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임철규 연세대학교 대학원 1989 延世論叢 Vol.25 No.1
Thomas More's Utopia is, in more than one way, an exceptional book. What sets the Utopia apart is its concept of the commonwealth-the just society-not as a virtuous community but as a virtuous community founded upon a just social order. Utopia is not merely an imaginative reconstruction of society as it might have been in a state of perfect nature. It is rather More's conception of how a just society could be created. More argues that the main obstacle to the building up of a just society is the existence of private property and of money. The absence of both is therefore the very foundation on which the whole fabric of More's Utopia is built. He claims that the absence of private property and money eradicates all kinds of crime and injustice, and he proposes communism as the one and only way to free humanity from the fear of want and to attain social justice. More visualizes in the Utopia's a community free of exploitation and social classes, free therefore of all forms of coercive state power, a commonwealth inspired by a Christ who, as the writer recognizes it, wanted a communal way of life of his people.
임철규 연세대학교 연합신학대학원 1990 현대와 신학 Vol.13 No.-
원초적인 낙원의 회복과 역사에 종언에 대한 신화는 어떤 의미에서 고대이래 인간의 상상력을 지배해왔다. 엘리아데(Mircea Eliade)는 기독교인들과 유태인들에게 있어서 "성스러운 역사의 승리-<역사의 종언>에 의해 표명된 -는 낙원의 회복을 어느 정도 함축한다"1)고 말하였다. 그러나 낙원 회복의 신학는 종교적인 사고에만 국한된 것이 아니다. 그것은 프로이트와 같이 무신론자이면서도 환상의 파괴자로 공인된 자들까지도 그것에서 완전히 자신을 해방시킬 수 없을 정도로 세속적인 의식의 일부가 되어 왔다. 그의 글 <문명과 그 불만>의 끝에 프로이트는 인간들에게 "그들의 문화적 발전이 공격과 자기파멸이라는 인간적인 본능에 의해서 그들의 공동적인 삶의 혼란을 극복하는데 성공할 것인지 그리고 성공한다면 어느 정도까지 성공할 것인지"를 묻고 있는데, 그 글은 인간들을 낙원으로는 아니라 할지라도 적어도 그들을 보다 나은 세계로 유도하는, '영원한 에로스', 그 '거룩한 힘'을 기원하는 유토피아적 비전으로 마무리되고 있다.2)
임철규 연세대학교 대학원 1978 延世論叢 Vol.15 No.1
Greek tragedy was originated from the dithyrambos, a hymn in honour of Dionysus, and its name, tragoidia, was givers br Arion, who composed a dithyrambos with a heroic or epic content, gave a title to what the chorus sang, and brought on satyrs speaking in metre. Arion's contribution must then be that he raised the dithyrambos to an artistic choral lyric. Before Aeschylus invented a second actor, there must have been a first, and it can not be doubted that Aristotle thought of this actor 35 the leader (exarchom) of the dithyrambos, who began of introduced the singing and was thus distinguished from the chorus. The exarchom must have been transformed into an actor when he delivered a speech (not song), and the change was attributed to Thespis. Thespis modified or adapted the pre-existing form by introducing the first actor, and this is thought of as adding a new dimension to what had been a strictly choral performance: that of "dialogue". In addition to the first actor, Thespis invented a prologue and a set speech (rhesis), and these two elements represent between them the prologue or spoken portion of tragedy. Some have thought that the step must have already been taken in the Pelepennese, that in Dorian choral lyric a sololist may already have been allowed to speak in iambic or trochaic verses, but the evidence from Doric form in the dialogue passages of tragedy is hardly strong or clear enough. The introduction of prologue and speech makes an epoch. With it we enter on the final stage of the development of Greek tragedy in the proper sense. For prologue and rhesis are composed in advance, not improvised, and they are speech, not song. Whatever Arion composed for himself or another exarchon to deliver was still song. The changes in the total development of Greek tragedy were distinct. Between Arion and Thespis we advance from song to speech. and we can add, between Thespis and Aeschylus, from dramatic dialogue to genuine dramatic action and the predominence of dialogue over song and speech. On the other hand, the sequence Arion-Thespis-Aesohylus represents the development from the exarchon to the first actor and the second actor, who dramatized the pathos, the death or suffering of the hero.