The ‘debunking literature’ can contribute to improving the society by revealing the social maladies, lightening the truth and exposing the evil to the world, whose genuine power lies in digging the truth even often running the risk of death. This paper aims to confirm why the poems describing the on-going famines in North Korea and the past ones in Ireland belong to debunking literature and what power or effect they have or they are expected to have. For this, I established some hypothesis through my reading on famines and examined the effects Irish literature on the Irish Great Famine has brought to the development of the Irish Society in advance. And through my investigation, I could confirm that North Korea’s refugee poet, Mr. Jang Jin Sung exposed extreme poverty and misery by contrasting the dying and innocent people with the cruel despotic regime sometimes in a strongly direct way and that the Irish famine poems of Mangan, Yeats and Heaney focused on the Great Britain's hypocritical and indifferent colonial policy on the Irish starvation-stricken people in a roundabout way. Moreover, reading famine poems of the two nations led me to compare North Korea’s famine poems with those of Ireland: they look similar in the respect that they portray the miserable scenes surrounding a mass of population who died of famines and spotlight political neglect as the main reason, but look very much different in the respect that, in a sharp contrast with any of Irish poets, North Korea’s refugee poet, Mr Jang Jin Sung, ran the risk of even his death to expose the despot regime that slaughtered, and is still slaughtering, its own people that has no liberty to escape from the starvation. My last conclusion is that the courageous poet, Jang’s pains will lead to the betterment of North Korea’s human rights just as Irish famine poems have influenced the development of Irish politics, history and culture deeply.

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.

Sonnet is a 14-lined poem in the lyric mood whose subject is mainly about love. Heaney experimented the genre of sonnet in his three books: “Glanmore Sonnets” in Field Work “Clearances” in The Haw Lantern and “Glanmore Revisited” in Seeing Things. These three books have two things in common: the poet have changed his style and subject and that they no longer contain the Northern Troubles. Through reading sonnets selected from Field Work, The Haw Lantern and Seeing Things, I came to the following conclusion: the reason the poet adopted the genre of sonnet is that he wanted to write about love, not hatred or violence after he escaped from massacre of Ulster Trouble. And sonnets of three books depict three different kinds of love: love for family, love for landscape and love for writing. The sonnets of Field Work are characterized by the poet's contrary mind: the sense of relief and the sense of sin because he ran out of the massacre, discarding his relatives and his community. Sonnets in The Haw Lantern on the whole, show his filial piety and affection for his dead mom by trying to remember the moment of being together. Seven sonnets in Seeing Things are the recollection of Glanmore where he settled down with his family and wanted to live in peace, escaping from Ulster turmoil. Meanwhile, these sequence of sonnets have some difference: these sonnets have the different tone: humorous or childlike tone in Field Work, elegiac tone in The Haw Lantern and the recollective tone of Seeing Things.

Seamus Heaney is one of the representative writers who wrote many poems in memory of the dead people and memory is Heaney’s principle muse. Through rereading the selected poems for the dead, I could find out that Seamus Heaney used the different genres as memory art for the dead: some pastoral elegies of Field Work, a series of sonnets of The Haw Lantern and some free verses of Seeing Things containing the method of pastiche and incantation. Pastoral elegy is a funeral song or a lament for the dead with some convention: Although, Seamus Heaney following this convention, “The Strand at Lough Beg” and “Casualty” show some digression. And sonnet means “little songs” of fourteen lines that follow a strict rhyme scheme and specific structure with the theme of love. However, Heaney’s sonnets also show some transformation in line and rhyme. And the word pastiche means either a “hodge-podge” or imitation of several original works. Heaney’s some memory poems of Seeing Things apply some method of incantation which transforms keepsakes into the spiritual ones with the method of pastiche. What I came to the end from this study is that when Heaney commemorated victims of Ulster Trouble, he used somewhat artificial genre of pastoral elegy. However, for the memory of his dead mother, he used the sonnet genre of lyric mode which can contain praise and love of the dead. To our interest, he used free verse with pastiche and incantation to express love for his dead father and the late Philip Larkin. In short, he can be evaluated as a craftsman, memory digger and occulter.

Heaney’s poems seem to build on a tripartite cyclical structure which comprises home-leaving, wandering and home-coming. This structure is thought to symbolize explorations for identity and for the limitlessness and profundity of the universe. And also, this tripartite cyclical structure is thought to symbolize perfection and holiness. And this structure symbolizes the embracement of the dynamic and cyclical phenomena of our life. In Death of A Naturalist and Door into Dark the poet explores his own identity or his community's one; in Wintering Out, he shows the resistant spirit against the violence of Northern Ireland. In North, the persona finally recognizes that he should leave his home community stricken with violence in order to live in peace and to be a free artist. Field Work and Station Island, I think, belong to the stage of wandering: Field Work shows his new aspect as a naturalist, attempting to settle down in Wicklow, the new shelter. Station Island shows the last destination of his wandering, identifying himself with Sweeney, the symbol of the free artist and finally he comes to fly as a free universal artist. The poetical works since The Haw Lantern show some aspects of journey back; The Haw Lantern lays out a new blueprint for the Irish Republic as a conscientious country; and Seeing Things searches for the Irish spiritual omphalos that the Irish people has been dreamed of, by experimenting a new-style poetry for expressing light, song, freedom and equality. My last conclusion is that, although Heaney who had explored his own and his community's identities could not but leave his home country to write poems in peace and wander in a sense of sin, he has moved toward Uisneach: the perfection and holiness-full Irish utopian land and also the omphalos of Irish psyche.

Modernism and post-modernism are two aspects of aesthetic modernity reflecting some of the spiritual crises of the western civilization as resistance against the scientific modernity. These two are similar or the same to each other in seeing the modern world as fragments and discontinuities with pessimistic tone, the reality as relativity, and the language as lack. By contrast, many differences between the two can be seen as well. For example, modernism reflects Elite's taste of high culture while postmodernism is impatient with Elite's taste of ideas. And also, modernism hands down humanism and enlightenment while postmodernism rejects the so-called humanism and enlightenment. More likely than not, however, the foremost difference will be that modernism has the spirit of betterment by a kind of stoic attitude through self-criticism hoping for the birth of the hero who searches for the spiritual father, while postmodernism reflects a kind of Epicurism emphasizing 'seize the day' by accepting the commercial, technological and scientific values. It follows that modernism tries to expand freedom of more people through digging inner reality while postmodernism tries to expand equality of more people through de-constructing the concept of hierarchy of the western civilization. I think that Seamus Heaney's Seeing Things is characterized by the combination of modernism and post-modernism: his poetry contains the characteristics of modernism in respect that it continuously reflects the pursuit of tradition. At the same time, it includes post-modern aesthetics in respect that Squarings of Seeing Things transforms the concrete into the abstract by de-constructing some of the fixed meanings, from which readers can enjoy the entire freedom. My last conclusion is that Seamus Heaney's Seeing Things reflects not only his pursuit for the past tradition but also his desire to de-construct it. In brief, his poetry reflects some ambivalence: the search for the father and killing him, waiting for Godot and searching for light, freedom, equality and song.

I insist in this paper that hybridity and identity are two aspects of modernity, not the separate words like in the aesthetic theory of 'discordia concors' and that modernity carries both in it, expanding relative values. A new version of culture will be able to come out, depending upon how to arrange hybridity and identity. The modern Irish culture, especially in its literature, offers a good example. As for the Irish people, the disaster of Great Famine brought an awakening that the Irish was not the British. And the Irish Literary Revival made the will to differentiate. However, even after the Irish Literary Revival, the Irish people found out that their own culture had been hybridized and that the cultural conflict existed. However, the Irish writers have tried to recreate their own culture based on the pride of their own culture-a firm religious, political and cultural tradition. W.B. Yeats's contribution lies in his attachment to things Irish. His spirit and taste for the supernatural world can be identified with Irishness. However, for Yeats the expression of identity cannot but be limited because he himself was hybrid in blood. Meanwhile, for Heaney, the expression of his own identity is seen in his concern about landscape, history and Gaelic language. His will to search for identity starts from the sense of dispossession, experiencing the Ulster Trouble. However he comes to recognize that they are hybridized. Despite this, his studious will to recreate identity has continued by accepting the hybridity. In brief, Yeats and Heaney are the poets who, moving beyond hybridity, wanted to make the new cultural identity or to complete 'discordia concors' in culture. My last conclusion is that Yeats and Heaney seek to expand the cultural identity by accepting the hybridity and heterogeneity of their culture, and that, however, their last convergence is to search for the essence of the Irish spirit- light, freedom and song.

'Eco-feminism' as a combination of two words, 'ecology' and 'feminism', rests on the basic principle that patriarchical philosophies are harmful to women, children, and other living things. Eco-feminists feel that the patriarchical philosophy emphasizes the need to dominate and control unruly females and the unruly wilderness. What is stressed in eco-feminism is to change the still prevailing idea that the male-dominated civilization must be justified: eco-feminists think that human beings came to recognize that such civilization can't be the source of happiness. Meanwhile we can find that in Yeats's and Heaney's poems land and landscape are personified as an oppressed woman, from which I drew a hypothesis that these two poets may offer the prominent examples of literature based upon eco-feminism. By contrast, we can also find that these two poets also reveal patriarchism based upon Catholicism. Therefore, if anything, we can suppose that many works of these poets are reflecting both eco-feminism and patriarchism. The Irish poems and poets cannot but reflect these two ideas: eco-feminism and patriarchism. Meanwhile, in Irish poetry, woman is mainly reflected as three types of human-sovereign, procreator and lover. In Yeats's and Heaney's poems, woman and nature are to be appraised as important materials. Women in Yeats's poems are faithful to the traditional image as the lover or rarely the sovereign. And also, we can find that the persona wants to use her as his poetic inspiration by admiring her beauty and seeking sexual energy and wisdom from her. By contrast, women in Heaney's poems are mainly described as procreators who are to survive the oppressed land. The two poets are to be appraised to reflect eco-feminism in that they both show their love for woman and nature. Strictly speaking, however, Heaney's poems are more declined to eco-feminism while Yeats's poems are more declined to patriarchism: in Heaney's poems land and landscape sometimes appear as the oppressed woman; in Yeats's poems the persona blames woman for her violence, emphasizing that woman should have courtesy, wisdom and sexual attraction, not the intellectual hatred, whereas in Heaney's poems the persona never blames woman but feels pity for her oppressed situation.