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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
한국제임스조이스학회 제임스조이스 저널 제임스조이스 저널 제11권 제1호
발행연도
2005.1
수록면
107 - 122 (16page)

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Yeats, seeing the world and consciousness as conflict, deliberately exploits conflict: he insists that all the great things of the world including poetry are the result of conflict. Then what are the two terms of the conflict which sets the writer to the work? Yeats's theory of the Mask answers to this question, and this answer ultimately leads to an understanding of Yeats's view of literature. Yeats's theory of Mask is notoriously complex: based on his way of thinking, it is the cohesion of all his essential attitudes toward life and art. It is given its fullest statement in Per Amica Silentia Lunae, but Autobiographies and A Vision are also helpful to the understanding of the theory of the Mask. The writer of this study has proposed to define the Mask to investigate the theory, so eventually to understand Yeats's view of literature, mainly referring to these three prose works. The investigation has reached the conclusion that the 'Mask' is a Yeatsian term for an Ideal image of life which is always opposite to the natural self or the natural world, lurking in the unconscious dark of the mind; that the theory of the Mask has three aspects―aesthetic, moral, and philosophical― according to the roles of the Mask. The aesthetic meaning of the theory demonstrates Yeats's argument on the nature, the source, and the touchstone, of a work of art: art is the embodiment of the writer's Mask of life, and his inner struggle between mask and life sets him to his creative work; the quality of a work depends upon the expression of this tragic war. The theory also makes clear his literary creed as non-naturalist. But all the more important, the theory of the Mask clarifies Yeats's most fundamental view of literature: literature as imaginative saturnalia through which one may happily forget reality.

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