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서명수 프랑스문화예술학회 2000 프랑스문화예술연구 Vol.2 No.-
Le theatre presuppose les deux choses suivantes. Premierement il est l'art de la double communication : d'une part la communication fictive intra-scenique entre les personnages et d'autre part la communication reelle extra-scenique entre l'auteur(ou le metteur en scene) et le public. Deuxiemement le theatre, tel qu'il represente directement un evenement sur la scene, est aussi l'art d'une caracteristique restreinte au niveau spacio-temporel. La convention theatrale est a la fois l'ensemble des regles qui regissent le processus de la creation, et le moyesn de depasser cette limite spacio-temporelle et de se permettre la representation de diverses formes. Ces deux presuppositions impliquent que le fonctionnement de tous les elements du theatre est aussi double selon leur niveau de communication et ce fonctionnement est necessairement rhetorique. Sous cet angle, on a aborde dans la presente etude l'espace theatral pour expliciter son fonctionnemene double et rhetorique. En introduisant la notion jackosonienne de la rhetorique, metonymie et de metaphore, on est arrive a conclure que la fonction dramatique de l'espace produisant l'histoire fictive au niveau de la communication intra-scenique est le resultat de la metonimisation de l'espace treatre et que la fonction poetique de l'espace produisant le sens implicite de cette histoire au niveau de la communication extra-scenique est celui de la methphorisation de l'espace. On peut alors anticiper sur le contenu de la conclusion qui montre en effet qu'on peut bien appliquer la notion et la methode aux etudes des autres domaines du theatre : temps, objet, histoire etc. Mais il faut neanmoins proceder encore a l'etude sur la fonction esthetique de l'espace dont on manque ici, pour expliciter globalement le fonctionnement de l'espace theatral.
The Word of a Sword and the Sword of a Word: A Reconsideration on the ‘Eagle Speech’ (Exod. 19. 4-6)
서명수 연세대학교 신과대학 연합신학대학원 2015 신학논단 Vol.82 No.-
Liberation is the most important theme of the biblical narratives that describe the oppressive situations. Especially the narrative history of ancient Israel from the exodus to the conquest has been central to liberation reading of the Hebrew Bible from its inception. In the same manner many people could be inspired by the liberation motif of the exodus in the oppressive situations. For example, in the course of social change in the nineteenth century many Highlanders in Scotland emigrated because of famine and enclosure. Some were enticed to leave the Highlands with the brighter prospects for the New World such as Canada and Australia. At those time the liberation theme of the exodus made emigrants have a new religious enthusiasm and be brave to across the Atlantic Ocean. For some Highlanders, the challenge of moving from the Highland to the New World could be envisaged in terms of the exodus, in which Moses led the Israelites to the promised land. The Highland as a land of oppression were comparable with Egypt, and the leaders of emigrant groups could be compared with Moses.1) Just as Moses did some ministers in Scotland preached the emigrants to go to the New World. This literary-religious imagination was taken by Christian ministers in the first half of the twentieth century. They also preached their congregations about the liberation motif in the book of exodus for anti-colonial struggle. In Latin America the liberation motif of the exodus has been a main resource of liberation and struggle against an unjust oppression.
서명수 한국구약학회 2009 구약논단 Vol.15 No.1
This article explores the similarity and dissimilarity between Abraham's figure and a master's. In Confucian traditions a master is regarded as an ideal and true man who takes the golden mean/mode- ration/equilibrium. For this reason in the Confucian cultural societies such as China, Korea and Japan noble scholars had endeavored to study and cultivate their mind so as to be a master. According to Confucian teachings, "the man of wisdom(知者) has no perplexities; the man of humanity(仁者) has no worry; the man of courage(勇者) has no fear" in the analects(論語)14: 30. These three com- ponents should be taken by the superior man. In other words, the superior regards them as the standards of life and behavior. He always regards the will of Heaven and loves a human being. Also he bears himself in modesty and moderation, and behaves himself gracefully. Even though the socio-cultural backgrounds of ancient Israel and China are quite different, we can find those similar elements in the Abraham cycle from the synchronic and cross-cultural perspective. In this paper the similar elements are suggested as follows: Abraham's filial piety and brotherly love(孝悌); understanding of others in a position of self (推己及人); a great morale(浩然之氣); quest of self and return to propriety(克己復禮); being obedient to heavenly will(順命); philantrophy and saving the distressed(博施濟衆). These are the elements of the superior man which can be found in the Abraham cycle. 창세기의 아브라함상을 유학의 이상적인 인간상인 군자의 모습에서 찾고자 한다. 이를 위해 아브라함 이야기와 주로 논어와 중용에 제시된 군자상을 비교분석한다. 그 결과 '효제', '추기급인', '호연지기', '극기복례', '순명', '박시제중'이라는 덕목에서 아브라함상과 군자상이 근접하고 있다. 본 연구는 토착적 성서해석의 한 시도를 제시한다.