Biblical Simeon in Luke 2:25-35 is an old and devout Jew who sees Infant Christ by the Holy Ghost. Simeon becomes a unique man. He is between in the pre-Christian world and in the Christian world. Like Simeon, T. S. Eliot begins his new religious life as a result of his conversion in 1927. However, Eliot’s conversion involves rather spiritual agony or pain than joy. In this respect, Eliot dramatizes his conversion through his “correlative” or persona Simeon by adding a dark side of the Christian belief to Biblical Simeon’s narrative in “A Song for Simeon.” In this process, Eliot tries to identify himself with his “correlative” or detach himself from him to explore his Christian faith based on the Bible story. For Eliot, “A Song for Simeon” is a song for an interpretation of his painful religious journey toward a true Christian life through his own Simeon.

벼리】본고는 한국어로 된 노래를 활용하여 ‘동아리 활동’ 중심의 한국어교육에 대해 연구하였다. 한국 노래와 관련된 최근의 선행연구들이 ‘노래를 이용한 학습자 수준별 문법 및 문화수업’임에 반해 본 연구는 교실 안에서 이루어지는 교과과정 중심의 교수·학습에서 벗어난 ‘학습자 중심의 자유로운 모둠학습’이다. 학습자들은 각자의 개인학습과 모둠학 습을 통해 한국인들이 즐겨 부른 노래를 중심으로 학습 대상곡목을 선정하고 수료식 발표를 위해 가사를 연습·활용하면서 한국어 학습에 대한 자신감과 한국인들의 사고에 대한 간접적인 이해를 할 수 있었다. 어린 아이들이 어휘와 문법적 지식을 완전히 갖추지 않고도 노래를 따라 부르는 것처럼 외국인 학습자도 각자의 수준에 맞추어서 한국 노래를 이해하고 학습할 수 있다는 것을 전제로 학습자 수준을 나누지 않고 수업을 진행하였고 이것은 학습자의 학습 동기를 자극하는 좋은 기회가 되었다. 제시된 수업모형은 한 번의 수업만으로는 검증되기 어렵다는 한계점이 있으나 ‘학습자 주도적인 동아리 활동’에 대한 구성주의적 수 업방법과 전략을 사례연구를 통해 제시해 보았다는 데 의의가 있다.

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.

본 연구는 鄭載圭(老柏軒, 1843-1911) 시세계에 나타난 학문정신을 탐구하 기 위한 것이다. 이를 통해 우리는 19세기 후반에서 20세기 전반에 이르는 영 남 기호학파의 문학세계, 그 일단을 이해할 수 있었다. 정재규의 삶과 문학에 저류하고 있는 것은 강한 호학정신이었던 것으로 보인다. 활발한 저술활동과 강학활동은 모두 여기에 기반한 것이라 하겠다. 정재규의 시세계에는 수많은 사람이 등장한다. 이것은 그의 시세계가 학문적 연대를 통해 구성되고 있다는 것을 의미하며, 동시에 창작활동은 학문을 위해서 필요했다는 것을 의미한다. 정재규의 학문 내용은 그 중심에 율곡학이 있었고, 그 주변에 남명학과 퇴계학 이 있었다. 이것은 그의 학문이 기호학에 연원을 두면서도 영남학으로 열려 있 었다는 것을 의미한다. 정재규의 시세계에 등장하는 자연은 성리학적 이념과 굳건히 결합되어 있다. 이 때문에 그의 시세계는 자연과 문학과 성리학이 일체를 이루며 작품군을 형 성할 수 있었다. 사물에 대한 이념적 인식과 그것의 시적 형상은 정재규의 시작 법에 있어 중요한 위치를 점한다. 그러나 그의 작품이 관념성으로 편향되어 있 다고 하기는 어렵다. 유례없는 위난의 시대를 맞아 위기의식에 입각하여 작품 을 창작하고 있기 때문이다. 변복령과 단발령이라는 심각한 문화적 위기를 경 험하면서 明末 절의를 지키며 죽어간 중국 선비들을 시로 칭송하기도 하였다. 이를 통해 그는 위정척사의 의지를 더욱 강하게 나타내고자 했던 것이다. 정재규 시세계의 의미구조는 단순하지가 않다. 호학정신에 바탕하여 학문적 연대를 통해 작시활동을 전개하면서 선현의 도학을 계승하고자 했고, 또한 다 양한 사물에서 이치를 발견하고자 했다. 그리고 이것이 관념으로 흐를 수 있다 는 자각 하에 당대를 극도의 위기적 현실로 인식하면서 사회적 실천을 추구하 고자 했다. 그러나 정재규의 시는 실천정신과 결합되어 있다기 보다 성리학적 이념이 강하게 나타나는 작품이 우세하다. 이것은 그의 시세계가 전통적인 세 계관에 입각해 있다는 것을 의미한다. 주자 성리학을 묵수하면서 현실대응을 시도한 당연한 결과라 아니할 수 없는데, 그의 시세계에 이러한 점이 확연히 드 러나 하나의 특징과 한계를 이룬다.

This paper intends to reveal that Eliot’s life entered a profound influence upon his earlier poems, especially in the unpublished work, Inventions of the March Hare: Poems 1909-1917, which was edited by Christopher Ricks in 1996. Eliot said that there might be the experience of a child of ten, a small boy peering through sea-water in a rock-pool, and finding a sea-anemone for the first time: the simple experience (not so simple, for an exceptional child, as it looks) might lie dormant in his mind for twenty years, and re-appear transformed in some verse-context charged with great imaginative pressure. This paper deals with the personal experiences of his early years, from his boyhood to the time when he returned for the autumn term of 1911 and enrolled as a graduate student in philosophy; that is, the inhibiting circumstances from Unitarianism, the emotional conflicts between him and his parents from preparing for Harvard University, and from his mother’s opposition to studying abroad in Paris in 1910. In his poetry, Eliot reveals his passion for studying abroad in Paris that he kept in his mind even before graduation from Harvard University, and he also expresses his circumstances through his poems indirectly, something which he would not dare communicate directly to his strict family. For example, in the situation that he already had lost interest in Boston, the streets already seemed so boring and also it seemed the “Mandarins” says the oppressed feelings of his family that had been against the abroad study. He also expresses himself as a clownesque or a marionette, which even can’t make any decision about themselves.

This thesis intends to explicate T. S. Eliot’s Four Quartets with 배e image of the rose-garden as an important c1ue to it. The mystical experience of rose-garden is the starting point of “Bumt Norton", the first poem of Four Quartets. ln “Bumt Norton", this ecstatic moment of illumination can be said to save the poet from the flux of time, even momentarily. At tbis time Eliot applies the Dantean concept of “tbe still poinl of tuming world" to tbe rose-garden experience. This image of rose-garden repeats ilself in the rest of the poem. However, the meaning of visionary experience is criticized within the work itself. In the concluding section of “Easl Coker", tbe poet altempts 10 revise his altiludes to those mystical experiences. He wishes to put more value on the enlarged consciousness covering the collective community rather than the isolated ecstatic moment of one solitary mystic. ln “The Dry Salvages" he is concemed with giving poetic form to tbeological tbougbts sucb as Annunciation and lncamation. The poet accepts historic lncamation, namely the birtb and life of Jesus Cbrist on earth, as the intersection point of the limeless with time. However, when he poeticizes the Chrislian doctrine, he just takes the method of connecting lncamation with the small experiences of iIIumÎ.nation. Now we can realize the rose-garden experience of “Bumt Norton" as “The hint half guessed" or "the gift balf understood" of Incamation, as it were, a sbadow of lncamation. Finally, at the end of “Little Gidding" the poet reaches the rose-garden once more. At tbis time tbis last rose-garden could be thought to be a more expanded one than that of “Bumt Norton", for we know well tbat it only could be reacbed after various spiritual, p이itical， and historical disciplines.

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.