한국의 전통 문인화는 조선시대 성리학의 영향으로 남성 중 심의 문화 도구로 숙지되고 있어 일반적으로 이성적인 성향을 띠고 있다. 그러나 한국 현대문인화는 성리학의 영향에서 약화 되어 남성 중심에서 벗어나 여성 중심의 감성적이고 초월적인 성향이 나타나고 있다. 이러한 시대적 배경에 따라 본 연구는 사공도의『이십사시 품』의 ‘청기’와 ‘표일’의 풍격과 의경이 상통하는 한국 현대문 인화의 초월적 성향의 작품을 분석한 것이다. 이를 위해 먼저 현대문인화를 정의하였다. 다음으로 동양의 전통적인 미학 텍스트라 할 수 있는 사공도의 『이십사시품』 의 ‘청기’과 ‘표일’의 풍격을 기준으로 현대 한국문인화의 초월 적 풍격을 진단하였다. ‘청기’의 풍격으로 박세라의 <소요>, <천뢰> 작품을 분석하였고, ‘표일’의 풍격으로 서기환의 <사람 풍경-Night travel>, <사람풍경-Coffee HolicⅡ> 작품을 평가 하였다. 이러한 연구를 통해 다원화되고 기호화된 현대사회에서 한국 현대문인화의 새로운 발전 가능성을 모색할 수 있는 하나의 실 마리가 될 수 있을 것이다.

인간이 경험하는 신비체험에서 인간과 초월적 신비 사이에 공감이 형성되는 것은 역사 안에서 여러 종교의 신비가들의 증언을 토대로 알려졌으며, 오늘날의 관점에서도 재조명해볼 수 있는 있는 종교현상학의 주요한 영역이다. 본 논문은 근대 그리스도교의 신비가인 예수의 데레사와 현대 티베트 불교의 비구니 승려 인 텐진 빠모의 신비체험에서 그 관계의 성격을 체험자의 증언을 통해서 소개 한다. 슈타인은 그의 현상학적 방법을 통하여 초월적 신비와 만나는 인간의 존 재론적 구조와 인식의 과정을 분석함으로써 그들이 체험하고 인식하는 현상을 신비주의 현상학의 차원에서 해명하였다. 인간의 영적 성숙은 신비경험의 차원 과 성격에 따라 진행되는 삶의 단계의 질적 표현으로 이해할 수 있다. 또한 각 기 다른 종교 안에서 이루어지는 신비체험을 비교함으로써 종교간 대화가 이루 어지는 만남의 지평을 인간존재의 심연 안에서 가늠하고 공유할 수 있다. 종교 가 초월을 매개로 인간을 인식하는 길이라면, 종교들 사이의 대화는 그 길의 성 격을 비교함으로써 초월적 신비에 다가가는 인간의 영적 여행을 보다 더 풍요 롭게 하는데 기여하는 것이라고 기대할 수 있기 때문이다.

한무숙의 『만남』은 천주교 박해의 역사를 문학적으로 재구성한 작품으로 천 주교의 전래와 그 과정에서의 고난을 문학적으로 형상화하고 있다. 그런데 작품 에서 천주교는 물론 탄압의 주체인 유교, 그리고 불교와 무속까지 ‘모순적 공존’ 을 보여주고 있다.『만남』에는 관조와 초월의 시각이 특징적으로 나타나는데 대 상과 거리를 두고 사심 없이 바라보는 미학적 향유로서의 관조를 통해 현상이 대립이나 갈등보다 ‘아름다움’으로 인식된다. 또 세계를 불가항력적인 힘에 의해 지배된다고 보는 초월의 시선으로 조망함으로써 주술적 신비를 인정하고 인위적 인 혁신보다 현존하는 제도와 윤리를 수용하게 된다. 이러한 두 개의 시각은 한 무숙 문학의 중요한 미학적 특징으로 가부장적 억압을 자학적으로 수행함으로써 극복하고자 했던 작가의 체험과 연결된다. 작가는 결혼 후 전통적 인습으로 인해 자아 상실을 경험하지만 정면의 도전보다 억압적 요구를 철저히 수행함으로써 비판적 항의를 실현하는 역설적 저항을 보여준다. 경계를 무너뜨리거나 이탈하 기보다 안에서 억압을 철저히 수행함으로써 모순을 통찰하는 밖의 시선을 확보 하게 된 것으로 경계의 안과 밖을 가로지르는 시각을 통해 인식적 저항을 실천 하고 있다.

The purpose of this study is to trace Yeats’s efforts toward an ultimate reconciliation of the contrary forces of human experience as they are reflected in his later poetry written Beyond Byzantium, and to explore the relationship between existential awareness and artistic vitality. Though Yeats reached Byzantium in 1927, from The Wanderings of Oisin to “Byzantium” he yearned for stasis and release, and thus sought the solace to be found in never-never lands ranging from the woods of Arcady and Tir-nan-Oge to the golden boughs of Byzantium. Yet a disquieted romantic and an unaccommodated man, he returned to the living world of unfinished men and the dross of their mortal pain. The world of the “dying generations,” for all its corruption and impermanence, is the place where Yeats, after much sailing, finally dropped anchor. Yeats ran his course between the extremities implicit in “Perfection of the life, or of the work,” and by the end of his career he took his stand with the claims of his art and the passions that make it possible. “Tragic Gaiety,” the hero’s rising above evil fortune and circumstance, is at once the matrix and the pinnacle of his final, transforming vision, and Yeats’s most significant legacy to our “tired” and “hysterical” age. Thus Yeats’s great achievement lies in his exposition of the artist’s will to transcend phenomenal limitations, and in the symbolic identification of creator and created. “Bitter and Gay,” the dominant notes of most of the poetry of Yeats’s last years, lay the tragic scene beyond Byzantium, and it was there that he finally reached a reconciliation with “Time.” Not transcendence, however, but the simple triumph of trying to be a total man was Yeats’s final accomplishment. After all the anguish and the judgements, at the close of his life he repented nothing, and could cry “Rejoice” because it is only through the despair born of tragedy that we can achieve true gaiety and unity in empathy with humanity. That was the joyful voice of a man who knew how to create out of destruction. This wholeness of vision which Yeats finally attained is the prime concern of this study.

Building on the readings of Yeats’s esoteric poems, essays, and A Vision, I poses to rethink the ethical dimensions of his occultism, more specifically his reflection on an encounter with the transcendental beings. The need for rearticulation of the role of the ethical, that is the relation to the other gains urgency because the transcendental beings are by nature obscure, indistinct, and indefinite. They resist too much clarification and determination that may reduce their complicated and irreducible beings to distinct concepts. The difficulty, therefore, lies in the question of how Yeats could present the beings in a manner as precise, proper, and rigorous as possible and at the same time he could respect and honor the mode in which the beings conceals themselves in the mystery, by letting them be the mystery that they are. A Vision was the culmination of Yeats’s lifelong wish to relate the divinity of the supernational beings to the human soul. In order not to present God as a personal deity, Yeats says only about the nearest equivalent his system offers to God, the gnomically-named Thirteenth Cone. The Cone is actually a sphere because sufficient to itself, but as seen by man it is a cone. It is more a symbol of the human relationship to the ultimate being than a symbol of that ultimate itself. Otherwise unknowable, the supernatural beings could be evoked by symbols. The symbol's job for Yeats therefore is not, first and foremost, cognition, in the sense of understanding, calculation, and definition, but instead bringing what is other for language and thought into the openness of its alterity and maintaining this alterity against the power of cognitive assimilation. Yeats lets the symbols work up the mind to evoke the world of the supernatural beings, which will remain unknown to those who relay on the evidence of their senses. “The Cold Heaven” gives a good illustration of the human relation to the supernational beings, for it combines Yeats's own personal history with his supernatural vision. Staring at a winter sky, he desperately looks back at where his life has gone, gathering together in a passionate fusion the lacerating memory of his failure with Gonne and his themes of death, ghosts and dreams. Supernatural Songs shows how Ribh's ecstasy in an encounter with the supernatural being not only arises from the contemplation of things vaster than the individual and imperfectly seen but also escapes from the barrenness and shallowness of a too conscious arrangement. "The Spirit Medium" well exemplifies the phenomenon of permeable structure inhabiting different regions of reality simultaneously so that the world of the supernatural being and that of the individual, inside and outside, one side and the other, subject and the other, appear as correlated and overlapped as equal parts of the inhuman symbolic spirit medium.

Eli야 was definitely intrigued by mysticism. He dreamt of becoming a saint when he was young. His mother, who wrote poems depicting mysticism, influenced him greatly. He greedily read many books on mysticism such as Christian Mysticism (1 899) by W. R. Inge, The Varieties 01 Rel.땅ious Experience (1902) by William James, and Mysticism (1911) by Evelyn UnderhiII among others while at Harvard. He apparently had his mystical expe꺼ence during his stay at Harvard. For these reasons, he tried to seek a philosophical explanation of his mystical experiences and mysticism in general. He’d like to obtain an intellectual explanation of his mystical moments. I explore Eliot’s transcendental taste for mysticism by studying Eliofs philosophical joumey into mysticism. This paper is focused mainly on Henri Bergson’s and F. H. Bradley’s ideas, which are essential to a philosophical survey of mysticism. First, Eliot was interested in Bergson’s concept that boiled down to ’duration’(durée), in which Iife takes on an amorphous state or duration. His idea of duration suggests that movement and change are inherent to reality. It tends to largely emphasize the imminence of reality; therefore, it is not useful in explaining the unity of what is perennially absolute. Eliot looked for a more comprehensive philosophy. Thus, his concem moved to Bradley’s ’immediate experience' in which subject and object are unified and people could have a mystical moment. Consequently, Bradley's philosophy allows EIi이 to intellectually figure out his mystical experience and the concept of mysticism as a whole. Besides Bradleyan philosophy, St. John’s idea, the conception of Madψamika of Buddhism, the thoughts of Yoga among others in his poetη also tend to stress the transcendental side of mystical experience. The renunciation of self is very important to those kinds of ideas. I admit that though a poet Eliot has been inf1uenced by imminent side of mysticism, a mystic Eliot has a taste for transcendental mystlclsm.