크레이지 제인은 예이츠 후기시의 퍼소나를 논할 때면 어김없이 비평의 초점이 되어 왔다. 소스연구, 페미니즘적 분석, 정신분석학적 해석, 전기적 사실분석, 후기식민사관적 연구 등 다양한 접근이 잇었으나 크레이지 제인의 초상은 대체로 세 가지로 분류되는 바, 예이츠의 객관적 마스크로서, 예이츠의 타자를 표현하는 양성적 목소리이자 성역할전도의 주체로서, 그리고 전통적인 성역할에 대한 예이츠의 수정이 자 아일랜드라는 국가적 아이덴티티로서이다. 본 논문의 초점은, 크레이지 제인이 이 세 가지 초상의 결합체인 동시에, 더 중요하게는 단순한 결합을 넘어 선/악으로 대비 되는 모든 대비적인 것의 구원적 통합이라는 것이다.

本論文主要考察了關於金文上所出現的女性稱謂。周代金文中出現的女 性稱謂比前代多樣化而細分化, 這跟社會制度的變化和婚姻制度有關。 金文上出現的女性稱謂,可分为婚姻稱謂、死後稱謂、親族稱謂、身分 稱謂等等。以婚姻時帶走的媵器来可以看出它是關於婚姻稱謂的器物。媵器 上所記錄的女性稱謂有婚姻女性的姓、名、字、美稱、輩行等等, 也有作 器者母親時母名義。 死後女性的稱謂有諡號、受祭祀對象的親族稱謂、干支等等, 其中有 獨立用個人諡號的和随她丈夫諡號的。女性身分的稱謂作为亲族称谓, 从而 可知女性的婚姻和婚姻前的称谓，婚姻女性的称谓随她丈夫的地位不同。親 族稱謂有女、母、妣、姑、姪、姒等等, 婚姻後的身分稱謂有妻, 媵, 婦 等等。這些都属於婚姻女性的一般稱謂, 随她丈夫所得到的稱謂如下: 王的 妻子稱天君, 諸侯的妻子稱小君、内君、夫人、君夫人, 士的妻子稱婦。 女性的社會身分稱謂有妾、姆。正妻以外統稱妾, 可金文上所出現的妾 都表示奴婢, 通過這可知正妻以外的女性地位都低, 周代封建制度和宗法制 度重視嫡長子。从而産生男性中心的婚姻制度, 這反映随着社會制度的不同, 婦女地位也受影響。 通過周代金文中的女性稱謂可知女性婚姻前身分上并沒有差別, 但是婚 姻後, 随这丈夫的地位和正妻或媵, 其身份和作用都产生變化, 進入春秋後 期女性渐渐歸屬於男性。作为妻子和死後母親的身分, 女性所享受的地位是 跟男性同樣的。

In the early twentieth century, Ireland was still under the colonial rule and the struggle for independence was at its height. Besides the political struggle, there were cultural movements and the Irish Dramatic Movement was one of those movements. W. B. Yeats was perhaps the most important leader in the Movement and his ideal was to create a national drama of Ireland and to have the Irish people recover their identity. Yeats wanted to create his own original dramatic form which was different from realistic dramas. In Yeats’s plays, imagery, symbols, style and plot are well organized and unified as an organic whole. Therefore, the characters usually have symbolic meanings. In Cathleen Ni Houlihan(1902), Cathleen is a symbol of Ireland. The setting of the play is a cottage of Killala in 1798. A young person named Michael is marrying Delia Cahel, a beautiful young girl. And a poor old woman enters the cottage and says that her land has been taken from her and many people have died for love of her. This is Cathleen ni Houlihan, a personification of Ireland. At the end of the play the poor old woman is transformed into a beautiful young girl. The woman can be a symbol of the sovereignty of Ireland and Michael can be a symbol of a king of Ireland. The transformation is the result of the symbolical marriage of land and king. Deirdre, the heroine of Deirdre(1907), is an important figure in the Ulster Cycle of Irish mythology. In Yeats’s Deirdre, Deirdre comes back to Ireland from a long exile with her lover, Naoise with promises of King Conchubar’s forgiveness. However, the treachery of Conchubar is revealed and Naoise is killed. At last Deirdre commits suicide. In this play, Deirdre is an archetypal figure who symbolizes the exile and misfortune of Irish people under the colonial rule. Therefore, Deirdre can be considered as an apt symbol of Ireland. In the last scene, Deirdre does not lose her dignity and chooses her death. In the early twentieth century, Irish people felt a great sympathy for the tragic experience and misfortune of Cathleen Ni Houlihan and Deirdre in Yeats’s plays and they would consider them the symbols of Ireland. With the dramatization of those heroines, Yeats helped to encourage Irish people to recover national consciousness.