Today, there are a multitude of papers being written on films that deal with multicultural society. However, it is difficult to find research on German films that deal with multicultural societies from the educational perspective of cultural exchange. This paper chooses the following four German films and aims to examine them from that perspective – Doris Dörrie’s Kirschblüten, Fatih Akın’s Solino and Gegen die Wand, and Percy Adlon’s Bagdad Café. Kirschblüten is about longings for and communication with other cultures, Solino about cultural differences and ways to overcome them, Gegen die Wand about cultural conflicts and identities, and Bagdad Café about cultural connection and communication. What is of particular importance in handling these movies in the classroom will be to raise and discuss relevant pedagogical questions to encourage the students to contemplate the various aspects of cultural encounters as their own issue. Thus, the ultimate goal of the education should be the learning of the values of coexistence, harmony, and exchange that are required of any multicultural society.

이 서평은 위의 3작가의 작품을 최근 아일랜드 소절의 중심적 작품으로 본다.

예이츠의 희곡 『유리창에 쓰인 사랑의 노래』는 스위프트의 열정, 공포, 사랑을 극화한다. 그는 효과적 무대장치와 시적 장치로 스위프트와 그의 연인들의 강렬한 열정과 사랑을 끌어낸다. 즉, 그의 극적, 시적 도구들이 극을 극단적 아름다움과 웅장함에 도달하게 한다. 그는 찰스 로렌스의 극 『스위프트와 스텔라』에서, 스위프트의 전기에서 여러 가지를 빌려오지만, 모두를 완전히 자신의 극에 녹여서 자신의 극을 전혀 새롭고 정교한 극으로 변화시킨다. 예이츠의 최후의 최고의 걸작 중의 하나이다.

이 논문은 예이츠부부가 결혼 초기에 실시했던 자동기술의 상당부분이 매우 개인적이며 성적인 내용으로 이루어져 있는 점에 주목하면서, 그러한 성적인 내용들이 자동기술에 어떻게 표현되어 있으며, 그것들은 자동기술에 표현되어 있는 철학적이고 종교적인 내용들과 어떤 관련성을 갖고 있는가, 또한 자동기술이 『비전』으로 엮어지는 과정에서 그러한 사적이고 성적인 내용들이 감추어지게 된 이유는 무엇이며, 그것들은 예이츠의 삶과 시에 어떤 영향을 주게 되는가에 대해 살피고 있다.

The relationship between Yeats and Gonne seems to show an example of the traditional courtly love. Courtly love was a medieval Europe conception of nobly and chivalrously expressing love and admiration. Under this relationship, although a male expresses the devotional love to a female, a woman shows no love and pity for a man and a woman is an object who uplifts a man's spirit. This relationship may be said to show the man's fear of castration. The relationship between Yeats and Gonne starts by his admiration for her beauty and sternness as a nationalist for the Irish Independence. Also, he glorifies her as a secret being. Moreover, Yeats's love for her shows the doubleness: erotic and spiritual, humane and transcendental, and humiliating and proud. However, Gonne's coldness leads Yeats to desperation. And the last step shows Yeats's fear of castration for the politically-minded Maud Gonne. In Rose, there is Yeats's admiration for the secret woman, Maud Gonne. Yeats's unrequited love leads finally to desperation and sorrow for love, facing Gonne‘s unwavering coldness as a nationalist, which leads Yeats to give her up, showing a kind of fear of castration.

The purpose of this paper is to cross-culturally analyze the meaning of 'love' in Korean and American pop lyrics of 1980's. Pointing out that the information provided by dictionaries is not sufficient to understand the cultural meaning of 'love', the corpus analytic method of semantic prosody is introduced as it is explicated by Hunston (2002). Using this semantic prosody technique, three different sets of pop lyrics are analyzed with WordSmith Tools software. The three data sets, one Korean and two American, represent 150 pop lyrics. Specifically, these texts are analyzed in terms of distribution patterns of 'love' in the lyrics. First, the modification pattern of 'love' is investigated. It is found that the Korean data is significantly skewed toward negative expressions, producing negative semantic prosody of 'love', while the American data which reflect American culture is overwhelmingly skewed toward positive expressions, producing positive semantic prosody. That is, Koreans experience 'love' in a fairly negative terms in their pop music, while Americans basically treat it positively. Interestingly, the American pop lyrics popular with the Korean public show in-between characteristics. Next, the predication patterns of 'love' are investigated when it plays the role of subject NP. The result again shows that these two cultures define 'love' drastically differently in their pop music. In sum, the semantic prosody technique proved to be useful as an analytic method for cross-cultural studies.

The purpose of this paper is to examine the theme of The Only Jealousy of Emer, one of W. B. Yeats's 'Cuchulain plays'. The central action of the play is the struggle of three women—Emeer, Eithne Inguba and Fand—for possession of Cuchulain. Unlike Eithne Inguba's confused, cowardly action, Emer's behavior is brave as well as insightful. And as the chorus suggests, Fand's allurements are transitory. Fand's metallic allurement contrasts with Emer's passionate suffering. Fand wants to catch him to fulfill herself, not to aid in his salvation. Emer is more courageous than Eithne Inguba, more self-sacrificing than Fand, and more forgiving than Aoife. Emer's love for her husband transfigures her, whereas Aoife's vindictive hatred for Cuchulain costs them their only child. Emer is certainly a Yeatsian heroine who performs as nobly as Deirdre or Cuchulain. Yeats's most immediate source for his Cuchulain plays was Lady Gregory's Cuchulain of Muirthemne, but he significantly altered the source to serve his purposes. Emer's thwarted desire to attack Fand with her knife is one of the few links between Yeats's source and his much changed finished work of art. From this primitive tale of vengeance and jealousy, Yeats created a sophisticated drama of mental suffering and self-sacrifice. A second major change in the source involves Cuchulain's recollection of Fand's attempt to ensnare his soul. Both his fear upon awakening and his later praise of Emer for saving him suggest that he is glad of his deliverance, not despondent over the loss of Fand. Yeats's greatest modification came in his treatment of Emer's temperament. Instead of the jealous wife of seeking vengeance for herself, she is jealous only for her husband's well-being. By renouncing the love of the man she needs to end her loneliness, Emer proves herself superior to the source heroine. In the final version, Yeats dramatized, through Emer's hope for the return of Cuchulain's love for her, through her initial inability to give up her hope of winning back his love, and through her final renunciation of his love, the depth of her love and the extent of her sacrifice.