이 연구는 예이츠의 작품 󰡔환상록󰡕을 중심으로 역사 순환 원리와 헬렌 신화를 분석하였다. 예이츠에 따르면, 인류 역사는 4,000년을 주기로 교차되며, 그리스와 기독교 문명은 각각 2,000년의 주기를 겪어왔다. 그리스 문명은 헬렌의 탄생, 트로이 전쟁, 그리고 헬렌의 귀환과 함께 전환점을 맞이했고, 기독교 문명은 예수 그리스도의 탄생으로 시작되어 현재까지 찬란하게 발전해 왔다. 예이츠는 마이클 로발츠가 레다의 잃어버린 알을 찾는 신화를 통해 다가올 새로운 문명을 비관적 종말론과 두려움으로 묘사한다. 이 글은 예이츠의 역사 철학을 살펴보며, 그가 예지력과 통찰력을 바탕으로 가이어의 회전과 순환을 적용하여 인간과 문명의 과거, 현재, 미래를 칸트의 이율배반적 변증론으로 재해석한 내용을 다룬다.

『환상록』은 신화에 바탕을 둔 예이츠의 상상적 사상 체계를 집대성한 책으로 그의 작품을 이해하는 데 사상적 골격을 제공해 준다. 본 논문의 목적은 『환상록』에 나타나는 역사적 상상력을 예이츠가 말년에 발표한 조각상과 불벤산 기슭 에서 어떻게 투영되어 나타나고 있는가를 고찰하는 데 있다. 조각상 에서는 예이츠가 세 개의 조각상을 통해 궁극적으로 아일랜드 민족의 우수성을 강조해 켈트 신화에서 시작한 그의 신화적 상상력이 신화의 순환구조처럼 아일랜드로 회귀함을 상징적으로 드러낸다. 불벤산 기슭에서는 아일랜드 민족의 재건이 과거의 이상적 모형을 현실에 재현하는 것으로서, 예이츠는 문화와 예술의 우월성이 민족의 정체성을 유지할 수 있음을 인식하고 예술가의 역사적 사명을 중시하고 있다.

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.

During the 1950s, the North Koreans rebuilt their capital—Pyongyang—as a modern city under the principle of Soviet urban design. One North Korean architect, Kim Jung-hee, has been widely credited since the late 1980s as the master architect of the General Plan of the city’s reconstruction. While Kim Jung-hee played a crucial role in its reconstruction, his heroic image as the founding architect of Pyongyang is considerably attributed to North Korea’s mythical narratives rather than his historical activities. This paper argues that Pyongyang’s postwar urban design was not a work made by a single actor, Kim Jung-hee; rather, it was a long-term collaborative project in which a team of North Korean architects and Soviet technical advisors took their respective roles. Beginning in the late 1980s, North Korea, which had been struggling with economic decline and an increasing sense of lagging behind in its rivalry with its Southern counterpart, used heroic narratives during the 1950s’ postwar reconstruction period as an important propaganda tool for their regime. In this mythical narrative of Pyongyang’s reconstruction, massive economic and technical aid from other communist countries has often disappeared, and the memory of the architects who contributed greatly to the reconstruction but later purged in North Korea have also completely vanished. Kim Jung-hee, meanwhile, remained in this epic as the founding architect who rebuilt the city in faithful accordance with the leadership of Kim Il Sung.

William Butler Yeats was born at Georgeville, Sandymount Avenue, Dublin, in 1865, and died in the South of France, in January 28, 1939. Yeats was fifty in 1915-1916. He provides a poetic rendering of his visionary experience at his fiftieth year in the fourth section of "Vacillation" written in November 1931, when he became absorbed in the philosophical thinking while writing A Vision: "My fiftieth year had come and gone,/ I sat, a solitary man,/ In a crowded London shop,/ An open book and empty cup/ On the marble table-top./ While on the shop and street I gazed/ My body of a sudden blazed;/ And twenty minutes more or less/ It seemed, so great my happiness,/ That I was blessed and could bless."(CPN 251). In May 9, 1917, recalling his fiftieth year, Yeats describes this experience in a prose, entitled "Anima Mundi": "Perhaps I am sitting in some crowded restaurant, the open book beside me, or closed, my excitement having overbrimmed the page. I look at the strangers near as if I had known them all my life, and it seems strange that I cannot speak to them: everything fills me with affection, I have no longer any fears of any needs; I do not even remember that this happy mood must come to an end. It seems as if the vehicle had suddenly grown pure and far extended and so luminous that the images from Anima Mundi, embodied there and drunk with that sweetness, would, like a country drunkard who has thrown a wisp into his own thatch, burn up time." (Myth 364-5) Seamus Heaney was born in April 13, 1939 in Count Derry, Northern Ireland, and has been attacking Yeats since 1980s for the latter's aristocratic mysticism and spiritual matters. Heaney gave a lecture at Oxford University in 1990, entitled "Joy or Night: Last Things in the Poetry of W. B. Yeats and Philip Larkin." This lecture was given at the end of his own fiftieth year and simultaneously commemorated the fiftieth anniversary of Yeats's death. In this lecture, Heaney comes to open up "a sudden comprehension" to Yeats's vacillating visionary experience of the spirit in "The Cold Heaven": "The spirit's vulnerability, the mind's awe at the infinite spaces and its bewilderment at the implacable inquisition which they representall of this is simultaneously present" (The Redress of Poetry 148). In "Fostering," a poem from Seeing Things (1991), Heaney professes his poetic admission of Yeatsian visionary position: "Me waiting until I was nearly fifty/ To credit marvels" (50). In short, Heaney reaches what Yeats did for the spiritual world. The main objective of this paper is to demonstrate how Heaney reacts Yeats's poetry of vision. My focus is on the year fifty, when they erupt their creative energy in terms of "vacillation"which nevertheless shows the provocative and violent dynamism of the Yeatsian "interlocking gyres."

두 명의 근대 사상가이자 비평가 작가였던 T. S. 엘리엇과 발터 벤야 민은 신화와 역사의 본질을 이해하는 데 많은 공통점을 가지고 있다. 엘리엇은 자유의지적인 선택으로 독실한 신앙인이 되었고, 유대인이었 던 벤야민의 사유에는 종교 내지 신학적인 문제들과 역사 구원과 같은 문제에 대한 관심이 매우 뿌리깊이 자리하고 있었다. 벤야민은 태생적 으로 유대인의 혈통을 물려받았다. 그런 면에서 종교적인 구원과 역사 의 문제는 두 사람에게 매우 중요한 주제였고, 그만큼 그들의 사상이 형성되는데 많은 영향을 주었다. 엘리엇은 그의 대표작 네 사중주를 통해 시간을 통한 구원의 인식과 역사의 문제를 매우 밀도 깊은 철학적 성찰로 다루었고, 벤야민 역시 역사철학 테제와 같은 역사철학에 관한 저술을 통해 자신이 가지고 있는 진보와 역사에 대한 개념을 서술하였다. 특히 현대사회가 가지고 있는 물신숭배적 종교성과 탈신화적 신화 성은 엘리엇과 벤야민이 함께 공명하는 매우 중요한 접점이라고 할 수 있으며, 이러한 관점에서 엘리엇의 작품을 이해하는 것은 모더니즘적 접근의 깊이를 한층 더 심화시켜 줄 것이다.

This thesis is to examine biblical poetics, which deals with the many biblical echoes and rhetoric of paradox in T. S. Eliot’s Four Quartets. Biblical poetics, the counterpart of biblical theology, tries to mystify history in the poetic text, as opposed to the theologizing of biblical history. Time and history are of great importance in the poetry of T. S. Eliot and in the modernistic milieu, because modernism hinges, in a sense, upon the dispensation of history. Eliot, the champion of the 20th century poetry, tries to mythify the present history by means of a mystical method, assuming that modern history itself is not fit for poetry. Malinowski rightly defines myth as not of the nature of fiction, but instead as a living truth, believed to have once happened in primitive times and continue influencing our everyday lives. In this paper the present writer tries to describe the process of transformation of history in four phases, that is, carpe diem, which can be roughly transliterated as “seize the day,” the rejected history, the deconstructed time, and finally the transfigured time. “Burnt Norton” prefaces the problem of the redemption of history, agreeing with the biblical time concept that all history is divine history. “East Coker”, as the rejected history, reveals the painful confession of the poet in terms of death, not only of ours but also of Jesus Christ. His death is the most rejected and paradoxical of all deaths, because he was rejected by his people and even his Father. In turn, through this death, history is rejected. “Dry Salvages” demonstrates time by decreating time and starting a movement backward to the time of creation. While portraying the sea, one of the motifs of “Dry Salvages,” he mentions both the original sea, which “is” from the beginning and the Logos, Jesus Christ, who “was” from the beginning. The incarnation is the crux of paradoxical events, where the impossible union is accomplished. His resurrection is the paradox of paradoxes, in which the rejected history is deconstructed with life-giving Eros springing forth from abyssal Thanatos. “Little Gidding” breaks the air with flames of fire, urging us to choose between the flames of fire and of the Holy Spirit to be saved. Beginning with the Pentecostal fire, time starts to be so completely transformed that here is “England and nowhere, never and always.” The event on the mountain of transfiguration is the most paradoxical and transformational of events, substantiating history into myth where time and eternity meet. The voyagers must continue going forward until they receive the transfigured vision of the place from which he started.