본 연구는 손광성 수필집 『바다』에 나타난 유년기 자아의 특성과 가 족로맨스를 고찰했다. 손광성의 가족로맨스는 그의 기원이 있는 북녘 ‘고향집’으로 회귀 욕망에 시작점과 끝이 있다. 그러나 그가 꿈꾸는 고 향 산천은 이미 예전의 ‘그곳’이 아니며 순수한 원초적 의미로서의 소 기는 어디에도 없다는 데 애잔함이 있다. 일제치하와 육이오, 유년기에 경험한 어머니의 죽음, 형수님과의 결별과 누님의 보살핌, 흥남 철수 때 누님과의 남하 등의 가족 서사는 가족로맨스의 특성인 업둥이형 형태로 발현된다. 「물소 문진」 등에는 ‘사라지고 싶음’ 혹은 현실의 세계를 도 피해 ‘자신 만의 세계를 꿈꾸고자 했던’ 업둥이형 욕망이 투영된다. 이 는 그의 유년기 자아에 고착된 어머니의 이미지나 죽음 환영 등으로 발현된다. 그에게 어머니는 언제나 ‘현실 저 너머’의 세계로 ‘사라져 버 리고 마는’ 어떤 의미, 즉, '대상 a'의 의미로 존재한다. 이는 주체의 불안과 결핍을 상징한다. 손광성에게 가족로맨스는 유년기 자아의 핵심 적 동인으로 작용한다.

The title of this essay seems to suggest the name of one particular philosophy in world history. When we speak of ‘stoicism,’ it is the name of universal philosophy that is a part of the education of every self-consciousness. While it is generally admitted that Yeats is a very great poet indeed, it is not easy enough to decide in what ‘greatness’ consists. At first, I wondered whether remained anything of to say about Yeats by the many aspects and contexts in which Yeats could be considered. I came to choose the topic-stoic stature and wisdom. I found myself that these two were so closely connected as to form one problem I must treat as a whole. Hegel's idea of thought is as follows, when I refer to thought, the stage of self-consciousness reaches here is the stage of thought. In other words, thought also means the liberty of self-consciousness. Thus freedom and will become identified. Stoic liberty represents this identity of thought and will. In the first place, I limit myself to the relationship between thought and will. Because Yeats who have toiled with language knows that the autonomy of the will confer the value that “hallows” human life. In the second throughout later poetry-especially, ｢The Municipal Gallery Revisited｣ Yeats’s society is a small community of autonomous spirits. In fact it is through the will to preserve the individual in the deed and make it meaningful. Based upon a mutual greatness and of a mutual glory, the later poems about persons attempts to create a community of autonomous individuals―“the individual who is a world.” Yeats’s humanity results in art. According to Eliot, ‘the wisdom is essential in making the poetry, and it is necessary to apprehend it as poetry in order to profit by it as wisdom.’ The wisdom of a great poet is concealed in his work. But it is through his discipline and stoic of the will and mind that Yeats could sing a song celebrating human endeavour.

Behind major poems of Last Poems stand specific works of art: the statue, the portraits and pictures, the sculpted pieces. The sculpture, like the poetry, which attracted Yeats most, was what seemed to have created from the integrated Self. His special concern with ‘Upanishads’ is the fourth state of the mind, the union of Self and Not-Self. He knew much better what to look for in Michael Angelo was the spiritual energy expressed by the physical power of the muscular structure of his figures. He remarks that it is the poet’s business to describe desirable persons and the states of mind. The primary example of the ability of the mind to create and to impose form is art. “Under Ben Bulben” evokes Michael Angelo’s “Secret working mind and expresses the concrete aspiration” of Yeats’s creative mind and the aim of his greatest poetry in a world of men and human passion. Yeats discovers his own freedom, his own greatness of soul as he discovers the freedom and greatness of his friends in “Municipal Gallery Revisited.” Throughout the poetry we may notice that it is a community based upon a mutual greatness, a mutual glory that springs from communion of such friends” conduct. “Lapis Lazuli” explores the relationship between mind and history. Yeats has discovered a way of thinking about the world that locates all value in the act of mind. It is the act of mind involved in forming. Yeats’s contemplation of the piece of lapis lazuli is itself the sort of act of mind that is exemplified on the stone. All the stone records is the aspiration of the Chinamen; their struggle towards the autonomy of soul that will provide perspective. But the achievement of that autonomy is Yeats’s “I delight to imagine them seated there.” Michael Angelo became identified with Yeats himself as an inexhaustible creative energy, “an old man’s eagle mind.” And also, in acting as autonomous individuals, Yeats’s friends the status and the efficacy of works of art. They have become the pictures of their own virtue, so that ‘lineaments are their thought. Yeats’s ‘generosity of mind’ consists in his ability to proclaim commitment on the part of his friends to the values that are proper to a community of heroes. It is in Yeats’s belief in the power of mind, in the act of mind that he could reach the union of flesh and spirit in the completion of his passion.

Yeats remarked, two years before his death, that it is the poets’ first business to describe desirable persons, desirable places, and states of mind. One of theses excellent persons and places in Last Poems―ascetics and the “half-way house” the Chinamen of “Lapis Lazuli” climb towards. Here we notice how many topographical associations lay everywhere: “the mountain,” “Alt” and the central character climbing some high point. Having lifted himself to the vantage point of age, Yeats is able to form a final altitude. The last poems are mainly set in the location of the open field, that dominates the poetic landscape. ‘The whole system’ of A Vision ‘is founded upon the belief that ultimate realit y…falls in human consciousness into a series of antinomies.’ Since he had long arranged his thought and disciplined his imagination by ideas of antithesis, it is natural that his later work should play out an extended series of oppositions: knowledge and ignorance; day and night; time and eternity. In the process of consciousness they have a tendency to be separated from each other into various sets of the opposite; while their attendant logic characterizes a struggle towards harmony. ‘Logical and emotional conflicts alike lead towards a reality which is concrete, sensuous and bodily.’ “Meru” invokes an image of human being in conflict with the cyclicity of a cosmic rhythm. Yeats, identified with the oriental hermits in the ascetic attitude to life, sees “the naked bodies” to awake to the realities of life, he is reassured that the higher perception should be gained through their sensuous experiences in the darkness of night. According to St. John of Cross, ‘the nature of the soul requires complete renunciation of the world.’ The darkness brings wisdom, emptiness sight. Yeats would describe it as ‘the luminous dark.’ This implies in ‘via negativa’ that one is nothing, paradoxically, to become everything. The open region for everything is the place Heidegger called ‘clairiēre,’ which Yeats would like to paint in his poetry. Its openness let brightness play with darkness in it. The relation to light and darkness characterizes as ‘a double’ like the dawn image. This curious relation Adams claims to name ‘identity.’ Identity has the same form, as does a metaphorical trope, where sameness and difference coexist in language. He would write a poem ‘cold and passionate as the dawn.’ The important metaphor, which Yeats uses to describe the intersection of the two worlds, is that of dawn. In this paper I was concerned with both the realm where religion, art, personal consciousness converge and the place in which gathers and protects everything. Yeats was life long a man who practiced both absolute integrity of craft and perfection of personality, the perfection of its surrender. I take poetry to be an exploration of human consciousness, where it faces time and eternity in their play. Equally it is an exploration of words.

Though all of the poems including Yeats’s Last Poems were written during the last years of his life, the remarkable vigor of thought and of imagination, which increased with the poets’ years, is shown here once more. However, compared with the powerful impact of The Tower and The Winding Stair, the accent of their nonchalant freedom and more colloquial style was one principal source of the reviewers’ dissatisfaction. And T. R. Henn suggested that we should perceive the philosophical and satirical implications behind so many seemingly personal poems, even in the accent of lust and rage of the Last Poems. The primary concern of philosophy is the problem of the self, while the philosophical implication of Last Poems is the self itself. Yeats’s final aim in writing poetry is the perfection of the life and of the work in the process of creating the true self. In his last letter he said, “man can embody truth but he cannot know it, but he must embody it in the completion of his life.” In this sense, the life itself is the total work of art, the completed symbol. When he elucidated that he would write a poem “cold and passionate as dawn,” the pregnant word “dawn” is to be the completed symbol of the work of art. This passage concerns those transformations which are endemic to art. The prime idea must be that necessary infusion of joy in the most tragic contents - the incoherence of the actual life and the limitation of human life. It is the poetics of his itself which achieves “the dawn,” the twilight zone of the darkness of night and the light of day. Yeats found that his place could be the trysting-place of the extremity of sorrow and the extremity of joy, the perfection of personality, and the perfection of self-surrender, passion, and stillness. “Lapis Lazuli’s” “Black out: Heaven blazing into the head” means that the dark grow luminous while the void fruitful. Yeats wrote, “when I understand I am nothing and nobody” through the state of darkness, . . . there must be the dance at the trysting-place or at ‘the clearing’ Heidegger might coin, in the mingling of the contraries. The nobleness of art exists in playing together the contraries. Where all the contraries can play together, the dawn will break. As Yeats can embody the truth, his form of self-conquest should be achieved through the self-surrender and the transformation endemic to art.

정상 발정주기를 보이는 7주령부터 38주령의 생쥐를 대상으로 발정주기에 따른 자궁조직내 비만세포의 분포를 toluidine blue 염색법으로 조사하였다. 비만세포의 밀도는 생쥐의 연령 증가와 더불어 지속적으로 증가하다가, 30주령 이후 감소하는 경향을 보였다. 발정주기별 분포에서는 조사한 모든 연령의 생쥐에서 발정후기에 가장 높은 밀도를 나타내었고, 그 대부분은 자궁근층에서 발견되었다. 10주령의 생쥐를 대상으로 Alcian blue-safranin

비만세포는 세포질 내에 다양한 신호전달물질을 과립형태로 함유하고 있는 세포로써, 피부, 기도, 소화관 등의 점막과 결합조직에 주로 분포하고 있으며, 염증반응, 자기방어, 조직재생, 자가면역질환 등 다양한 생리적, 병리적 현상에 관여하고 있는 면역세포이다. 본 연구는 생쥐 연령별 자궁의 발달과 퇴행에 따른 자궁조직 내 비만세포의 분포와 밀도 변화를 조사함으로써, 생쥐 자궁에서 비만세포의 기능을 알아보고자 실시하였다. 자궁조직 내 비만세포는 발정주기가 시작되는 생후 6주 이전에는 매우 적은 수가 관찰되었으나, 생후 7주부터 자궁의 조직형태적 발달과 더불어 급격히 증가하기 시작하여 32주에 이르기까지 지속적으로 증가하였다. 그러나 생후 38주부터는 자궁조직의 퇴행과 더불어 비만세포의 밀도도 감소하였다. 비만세포는 자궁의 근층조직에서 주로 관찰되었으며, 주요 세포외기질인 교원섬유도 자궁의 발달, 비만세포의 밀도 증가와 더불어 그 함량이 증가하였다가 자궁의 퇴행과 함께 감소하였다. 전자현미경적 관찰에서 비만세포는 자궁 근층조직에서 평활근세포, 섬유모세포, 교원섬유와 근접하고 있는 형태로 관찰되었다. 이상의 연구 결과는 비만세포가 자궁에서의 면역기능에 중요한 역할을 할 뿐만 아니라, 분만, 생리주기에 따른 자궁조직의 재생 및 재구성, 그리고 평활근조직의 수축 등에도 관여할 수 있음을 시사하고 있다.