예이츠는 정신자동현상과 자동기술을 사용하여 새로운 시 창작 모형의 시 세계를 연다. 정신자동현상은 시인이 의식이 아닌 무의식의 상태, 다시 말해서 대 립자아에서 전달자와 의사소통할 수 있는 의식의 상태이다. 자동기술은 대립자아 상태에서 뮤즈 신과 의사소통한 것을 기록한 것이다. 그는 이러한 상태를 「모든 영혼들의 밤」에서 죽은 사람의 영혼을 불러내어 그들과 대화하는 기법으로 새로운 시 창작의 기법을 제시한다. 요컨대 그는 시 창작에서 시인의 심리적 상태의 변화를 구체화하여 시 창작에 대한 그의 시학의 원리를 체계적으로 주장함으로써 현대시의 새로운 시 창작 원리를 제시하려고 시도한다.

The purpose of the study is to report and share a reflection on using the ETS Criterion online writing evaluation system in a university setting and evaluate if this system can be a suitable teaching/learning tool for English language learners (ELLs) in an English as a Foreign Language (EFL) context to facilitate their writing ability. Participants were given a writing prompt to write about in class and entered their writing into the Criterion system to receive feedback. Both quantitative and interpretive analyses were conducted for 129 student writing samples and Trait Feedback Analysis reports. The study revealed that the sentence-level feedback appears to be in urgent need for EFL writers, but Criterion did not provide this kind of feedback. Errors in such aspects as basic sentence structures, subject-verb relationship, awkward meaning construction, and formulaic expressions could not be treated by Criterion at all. In addition, the comparison of teacher feedback and Criterion feedback were discussed in details. This study alerts users to contemplate before use what the purpose of using Criterion is, whether for diagnosis of writing proficiency or as a teaching/learning tool for developing students’ writing ability. Plus, educators should be aware of on which language aspects and features EFL writers necessitate feedback to facilitate their writing development, different from first language (L1) writers.

This article discusses A Vision so it could be of some help to reading some of Yeats's metaphysical poems. It is true that some of his metaphysical poems are so beautiful but that it is not easy to grasp what they really want to say to the readers, and how and why they appear so haunting and attracting to the general readers. Equally important is that the book itself is a poem of supreme beauty. There are two versions of A Vision. The first version Yeats privately published in 1925. His wife Georgie was a medium, through whom Yeats had talked with his teachers/gods for seven years; as a result, he created a system that classifies man into 28 types following the 28 phases of the moon, made a theory of reincarnation, a history of the world, based on the cyclical and antithetical nature of the moon and the gyre. The second version became a new book. Yeats revised the first version, deleting, adding, polishing much of it, and published it two years before he died. While composing the first book, Yeats said he did not read philosophy, because he did not want himself to be under the influence of the philosophy and distort what his teachers said through the automatic writing. He did read philosophy, however, for four years, to understand his wife's automatic writing accurately, when he revised it for the second publication. Yeats questioned what he had invented, and further contemplated big questions intellectuals of his time raised. All of these efforts grew to be the book of the century that is most elaborate, most abstract and most concrete as well. It is both a book of beauty itself and a book for reading his poetry and plays and his thoughts.