Eliot wrote Four Quartets to release the English from their fear of death and destruction during the Second World War by means of religious belief, and as a result, he reinforced his belief in Christianity as well. For this purpose, he chose the historical sense related to his impersonal theory and discussed in his early criticism, “Tradition and Individual Talent,” wherein he explained the real meaning of tradition. In the poem, Four Quartets he makes a journey into the past in order to arrive at our divine origin. In Four Quartets Eliot presents the historical sense as a sense of time and the timeless, attaching more importance to the latter. According to him, time can be restored through the historical sense, which means that history deals with, not the past events themselves, but their meaning in connection with the general truth of life that is timeless. For Eliot the truth is God's Word. Death is predominant in Eliot’s historical sense since every life ends in death. Death has two different meanings: one is the end of human life; the other, the beginning of a new spiritual life. A man's life can appear to be meaningless, but its meaning will be completed by his death when he is united with the other dead. In the poem Eliot recalls not only his ancestors’ past life but also our prehistoric one and places stress on our inevitable and ceaseless death. Death, however, can lead to a spiritual life as manifested by Christ's Resurrection. The bell tolled by the ground swell not only announces our imminent death, but also another annunciation: that is, the Annunciation means God's Word signifying Christ's Incarnation. Eliot made great efforts to convey God’s Word in his poetry, which resulted in his despair of human words. In this poem he eventually turns to religion and realizes the truth of God's love in our death in the religious community of Little Gidding, exclaiming, “History is now and England.”

The objectives of the study are to improve techniques for social impact assessment and to suggest their measuring methods to apply in small scale rural development projects. Population, residence, industries, and traffic volumes were selected to measure the social and economic impact assessment of Seongeup agricultural water development project in Jeju Province. Existing data gathering methods were used to estimate the changes of population and traffic volumes. Interview schedule for villagers was applied to estimate the residents' satisfaction to living environments. Interview schedule for experts was applied to estimate agricultural productivity and land price. The results of social and economic impact assessment show that there will be considerable changes in living environments, agricultural productivity, and land price. On the contrary, the project will make little impacts on the changes of population, em-ployment, and traffic volumes.

T. S. 엘리엇의 후기 작품들은 그의 기독교적 세계관， 구원적 시간(역사) 관， 상정시학의 깊은 연관성을 보여주고 있다. 초기의 허무주의적 세계관을 극복한 엘리엇윤 파편화된 현대적 삶은 절대자에 대한 믿음을 복원함으로 써만 치유될 수 있다고 생각한다. 구원적 세계관에 부합하는 시적 언어로 서 엘리엇은 조화， 유기성， 통일성을 담지하고 있는 상정을 중요시 한다. 엘리엇의 상정시학은 감정과 지성， 주관과 객관， 표현과 내용의 통일을 강 조하는 그의 통합된 감수성， 객관적 상관물 이론 둥에 부분적으로 나타나 고 있으며， 또한 단테에서 보들레르에 이르는 형이상학적시 전통을 재해석 하는 1926년 클라크 강연에서 구체화되고 있다. 시간의 측면에서 엘리엇의 상징시학은 순간과 영원의 교차를 중시하며 이 주제는 그의 후기 장시인 「네 사중주』 에서 기존의 직선적 혹은 순환적 시간관에 대한 대안으로서 제시되고 있다. 이 시에서 엘리엇은 현대성의 지배적 역사관인 진보의 서 사와 그 자신의 초기 허무주의 역사관을 지양하고， 동 시대의 영국을 순간 과 영원이 교차하는 시/공간으로 다시 읽음으로써 그의 후기 상징시학과 구원적 역사관의 통합을 보여주고 있다.

Pil-Hwan Lee. 2003. A Historical Study on English Negative Expressions - with Special Reference to the Methodology in English Historical Syntax. Studies in Modern Grammar 31, 107-136. This is a study on the changes in sentential negation in English, from Old English to the present day, in terms of Jespersen`s(1917) Negative Cycle. The Negative Cycle is an assumption that negative adverbs are depleted lexical meaning they undergo phonological and morphosyntactic reduction to a bound morpheme prefixed to the finite verb. The history of English clearly supports this assumption. The issue is how to explain these aspects of changes. van Kemenade(1997a, 1997c, 1999, 2000) tries to account for the history of English sentential negation as a pure case of morphosyntactic change. It means that the change was triggered by structural factors. However, it is argued in this paper that the triggering factor for the change is the weakening of meaning. In other words, negative adverbs are morphologically and syntactically weakened to negative head status due to the semantic bleaching of negation and to the overlapping function in expressing sentential negation in NegP. The two positions in NegP inherently presuppose the functional redundancy in expressing sentential negation, so the specifier of NegP is generally weakened to Neg˚.

This study will explore Eliot’s later poetics through Four Quartets and his later criticism in the sense that Four Quartets reveals the social function of poetry and poets, and his remarks on other poets give us some important clues to his own later poetry. A recurring theme in Eliot’s writings on language, in particular the English language can be described in the following terms: what a poet does to the common speech, and what he does for it. Eliot addressed considerable thought to the issue of linguistic change and originality and to the poet’s particular role as both an innovator and preserver of language. The first point is that language must involve change and creativity, because of its functions as the structuring medium of our experience and as a tool which both reflects and serves our needs and interests in coping with the world. To quote “Little Gidding,” “poetry must purify the dialect of the tribe.” Next, we arrive at a final question in Eliot’s thinking about poetic language: can its “realizing” powers touch something beyond human unreality? In a way to search for the answer, the music of poetry begins to take on more and more importance, partly because Eliot feels that it can express the inexpressible. It would be an error, however, to link Four Quartets with music too hastily. Eliot brings music and meaning together, and recognizes them as a unity. He was also wary of any equation of music with mellifluousness or sonority. At any rate, I suppose, the most important of all Eliot’s ideas related to the “music of poetry” is that of the vital relation of poetry to common speech. Four Quartets is one of the most sustained meditations in our tradition on the problems of language and rhetoricity as they bear on practical and poetic expressions of the negative and positive ways alike. Certainly, it is a poem that discusses its own poetics.

朝鮮朝的高峯奇大升是一位?有名的理學家, 也是一位有名的官僚. 他是代表韓國西南地區湖南的「通儒」, 對禮學也做了探入細致的硏究, 尤其是與朝鮮大儒李退溪關於四端七情做了一大論辯, 由於這論辯他就名滿天下. 這篇文章探討的主要內容有二: 前半詳敍奇高峯的一生及做人, 後半分析與李退溪的四端七情論辯. 我認爲奇高峯的一生及做人受到父親奇進和叔父奇遵和兒子奇孝會這三個人的影響. 爲了儒家義理用功讀書, 爲了公義實現奮鬪努力, 這就是奇高峯受到這三人的影響而表現的士人精神. 對於退溪與高峯的四端七情論, 我去區分兩個時期: 一是胚胎期(自一五五三至一五五九年), □外一是論辯期(自一五五九至一五六六年). 在一五五三年李退溪修改秋巒鄭之雲所作〈天命圖〉, 以後包?奇高峯一些理學家關於?著作的學術內容繼讀討論, 至於一五五九年李退溪和奇高峯第一次相面, 之後, 開始四端七情論辯 李退溪基本上維持他所?「同中有異, 異中有同」的看法, 奇高峯則不?認退溪的這種看法. 這篇文章却整理出奇高峯不同意李退溪的九個項木, 來考察四端七情論辯的開展及未解決的諸問題. 實質而言, 李退溪一直堅持「對說」的看法, 奇高峯則一直堅持「因說」的看法, 於是, 兩人互相不同的看法便根本不能統一. 但是, 這論辯的意義非常大, 兩人的四端七情論辯便提高朝鮮性理學的水平, □?影響朝鮮性理學的羅輯性和合理性.