이 논문은 예이츠의 시에 나타난 은둔의 가치를 연구한다. 중대한 결정을 내려야 할 갈림길 위에 서서, 예이츠는 시 쓰기에 집중하고 결혼생활을 이끌 목적으로 자신의 인생을 재조정해야 했다. 은둔은 장소, 시간, 그리고 은둔의 주체자인 은둔자로 이루어지는데, 이것을 각각의 부분으로 나누어 분석한다. 예이츠에게 은둔은 개인적인 삶뿐만 아니라 시 창조에 있어서도 생산성을 가져왔다. 즉, 은둔의 과정에서 그는 소중한 가정을 얻었고, 동시에 후기의 작품들을 완성시킬 수 있었다. 게다가, 탑은 그의 가슴을 아프게 하는 역사가 떠오르는 조국 아일랜드를 상징하는 의미로까지 확장된다. 이 논문은 은둔과 관련된 시 작품들인 ｢내전기의 명상｣, ｢쿨 장원 1929년｣, ｢메루 산｣, ｢청금석｣, ｢탑｣을 분석한다.

The 1980s is the golden decade for the vigorous development of Chinese films. During this period, the documentary aesthetics led by the fourth generation of directors quietly rose. Under the background of great changes in China's politics, economy and culture, Chinese films, which inherit the original production system and decades of development experience, are full of vitality. On the one hand, they are accusing history, on the other hand, they are seeking a kind of seclusion and evasion, and they are digesting their youth sacrifice in the "real" image. Taking old stories in the south of the city as an example, this paper re examines the works of the fourth generation directors from the aspects of narrative motivation and complex mood expression, in order to provide new ideas and perspectives for how to express Chinese stories and Chinese culture in the era of cultural globalization. We should actively sum up and absorb the achievements of Chinese films in the 1980s. In the current context of cultural globalization, we should use practice to seek and explore how to use Chinese image language to tell Chinese stories and express profound, beautiful and profound Chinese culture.

‘Fu 桴’ and ‘Cha 槎’ are connected with the sea. Taking ‘Fu 桴’ floating in the sea represents the idea of seclusion, and ‘Cha 槎’ is used as an allusion to the immortal-Taoism by the literati. In the middle ages, the hermit from the seaside appeared frequently, which had the example of the supernatural being. ‘Fu 桴’ referred to the seclusion and ‘Cha 槎’ that refers to the fairy show the obvious traces of differentiation and fusion in the middle ancient literature works.

The attitude of living in seclusion in East Asia culture has a different character from the Western one. Hermit's life in Western culture generally has a religious character to imitate Christ or Apostles, but the life in seclusion in East Asia is mostly due to social and economic reasons. Under this social and political background, a phenomenon where intellectuals-in-chief appear on a large scale who wants to live in seclusion turning their back on the world starting from 16th century in our history. The most typical people appeared in this phenomenon of 16th century are Nammyeong(南冥) Jo Sik(曺植) and Daegok(大谷) Sung Woon(成運) of all people. In case of Nammyeong and Daegok, peoples of considerable amount around or disciples following them have academic traditions and a strong nature to live in seclusion, this seems like one of the natural phenomena appearing from the initial step of conflict between Nammyeong and Deagok's ideas and study propensity and the orthodox soˇngnihak(性理學) and the following result from the actual and political ups and downs. Generally feeling the critical moment of the era itself and deal with it through Confucian disciplines and studies, those persons comparatively freely teated with fields that were regarded as a heretic by the orthodox philosophy as well as prepared their location. In result, in a standpoint of the orthodox philosophy, there were confusions in prescribing their character. However, those two people's seclusion (from the world) is sending out its color in the philosophy history of Chosuˇn because they chose hermit's life as a firm view of life from the beginning, apart from the most cases that seclusions were chosen without any choice due to a political knock-out. At the same time, its importance in philosophy history is very big in that their life aim as a hermit presents one of hermits' life aims which appear as 'a symbol of an intelligence out of power' on a large scale in our 16th century. From a historical point of view. there are two kinds of hermits. One is freedom-oriented hermits who wants to enjoy their life without any restrictions from anyone and the other one is an abstinent type of hermits selection the way of seclusion and disciplining themselves rigidly for the purpose of avoiding an extreme situation of political and social actuality. If we say Nammyeong is more approaching to abstinent type, Daegok would be close to the freedom-oriented type. After a while, this difference can be come out as a difference from their ordinary life attitude to scientific and ideal view of world or literary aesthetic sense. But the actual hermit type variously existing in the middle of these two extremes, compromising this freedom-oriented type and abstinent type. This is generally shown as a type pointing abstinence in material way and free seclusion life in spiritual way. In conclusion, Nammyeong and Daegok are the typical persons who showed hermit's life in the 16th century which appeared in earnest as an influential art of intellectuals' living. Not compromising the prevailing state of the society and the trend of that times, lived according to their belief and way with maintaining a strong spirit and belief, so they let a model of strongly independent character which are rare come into our spiritual history.