama portrays romantic relations of characters, and Grand-Guignolesque atrocities suffered by the inmates. As the author states, this play inherits a key setting from Twelfth Night (1600). Its heroine, Grace, is a cross-dresser imitating the appearance of her late sibling Graham, just as Shakespeare's Viola dresses herself the same way as her lost brother Sebastian. In this article, our analysis focuses on closely looking at the theatrical within Cleansed. Starting with a comparison of disguised heroines in this piece and Twelfth Night, Section II and III demonstrate that Grace's partial imitation of her late brother can be interpreted as a theatrical form of mourning to produce her private illusion that Graham is alive. In the last section, referring to Grace's final remark "help me" to another inmate of the institution, our discussion reveals how the function of her quasi-transformation into her sibling allegorically represents the staging of this play, whose performance is to be completed by imaginary commitment of the audience to reunite its fragments.

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In Great Expectations, Charles Dickens depicts realization of fictitious information and feelings through repetition, such as Pip's love for Estella. This study investigates how the repetition of information makes fiction real in the novel, analyzing two plays as other examples: Macbeth and Coriolanus written by William Shakespeare. In these three works, not only the repeated fiction become or at least affect or change the reality, but also two kinds of media in different levels are found. In this paper, they are called Legion in the New Testament and the beast with many heads in Coriolanus respectively. This division is useful to understand how a medium works in the process of making fiction real. The theater in the real world is the Legion. For, the play is performed not to a specific individual but to the whole audience. The theater obscures identifiable individuals and creates a group which is real but fictional in function. The audience becomes the beast with many heads. The part-publication, the medium in which Great Expectations was published resembles the theater; it creates a readership much like an audience. This medium made Dickens conscious of the fiction-reality correlation.

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