본고는 10세기 중·후반에 한문학 진흥을 위한 다양한 노력이 경주 되었음에도 불구하고 가시적인 성과가 나타나지 않은 원인을 밝힌 것이다. 10세기 중·후반은 한문학을 진흥시키기 위한 다양한 정책을 시행함으로써 이전 시기와 성격을 달리하기 시작한다. 그러나 통치자의 기대와는 달리 가시적인 성과가 나타나지 않았다. 한문학의 부진에 대한 원인은 크게 세 가지를 들 수 있을 것이다. 먼저 일방적이고 몰주체적인 중국 문화 수용에 대한 반발 분위기가 집단적으로 존재하였다는 것에서 찾을 수 있다. 중국 문화를 전범으로 해서 한문학을 향상시키려는 정책에 대한 비판의 목소리를 최승로, 이지백을 통하여 확인할 수 있다. 두 번째는 지속적으로 향가가 향유되고 있는 현실에서 원인을 찾았다. 이 시기에 향가는 한시와 동등하게 가치를 부여받으며 특히 감흥의 영역을 담당하였다. 향가가 큰 비중을 차지하고 있었다는 것은 한시의 영역이 확장되지 못하였다는 것을 말해준다. 마지막으로 정착되지 않은 과거제도이다. 과거제도를 통해 성취하는 사회적 영달은 곧 가문의 영달이라는 의식이 아직 보편화되지 않은 사실은 과거제도가 아직 정착되지 않았음을 알려준다. 이러한 원인으로 인하여 10세기 중·후반의 한문학은 적극적인 진흥책에도 불구하고 가시적인 성과가 나타나지 않았다.

The course is composed of the teacher, the student and the teaching materials. But the function of supplementary readers as teaching materials for German literature has been not widely discussed and approved in Korea. In the first part of my paper 1 wiU describe existing supplementary readers which are almost the annotated readers. In the second part 1 will explain to three aspects for the production of the supplementary readers in the foreign language class. 1) The aspect of literature: it is important for the students to do experience the literary forms which are various and original. 2) The aspect of language: words and sentence structures must be neither excessively easy nor excessively difficult. 3) The aspect of reading process: the understanding process of literary texts should be more effectively used. The present paper attempts to convey the aesthetic and pedagogical values of supplementary readers in the foreign language class.

Aiming to understand the poetry of W. B. Yeats in terms of gender, sexuality, and politics, this paper reads some major poems of his early years. The first part of the paper reads the poems in which the masculine world of war, science, and political power is negated in favor of the feminine world of nature, poetry, and wisdom. The present writer of the paper considers that the femininity of these poems, expressed in the pastoral world of the shepherd, or the stories of Irish legendary King Goll, Fergus, and the fairyland, comes from Yeats's poetic attempt to surmount the British imperial and materialistic world by enhancing the Irish cultural traditions and values. The next part reads a group of poems which deal with Yeats's love of Maud Gonne. Using the image of the rose or the courtly genre, both of them being old traditional poetic conventions, the poet represents Maud Gonne either as a goddess of eternal beauty or a woman of heroic nobility. However, she is also represented as a woman of "lonely face" and "pilgrim soul," a woman who brings "the sorrow of love," or a woman repeatedly associated with the tragic world of Troy. This ambivalence or double vision in the poet's representation of her seems to result form Yeats's ambiguous attitude to Maud Gonne and her revolutionary and social work. The last part of the paper deals with two poems and a play which represent Ireland as a woman. The use of a woman figure as symbolic image of Ireland, especially Yeats's use of Cathleen ni Houlihan in his poetry and drama, is important, because it most distinctively reveals the relations between sexual politics and aesthetic value in the early poetry of Yeats. In this respect, the writer of this paper notes that the woman figure in these works is a highly romanticized and idealized one, rather than a real one with human body and sexual desire, and thinks that this is related to Yeats's version of Iriish nationalism with its strengths and limitations.