본 논문의 취지는 근세 시대 여성이 신앙적 성찰을 문학적으로 구현한 양상을 비평적 논의의 장으로 이끌어오는 것이다. 이를 위해 17세기 중엽의 영국에 살았던 장애 여성인 앤 콜린스의 운문 신앙 자서전 􋺷성스러운 노래와 묵상􋺸(1653)을 소개하고 분석의 대상으로 삼는다. 젠더화되고 고통 받는 여성의 몸과 동시대 신 앙적 의식이 문학을 통해 상호작용하면서 호소력 있게, 그러나 문제적으로 주체 성을 구축하는 방식을 탐색하는 것이 분석의 핵심이다. 앤 콜린스의 『성스러운 노래와 묵상』은 그동안 우리에게 덜 알려지고 영국 문학사 및 문화사에서 간과 되어 온 다양한 여성의 문학적, 종교적 의식 구축과 구현 및 그 배경을 연구하 는데 길잡이가 되어주는 한편, 문학과 종교에 대한 논의의 장을 넓히는데 기여 할 것이다.

The study proposes multiple TRIZ contradiction solution strategies for addressing PC (Physical Contradiction) and TC (Technical Contradiction) by implementing TRIZ cause-and-effect tree. The problem associated with TC of the ends is solved by PC of means which employs a causal relationship between causes and effects. The TRIZ contradiction solution strategies demonstrated in this research are classified into 3 types of combined strategy as follows: 1. To-Be PC and AS-Is PC, 2.To-Be PC and As-Is TC, 3.As-Is PC and To-Be TC. The combined strategy of To-Be PC and As-Is PC is similar to a divide-and-conquer technique. This strategy adopts parallel strategies using 4 separation principles in time, in space, between parts and the whole, and upon condition of two reversed-PCs. Moreover, its application elucidates the conflict relationship of two TCs from the study. The integrated 4 separation principles and 40 inventive principles present an effective synergy effect from the combination, and further addresses the problems in the TRIZ contradiction resolution strategies. Combined strategy of To-Be PC and As-Is TC implements the 40 inventive principles that To-Be PC of the means resolves the As-Is TC of the ends. Combined strategy of As-Is PC and To-Be TC also uses inventive principles to the As-Is PC of the means to solve the To-Be TC of the ends. In addition, propositional and logical relationship of necessary and sufficient conditions between TC and PC is used to support the validity of 3 TRIZ contradiction solution strategies. In addition, 3 other strategies of necessary and sufficient conditions validate the contraposition relationship of the truth table. This study discusses TRIZ case studies from National Quality Circle Contest from the years between 2011 and 2014 to provide the usage guidelines of TRIZ contradiction solutions for quality purposes. Examining analysis from the case studies and investigating combined strategies allows the users to obtain comprehensive understanding.

creative innovation and an innovative problem-solving of industrial companies can be achieved by overcoming the challenges of technical and physical contradictions. The approaches to address conflicting and paradoxical problems, such as technical and physical contradictions have a crucial role in advancing the quality assessment for manufacturer and service provider. The term, technical contradiction, depicts the state that improvement of one ends of IFR (Ideal Final Result) leads to unfavorable condition of the other ends, and results in conflicting problem. Another type of contradictions that’s discussed in this study is a physical contradiction which is due to two mutually opposing states of the means of ends, and gives paradoxical situation. By integrating the means-ends chain perspectives, the physical contradiction that is a specifically root-causes, “means”, can be initially addressed to resolve the downstream problem of technical contradiction which represents a general and abstract goals, “ends”. This research suggests IFR resolution processes to handle both physical contradiction of means and technical contradiction of ends by employing causal relationship with IFR, effects and causes. n summary, the study represents three major processes that resolve such contradictions are demonstrated as follows: 1) Derivation of causal and hierarchical relationship among IFR, ends and means by considering CAED (Cause-And-Effect Diagram) and LT (Logic Tree). 2) Identification of causal relationship between physical contradiction and technical contradiction by using TPCT (TRIZ Physical Contradiction Tree) and TCD (Technical Contradiction Diagram). 3) Application of integrated TRIZ principles by classifying 40 inventive principles into 4 general conditions of the separation principle of mutually opposite states in space, in time, based on conditions, and between the parts and the whole. In order to validate the proof of proposed IFR resolution processes, the analysis of the TRIZ case studies from National Quality Circle Contest in the years, 2011 to 2014 have been proposed. The suggested guidelines that are built based on TRIZ principles can uniquely enhance the process of quality innovation and assessment for quality practitioners.

Gustave Courbet was a French painter who led the Realist movement in 19th-century French painting. Since After dinner at Ornans in 1849 Courbet’ s subject had been drawn from the actual life or the living human experience, because he believed that art should reflect the realities in actual life. To represent the hero of today, Courbet used “colossal” dimension required of history painting which the Paris Salon esteemed as painter’s highest calling but rejected as unsuitable for a genre painting. And he employed a larger than life-size which is appropriate for a culture hero. He wanted to give everyday subjects the effect of a monumental history painting. This was to be a transgression of the academic principle. In 1855, Courbet submitted fourteen paintings for exhibition at the Universal Exposition. His monumental paintings, The Artist’s Studio and The Burial at Ornans which are his major works of Realism are not admitted to the Universal Exposition. So he decided to organize his own show called The Pavilion of Realism which was a temporary structure that he erected opposite to the Exposition Universe of 1855. In short, he challenged the rigid categories of the Academy not only in a series of his paintings but also in his actual life. The artist disregarded authority and convention of the academy. However, the trace of the academic tradition remains still in Courbet's painting. This means he was not immune from the Salon’s view. In this paper I examine the relation between Courbet and the Paris Salon, focusing on the composition and rhetoric of The Artist’s Studio . As I demonstrate, the composition of the picture relates to the academic history painting’s central composition, especially The Sabine Women of Jacques-Louis David. The Artist's Studio was called allegory by Courbet. Allegory is the principle rhetoric of the academic history painting. In 19th-century salon’s paintings, the purpose of allegory was the personification of an abstract concept. He was interested in the allegory as an indirect or veiled mode of expression rather than the allegorical personifications. He created his own realism simultaneously using the tradition and the difference. In The Artist’s Studio, Courbet's massed figures The Contradiction of Gustave Courbet: on The Painter’s Studio, A Real Allegory Summing up a Seven-Year Phase (1855) Lee, Jaeeun(Sungshin Women's University, Lecturer) locate theirs place in the academic composition and are to be the allegorical personification. The kind of contradiction was due to the Salon’s gaze that controled the mainstream art of 19th-century Paris.

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.

In such poems as “The Dialogue of Self and Soul” and “Vacillation”, the antinomies and oppositions which I have traced in the previous issue of this Journal develop in a very complex manner within the frame of such figures as “the sword” and “the tower”, “brand” and “flaming breath”, “burning leaves” and “green lush foliage moistened with dew.” And they are always posited as implying the antinomies of life and death, remorse and joy, body and soul, earthly life and heaven. In the process of vacillating between “extremities”, Self and Heart which figure not only the body but also the poet’s self declines Soul’s request to “seek out reality, leaving things that seem.” Even though Heart vacillates between antinomies, always looking towards what are opposites to itself, it chooses Homer and his unchristened heart as its example and determines to “live tragically.” By opposing the life of a Swordman to that of a Saint and receiving Homer as the figural example of his art, Yeats puts the foundation that his lyric should be understood as tragedy. “The Gyres” and “Lapis Lazuli”, two tragic lyrics composed in Yeats’s last years, embody his idea of the tragic lyric as well as his tragic world view. In “The Gyres”, the poet, invoking his muse “the old Rocky Face” to look forth and view the world’s overall collapse, “but laugh in tragic joy”. And in “Lapis Lazuli”, the tragic heroes of the Shakespearean tragedy are displayed as the opposing powers or qualities to “the hysterical women” of the modern world. In both of these poems, the poet’s tragic joy or exultation springs from the tragic vision that all things “fall and are built again.” The very eternal recurrence of the battle of antinomies and opposite forces is the source which enacts the poet’s strength and energy to exalt in the midst of despair. Therefore, we may be able to say that the poet’s magical aesthetic which is based on the absolute power of death and the tragic sense of life elevates his lyrics to the height of disruptive tragedy, letting the poet to enact tragic authority at the same time.

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)

Unlike his early symbolic mode that is based on the natural representation of organic universe, Yeats’s later works are constructed in the allegorical mode which is based on the antinomies and oppositions that can be defined by rhetoric, form, tone and thematic motifs. If the antinomies are Yeats's central means of perceiving and interpreting the world, what kinds of experience are posited in the center of his life, and in what manner are those experiences represented? The aim of this essay is to approach, through his poetic sequence “Meditations in Time of Civil War”, Yeats’s frame of mind which perceives the world as a series of fixed set of antinomies. Yeats’s later lyric mode is connected, in a very complex manner, with the contradictions and conflicts which arise from what Michel Foucault calls “the absolute power of life and death” and “the life-administering power”. He believed that if the political power and the family authority were to be maintained in modern Ireland, he as poet should embody the ancient forms of power in the aesthetic domain. Such idea leads him to enact in his own works the oral tradition of ancient poetry. He thinks that, leaning on the model of ancient magical arts, modern lyric poet could embody the absolute power of death in his poetry. The literary mode which enacts such power and authority can function as one of the main agents that break the comedic power of modern individualism. Yeats’s idea of absolute power and authority is, however, in constant contradiction with the life-administering power of modern society. Therefore, despite the poet’s strong desire to enact the tragic authority of ancient bard, the poetic space of “Meditations in Time of Civil War” remains the complex site of contradictions and conflicts between the residual forms of Anglo-Irish traditional culture and the dominant cultural forms of modern individualism. It is a disruptive space in which what Fredric Jameson calls the “reversibility” and “disjunction” of modern literary text are embodied in thematic, figural and formal levels.

빅토리아적 가치가 새로운 현대적 경험의 현실 앞에서 무너져 내렸을 때 모더니스트 작가들은 개별적 방식―예술이나 스스로가 만든 종교 등―으로 자기의 새로운 느낌과 생각을 표현하게 된다. 대표적 모더니스트 중 하나인 예이츠도 추상적 과학과 소박한 신앙에 염증을 느끼고 문학적 소재를 이용하여 “새로운 종교, 거의 오류가 없는 시적 전통의 교회”를 세우게 된다. 그는 󰡔비전󰡕에서 고안하여 그의 예술적 창작의 원리로 삼은 자신의 상징 체계를 설립하는데, 그 기본 개념은 세상에 있는 모든 것은 개인이든, 역사든, 우주적 힘이든, 하나의 대립된 갈등 상을 보인다는 것이다. 이러한 체계의 극적 양상에 의해 그는 현대 세계에서의 인간 실존의 모순적 성격을 인식하고 이러한 인식을 통해 자기 스스로 해결점을 찾는다. 예이츠에게는 그의 삶이 또한 대조의 드라마였는데, 자신의 내면에서 대립에 의해 늘 분열된 채로 있으면서 모든 대립이 그의 예술 창작을 통해 조화로운 전체로 해결되는 상태를, 비록 성취할 수는 없어도, 추구해 온 때문이었다. 세상의 유전에 말린 한 사람으로서 예이츠는 “다 떨어진 외투”가 되는 것이 불가피하다는 점에서 실패자로 운명지어져 있었다. 하지만 시인으로서 그는 그의 예술적 삶에서 승리하였다. 대조의 드라마에 의해 그는 분열되고 갈등하는 현대 세계의 경험에 통일성을 부여할 수 있었다. 본고에서는 예이츠의 주요 단시 4편을 대상으로 하여 예술과 삶, 영과 육, 시간과 무시간, 실제와 이상 등 대립하는 갈등 상으로 드러나는 그의 모순적 비전에 대해 논의하였고, 빅토리아적 가치의 관점에서 보아 부조리하고, 무의미하고, 기껏해야 파편적으로 보이는 현대의 세계를 그 자신의 의미 있는 새로운 세계로 재구성한 것을 그의 모더니스트로서의 업적으로 보았다.

이 연구는 2010년 이래 서울시교육청이 줄곧 추진해 온 ‘서울 혁신 교육’ 정책 중 교원 관련 정책의 특징을 분석한 것이다. 정책 문제와 해결책에 관한 ‘합리적 접근’의 관점을 벗어나 정책에 관한 담론적 분석을 시도하였다. 연구 문제는 다음과 같다. ‘서울 혁신 교육’ 교원 정책은 무엇을 문제로 보았는가? ‘서울 혁신 교육’ 교원 정책이 표명한 정책 목표는 무엇이었는가? ‘서울 혁신 교육’ 교원 정책의 정책 수단은 무엇인가? ‘서울 혁신 교육’ 교원 정책의 특징은 무엇인가? 이상의 연구 문제를 다루기 위한 연구 방법으로는 ‘문서 분석’ 방법을 사용하였다. 서울시교육감의 주요 연설문과 서울시교육청의 주요업무계획 문서를 주로 분석하였다. 연구 결과, ‘서울 혁신 교육’은 학생의 성장을 위한 교육 활동에 교사들이 전념할 수 없는 여러 조건을 교원 정책의 문제로 보았으며, 표명된 정책 목표는 ‘학교 자율 운영 체제의 구축’이었다. 교원 정책의 수단은 매우 다양했으나 구체성의 수준은 대체로 낮았다. ‘서울 혁신 교육’ 교원 정책의 특징으로는 다음 두 가지를 제시할 수 있다. 첫째, 정책 목표가 추상적으로 제시되었고, 교원의 내적 동기와 관련된 목표 진술이 부재하다. 둘째, 교원에 관한 정책 담론은 모순적이다. 교원을 혁신 주체로, 그러나 치유 대상으로 보는 대립적 관점은 정책의 소극성으로 연결된다. 향후 ‘서울 혁신 교육’의 교원 정책이 정책적 소극성을 벗기 위해서는 교원인사정책, 교원연수정책의 가능성과 한계에 대한 진단에 기반하여, 국가 수준의 정책으로 꾸준히 요구할 것과 시･도교육청 차원에서 추진할 수 있는 개혁 방안을 구분하여 지속적으로 추진해 나갈 필요가 있다. 아울러 교원 임용 단계의 혁신과 교원의 순환 근무 기간을 연장하는 방안을 모색할 필요가 있다.

본고에서 19세기전후 일본정부가 독도를 한국영토로 인식하면서 무주지 선점론을 이용하여 독도를 편입한 정당성과 홍보활동에 대해 분석하면서 일본의 고유영토설 주장에 대한 모순점에 대해 고찰하였다. 일본의 다케시마(竹島)개척론은 요시다 쇼인에서 나왔고 조선침략을 위한 정한론에서 비롯되었다고 할 수 있다. 요시다 쇼인은 다케시마가 이미 조선영토임을 인지하고 있었으나 영국, 러시아 등의 서구열강국가들의 방어는 물론 대륙침략의 교두보 역할을 할 수 있는 울릉도를 먼저 선점하는 것을 강조했다. 일본은 조선을 비롯한 대륙침략 과정에 한국과의 국경 사이에 있는 울릉도와 독도의 존재가 등장하게 되면서 다케시마개척청원서를 제출하였고 일본이 대륙 침략을 위해 울릉도와 독도의 군사적 가치에 주목하고 해군 군사기지로 사용하기 위해 이를 병탄할 계획으로 제출되었다. 그러나 일본정부는 독도가 조선영토임을 알고 다케시마개척원을 기각하면서 궁여지책으로 독도를 무주지로 선전하여 영토편입을 시도하였고 무주지 개척이라는 명분으로 조선을 침략하려고 했다. 1900년대 전후 흑룡회나 산음신문 기사를 통한 무주지 선점론의 영토편입 정당성 홍보에 대해 분석으로 일본은 독도를 무주지로 홍보하면서 독도를 새로운 섬 발견으로 거짓 보도하면서 독도 개척의 가치와 강치의 서식지로 어업 가치가 높고 이익이 많다고 홍보했다. 특히 흑룡회는 러일전쟁을 대비하고 독도를 군사 전략적 요충지로 이용하기 위해 독도를 무주지로 적극적으로 홍보하여 독도를 편입하는데 노력하였다. 일본정부가 독도를 일본 고유의 영토라고 주장하고 있지만 19세기의 다케시마개척원과 일본 신문기사를 통해 그 모순점을 반박할 수 있다. 특히 1900년대 전후 시마네현의 독도 영토편입 관련 신문기사에서 다케시마 명칭 혼란으로 다케시마에 대해 재조사할 정 도로 의문을 가지고 있었고 신영토 개척이라는 용어를 사용한 것은 독도가 일본 고유의 영토가 아님을 증명해주고 있다.

In den meisten Religionen ist das Beten einer der wichtigsten Mittel, mit dem man die Gottheit erreichen kann. Wichtig ist es auch zu sehen, welche Rolle das Beten bei der griechischen Philosophie und bei dem Frühchristentum gespielt hat. Insbesondere wird das Gebetsverständnis vom Mittelplatoniker Maximos von Tyrios und vom Stoiker Seneca untersucht. Im Frühchristentum wird die Schrift des Origenes über das Gebet unter die Lupe genommen, um zu zeigen, wie sich Origenes mit der griechischen Philosophie auseinandersetzte und eine christliche Antwort darauf vorbereitete, ob das Beten überhaupt im religiösen Leben notwendig ist. Maximos von Tyrios schreibt in seiner Schrift dialexeij die Bedeutung des Betens in seiner Umwelt. Er behauptet, es sei sinnlos zu beten, weil man mit dem Beten nichts erreichen könne. Die ähnliche Behauptung stellt der Stoiker Seneca auch auf, dass man nicht zu beten braucht, weil man die Tugend selbst erlangen könne und als Mensch dem Fatum gehorchen müsse. Die beiden Philosophen können aber keinen menschlichen freien Willen in ihren Systemen gewähren. Genau an diesem Punkt bietet Origenes mit seiner christlichen Antwort die Lösung an, dass Gott den menschlichen freien Willen gewährt. So korrigiert Origenes die falsche Meinungen über das Gebet, dass man nicht zu beten braucht. Gottes Vorsehung bleibt aber auch erhalten, wenn Menschen nach ihrem eigenen Willen beten, wenn sie schwach sind. Das ist der Grund, warum man zu Gott beten muss. Nach Origenes ist das Beten nicht unsere Leistung, sondern der Geschenk Gottes, weil unser Heiland Christus uns beim Beten hilft.