본 연구는 신화적 장면을 그린 고전기의 아티카 지역의 도기화 가운데 대부분의 인물들이 고전기 양식으로 표현된 것과 달리 신상만이 아르카익 양식으로 묘사된 사례들을 선별하여 이러한 도상학적 현상의 의미를 살펴보고자 한다. 이들 아티카 지역의 고전기 도기화에서 의도적으로 아르카익 양식을 차용한 것은 양식적인 대조를 통하여 아르카익 양식의 신상이 고전기 양식으로 표현된 신화적 인물들 보다 더 예스러운 존재임을 드러내기 위한 의도로 사용되었다. 이들 고전기에 아티카의 도기화가들이 상대적 시간을 표현하기 위한 하나의 ‘고전적 규범’으로 아르카익 양식을 사용하였다는 사실은 고전기 미술에서 아르카익 양식이 지닌 시각적 역사성이 당대의 미술가들과 관람자들에게 공유되었음을 드러낸다는 점에서 미술사적으로 의미가 있다.

Irish contemporary poet Eavan Boland mounts the starting point of her poetry to a very practical issue of how to imagine women’s lives inside Irish history. Given E. H. Carr’s modern notion of the ‘historiography’ of history, history that used to record the progress in the public sphere can be regarded as masculine. And in such masculine history women, who have often been associated with Nature due to their biological function, have never been imagined as active contributors to historical progress. Likewise, Irish women’s domestic experiences have been discarded as worthless while Irish men’s public experiences have been integrated to the progress of Irish history. Troubled by the fact that Irish women's lived experiences have been silenced in Irish history, Boland has been exploring the possibility of eroticizing such masculine history and creating a livable space for real-life Irish women in her poetry. Therefore in this essay I'll look into Outside History (1990) among her many books of poems published since 1962. Outside History, which comprises of three parts, is especially significant in her poetic career because in it Boland’s individual and communal concerns as a woman and woman poet are intricately woven and expanded to the issue of the historiography of Irish history. Specifically, I will examine how Boland engages in a very creative project of diving into Irish history and emerging with a body of lived experiences of women that have been silenced and treated as non-existence. I will also illuminate the fact that Boland’s erotics of history suggests a new alternative way of writing political poetry in Ireland. Ultimately, I aim to show that Boland, not by romanticizing past women in a new myth and legend but by etching out an original poetic space, has successively swerved from the formidable influence of W. B. Yeats and become a representative poet of her own.