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Theoretical Foundations of Management of the Education System: Optimization of the Complex of Organizational and Pedagogical Conditions for Effective Management
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손호현(Hohyun Sohn) 연세대학교 신과대학(연합신학대학원) 2013 신학논단 Vol.73 No.-
Does music save? Pythagoras does suggest this possibility saying that everything is made of numbers. Through its historical survey of the so-called Pythagorean aesthetic tradition in Christianity including the New Testament, Augustine, Boethius, Thomas Aquinas, Leibniz, Bach, Hegel, Barth, and John Cage, the article offers a historical analysis of music and theodicy with the following three tentative suggestions. Firstly, in the Pythagorean aesthetics, music functions as a wordless theology. Like the contemporary ‘string theory’ in physics, the Pythagorean aesthetics is based on the conviction that music and the universe share the common isomorphism of vibrating numbers. Second, the theodicy of music is based on the logic of contrastive harmony that partial dissonances enhance the beauty of the overall consonances. Consequently, the existence of evil does not disprove the existence of God, as St. Thomas Aquinas correctly claims, but prove God’s existence on the contrary. For disorder is needed for the existence of order and beauty. Lastly, music is a symbol of eschatological hope. If the universe is in fact God’s perfect work of art, you cannot take something from it or add something to it even if it is not beautifying at the moment. As Aristotle’s definition of a “perfect work of art” shows, “excess and deficiency destroy perfection” (Nicomachean Ethics, 2.6.9). In this sense, human music does not save us but give us eschatological hope for fulfillment and salvation of the world in the future. Does music save? Pythagoras does suggest this possibility saying that everything is made of numbers. Through its historical survey of the so-called Pythagorean aesthetic tradition in Christianity including the New Testament, Augustine, Boethius, Thomas Aquinas, Leibniz, Bach, Hegel, Barth, and John Cage, the article offers a historical analysis of music and theodicy with the following three tentative suggestions. Firstly, in the Pythagorean aesthetics, music functions as a wordless theology. Like the contemporary ‘string theory’ in physics, the Pythagorean aesthetics is based on the conviction that music and the universe share the common isomorphism of vibrating numbers. Second, the theodicy of music is based on the logic of contrastive harmony that partial dissonances enhance the beauty of the overall consonances. Consequently, the existence of evil does not disprove the existence of God, as St. Thomas Aquinas correctly claims, but prove God’s existence on the contrary. For disorder is needed for the existence of order and beauty. Lastly, music is a symbol of eschatological hope. If the universe is in fact God’s perfect work of art, you cannot take something from it or add something to it even if it is not beautifying at the moment. As Aristotle’s definition of a “perfect work of art” shows, “excess and deficiency destroy perfection” (Nicomachean Ethics, 2.6.9). In this sense, human music does not save us but give us eschatological hope for fulfillment and salvation of the world in the future.
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윤동주와 슬픔의 신학 : 「八福」에 드러나는 신정론을 중심으로
손호현(Hohyun Sohn) 연세대학교 신과대학(연합신학대학원) 2015 신학논단 Vol.81 No.-
Yun Dong-Ju is perhaps the most beloved Christian poet in the Korean history of 20th century. Based on the hypothesis Yun is not merely a literary poet but also an anonymous Christian theologian, the article claims Yun’s status in theology as being a perfect embodiment of what Karl Rahner calls ‘the marriage of priest and poet.’ Focusing on the poem entitled “The Beatitudes”(八福) written in 1940, it suggests four logical types of theodicy found in the traces of revision process of this poem. First, as God’s reward for those who mourn, Yun concludes the work with the phrase 1) “they will mourn” and crosses these words out later. Second, he writes 2) “they will be comforted” instead and crosses them out again. Thirdly, he writes 3) “they will mourn for a long time” and crosses them out as well. Lastly, he concludes the poem with the phrase 4) “they will mourn in eternity.” In regard to this effacing and revising process of “The Beatitudes,” the author offers an analysis of four parallel types of literary positions and theological theodicies. 1) ‘Aesthetic Titanism’ or ‘antitheodicy of sorrow’ is to dwell in sorrow stubbornly rejecting any future comfort from God. 2) ‘Ethical Titanism’ or ‘theodicy of consolation’ is to demand God of justice and consolation knowing at the same time that these will never be actualized in the world. 3) ‘Historical Titanism’ or ‘theodicy of eschaton’ is to mediate these two aesthetic and ethical Titanisms on the horizon of eschatological time and beyond. 4) Lastly, ‘religious Titanism’ or ‘theodicy of eternal sorrow’ is to deepen transvaluation of suffering and sorrow from mere negative sign of God’s absence toward absolutely positive sacramental affirmation of God’s absent presence or God’s consolation without consolation, as in the theologies of Moon Ik-Hwan(문익환) and Simone Weil. Yun the priest-poet is one of few figures who show the possibility of Korean theological aesthetics in the future. Yun Dong-Ju is perhaps the most beloved Christian poet in the Korean history of 20th century. Based on the hypothesis Yun is not merely a literary poet but also an anonymous Christian theologian, the article claims Yun’s status in theology as being a perfect embodiment of what Karl Rahner calls ‘the marriage of priest and poet.’ Focusing on the poem entitled “The Beatitudes”(八福) written in 1940, it suggests four logical types of theodicy found in the traces of revision process of this poem. First, as God’s reward for those who mourn, Yun concludes the work with the phrase 1) “they will mourn” and crosses these words out later. Second, he writes 2) “they will be comforted” instead and crosses them out again. Thirdly, he writes 3) “they will mourn for a long time” and crosses them out as well. Lastly, he concludes the poem with the phrase 4) “they will mourn in eternity.” In regard to this effacing and revising process of “The Beatitudes,” the author offers an analysis of four parallel types of literary positions and theological theodicies. 1) ‘Aesthetic Titanism’ or ‘antitheodicy of sorrow’ is to dwell in sorrow stubbornly rejecting any future comfort from God. 2) ‘Ethical Titanism’ or ‘theodicy of consolation’ is to demand God of justice and consolation knowing at the same time that these will never be actualized in the world. 3) ‘Historical Titanism’ or ‘theodicy of eschaton’ is to mediate these two aesthetic and ethical Titanisms on the horizon of eschatological time and beyond. 4) Lastly, ‘religious Titanism’ or ‘theodicy of eternal sorrow’ is to deepen transvaluation of suffering and sorrow from mere negative sign of God’s absence toward absolutely positive sacramental affirmation of God’s absent presence or God’s consolation without consolation, as in the theologies of Moon Ik-Hwan(문익환) and Simone Weil. Yun the priest-poet is one of few figures who show the possibility of Korean theological aesthetics in the future.
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