해방 이후의 시기인 탈식민지기에 들어서면서 일본어교육은 철저히 배 제되었다. 한국어를 국가의 언어로 인정함과 동시에 생활언어와 교육언 어에 있어서 한국어를 되돌리고자, 대한민국 각처에 남아있는 일본어 간 판 및 일본 서적 등 일본어적 색채를 일소시키기 위한 신문화 운동이 일 어났다. 이러한 반일 및 배일 관념의 심화로 인해 일본어교육은 공백기 에 들어갔지만, 장면 정권기, 대(對)일 적극책으로 노선을 변경함에 따라 반일 감정이 조금씩 완화되었다. 이 시기 일본 서적 및 영화 등 일본의 대중문화가 유입되었고 그에 따라 일본어를 배우려는 20대 수요층이 크 게 늘어났다. 전국적으로 일본어 강습소가 우후죽순으로 생겨났고 한일 국교정상화를 앞두고 일본어교육의 필요론을 제기하는 시민들, 개인의 출세를 위해 암암리에 일본어를 학습하는 자들도 많았다. 박정희 정권기 인 1965년 한일기본조약이 체결되면서 양국의 경제교류는 활발해졌고 1973년부터 고등학교 제2외국어로 일본어교과목 지정과 대학에서의 일 본어학과 개설 등이 본격적으로 행해졌다. 이를 통해 국민의 주체의식 확립을 위해 ‘부정’적이었던 일본어교육이 ‘수용’이라는 관념으로 시대적 기능이 전환되었다. 본고에서는 해방 이후 일본어교육의 성행 과정과 양 상을 살펴보고 일본어교육이 성행하게 된 요인과 시대적 기능의 변화를 살펴봄으로써 향후 한국에서 일본어교육이 나아가야 할 방향에 대해 의 미있는 시사점을 찾고자 한다.

에드워드 사이드는 예이츠를 아일랜드에서의 제국적 지배의 몰락에 즈음하여 탈식민화의 작가로 보는데, 예이츠는 애국심과 민족주의로 아일랜드의 유산에 활력을 불어넣는다. 비슷한 탈식민적 접근을 하는 케냐의 작가 응과에와 도잉고는 식민이전의 현실에서 후기식민기에서 현대성으로의 전환에 대한 글을 쓰는 작가이다. 본 논문은 그들의 극작품화에 나타난 탈식민화 시학을 점검한다. 예이츠의 극『캐스린 니 홀리한』(1902년) 은 아일랜드 정신의 민족화와 탈식민화에 직접 반응하는 아일랜드의 농민의 억압된 상황을 묘사한다. 『정신의 탈식민화 하기』(1986년)와 다른 긱큐유언어로 된 극에서, 도잉고는 문화적 제국주의가 어떻게 아프리카와 범아프리카에서 심리적 정복의 일환으로서 식민주의를 활용하는 지 검토한다. 극을 저항의 장소로 개념화하여, 그는 식민이전의 케냐의 극의 근원과 토착적 빈 공간을 파괴하는 영국의 극적 제국을 대비한다. 두 작가는 정치를 극화하고 영제국주의에 대한 극을 정치화하여 자신들의 유산과 언어를 되살린다. 두 작사는 청중의 정신에게 귀한 유산을 강조하면서도 극공연에서 토착어를 조명하려 한다.

모더니즘의 대표적 작가인 제임스 조이스를 탈식민주의적 관점에서 읽으려는 노력은 조이스 연구에 새로운 활력을 제공하고 있다. 이 논문은 이러한 조이스 연구에서의 탈식민주의적 전환의 이론적 성과와 한계를 동시에 검토하고, 이를 통해 조이스와 예이츠의 문학적 교차와 긴장의 결을 새롭게 읽어낼 수 있는 가능성을 타진한다.

히니의 시학은 영국 식민지하의 공간이었던 아일랜드의 긍정적 혹은 부 정적 생산성의 주체인 농촌의 전통으로부터 시작된다. 그의 말처럼, 그의 글쓰기가 시 학적이든 아니면 정치적이든 간에 그의 글쓰기의 목적은 아카데미 안에서의 기술적 영 역이 아니라 언어와 문화의 진정성에서 획득된 힘이라고 볼 수 있다. 그의 글쓰기를 통 한 탈식민적 저항은 서구 식민주의의 환원주의가 아니라 공간에 대한 수용성에 있다. 식민 경험에 대한 시인의 수용성은 바로 그의 조국에 대한 현실적인 공간의식에 있다.

This paper is an attempt to read Yeats's poetry in terms of postcolonialism. Drawing on the recent studies of Yeats and Irish literature, performed by such critics and scholars as Edward Said, David Lloyd, Declan Kiberd, and Jahan Ramazani, the paper examines the various aspects of Yeats as a postcolonial poet. The fist part of the paper deals with the problems that we might encounter when we try to define the postcoloniality of Ireland, which is, in Luke Gibbons's words, "a First World country, but with a Third World memory." There also might be some difficulty in deciding when the postcolonial literature in English began in Ireland. Considering these problems and difficulties, the present writer understands the term "postcolonial" as "anticolonial" rather than "postindependence" or "since colonization," and discusses Yeats's poems which reveal the poet's anticolonial attitude toward England. The next main part of the paper begins by proposing "hybridity" as a feature of postcolonial literature in general. It is assumed that the concept of hybridity can provide the most appropriate and efficient way of understanding the true nature of Yeats's postcoloniality. In this respect, the poet's familial background as an Anglo-Irish Protestant, his complex relationships with the English poets, especially Spenser and Shakespeare, and his use of the English language are discussed. Lastly, in order to see postcolonial hybridity in the specific poetic forms of Yeats's poetry, this paper discusses the use of place names and mythologies, both Irish and non-Irish, in his poems, as an anticolonial and hybridizing gesture. The paper also discusses some aspects of Yeats's poetic style, such as the lyrical form, poetic diction, and images and symbols, and shows how he hybridizes the poetic style which he inherited from the English poetic tradition.

In the period of nationalism, W. B. Yeats's works address the loss of nation and resolute fights for independence and remembrance of the fighters killed in the struggles. Freudian ideas of mourning and melancholy and moral masochism and Jacques Rancière's ideas of colonial 'policy' or 'police order' and postcolonial 'politics' can provide effective tools to understand characteristics of the post-colonial works by Yeats. By putting side by side Freud and Rancière, we can produce a combination of mourning-colonial police-order vs. melancholy-post-colonial politics. The colonial police-order induces the colonized Ego to forget the loss of nation and move on to other objects, for example, money, through mourning. Melancholic post-colonial fighters derail the workings of mourning espoused by the colonial policy or police order. Melancholy and moral masochism of the colonized Ego are the driving forces of post-colonial struggles. Melancholy of the colonized Ego and sadism of the Super-Egoic demand of independence and moral masochism of the colonized Ego can explicate the bloody and 'erotic' relationships between the colonized Ego and the womanized ideal of nation, which have been interpreted as 'fatal mistress,' 'eroticized politics' and 'vampirism' by many Yeats critics. But melancholy and moral masochism drove the colonized Ego to fall into a fatal love relation with the female symbol of nation demanding unconditional sacrifice of the colonized Ego, which renders 'eroticized politics' and 'vampirism' noticeable.

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.

The purpose of this thesis is to explore W. B. Yeats’ poetic representation from the perspective of an approach which has arrested critical attention in recent development of contemporary critical theories. In most of its previous readings, Yeats has been generally considered as a romantist, occultist, and even modernist. However, this paper regards Yeats as a decolonialist living in a colonial society, and attempts to locate Yeats’s position in the context of decolonialists view including Frantz Fanon, Edward Said, and Gayatri Spivak. Decolonialism as a literary theory is becoming an influential textual strategy rather than remaining as one of the academic master discourses. So far, the established textual reading theories have been closely related to logocentrism, and they failed to be acknowledged as an 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. Yeats lived in Ireland from birth to death. During his lifetime, Ireland was under the colonial rule by England. At that time, under the influence of the Irish armed struggle in 1916, Yeats had eye-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. The nationalists claimed the independence of their Ireland. By way of this historical experience of authentic decolonialization, Yeats’s aesthetics became, more and more, politicized against the crisis which the repressive force of imperialism caused. In this traumatic disasters of Ireland, Yeats’s poetic quest makes him struggle against the colonial power in a poetic way. In this regard, this thesis analyses Yeats’s text from the perspective of decolnialism. To begin with, focusing on the decolonization expressed by Yeats’s text, I tries to examine the process of his poetical writings and his attitude against colonialism. To this do, my major interest is in his myth and language employed in his poetry. And I attempt to search for the true Irishness in which Yeats makes every effort to materialize the reality of Ireland in his poetry. To sum up, the decolonial discourse and its textual strategy have important implications that lay bare the dominant ideology hidden in the seemingly impersonal intention of imperiali’sm.