예이츠의 시세계, 특히 초기시에는 낭만주의와 상징주의가 자리잡고 있으며 그 중심에는 ‘자연’이 자리해 있다. 예이츠에게 있어 자연은 ‘자연에 대한 동경과 모사’와 ‘자연과의 대립 및 의식의 우위’, 즉 자연 친화적 세계와 자연부정의 세계라는 진폭 안에서 인식되었으며 그의 시는 이를 형상화하거나 극복하려는 긴장의 궤적을 보이고 있다고 할 수 있다. 이 글에서는 이같은 예이츠의 자연에 대한 인식과 시세계를 한 축으로 놓고 한국 근대시에 나타난 자연을 살펴보고자 한다. 이를 위해 한국근대시의 완성에 가장 큰 역할을 한 대표적인 시인인 정지용의 시세계에 나타난 자연을 먼저 검토하였다. 그리고 현재 왕성히 활동하고 있는 시인들의 시세계에 나타나 자연을 각각 고찰하였다.

최근 문학 담론으로써의 탈식민주의 이론은 실천적 의미에서 텍스트 해석의 전략에 중요한 영향력을 행사하고 있다. 더불어 탈식민주의는 식민 경험을 했던 국가 안에서 문화적 맥락으로써 식민 담론을 전복한다는 의미에서도 중요한 의의를 가진다. 작가에게 이러한 의식은 글쓰기에서 탈식민 공간과 주체적 정체성을 형성하게 만들어 주는 동기를 제공한다. 이러한 측면에서 본 논문은 정전적 글읽기로 대변되었던 예이츠의 텍스트를 탈식민주의 전략 중의 하나인 탈정전적 글 읽기로 다시 조명해보기로 한다.

The article examines the attempts made at economic revitalisation of Ljubljana’s inner city and the consequences or “collateral damage” of this process. A lot of attention is given to the wider socio-cultural context, in which art istic practices are embedded in the city, and to the Slovenian population’s perception of such practices. Artistic groups and their practices are in this sense used as part of an ‘interim development’ strategy, i.e. temporary guests(non-statutory tenants) are warmly welcomed because their (sub)cultural capital happens to cultivate the area, making it "cool" and attractive, but when the value of the area’s real estate begins to rise their low-income status does not grant them any tenant protection. Regardless of the social role they played in revitalising the city, these groups are therefore gradually ousted from neighbourhoods, which quite ironically are often advertised in the real estate market as the city’s "Bohemian" or "cultural" quarters. This makes us aware of the lack of unique alternative or informal spaces, venues for alternative art movements and practices in the cities. These issues are presented on the cases of the alternative spaces of Metelkova and the Rog Factory, both located in Ljubljana’sinnercity.

The order of poems plays a very important role in Yeats's book of poems without understanding which his poetry cannot be fully appreciated. Hence, understanding Yeats's poems requires looking into not only a relationship between the poems placed side by side in his Book of poems but also the principle of arranging the entire poems. The purpose of this paper is to find out a principle with which Yeats placed his 37 poems for The Wind Among the Reeds. The principle, if there is any, brings us closer to why Yeats moved "The Fiddler of Dooney" from the 11th place in the 1899 edition to the 37th in the 1909 edition. My argument is that Yeats's arrangement of poems selected in The Wind Among the Reeds reflects his poetics which he formed in between 1890's and 1910's. Reading Yeats's essays, “Nationality and Literature" (1893), “The Theater" (1899), "The Symbolism of Poetry" (1900), and “What is Popular Poetry?” (1901), we see that the poet talks about different subjects matters but reveals his idea of how the literature develops. Yeats believes that literature goes through three developmental stages: the epic period; dramatic period and the period of lyric poetry. The epic phase is marked by great racial or national movements and events; the dramatic phase mainly deals with characters who lived in them; and the lyric phase focuses on pure emotion or mood, the seed of which again grows into a tree of epic literature by stimulating human sensibilities. This cyclical pattern of literature, which Yeats compares with the growth of a tree, is a model after which the poems of The Wind Among the Reeds are arranged. That is, the opening poem, "The Hosting of the Sidhe" reflects the epic concern by dealing with great Irish people and soil; the second poem, “The Everlasting Voices," in which great racial or national movements disappear, talks about old human hearts; and the third poem, “The Moods,” shows the lyric phase concentrating on the birth of mood and its immortality. The following 34 poems are arranged in such a way as to mirror the epic-dramatic-lyric pattern; dramatic poems outnumber the epic and lyric poems. This pattern shows Yeats's message: literature goes through this three developmental stage and the parts do not exist in isolation from the whole. Yeats also announces that he is the poet of Irish people, drama, and lyrics.

李金髮의 詩는 兩價性 - 神聖과 慾望, 慾望과 슬픔, 그리고 삶과 죽음 - 이 매개하는 교감이 욕망과 죽음을 향해 나아가는 과정들이다. 그것이 욕망과 죽음을 뛰어넘는 듯한 모습을 보이는 것은 그의 자아가 수용하고 있는 虛無 때문이다. 이상과 현실, 현실과 자아, 그리고 미래와 지금 이 순간을 이어주고 있는 機制가 허무의 수용이라는 사실은 그의 상징체계의 모든 이끌림을 서양의 그것과 다르게 하는 원인이다. 李金髮의 서정형식은 기독교적인 관념에 의존해 있으면서도 구원을 받아들이지 않음으로써 허무를 수용하는 특수성, 다시 말해서 보들레르 말라르메 랭보와의 차이를 빚고 있는 것이다. 문화심리의 민족형식이라 할 수 있는 그의 이런 성격 때문에 보들레르의 교감이나, 말라르메의 절대언어, 그리고 랭보의 끝없는 반항과 다른 상징미학이 그 모습을 드러내게 된다. 삶에 깃든 죽음의 수용과 이것을 통한 초월 지향은 구원이라기보다는 禪趣에 근접해 가고자 하는 상징의 특수성이다. 따라서 독자의 자의적인 감수체계를 파고드는 그의 은유 암시 비약 생략 등은 상징주의가 아니라 허무/상징으로 나아가기 위한 방편들일 것이다.

This paper aims at presenting the postcolonial aspects of William Butler Yeats’s poetry. The term ‘postcolonial’ means not only ‘the anti-colonial’ but ‘the hybridity’. Leaning on the recent studies such as those of Edward Said, Jahan Ramazani and Homi Bhabha on Yeats and Irish literature, this study investigates the multiple aspects of Yeats as a postcolonial poet. First of all in this paper, Yeats’s complex reaction to the two consecutive wars in Irish history is examined thoroughly. The two wars accelerate the process of decolonization in Ireland, and after 1920s the country enters an at least partially postcolonial state by succeeding in reaching home rule. Yeats writes two important poems about the wars, “Meditations in Time of Civil War” and “Nineteen Hundred and Nineteen.” Because of his familial background as an Anglo-Irish Protestant, the poet is unable to wholly support either side of the conflicts. Whether in the war of the colonized against the colonizer (the Anglo-Irish war), or in the battle between the colonized themselves (Republicans vs. Free State supporters), his position is far from complete support for either party. Just as the speaker of “Meditations in Time of Civil War” feels sympathy for the fighting troops or ponders whether or not to join them, it is not certain as to which side he would lend his allegiance. This lack of certainty and the divided loyalties is another sign of his conflict in the postcolonial position. His dual loyalties are well represented in terms of the features of postcoloniality, namely, hybridity and ambivalence. During the colonial state and the partially postcolonial state, Yeats’s involvement with Irish politics had never been static or straightforward or comfortable. His writings more often represent conflicted responses to the issues of Irish nationalism and British colonialism. Therefore, his body of work, his political beliefs and his involvement in the anti-colonial struggle require the serious consideration for such concepts as resistance, tension, ambivalence, and hybridity. Therefore, my main contention is that the tensions and contradictions inherent in Yeats’s later poetry can best be explored in the context of his postcoloniality. Yeats’s contradictory and uncertain attitudes and stances cannot simply be defined by leaning to ready-made political labels.

The objectives of this study were the development of a synthesis technique for highly active nanosized ITO powder and the understanding of the reaction mechanisms of the ITO precursors. The precipitation and agglomeration phenomena in ITO and precursors are very sensitive to reaction temperature, pH, and coexisting ion species. Excessive ion and ions had a negative effect an synthesizing highly active powders. However, with a relevant stabilizing treatment the shape and size of ITO and precursors could be controlled and high density sintered products of ITO were obtained. By applying the reprecipitation process (or stabilization technique), highly active ITO and powders were synthesized. Sintering these powders at for 5 hours produced 97% dense ITO bodies.

The purpose of this paper is to assess the current state of W. B. Yeats’s poems in Korean translation. My examination includes nearly all of the Korean translations of the quoted verse lines of Yeats’s poems appearing in The Yeats Journal of Korea between 2006 and 2008, and parts of translations of Yeats’s works published as separate volumes by the Yeats Society of Korea since 2003. Although so far three generations of scholars have actively engaged in Yeats studies and translation of his works since 1945 when academic research on the poet began in Korea, the translation endeavours by the second and third generation scholars have not yielded satisfactory results and that the senior group of scholars cannot shirk its responsibility.The problem areas in the translations include choice of words and phrases, tense adjustment, versification and punctuation as well as scene description and poetic imagining. Following a detailed discussion of inappropriate and awkward translations, I offer my own translation for comparison if need be.

대형 비행기 조종사들은 지상으로부터 높은 조종실의 위치, 빠른 접근속도와 수직강하속도로 인하여 불충분한 시각정보를 바탕으로 착륙 조작을 하여야만 한다. 본 연구에서는 이러한 대형 비행기의 특징으로 인하여 비행기 착륙의 최종 조작인 당김(flare) 조작을 할 때 대형 비행기 조종사들이 정확한 높이지각을 하기 어렵다는 사실을 검증하였다. 연구 1에서는 조종석 외부로 보이는 공항에 대한 사진을 제시하고 높이 추정을 하도록 하여 정적 시각 단서만으로 정확한 높이지각이 가능한지를 살펴보았다. 85feet의 고도에서는 정확한 높이지각을 하나 당김 조작을 준비해야 하는 높이인 55feet부터 낮은 고도에서는 정확한 높이를 추정하지 못하였다. 연구 2에서는 착륙의 전 과정을 녹화한 화면을 보여주어 높이 추정을 하도록 하여 동적 시각 단서와 정적 시각 단서를 모두 제공하여 주었다. 시각단서가 연구 1보다 풍부하였으므로 50feet까지 정확한 높이지각을 하였으나 연구 1의 결과와 마찬가지로 당김 조작을 시작하는 높이인 30feet 이하의 저고도에서의 높이지각이 모두 부정확하였다. 시각 단서의 해석에 경험이 중요한 요인이므로 경험이 많은 기장과 경험이 적은 부기장 간의 높이 추정에 차이가 있는지를 연구 1과 연구 2에서 모두 비교하여 보았으나 차이는 유의하지 않았다.

Generally speaking, W. B. Yeats's early poetry has been thought as romantic and dreamy and criticized as a negative poetic example. But students would rather like to read these poems than his later philosophical poems. Maybe these early poems are more attractive to them because the dim yearning, homesickness and mysticism evoke their young emotion. But I think there is a more important element to attract reader's interest, that is the physical sense. The sense - sensory feeling gives a kind of elasticity of energy to Yeats's early poems. Without this sense, these poems would have degraded as those of dim exclamation about lost love or escape from the world. To study Yeats's sense we need to research some other poets who could affect young Yeats, and compare them: Keats and Hopkins. There are many good examples of sensory feeling in their poems. Thus I see a kind of affective relationship between them and realize this sensory feeling is a very important element of English poetry which we hardly find in Korean poems.

Recalling images from the past is one of Yeats's favorite poetic activities, especially in his old age. Many of his later poems are created on the basis of this technique, providing considerable information on his contemporary characters, events and other factors. In a sense, this kind of versification appears to mythify prominent historic figures in turbulent modern Irish history. In the poem "Municipal Gallery Revisited", Yeats sees his poetic personae as 'permanent or impermanent images', but ironically, they will be remembered permanently because of this work. They will also illuminate individual and national history dealt with in the poetic stanzas. Yeats's creative strategy is to enumerate a series of intense scenes that are worth remembering. To grasp a specific image in a particular moment is intended to reveal an absolute feature of a given character or a historical as well as cultural event. Through their own images, these people depicted in the poem are turned into symbolic characters. Greatness is impressed with a single scene and genuine perpetuity is uncovered with an instant reflection. In other words, a briefly described image is not just a section randomly isolated from a particular person's life. Rather, the image implicitly sums up and typically project an individual's complex personality in the poem, and in turn, on the reader's mind. The poet-narrator walks through the gallery, appreciating the portraits and other paintings on display and opens up his own creative world. Political characters in the beginning, then Hugh Lane and other Gregory people as a cultural stepping stone and finally the portraits of John Synge and Lady Gregory appear in sequence through the poetic work. Such a climactic approach stresses what the poet has in his own mind. Artistic ideals and literary colleagues who shared them with the poet are remembered and in the end, he himself go beyond the grave and sees his own self as an image already dead in an elegiac imagination. What he wants to record in a literary epitaph is gradually expressed along the long gallery of the museum. Eventually, the scenes composing this verse create a visionary gallery to light up the poet's real self.

In recent years, many of literary works in English has been produced from the so-called Third World. The notion of "contemporary poetry, however, remains strikingly provincial in the anglophone Western World. Also, even though the conceptions of American poetry have expanded to include minority writers of the Third World, the story of the glottalization of English poetry remains largely untold. Why is postcolonial poetry so much less visible in modern literary world? The term postcolonial has often been criticized for erasing cultural and historical differences, so it can be useful in highlighting similarities and differences among various cultures still grappling with their colonial histories. Yeats has been placed in many literary and hermetic societies. For the constituencies of Yeats studies, the claiming Yeats as postcolonial can help renew attention to a poet who, often charged with antifeminism and reactionary politics, has been losing ground to postmodernism, antiformalism, and ethnic writing. Yeats's postcolonization can strengthen the claim of Irish studies to be a player in the vibrant field of postcolonial studies. If we define the Easter Rising is the crucial moment, "Easter, 1916" would qualify as postcolonial. If postcoloniality is construed not as after decolonialization but as since colonization, then Yeats is more easily swept whole into the postcolonial canon, but so would be all kinds of Irish literature since the early 20th century, perhaps stretching the term postcolonial beyond use. So, we can have difficulties in defining Yeats as a postcolonial poet.

This paper is an attempt to discuss Yeats' meditative poem and its formative process. Before taking up the main subject, I will survey the background of the meditative poem. The most notable of meditative practices were the Ignation meditations that synthesized several medieval branches of meditation and gave them new echo in the early modern world. These meditation then formed the structural backbone of poems that also demanded a similar type of ordered contemplation by Donne, Herbert, Hopkins and Wordsworth. Also Yeats clearly fits into this English meditative tradition due to the Irish and mystical elements but works with meditative techniques in a quite novel manner. The techniques of meditation become significant for their impact on how a poem works to trace the mind's progress. Yeats's poems, especially his mature poems, develop many of the imageable patterns and employ similar technique. There is a close correspondence between meditative discipline and the creative imagination. If we cannot imagination ourselves as different from what we are and assume that second self, we cannot impose a discipline upon ourselves. It is the creation of this self that a meditative poem records. A self is ideally one with itself, with other human beings, with created nature, and with the supernatural. Thus the self of meditative poetry speaks a language based on that of common men, but includes whatever in its own experience is unique and individual. In conclusion, Yeats' meditation allows him to reach that Unity of Being where the oppositions of change and changelessness, time and eternity, are reconciled. Toward the union of "the powers of the soul," Yeats's "Unity of Being" by disciplined effort makes his way, while creation of the poetry plays its part in the struggle. Unity of Being is both the resolution to the tension between opposites and the point at which all things connect.