In order to humanize and contextualize ESL/EFL learning, poetry writing has been suggested and considered as an effective strategy for meaningful literacy. However, there is a lack of empirical evidence for the pedagogical significance of poetry writing on language learning. To make up for the dearth of research about poetry writing, the present study explored to what extent a primary English language learner can express herself through poetry writing in an American classroom and the significance of poetry writing as meaningful literacy in ESL/EFL learning. Adopting a qualitative research approach, this small-scale case study conducted textual analyses of a young English language learner’s poetry works and in-depth interviews with her. Findings suggest that poetry writing encouraged the participant learner to express herself with her own voice, enhanced her L2 linguistic awareness, provided meaningful learning opportunities―authorship and readership―, and motivated the learner to overcome challenges as an English language learner. The present study contributes to the understanding of young English language learners’ poetry writing in the field.

Most of Yeats’s works are composed of antitheses which are defined by their rhetoric, form, tone and thematic motifs. If the antitheses are Yeats’s central means of perceiving and interpreting the world, what kinds of experience are posited at the center of his life, and in what way and manner are his conceptions of “unity of being” and “unity of culture” connected with his experience of “tragic joy”? This essay attempts to approach the basic frame of Yeats's mind which perceives and interprets the world as composed of contraries, antinomies and antitheses. In such context, Yeats's idea and experience of tragedy are shown to be constructed ideologically in the situation that is divided by the two classes, namely the declining Anglo-Irish Protestant and the powerfully ascending Catholic middle classes. Yeats’s conception and experience of tragedy are connected with what Michel Foucault calls “the absolute power of death”. Yeats thinks that if the modern poet could enact the poetic authority, he should be able to embody the ancient forms of power. Hence his ideology of tragedy and authority which leads him to enact the oral tradition of ancient magical arts. Yeats thinks that, through the poetic mode of ancient magical arts, modern lyric poet can enact the absolute power of death, breaking the comedic power of modern individualism. Yeats's ideology of tragedy and authority, however, is in constant contradiction with “the life-administering power” of modern world. In spite of his desire to enact the tragic power of ancient bard, the space of his later lyrics remains the complex site of ideological conflicts between the residual forms of traditional Anglo-Irish culture and the dominant cultural forms of modern individualism. (The second part of this essay will be continued in the next issue)

시(詩)는 작가의 정신적 이상과 감성의 존재를 인지하는 언어로서의 항렬일 것이다. 시는 언어를 통해 생각을 필연적 존재 로 인식하고 삶과 사회와 기타 구성에 관한 모든 것에 관한 진리를 밝히는 것에 충실함을 잃지 않는다. 그러므로 시에 대한 감흥은 충실한 성찰과 말하고자 하는 대상의 본질에 접근하는 것일 수도 있다. 따라서 시각시(視覺詩)라 명명되어 오고 있 는 그림으로 된 언어는 이제 실험 타이포그래피에 속해있는 실험적 대상이 아니라 시가 언어로 그린 그림이듯 온전히 독립 적인 지위를 가져야 할 시점인 것이다. 따라서 본 논고에서는 영문의 표현방식으로 한글이 주는 시적감흥을 유지할 수 있 는가에 대한 질문으로부터 출발하여 영시 12수를 선정하여 디자인 형식으로의 재현 가능성을 캘린더디자인을 통하여 확인 하고자 타이포그래피 인자와 공간 인자를 중심으로 형태적 상징성에 대한 작업이 진행되었으며, 조형적 요소와 형태 요소 를 중심을 디자인을 완성하였다. 공감각적 공간을 통한 타이포그래피에 대한 본질을 이해하려는 타이포그래퍼들의 노력이 증대하고 있는 시점에서 선형과 비선형을 떠나 텍스트 공간에 대한 다의적 해석의 접근 방의 시각시에 대한 호의적 확 대의식은 함축적인 타이포그래피 운율에 맞춘 또 하나의 장르로 인식되기를 기대한다.

This paper examined how the English Renaissance drama influenced Eliot's early poelry. Many critics like Hugh Kenner and Grover Smith insisted the relalionship between Eliot' s poetη and the English Renaissance drama, but they didn’t tell concretely how Eliot’s poetry was affected by the English Renaissance drama. First, I Iried to examine how the English Renaissance drama affected Eliol's poetry in terms of the form. As some critics indicaled Eliot was a poet who tended to improve the traditional English verse forms and use them. So he learned the blank verse form in lhe English Renaissance drama, improved and used il in his poems especially “Gerontion.'‘ And he used some lechniques like repetition he showed in Ihis poem in his several poems such as “The Love Song of J A lfred PrufTock," and “La Figlia Che Piange." Besides, Eliot used tbe English Renaissance drama as lhe significant source of allusions in his poems. For example, lines 5 and 6 of “Whispers of Immortality" can be associ ated witb Flamineo’s speech of John Webster’s The While Devi/ V. iv. Thus, Eliot Iried to put the concept of tbe deatb in life tbis speech implied in his poem. And he tried to show the speakers' self-dramatization in his early poems Ihat appeared in main characters’ speech in the English Renaissance drama by using these allusions. Thus, he attempted to sho\V the speakers' narcissistic mind that he thought tbe modem men had.