예이츠는 보는 이에 따라 여러 견해를 가질 수 있는 작가이다. 다양한 평가는 그의 작품 안에 탈식민주의 문학의 여러 가지 측면이 존재함을 나타내는데, 탈식민적이고 포스트모던한 면을 초․중․후기시를 통해서 논의하고자 한다. 이를 통해서 그는 일생동안 아일랜드의 고유한 역사와 신화, 전설을 자국민들에게 상기시키면서, 문학과 예술을 고취시킨다. 식민지배자인 영국의 시 형식을 비틀고 시어를 변화시키면서 탈식민성을 지향하고, 아일랜드인에게 민족주체성을 되찾게 하고 영국의 지배로부터 벗어난 해방적인 측면을 드러낸다. 마침내 포스트모던한 아일랜드에서 파편화 된 자신을 노정시키면서 새 출발을 다짐한다.

"2046"是电影题目，也是电影中周慕云写作的小說題目。在电影的末尾加进去仿佛科幻片的未来小说＜2047＞。王家衛香港回归以后也不离开香港，透影过去一百年与将来五十年当作影片中的寓言。观众不容易理解的风格仿佛1930年代早已构思"摆脱情节的影片"爱森斯坦的晦涩，难以理解，但与已进入後期产业化社會的香港的后现代气氛不谋而合。本书稿立足于“国家寓言”的观点，是将王家衛影片与香港的中国回归联在一起的。在≪2046≫的登场人物之间悲欢离合中記憶和歪曲，离散，语言障碍与认同性问题等多种多样的殖民主義現像是混杂性因素。如在影片中黑白镜头表象過去，以忘却之窟窿变黑白色王家衛展示出抹杀時空之界限。且王家衛为跨越时空而抹杀过去与未來之界限多用跳切，在未來城市镜头还运用计算机图形。影片中登場人物之间記憶的歪曲与忘却会引起在殖民環境香港对現實的歪曲。≪2046≫的登場人物之间发生的記憶与忘却，可以说是对香港人的集体潜意识的記憶与歪曲, 忘却。既用粤语, 又时而混用国语与日语，在≪2046≫展现出各种语言混用的國際城市香港的多种语言环境。在此，可见香港回归后向往二十一世紀的香港人的意识不局限于中國而扩展到全亚洲。但影片的最后场景暗示在五十年后未来也用共用语言粤语与英语。如此在影片中不能抹杀象征香港人认同性的代表媒介粤语痕迹。但登場人物之间常出现沟通问题。或许因此，在≪2046≫加进去被有人偷看的視線连接空間的場面。 真正的解放来自正確的現實認識。在东方饭店香港人，中國人与日本人一起登场，且2046列车是忘却歧视与痛苦的地方，由此可以说是想像的故乡。到影片的下半场，被失戀的王静雯终于与日本男友結婚，此戏剧性的逆转是香港人的认同性完成为亚洲人的时刻。亚洲人是到世界主义者的过渡进程。从而只有作为离散人，边际人体会香港人的反省与其命运界限，才能达到亚洲人, 进而获得世界主义者的自由。

This paper aims at exploring the postcolonial aspects of William Butler Yeats’s poetry, especially the ‘Crazy Jane Poems’ written approximately from 1929 to 193l. The term ‘postcolonial’ means ‘anti-colonial.’ In Ireland, during the colonial state and the partially postcolonial state, Yeats’s involvement with Irish politics had never been static, straightforward, or comfortable. Whereas most critics see these poems from the feminist perspective, I regard them as the attempts to decolonialize Ireland from the British colonialists as well as the bitter critical insight on the rigid ethics of Irish Catholicism. 'Crazy Jane' resembles the Cailleach Bhearra, the goddess who serves not only as historian of the land and teacher of the farmers but also as bearer of sovereignty. Therefore her challenge to the colonial legacy is identified with the newly formed Irish state. What are the most abject of British stereotypes of Ireland － recklessness, vagrancy, violence and so on - ironically transform themselves through 'Crazy Jane' into the antithetical values of passion, earthiness, and exuberance. Overthrowing the preconditions of British and Church authorities, she criticizes both the Irish Catholic Church and the British authority which has appropriated Ireland. In addition, by using the ballad form, Yeats consolidates the nationalist intent of these poems. Therefore, 'Crazy Jane' may be identified with Yeats' alter ego, the personality that represents Yeats' various ideological positions. Subverting the British colonialists on the same stereotypes that British colonialists used to exploit the Irish people, she denounces both the stiff ethics of Irish Catholicism and the prevailing Irish patriarchy. Therefore, we can conclude that 'Crazy Jane' resembles a cubist icon that superimposes the double aspects of the Irish postcolonial state.

The essay attempts to rethink the widely acknowledged notion that the ecologial writing is a minium writing weapon to tackle the European writing and limit of modernity. Most of the intellectuals paying attention to decolonial theory have arrived in limited ideas about the recent decolonialism. As a result, the recent debates on decolonialism have been deployed under the assumptions that the so-called "troika of decolonial theory" advocated by Frentz Fanon, Edward Said, and Homi Bhabha. From the point of view, the essay thus purports to demonstrates that the unfamiliar theory ecology and ecological writing is widely helping to overcome the limit of established decolonial wiriting and interpretation of text. To do this, from a ecological viewpoint, the essay attempts to re-read the irish text and Irish decolonial poet Seamus Heaney's poem "Gifts of Rain," who was awarded a Nobel Prize for Literature in 1996.Heaney concentrates primarily on the origin and mother land of the conflict in "Gifts of Rain" through elegiac poems celebrating the identity, history, territory and tongue of his irish people. But his imagination and attitude of writing is based on not just a decolonial method and idea but a ecological preoccupation on his "Mother Land." He looks forward to finding out integrated moments in his land beyond the political, religious, and topological separations. From the viewpoint of the ecological attitude, he finally enters into the deterritorial region against its dichotomous and counter-discursive tendency in decolonialism. Roughly speaking, some say that this new writing and epistemological method is just a utopian thought, but his ecological writing suggests that this is the most effective and creative means of making a new writing code and poetics moving from silent spectator to speaking actor/actress in the world.