Analysis of how texts’ rhetorical strategies endanger or sustain the narcissistic structure of the self is an important approach in recent deconstruction criticism. This criticism carries out a challenge to the analogy between the mind and nature that is to establish a coherent image of the mind and the self. By taking Wordsworth’s the Prelude and a few poems in the earliest Yeats, this essay focuses more centrally on threats to the self and the possibility of self-representation posed by the process of representation itself. In Book IV of The Prelude, the dynamic of passion and memory operates through the image of self-knowledge as a ‘reflection.’ The motion from past to present is a totalization of the self by means of metonymical substitution: the mere eye that looks into the water receives a whole image. But as the word hang, deeps, and gleam suggest, the motion is not necessary to lead to a totality of the self. Passion and prop of affection is always already involved in the self-reflection, preventing it from closing upon itself. The complex dynamic of passion and memory thus is inimical to self-representation. The Blessed Babe passage in Book II is also governed by the figure of passage, present here in the word passion as a sort of originary movement. The self-recognition of the poet is structured as crossing between past and present relations. Here substitution occurs as a transformation of the negation of the mother into a positive gain of nature. But the phrase ‘unknown cause’ and the reference to a ‘trouble’ imply the disruption of the passage from the maternal props to natural properties. The dominant mood of Yeats's earliest poetry is one of narcissistic self-contemplation. The poet in the mood does not contemplate a thing in nature but the working of his own mind. The outside world is used as a pretext and a mirror for self-representation. In “The Song of the Happy Shepherd,” the shell is not sheer nature, impressing itself upon a passively receptive consciousness, but the subjective dream of a human imagination. In spite of the apparent replacement of all the substance of the object by its reflection, however, the image of the shell remains altogether conditioned by the existence of this object. The reflection can be left to exist as a mere phantom of the self without substantial existence of nature. The failure is made explicit in “The Sad Shepherd” where the same shell shatters his song into confusion. Yeats is well aware of this paradox. In order to escape from this narcissistic predicament, for example, he uses the image of a parrot in “The Indian to His Love” who rages “at his own image in the enamelled sea.”

Yeats suffered greatly from the love affair with Maud Gonne but particularly from the contradiction that she manifested. The poet devoted his love and poems to her in vain. But the contradiction is not peculiar or unique problems to Yeats but all men in Western patriarchal tradition. Indeed women for men are figuring simultaneously as madonna and whore, angel and beast. Because the woman has the power to provoke the tumult of desire in man and to gain over him through the desire, the men is afraid of being weaken by her, infected with her feminity and of then showing himself incapable or castrated. The fact that woman from a phallocentric viewpoint appears to be castrated is as reassuring for men as it is alarming. On the one hand, he projects her as lack and sees himself completed in her, thus confirming male hegemony. On the other hand, the so-called castrated woman can reflect back to man a dangerous paradox: if she had been castrated, then his own possession of a penis was in danger by her. In order not to be a paralyzing threat, a woman must have phallic attributes and must become the phallic woman idealized beyond sexuality. The phallic woman is thus fantasized by the man as a defense against castration anxiety. Representation of the phallic woman, he believes, protects him against doubts about his masculinity. Making her like a man conserves the man’s narcissism. The ambiguous nature of the woman is well presented in Yeats’s “Presences.” Here Yeats categorizes the woman as archetypes “harlot,” “child,” and “queen.” And their seductive “rustle of lace or silken stuff” evokes a contradictory femaleness over which he has no rights and which can move rapidly from vulnerable to ruthless, even turning that very vulnerability into a disturbing power over him. In “A Bronze Head,” the woman representative of Maud Gonne remains mysterious and inaccessible, overflowing the ‘images’ and ‘forms’ in which he tries to capture her. In “No Second Troy,” Yeats blames Maud Gonne for her violent political action, perhaps because she cannot be desexualized, idealized, or fetishized fully as he wishes. One of the reasons that Yeats is desperate to prevent the woman from being involved in the politics is that for Yeats the ideal form of a woman would not allow for difference to infiltrate the idealized autonomy. In this sense Yeats prays for his daughter to be the woman with nature of mindless organic spontaneity and for her bridegroom to bring her to a house of custom and ceremony. The idealization of the woman as nature into civilization, however, will not entirely do because it inescapably exposed to the fearful power of death. As Freud argues in Civilization and its Discontents, Eros’s sublimation of the nature into civilization inevitably exhausts its power, which leaves it vulnerable to Thanatos that then threatens to destroy the social order one has so laboriously constructed. The dilemma of sublimation is well explicated in Yeats’s “Mediations in Time of Civil War“ where he perceives the conflict between insistent demands of death drive and the inhibitory requirements of civilization. “Leda and the Swan” shows that the phallic civilization is born together with the brute power of violence and destruction that is to threaten all the social orders. By desexualizing, idealizing, or sublimating the woman, the man may reduce the horror of castration. But his attempt is radically self-defeating and self-undoing, for the more he sublimates her, the more likely she becomes the destroyer of ideal orders. Because of this paradox, the woman remains ontological aphoria to Yeats.

Purpose - The purpose of this study is to investigate the relationship among narcissism, usage motives, usage behaviors, satisfaction with and continuance intention to use fashion social media. Research design, data, methodology – A questionnaire survey was used to collect data after conducting a pilot test. Based on the reliability test of the preliminary questionnaire used for the pilot test, the questionnaire was revised. The final questionnaires were administered to 238 fashion social media users and 216 were used for the data analysis. To assess the validity of these measures, exploratory factor analysis and the confirmatory factor analysis were performed. Structural equation modeling analysis were employed for data analysis. Results - Five factors of the usage motivation of fashion social media were extracted: information-seeking, relationshipseeking, practicality-seeking, enjoyment-seeking and self-expression motives. The statistical analysis confirmed the influence of the narcissism tendency on all of the usage motives of fashion social media, three of the fashion social media usage motives influencing information diffusion behavior, and the influence of the information diffusion behavior on users' satisfaction and continuance intention to use fashion social media. Narcissism exerted the highest influences on self-expression motive followed by information-seeking, enjoyment-seeking, relationship-seeking and practicality-seeking motives in order. Factors affecting fashion information diffusion behaviors are practicality-seeking motive, self-expression motive, and relationship-seeking motive. The greater the diffusion of information, the higher the satisfaction with using fashion social media. The consumers with higher satisfaction intended to use fashion social media and share information more frequently. Conclusions - The results indicate that narcissism is an important factor in fashion social media usage motivation. The main motives for narcissistic people to spread information is for the practical purpose at the most, and then to express their personality and style, and to build relationship with others. The satisfaction through active information sharing behaviors seems to play a key role to lead high continuance intention of fashion social media. These implies that marketing strategies to satisfy consumers’ narcissism and motives to use social media, and to stimulate the information diffusion behaviors can be used to meet their needs for higher satisfaction with fashion social media.