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)

Unlike his early symbolic mode that is based on the natural representation of organic universe, Yeats’s later works are constructed in the allegorical mode which is based on the antinomies and oppositions that can be defined by rhetoric, form, tone and thematic motifs. If the antinomies are Yeats's central means of perceiving and interpreting the world, what kinds of experience are posited in the center of his life, and in what manner are those experiences represented? The aim of this essay is to approach, through his poetic sequence “Meditations in Time of Civil War”, Yeats’s frame of mind which perceives the world as a series of fixed set of antinomies. Yeats’s later lyric mode is connected, in a very complex manner, with the contradictions and conflicts which arise from what Michel Foucault calls “the absolute power of life and death” and “the life-administering power”. He believed that if the political power and the family authority were to be maintained in modern Ireland, he as poet should embody the ancient forms of power in the aesthetic domain. Such idea leads him to enact in his own works the oral tradition of ancient poetry. He thinks that, leaning on the model of ancient magical arts, modern lyric poet could embody the absolute power of death in his poetry. The literary mode which enacts such power and authority can function as one of the main agents that break the comedic power of modern individualism. Yeats’s idea of absolute power and authority is, however, in constant contradiction with the life-administering power of modern society. Therefore, despite the poet’s strong desire to enact the tragic authority of ancient bard, the poetic space of “Meditations in Time of Civil War” remains the complex site of contradictions and conflicts between the residual forms of Anglo-Irish traditional culture and the dominant cultural forms of modern individualism. It is a disruptive space in which what Fredric Jameson calls the “reversibility” and “disjunction” of modern literary text are embodied in thematic, figural and formal levels.

기판온도 320˚C에서 알루미나 기판 위에 형성한 NTC 써미스터용 Mn-Ni계 산화물 박막의 산소가스 농도 변화와 막 형성 후 열처리에 따른 미세구조, 결정상 비저항, B정수 변화에 관하여 연구하였다. 미세구조는 주상 구조(columnar structure)를 지녔으며 열처리 온도가 증가함에 따라 700˚C 부근에서 등축 결정립 (equiaxed grain) 형태의 미세구조로 바뀌기 시작하였다. 박막의 결정상은 대부분 입방 스피넬 (cubic spinel) 상과 입방 Mn2O3, 상이 공존하였으며 산소농도 0.16%~0.7%의 경우 800˚C에서 열처리하였을 때 입방 스피넬 상만이 존재하였다. 분위기 산소의 농도가 증가함에 따라 비저항과 B정수도 급격하게 감소하다가 다소 증가하였으며, 600˚C-700˚C 로 열처리할 경우 이 값들이 대체로 낮고 안정된 특성을 보였다.

오원계 AI-합금의 용융산화에 의한 AI2O3 복합재료의 형성속도와 미세구조에 대하여 연구하였다. AI-1Mg-3Si-3Zn 합금과 AI-1Mg-3Si-5Zn합금에 Cu, Ni 각각을 1% 무게비로 첨가하였다. 각 오원계 합금은 1373K, 1473K에서 최대 20시간 동안 산화시켰으며, 산화속도는 무게증가 측정을 통하여 조사하였다. 산화층의거시적 형상과 미세구조를 광학현미경으로 관찰하였다. AI-1Mg-3Si-5Zn-1Cu 합금이 가장 우수한 산화거동을 보였으나, 산화층이 불균일하였다. 합금위에 SiO2를 도포하였더니 산화속도가 증진되었으며, 균일하고 조직이 친밀한 산화층이 얻어졌다.

RF magnetron sputter로 알루미나 기판 위에 증착한 NTC 써미스터용 Mn-Ni계 산화물 박막의 기판온도 변화와 열처리에 따른 미세구조, 결정상, 비저항, B정수 변화에 관하여 연구하였다. 미세구조는 178˚C이하에서 증착한 막의 경우 fibrous microcrystalline이었고, 320˚C와 400˚C에서는 columnar grain 구조로 바뀌었다. 또한, 900˚C에서 열처리한 박막의 경우 equiaxed grain 형태의 미세구조를 나타내었다. 박막의 결정상은 대부분 입방 스피넬(cubic spinel)상과 Mn2O3 상이 공존하였고, 400˚C에서 증착한 경우 700˚C이상에서 열처리하면 입방 스피넬의 단상으로 바뀌었다. 기판온도가 증가함에 따라 비저항과 B정수도 급격하게 감소하였으며, 600˚C~700˚C로 열처리할 경우 이 값들이 대체로 낮고 안정된 특성을 보였다. 본 연구의 박막 시편들은 모두 NTC 써미스터의 특성을 나타내었다.

Around 1900, Yeats dreamed and put into practice the national theatre that could lead the crowds into a unified nation. And the theatre he imagined was essentially an occult one in which audience’s minds flow into each other and become one Great Mind professed in the doctrines of ‘Magic’ (1901). After the performances of Synge’s In the Shadow of the Glen (1903) and Padriac Column’s The Saxon Shillin’ (1903), Arthur Griffith attacked Yeats for not serving the nationalist’s cause. The ensuing debates around “the national art versus nationalist propaganda” infuriated Yeats, throwing down his hope for the middle and lower-middle classes. The attack and riots that lasted for a week after the performances of Synge’s Playboy of the Western World (1907), and after that the Hugh Lane controversy, deepened his anger towards them. So some poems that is included in from The Green Helmet and Other Poems (1910) and Responsibilities (1914) are full of the crowds, who pull down the high aristocratic values, laying them as “one common level.” As Yeats’s hope for the crowds vanished, his early theatre project that wanted mass mobilization into a nation changed into the unpopular theatre and an audience like a secret society. He began his work with the Irish theatre by theorizing that a popular nationalist theatre would be an occult one, but by 1915 he desired a theatre as occult precisely because it was not popular. The major difference between the two was the scale on which they operated, namely the nation versus the aristocratic drawing room.

태양열 에너지의 효율적인 이용과 자동화 장치의 개발을 목표로 지중가온의 온도변화 특성을 실험. 분석한 결과는 다음과 같다. 1) 10월 13일의 1일 하우스 내기온이 주야간에 24℃의 차이가 있으며, 무가온시 지온변화는 지중 10 m 부근에서 6℃, 지중 20 cm 부근에서는 3℃정도의 차이를 보이고 있다. 2) 20시경에 내기온과 지온차가 가장 작은 것으로 나타났으며, 지중 20 cm 부근의 온도변화는 내기온이 가장 낮은 오전 7시부터 약 3시간이 경과된 오전 10시에 최저가 되었다 3) 가온수의 온도를 40℃, 50℃, 60℃로 변화하였을 때 지중 10 cm의 최저은도는 약 20℃ 지중 20 cm의 최저온도는 약 23℃로 나타나 가온온도가 40℃ 이상일 경우 가온온도에 따른 지중 10~20 cm사이의 온도차는 매우 작았다. 4) 지중 15~20 cm의 지온이 20℃가 되기 위해서는 가온수의 온도를 40℃ 이하가 되도록 설정하여야한다. 5) 가온수의 온도가 40℃, 50℃, 60℃이고 파이프 매설 깊이가 12 m일 경우 유입구와 유출구의 1일 평균온도차는 40℃일 경우 3.5℃ 50℃일 경우 4.4℃, 60℃일 경우 5.4℃정도로 이 구간에서 온도변화식은 T = 0.09591T＋2.5451(R2= 0.9966)로 거의 선형적으로 변화하였다. 6) 가온수 온도가 40℃의 경우 지중 15~20 cm, 50℃의 경우는 지중 13~19 cm, 60℃의 경우는 12~17 cm 부근이 경계영역으로 판단되었다. 7) 재배기간중 하우스 내기온을 11℃ 이상으로 유지하고, 가온수의 온도를 28℃로 순환 결과 지중 15 cm 이하에서 최저지온를 20℃ 이상의 온도를 유지할 수 있어 저온수공급에 의한 온도상승효과가 뚜렷이 나타났다. 8) 가온수의 온도를 28℃로 하여 지중가온 한 결과 지중 15~20 cm사이에 온도변화는 무가온구에 비하여 공히 4℃~7℃가 상승되었다.

AI-Mg-합금의 용융산화에 의해 생성되는 AlO2O3-복합재료의 미세구조에 미치는 합금원소의 영향을 연구하였다. AI-1Mg 합금과 AI-3Mg 합금을 기본으로하여 Si, Zn, Sn, Cu, Ni, Ca, Ce를 1, 3, 5 %를 무게비로 첨가하였다. 각 합금을 1473K에서 20시간 유지하여 산화시킨 후 산화층의 거시적 형상과 미세구조를 광학현미경으로 관찰하였다. 각 미세구조의 상분율을 상분석기로 측정하였다. 산화층의 최첨단면은 SEM과 EDX로 관찰하고 분석하였다. Cu나 Ni를 첨가한 합금으로부터 성장한 산화층의 미세구조가 가장 치밀하였다. Zn이 포함된 합금으로부터 성장한 산화층 최첨단 성장면에는 ZnO가 관찰되었다. Zn이 포함되지 않은 다른 합금의 성장 전면에는 항상 MgAi2O4상이 관찰되었다.

용융산화에 의한 AI2O3복합재료의 형성에 미치는 합금원소의 영향을 연구하였다. AI-Mg-3Si 합금이 가장 우수한 산화거동을 보였다. 우수한 3원계로 선정된 AI-1Mg-3Si합금에 제 4원소 Sn, Cu, Ni, Zn을 양을 달리하여 각각 첨가하여 산화거동을 살펴보았다. 1273K, 1373K, 1473K, 에서 20시간 각각 산화실험을 한 결과, 1473K에서는 모든 합금계가 우수했으나 1373K, 1273K에서는 산화가 거의 일어나지 않았다.

After the publication of his book, The Wanderings of Oisin and the Other Poems in 1899 Yeats was keenly interested in the non-English cultures of the British Isles. It was known as the Celtic Twilight. In 1898 he published a volume of essays called “The Celtic Twilight” containing a number of folk stories. In 1891 he founded the Irish Literary Society and worked on a three-volume edition of the poetry of Blake, which was published in 1893. Because of this involvement he pursued the study of symbolism, which is so important for his poetry. The evidence of this is to be found in his two volumes of the decade, The Rose(1893) and The Wind Among the Reeds(1899), with their many uses of the rose and other symbols. Lady Gregory encouraged Yeats’s interest in folk-lores, visiting with him the homes of her tenants and listening to their stories. She also encouraged him to work for the theatre, which led him to the founding of the Irish National Theatre Society in 1902. In this way Yeats attempted to solve the two problems that were central to him as a public poet: the general problem of symbols in literature in an age lacking a common tradition and the particular problems presented by the confusions of the Irish situation. He was impelled to find a way of putting Ireland into some mental order, so that cultural symbols of dependable significance would be at the disposal of the artist. In this context I read the two poems, “To the Rose Upon the Rood of Time” and “The Song of Wandering Aengus” as the manifestations of the Celtic, symbolic tradition of the Irish elite and the tradition of the Irish people respectively. But in the 1890s and the early 1900s, for all his identification with the Gaelic ethos, a wistful hope remained for leadership from a regenerated landlord class. The Ireland that Yeats envisaged was a nation with a distinctive cultural and spiritual identity, and he imagined a community free of sectarian differences and conflicts. That vision was not as revolutionary as some critics have supposed, and it hardly outlasted the 1890s. A century later, however, we find an unusual amount of interest in his early writings.