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.

서평

Yeats presented the fallen majesty of Sophia who is a veiled goddess as in Valentinian of Christian Gnosticism, Cabalism and Rosicrucianism. In this respect, Yeats himself rejected the masculine Trinity and insisted on an androgynous Trinity throughout his works. Yeats’s view of Sophia is that of Attis for goddess Cybele. Yeats sought to reveal that Daughter-Sophia was a fallen Deity such as Helen of Troy or Cinderella and Sleeping Beauty of the fairy tale. Therefore one of Yeats’s major poetic themes is the longing for Sophia. From his early poems, Helen is symbolized as Sophia’s secular image and as one of the Yeats’s personal poetic heroines. Yeats wanted Helen, the cause of Troy’s fall, compared to Sophia who was the cause of the Christian’s fall for early Christian Gnostics. Also, several of Yeats’s poetic heroins can be approached in terms of Sophia’s secular and mournful beauty who is suffering with mankind in this world. Especially, Yeats as a master myth-maker himself recreated Helen as his personal unique mythic character in Sophia’s image. For Yeats, Maud Gonne’s poetic role was the embodiment of Ireland as Rose, Helen, Cathleen, Deirdre, Niamh and Jane. These figures are all symbolized as a divine Feminine Principle existing within the God, Masculine Principle before the all creation. And Yeats lays himself and the world at her feet as the love poet or her sole priest just as did Attis for Cybele. Yeats’s personal and poetic heros as symbols of Yeats’s portraits: Attis, Homer, Jester, Oisin, Red Hanrahan, Fergus, Cuchulain, and Aleel. Through Sophia’s imagery, Yeats suggested gnostic speculations about the female elements of divinity, rigorously suppressed by the orthodox Christian fathers of the early church, and this rejection remains to this day. In other words, Yeats tried to carry out a poetic recovery of one single body work of art from the veiled goddess, Sophia. Because Yeats wanted to become Sophia’s sole priest, Valentinian. His hope appears in his poetic theme of a ‘Unity of Being’ by uniting with Sophia after his own death and Sophia’s death too. In this sense, Yeats often illustrated in his poems sorrowful love and an eagerness for the death of the beloved. This idea and sentiment is seen in Aleel’s attempted unity with Cathleen: Aleel suggests Countess Cathleen who is suffering with her people go to Heaven to escape her pains. Although people mocked Yeats’s attitude regarding Sophia, he envisioned a heroic dream in which Sophia will be revealed with her Heavenly power in a future as her era comes. And at last, she will recover her genuine glory in Heaven. Sophia’s era will come 2000 years after Christ’s birth according to Yeats’s unique historical view. For example, “Leda and the Swan” and “A Nativity” symbolize the coming of the masculine Trinity era with in the Orthodox Church. So Yeats stated when the Christ or Helen or Christ’s sister (Daughter-Sophia) was born, the Mother of God, Mary or Leda was frightened and terror-struck. Therefore Helen symbolized secular beauty suffering with mankind during the 2000 years of the masculine Trinity age. On the other hand, in “The Second Coming,” Yeats suggested that Sophia’s veil be removed when she recovers her glory. The terrible Sphinx stands for this coming of Sophia, which will establish an androgynous Trinity just as seen in the Egyptian Trinity: Osiris, Isis and Horus. Sophia as Yeats’s beloved is also symbolized by the Sphinx, ‘half lion, half child’ in “Against Unworthy Praise.” Thus we see Yeats endeavoring to draw the readers’ attention to the stress laid by feminine principle, Helen-Sophia who is with mankind as Countess Cathleen -with sacrificial love and her suffering under the masculine Trinity- until the new age comes, which was stated as ‘until coming sphinx’ or ‘until God burn time.’ So Yeats was an authentic prophet in our time.

핵가족화, 취업모, 맞벌이 가정의 증가로 유아의 읽기, 쓰기 교육에 대한 학부모의 혼란이 가중되었다. 본 연구의 목적은 유아기 읽기, 쓰기 교육을 성공적으로 이루어낸 헬렌켈러와 설리번의 기억과 기록을 중심으 로 헬렌켈러의 첫 읽기, 쓰기는 어떻게 이루어졌는지와 설리번의 읽기, 쓰기 교육의 원리, 그 실제적인 방 안에 대해 학부모에게 전하고자 하였다. 독자가 편견 없이 보다 쉽고 재미있게 글을 읽도록 하기 위하여 헬렌켈러, 설리번을 초청한 Talk show 형식으로 서술하였다. 연구 문제는 다음과 같다. 첫째, 헬렌켈러의 첫 읽기, 쓰기는 어떻게 이루어졌는가? 둘째, 설리번의 읽기, 쓰기 교육의 원리는 무엇인가? 셋째. 설리번의 읽기, 쓰기 교육의 구체적인 지도방법에는 무엇이 있는가? 본 연구의 결과는 다음과 같다. 첫째, 헬렌켈러 의 첫 읽기, 쓰기는 교사 설리번이 교육적 목표를 가지고 의도적으로 노출한 문자언어의 경험이 축적되어 자연스럽게 이루어졌다. 둘째, 생활, 경험, 놀이중심의 원리를 가지고 있다. 셋째, 헬렌켈러가 좋아하는 책, 동요, 동시, 친숙한 글자를 활용한 놀이 형태의 지도방법이 있다.