“The Love Song of J. Alfred Prufrock” and “Portrait of a Lady,” two major works of T. S. Eliot’s early poems, have been regarded as a kind of ramatic monologues. Many critics indicated that Eliot’s use of dramatic monologue was different from Victorian poets’, so they called Eliot’s dramatic monologues “interior monologues” or “psychologues.” However, some critics like Won-Chung Kim insisted that Eliot’s and Robert Browning’s dramatic monologues shared some characteristics by comparing their masterpieces, “The Love Song of J. Alfred Prufrock” and “My Last Duchess.” In this paper, my premise is that Eliot’s dramatic monologues are different from Victorian poets’ like Browning’s because I think that Eliot changed the technique of dramatic monologue to reflect the spirit of his age, that is, the beginning of the 20th century. In the early 20th century, many writers including Eliot thought that the self is illogical and split, and claimed that they should focus on the human consciousness and try to find the method to express it. In his early poems, Eliot expressed the speakers’ consciousness that was divided. Some critics has also indicated that the speakers of Eliot’ early poems have self-conscious character caused by the split self. To create this character of the speakers, I think, Eliot adapted the technique of dramatic monologue. While the traditional dramatic monologues focus on showing the speakers’ values, Eliot’s show the conflict of the speakers’ doubling self that produces the effect of irony. The speakers’ doubling self consists of the superficial and the fundamental self. One represents the self that tries to conform to the life style of the bourgeois world and is very concerned about people’s judgment. The other represents the self that longs for something higher, more emotional and spiritual. When this doubling self collides with each other and causes conflict, the speaker observes himself in a dramatic way, that is, as a object. Then, the speaker returns to his daily life again.

According to Martin Heidegger’s argument that human emotions and feelings play an important role in defining modernism, the elements of melancholy must have been a crucial element in characterizing modernism. In this respect, T. S. Eliot’s “The Love Song of J. Alfred Prufrock” and The Waste Land that are regarded as reflecting modernistic phases have been analyzed to show how the elements of melancholy appear in them and to what degree they present modernity. The keen awareness of fragmentation and the impossibility of totality in modernism as part of modernity has been shown to have a lot to do with melancholy. The concept of melancholy is not a brand new term which was born in modernism, rather it was a “reinvented” and “reassessed” concept that already has quite a long history. On the threshold to the contemporary era, a number of critics and writers came to be deeply interested in and did a lot of research about melancholy. Remarkably, modern critics are doing insightful studies that can illuminate the deceitful desires that are produced by capitalist society that leave people in discontentment permanently, which acts like a sense of loss. Their analyses about the mechanism of melancholy are expected to help analyze the relation between melancholy and capitalist society. In that aspect, even though melancholy appeared in modernism era, still the concept of melancholy seems to be a great issue that can be very helpful to understand the cultural aspect of contemporary era.

A new rose variety, ‘Love Letter’ was selected from the progenies of a cross between ‘Red Giant’ and ‘Ensemble’ by rose breeding team of the Gyeonggi-Do Agricultural Research and Extension Services(GARES) in 2011. ‘Love Letter’ was crossed in 2007 and seedlings were produced. After the test of specific characters from 2008 to 2011, it was finally selected and named. ‘Love Letter’ was developed because of distinctive characters such as growth uniformity and high yielding potential. A standard type with large sized flower, It has red(Red Group 46A) color flower. ‘Love Letter’ takes 43 days from pruning to blooming and cut flower productivity was 152 stems/m2 in a year. The stems of cut flower have no thorn and the length was long with 70.5 cm. It has 9.3 cm in flower diameter and 32.4 in petal numbers per flower. Vase life of the this cultivar could be as long as 12 days.

본 연구는 원예치료 프로그램이 사회교육프로그램에 참여한 어르신들의 사회성 발달과 대인관계에 미치는 영향에 대하여 알아보았다. 결과 사회성 발달의 5가지 영영에서 모두 유의한 결과를 나타났다. 또한 대인관계는 개인차는 존재하지만 대부분 어르신에서 효과가 높게 나타났다. 금번 조사에 참여한 어르신들은 복지관, 노인정 등을 주로 찾으며 무료한 일상을 보내고 있는 분들이지만 식물을 활용한 원예치료가 노인들의 닫힌 마음을 열어주고 사회성을 높여 주며 대인관계 개선에 많은 도움이 되는 것을 알 수 있었다. 사회교육프로그램 등에 원예치료프로그램을 접목 실시하여 다양한 어르신들이 원예치료프로그램이 주는 혜택을 누릴 수 있다면 노인들의 상실감, 소외감 등으로 오는 노인화사회의 사회문제 해결에도 많은 도움을 줄 수 있을 것으로 기대된다.

본 연구는 원예치료 프로그램이 자연사랑 교육과정 어르신들의 정서발달과 대인관계에 미치는 영향을 알아본 결과, 정서발달은 유의한 차이를 보였다, 또한 대인관계에는 효과가 높았다. 이는 노인들이 경제적 활동이 제한되면서 특별한 취미활동을 할 수 없었고 의사소통을 나눌 가족과 이웃이 없어 무료한 일상을 보냈었다. 원예치료의 다양한 프로그램은 닫혀있던 마음을 열어 서로간의 상호작용이 활발히 이루어져 관계형성에 많은 도움이 되었던 것 같다. 지역의 많은 어르신들이 본 프로그램의 혜택을 받아 노인들의 삶의 질(Quality of life)을 향상시키는데 기여하기를 바란다.

The paper analyzes the concept of love in St. Augustine’s De Confessione, in which Augustine makes use of an analogy of human love in to describe the ineffable nature of the divine love. Augustine presents a theological reflection on the phenomena of human love: sin and concupiscence. Augustine demonstrates how he could overcome such spiritual desperation and sinful desire. Augustine could not solve the problem of sexual passion by way of Ciceronian philosophy, Manichaean dualism or Platonic philosophy until his heart surrendered to a full determination (at the garden of Milan). Although Augustine expresses remorse about the depravity of his erotic love, he utilizes the language of sexual love to express the divine love. Augustine confesses that concupiscence is the prevailing aspect of the misdirected love. Augustine could not escape from the tyranny of concupis-cence. and experienced a self-disintegration because of addiction and despair. Augustine reached the true face of evil. Augustine claims that evil is not merely evil acts but the very will to violate God’s goodness. Evil begot habit; habit produced necessity. Augustine could not free himself from the necessity: the compulsion of two opposing wills. The sick heart must be healed before enjoying the divine love. All modes of love should surrender before the divine love, because the latter is the creator of the former. The divine love is beautiful. It is the source of satisfaction. Augustine’s rhetoric depicts the beauty of the divine love with the images of fire, flower, and other created things. The divine love is the healer of a human soul which is sickened by desiring the created things such as money, sex, and power. Augustine’s soul found rest in the bosom of the divine love.

“The Love Song of J. Alfred Prufrock” is one of the most successful early poems of T. S. Eliot. In this poem Eliot expresses the sordid and waste world which shows no possibility of salvation. The method of salvation or the salvation itself is symbolized as the “overwhelming question”. The question of salvation is overwhelming not only because the speaker of this poem cannot deal with it properly but also it cannot be solved in this waste world. The world is sordid, turbulent and waste, and human beings in this world are alienated. Eliot’s sense of alienation has its root in his early life, social activities, leaving America and acquiring British citizenship. This alienation is expressed in this poem as the impossibility of expressing his own thoughts and communicating with the women. The speaker even wishes to lead an animal life. The speaker’s wish to be lower animals indicates that the world is in the lowest level of existence. The speaker’s wish to save the world is expressed as the action of going to the women. What the speaker aspires is the true communication with the women not only on the physical level but also on the spiritual level. The communication will put an end to the alienation and save this world from its sordid and waste situation. Though the speaker’s wish isn’t fulfilled, we understand the “overwhelming question” is connected with the salvation of the world.

This paper is to show how properly the contagious concepts stemmed from Deleuze can be applied to literary text, even if Deleuzean reading that has flooded as yet home or abroad is hard to practice. However, we always feel it troublesome that the challenge is so hard and even fatuous in the sense that Deleuze’s texts are inclined to decline to be grasped by readers. Moreover, even the poem of T. S. Eliot’s also would get out of reader’ obsessional desire to ‘territorialize’ the poem. In the dilemma, we find a aphorism of Lacan’s as a western high monk: we can’t read all texts of an author and can’t grasp all of his/her identity even if he/she has scoured all of his/her texts thoroughly. Thus what we know is no less than broken knowledge, so someone who argues that he/she is a know-all must be totalitarian or paranoiac. Deleuzean reading can be practiced in view of not ‘systematic reading’ but ‘affective reading.’ The former chases after comprehensive ideas as if readers would be gods in the Olympus mount, but the latter enjoys ‘intensity’ or velocity of each part composing of text as asserted by Spinoza. After passing through this poem, the trend of ‘deterritorialization’ is perceived just like a form of melody, ‘rondo,’ in which main melody is recurring with marginal variations intervened every movement and at last reduced to ultimate themes which can be summarized such as state of thought without image, enlightenment and revision. To reach the poetic truth, Eliot mobilizes a collage of intertextual images such as a gruesome world of Dante’s hell to which ‘line of flight’ or ‘singularity’ as death takes human in which confession makes possible atonement or salvation. “a patient etherized” means lethargic being castrated by the norm or value of community and paralyzed by the conventional images in ‘socius’ such as primitive, despotic and capitalistic state. “yellow fog” seems to veil falsehood of reality, but indicates difficulty of rational judgement and “time” as ‘abstract machine’ of self-contradiction frees oneself from oneself with the same identity made up of present(‘chronos’), past and future(‘aion’) articulated only by human as subject of thought. Ego riding on timetable is determined to be confined in routine of life, which means that we must take off each conventional mask. Thus “ragged claws” cut causation as ‘rigid line’ of world and Apostle John and “Lazarus” as saints undergo metamorphosis of death or rebirth in that the one was martyred and the other returned from across Lethe of oblivion as Zarathustra would face against his fate. “the eternal Footman” functions as self-disciplined subject succeeding to regime or prisoner contained in ‘panopticon.’ “Hamlet” and “the Fool” mean that the former as ‘war machine’ tries to subvert ‘the State apparatus’ or ‘molar aggregates,’ and the latter denies despotic ‘normalization’ or generalization. Contrary to the mundane situation, “mermaids” and “sea-girls” stand for becoming-imperceptible through ‘decoded flow’ happening when the poetic narrator fed up with stuffed images drowns himself as moving ‘phenotext’(the signifying system) to ‘genotext’(not reducible to the language system), and awakes himself in the revision of Things. At last Eliot completes “the love song” with the esoteric tree diagram erasing image by image, and shows us the terrible road to enlightenment.

Most of the critics dealing with the subject of how Eliot treats women agree that Eliot's early poetry focuses on the theme of the relationship between men and women. Some critics label him a "misogynist" by focusing on the negative and disparaging comments Eliot made on women. However, a careful examination of his works shows that Eliot's women as well as men are described as unhappy and unfulfilled personae. As Joseph Bentley said, life cannot be happy without a harmonious relation between the sexes. According to Bentley, without self-transcendence, without an awareness of unity, life is impoverished and dismal, which is the pivotal theme of Eliot's poetry, criticism, and philosophical writing. This study discloses how women are represented in "The Love Song of J. Alfred Prufrock" and how the relation of women and men is connected with Eliot's spiritual development.

The technique of dramatic monologue which affords writers an objective and ironic distance from the speaker was a useful method to Robert Browning and T. S. Eliot who tried to overcome the problem of excessive pursuit of subjective vision of the Romantic poets, their immediate predecessors. In “The Metaphysical Poets,” Eliot denies any direct influence from and continuity with the Romantic and Victorian poets and finds his inspiration in the works of Metaphysical poets and French Symbolist poets. In a review on John Middleton Murry's Cinnamon and Angelica, however, he recommends Browning to the modern poets, including himself, as a pattern to follow. Eliot's contradictory attitude toward Browning stems, I think, from the fact that his ambition to become a modern poet of the Twentieth Century sometimes overshadowed his acknowledgement of Browning as one of his masters. But it is hardly possible to deny that he knew Browning very well and his early works show a close affinity to the works of Browning, more than those of any other poet. “My Last Duchess,” Browning's masterpiece of dramatic monologue, and Eliot's “The Love Song of J. Alfred Prufrock” share many characteristics; both are written in dramatic monologue, and both are studies of the latent violence and danger of solipsistic self-love. Both Browning's Duke and Eliot's Prufrock are paranoiacs who are imprisoned within their sick self-consciousness. They suffer from their impossible desire for woman, and they reveal their hidden violent nature when their desire for woman is thwarted. As the Duke shows his sadistic character when he transforms his Duchess who was beyond his control into an artifact, the same violence of Prufrock turns against himself and becomes a masochistic one. In this sense Prufrock can be regarded as a modern Duke of Browning, who wallows in the mire of “etherized” self-consciousness. The paranoiac self-consciousness proves itself a hell both to the Duke and Prufrock. “The Love Song of J. Alfred Prufrock” is a good example in which Eliot faithfully followed his own advice to the modern poets, that is “to distill the dramatic essences [of Browning], if we can, and infuse them into some other liquor.”

A new red gerbera (Gerbera hybrida Hort.) cultivar ‘Love Song’ was developed from a cross ‘Ansofie’ and ‘Sunset’ followed by seedling and line selections at the Floricultural Experiment Station, Gyeongnam Agricultural Research and Extension Services (ARES