Poetical revealation of Yeats’s philosophical ideas can be spurred through the phenomenological insights. Its textual practices into Yeats’s poetic totality could open an entrance towards his poetic Tower in his visionary poetic geography. With help of many literary or poetical representations in his poetic universality, some signifiers can be converged to the common inflections, such as intuition, reduction(epoche), Pure Consciousness, life-world, etc. The “Indira’s network” has been spread for the poetics and praxis of E. Husserl’s Phenomenolgy and Yeats’s “Per Amica Silentia Lunae,” one of his philosophical manifestos. Yeats’s enigmatic domains in his poetic suliminal consciousness. such as immediate felt images, ironical rethorics, primitive intellect, incarnated phenomenality, could be illuminated by the reductionary ideation and intentionality, bracketing of Phenomenology. Yeats’s ‘Anima Hominis’ and ‘Anima Mundi’ in “Per Amica Silentia Lunae” has shown the similar process of Epoche-like ideation. His visionary dogmas has traced the same epistemalogical traits of the Phenomenology. The categorial intuiting of the outside phenomenal objects could be the same on the basis of “suspension of belief” either poetically or philosophically. Yeats’s cognitive acts is not so different from Husserl’s in the sense of “Going back to the pure consciouseness.” Their formality and terminology might be distinguishable but the basic ideas show the similar principles on the authentic reality(external and internal). His somewhat visionary solipcism could be elucidated by the ideas of intersubjectivity, monadology, inference by analogy in Phenomenology. Yeats’s “A Tenedo tacitae per amica silentia lunae,” thoghtful sedimentation, gradations of perceptual shading in the Vision, eidectic reductions of moon phases, are all the reflections of intentionality of his poetic muses. His “arrow women” into the “boundless and unpredictable world” are the metonymy of “Reduction into the Essences.” His actual and ideal aphorie, pure ego, soul duality shows the three processes of description, intuitive expression of consciousness, and symbolic significations, so oftentimes found in the phenomenal ideas. These insights could lead to the light-shedding onto the comparative study of Zen ideas.

윌리스 스티븐스와 윌리암 버틀러 예이츠는 은유의 힘을 빌어 상대적 진리를 암시하려 했으며 특히 실재만으로는 담을 수 없는 미지의 너머의 것들을 미적 활동과 의식활동이라는 관점을 통해 드러내려했다. 하지만 이들의 추구하는 목표가 동일함에도 불구하고, 그 시적 비전을 표현하기 위해 의존하는 중요 은유적 요소들을 그 기능과 의미에 있어서 차이점이 있는 것도 사실이다. 이들간의 유사점과 차이점을 드러내기 위해 필자는 먼저 “aesthetic”의 어원을 여러 역사적 배경을 통해 살펴본 후 그 기원이 인간의 감정(human feeling)에 있다는 것을 밝힌다. 다음으로 미적 감정(aesthetic feeling)이 어떻게 기존의 전통, 과학, 종교, 도덕, 가치 등등의 실재라는 한계를 넘어설 수 있는가를 논한다. 이러한 논의를 바탕으로 스티븐스와 예이츠가 각각 다루는 미적 감정과 실재사이의 관계에서 어떤 유사점과 차이점이 있 는 지를 구체적인 작품을 통해 보여준다. 무엇보다도, 스티븐스는 실재(reality)와 상상력(imagination) 사이에서 상호 작용하는 힘들에 집중하여 상상의 인식기능(imagined faculty)을 통한 지고의 픽션(the supreme fiction)를 이룩하려 했다면 예이츠는 네 개의 심리능력 (자아에 대한 의지, 反자아에 대한 마스크, 지성에 대한 창조심, 변화하는 인간육체에 대한 운명체) 사이에서 이루어지는 상호 융합을 추구한 점을 필자는 강조하려한다.

감자절편를 고농도용애에 침지하여 탈수시킨 결과 침지용액을 구성하는 용질의 분자량에 따라 탈수 형태가 다르게 나타났다. 저분자 용액 인 NaCl. PEG 400 용액에 침지만 경우 조직의 뒤틀림현상(cytorrhysis)은 나타나지 않고 부피의 감소와 수분의 탈수현상이 나타난 반면 고분자 용액인 PEG 4000, PEG 6000용액에 침지한 경우cytorrhysis 현상을 동반한 부피의 감소와 탈수현상이 나타났다. 초기 탈수속도는 저분자용액에 침지시 더 빨랐으나 최종 탈수량은 고분자 용액에 침지시 더 컸다. 고장성 용액에 감자절편을 침지시켜 탈수되는 기작이 두가지 압력(삼투압, 분자압착력)에 의해 진행된다고 가정하고 모델을 제안하여 검정한 결과 제안된 모델은 고분자 용액에 침지시의 탈수현상을 설명하는데 적합하였다 모델에서 구해진 압력인자(ΔP)와 농도인자(a)는 온도(T)와 농도(C)의 함수로 표현되며 계수의 탄력성 검정결과 농도에대한 의존성이 더 큰 것으로 나타났다.

광양만 해수를 대상으로 총 17개의 조사정점을 선정, 1996년 7월부터 1997년 4월까지 계절별로 19종류의 VOCs를 분석.조사하였다. 조사대상 VOCs 중 methylene chloride, tetrachloromethane, 1, 1, 1-trichloroethane, trichloroethane, 1, 1, 1, 2-tetrachloroethane, trichloroethylene, bromoethane, dibromoethane, bromo

득량만 식물플랑크톤 군집의 시.공간적 분포특성을 파악하기 위해 1992년 6월부터 1993년 4월까지 만내 38개의 관측점을 대상으로 월별 조사를 실시하였다. 결과, 득량만에서 출현이 확인된 식물플랑크톤 종은 식물성 편모조류 33종을 포함 50속 75종이 동정되었다. 계절별로는 여름과 가을에 비교적 다양한 종이 출현을 보이고 있는 반면, 봄과 겨울에 단순한 종 출현 특성을 나타내었다. 우점종은 연간 규조류에 의해 지배되고 있으며, 여름에 P. alata

생육초기에 발생하는 엽소(葉銷)는 본엽과 형태적, 생리적으로 다르며, 품종별로 차이가 있어 엽소(葉銷)를 제거해줌으로써 품종별 생육을 조사하여 엽소(葉銷)의 생리적 역할을 알아 보았다. 초장은 'Gelria'는 6cm로 식재한 경우, 'Jolanda'와 'Dream Land'는 0cm로 식재한 경우, 각각 생육초반에 엽소(葉銷)를 제거함으로써 초장이 작아졌으나 경경(莖經)과 꽃크기는 차이를 보이지 않았다. 개화소요일수(開花所要日數)는 품종에 따라 다른 양상을 보여 4품종 모두 0cm로 식재한 경우 엽소(葉銷) 제거에 의해 차이가 없었으나 6cm로 식재한 경우는 'Gelria'를 제외한 3품종이 단축되었다.

이 연구의 목적은 Motor-Free Visual Perception Test (MVPT)와 Mariannene Frostig Developmental Test of Visual Perception (DTVP)을 사용하여 뇌성마비 아동과 정상아동의 시 지각 능력의 차이를 알아보고, 뇌성마비의 사지마비군과 양하지마비군, 그리고 정상아동군에서 두 평가도구의 결과에서 제시한 시 지각능력의 차이를 비교하기 위한 것이다. 뇌성마비 아동 21명(사지마비 11명,

A new type of capacitor named "Super Capacitor" has been developed, in which the properties of electric double layer formed at the interface of activated carbon electrode- liquid organic electrolyte is applied. This capacitor is small In size, light in weight, wide In temperature range(-25~70℃), large in charge-discharge capability and good in voltage preservation. And this super capacitor is applied as a power back-up for electricity failure in volatile memory devices etc., a power source for a short time and a power source for operating actuators. At present the development of high power back-up types of the capacitor system and improvement of their characteristics are being actively conducted in order to find wider applications.lications.

The purpose of this study were to determine the relationship between balance ability and visual perception ability in health elderly. Twenty healthy elderly who live in Wonju City participated in three tests (Berg Balance Test, One-Legged Stance Test, Motor-free Visual Perception Test). Collected data were analyzed by the independent t-test and Pearson test. The study results showed a significant relationship between dynamic balance ability and visual perception ability (p < 0.01). Dynamic balance ability and visual perc-eption ability were significantly better in men than in women (p < 0.05, p< 0.01).

Fe-Al계 금속간화합물이 FACS (Field-Activated Combustion Synthesis) 법에 의해 제조되었다. 이 계의 반응에 있어서 조성 (Fe:Al=3 : 1,2 : 1, 1 : 1.1 : 2, 1 : 3) , 성형압력 (150, 250, 350MPa), 저항 등이 조사되었는데. Al의 몰비, 성형압력, 전기장의 세가가 증가함에 따라서 연소온도와 연소속도는 증가하였다. 또한 이 계에 있어서 전류적용방식에 따른 반응에 대한 영향이 조사되었다. 전기장이 적용되지 않는 경우, 반응이 일어나기 위해서는 예열이 필요하였고, 예열을 하였을 경우라도 그 반응은 불안정연소파를 나타내어 완전한 반응이 이루어지지 않았다. 생성물은 X-ray, SEM, EDXS를 사용하여 그 구조와 조성을 관찰하였다

The purpose of this thesis is to explore W. B. Yeats’ poetic representation from the perspective of an approach which has arrested critical attention in recent development of contemporary critical theories. In most of its previous readings, Yeats has been generally considered as a romantist, occultist, and even modernist. However, this paper regards Yeats as a decolonialist living in a colonial society, and attempts to locate Yeats’s position in the context of decolonialists view including Frantz Fanon, Edward Said, and Gayatri Spivak. Decolonialism as a literary theory is becoming an influential textual strategy rather than remaining as one of the academic master discourses. So far, the established textual reading theories have been closely related to logocentrism, and they failed to be acknowledged as an objective way of reading. For this reason, the decolonialism has an important implication in the sense that it subverts the colonial ideology within the context of colonized society, and at the same time, reconstructs counter-discourse to find out self-identity and decolonized space. Yeats lived in Ireland from birth to death. During his lifetime, Ireland was under the colonial rule by England. At that time, under the influence of the Irish armed struggle in 1916, Yeats had eye-witnessed historical moments of the death of his mother land, Ireland as well as of the Irish people, as the history of Ireland manifests. In doing so, the Irish people broke the cycle of imperial situation. The consciousness of them became consciousness of the nation. The nationalists claimed the independence of their Ireland. By way of this historical experience of authentic decolonialization, Yeats’s aesthetics became, more and more, politicized against the crisis which the repressive force of imperialism caused. In this traumatic disasters of Ireland, Yeats’s poetic quest makes him struggle against the colonial power in a poetic way. In this regard, this thesis analyses Yeats’s text from the perspective of decolnialism. To begin with, focusing on the decolonization expressed by Yeats’s text, I tries to examine the process of his poetical writings and his attitude against colonialism. To this do, my major interest is in his myth and language employed in his poetry. And I attempt to search for the true Irishness in which Yeats makes every effort to materialize the reality of Ireland in his poetry. To sum up, the decolonial discourse and its textual strategy have important implications that lay bare the dominant ideology hidden in the seemingly impersonal intention of imperiali’sm.

Yeats presented the fallen majesty of Sophia who is a veiled goddess as in Valentinian of Christian Gnosticism, Cabalism and Rosicrucianism. In this respect, Yeats himself rejected the masculine Trinity and insisted on an androgynous Trinity throughout his works. Yeats’s view of Sophia is that of Attis for goddess Cybele. Yeats sought to reveal that Daughter-Sophia was a fallen Deity such as Helen of Troy or Cinderella and Sleeping Beauty of the fairy tale. Therefore one of Yeats’s major poetic themes is the longing for Sophia. From his early poems, Helen is symbolized as Sophia’s secular image and as one of the Yeats’s personal poetic heroines. Yeats wanted Helen, the cause of Troy’s fall, compared to Sophia who was the cause of the Christian’s fall for early Christian Gnostics. Also, several of Yeats’s poetic heroins can be approached in terms of Sophia’s secular and mournful beauty who is suffering with mankind in this world. Especially, Yeats as a master myth-maker himself recreated Helen as his personal unique mythic character in Sophia’s image. For Yeats, Maud Gonne’s poetic role was the embodiment of Ireland as Rose, Helen, Cathleen, Deirdre, Niamh and Jane. These figures are all symbolized as a divine Feminine Principle existing within the God, Masculine Principle before the all creation. And Yeats lays himself and the world at her feet as the love poet or her sole priest just as did Attis for Cybele. Yeats’s personal and poetic heros as symbols of Yeats’s portraits: Attis, Homer, Jester, Oisin, Red Hanrahan, Fergus, Cuchulain, and Aleel. Through Sophia’s imagery, Yeats suggested gnostic speculations about the female elements of divinity, rigorously suppressed by the orthodox Christian fathers of the early church, and this rejection remains to this day. In other words, Yeats tried to carry out a poetic recovery of one single body work of art from the veiled goddess, Sophia. Because Yeats wanted to become Sophia’s sole priest, Valentinian. His hope appears in his poetic theme of a ‘Unity of Being’ by uniting with Sophia after his own death and Sophia’s death too. In this sense, Yeats often illustrated in his poems sorrowful love and an eagerness for the death of the beloved. This idea and sentiment is seen in Aleel’s attempted unity with Cathleen: Aleel suggests Countess Cathleen who is suffering with her people go to Heaven to escape her pains. Although people mocked Yeats’s attitude regarding Sophia, he envisioned a heroic dream in which Sophia will be revealed with her Heavenly power in a future as her era comes. And at last, she will recover her genuine glory in Heaven. Sophia’s era will come 2000 years after Christ’s birth according to Yeats’s unique historical view. For example, “Leda and the Swan” and “A Nativity” symbolize the coming of the masculine Trinity era with in the Orthodox Church. So Yeats stated when the Christ or Helen or Christ’s sister (Daughter-Sophia) was born, the Mother of God, Mary or Leda was frightened and terror-struck. Therefore Helen symbolized secular beauty suffering with mankind during the 2000 years of the masculine Trinity age. On the other hand, in “The Second Coming,” Yeats suggested that Sophia’s veil be removed when she recovers her glory. The terrible Sphinx stands for this coming of Sophia, which will establish an androgynous Trinity just as seen in the Egyptian Trinity: Osiris, Isis and Horus. Sophia as Yeats’s beloved is also symbolized by the Sphinx, ‘half lion, half child’ in “Against Unworthy Praise.” Thus we see Yeats endeavoring to draw the readers’ attention to the stress laid by feminine principle, Helen-Sophia who is with mankind as Countess Cathleen -with sacrificial love and her suffering under the masculine Trinity- until the new age comes, which was stated as ‘until coming sphinx’ or ‘until God burn time.’ So Yeats was an authentic prophet in our time.

In my article titled “Nationalism of William B. Yeats and Seamus Heaney in their early poetry: mythic nationalism and realistic national consciousness” which was published in The Journal of English Language & Literature Vol. 45 No. 3, I analyzed three among four factors of nationalism (implicated) in the two poets’ early poetry, that is, ethnicity, language, territory. This article deals with one remaining factor of nationalism, religion, in their middle poetry. Religion is so powerful an influence in Ireland that Irish nationalism can be considered Irish Catholic Nationalism. The political, religious, and economic conflicts between Anglo-Irish Protestants and Catholic Irish made Ireland divided into Northern Ireland and Southern Ireland, after Ireland was liberated from British imperialism in 1922. The native Irish who had lost even their mother tongue, Gaelic during the colonial period of almost 800 years ruled by the British Empire sought their national identity in Catholicism and made the religious oppression of Britain their centripetal force. To Yeats, religion was not a dogmatic faith of institutionalized religion but a field in which his imagination of the supernatural is allowed full play to go beyond the ephemeral real world to the eternal spiritual world. He set the Irish religious identity on Irish countrymen’s native faith in faerie, ghost, eternity of soul, and the world of magic expressed in Irish legends, folklore, myths, and oral traditions. He satisfied his hunger for the ultimate truth of universe with the Irish ancient faith in the mystical world of the everlasting soul and the visionary as well as various kinds of mysticism in the East and the West. The mystical religious identity of the native Irish emphasized by him anticipated the continuous collisions among him, the Catholic pulpit and Irish nationalists. His romantic belief in a heroic spiritual Ireland materialized his Irish Literary Movement and his idealized Anglo-Irish Ascendancy culture was far from the political nationalism of the middle class of Ireland, the political class of the people democracy. Seamus Heaney has also suffered from the conflict between his cultural․ political ideals which are fundamentally Ireland-centered and the political reality of the violent IRA (Irish Republican Army) which kills even civilians at random for the cause of nationalism. To Heaney the religious faith was a recognition of the deep value of the religious ritual and the Catholic ritual has been internalized in his feminine poetic sensibility of patience, humility, duty, discipline, guiltiness, grace, wonder, and the ritual supplication. The Irish religious identity he put an emphasis on was not the visionary mystic one of Yeats but the real one which has been internalized in the minds of the native Catholic Irish as “self-afflicting compulsions” and spiritual paralysis, especially in terms of political martyrdom complex in IRA and historical defeatism of Catholic priests in Northern Ireland. Both Heaney and Yeats opposed violence of nationalism and sought their ideal one. Religion has had a devastating influence on the two tribal struggle in Ireland so that the two poets refused the established Christianity and tried to enhance Irish republican nationalism to the genuine nationalism allowing the peaceful co-existence of the two races living in Ireland. Heaney demythodized Yeats’s myth of the political martyrdom and denied the religious halo of Irish nationalism as well as the mythodized force in the history of the Northern Europe. His quest of democratic co-existence of plural culture in Ulster seems realistic and idealistic solution of the Troubles in Northern Ireland.

사일리지용 옥수수 만파재배시 잡초방제를 위해서 알라유제 ＋ 씨마네수화제외 4종의 제초제를 공시하여 6처리 난괴법 3반복으로 시험을 수행한 결과 얻어진 성적을 요약하면 다음과 같다. 1. 제초제 처리후 옥수수 출현은 처리간 차이 없이 양호하여 공시한 제초제 모두 옥수수에 약해를 미치지 않았다. 2. 제초제 처리별 잡초방제는 기존처리구인 알라유제 ＋ 씨마네수화제 처리구보다는 파라코액제, 글라신액제, 글루포시네이트암모늄액제 및 설포세이트액제를 추가한 처리구에

To Yeats, as Mario Praz remarks in The Romantic Agony, sex was “the mainspring of works of imagination”(vx). This paper is an attempt to read Yeats’s “A Woman Young and Old” in terms of poetic representations of feminine sexuality and gender. All written in years 1929 through 1931, the sequence of eleven poems deal with the problems of female body and desire in a repressive patriarchal society. The first and introductory part of the paper briefly surveys the social and cultural background of the poems. The centrality of the subject of feminine sexuality and gender in these poems shows that Yeats saw the social and cultural repression of women and their sexual desire as one of the serious and urgent problems facing Ireland at that time. In Ireland of the 1920s, where the new national frame was being created under the hegemony of the Catholic Church and the middle class, the general attitude toward the women’s position and role and their sexual expression was very conservative and repressive. The main part of the paper closely reads the poems of the sequence, from “Father and Child” in which a daughter boldly asserts sexual freedom in defiance of her father’s opposition and criticism, to “From the ‘Antigone’” which shows another daughter defying the authority of king for the sake of filial love and the freedom of conscience. In reading the poems, this paper tries to show how Yeats’s awareness and affirmation of the female body and desire is expressed in his criticism of the repressive sexual morality and culture of the Irish society, especially the Catholic Church. In opposition to that sexually repressive and ascetic culture, he shows women’s body and sexual desire in such a bold and affirmative way that the poetic expression itself turns out to be an effective critique of that culture.