목적: 초등학교에서 보건교사가 실시하고 있는 보건교육 내용 가운데 ``눈과 시력 및 시력관리``에 관한 교육현황을 파악하여 성장 발육기에 있는 초등학생의 근시발생 및 진행을 예방할 수 있는 보건교육의 방안을 제시하고자 한다. 방법: 2010년 9월부터 2011년 1월까지 경기도 오산시, 화성시, 수원시 초등학교에 재직하고 있는 보건 교사 65명을 대상으로 우편에 의한 설문조사를 실시하였다. 그 중에서 불성실하게 응답한 12명의 설문지와 설문에 응하지 않은 5명을 제외한 48명을 검사대상으로 선정하였다. 수집된 설문은 SPSS 12.0K Window를 이용하여 전산처리하였으며, 자료분석은 빈도와 백분율로 하였다. 결과: 보건교사는 5, 6학년을 대상으로 1년에 17차시의 보건교육을 실시하고 있었고, 초등학교 교육과정에 명시되어 있는 보건교육 중 ``시력저하예방 교육``을 실시하고 있는 교사는 18.7%로 조사되었다. 보건교사가 원하는 시력저하 예방교육에 관한 정보 제공 형태로는 ``세미나/워크샵``이 58.3%로 가장 많았으며, 학생들을 대상으로 실시하는 시력저하 예방교육 중 가장 선호하는 교육 형태는 눈알사진 또는 눈알실제모형을 이용한 눈과 시력에 관한 체험수업이었고(54.2%), 보건수업 시간을 활용한 눈 건강 관리교육은 31.2%, 전문기관에서 시력검사 후 시력에 관한 교육은 14.6%, 시청각자료를 활용한 교육은 14.6%, 눈 운동 16.7%, 개인상담 2.1%로, 체험학습과 눈과 시력에 관한 교육을 선호하는 것으로 조사되었다. 결론: 초등학교 보건교사들이 눈과 시력에 관한 정보를 제공받을 수 있는 기회가 거의 없고, 눈과 시력에 관한 보건교육의 실태는 매우 미흡한 상태이므로, 보건교사를 대상으로 눈과 시력에 관한 전문적인 보건교육을 강화할 필요성이 있다.

This study was performed to develop a video based system which can be used to measure the averaged fish size in a non-intrusive fashion. The design was based on principles of simple stereo geometry, incorporated fish dimensions weight relationships and took into consideration fish movement to lower system costs. As the fish size is an important factor that impacts the economy of an aquaculture enterprise. Size measurements, including fork length, width or height, girth, thickness and mass, can be used to determine fish condition in the fish farm, so the averaged fish size of fish cage needs to consistently monitor in open ocean aquaculture cage. A precision of ±3% for replicate length measurements of a 60cm bar is obtained at distances between 2.0 and 6.0m, and the mean fork length and mean swimming speed of bluefin tuna were estimated to 48.8cm and 0.78FL/s, respectively.

이 논문은 『비전』이 창조과정에 대해서 드러내는 것이 무엇인지 찾기 위해서 『비전』의 신비주의적 요소들 초월하려고 한다. 『비전』은 예이츠의 신비주의에 대한 관심과 인간의식의 가장자리 넘어 존재하는 것에 대한 세속적 설명(이를테면, 프로이드의 무의식) 사이에 끼인, 중요한 시기에 나타난다. 예이츠의 "안내자"가 말하는, "시를 위한 메타포"를 제공하는 것 이상으로 『비전』은 시적 영감이 생성하는 과정에 대한 통찰을 보여준다.

예이츠는 『비전』의 제 3권 ｢심판받는 영혼｣에서 생과 사의 경계선에서의 6가지의 단계를 묘사하고 있다. 그의 진정한 목표는 이미 선험적으로 결정지어진 “존재의 통일에 이르는 길,” 더 나아가서는 “문화의 통일” 또는 “다문화”와 “초국가”의 길에 이르는 연단의 문제였고, 결국 보편적인 영혼의 초문화/초국가적인 시학의 지형도를 그려내는 작업이었다. 이미 먼저 온 “앞선 미래”의 영혼의 눈은 초국가주의 시학을 예견하고 있었고, 예이츠의 ｢심판받는 영혼｣은 바로 이 시학의 중핵을 이루는 중요한 증언이 되고 있다.

예이츠는 자신이 카멜레온의 길(호도스 카멜네온토스)이라 부르는 곳에 너무 깊이 방황하면 자신의 시가 파괴되지 않을까 걱정했다. 그 길에서는 상상력이 지나치게 넘쳐서 독자가 그 이미지들을 이해하지 못하게 되지 않을까 걱정했다. 그의 많은 희곡 작품에서 그는 이런 여러 이미지들을 실험한다. 그는 그가 읽은 페르시아 미술사에서 호도스 카멜레온토스와 동일한 이미지들을 발견했다.

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.

This article discusses A Vision so it could be of some help to reading some of Yeats's metaphysical poems. It is true that some of his metaphysical poems are so beautiful but that it is not easy to grasp what they really want to say to the readers, and how and why they appear so haunting and attracting to the general readers. Equally important is that the book itself is a poem of supreme beauty. There are two versions of A Vision. The first version Yeats privately published in 1925. His wife Georgie was a medium, through whom Yeats had talked with his teachers/gods for seven years; as a result, he created a system that classifies man into 28 types following the 28 phases of the moon, made a theory of reincarnation, a history of the world, based on the cyclical and antithetical nature of the moon and the gyre. The second version became a new book. Yeats revised the first version, deleting, adding, polishing much of it, and published it two years before he died. While composing the first book, Yeats said he did not read philosophy, because he did not want himself to be under the influence of the philosophy and distort what his teachers said through the automatic writing. He did read philosophy, however, for four years, to understand his wife's automatic writing accurately, when he revised it for the second publication. Yeats questioned what he had invented, and further contemplated big questions intellectuals of his time raised. All of these efforts grew to be the book of the century that is most elaborate, most abstract and most concrete as well. It is both a book of beauty itself and a book for reading his poetry and plays and his thoughts.

The postmodernizing of Yeats had been a risky and tricky enterprise. As Naomi Schor in "Introduction" in Flaubert and Postmodernism (1984) points out, postmodernism in all its multiple manifestations is a moment "in" and "of" modernism. Daniel O'Hara, Paul A Bove, Geoffrey Hartman, Paul de Man, and J. Hillis Miller attempt such projects. Nevertheless, with very few exceptions, Yeats has been used by theorists mainly in examples within a longer theoretical argument, and very few works of book-length criticism have been studied. After that, I have been working since 1991 on postmodernizing Yeats from the perspective of Nietzschean postmodernism of genealogy which ranges from Nietzsche, Heidegger, Derrida, Foucault, and Lyotard, and from this critical standpoint I have been relating modernism with postmodernism in an intriguing doubleness so that rhetoric would be the anchor from which doubling strategies of postmodernism have been revealing and disrevealing. Yeats's poetry and poetics reveal such aspects of both modernism and postmodernism, just like his symbol or emblem of gyres, although the nature of postmodernism turns out to be extensive post-isms. However, my contention in the paper is that the Yeatsian transnational poetics in terms of the "transdiscursive position" of the Other will provide the lenses for rereading the modern and contemporary poetic texts as well as the topographical fluid intermappings of the poetic globe. By taking William Butler Yeats's poetics and poetry as an initiating analysis, the untranslability across the East/West divide will be left open by the space of the Other which "is something strange to me, although it is at the heart of me." The center of the subject is outside, therefore, ex-centric in the discourse of the Other. I would argue that the locus for this untranslability to be crossed over in terms of the “in-between” or “intersticies” is represented by cross-cultural/transcultural or transnational poetries in English. When translating from one language to another linguistically or culturally, there are often multiple meanings for a particular word, sentences, a poem, or a series of poems, the meanings which have been blocked in the contact zone or border zone of transnationalism to be transgressed, transmigrated, transported, and translated. Louise Bennet's poetry is one example of this transnational poetry.

This paper is an attempt to discuss Yeats's Four Faculties and symbolic approach in A Vision. He tried to search for how to make many symbols and images drawn in his poetry into one principle and theory and put it together in A Vision. He used Four Principles to explain the cycle of reincarnation while he made use of Four Faculties to show the stream of consciousness. He insists that we have many spiritual conflicts and pains. However we can solve this conflict and confrontation through the course of Four Faculties. He elaborately explains that this kind of stream of consciousness divides in Four Faculties and this travels on the phases of the moon in A Vision. These Four Faculties are Will, Mask, Creative Mind, and Body of Fate. Will is understood that what's the feeling has not become desire because there is no object to desire. Mask is understood the image of what we wish to become. Creative Mind meant intellect. And Body of fate is understood the physical and mental environment, the changing human body, and the stream of phenomena as this affects a particular individual, all that is forced upon us from without. Four Faculties movement means that the change of relative force in each pair of psychical function unites with the principle symbol of the 28 phases of moon. In a sense though this symbol is actually his own volition, this also has a beauty and mighty force. Transformation of the 28 phases of moon relates to cross over from the Primary to the Antithetical. Phase 15 and phase 1 emblematized the unity of Will and Creative Mind not moving and fixing. In phase 15, the feeling of introversion easily changes into the thought of introversion through material that is subjective image, or archetypical image. However in phase 1, the intuition of extroversion changes into the sensation of extroversion through the focus from without. These two phases make reconciliation rather than conflict. In conclusion, through the unity of subjective image, Unity with God, Unity with Nature, we experience the moment of tranquility in which reincarnation presents itself outside of cycle of phases. The synthesis from without opposed to the unity of image in the center of the Antithetical. Therefore Yeats shows the method of Unity with Nature, Unity with God, and Unity of Being in A Vision. However he insists the ideas of Unity of Being in his poems.

This paper discusses Yeats’s ideas on the transmigration of Souls in A Vision and his poems. Yeats creates the six levels of a human's reincarnation. He insists that Consciousness corresponds with one another in this life and the afterlife in A Vision. He thinks that Consciousness moves toward Will and goes in cycle in Faculties at the moment. However, Consciousness submerges Spirit in Principles and after Spirit unifies Celestial Body it becomes extinct. When Principles dominate the system in the afterlife, Spirit circulates in the system. Faculties have an effect on from birth to death in human, but although submerging in Faculties at the period, Principles have a tremendous impact on getting a new physical body in the afterlife. If a human passes away his body, Consciousness transfers from Faculties to Principles, also from Will to Spirit. And then it arrives at The Vision of Blood Kindred and Meditation. The Vision of Blood Kindred is the illusions of every past experience in Husk and Fascinate Body, resulted in final body. And Meditation is to disappear Husk and Fascinate Body and to appear Spirit and Celestial Body. After that, the stream of soul continuously changes into Return, Dreaming Back, Phantasmagoria, Shiftings, Beatitude, Purification, Foreknowledge step by step. Yeats described them as a cyclical course of afterlife in “Byzantium” and “The Man and the Echo.” In conclusion, a human is reborn in the afterlife through transferring from Principles to Faculties, also from Spirit to Will. The practical transition from Principles Gyre to Faculties Gyre takes place when Consciousness travels from Spirit to a new Husk. So a human passes away from this world and through the six courses of reincarnation in the afterlife. He is reborn in another world.

목 적 : 시각 구연 능력과 양안시 기능이 학업 성취도와 어떠한 상관성이 있는지 알아보 았다. 방 법 : 대전 지역 초등학교 4학년 학생 122명을 대상으로 한글 읽기 속도(Korean Reading Rate) 검사와 DEM 검사를 통한 시각-구연 능력(Visual-verbal Skills)과 굴절이 상도, 사위도, 조절 용이성, 융합 능력(Fusional Vergence) 및 조절근점 등의 양안시 기능을 측정하였다. 연간 총 평가 성적을 석차 순으로 상 ․ 중 ․ 하(각 38명씩) 3개 그룹으로 분류하여 각종 측정 결과와 비교 분석하였다. 결 과 : 학업 성취도 각 그룹별로 시각-구연 능력과 비교했을 때 한글 읽기 속도는 상위 그룹이 하위 그룹보다 평균 10초 정도 짧았으며(p = 0.000) 유의한 상관성을 보였다(r = -0.359, p = 0.000). DEM 검사는 상위 그룹이 하위 그룹보다 9초 정도 짧았고(p = 0.000) 유의한 상관성을 보였다(r = -0.427, p = 0.000). 양안시 기능과 비교한 결과 굴절이상도는 중간 그룹이 하위 그룹보다 0.50D 정도 더 높았다(p = 0.016). 사위도 및 단안 조절기능(단 안 조절용이성 및 단안 조절 근점)은 통계적으로 유의한 차이가 없었고, 융합 능력 가운데 원 거리에서 NFV와 PFV 모두 중간 그룹이 가장 낮았다(p = 0.011 및 p = 0.007). 근거리에서 NFV는 유의한 차이가 없었으나, PFV는 상위 그룹이 가장 높았다(p = 0.000). 특히 학업 성 취도와 근거리 PFV는 유의한 상관성을 보였다(r = 0.571, p = 0.000). 조절과 폭주의 결합 요소(양안 조절 용이성 및 양안 조절 근점)를 비교했을 때 양안 조절 용이성은 중간 그룹이 가장 높았으며(p = 0.000) 양안 조절 근점은 상위 그룹이 가장 낮았고(p = 0.037), 한글 읽 기 속도와 DEM은 유의한 상관성을 보였다(r = 0.618, p = 0.000). 결 론 : 학업 성취도와 시각-구연 능력(한글 읽기 속도와 DEM 검사)은 모두 상관성이 있 었으며, 양안시 기능은 근거리 PFV만 상관성이 있었고 근거리 PFV가 높을수록 학업 성취도 가 높은 것으로 나타났다.

Poets use symbols because they have realized that our common language is inaccurate in describing the inner reality. In A Vision, Yeats presents an elaborate symbolic pattern which he applies not only to history, but also to individual lives. One of his basic symbols is a pair of interpenetrating whirling cones or "gyres" signifying the world of change that move within a sphere emblematic eternity. The gyres, with their points at the bases of each other, represent the oppositions and reciprocity of human existence; one expands as the other diminishes. The two gyres stand for two contrasting forces―the primary or objective and the antithetical or subjective. There is a state of perpetual conflict between the gyres The “sphere” is the symbol of perfection, "Unity of Being". These symbols of sphere and gyres are equivalent to another set of symbols, in which a circle or "The Great Wheel" is marked off into "phase" that correspond to the waxing and waning of the moon. There are twenty eight such phases, with varying degrees of moonlight and darkness. They can be applied to human personality and to the incarnations of the soul. Each quarter of "The Great Wheel" represents a completely different character. The first quarter is identified with the body, the second with the heart, the third with the mind, and the fourth with the soul. The result of the mixture of these principles at any one phase must be measured in terms of "Four Faculties," which usually are at odds with one another. As "Four Faculties" with living here, "Four Principles" apply to the life after death. The Principles find their Unity in the Celestial Body, man's archetype in Heaven.

Throughout Yeats's life, his occultism absorbed much of his time and energy. Yeats's occultism supported and enriched his poetry and plays, providing him with themes, the symbols, a philosophy that affirmed recurring self-renewal. Through the development of Yeats's occult thinking, from the Golden Dawn, through Per Amica Silentia Lunae, to A Vision, a continuous, coherent direction can be traced. Books II and III of A Vision, deal with the nature of the human soul, its different principles, and its progression after death. In "The Completed Symbol," Yeats elaborates on the Four Principles of the soul ― the Husk, the Passionate Body, the Spirit, and the Celestial Body. The Principles find their Unity in the Celestial Body, man's archetype in Heaven. In "The Soul in Judgement", examining the six after-death states, death, in general, is also presented as a transfer of consciousness from the physical plane to a higher one. During the first three states, or until Beatitude, the Spirit passes each time into a higher state of consciousness; after Beatitude, following the circular pattern of "The Great Wheel," the Spirit lapses slowly into relative unconsciousness. These six states, like the twenty-eight phases, affect each other, and in each one the Spirit has to act under certain laws. The soul has to pass through all of these states in order to progress and to prepare for its reentry into the physical world. This belief in the six after-death states stems from the occult sources mainly Theosophy which also teaches that the soul passes through six planes of consciousness after death -- the divine, the monadic, the spiritual, the intuitional, the mental, and the astral plane or plane of passions and emotions. Yeats uses the lunar cycle to explain the soul's journey between lives. The concept of the Thirteenth Sphere is important because in the occult traditions, the number thirteen is also symbolic of unity and perfection. In A Vision the Thirteenth Sphere represents Unity since in it all antinomies are resolved. Yeats's view of the soul is directly related to his belief in a universal duality ― the existence of opposite but equal forces that dominate a cycle alternately.

Yeats's poetry and writings were a display of his passion for mysticism and the occult. This view on Yeats has been largely expressed in various publications. Many of Yeats's critics, including Ellmann, agree that the roots of Yeats's system are in Theosophy. The roots of Yeats's philosophy are in Theosophy, being a comprehensive, unifying systems of all occult tradition, and the first metaphysical system that Yeats encountered. Being faced with the dilemma between faith and disbelief, Yeats contacted numerous texts on the subject occultism and met Blavatsky, the founder of Theosophy society, claimed to have the ability to offer a "synthesis" of religion, science, and philosophy. After many metaphysical conversations with her and many hours of long thought on the issue, Yeats took one of his first steps on his path of occult wisdom. Yeats's fascination with occultism and mysticism was so profound, and his need to create a unifying mythology so great, that he decided to develop an esoteric system of his own. Thus, between 1917 and 1925, Yeats had written A Vision, an elaborate, complicated system that is of importance in understanding Yeats's works. The first version, published in 1925, was later revised, and final version was published in 1937. In Book IV and V of A Vision Yeats had expounded the notion that history moves in great two-thousand-year cycles. This circle represents the moon and the twenty-eight phases of the moon which are closely related to the progression of time and world history. Yeats suggested all things are subject to a cycle of changes, which can be regarded as bi-polar, passing from a state of objectivity to one of subjectivity before returning to objectivity again. In this view he was strongly influenced by the Theosophists, especially Blavatsky and the Kabbalists, who saw the law of periodicity as one of the fundamental and absolute laws of the universe. Yeats believed that history was cyclic and that every 2,000 years a new cycle begins, which is the opposite of the cycle that has preceded it. In his poem "The Second Coming," the birth of Christ begins one cycle, which ends, as the poem ends, with a "rough beast," mysterious and menacing, who "slouches towards Bethlehem to be born." Yeats's theory of the historical cycle is directly related to his belief in a universal duality -- the existence of opposite but equal forces that dominate a cycle alternately. This view is in accordance with the occult traditions which teach that the First Cause exhibits periodically different aspects of itself. Yeats believed that kingdoms rise movement of history is an hour within the day of a large movement, and that all these cycles are caught within one all-inclusive "Great Year" which has a cosmic purpose. The Kabbalah says the alternation between judgement and mercy must be on equal terms. The germ finally goes back to its root principle, the Unity out of which everything proceeds.

In connection with the world beyond globalization, new theories such as Samuel Huntington's 'The Clash of Civilization', Gilbert Achcar's 'New World Disorder' and 'The Third World War' are emerging. This paper was motivated by the personal thinking that the Republic of Ireland as Celtic Tiger goes beyond globalization toward 'uisneach', as the hidden tradition, and that Yeats is a great guide to illuminate the quest and that Heaney is an inheritor or an achiever of the quest.This paper begins with the hypothesis that the modern Irish poetry is seeking their hidden tradition, 'uisneach'. I think that to understand the modern Irish poetry, we should first understand what is meant by 'uisneach'. 'Uisneach' has the various meanings: in the geographical sense, it means the area of the "territorially elusive" fifth province of Mide, the navel or the center of Ireland; in the religious sense, it means the sacred center of Ireland in pagan times; in the mythological sense, it is related to the Ulster Cycle including "Oidheadh Chloinne Uisneach", the fate of the Sons of Usnech, known as the Deirdri Ballads; and in the aesthetical sense, it means the origin where creative energy is flowing. W.B. Yeats was a knight in charge of the quest of the Irish political independence through the Celtic Revival against Anglo-Saxon's scientific modernity. His search for 'uisneach' reflects the resistance on the regional as well as the European level against Anglo-saxon's culture. Seamus Heaney's poetry is also going toward the fifth spiritual space where the Irish people believe a reconciliation is to be made, by taking some steps. And lastly, he also goes beyond the global space toward their hidden world based upon Celtic belief and the mild liberalist aestheticism. My last conclusion is that 'uisneach', a hidden tradition or vision means the Celtic vision modern Irish writers have sought. I think that Yeats is a poetic predictor or mentor to illuminate another waste land, Ireland, by suggesting the vision while Heaney is an inheritor in that he goes toward the hidden tradition Yeats suggested.

This paper focuses on the similarities and differences between Robert Browning's dramatic monologue and W. B. Yeats's mask theory. Even though two poets were not contemporaries, it is very interesting that they show some similarities in poetic skills and subjects. Unlike Romantics revealing a poet's subjective feeling directly in their poems, Robert Browning created the dramatic monologue to develop the field of the objective expression. In his “dramatic monologue,” a character instead of the poet utters the speech that makes up the whole of the poem, in a specific situation at a critical moment. This person addresses and interacts with other people and we know of his presence, as well as what they say and do, only from the clues in the discourse of the single speaker. In his “My Last Duchess” the Duke is negotiating with an emissary for a second marriage, and the reader can know the speaker's cruel character and intentions. In his “Andrea Del Sarto,” though Andrea was one of the greatest painters in the Renaissance period, he was a failure as an artist because of his artistic passion and indomitable spirit. Excusing his artistic frustration, he once more tries to believe his wife's lies. When Yeats entered art school in Dublin in 1884, he was an enthusiastic reader of English poetry, especially Browning. Yeats was an admiring reader of Browning's poetry, and Browning was one of the nineteenth-century forefather poets of Yeats. He explored, as Browning did, the themes of creative men divided within themselves and struggling to unify their inspirations toward love and intellect, aesthetic contemplation and heroic action. In this process, Yeats developed the concept of masks from the other self in contrast to the natural self perceiving a man as the conflicting existence between subjectivity and objectivity. In his doctrine of mask, Yeats provided a formal aesthetic for the poet's need to speak dramatically through the masks of other personalities; Browning had long practised dramatic poetry in principle in which he donned the masks of personalities totally unlike his own. Browning tended to hide his interests behind the masks of his characters, whereas Yeats more openly voiced a variety of mystical and antithetical thoughts. Yeats happened to find an occasional, almost incidental similarity of language and a shared attitude toward the sources of poetic inspiration with Browning's. By 1929, when he was sixty-four years old, rewriting and revising his poetry with an eye to a collected edition, he announced that he would be turned from Browning. Yeats was an appreciative reader of the older poet, but the great achievement of Yeats's poetry transformed and transcended the influence of Browning.

The focus of study in this paper is put on the comparison of symbolism manifested in the world of W. B. Yeats’ poetry and the thoughts of Master Won-hyo.. The comparing works include the identification of their understanding ways of life. The symbols in common to bridge W. B. Yeats and Master Won-hyo are, for instance, circle, cone, cycle, sphere, spiral, wheel, vehicle, etc. Such a sign symbolizes a round thing, in another expression, the world or the cosmos where man belongs to. The phenomenological world or the cosmos by oriental thoughts is represented as the 28 phases of the moon, ranging from the dark moon(objectivity) to the full moon(subjectivity), which according to W. B. Yeats’ theory are identified the same kinds of character of man. Won-hyo(元曉, 617～686), a life-long friend of another Buddhist Master Ui-sang., insisted on the necessity for every living being to return to the foundation of the One Mind(一心), which is the original state of being, in another words, or “Ultimate Reality” to which every living being has to return. The Hwa-yen Sutra(華嚴經), a rare scripture of Mahayana Buddhism(大乘佛敎), emphasizes that the Ultimate Reality is the Source of One Mind of Won-hyo. We can say that Mahayana Buddhism teaches every living being the way to return to the world of the Ultimate Reality by great vehicle of "Mahayana"(大乘) in sanskrit. Another principle of Hwa-yen philosophy may be expressed as "All in one, one in all. One is all, all is one"(一中一切一切中一, 一卽一切一切卽一). "The Six Aspects"(六相) is interpretated by the principle. The mutual relationships are harmonized between the whole and a part, between the unity of the whole and the diversity of the part, and between the completion of the whole and the self-denial of the part. The One Mind is synonymous with the Great Vehicle with great wheels, which return to the Source of One Mind, the original state of being, or the Ultimate Reality( or Nirvana). The meaning of the One Mind may be expanded to the synonym of the existential world or the cosmos, at the center of which the One Mind lies. Accordingly, The One Mind, the Great Vehicle or Great Wheel and the World has a similar analogy, which make a system of symbolism, so called “Yeatsian gyre theory.” Yeats imagined a spiral, which he preferred to call a gyre) or whirling cone. Then two such cones were drawn and considered to pass like the human soul through a cycle from subjectivity to objectivity. These cones were imagined as interpenetrating, whirling around inside one another, one subjective, the other objective. The cones were not restricted to symbolizing objectivity and subjectivity. They were beauty and truth, value and fact, particular and universal, quality and quantity, abstract and concrete, and the living and the dead. Yeats thought that he had discovered in the figure of interpenetrating gyres the archetypal pattern which is mirrored and remirrored by all life, by all movements of civilization or mind or nature. Man or movement is conceived of as moving from left to right and then from right to left. No sooner is the fullest expansion of the objective cone reached than the counter-movement towards the fullest expansion of the subjective cone begins. These movements slide to the 28 phases of the moon. The dark moon, in the course of wane and wax sways to the full moon. The different 28 patterns of the moon is mirrored by all life or mind, ranging from the highest state of subjective mind(the 15th phase: the full moon) to the highest cast of objective mind(the 1st phase; the dark moon). In the long run, the world which Won-hyo and Yeats seek for as an ideal space of mind is a unified one, into which melted are the binominal opposites such as objectivity and subjectivity, the sacred and the profane, the bishop and Jane, fair and foul, the dancer and the dance, beauty and truth, value and fact, particular and universal, quality and quantity, abstract and concrete, and the living and the dead.