본 논문은 유럽/아일랜드, 근대/전통이라는 이분법적 인식론이 베케트 연구에서 작동하는 방식의 지형도를 그려보고, 베케트와 아일랜드 문예부흥운동과의 관계, 아일랜드 정체성, 아일랜드의 근대성의 재고를 통해 이러한 이항대립적 사고를 지양할 수 있는 가능성을 제시한다.

As Maud Gonne had been regarded as one of the most important factors in Yeats’s life and literature, this study aims to analyze her images reflected in the poet’s poems which were published in 1910s and 1920s. Maud Gonne is presented as a political icon of that time in Ireland in Yeats’s poems. Unlike his early poems, where Maud Gonne is idealized as a goddess, a heroic figure of unbounded nobility and courage, Yeats presents her as a tragic warrior who devotes herself to political activities for violence and destruction in this period. At the same time, Yeats shows his holding back of approving Gonne’s political role of female warrior. The number of poems related to Maud Gonne also is decreased when Yeats realizes that Maud Gonne devoted herself too much on the political matters.

본 연구는 일본 고베시 로코아일랜드 완충녹지의 공간기능별 지형구조, 식재개념, 식재구조를 조사분석하여 해안매립도시의 토지이용을 고려한 완충녹지 식재기법 연구 기초자료를 제공하고자 수행하였다. 로코아일랜드(총면적 580ha)는 대규모 완충녹지를 박스형으로 조성하여 외곽부의 항만물류 산업용지와 도시내부 도시기능용지로 구획되었다. 완충녹지 지형구조는 편향마운딩형, 병렬마운딩형, 복합마운딩형이었고, 북쪽의 녹지폭은 50m, 동쪽의 녹지폭은 8~32m, 서쪽의 녹지폭은 37.5m, 경사도는 18~25˚, 성토고는 2~15m이었다. 공간기능별 재개념은 해안측 사면부는 경관식재와 완충식재, 도시내부는 경관식재와 녹음식재를 적용하였다. 북측 완충녹지 식재구조 조사결과, 종가시나무, 녹나무, 후박나무, 녹보리똥나무 등 난온대 상록활엽수를 식재하였고, 100mm2단위의 종수 및 식재밀도는 최대 교목 9종 22주, 아교목 9종 15주, 관목 3종 67주로 전 층위 14종 104주이었다. 녹피율은 교목층 69~139%, 아교목층 26~38%, 관목층 6~7%, 전 층위 101~184%, 녹지용적계수는 교목층 1.40~3.12m3/m2, 아교목층 0.43~0.55m3/m2, 관목층 0.06m3/m2, 전 층위 1.89~3.73m3/m2이었다.

Brian Friel, who was born and raised in Northern Ireland, is called the best living Irish dramatist dealing with subjects focused on Ireland and its people in his plays. In Faith Healer(1979), one of his best plays, Friel dramatizes a faith healer's experiences. The three characters, Frank(faith healer), Grace(Frank's wife), Teddy(Frank's manager) recollect the experiences they shared while travelling to cure the sick in Scotland and Wales. Their monologues detail the same experiences but are very different, according to Friel, because each recalls their memories according to their own desires and needs. Memory is not always accurate and can be a fiction. Frank has the compulsion to transform all things around him into fiction. This ability is analogous to a writer's creative writing ability. Therefore, Frank is, in a sense, an artist. Frank performs his faith healing shows in front of the sick with anxiety as he is not sure whether a miracle will occur or not. Like a faith healer, a dramatist as an artist writes dramas with anxiety because he is not sure that he will be able to move his audience with a successful performance. Frank is not sure that he will be able to move his audience. Frank is not sure if he has an ability to cure with miracles or if he is a con man. Like a faith healer, an artist has the sense of being a con man because he is indebted from his predecessors' works. Only through his death can Frank stop the maddening questions such as "Am I a con man? or am I endowed with a unique gift?" Frank is like a metaphor for an artist. Friel, a dramatist, also has suffered from the agony of an artist and has been troubled by the scarcity of his creative works. Therefore Frank is a foil to Friel's autobiographical image.

Seamus Heaney’s “Station Island” has been viewed as a psychological drama in which Heaney explores alter-egos that he might have become. Such an approach becomes more complicated if we consider that the stage of the drama is Ricoeurian typology of mnemonic phenomena where the narrator “I” is splitted into the subject in the process of recollection and the self fixed in the pure memory. According to Paul Ricoeur, the epistemological process of recollection involves the evocation of past memories at the present moment, so that the subject-in-recollection imagines the self fixed in the pure memory to be “the other than self” and relives past memories as if real. In this sense, Ricoeur argues that memory exists in the typology of mnemonic phenomena as memory-images and that the subject-in-recollection tend to imagine the past in the way he can satisfy his desire. Likewise, in “Station Island” Heaney’s narrator “I” re-imagines his past memories as if they were memory-images and re-lives past feelings as “the other than self.” By becoming “the other than self” in the process of recollection, he reviews the burden of a national poet and finally accepts the limitation of his fellow Irish people as well as his own self. For Heaney, accepting the limitations and scars as they are becomes the foundation for love, friendship, and goodness toward his people because it lets him realize reasons for the necessity of co-dependency and reciprocity.

This study is on Irish Fairies in Fairy and Folk Tales in Ireland with a foreword by Kathleen Raine edited by Yeats for Korean readers. Nowadays many Korean editions about celtic culture were published after 2000. Fairy and Folk Tales in Ireland is the first American edition by Colin Smythe Limited in 1973. This volume contains Fairy and Folk Tales of Irish Peasantry, first published in 1888, and Irish Fairy Tales, first published in 1892. In this volume Yeats divided Irish Fairies into two great classes: the sociable and solitary and described the characteristics of each fairies, and then collected 8 fairy poems and 16 stories. Every poem and story in this volume is very interesting to me. Yeats is the best selector. The sociable fairies who go about in troops, and quarrel, and make love, much as men and women do, are divided into land fairies and water faires or Merrows(mermaid, merman). The solitary fairies who are nearly all gloomy and terrible in some way. However there are some among them who have light hearts and brave attire. There are the Lepracaun, the Cluricaun, the Far Darrig, the Pooka, the Dullahan, the Banshee. In Irish folk-lore Yeats had come across these fairies many others undiscovered.He had thanks to Patrick Kennedy, Miss Maclintock, Lady Wilde, Mr. Douglas Hyde. Mr. Allingham, Fergusson, and Miss O'Leary. He quoted from their works. His role is a vital linker in a chain of truly apostolic transmission of traditional lore. Evans-Wentz dedicated his first remarkable anthropological work, The Fairy Faith in Celtic Countries(1911) to Yeats and G. Russell(A.E). According to Kathleen Raine, Yeats's own interest in the "Matter of Faerie" was two fold. In part, certainly, it was a literary admiration for the highly formalized art of story-telling, and perhaps for the Irish use of the English language, those idiomatic turns of phase which arise from translation, by Gaelic-speakers, from one language to the other. Yeats who believed in Fairy-Faith to perpetuated in popular form mysterious taught by the Druids see, like A. E and Evans-Wentz, in Tir-na-N'Og, the land of the Sidhe, Ploto's and Plotinus' "yonder" when our souls descend and where they return. They also thought the Fairy-Faith belong to a doctrine of souls. In the Irish fairy poems and stories there are great beliefs in fairies. But Irish people remember the word, 'Be careful, and do not seek too much about fairies.'

Ireland abounds in narrative stories, including mythologies, sagas, legends and folktales, handed down through many generations from the ancient pagan period. In Ireland, especially in the western country Sligo where W. B. Yeats spent the better part of his early days, one cannot go far without hearing the mystic stories of pagan gods, nymphs and ghosts. The Irish are very proud of their unique and traditional Celtic culture and they still believe that the supernatural beings haunt everywhere and intervene in their human affairs. Yeats was educated in England and greatly influenced by many English writers and poets. Yeats, however, born with Celtic spirit and encouraged by the patriot John O’Leary, determined to be a national poet. Therefore, he began to write his early romantic narratives and dramatic verses based on the ancient Irish myths and legends, following the two brilliant predecessors Samuel Ferguson and William Allingham. Besides, what is more important than anything else, he usually put his own life and his unrequited love for Maud Gonne by modifying their themes and symbols into the ancient stories. Thus he succeeded in creating utterly new myths much familiar not only to the Irish today but also to the modern people abroad. Hence he was a renowned myth-maker and -modifier of the age

G.M. Hopkins had stayed in Ireland for 5 years until he died and spent his hardest time in his livelihood but best time for his literature. He had converted to Catholic in his youth and became a priest at last, in spite of the objection of his family. That is a kind of ideal-searching decision but it also means a spiritual seclusion in England which is ruled by Anglican Church. As a priest he was full of humanity, love of people, especially for low class poor persons, and always felt pity for their miserable lives. And he wanted all the English people choose the real religion, Catholic, and get bettered in their spirit, but he cannot but disappointing in their vulgarity and hypocrisy. Anyhow he had very sensitive and self-conscious personality to cope with all this situation bravely. When he went to Ireland as a teacher of Greek in University College, he might have felt a kind of friendship to Irish people through their religion, Catholic. But Irish people has had deep hostility to English people because of their historical background. And there was booming a mood of nationalism against England in those days when Hopkins stayed in Dublin. Of course, it was very hard to teach Irish young students full of hostility to English people. And his health grew worse and worse. In that miserable situation, he seemed to feel a kind of desperation that God discarded him. We can find his alone and isolated situation in the sonnet “To seem the stranger lies my lot, my life“ and more deep and private sentiment in another sonnet “I wake and feel the fell of dark“. It is ironical that his hard life made him write such good sonnets. His hard life was over with the sonnet “Thou art indeed just, Lord“ where he reconciles with his God at last. In conclusion, his staying in Ireland was a good opportunity for his poetry, his literary achievement.

아일랜드와 우리 대한민국은 거의 같은 시기인 20세기 초반에 독립운동이 있었고 또한 20세기 중반이라는 거의 같은 시기에 공화국의 형태로 재탄생했지만, 아직까지 국토의 완전한 회복이 이루어지지 못하고 서로 다른 국가나 체제로 분리되어 있으면서 통합된 한 국가가 되려는 꿈을 버리지 못하고 있다. 아일랜드의 통합은 종교, 인종, 정치 문화적 색채의 차이점 때문에 우리의 통합보다 더 어려울 수도 있겠지만, 다른 한편으로는 800년 이상의 혼종화 현상과 이민 그리고 유럽연합으로의 정체성을 확장시킨 점 때문에 다양성을 수용함에 잘 훈련됨으로써 지역화와 세계화의 조화 속에서 그 갈등이 더 쉽게 풀릴 수도 있다고 생각한다. 대한민국의 경우는 단일 민족, 단일 문화 때문에 더 쉽게 통합될 가능성이 있으나 아일랜드의 경우와 달리 자유와 전제라는 극단적인 이질적 정치체제와 지역적 색채화만을 수용하려는 민족주의가 정치적 봉건화를 지탱시켜 세계화로부터 고립될 수 있는 위험성을 안고 있다. 또 다른 위험요소로는 통합의 과정에서 이루어지는 필수적인 사항으로 탈식민화을 위한 저항과 곧 이어 헤게모니 싸움으로의 내전이 수반될 수 있다. 이 논문을 쓴 동기와 목적은 요사이 회자되나 그 정의가 정립되지 않은 ‘통일’이라는 용어 등을 미래에 바람직하게 정의내릴 필요성을 느꼈기 때문이고 이것을 위해 거의 같은 상황 속에서 바람직하게 발전해가는 아일랜드를 연구해 우리의 문제점을 해결해 보려함에 있다. 아일랜드의 현대 역사는 영국과의 탈 식민전쟁, 그리고 내란으로 이루어지는 시기에 있어 다수인 게일 카톨릭이 과거 지배층인 소수 앵글로 아이리시를 패배시키는 과정, 그 과정에서 수반된 정치와 문화적 측면에서의 민족주의 강화, 그 후에 유럽연합의 일원으로 지역화와 세계화의 조화등으로 정의내릴 수 있겠다. 특히 이 논문에서는 앵글로 아이리시 계급에 속한 예이츠와 회복되지 못한 땅, 북아일랜드의 소수파였던 히니라는 두 시인이 탈식민과 내전에 어떻게 반응했으며 그들이 어떤 식으로 해결을 원했는가를 알아보기 위해 그들의 시를 다시 읽어보고, 한 국가 안에 존재하는 서로 다른 계급의 두 시인이 통합 아일랜드에 대해 지녔던 의견의 차이와 공통점을 찾아내어 우리의 가장 바람직한 통일론을 모색하려 했다. 그런데 두 시인의 가장 큰 공통점은, 종교와 인종면에서 지배, 피지배의 차이가 있을지라도 그 둘 모두 정치, 종교, 인종에 있어 자신들이 속한 공동체의 편견을 극복하고 문화적 공동기반을 다지려 했고 또 시인과 예술의 자유를 추구한 점일 것이다. 한편 그 둘 사이의 차이점은 그 방법론에 있었다. 예를 들면, 그 둘 다 종교와 인종의 편견을 뛰어넘으려는 의도로 조상의 뿌리를 켈트에서 찾을 지라도 아일랜드 자치국의 성립과 더불어 기울어가는 앵글로 아이리시에 속한 예이츠는 처음에는 카톨릭 민족주의 색채를 수용하지만 후기에는 기우는 신교 앵글로-아이리시의 문화를 옹호하려는 균형감각을 고취시키려 했다. 한편 히니는 처음에는 억압받는 북아일랜드의 소수파로서 영국에 저항하는 민족주의 색채로 출발할 지라도 민족주의의 과격성과 카톨릭 공동체가 갖는 편견과 폭력을 배격하고 양심공화국으로의 통합아일랜드를 역설한다. 결론적으로 두 시인은 정치와 종교, 인종의 차이가 강화시킨 배타성보다는 문화적 유대감을 강화시키려는 화해와 상생의 의도를 갖고 있다. 이 둘 모두 지배 문화인 영국을 완전히 배제하지 않으면서 자신들의 정체성을 미국, 유럽으로 확장시켜 그 국수성을 지양해 갔음도 알 수 있었다. 즉, 이 두 시인에게서 민족주의는 문화적 정체성을 확립하는 일에 역점을 둔 것으로 그 과정에서 호전성과 배타성보다는 화해를 통해 식민화에서 파생된 이질성과 혼종을 받아들였기 때문에 지역성과 세계화를 조화시킬 수 있었다. 마지막 결론은 우리의 통합에도 국수적 민족주의와 맞물려 있는 정치적 봉건성으로의 퇴보보다는 지역과 세계화의 기류 속에서 문화의 정체성을 추구함이 선행되어져야 할 것이다.

Yeats’s study of fairy had occupied him steadily for fifteen years from 1887 to 1902. He continued to study in connection with spiritualism until 1915. Yeats’s own collection of Fairy and Folk Tales of the Irish Peasantry had been published in 1888, Irish Fairy Tales in 1892 and The Celtic Twilight in 1893 before he met Lady Gregory. Any theory about nature of the fairy-faith shared with her came from Yeats, and he claims originality. In writing The Celtic Twilight(1902) his study of fairy was deepened by his collecting trips with Lady Gregory. The result of Yeats’s collaboration with lady Gregory was not to appear until 1920 when she published her two volume edition of Visions and Beliefs in West of Ireland, “Collected and arranged by Lady Gregory: with two essays and notes by W. B. Yeats.” Yeats’s essays(both dated 1914) were “Swedenborg, Mediums and Desolate Places” and “Witches and Wizards in Irish Folk-lore.” Like all the Irish antiquarians, Yeats also commonly referred to the fairies as “the people of Raths,” “the Danaan nations,” “The Tribes of the Goddess Danu,” In Fairy and Folk Tales he explains the Galic terms. The Irish word for fairy is sheehogue[sidheog], a diminutive of “shee” in banshee. Fairies are deenee shee[daoine shee](fairy people) In Irish tradition anyone may be taken by the sidhe, but there is, in fact a hierarchy of those who are most desirable. Yeats follows this tradition in one of his first poems about the sidhe, “The Stolen Child.” As Yeats understood the Irish tradition, the sidhe can do nothing the help of mortals and it is for this reason that they must always seek out humans. When the sidhe takes someone that person is said to be “away.” As a spiritualist would interpret this, it means that the soul has left the body and is travelling with the fairies. Often when appears ill or asleep or “lies in a dead faint upon the ground” it is because that the person is “away.” The Sidhe, according to Yeats’s countrymen, never takes anyone or anything without leaving some changeling in its place. In The Only Jealousy of Emer―Yeats’s most successful and moving dramatization and use of a changeling― Emer guesses that Cuchulain is “away.” When people are taken to live with the sidhe, they take on supernatural powers and work and live just as the Shape Changers that they are amongst. The chief distinction to be made between the shide and the dead is that the dead returns to the earth as ghosts of their former selves, whereas the sidhes are the everlasting ones. The idea that the fairy faith is in reality a doctrine of souls was lent supported by the fact that the country people say that almost all who are dead are taken by the sidhes. As the place where souls temporarily reside, the middle land of the sidhe is the Bardo of the Tibetans, the summerland of the Spiritualists, and ethereal world of theosophy and magic. Yeats saw his studies of spiritualism as a continuation of his studies of fairy, both of them as leading to the beginning of his philosophy. His study of fairy led him to the formulation of two theories that makes his system possible―that of Anima Mundi and that of the “airy body” or “vehicle” of the soul. A Vision is the result of his study about the fairy.

Some critics have argued that William Butler Yeats and Irish Literary Revivalist defend nationalism in symbolic compensation in the form of mythologizing for the loss and trauma which result from the long history of the British colonial rule. Their focus has been the Celtic mythology and that of Mother Ireland. Other critics present their counter-argument by designating James Joyce as the precursor of the counter-movement which manifests the resistance against Yeatsian mythologizing among the exiled poets such as Beckett, Flann O’Brien, and Thomas MacGeevy, including Joyce. Establishing such polarity in the approaches to modern and contemporary Irish poetry in this way will produce a problematic logic which causes a secondary binary opposition between extreme nationalism and abstract cosmopolitanism. In attempts to avoid a futile reconciliation of the two arguments, one needs to redefine or deconstruct the master or grand narratives concerning myth, nation, and nationalism. Also, one might feel it necessary to provide a persuasive discussion of the interrelationship between myth and nationalism. Recent theorists such as Benedict Anderson, Lia Greenfield, Homi Bhabham, and Eric Hobsbawm have provided persuasive theories about nationalism and beyond-nationalism. Critics such as Tom Garvin, Desmond Fennell, Marianne Elliott, Roy Foster, Seamus Deane, Declan Kiberd, and Luke Gibbons have investigated the potential methodology to overcome the logic of binary opposition concerning Irish nationalism from the self-reflective perspective. The common ground of these critics and theorists is based upon the definition of nationalism in terms of what Benedict Anderson calls “imagined community” which is based upon the discursive anchors such as narrative, myth, and symbol. Irish national myth offers one of the most typical case study for this “imagined construction.” Using Richard Kearney’s term “post-nationalism,” the objective of this paper is to present a perspective of post-nationalism, and to demonstrate the polyphonic voices of modern and contemporary Irish poets, starting from Yeats and Joyce who have been approved among critics as the poets of the two mainstreams in 20th-century Irish poetry to those post-Yeatsian/Joycean poets such as Patrick Kavanagh, Austin Clarke, Thomas Kinsella, Seamus Heaney, and Derek Mahon, to name a few. My anchors of discussion are mythologizing, demythologizing, and remythologizing.

Crazy Jane is the name of the woman speaker in a sequence of poems which Yeats wrote in the years from 1929 to 1931, and are collected in “Words for Music Perhaps” section of The Winding Stair and Other Poems. Her words and deeds in the poems show that she is a very interesting and impressive woman. This paper is an attempt to understand this “crazy,” old, and wild woman, and to relate her to Yeats the poet and to Ireland. The first and introductory part of the paper begins by reading “Crazy Jane Talks with the Bishop,” the most famous poem of the Crazy Jane sequence. In Jane's talk with the bishop in this poem, not only in what she says, but also in the manner of her speech, we can quite clearly see what kind of person she is, and what kind of life she is living. Such understanding prepares us for the reading of the whole poems in the next part. Finding many of the poems difficult to understand, and interpretations of them different from critic to critic, the present writer tries to read the poems as closely as possible. Based upon the close reading of the poems in the second part, the third and last part of this paper considers some aspects of Crazy Jane’s personality and life, and their implications to Yeats and Ireland. First, the paper considers the possibility that Jane's free and bold expression of her sexual desire and love in the poems can be understood as the awareness and affirmation of feminine sexuality and love, and the critique of the repressive sexual morality and culture of the Irish society, especially the Catholic Church. Next, this paper relates Crazy Jane to Yeats the poet and to Ireland, and discusses the ways in which she can be read as Yeats’s other self or mask, or as the image of Ireland.

Yeats’s imagination is filled with the deliberate efforts and will to transform the given reality and self. Influenced by William Blake’s visionary or symbolic imagination who had pursued the eternal essence of life, Yeats sought for the perfect and beautiful as the goal which human beings should try to reach. In ‘Adam’s Curse,’ he asserts, since the Fall, there are nothing perfect and beautiful without one’s deliberate labour to reach them. A good poem necessarily needs lots of repeated correction, “stitching and unstitching,” but finally if it doesn’t seem natural like “a moment’s thought,” all the efforts and labour which have been made comes to be futile. In that the naturalness in poems through laborious process is emphasized, it can be said that his poetics would seek to the perfect and the refined, in content and expression, but most of all his great concern is on one’s passion and the laborious process to transform the reality as it is through imagination. This paper aims to explore the achievement of Yeats’s transformative imagination acted on the idealization of Anglo-Irish aristocratic tradition and nationality in terms of the discourse of nationalism. He projects onto Anglo-Irish aristocratic class the intellectual leadership over the crowd and the organic continuity and tradition which Irish middle class, that he hates, is regarded to lack. Under the threat and violence of Irish Catholics who began to make claims to their rights on dispossessed land, the Anglo-Irish, who had enjoyed the power and wealth since the 17th century, were forced to feel crisis. The Anglo-Irish were destined to play no more active roles in the following Irish history and would be in danger of isolation. Thus his idealization of the Anglo-Irish was constituted where his desire and fear meet. Here Yeats’s idealization of Anglo-Irish aristocrat was made retrospectively in the crisis. The Gregorys’ Coole House and Yeats’s tower, Thoor Ballylee are representative symbols in which he idealized the Anglo-Irish culture and its heroic tradition. The sense of form which Yeats found in the architectural form of Coole House as well as “courtesy” and “ceremony” in aristocrat’s life is one of the heroic ideals Yeats pursued throughout all his life. In poems dealing with this theme, we can see that he idealizes the Anglo-Irish culture and tradition by giving them the idealized heroic values such as the recklessness, intellect and courtesy, criticizing the rigid mind and snobbism of native middle class people who is indifferent to one’s spiritual value and imagination. This is the discourse of nationalism which insists on one’s nation’s innocent, continuous and self-sufficient attributes and proves its superiority to other nations. They would hide the fact that it is invented or constituted by purpose, assuming naturalness and making national myth a self-evident fact through various cultural discourses. But Yeats’s transformative imagination, as seen in ‘Adam’s Curse,’ puts great emphasis on one’s labour made behind to reach the ideal and the opposite to the reality, he lays bare his deliberate efforts of idealizing, not making natural by hiding and mystifying it. Here his poetry comes out of the typical discourse of nation. Like the Anglo-Irish ancestors who founded the magnificent house dreaming the ideal, Yeats himself who wrote a poem in the crisis of breakdown of the Anglo-Irish nationality by historical change and violence wanted to be memorized to his heir as a founder, “befitting the emblem of adversity.” In ‘Meditations in Time of Civil War,’ and ‘Coole Park and Ballylee, 1931,’ we can see that he makes the myth of Anglo-Irish nationality and at the same time demystifies or deconstructs it by showing that it is invented.

In my article titled “Nationalism of William B. Yeats and Seamus Heaney in their early poetry: mythic nationalism and realistic national consciousness” which was published in The Journal of English Language & Literature Vol. 45 No. 3, I analyzed three among four factors of nationalism (implicated) in the two poets’ early poetry, that is, ethnicity, language, territory. This article deals with one remaining factor of nationalism, religion, in their middle poetry. Religion is so powerful an influence in Ireland that Irish nationalism can be considered Irish Catholic Nationalism. The political, religious, and economic conflicts between Anglo-Irish Protestants and Catholic Irish made Ireland divided into Northern Ireland and Southern Ireland, after Ireland was liberated from British imperialism in 1922. The native Irish who had lost even their mother tongue, Gaelic during the colonial period of almost 800 years ruled by the British Empire sought their national identity in Catholicism and made the religious oppression of Britain their centripetal force. To Yeats, religion was not a dogmatic faith of institutionalized religion but a field in which his imagination of the supernatural is allowed full play to go beyond the ephemeral real world to the eternal spiritual world. He set the Irish religious identity on Irish countrymen’s native faith in faerie, ghost, eternity of soul, and the world of magic expressed in Irish legends, folklore, myths, and oral traditions. He satisfied his hunger for the ultimate truth of universe with the Irish ancient faith in the mystical world of the everlasting soul and the visionary as well as various kinds of mysticism in the East and the West. The mystical religious identity of the native Irish emphasized by him anticipated the continuous collisions among him, the Catholic pulpit and Irish nationalists. His romantic belief in a heroic spiritual Ireland materialized his Irish Literary Movement and his idealized Anglo-Irish Ascendancy culture was far from the political nationalism of the middle class of Ireland, the political class of the people democracy. Seamus Heaney has also suffered from the conflict between his cultural․ political ideals which are fundamentally Ireland-centered and the political reality of the violent IRA (Irish Republican Army) which kills even civilians at random for the cause of nationalism. To Heaney the religious faith was a recognition of the deep value of the religious ritual and the Catholic ritual has been internalized in his feminine poetic sensibility of patience, humility, duty, discipline, guiltiness, grace, wonder, and the ritual supplication. The Irish religious identity he put an emphasis on was not the visionary mystic one of Yeats but the real one which has been internalized in the minds of the native Catholic Irish as “self-afflicting compulsions” and spiritual paralysis, especially in terms of political martyrdom complex in IRA and historical defeatism of Catholic priests in Northern Ireland. Both Heaney and Yeats opposed violence of nationalism and sought their ideal one. Religion has had a devastating influence on the two tribal struggle in Ireland so that the two poets refused the established Christianity and tried to enhance Irish republican nationalism to the genuine nationalism allowing the peaceful co-existence of the two races living in Ireland. Heaney demythodized Yeats’s myth of the political martyrdom and denied the religious halo of Irish nationalism as well as the mythodized force in the history of the Northern Europe. His quest of democratic co-existence of plural culture in Ulster seems realistic and idealistic solution of the Troubles in Northern Ireland.

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.

This paper aims to explore the processes of poetic transformation of Ireland matter in W. B. Yeats and Seamus Heaney and compare the two poets’ characteristics of attitudes to Irish politics. Even though one does not have any idea of their poetic prepositions in their poetry, there can be some understanding of the relationship between each poet’s poetic material and his works of poem. Yeats and Heaney keep distances themselves from Ireland in their poetry as a man does to woman. Some critics’ attacks that the contamination of literary discourse by political statements points to the poetics of Yeats and Heaney, and those attacks are resulted from the notion of the identification of woman with the land, which are the characteristics of these two poets. To the tradition of romantic love poems Yeats admires the Ireland and its people and transforms them into a sort of mythology. That is to speak that love poems and patriotic poems are blended in Yeats. With this point of view one feels in reading Yeats’s poems the period after the Easter Uprising of 1916, like “Nineteen Hundred and Nineteen” or “Easter 1916” and “September 1913,” a terrible new beauty that changes the old political and moral landscape. He struggles to question the situations caused the bloody violences and sacrifices. With this questioning he mystifies the imagined or ideal community. The essential Yeatsian themes and attitudes sound through the earlier works of Heaney. He draws an analogy between the preserved bodies of human sacrifices in the peatbogs of Denmark and corpses on the streets of contemporary Northern Ireland. And He employs gender stereotypes and myths to describe the violent and depressive situations in Ireland in his poems. Sometimes he uses myths, whether of apocalypse or sacrifice. But he always takes a questioning stance toward the power of mythic signification. In “The Tollund Man” the speaker comprehends the transforming and eternalizing power of myth and he also recognizes that power as a ‘blasphemy’ because it averts his, and the reader’s, eyes away from the specific victims and from the horror of the individual violent act.With this focusing on the individual victims, Heaney gives voice to those victims who can no longer speak, not silencing their individual voices on favour of a single voice and eternalizing their mythic power.

This paper starts with the hypothesis that Irish literature should be different from English literature in theme, feeling and the technique of expression. The differences the writer has found so far are as follows: the search for the father-omphalos, the personification of nature, the recognition of sex as an origin of creation, the search for aesthetics of darkness, the attachment to silence, the spirit of wandering, the cyclic view of the world and dramatic self-awareness, etc. Since the end of the 19th century, the Irish writers’ strong attachment to their own tradition has been expressed as their reaction to a sense of lack as reflected in terms such as “center,” “omphalos,” and “search for father.” This phenomenon accounts for the birth of Irish national literature. From Oscar Wilde and Bernard Show in the 19th century to the recent poet, Seamus Heaney, they tried to deanglicize and create their own literature. But through this process, they have not neglected the chance to become a master of the international literature, by using the language of enemy. And each writer has a peculiar method of deanglicizing. For example, Oscar Wilde and Bernard Show who contributed to cosmopolitanism of modern Irish literature attacked and illuminated the English audiences by the reversing play-role. Understanding the enhanced nationalism, W.B. Yeats and other revivalists of Irish literature integrated English culture and tradition into the nationalistic movement. This is why their works were called “the cracked glass of the servants.” J. Joyce and other modernists, in a genuine sense, sought for their original nationality and to do this, they tried to recognize the picture of themselves as paralysis. From the establishment of the Irish Republic to the recent, strong nationalism and internationalism, as it has grown as one of the European countries, have been reconciled. Modern Irish literature has succeeded in regaining its own tradition and reaching top as one of the international literatures, getting through the five phases. During the first phase it showed the spirit to reverse the English cultural system and value by preempting the role of the English. The second phase is the period when they stimulated the national feeling and praised national heros. At the third phase modernists including Joyce, Kinsella, and Clarke attacked the nationalism of the second phase, saying that it was like a bubble full of the imagination the English wanted, and they exposed the realistic viewpoint of Irish life to their literary works. The fourth phase shows the reconciliation between parochialism of P. Kavanagh and cosmopolitanism of J. Montague. The fifth phase shows that with the enforcing of nationalism caused by the Ulster Trouble, harmony of nationalism and internationalism has been sought. The most important element that has led modern Irish literature to the top level is the spirit of omphalos through their confidence in their own culture and the sense of lack, and thereby the attachment to losses in language, land and tradition. Besides these, modern Irish writers haveoriented from the early period the Irish Republic towards an international country. The harmony of regionalism and cosmopolitanism, as well as that of individual interests and community interests, has led the Irish Republic to become one of the best postcolonial countries and cultural models.

본 연구의 목적은 아일랜드 Senior Cycle과 한국의 고등학교 수학교육과정의 학습내용요소를 비교·분석하여 한국의 학습 수준에 대한 방향설정이나 교육 내용의 전개 및 유도 방법 등 교수학습 전반에 대한 교육적 시사점을 찾는 것이다. 학습내용요소를 대수, 해석, 기하, 확률과 통계 영역으로 구분하여 영역별 학습내용요소를 비교하고 두 나라 사이의 유사점과 차이점을 비교하였으며 공통된 학습내용요소 중에서 이차방정식, 미분의 단원에 대해 내용전개 및 설명방식을 비교하였다. 이를 통해 아일랜드의 경우 보통과정과 심화과정에서 학습내용요소 및 문제의 난이도, 형식적 수준이 다르며 단원의 도입부터 본문의 학습내용요소가 체계적이며 논리적으로 구성된 한국과 달리 직관성과 도구적 의미를 강조하여 교과서를 구성하고 있음을 확인 할 수 있었다. 한국의 교과서에도 이와 같은 구성에 대한 효과 분석을 통하여 시사점을 얻는다면 교과서의 질 향상에 도움이 될 것이라는 제안점을 도출하였다.