Most of Yeats’s works are composed of antitheses which are defined by their rhetoric, form, tone and thematic motifs. If the antitheses are Yeats’s central means of perceiving and interpreting the world, what kinds of experience are posited at the center of his life, and in what way and manner are his conceptions of “unity of being” and “unity of culture” connected with his experience of “tragic joy”? This essay attempts to approach the basic frame of Yeats's mind which perceives and interprets the world as composed of contraries, antinomies and antitheses. In such context, Yeats's idea and experience of tragedy are shown to be constructed ideologically in the situation that is divided by the two classes, namely the declining Anglo-Irish Protestant and the powerfully ascending Catholic middle classes. Yeats’s conception and experience of tragedy are connected with what Michel Foucault calls “the absolute power of death”. Yeats thinks that if the modern poet could enact the poetic authority, he should be able to embody the ancient forms of power. Hence his ideology of tragedy and authority which leads him to enact the oral tradition of ancient magical arts. Yeats thinks that, through the poetic mode of ancient magical arts, modern lyric poet can enact the absolute power of death, breaking the comedic power of modern individualism. Yeats's ideology of tragedy and authority, however, is in constant contradiction with “the life-administering power” of modern world. In spite of his desire to enact the tragic power of ancient bard, the space of his later lyrics remains the complex site of ideological conflicts between the residual forms of traditional Anglo-Irish culture and the dominant cultural forms of modern individualism. (The second part of this essay will be continued in the next issue)

Programmed cell death (PCD) is thought as a well-controlled process by which unwanted cells are selectively eliminated. During the last decade many researches have elucidated molecules and their interactions involved in cell death by using largely in vitro induction of cell death or survival signals in a more defined manner, While these critical information and novel findings provide us with clearer understanding of mechanisms underlying cell death, it does by no means explain how PCD occurs and which cells or tissues are affected during normal embryonic development in vivo. In this study, we used zebrafish to examine whether the PCD is occurring selectively or randomly in developing embryos by whole mount in situ TUNEL analysis with specific markers for neural cells. The result revealed that the degree and distribution of TUNEL staining varied considerably throughout gastrulation stage, and there was also a number of TUNEL-negative embryos. Most of TUNEL-positive cells were scattered randomly throughout the blastoderm. During the gastrulation stage about 75 % of the embryos analyzed exhibited more than 5 TUNEL-positive cells. As the dorsal epiblast begins to thicken rather abruptly near the end of gastrulation, TUNEL-positive cells were mainly located along the dorsal side. Although there were some variations in TUNEL staining during segmentation and pharyngeal stages, TUNEL staining continued to be localized to the central nervous system, and was also detected in the sensory organs, trigeminal ganglions, and the primary sensory neurons. High levels of the cell death in developing brain between 20-somite and prim-6 stages are thought to play a role in the morphogenesis and organization of the brain. At prim-16 stage, cell death is considerably reduced in the brain region. Dying cells are mainly localized to the prospective brain region where ectodermal cells are about to initiate neurogenesis. As development progressed, high levels and more reproducible patterns of cell death were observed in the developing nervous system. Intensive TUNEL staining was restricted to the trigeminal ganglions, the primary sensory neurons, and sensory organs, such as olfactory pits and otic vesicles. Thus, PCD patterning in zebrafish embryos occurs randomly at early stages and becomes restricted to certain region of the embryos. The spatio-temporal pattern of PCD during the early embryonic development in zebrafish will provide basic information for further studies to elucidate genes involved in. regulation of PCD largely unknown in vivo during vertebrate embryogenesis.

Since sustenance and abolition of death penalty system have an argument about the world view, we cannot conclude which one is right. The death penalty system can be changed by the age and situation. In Korea, the death penalty system is based on the situation of its application and Korean people's mind of law. So we should investigate the death penalty system in terms of fluctuating the two factors. In the first stage, the death penalty system has to be reformed with respect to reduction of the death penalty regulation, establishment of the criteria in death penalty application, and elaboration of criminal suit procedures. In the second stage, the system of death penalty suspension should be introduced as a transitional one to abolish death penalty. This is the necessary system from the viewpoint of humanism and criminal policy. It is also essential to avoid misjudgement. This system has a five-year deferral period, in which after five-year suspension, we will determine whether death penalty is executed or penal servitude for life is served. In the final stage, when it is legally convinced that people in Korea reach a consensus to abolish death penalty, we should introduce special penal servitude for life, which is more strict than the present penal servitude for life. Moreover, we should reform regulations of criminal law to be able to assign penal servtude for life as well as special one to criminals.

From time to time Yeats’s concept of death baffles us, since he asserts in A Vision that in effect death is neither absence nor nothing but a recurrence of life in other body and other state. No doubt this elaborate myth of reincarnation is an important element of his system, but acceptance of it as his definitive view of death would lead us down several interpretive blind valley. If there is no annihilation of self, then how can we explain the effort of lyric after lyric to summon up heroic energy in the face of death? Moreover, death for him is something that elicits abundant imagination. By analyzing Yeats’s ‘death’ poems, I attempt at some answers to these questions. I begin with the discussion of the ‘reincarnation’ reflected in “A Dialogue of Self and Soul.” In contrast to the Soul who asserts that one must concentrate on the “darkness” of death, imitating as nearly as possible that future state, the Self, provoked by death, reaffirms the present state. The Self reviews life to deny neither imagination nor the senses; rather it reasserts their ultimate worth. If “Dialogue of Self and Soul” is willing to embrace life again in the face of death, “Under Ben Bulben” internalizes authority to quell death. The speaker ruthlessly suppresses his own vulnerabilities with authoritative commands and the voice of his dead father. The discourse in the poem seems abstracted from the poet’s own life, as if spoken by his now disembodied but empowered voice, a voice from a timeless nowhere beyond the grave. “The Apparition,” another poem dealing with death, however, uncovers the terror that undercuts the assertion of ‘joy’ in “A Dialogue of Self and Soul” and “Under Ben Bulben.” No matter how each poem responds to death, however, it is clear that death cannot be approached directly. It is “Man and the Echo” that allows the good picture of the necessary indirectness of one’s meditation on death. The rabbit’s cry of pain interrupts the deathward meditation. This moment of rupture suggests that “Man” can only think death indirectly, through trope and turn. In “Death,” by turning to the logic of lack and repetition, I attempt to provide some possible answers to why Yeats moves to-and-fro between the repression of death and the avowal of its finality. In “Lapis Lazuli” The poet replaces the marks of time with the self-begetting images. Associated with the regenerative power of water and seasons, the immaterial possibilities supplant the marks on the stone’s surface symbolic of literal death. In its internal time the poet creates poetic possibilities that rise from the external time that decays. In short, death for Yeats ‘causes’ life, and opens up the place that is retroactively filled out by life. But above all death inspires, brings about, and dignifies his poetic imagination. Yeats depends on the muse of death for the aesthetics of his poetry. In his poetry he rehearses death every day.

예이츠는 후기 시에서 다가오는 죽음의 위협을 극복하기 위해 생을 찬미하는데, 주로 성(性) 에너지의 재 긍정을 통해서 제시한다. 그는 자신의 육체적 쇠퇴를 극복하기 위해 종교에서보다는 삶의 극단적 표현인 성에서 위안을 찾으려고 한다. 이러한 시도는 다가오는 죽음의 공포에 대한 프로이트적 방어기제의 한 형태로 볼 수 있다. 본고에서는 예이츠 시에 나타나는 이러한 방어기제를 A Full Moon In March, “His Memories,” “His Vision In the Wood,” “Crazy Jane Grown Old Looks At the Dancer” 등을 통해 살펴본다. A Full Moon In March에서는 어머니 이미지의 Queen과 아들 이미지의 Swineherd사이의 외디푸스적 갈등에 분석의 초점을 둔다. 특히 반동 형성, 투사, 퇴행 등의 방어기제를 중심으로 Queen과 Swinherd사이의 에로틱하고 잔인한 관계의 흐름을 쫓아간다. “His Memories”에서는 다가오는 죽음의 공포를 떨치기 위해 나이든 화자가 신화적 인물인 헬렌이 과거에 자신과 난폭한 사랑을 나누었음을 자랑스럽게 말하는 모습을 다룬다. “Her Vision in the Wood”에서는 나이든 여인이 자기 팔뚝을 손톱으로 피를 내어 보게되는 마조히즘적 환상을 통해 자신의 늙음을 극복하려는 모습을 분석한다. “Crazy Jane Grown Old Looks At the Dancer”는 환상을 통해 마조히즘적-사디즘적인 춤을 추는 젊은 여인과 자신을 동일시하여 육체의 쇠퇴를 극복하려는 늙은 제인의 모습을 다룬다.

이 글은 시적 창조와 재현(representation)의 문제와 관련하여 예이츠 詩에 나타난 죽음과 不在의 문제를 다룬다. 우선 부재와 죽음이 어떻게 시적 상상력의 조건이 될 수 있는 가를 살피고 다음으로 죽음이 경험적이 것이 될 수 없으며 재현 불가능하다는 것을 논하다. 재현 불가능한 죽음은 언제나 이름이나 은유로만 남아있게 되며 그 의미 또한 결정할 수 없게된다. 죽음의 이런 특성에 착안하여 이 글은 예이츠의 “A Dream of Death,” “Man and the Echo,” “Song of the Wandering Aengus,” “Sorrow of Love”를 다룬다. “A Dream of Death”에서는 시의 화자가 꿈속에서 연인의 죽음을 상상하고 언어적인 것으로 치환하여 그녀의 아름다움을 고정하고 한계 짖고 결정하여 오직 자신만의 것으로 만들려 의도하는데, 이런 의도가 어떻게 언어 자체가 갖고 있는 비결정성의 특정 때문에 좌절되는 가를 논한다. “Man and Echo”에서는 죽음이라는 것이 재현불가능하며 항상 미래의 가능성으로만 남아있는 점을 분석한다. “Song of the Wandering Aengus”는 사라진 연인을 은유적 치환으로 재현함으로써 생기는 있음과 없음 사이의 갈등을 보여준다. “Sorrow of Love”는 처음에 출판한 시가 나중에 다시 쓴 최종판에서 어떻게 흔적으로 남아 의미의 고정을 방해하는 가를 분석한다.

I have just read two of the greatest writers of the 20th century, W. B. Yeats and Jose Saramago. As there is almost no source of Saramago for reference or for study, the only and best way to study them was to read him closely. As a matter of fact, it seems to me the best to measure up the depth and width of Saramago as novelist by going deep into his novel, The Year of the Death of Ricardo Reis. The workmanship of Saramago, as in the case of Yeats, is extremely delicate and precise. Every image, every syllable of every word, each counts while in the process of the story as well as toward the end of the story. Saramago casts away the quotation marks when he has a dialog; as a result, when reading a dialog, you can’t tell who is who. But no problem arises, for once you read it, you enjoy being forced to go along the dialog, understanding and appreciating every syllable of the words in the sentences, as if you are part of the dialog. This is one secret attraction to Saramago. That is, he is a great, inventive stylist. Another characteristic is that Saramago makes no distinction between the visible and the invisible world. Just as Yeats did, before him, Saramago treats the invisible as if it is alive and lives with you. Compared with Saramago, Yeats is read through one of his best stories, “The Crucifixion of the Outcast.” Yet, as Yeats had been studied for quite a long time, both in English-speaking world and in other countries, like Korea, I could have more than enough materials with me. So, I decided to use his Letters exclusively. As in other stories of The Secret Rose, Yeats’s use of punctuation is traditional, as in his poetry; yet, if you look closer, you will see Yeats is different from other traditional writers. He has gone much farther than his contemporaries. Yeats as novelist should be reevaluated. His workmanship as short storyteller compares well with his French counterparts. Yeats could be a great novelist, if he had worked on it further, as Robert Bridges had once advised him to do. But as he is, Yeats as novelist should be thought of highly, as the finest novelists of the 20th century, like Saramago (who might have been influenced by Yeats’s stories) must been inspired by the fire Yeats has just bought from heaven.

To understand Yeats’s death we should know his concept of daimonism. Yeats’s daimonism was deeply rooted in folklore and mythology. He came to create a daimonism of his own which could provide the scaffolding for his thought and artistic expression. So it shapes a coherent pattern of present and past life. In Yeats’s poetry, the existence of daimon was a great source, a medium of the recreation between soul and body, racial instinct and spirit, the life and death. To Yeats death is a part of “Great Wheel” in “Unity of Being”. Yeats’s damonism is a symbol of perfection and visionary passion of unconsciousness, which grew out of the microcosm and the macrocosm in his poetry. The main function of death in Yeats’s poetry connects reincarnation of our eternity world and rebirth of human being. T. S. Eliot tends to begin his poems with quotations and echoing passages from other philosophies, thoughts, religions and one’s experiences by fusing these ones into the concept of death. Especially, The Waste Land has no narrative and no unifying central character. There is only a heap of broken death images and inaudible voices. The Waste Land juxtaposes various different voices of “Death of Island”. As in inaudible “death” voices, the main tunes and pattern of notes are hinted at, elaborated on, and returned to. We conclude that the unified consciousness is not Eliot’s but the reader’s. In Eliot’s poetry, death stands as a commitment to his search for a universal text by way of deconstruction for reconstruction.

W.B. Yeats is a poet of constant changes. Death is characterized by the nature of fixing, fixing things as they are. Yeats fights against the forces of death. “The Tower” is an attempt to transcend the death of body by heightening the spiritual. The body is destined to death, but its spirit strives to overcome the power of death. Similarly, in “Sailing to Byzantium,” which precedes “The Tower” manifests the posturing of the poet who is in pursuit of a means to transcend death. The belief in transcending death is not a product of a moment but the consequence of a long quest of changing his poetic self. The image of gold in “Sailing to Byzantium” has a two-fold meaning. One is the meaning of the permanence of gold itself, and the other, the meaning of a form, or the existence of form. The gold is hammered into a form. The process of forging a form is “learning.” Yeats wishes to be changed by learning, and wishes to take a form through the process of changes. That Yeats could stand firm in face of death, comes from Yeats’s firm belief in changes. That belief could disarm the forces of death. He shows a way to overcome in a concrete way. “Under Ben Bulben” represents a third area, where life and death are one and the same. This is similar to the form of permanence in the other poem. When he says, “Horsemen, pass by!” he may want to reach a third stage, in which life and death do not exist. Yeats’s eye is cast upward, beyond the land of life and death; Upward, where the value of self could survive the test of time for good.

Particulate matter with an aerodynamic diameter of less than 2.5 μM (PM2.5) is one of the major environmental pollutants. Di(2-ethylhexyl) phthalate (DEHP), an endocrine disrupting chemical in PM2.5, has been utilized for the manufacturing of polyvinyl chloride to increase the flexibility of final products. In the present study, we investigated the ecotoxicological effect of DEHP on the viability of skin keratinocytes (HaCaT). DEHP induced apoptotic cell death mediated by phosphorylation of extracellular signal-regulated kinase through the production of intracellular Reactive Oxygen Species (ROS). Interestingly, we found that DEHP induces the phosphorylation of the nuclear factor-kappa B responsible for the expression of cleaved caspase-3 as an executional cell death protease in HaCaT cells. On the basis of these results, we suggest that DEHP in PM2.5 induces the apoptotic death of human keratinocytes via ROS-mediated signaling events.

본 논문은 푸코가 『말과 사물』에서 논증한 에피스테메와 “인간의 사 라짐”에 근거하여 모더니즘과 엘리엇의 시의 본질을 재평가하고자 한다. 에피스테메는 역사적이지만 비-시간적인 선험으로서, 어떤 특정한 시대에 특정한 담론들이 가능한 조건으로서 작동한다. 18세기 중엽부터 19세기 말까지 지속되었던 근대의 에피스테메 내에서 인간이란 개념은 생물학, 경제학과 언어학에서 만들어진 것이다. 그 개념은 철학의 영구 적인 주제가 아니라, 근대 과학의 발전에 기반을 둔 역사적인 해설이거나 역사적으로 구성된 허구에 불과하다. 푸코는 근대의 에피스테메가 갑자기 변화하면, 인간이란 개념도 쓸모없어지며, 따라서 근대 주체인 인간도 사라진다고 보았다. 본 논문은 푸코의 에피스테메와 근대 주체로서의 인간에 대한 이론에 근거하여, 모더니즘을 “새롭게 하기”라거나 “재현의 위기”라거나 “내면 탐구”라는 문학적 운동에 불과한 것이 아니 라 새로운 시대의 에피스테메이며, 모더니즘을 대표하는 엘리엇의 시는 근대 주체인 인간의 죽음과 새로운 인간의 출현을 그려내고 있다는 것 을 밝히고자 한다.