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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 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.