Earticle

본 연구는 예이츠의 『연옥』을 대순사상의 원(寃)과 한(恨) 개념을 활용 하여 재해석한다. 이 희곡은 어머니의 영혼을 구원하려는 노인의 폭력적 시도를 통해 세습된 죄의 파괴적 순환을 드러내며, 이러한 시도가 오히려 비극을 반복하게 됨을 보 여준다. 예이츠가『비전』에서 밝히고 있듯이, 이러한 갈등의 순환으로부터의 해방은 인간의 폭력적 노력보다는 통합적 해결을 통해서만 가능함을 시사한다. 이에 비해 대 순사상은 해원상생(解冤相生)의 원리를 통해 화해와 상생의 건설적 길을 제시한다. 따라서 본 논문은 예이츠의 “존재의 합일” 개념과 해원상생의 법리를 비교 분석함으로써, 예이츠의 비전을 중심에 두되 양자가 모두 순환적 갈등으로부터의 해방을 지향하 고 있음을 논증한다.

This essay examines W. B. Yeats’s Purgatory in light of the concepts of Won (grievance) and Han (resentment) in Daesoon Thought. The play dramatizes the destructive cycle of inherited guilt through the Old Man’s futile attempt to redeem his mother’s soul, an effort that only perpetuates further tragedy. Drawing on A Vision, Yeats suggests that liberation from such cycles may be achieved only through an integrated resolution rather than through violent human action. In a comparative perspective, Daesoon Thought introduces the principle of Haewon-sangsaeng (Resolution of Grievances for Mutual Beneficence) as a constructive path to reconciliation. By relating Yeats’s notion of “Unity of Being” to this doctrine, the essay argues that while Yeats remains the central focus, both visions converge in their aspiration to transcend cyclical conflict, thereby illuminating the interplay between literary imagination and spiritual philosophy.

본 논문은 현대 세속적 맥락 속에서 예이츠의 『연옥』에 나타난 내재성 과 초월성의 불안한 결합을 탐구한다. 찰스 테일러의 “내재적 틀” 개념은 자족적인 자 연 질서 내에서 세계를 인식하는 현대적인 방식을 설명하기 위해 인용된다. 동시에, 내재적 틀은 초월성에 열려 있으며 다양한 형태의 신념이 등장할 수 있는 여지를 제 공한다. 이러한 새로운 관점은 예이츠가 『연옥』에서 묘사한 독특한 구상의 의미를 밝 히는 데 도움이 될 수 있으며, 이는 영적 구원이 거부되는 세계 속에서 자기복제적인 후회가 반복되는 순환으로 나타난다. 본 논문은 이 극의 극단적인 미니멀리즘, 물질적 현실에 대한 집중, 세대를 넘는 트라우마에 대한 탐색을 분석함으로써, 예이츠가 자연 과 초자연, 내재성과 초월성의 경계를 넘나들며, 결국 초월에 대한 욕망이 우리의 내 재적 틀과 분리될 수 없음을 드러낸다고 주장한다.

This essay explores the unsettling blend of the immanent and transcendent in Yeats’s Purgatory within a modern secular context. Charles Taylor’s concept of the “immanent frame” is invoked to characterize a modern way of experiencing the world within a self-sufficient natural order. At the same time, the immanent frame is open to transcendence and allows for diverse forms of belief to emerge. This new perspective may illuminate Yeats’s unique depiction of Purgatory as a cycle of self-perpetuating remorse within a world resistant to spiritual redemption. By analyzing the play’s stark minimalism, its focus on material reality, and its exploration of transgenerational trauma, I argue that Yeats transgresses the boundaries between the natural and supernatural, the immanent and transcendent, ultimately revealing how the desire for transcendence is inseparable from our immanent frame.

본 논문의 목적은 『연옥』에 나타난 문화적 쇠퇴 및․인종적 퇴보에 대한 우려에 대하여 논의하는 데 있다. 논문에서는 예이츠의 후기 시와 산문을 같이 살펴보면서 『연옥』을 아일랜드 독립 전쟁, 내전과 같은 1920년대에서 30년대에 걸쳐 일어난 역사적 변화에 대한 시인의 반응으로 보고자 한다. 이 중에서도 글에서는 ｢내전기의 명상｣과 On the Boiler를 통하여 극에 표현된 이러한 우려가『연옥』뿐만이 아니라 해당 시기 전체를 통하여 드러나 있는지 알아보고자 한다.

This paper aims to examine Yeats’s concerns about cultural and spiritual degeneration in Purgatory. As I discuss the subject, I would also look at some of his later poems and prose to read the work in the context of Yeats’s response to the historical changes that were taking place in the 1920s and 1930s, including the Irish War of Independence and the Irish Civil War. I would look especially into “Meditations in Time of Civil War” and On the Boiler to see how concerns expressed in the play reflect some of Yeats’s ongoing preoccupations during that period.

윌리엄 포크너와 W. B. 예이츠는 각각 미국남부와 아일랜드의 위치 속에서 비슷한 역사적, 문화적 경험들을 공유한다. 두 작가가 마주하고 있는 역사에 대한 절망과 고뇌는 이를 바탕으로 하고 있다. 이 논문은 예이츠와 포크너가 사라진 역사를 다시 마주하는 방식으로 선택한, 저주받은 가족의 계보를 지우는 인물들을 역사적으로 재구성하고 역추적하는 서사를 중점적으로 분석한다. 두 인물이 계보를 완성시키기 위해 저지르는 행적을 추적하는 일은 미국남부와 아일랜드사회가 어떻게 인종적, 사회적 편견을 끊임없이 구축해왔는지 그리고 동시에 편견의 대상이 되어왔는지를 시각화하는 과정이다.

This paper aims to compare William Faulkner’s Absalom, Absalom! and W. B. Yeats’s Purgatory from the perspective of the genealogy of the damned, the damned here being the Old South and the Protestant Ascendancy. For all their obvious differences, Faulkner’s Old South and Yeats’s Protestant Ascendancy share important features in common: the decline of aristocracy, the tendency to mythologize realities, and the sense of loss and self-loathing. In Absalom, Absalom!, Faulkner attempts to retrieve the hidden history of the South from the early years of white settlement on the Mississippi, through the Civil War and Reconstruction, to the Civil Right era. Yeats’s Purgatory dramatizes recent Irish history, looking back on the Irish independence and the establishment of the Free State as the irrevocable proof of the decline and fall of the Protestant Ascendancy. Seeing the genealogies of the Sutpen family and the Old Man as a metaphor of American South and post-independent Ireland respectively, this paper explores transnational possibilities of reading American and Irish literature against each other.

예이츠의 작품은 다시 찾은 시공과 재창조된 시공에 존재한다. 창조된 시공은 현대시대에서 음유시인의 역할을 재상상함으로써 자신을 위해 만든 것이다. 1937년 환상록을 완성함으로써 그의 작품은 전통적인 영원성의 시간개념(일순간 인식된 모든 시간)을 반영하기 시작할 뿐 아니라, 『창유리에 쓰인 말』과 『연옥』에서 보이는 현세적인 시간과 영원한 시간 사이에 존재하는 초자연적 시간도 반영한다. 이 초자연적 시간은 보통 우리가 살아가는 시간보다 더 유동적이다.

Yeats’s works exist within a recovered and reinvented space in time — one that he created for himself by reimagining the bardic role within a modern era. With the completion of the 1937 edition of A Vision, his art began to project an understanding of time that incorporated an orthodox conception of the eternal — all of time conceived as a single instance — but also of a supernatural time that inhabited a space between the mundane and the eternal. This supernatural time, as seen in The Words Upon the Window-Pane and Purgatory, is more fluid than the one we normally inhabit.

예이츠는 『연옥』에서 자신의 내세관을 구체적으로 재현하여 로마 가톨릭 교회보다 더욱 체계적으로 영혼들이 어떻게 정화되는지를 제시하고 있다. 그 영혼의 정화 과정은 『비전』의 꿈으로 돌아가기와 회귀이다. 영혼들은 이 과정을 여러 번 반복 하여 그들의 업을 정화하고 있다. 단테는 『신곡』의 “연옥”에서 교만, 질투, 분노, 나태, 탐욕, 탐식, 방탕의 삶을 살았던 영혼들이 자신들이 지은 업을 정결하게 하기 위하여 끔찍한 고통을 당하면서 그들의 죄를 정화하는 장면을 세밀하게 제시한다. 그래서 예 이츠와 단테는 영혼들이 연옥에서 어떻게 그들의 죄 혹은 업을 정화하는지를 묘사하 여 윤리적 삶의 중요성을 강조하고 있다.

W. B. Yeats specifically presents his afterlife ideas in Purgatory, depicting how souls become purified more systematically than those of the Roman Catholic Church. The purification process of souls is Dreaming Back and Return in A Vision. Souls are purified from their karma by repeating this process many times. And Dante Alighieri, in his Divine Comedy’s “Purgatory,” elaborately presents the scenes in which souls are purified from their sins by being in terrible torture so as to cleanse themselves of their karma such as the lives of arrogance, jealousy, anger, laziness, greed, and prodigality. Yeats and Dante depict how souls are purified from their sins, or karma, emphasizing the importance of ethical life.

The purpose of this paper is to examine the value of W. B. Yeats’s penultimate play, Purgatory. It is a one-act verse play. There are only two characters: An Old Man and A Boy. Its story is simple. The Old Man tells his son (A Boy) of his family’s past: the mésalliance of his mother and his father’s squandering of everything she had, which he considers pollution to his family and declares as a capital offence. The Old Man kills his son with the knife he used to kill his father to stop the pollution from passing on to the next generation, and to stop the ‘Dreaming Back’ process for his mother. Purgatory is as much a play about the end of a historical cycle as it is a personal story. The obvious decline of the old man’s family fortune is an image of a ruined Ireland, its vigour spent and its thought forced in upon its own past. The qualities that have caused Purgatory to be one of Yeats’s most admired plays is the condensation and compression of his material, coupled with a lucid and immediately accessible realistic plot. The characters, actions and images are both natural and symbolic, moving and meaningful. The real strength of Purgatory lies in its unobtrusive poetic quality, the harmony of realistic subject matter and symbolist design within a lyrical composition of undoubted concentration and power. In Purgatory, more than anything else, Yeats solved the problem of speech in verse drama, which is one of his contributions to modern drama. Instead of contrasting voice patterns, he unified the action with a freely varied verse form in iambic tetrameters which is admirably suited to the terse, sharp idiom of modern speech. The most remarkable feature of this very natural verse form is its ability to reflect emotional intensification as the rising dramatic action moves through contrast and reversal to its inevitable climax.

법과 역사의 관계 논의는 이행기 정의로서의 ‘역사에 대한 법의 개입’과 법제사 중심의 ‘법의 역사’라는 두 축에 의해 주도되어왔다. 두 접근 모두 일차적으로 시간 의 연속성과 행위자의 의도, 사건의 실재성을 전제한 근대사학의 자장 안에 머문다. 본 논문은 아날학파의 역사학 방법론을 통해 법의 역사를 다르게 읽기를 시도한다. 전쟁과 조약, 국민국가 형성, 제도사나 법제사 등 정부의 역사에 관해 쓰는 데에 집 중했던 이전 세대 역사학자들과 달리 아날학파 역사학자들의 관심은 대체로 지리나 인구, 감정과 풍속 등에 있었다. 시간의 다층성을 강조하고 사건과 인물 중심의 정치 사의 울타리를 넘어 타 분과학문과의 접목을 시도한 새로운 역사학 방법론은 법사회 사나 법문화사를 일구는 데에 고유한 쓰임을 가질 수 있다. 본 논문은 아날학파의 세대별 성장과 거시사･심성사･미시사 방법론을 검토하고, ‘시간지속’, ‘망탈리테’, 그 리고 ‘작은 사람들의 역사’ 논의를 통해 아날학파가 어떻게 법의 역사를 이해하고 있는지를 몇 가지 예시를 통해 살펴볼 것이다. 먼저 ‘법의 거시사 읽기’에서는 브로델의 시간지속 개념을 통해 근대법의 시간을 사건과 국면변동, 그리고 장기지속의 중층구조로 파악한다. 또한 이상돈의 법모델 발 전론을 예시로 자유주의적 법모델과 사회국가적 법모델, 그리고 절차주의적 법모델 이 법질서 내부에 퇴적층처럼 차례차례 누적된 장기지속의 구조를 이룬다는 점을 밝 힌다. 이를 통해 개별 조항이나 판결의 의미를 그 기저에 놓인 법제화 경향의 국면 변동과 법모델의 장기지속의 자장 안에서 읽어내는 것이 가능하다. 한편 ‘법의 심성 사 읽기’에서는 우리의 인식과 실천을 가능케 하는 감추어진 질서이자 사유체계의 경계를 획정짓는 집단적 사유체계로서의 망탈리테(심성)에 주목한다. 이를 통해 정의, 죄의식, 응보, 정상/비정상의 이항대립 등이 특정 시대의 집단심성과 어떻게 결합하 여 구성되는지를 분석한다. 또한 르 고프의 연옥 연구를 사례로 하여 ‘사면 가능한 죄’라는 법개념과 비례성의 원리가 당대의 연옥 신앙 및 그 기저의 삼원론적 인식과 어떻게 연루되어 만들어졌는지 이해한다. ‘법의 미시사 읽기’에서는 판결문이나 수사기록, 청원서 등의 법 텍스트가 하위주 체의 이해와 욕망을 복원할 수 있는 핵심적 사료임을 논증한다. 또한 ‘정상적 예외’ 개념을 통해 범죄기록이 당대 사회의 규범이 만들어낸 미소한 균열을 드러내는 거울 임을 밝히고, “치즈와 구더기”와 “마르탱 게르의 귀향”에 등장한 재판기록들에서 이 를 확인한다. 그리하여 법의 역사란 법의 제정･개정･폐지의 연표가 아니라 서로 다 른 속도로 움직이는 구조와 심성과 일상이 교차하는 장으로 재구성되어야 함을 제안 한다. 이처럼 다르게 읽는 법의 역사는 법교육 차원에서도 법제를 둘러싼 사회 구조 와 감정의 정치를 읽어내고 재판기록에 담긴 소수자의 목소리에 귀 기울이는 데 도 움을 줄 것이다.

Debates on the relationship between law and history have largely been structured around two axes: the issue of “legal intervention in history” in the context of transitional justice, and the “history of law” centered on the history of legislation. Both approaches remain within the horizon of modern historiography, which presupposes temporal continuity, the intentionality of actors, and the factuality of events. This article seeks to propose an alternative reading of legal history by drawing on the methodological resources of the Annales School. Whereas earlier generations of historians tended to focus on the history of governments, the Annales historians were generally more interested in geography, population, emotions and customs. Their new historical methodology, which emphasizes the multilayered nature of time and seeks to move beyond an event- and figure-centered political history through engagement with other disciplines, has a distinctive value for developing not only statute-centered legal history but also a social and cultural history of law. This article examines the generational development of the Annales School and its macrohistorical, history-of-mentalities, and microhistorical approaches, and explores, through the concepts of longue durée, mentalité, and “the history of little people,” the possibility of reconstructing the history of law as a field in which multiple times, structures, and mental frameworks intersect. First, in a “macrohistorical reading of law,” the time of modern law is understood as composed of événement, conjoncture, and longue durée. The article shows that the liberal, social-state, and procedural models of law form stratified structures of durée within the legal order. In this way, the meaning of particular provisions or judgements can be interpreted against both conjunctural shifts in legislative trends and the long-term structures of legal models. Second, in a “history-of-mentalities’ reading of law,” the analysis focuses on mentalité. This allows us to examine how policing and punishment, and the binary oppositions of normal/abnormal, are historically constituted through their articulation with a given era’s collective mentality. Using Jacques Le Goff’s study of purgatory as an example, the article shows how the legal notion of “forgivable sin” and the principle of proportionality emerged in close connection with the tripartite epistemology of the time. Third, in a “microhistorical reading of law,” it is argued that legal texts such as trial records, investigative files, and petitions are sources through which one can reconstruct the narrative of subalterns. Drawing on the concept of the “normal exception,” the article contends that criminal records function as a mirror that simultaneously reveals both the normativity of a given society and its fissures, and demonstrates this through an analysis of the trial records appearing in The Cheese and the Worms and The Return of Martin Guerre. It is thus suggested that the history of law should be reconfigured not as a chronology of enactment, amendment, and repeal, but as a field where the times of structure, mentality, and everyday life intersect. Such alternative reading of legal history also has implications for legal education, enabling students to discern the social structures and politics of emotions surrounding legal systems and to attend more closely to the voices of minorities embedded in trial records.

스베덴보리의 신비주의 사상은 인간의 감정을 자극하는 요소가 아니라 사실과 진리의 경계를 가르는 지식과 사실적 감각으로 다가간다. 이는 사실과 환상, 영계와 현실, 종교와 과학의 접점과 고정점을 마련해주어 예이츠에게 지식과 영감을 주었다. 스베덴보리는 주님께서 다스리기 때문에 온 우주가 이미 영적 균형과 통합을 이루고 있다고 말한다. 반면 예이츠는 이들을 동등하게 수용하면서 세상을 유지하는 균형의 힘과 원동력을 찾는 일이 바로 시인들의 임무라고 여긴다. 이로써 이원론을 극복하고 존재의 통합을 추구하였다.

Swedenborg’s mystical thought is not an element that stimulates human emotions, but approaches the knowledge and realistic sense that separates the boundary between facts and truth. This gave Yeats knowledge and inspiration by providing a point of contact and a fixed point between fact and fantasy, the spirit world and reality, and religion and science. Swedenborg says that the whole universe is already in spiritual balance and unity because the Lord rules. On the other hand, Yeats considers it the duty of poets to find the power and driving force of balance that maintains the world while embracing them equally. By doing so, he overcame dualism and pursued the Unity of Being.

W. B. 예이츠가 평생을 쏟은 비술연구는 그의 책『환상록』에서 결정체 를 이룬다. 그의 문학작품의 기저를 이루는 중요한 자료가 된 이 책에서, 예이츠는 사 후세계와 영혼의 영원한 환생에 대해 설명한다. 영혼의 환생사이의 기간은 6단계로 나뉘며, 두 번째 단계인 명상은 꿈으로 되돌아보기와 회기를 포함하는데, 이것은 예이 츠의 작품에서 가장 자주 볼 수 있는 단계로, “양치기와 염소치기,” 『연옥』,『뼈다귀 들이 꾸는 꿈』등의 작품 속 영혼들이 지나간 생을 여러 번 살며 존재하는 곳이다. 또한 “마이클 로바티스의 이중비전” 에서 영혼은 축복의 단계에, 다른 영혼들은 마침 내 정화와 예지의 단계에 도달하며, 환생의 영원한 순환 속으로 나아간다.

W. B. Yeats’s lifelong study on occultism is crystallized in A Vision, and it is, as many insist, the essential resource underlying his literary work. This book deals with the afterlife and permanent reincarnation of the souls. The period between lives, divided into six states, includes the Meditation which contains the Dreaming Back and the Return most often used in Yeats. In some of Yeats’s works such as “Shepherd and Goatherd,” Purgatory, Dreaming of the Bones, the ghosts are going through these states, reliving lives many times. The soul in “The Double Vision of Michael Robartes” stays at the Beatitude, and some finally reach the Purification and Foreknowledge. The souls are making progress through the perpetual cycles of reincarnations.

우리가 간과하지 말아야 할 사실은, 예이츠는 자신이 가장 소중히 여기는 생각들조차도 스스로 일부 반박할 수 있다는 것이다. 그럼에도 불구하고, 그의 후기 작품들의 이론적 측면은 두드러지게 내적 통일성을 보이다. 즉, 사회와 개념, 이론들과 정신세계, 이미지론, 순환적 역사관, 등 사이의 구분이 쉽지는 않다. 이런 이유로, 나는 간단히 “예이츠의 우생학적, 영적 미학”이라는 주제를 다루고자 한다.

It should never be forgotten that Yeats is perfectly capable of contradicting himself even about some of his most cherished speculations. Nevertheless, the theoretical aspect of his later work exhibits a marked internal coherence: it is not possible to separate his ideas about society, his theories about the spirit world, his doctrine of the image, his cyclical theory of history. It is for this reason that I have referred, in brief, to “Eugenical and Psychical Aesthetics.”

This article surveys the correlation between Yeats’s translation of the two Oedipus plays of Sophocles, Oedipus the King and Oedipus at Colonus, and Yeats’s own plays so that the development of Yeats as dramatist may be explored. In the first place, this article examines why Yeats had the long-standing interest in staging Sophocles’ tragedy. The reasons are explained in relation to Yeats’s tragic tendency and political purpose. Then the long and complex process of completing Yeats’s Oedipus project is pursued mainly on the basis of Clark and McGuire’s W. B. Yeats: The Writing of “Sophocles’ King Oedipus” (1989). In particular, this article concentrates on the time when Yeats decided to write his own version of Oedipus and the reason why the project had a long dormant period before it restarted and finally was completed in 1927. In the final place, the effects the Oedipus project had upon Yeats’s own plays are studied through a comparative analysis between Yeats’s translation of the two Oedipus plays and his other plays. On Baile’s Strand (1904) and The Herne’s Egg (1938) are treated to figure out the similarities between Oedipus and Yeats’s heroes such as Cuchulain and Congal. In addition, The Resurrection (1931) and Purgatory (1939) are dealt with to reveal the mysterious death of the old Oedipus at Colonus and the new perspective of death and old age it offers to Yeats. In conclusion, this article claims the Oedipus project made significant influence upon Yeats as playwright, so that the result pervaded nearly the whole plays of Yeats.

Purgatory includes as its main themes Yeats’s feeling of crisis and anxiety as an Anglo-Irish who was alienated from the Irish society, his skeptical view of the modern Ireland which was seeking after materialism and his predilection for eugenic thought. In Purgatory, Yeats reveals those representative themes of his later writing using the conventions of Gothic: for instance, the supernatural modes such as the transgression of the ancestors, whose tragic result affects the present, the ruined house, wild landscape, and the ghosts, the theme of ‘life in death’ and ‘the death in life’, the opposition of nature and culture and the Freudian psychological characteristics such as ‘the return of the repressed’ and ‘the uncanny.’ This paper aims to analyse how Yeats borrows and modifies those traditional Gothic conventions to convey his themes in a more effective and impressive way and to finally argue that Yeats came to be skeptical about the heroic theme and its representation. Yeats places the old man as a narrator who speaks for his thoughts, but at the same time he puts him as an unreliable narrator and shows us his limitation. Here arises irony, through which Yeats reconsiders his heroic theme that he has insisted throughout his lifetime. Through the old man’s failure to save his mother from her repeated pain of purgatory and his consequent helplessness, Yeats reveals the anti-heroic theme.

프로이드의 무의식에 대한 설명 중 유년기에 존재하는 기괴함의 원인들 과 공포와 관련된 무의식이 나중에 성장해서 나타나는 방법들에 대한 설명은 기괴함의 효과가 나타나는 작품들의 장치들을 밝혀준다. 본 논문은 예이츠의 『연옥』과 『꿈꾸는 뼈들』을 프로이드의 기괴함에 대한 이론을 적용하여 프로이드적 관점에서 해석한다.

Freud’s account of the unconscious especially of the causes of uncanniness existing in one’s earlier stages of life and of the ways in which the unconscious linked to terror emerges itself later in life illuminates the mechanisms involved in literary works that create uncanny effects. This paper discusses Yeats’s Purgatory and The Dreaming of the Bones from a Freudian perspective using his theory on the uncanny.

Yeats and Murakami are writers who believe in spirits. They both treat them as if they are real. Yeats's Purgotory is a story of Father and Son, Father killing his own son to disrupt the cycle of Life that is tainted, whereas Kafka on the Shore is a story of Mother and Son, Mother causing all the tragedies in Kafka's father, sister, and himself. Kafka's mother is a person of Memory that stays constant, which is the origin of all the tragedies, and refuses to flow with time; and Son intervenes in her Fate, changing her and himself. The leitmotif of the novel is the Oedipus complex. In the meantime, Purgatory is a practice of Yeats's religious system of Life and humanity. In the play, the two kinds of people are illustrated by Father and Son; Father can see the invisible, ghosts, but Son cannot. The play is based on the conception of souls being born again and again in endless cycles. To disrupt it Father kills his own Son, as he had killed his own Father. It is beyond the moral of the world, killing his own son, following his own belief. Both works could be read as a metaphor of life. One relies on psychology, and the other relies on mythology. Murakami may have read Yeats, and Yeats might be interested in Murakami if he lived and read him. Murakami is in a position to deal with this kind of subtle subject in a subtle way, because he is a writer of the East well versed in the West. In the same way, Yeats was in a unique position, who was familiar with things eastern. Hence, their works manifest strong inclinations toward mysterious milieu, most prominently what is supernatural.

한국 천주교회에서 장례 봉사와 관련하여 설립된 최초의 단체는 베르 뇌 주교 시기의 인애회이다. 인애회는 병인박해가 발생하면서 활동을 중 지했다가 1882년에 블랑 신부에 의해 재설립되었다. 블랑 신부는 가난한 신자들을 위한 무료 장례 봉사를 위해, 베르뇌 주교 때의 전통과 1648년 로마에 설립된 선종회를 모델로 인애회를 조직하였다. 인애회의 활동은 1890년대 이후 각 지에 성당이 세워지고 본당 조직이 정비되면서 본당 활동으로 전환되었다. 그리고 1910년 이전부터 금전적 인 부조를 목적으로 하는 상장계가 생겨나면서 연령을 위한 단체의 설립 도 권고되었다. 이에 인애회는 ‘연령을 위한 단체’로 성격이 변화되었고, 단체명도 1930년 이전부터 등장하는 연령회로 점차 대체되었다. 한편 1930년대에는 일부 본당에 ‘호상(護喪)’을 위한 단체도 있었다. 이에 1930년대에는 ‘장례 봉사’와 ‘연령 구제’를 위한 단체가 병존했고, 이러한 현상은 1960년대까지 이어졌다. 그러다가 1970년대 이후 본당마 다 호상을 위한 단체의 필요성이 본격적으로 대두하면서, 기존의 연령회가 이 역할을 맡거나, 관련 단체가 없는 본당에서는 연령회를 새로 조직하 였다. 그 결과 일제강점기의 연령회와 달리, ‘장례 봉사’를 전담하는 오늘 날의 연령회가 탄생하게 된 것이다.

The first organization related to funeral services in the Korean Catholic Church was Inaehoe(仁愛會) during the time of Bishop Berneux. The Inaehoe was re-established in 1882 by Father Blanc after being suspended due to the Byeongin persecution. For free funeral services for the poor, Father Blanc organized the Inaehoe, modeled on ‘the society of the Good Death’ founded in Rome in 1648, succeed to the traditions from the time of Bishop Berneux. After the 1890s, as churches were built in each area and the parish organization was composed, the activities of the Inaehoe were converted to those of the parish. Also, before 1910, a number of sangjang-gye(喪葬 契) were established for the purpose of financial assistance, and then the establishment of a society for the souls in Purgatory was also recommended. As a result, the Inaehoe was changed its character to a society for the souls in Purgatory. and since before 1930, The Yeonlyeonghoe(煉靈會, The society of assisting the souls in Purgatory) with the same personality as the Inaehoe appeared, and the name of Yeonlyeonghoe came to be used instead of the Inaehoe. In the 1930s, in some parishes, there were societies for funeral services. therefore societies for ‘funeral service’ and ‘relief of souls in Purgatory’ coexisted, and this phenomenon continued until the 1960s. Then, after the 1970s, as the need for an organization for funeral services in each parish arose, the existing Yeonlyeonghoe took on this role, or in parishes that had no related groups, a new Yeonlyeonghoe was formed and entrusted with this role. As a result, unlike the Yeonlyeonghoe during the Japanese colonial period, today's Yeonlyeonghoe dedicated to funeral services was born.

Rulfo’s Pedro Paramo has been read as archetype, capitalist critique, or modernist surrealism. Its religious interpretations have generally seen the novel as pessimistic and its characters damned. However, the text gains clarity and religious meaning once Comala is understood as a Christian purgatory with an indeterminate geography, physicality, and time, and we realize that Juan arrives already physically dead. Some of the novel’s characters spiritually stagnate or decline, as does Pedro Paramo and Renteria, but others are purified and attain self-understanding, as do Dorotea and Juan. Climactically, Susana’s death and salvation affirms the purgatorial aspect of Comala as Paramo’s defeat results in his dissolution and regeneration for the town’s inhabitants.

Charles Dickens’s Great Expectations is one of those classic works of literature which stimulates a tradition of criticism that is as creative and as thought provoking, at times, as the novel itself. However, within the current epoch, this creativity is often negated by poststructural frameworks that foreclose other readings, predeterminately, through the totalizing effects of their approach. Peter Brooks’ reading of Great Expectations, is one such example, I will argue; although this is not the essay’s primary purpose: it will offer a new reading of a work of 19th century literature which has already been extensively, investigated, from a familiar perspective, class-based guilt; nonetheless, it will illuminate the plot trajectory to a greater extent by tapping into the figurative language of the narrative, revealing the motivations of, centrally, the protagonist within the world he inhabits.

This article explores the ways in which Yeats and Beckett present consciousness on the stage. In particular it discusses both playwrights’ theatrical devices used to incorporate the heroes’ past events through a comparative analysis of Yeats’s Purgatory (1939) and Beckett’s Krapp’s Last Tape (1958). Both dramatists choose distinctive instruments for the purpose: the former’s tool is a ghostly dumb-show, while the latter’s a voice recorded on a tape recorder. Using these devices, they project the past on to the stage. In addition, they make it possible for the past to confront the present on the stage. This article argues that through the oscillation between past and present, Yeats and Beckett’s heroes experience a kind of purgatory because they relive their pasts. Furthermore, Yeats’s theory of Purgatory as postulated in A Vision is discussed in order to make clear a specific definition of Purgatory. In conclusion this article claims that Yeats’s exploration of the soul is reflected in Beckett’s “searching for the self” because the latter also pursues to explore an inner part in “the deeps of the mind” even though his purpose of searching for the mind could not be the same as his predecessor’s.

This paper aims to show that the spatial (or topological) rendering of moral imagination of the seven deadly sins in Dante’s Purgatory is more “open” than that of the seven deadly sins in David Fincher’s Seven, a contemporary equivalent of Dante’s Divine Comedy. This openness is apparently contrary to the appearance we generally believe our moral progress to wear. It will also be contended that the change from “open” to “closed” follows the curve of the logarithm function which can be understood in terms of the development of capitalism whose signature is a modern-day city and its allegorical representation in urban noir films.