예이츠의 시 ｢1916년 부활절｣은 많이 연구되고 논문도 많이 쓰여 졌다. 그러나 사실 내용과 연관된 시의 형식은 충분한 관심을 받지 못하고 있다. 즉, 시의 외적인 것, 즉 정치적인 것들, 사회문제들이라든지, 심리적인 것들까지 주된 관심사였다. “지독한 아름다움”의 역동적 힘으로서의 시는 논외였다. 그러나 예이츠는 형식을 통한 의미 만들기에 많은 관심을 쏟았다. 그렇다면, 의미로서의 시 형식을 읽어내야 할 시기가 되었고, 그렇게 함으로써 우리는 이 시를 보다 깊이 있게 이해하고 보다 충만하게 음미할 수 있게 될 것이다. 필자는 ｢1916년 부활절｣이 역설의 시학에서 나온 것을 본다. 즉, 인간, 언어의 역설적 본성에서 나온 것이다. 필자는 이 시의 “지독한 아름다음”을 느끼고 생각하는데 초점을 맞추었고, 결과적으로 예이츠는 그가 평생 추구한 형식의 완벽한 앱스트랙션을 통해서 자신의 의도를 감춤으로써 자신의 소망처럼 20세기 최고의 다층적 의미의 서정적 엘레지를 만들었다는 것을 증명한다.

This study examined the constituting principle of Hwasajip("Flower-Snake Anthology") and its Christian influence. The consciousness of original sin in the Bible refers to the fall of Adam and Eve that led mankind to a state of corruption. However, the consciousness of original sin in "Self-Portrait," "Flower snake," "Leper," "Daytime," and "Barley Summer" seems to be a longing for something carnal. Mankind's sins were the cause of the Passion and death of Christ. Yet, "From the Hill of Noon," "Goeulna's Daughter," "Rooster(I)," and "Rooster(II)" depict the struggle for freedom from the body and the accompanying limitations of human existence. Christ was resurrected three days after his death. But in "The Sea," "The Door," "Ode to the West Wind," and "Resurrection," Seo Jeong-ju depicts the resurrection of the poetic speaker from the desires of youth. However, this desire for resurrection indicates an Oriental worldview. Therefore, the poet seems to have understood, assimilated, and transformed Christianity into a vehicle for revealing the wanderings and intense mental agony of youth.

서평.

예이츠가 ｢1916년 부활절｣(“Easter 1916”)에 묘사한 부활절 민중봉기와 김남주가 오월시에 제시한 5·18민중항쟁은 국가의 독립에 대한 열망과 민주화에 대한 민중의 꿈이 외세의 압력에 굴복하지 않고 밖으로 분출된 진정한 민중의 항쟁이다. 부활절 민중봉기와 5·18민중항쟁은 서로 다른 문화와 정체성을 가진 민중이 자신들의 희망과 삶의 터전을 지키고 미래의 세대에게 자신들의 삶의 애환을 상속시키지 않고 종지부를 찍기 위하여 형제애의 정신으로 자신의 소중한 목숨을 희생하는 숭고한 영웅적 행위를 하여 결과적으로 국가의 독립을 성취하고 진정한 민주주의를 구현한 역사적인 사건이다. 이러한 민중은 바로 예이츠의 ‘존재의 통합’을 구현한 사람들이며, 참다운 ‘귀족’이다.

예이츠는 ｢1913년 9월｣에서 중산층의 물질중시와 현실안주를 비난하면서, “낭만적 아일랜드”가 사라진 상황을 안타까워한다. 영웅적인 투사들은 목숨을 걸고 싸우다가 죽었지만, 그는 새로운 아일랜드 창조에 중산층과 강경한 민족주의자들을 오히려 방해요인으로 생각한다. 하지만 ‘낭만적 영웅심’이 사라지게 한 현 상황에 자신도 자유로울 수 없음을 인식하면서, 화자인 예이츠의 분열된 혼란스러움이 재현된다. ｢1916년 부활절｣에서도 부활절봉기에 대한 화자의 유동적인 마음이 잘 나타는데, 봉기에 수반된 폭력에 대한 찬사라기보다는 폭력에 대한 의구심을 드러낸 양가성을 확인할 수 있다. 이 시들에서 재현된 예이츠의 입장과 태도는 고정되거나 미결정의 상태로 끊임없이 출렁이는 이중성을 드러낸다.

캐릭터는 전통적 서사체에서와 마찬가지로 디지털 게임에서 중요한 서사적 역할을 담당한다. 그러나 캐릭터가 죽음과 부활을 반복적으로 경험할 수 있다는 점은 전통적 서사체에서는 나타나지 않았던 것이다. 이러한 특성이 게임캐릭터가 전통 서사체에서 수행하지 않았던 서사적 기능을 수행하도록 한다. 본 연구에서는 MMORPG인 <월드 오브워크래프트>에 나타난 캐릭터의 죽음과 부활이 어떠한 서사적 기능을 수행하는지, 이를 통해 형성되는 서사구조는 전통적 서사체와 어떤 차이가 있는지 살펴보기 위하여 그레마스의 서사 행로 모델을 활용하였다. 이를 통해 MMORPG의 표면서사는 캐릭터의 삶과 죽음이 순환하며, 이는 불안과 안정이 순환하는 심층 서사를 토대로 한다는 점을 알 수 있었다. 죽음과 부활에 의해 순환되는 안정과 불안의 서사는 전통적 서사체에 비해 훨씬 긴 시간동안 지속될 수 있는 MORPG만의 특별한 서사라고 볼 수 있다.

Somewhat comically-described everyday lives before the Rising have no direct connection with the event itself. Behind the images from superficial meetings with sham courtesy of characters follow violent associations of death implying diverse layers of change in the realms of history, politics, Irishness and individual lives. Yeats enumerates personal characteristics of revolutionary leaders in order to hint these characteristics alone can’t transfigure historical realities. He shows us that those acquaintances whom he occasionally came across before the uprising are not directly related to the heroic act. On the other hand, he also reveals that the underlying causes of the upheaval are the very simple everyday relationship. Above all, “Easter 1916” solves well the problem how a piece of poem acquires an impartial public voice out of secular opinions. This work is not embellished with symbolic abstruseness and therefore can be paraphrased into a comparatively easy prose writing. However, even its format change, if at all, doesn't quell its life force. The poet effectively evades a direct interpretation of the Rising that can help change the fate of the nation and so, he reconstructs the symbolic significance and context of the event into a literary masterpiece. In its form, the use of refrain emphasizing change shows directness and simplicity to conclude the verse. Moreover, Yeats frankly confesses that he was wrong in judging the victims’ heroic capability in the political aspect, but he doesn't make them appear pathetic poetic personae. The poem extols the heroic acts of the dead in the compressed verse and at the same time reproaches their decision to cast away their own precious lives. The refrain implies changes in the world caused by the Rising, political shifts in the international relationship closely linked with independence and colonial management, and the severance of lives of people with whom the poet meet routinely everyday. That is to say, it refers to the mythological transformation of the leaders before Irish people’s eyes as well as to the historical fact that British authority made them into corpses. ‘Change’ in the refrain evokes not only the tragic death of leaders in the uprising but the significance obtained through their death as well. In this context, a completeness of change out of the glorious sacrifice is also inferred. Thus, ‘change’ indicates the tragic stasis the leaders gained through the victimization of their own lives and reveals a poetic movement from this world to eternity. The poem sublimates the leaders as national icons permanently nesting in the bosom of their compatriots even though they lost their worldly lives. In this way, Yeats elegizes the victims by blending all the matters of history, politics and the nation together into a commemorative poem. This stream of thoughts triggered by the national tragedy creates a pivotal group elegy connoting deep insight into the universal death.

W. B. Yeats in his whole life suffers from his introvert or passive self that hesitates to take action. In his agony, he creates his anti-self that boldly expresses his instinctive rage, and the anti-self is concretely established as a “fiery mask” in his poems. However, not oppressing the introvert and passive self completely, the fiery mask frequently conflicts and clashes with the passive self. Therefore, this paper explores how the fiery mask conflicts with the passive self in his “September 1913” and “Easter 1916,” and how in “Crazy Jane Talks with the Bishop,” the fiery mask overcomes such a discord represented in the two previous poems. In the first poem, the poet is indignant at political Irish nationalists who are unable to appreciate the true valuable arts. Attacking the political nationalists through the fiery mask, however the poet reveals his hidden self that hangs back from taking action. In the second poem, such hidden self under the fiery mask becomes undisguised, and the conflict between the fiery mask and the passive self is exacerbated and maximized. Such conflict is dissolved through a female mask, crazy Jane in the third poem. Usually, mad woman’s angry voice makes a strong impact on society even though she does not take a proper act from asocial responsibility of her rage such as revenge. Therefore, the fiery mask of crazy Jane makes the poet escape from his duty to take action resulting in the solution of the conflict between the fiery mask and the passive self. Ironically, Yeats’s ideal anti-self is completed in the mad female mask, crazy Jane, not in the courageous male mask.

This paper is an attempt to read “Easter 1916,” one of W. B. Yeats's best-known political poems, in terms of its representation of women and the related politics of sexuality. In the second stanza of the poem where the poet describes four rebels of the Easter Rising, he shows Countess Constance Markievicz. the woman whom Yeats knew so well from his childhood in Sligo. Besides her, the writer of this paper proposes the possibility of reading other two woman images in the poem: Maud Gonne and Cathleen ni Houlihan. By discussing these described or suggested images of women, this paper tries to show that they represent the "terrible beauty" which the poet says the rebels of the Easter Rising have generated.The first woman this paper chooses for discussion is Countess Markievicz. The poet describes her mainly as a woman whose "voice grew shrill" because of her spending "nights in argument," and then compares her present shrill voice with the "sweet" voice she had when she was "young and beautiful." In order to understand the intent of the poet's emphasis on Countess Markievicz's "shrill" voice, the present writer reads one passage from Yeats's journal, where he regards "the shrillness" of voices of "the political class in Ireland" as the result of "the cultivation of hatred as one energy of their movement." In another similar passage, Yeats relates this hatred to "the sexual abstinence, so common among young men and women in Ireland." Based on this reading of Yeats's prose passages, this paper concludes that Countess Markievicz's shrill voice reveals her hatred and her negative attitude to sexual matters. The next part of the paper deals with two women characters, Maud Gonne and Cathleen ni Houlihan. Although she does not appear in the poem, Maud Gonne is suggested in the poem by her similarity to Countess Markievicz and by the poet's mentioning of her husband John MacBride. To support the presence and importance of Maud Gonne in the poem, the writer of this paper briefly reads two poems of Yeats--"A Prayer for My Daughter" and "Among School Children"--where he describes her in a very similar way to the description of Countess Markievicz in "Easter 1916." Another woman, Cathleen ni Houlihan, is also suggested in the poem, because, in terms of symbolic images, she seems to have led the rebels to the battlefield of the rising. This paper reads Yeats's play Cathleen ni Houlihan to show that she also can be understood in this poem in a negative way: she symbolizes the hatred and its resultant sexual abstinence of the rebels. In this way, like Countess Markievicz and Maud Gonne, she can represent the "terrible beauty" of the Easter Rising. Lastly, this paper considers another image of woman which appears in the last and fourth stanza, where the poet ends the poem by naming the rebels "As a mother names her child / Where sleep at last has come / On limbs that had run wild." The writer of the paper thinks that the poet needs this image of mother to mitigate his critique of the rebels which he has done in the third stanza, especially by using the image of stone. By becoming a real mother himself, unlike another "terrible" mother of Ireland, Cathleen ni Houlihan, the poet can arrive at a reconciled and balanced position, and accept the rebels in their contradictory and tragic state.

SrAI2O4:Eu2+를 합성하여 장잔광 축광재료로서 가장 중요한 발광특성과 장잔광특성을 조사하였다. 융제로서 B2O3를 3wt% 첨가한 SrCO3, Eu2O3, AI2O34의 혼합분말은 1000˚C이상에서 모체결정인 SrAl2O4의 단일상이 형성되었으나, 장잔관 형광체로서 최적의 합성조건은 1300˚C, 3시간이었다. 그리고 SrAI2O4:Eu2+는 부활제인 Eu2+의 4f65d1 →4f7천이에 기인하여 황록색발광영역의 520nm(2.384eV)를 최대 발파장으로 하는 450~650nm의 폭넓은 발광스펙트럼을 보였으며, 또한 발광파장을 520nm로 고정하여 측정한 여기스펙트럼의 최대 흡수피크는 360nm이고 250nm에서 480nm의 넓은 범위에서 흡수스펙트럼이 관찰되었다.

is paper tries to identify the deep meaning beneath the seemingly chaotic opposites the surface structure of the poem seems to insinuate. The fact is that The Waste Land is not so much a post-modern poem as a pre-modern one, provided we acknowledge that pre-modernity has trust as its hermeneutical principle. The Waste Land can be compared with Hopkins’ “God’s Grandeur”, which uses resurrection epistemology, as opposed to the extinct immanent epistemology, to demonstrate to the intellects the providence of God revealed in their lives and their environment. Like the resurrection epistemology of the 19th century, Eliot’s poem demonstrates the existence and working of God among themselves, in spite of the negativity of death and unreality prevalent in the modern world. Broadly speaking, modern scholarships of T. S. Eliot have been made with special reference to post-modern poetry, since there appear a lot of opposites in his poem. Appended for the explanation of the poem, “Notes” to The Waste Land use the languages of philology and impressionism in an exclusively confusing way, twisting the reading of the text into a worse confusion, with the result that it does not shed any light on the explanation of the poem. Chapman’s theory of doubleness the poet frequently resorts to in the making of his poetic works, points to the specific perspective beyond the ambiguity and chaos prevailing in the poem. Special reading strategy is in dire need for the right understanding of the text. Every reader approaching his text must retain the hermeneutics of trust, which is the “leap of faith.” With the hermeneutics of trust, every reader can penetrate into “the third” in the text, which can be identified as Jesus Christ whom the disciples met on the way to Emmaus. Without proper reader’s response, the reading practice itself would be futile and unreal, because the subjects it tackles are concerned aboutthe great proposition, salvation.

본 연구는 2002년부터 2007년까지 전례꽃 작가와 전례꽃꽂이 연구회에 발표 된 부활절 꽃작품 70점에 대한 형태의 상징성, 재료, 색채, 질감을 조사 분석하였다. 부활절 꽃작품의 형태의 상징성을 조사 분석한 결과 알형태의 새 생명 탄생이 28점으로 가장 많았으며, 무덤에서의 부활이 14점으로 그 다음 많았다. 식물소재로는 나팔나리가 41점으로 가장 많았으며, 비 식물소재로는 달걀과 병아리가 각각 21점으로 많았다. 색채를 보면 흰색이 38점으로 가장 많이 사용하고 있었으며 그 다음으로 노랑색을 21점 사용하였다. 질감은 부드럽다, 포근하다가 각 31점으로 가장 많았으며 따뜻하다 21점, 유연하다 19점으로 많았다. 이와 같이 부활절 꽃작품을 분석한 결과 알의 형태, 병아리, 새순을 통해 새 생명의 탄생을 표현하였으며 참신하고 우아한 흰 나팔나리와 따뜻하고 유연한 노랑개나리로 부활의 기쁨과 영광을 표현하였다.