The aim of this article is to analyze how the characters of Tolstoy's novel War and Peace experience the death of the others. After the death of his wife, Andrey feels very guilty, for he abandoned her, preferring his social ambition to the happiness of his family. Andrey's life in seclusion is the means by which he punishes himself and is itself his social and spiritual death. He is called again to life only after he meets Natasha, the symbol and embodiment of life in this novel. Maria goes through the process of grief after her father's death. Retrospection tums out to be a vital element in the process of grief. After she successfully detaches herself from her deceased father, she meets Nicholas, her future husband and she returns to a normal life. Another heroine of the novel, Natasha also undergoes the process of grief after the death of Andrey, her former fiancé. But life brings her back to itself by arousing love towards her family in her. Pierre learns from Karataev the lesson that everything happens according to God's will or fate and one must receive everything as it happens. He receives Karataev's death as natural, not even grieving over him. Karataev remains in his memory as an embodiment of goodness, truth and simplicity.

21세기 노령화와 함께 다양한 의료 현장에서 팀 접근을 할 사회복지 학생들의 개인적 특성과 죽음태도를 알아봄은 앞으로 사회복지학생들의 영적 사회복지 프로그램의 개발과 이를 통한 클라이언트에 대한 서비스 질 향상을 위해 중요하다. 이에 본 연구결과로 첫째, 사회복지학과 학생들의 일반적 특성 간 죽음태도에 있어서는 유의한 차이를 보이고 있지 않는 것으로 나타났다. 둘째, 대학생들의 죽음태도를 5개 하위차원으로 분석한 결과, 탈출적 수용과 죽음회피에서 성에 따른 차이가 나타났으며, 죽음공포와 탈출적 수용에서 연령에 따른 차이를, 접근적 수용과 죽음공포에서 종교에 따른 차이를, 탈출적 수용과 죽음회피에서 건강수준에 따른 차이를 보였으며 대학생들의 죽음태도에 있어서 생활수준과 죽음경험에 따른 차이는 나타나지 않았다. 이에 대한 요인탐색을 통해 학생들의 태도 변화와 나아가 클라이언트에 대한 서비스 질 향상을 제언한다.

본 연구의 목적은 죽음에 대한 두려움을 가지고 있는 어르신들이 죽음을 긍정적으로 인식하고 받아들임으로서 삶에 대한 바른 의미를 찾고 남은 인생을 건강하고 즐겁게 유지하도록 함에 있다. 본 프로그램은 60세 이상 17명의 어르신들을 대상으로 2010년 4월부터 17회기로 진행되었고 사전사후 조사를 통하여 프로그램의 효과성을 검증하였다. 본 프로그램을 통하여 어르신들의 죽음불안은 유의미하게 감소하는 것으로 나타났으며, 삶의 만족도 또한 유의미하게 향상된 것을 볼 수 있다. 특히 죽음에 대한 슬픔, 죽음에 대한 두려움, 죽음수용의 자세 등 세 가지 하위항목이 모두 통계적으로 유의미하게 나타나, 본 프로그램이 노년기 죽음불안감 감소 및 생활만족도 향상에 효과가 있었음을 알 수 있다.

캐릭터는 전통적 서사체에서와 마찬가지로 디지털 게임에서 중요한 서사적 역할을 담당한다. 그러나 캐릭터가 죽음과 부활을 반복적으로 경험할 수 있다는 점은 전통적 서사체에서는 나타나지 않았던 것이다. 이러한 특성이 게임캐릭터가 전통 서사체에서 수행하지 않았던 서사적 기능을 수행하도록 한다. 본 연구에서는 MMORPG인 <월드 오브워크래프트>에 나타난 캐릭터의 죽음과 부활이 어떠한 서사적 기능을 수행하는지, 이를 통해 형성되는 서사구조는 전통적 서사체와 어떤 차이가 있는지 살펴보기 위하여 그레마스의 서사 행로 모델을 활용하였다. 이를 통해 MMORPG의 표면서사는 캐릭터의 삶과 죽음이 순환하며, 이는 불안과 안정이 순환하는 심층 서사를 토대로 한다는 점을 알 수 있었다. 죽음과 부활에 의해 순환되는 안정과 불안의 서사는 전통적 서사체에 비해 훨씬 긴 시간동안 지속될 수 있는 MORPG만의 특별한 서사라고 볼 수 있다.

The purpose of this study is to research the relation between Yeats's imagination and the theme of old age, death, and after-life in Yeat's poetry. According to Heraclitus, cosmology is formed aspects of polarity, assuming 'living each other's death, dying each other's life.' The world is conceived as opposition and contradiction, and the human is dual in nature. this dualistic conflict of consciousness has become a basic starting point of his imagination. Yeats recognized the dualistic conflict was an energy of a creative mind and a characteristic of human nature. It brought about the struggle between inner world and outer world. This struggle begins with assuming an individual's anti-self opposed to his primary self. To him, the conflict or struggle, endowed with the meaning of human being existence, is the seed of being of unity. "An Acre of Grass," dealing with the theme of old age, Yeats saw the tragic reality as positive. In spite of decrepitude and quiescence, Yeats said 'Grant me an old man's frenzy, / myself must I remake.' In Yeats's case, great are art is not merely created out of the conjunction of the artist's mind and external world, but rather out of the artist's denial of his primary self and recreation of his mask, the true image of his antithetical self and a fragment of the Anima Mundi. In recreating this fragment he actually creates a higher order of reality than the visible world possesses. Yeats conceive death and life are not divided but connected in "Tower", and "Mohini Chatterjee" as accepting positively human tragic condition. Yeats said that the wheel or cone of the Faculties may be considered to complete its movement between birth and death, that of the Principles to include the period between lives as well in A Vision. In "Byzantium", Yeats deals with the after-life in the view of Four Principles as seeing the soul after death as living reality. To Yeats, the phenomenon of violence, hatred or passion in this world is prerequisite to reincarnation, a creation of other self or true self. After getting rebirth, Yeats tried to reach profane perfection. Looking out over the whole of human life, and its prevailing desolation, he tried to find the proper response to life and suffering in terms of gaiety. Yeats's final response to the old age and death here is no longer the horror, but he accepts the old age and death as the pain of human being with tragic joy through his unique imagination.

This paper is trying to read the text with the current theory decolonialism. To this, The writer adopted the text Seamus Heaney's early poetry Death of a Naturalist. Seamus Heaney is known to be the most important poet since W. B. Yeats as a winner of Nobel Prize for Literature in 1995. I assume that a growing interest among readers reflects this prevailing enthusiasm for his work. His method and idea owe more to decolonial attitude more than that of naturalist or romantist. This seems to be an attractive factor to draw a reader's attention. In fact, his poetry has the proper qualities to absorb the devotees of 'decolonialism' still dominant in dealing with the poetry. Decolonialism as a literary theory is becoming an influential textual strategy rather than remaining as one of the academic master discourse. So far, the established textual reading theories have been closely related to logocentrism, and they failed to be acknowledge as 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. Meanwhile, Heaney have been 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. By way of this historical experience of authentic decolonization, Heaney's aesthetics became, more and more, politicized against the crisis which the repressive force of imperialism caused to occur. Under this traumatic disasters of Ireland, Heaney's poetic quest makes him and practical struggle against the colonial power in a poetic way. The main subject of his poetry is to find out his Irish identity with the past tradition and its continuity. The subject is linked with the question to find out the Celtic identity between the past and the present which is dominated by colonialism. To regard this, this paper analyses Heaney's text focusing on the decolonialism expressed by his poetry. I try to examine the process of his poetic writings and its attitude against English colonialism. To do this, My major interest is in his Celtic myth and language employed in his poetry. And I attempt to search for the true Irishness which Heaney makes every effort to materialize the reality of Ireland in his poetry. To conclude, the decolonial discourse and its textual strategy has an tactics and also has an important implications that lay bare the dominant ideology hidden by the seemingly impersonal intention of colonialism.

Most of Yeats’s works are composed of antitheses which are defined by their rhetoric, form, tone and thematic motifs. If the antitheses are Yeats’s central means of perceiving and interpreting the world, what kinds of experience are posited at the center of his life, and in what way and manner are his conceptions of “unity of being” and “unity of culture” connected with his experience of “tragic joy”? This essay attempts to approach the basic frame of Yeats's mind which perceives and interprets the world as composed of contraries, antinomies and antitheses. In such context, Yeats's idea and experience of tragedy are shown to be constructed ideologically in the situation that is divided by the two classes, namely the declining Anglo-Irish Protestant and the powerfully ascending Catholic middle classes. Yeats’s conception and experience of tragedy are connected with what Michel Foucault calls “the absolute power of death”. Yeats thinks that if the modern poet could enact the poetic authority, he should be able to embody the ancient forms of power. Hence his ideology of tragedy and authority which leads him to enact the oral tradition of ancient magical arts. Yeats thinks that, through the poetic mode of ancient magical arts, modern lyric poet can enact the absolute power of death, breaking the comedic power of modern individualism. Yeats's ideology of tragedy and authority, however, is in constant contradiction with “the life-administering power” of modern world. In spite of his desire to enact the tragic power of ancient bard, the space of his later lyrics remains the complex site of ideological conflicts between the residual forms of traditional Anglo-Irish culture and the dominant cultural forms of modern individualism. (The second part of this essay will be continued in the next issue)

From time to time Yeats’s concept of death baffles us, since he asserts in A Vision that in effect death is neither absence nor nothing but a recurrence of life in other body and other state. No doubt this elaborate myth of reincarnation is an important element of his system, but acceptance of it as his definitive view of death would lead us down several interpretive blind valley. If there is no annihilation of self, then how can we explain the effort of lyric after lyric to summon up heroic energy in the face of death? Moreover, death for him is something that elicits abundant imagination. By analyzing Yeats’s ‘death’ poems, I attempt at some answers to these questions. I begin with the discussion of the ‘reincarnation’ reflected in “A Dialogue of Self and Soul.” In contrast to the Soul who asserts that one must concentrate on the “darkness” of death, imitating as nearly as possible that future state, the Self, provoked by death, reaffirms the present state. The Self reviews life to deny neither imagination nor the senses; rather it reasserts their ultimate worth. If “Dialogue of Self and Soul” is willing to embrace life again in the face of death, “Under Ben Bulben” internalizes authority to quell death. The speaker ruthlessly suppresses his own vulnerabilities with authoritative commands and the voice of his dead father. The discourse in the poem seems abstracted from the poet’s own life, as if spoken by his now disembodied but empowered voice, a voice from a timeless nowhere beyond the grave. “The Apparition,” another poem dealing with death, however, uncovers the terror that undercuts the assertion of ‘joy’ in “A Dialogue of Self and Soul” and “Under Ben Bulben.” No matter how each poem responds to death, however, it is clear that death cannot be approached directly. It is “Man and the Echo” that allows the good picture of the necessary indirectness of one’s meditation on death. The rabbit’s cry of pain interrupts the deathward meditation. This moment of rupture suggests that “Man” can only think death indirectly, through trope and turn. In “Death,” by turning to the logic of lack and repetition, I attempt to provide some possible answers to why Yeats moves to-and-fro between the repression of death and the avowal of its finality. In “Lapis Lazuli” The poet replaces the marks of time with the self-begetting images. Associated with the regenerative power of water and seasons, the immaterial possibilities supplant the marks on the stone’s surface symbolic of literal death. In its internal time the poet creates poetic possibilities that rise from the external time that decays. In short, death for Yeats ‘causes’ life, and opens up the place that is retroactively filled out by life. But above all death inspires, brings about, and dignifies his poetic imagination. Yeats depends on the muse of death for the aesthetics of his poetry. In his poetry he rehearses death every day.

예이츠는 후기 시에서 다가오는 죽음의 위협을 극복하기 위해 생을 찬미하는데, 주로 성(性) 에너지의 재 긍정을 통해서 제시한다. 그는 자신의 육체적 쇠퇴를 극복하기 위해 종교에서보다는 삶의 극단적 표현인 성에서 위안을 찾으려고 한다. 이러한 시도는 다가오는 죽음의 공포에 대한 프로이트적 방어기제의 한 형태로 볼 수 있다. 본고에서는 예이츠 시에 나타나는 이러한 방어기제를 A Full Moon In March, “His Memories,” “His Vision In the Wood,” “Crazy Jane Grown Old Looks At the Dancer” 등을 통해 살펴본다. A Full Moon In March에서는 어머니 이미지의 Queen과 아들 이미지의 Swineherd사이의 외디푸스적 갈등에 분석의 초점을 둔다. 특히 반동 형성, 투사, 퇴행 등의 방어기제를 중심으로 Queen과 Swinherd사이의 에로틱하고 잔인한 관계의 흐름을 쫓아간다. “His Memories”에서는 다가오는 죽음의 공포를 떨치기 위해 나이든 화자가 신화적 인물인 헬렌이 과거에 자신과 난폭한 사랑을 나누었음을 자랑스럽게 말하는 모습을 다룬다. “Her Vision in the Wood”에서는 나이든 여인이 자기 팔뚝을 손톱으로 피를 내어 보게되는 마조히즘적 환상을 통해 자신의 늙음을 극복하려는 모습을 분석한다. “Crazy Jane Grown Old Looks At the Dancer”는 환상을 통해 마조히즘적-사디즘적인 춤을 추는 젊은 여인과 자신을 동일시하여 육체의 쇠퇴를 극복하려는 늙은 제인의 모습을 다룬다.

이 글은 시적 창조와 재현(representation)의 문제와 관련하여 예이츠 詩에 나타난 죽음과 不在의 문제를 다룬다. 우선 부재와 죽음이 어떻게 시적 상상력의 조건이 될 수 있는 가를 살피고 다음으로 죽음이 경험적이 것이 될 수 없으며 재현 불가능하다는 것을 논하다. 재현 불가능한 죽음은 언제나 이름이나 은유로만 남아있게 되며 그 의미 또한 결정할 수 없게된다. 죽음의 이런 특성에 착안하여 이 글은 예이츠의 “A Dream of Death,” “Man and the Echo,” “Song of the Wandering Aengus,” “Sorrow of Love”를 다룬다. “A Dream of Death”에서는 시의 화자가 꿈속에서 연인의 죽음을 상상하고 언어적인 것으로 치환하여 그녀의 아름다움을 고정하고 한계 짖고 결정하여 오직 자신만의 것으로 만들려 의도하는데, 이런 의도가 어떻게 언어 자체가 갖고 있는 비결정성의 특정 때문에 좌절되는 가를 논한다. “Man and Echo”에서는 죽음이라는 것이 재현불가능하며 항상 미래의 가능성으로만 남아있는 점을 분석한다. “Song of the Wandering Aengus”는 사라진 연인을 은유적 치환으로 재현함으로써 생기는 있음과 없음 사이의 갈등을 보여준다. “Sorrow of Love”는 처음에 출판한 시가 나중에 다시 쓴 최종판에서 어떻게 흔적으로 남아 의미의 고정을 방해하는 가를 분석한다.

To understand Yeats’s death we should know his concept of daimonism. Yeats’s daimonism was deeply rooted in folklore and mythology. He came to create a daimonism of his own which could provide the scaffolding for his thought and artistic expression. So it shapes a coherent pattern of present and past life. In Yeats’s poetry, the existence of daimon was a great source, a medium of the recreation between soul and body, racial instinct and spirit, the life and death. To Yeats death is a part of “Great Wheel” in “Unity of Being”. Yeats’s damonism is a symbol of perfection and visionary passion of unconsciousness, which grew out of the microcosm and the macrocosm in his poetry. The main function of death in Yeats’s poetry connects reincarnation of our eternity world and rebirth of human being. T. S. Eliot tends to begin his poems with quotations and echoing passages from other philosophies, thoughts, religions and one’s experiences by fusing these ones into the concept of death. Especially, The Waste Land has no narrative and no unifying central character. There is only a heap of broken death images and inaudible voices. The Waste Land juxtaposes various different voices of “Death of Island”. As in inaudible “death” voices, the main tunes and pattern of notes are hinted at, elaborated on, and returned to. We conclude that the unified consciousness is not Eliot’s but the reader’s. In Eliot’s poetry, death stands as a commitment to his search for a universal text by way of deconstruction for reconstruction.

Yeats는 노년의 질고와 생사문제를 명상하는 Last Poems에서 자아의 이원적 존재를 표상한다. 육체적으로 죽어가는 노인으로서의 시인과 내적자아가 희구하는 시인상의 이원성이 기존 주제와 상충되는 새로운 주제를 암시해준다. 종래의 지성적, 철학적, 신비학적, 음유시인적, 마스크 중심적인 주제를 넘어서는 새로운 주제는 생사의 문턱에서 죽음관, 도취하여 즐거워하는 육체성, 무도성, 성적표현성을 매개로 한다. 이 두 주제는 인간의 운명에 대한 내적 각성, 민족성과 정신의 본질로의 침잠/축소/회귀, 지적 심사(心事) 등과 대비되는 죽음의 공포로부터 탈출하여 최고 비전, 최고영성, 최고열반(희열) 등으로 상승하는 주제가 된다. 제1주제가 지성주의, 철학, 고담준론, 신비주의 이론, 마스크 이론, 젊은 시절의 바빌로니아 주제라고 한다면, 제2주제는 경험중심, 촉각과 현실 인식주의, 현실쾌락의 참여성, 정열적 희열감, 생의 기쁨 속에 잠겨서 긍정적으로 술 마시고 춤추는 모습, 성적 회춘기 성향 등이 된다. 그런데 Last Poems에서는 제 2 주제가 보다 강하게 표출되는데, 마치 블레이크, 로렌스적인 성감과 생의 자유성을 피력해준다. 이 성향은 시적 감수성 면에서 바빌론적인 시성에서 인도 및 중국적인 현실성과 성적 감각을 제시한다. 또한 기독교적, 그리스적 정신성, 또는 극동 아시아적 특성보다는 근동이나 인도적 정신성을 암시 받는다.