아리스토텔레스 ‘Topos(τóπoç)’의 지리학적 해석

홍서영 韓國文化歷史地理學會 2012 문화 역사 지리 Vol.24 No.3

본 논문은 공간 개념을 연구대상으로 삼아 개념화한 아리스토텔레스의 topos(토포스, τóπoç)에 대해 알아보고 topos를 지리학적으로 재해석하는 것을 목표로 하고 있다. 이를 위해 아리스토텔레스 『자연학』제4권에 제시된 topos를 그 연구 대상으로 삼았다. 아리스토텔레스는 topos에 대한 4가지 가정을 상정한 후 변증법과 귀납법을 사용하여 그 중 3가지 가정의 부정확성을 입증하였다. 그가 최종적으로 정의한 topos는 “어떤 것을 포괄하는 물체의 경계”이다. 그의 이러한 topos 정의를 수용기(受容器)적 세계관이라 할 수 있으며 이러한 세계관은 그 이후 중세 시대에 이르기까지 큰 영향을 미쳤다. 아리스토텔레스의 topos 이론은 그 이후 많은 측면에서 비판을 받기도 했지만 1)과거의 형이상학적 접근에서 탈피하여 공간을 객관적인 실체로서 인식하였으며 2)인간 현존재가 살아가고 있는 공간의 의미를 분석할 수 있는 토대를 마련하였고 3) 수용기적 세계관을 정립함으로서 각각의 ‘경계’로 구분지어진 공간으로 이해하게 하는 개념적 틀을 제시하였다는 지리학적 의의를 가진다. This study focuses on the Aristotle’s topos by analyzing it on geographical perspective. The main object of this research is Aristotle’s 『Physics』 Book Ⅳ. Aristotle represent 4 hypothesis. He uses dialectics and induction to prove inexactitude 3 hypothesis. His final definition about topos is the limit of the surrounding body, at which it is in contact with that which is surrounded. His definition about space is called the container view of the world. This view of the world influences until the Middle Age. Aristotle’s on topos encounters criticism about many aspects. But his opinion has geographical importance to 1) deviate a former metaphysical approach and appreciate that space is an objective truth. 2) be able to use the space which human beings are living and a foundation of analyzing the meaning of place 3) define the container view of the world so that represent the conceptual framework about notion of space even though it has been criticized in many aspects.

지형도 그리기로서의 서사 쓰기의 방법과 실제

한귀은 한국어문학회 2005 語文學 Vol.0 No.87

T.P.G. Strategy is initialed Topos, topo-Philla, and topo- Graphy. It functions as meta-cognition of writing narratives. Topos is what is tempered peculiar value or significant mean with space. Topos is more concrete and definite than space. Space is meaningless to human, on the other hand topos has very valuable significance. Topophilia is love and affection toward topos. The love is not only unconditional attachment but also all of the course that a person endows topos with a love and a concern. Topography is a sort of a map that a person acts and brings out various accidents. A person falls in topophilia with a special topos, so the person acts and reacts to the topos and circumstance, and that the all of course becomes a topography. T.P.G. Strategy makes a writer call the bygone self, so the past and the present can cross each other. The narrative consists of polyphonies of a present self and a past self. The memory and topophila enable a writer to describe vividly and concretely. And that the narrative has a propensity for lyricism. To prove the virtue of T.P.G. Strategy and establish elaborate it, the real writing lesson in K university from May till June 2004. The conclusion of real writing instruction, the narratives have noteworthy features. The peculiarities are as follows. First, the self was the other. The narrative subject or the past undergone self did not defend oneself. Instead he or she had the alterity. The texts by students were not narratives of subject but of transformative alters. Second, the cross of past and present brought out a collision of scenes in fragments, that was a montage like a cross cutting in films. The texts didn't have a casuality. So, the narratives held abundant lyricism, and extremely the time of a narrative came to a full stop occasionally. Paradoxically in drying time, the characters were very exceptional and cruel. Because of cruelty of characters, the text came to take on sublimity. So to speak excessively, the protagonist of the narrative through T.P.G. strategy is a topos. Topos is all except me. The writing to let me be the other is T.P.G. writing. So the writer can reflect on oneself and circumstances.

설득 담화 속의 개념적 은유

송병우(Song Byung-Woo) 국어국문학회 2008 국어국문학 Vol.- No.150

Persuasion is generally prescribed by the speech act that stands on assertions. If so, we have to present the ground that based the assertion in order to assert self-opinion. That is why the personal assertion and opinion is biased so that it is not the fact that aroused sympathy from everyone. In this manner. the ground that gives the propriety to persuasion which stands on subjective views is the argument. The argument is the method that gives confidence to person's subjective assertions and opinions. Therefore, the argument is an effective thought and speech in the persuasion. Figuratively speaking, making a persuasive text is to seek for the argument, to arrange it and to put linguistic clothes on the argument arranged. Like this, the persuasion as the speech act starts from the argument and ends in it. Therefore, first of all, to observe how the persuasion is embodied in, it is effective to focus in what kind of the argument was used in the persuasion. The argument, however, is not clearly exposed in the persuasive act. Even though it comes out, most of them are indirect. For that reason, it is important to seek for the proper argument for the effective persuasion. If the place where the argument is in, however, is c1early seen, seeking it would be easier. In this point, the ancient rhetoricians called the place where the argument was hided topos. and c1assified the sorts. In spite of various efforts of the ancient rhetoricians, topos still has obscure aspects. That is why not only whatever can take out the argument can be topos, but also all of general premises can be topos. Such ambiguousness gives rise from the point that topos was leaded from common ideas or social customs. This study premises that a clue to form topos bases on the conceptual metaphor. This is that topos made from social customs and common ideas bases fundamentally on the conceptual metaphor, is raised by it, and grows up through it. And then it forms its own strong generality and propriety. To research it, in second chapter, we survey theories of the conceptual metaphor. It is a definition of characteristics of the conceptual metaphor. We try to reveal that the conceptual metaphor is not a figure in regard to linguistic expressions but a mechanism operating in the conceptual dimension. In third chapter, we observe a definition and conceptual characteristics of topos. We debate on the correlation between topos and the conceptual metaphor. In fourth chapter, we observe the conceptual metaphor and topos in Pyomun of Koryo History and prove how topos is formed by what kind of the conceptual metaphor is based on.

아곤. 정의(正義)를 위한 설득과 논증 ―『국가』 1권의 소크라테스와 트라쉬마코스 논변에 관한 수사학적 분석

김진 중앙대학교 중앙철학연구소 2022 철학탐구 Vol.67 No.-

This study attempts a rhetorical and dialectical analysis on the argument shared by Socrates and Thrasymachus in Republic I. The framework of the analysis is the general rhetorical principle, and the types of arguments presented in Perelman's New Rhetoric (Perelman/ Olbrechts-Tyteca,1958), which inherited the tradition of Aristotle's Topica. It is clear, that the genre characteristic of Plato's book, that is, the characteristic of 'Dialogue', of course, enables this rhetorical and dialectical analysis. The starting point of this study is setting the argument of Socrates and Thrasymachus as 'agon', in order to balance the evaluation of argument between Socrates and Thrasymachus, which was mostly biased toward the argument of Socrates. The Greek word 'agon' means 'struggle', 'match', and 'contest', and in order to more objectively evaluate the persuasive power of the arguments, the meaning of 'agon' is set as the characteristic of the argument between the two characters. The main sequence of the inquiry is as follows. Starting with the 'general principle of rhetoric', this study will examine each person's persuasion strategy by dividing it into detailed 'argument topos'. Socrates' strategies of persuasion include the ethos of Socrates, the rules of practice of dialectics, the use of appropriate topos, such as the topos of example, the topos of similarity, and the topos of definition. Among them, the topos of example is divided into the argumentation by example, the induction, and the illustration. Thrasymachus' strategies of persuasion can be divided into the use of public speaking form, the topos of similarity, the inductive argument by cases, and the topos of model. 이 논문에서는 플라톤의 국가 1권에서 소크라테스와 트라쉬마코스가 나누는 논변에 대해 수사학적이고 논증이론적 분석을 시도한다. 분석의 틀은 일반적인 수사학적 원리와 아리스토텔레스의 변증론 전통을 이어받은 페렐만의 신수사학 (Perelman/Olbrechts-Tyteca,1958)에서 제시하고 있는 논증유형들이다. 플라톤 저서가 가지고 있는 장르적 특성, 즉 ‘대화편’이라는 특성이 이러한 수사학적이고 변증론적인 분석을 가능하게 함을 우선 밝힌다. 논문의 출발점은 소크라테스와 트라쉬마코스의 논변을 ‘아곤’(agôn)으로 설정하는 것인데, 이는 기존의 소크라테스에게 치우쳤던 논변 평가를 트라쉬마코스의 논변과 균형을 맞추기 위한 것이다. 그리스어의 ‘아곤’이 뜻하는 ‘대결’, ‘시합’, ‘경기’의 의미를 두 등장인물 간의 논변의 특성으로 설정하여, 보다 객관적으로 두 사람의 논변의 설득력을 평가하고자 한다. 주요 순서는 각 인물의 설득 전략을 ‘수사학적 일반원리’에서부터 시작하여 세부적인 ‘논증 토포스’별 분석으로 나누어 고찰하는 것이다. 소크라테스의 설득 전략으로는 소크라테스의 ‘에토스’, 변증술의 실행규칙, 적절한 토포스의 사용, 예컨대 예(例)의 토포스, 유사성의 토포스, 정의(定義)의 토포스의 사용 등을 들 수 있는데, ‘예의 토포스’에서는 ‘예증’, ‘귀납’, ‘예시’를 다루었다. 트라쉬마코스의 승부전략으로는 대중연설(dêmêgorein)형식의 사용, 유사성의 토포스, 귀납적 사례논증, 범례를 들 수 있다.

ON THE AXIOM OF CHOICE OF WEAK TOPOS Fuz

Kim Ig-Sung Korean Mathematical Society 2006 대한수학회논문집 Vol.21 No.2

Topos is a set-like category. In topos, the axiom of choice can be expressed as (AC1), (AC2) and (AC3). Category Fuz of fuzzy sets has a similar function to the topos Set and it forms weak topos. But Fuz does not satisfy (AC1), (AC2) and (AC3). So we define (WAC1), (WAC2) and (WAC3) in weak topos Fuz. And we show that they are equivalent in Fuz.

‘슬픔’의 토포스들 - 러시아의 “toska”와 프랑스의 “mélancolie” -

이기웅,김성택 한국프랑스학회 2013 한국프랑스학논집 Vol.83 No.-

Cet article a pour objet de décrire les structures sémantiques des deux topoï, toska russe et mélancolie française, à partir de la conception universelle de la passion de tristesse, et d’examiner leurs aspects divergents et convergents. Si nous posons l’existence de l’entité universelle, intersubjective et incorporelle de ‘tristesse’ et, de même, lui donnons une définition universelle à la manière spinoziste, alors nous pouvons présenter les structures sémantiques des deux topoï de la façon suivante: TOSKA ⇒ { (A) ‘définition universelle de tristesse’ + (a) ‘intentionnalité vague de cette émotion’ + (b) ‘tristesse très intense dans laquelle subsiste en vain le désir de changer la situation en question’ }; et MÉLANCOLIE ⇒ { (A) ‘définition universelle de tristesse’ + (a) ‘conscience du caractère tragique de l’existence dans ce monde’ + (b) ‘attitude d’une attente’ }. C’est ainsi que les deux topoï, concernant l’émotion de tristesse, se démarquent de la façon suivante: toska est bien le topos national qui représente l’émotion de tristesse dans l’espace langagier-culturel russe, tandis qu’au fond, mélancolie est le topos européen moderne, qui cèdera de plus en plus sa place topique à un autre topos dépression dans l’espace européen contemporain. Ce point sera d’ailleurs démontré à travers l’étude approfondie de certains auteurs russes et français tels que Pouchkine, Essénine, Blok, Dostoïévski, Tchékhov, Gautier, Hugo, Nerval, Baudelaire, Verlaine, Céline, Sartre etc., chez lesquels on trouvera de multiples exemples représentatifs des divergences entre toska et mélancolie. Par contre, si nous en trouvons certains cas de coincidence conceptuel entre les écrivains russes et français (e.g., toska dans Les Carnets du sous-sol de Dostoïévski et mélancolie dans La Nausée de Sartre), c’est que malgré leur différences langagières et culturelles, les deux topoï ont la même racine affective universelle de la tristesse.

토론의 논거 발견과 수사학의 토포스 -아리스토텔레스의 토포스를 중심으로-

박삼열 ( Sam Yel Park ) 성신여자대학교 인문과학연구소 2011 人文科學硏究 Vol.29 No.-

The fact that a debate should persuasively express itself`s opinion allows the possibility of contribution from rhetoric in regard to the debate since rhetoric has an object of providing an adequate method of persuasion in any argument. Aristotle introduces three factors as a method of persuasion in rhetoric: Speakers ethos(character), audiences` pathos(emotion), and seeking logos which itself is an argument. And with these means he specifies through 5 norms of idea, expression, arrangement, presentation, and process of memory. Idea defines related issues, makes an opinion to support the position, and finds the evidence. In rhetoric`s idea, there is a lot of duplication with the discovery of the basis of an argument in debate and provides a new idea in discovery of the basis of an argument which many debaters use. What is the most important to Aristotle in method of persuasion is ``logos which comes from the argument itself``. Therefore, in a situation where it is differentiated with dialectic, he discusses the rhetorical inference which is a unique method of persuasion of rhetoric. However, rhetorical inference is to do with argument method but not a practical content. It is necessary to have a premise or a basis of argument in rhetorical inference, and these are expressed as 말터, a sum of premisses, that is in other words topos. Topos has an original meaning of a ``place`` which, in rhetoric, is a place where a speaker can look for the method of persuasion for application. Topos provides the available basis of arguments for different situations. This paper would discuss how topos, which plays a part of the basis of argument, contributes to the discovery of the basis of argument in debate.

ON SOME PROPERTIES OF TOPOS E(Ω ,A)

김익성 한국수학교육학회 2010 純粹 및 應用數學 Vol.17 No.4

Category E(Ω,A) forms a topos. We study on some properties of the topos E(Ω,A). In particular, we show that E(­Ω,A) is well-pointed.

ON THE WEAK NATURAL NUMBER OBJECT OF THE WEAK TOPOS FUZ

김익성 한국수학교육학회 2010 純粹 및 應用數學 Vol.17 No.2

Category Fuz of fuzzy sets has a similar function to the Category Set. But it forms a weak topos. We study a natural number object and a weak natural number object in the weak topos Fuz. Also we study the weak natural number object in FuzC.

팜므 파탈 토포스와 말라르메의 헤로디아드

김성택 한국프랑스학회 2017 한국프랑스학논집 Vol.99 No.-

Cette étude a pour but de présenter la signification socio-culturelle de la “femme fatale”, et d’examiner ses valeurs de topos et sa transformation sémantique dans la figure d'Hérodiade chez Mallarmé. Les topoï de “femme fatale” apparaissent en Occident dans les idées et valeurs patriarcales portées sur les femmes. Toutefois, ce motif a également émergé, de façon majeure, dans les Arts et Lettres de la fin du XIXe siècle. En effet, quelques écrivains et peintres, en petit nombre certes, mais considérés comme de véritables actants culturels de l’époque traitèrent de la “femme fatale” dans leurs créations: Salomé, Hérodiade et d’autres. Ces artistes mèneront la transformation de la culture et des arts de leur siècle avec un motif paradoxalement réactionnaire. Chez Mallarmé, le motif ‘Hérodiade-Salomé’ remplace par le sens métaphysique de pureté comme virginité la norme idiolectale de la fatalité, en positivant l’enchantement stérile par la double négation, dans le système sémantique qui détermine le topos “femme fatale”. Cette transformation finira par mettre en place “le discours réel” afin de surmonter le “discours légal” et bourgeois en acceptant la nouvelle valeur du monde esthétique.