In the Harry Potter Series, the magical power wizards and witches pursue avails its potential for the everlasting dream of eternal life as we used to see in religion. The dream comes true where magic makes it real as wizards desire to. Voldemort, Dumbledore, and Harry are described once as such. Voldemort tries to use magic to live eternally with the legendary philosopher’s stone as we have long known in alchemy, including ‘seven horcruxes’ into which Voldemort stores part of his soul to incarnate whenever he wants to. Dumbledore has the same dream with the three ‘deathly hallows’ he once possesses on his own; he finally changes his mind after he observes the death of his mother and sister. A prophecy reveals Harry as the Chosen One who defeats Voldemort, freeing the world from prevailing evil power; he rises after he willingly dies at the end of the story, just as Jesus Christ did.Religious significance in magic and the occult, including alchemy, astrology, clairvoyance, numerology, is seen in that Harry Potter puts together a vision of Christianity in the world of magic. In the story, magical power makes the vision possible on material basis, seemingly in religious significance, freeing body and spirit by sublime love in family, friends, and then people in the modern society. In the story, courage, sacrifice, forgiveness, love, friendship, fellowship, and freedom in body and spirit appear to be Christian virtues even in terms of the magical power Harry uses throughout the whole story in which evils are finally defeated and goods are raised.

Today, there are a multitude of papers being written on films that deal with multicultural society. However, it is difficult to find research on German films that deal with multicultural societies from the educational perspective of cultural exchange. This paper chooses the following four German films and aims to examine them from that perspective – Doris Dörrie’s Kirschblüten, Fatih Akın’s Solino and Gegen die Wand, and Percy Adlon’s Bagdad Café. Kirschblüten is about longings for and communication with other cultures, Solino about cultural differences and ways to overcome them, Gegen die Wand about cultural conflicts and identities, and Bagdad Café about cultural connection and communication. What is of particular importance in handling these movies in the classroom will be to raise and discuss relevant pedagogical questions to encourage the students to contemplate the various aspects of cultural encounters as their own issue. Thus, the ultimate goal of the education should be the learning of the values of coexistence, harmony, and exchange that are required of any multicultural society.

이 서평은 위의 3작가의 작품을 최근 아일랜드 소절의 중심적 작품으로 본다.

예이츠의 희곡 『유리창에 쓰인 사랑의 노래』는 스위프트의 열정, 공포, 사랑을 극화한다. 그는 효과적 무대장치와 시적 장치로 스위프트와 그의 연인들의 강렬한 열정과 사랑을 끌어낸다. 즉, 그의 극적, 시적 도구들이 극을 극단적 아름다움과 웅장함에 도달하게 한다. 그는 찰스 로렌스의 극 『스위프트와 스텔라』에서, 스위프트의 전기에서 여러 가지를 빌려오지만, 모두를 완전히 자신의 극에 녹여서 자신의 극을 전혀 새롭고 정교한 극으로 변화시킨다. 예이츠의 최후의 최고의 걸작 중의 하나이다.

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.

The relationship between Yeats and Gonne seems to show an example of the traditional courtly love. Courtly love was a medieval Europe conception of nobly and chivalrously expressing love and admiration. Under this relationship, although a male expresses the devotional love to a female, a woman shows no love and pity for a man and a woman is an object who uplifts a man's spirit. This relationship may be said to show the man's fear of castration. The relationship between Yeats and Gonne starts by his admiration for her beauty and sternness as a nationalist for the Irish Independence. Also, he glorifies her as a secret being. Moreover, Yeats's love for her shows the doubleness: erotic and spiritual, humane and transcendental, and humiliating and proud. However, Gonne's coldness leads Yeats to desperation. And the last step shows Yeats's fear of castration for the politically-minded Maud Gonne. In Rose, there is Yeats's admiration for the secret woman, Maud Gonne. Yeats's unrequited love leads finally to desperation and sorrow for love, facing Gonne‘s unwavering coldness as a nationalist, which leads Yeats to give her up, showing a kind of fear of castration.

The purpose of this paper is to cross-culturally analyze the meaning of 'love' in Korean and American pop lyrics of 1980's. Pointing out that the information provided by dictionaries is not sufficient to understand the cultural meaning of 'love', the corpus analytic method of semantic prosody is introduced as it is explicated by Hunston (2002). Using this semantic prosody technique, three different sets of pop lyrics are analyzed with WordSmith Tools software. The three data sets, one Korean and two American, represent 150 pop lyrics. Specifically, these texts are analyzed in terms of distribution patterns of 'love' in the lyrics. First, the modification pattern of 'love' is investigated. It is found that the Korean data is significantly skewed toward negative expressions, producing negative semantic prosody of 'love', while the American data which reflect American culture is overwhelmingly skewed toward positive expressions, producing positive semantic prosody. That is, Koreans experience 'love' in a fairly negative terms in their pop music, while Americans basically treat it positively. Interestingly, the American pop lyrics popular with the Korean public show in-between characteristics. Next, the predication patterns of 'love' are investigated when it plays the role of subject NP. The result again shows that these two cultures define 'love' drastically differently in their pop music. In sum, the semantic prosody technique proved to be useful as an analytic method for cross-cultural studies.