모든 창조물, 모든 피조물, 잎사귀 하나까지도 말씀을 지향한다

임철규(Chol Kyu Yim) 한국인문사회과학회 2019 현상과 인식 Vol.43 No.4

사르트르의 파리떼

임철규(Chol Kyu Yim) 연세대학교 인문학연구원 1979 人文科學 Vol.40-41 No.-

가상 데이터 생성 기반 작동 조건에 강건한 유성 기어 박스 고장 진단

김수호(Sooho Kim),윤병동(Byeng D. Youn) 대한기계학회 2019 대한기계학회 춘추학술대회 Vol.2019 No.11

초기 그리스인의 세계관

임철규 ( Chol Kyu Yim ) 연세대학교 인문학연구원 1985 人文科學 Vol.54 No.-

황금시대와 로마제국의 이데올로기

임철규 ( Chol Kyu Yim ) 연세대학교 인문학연구원 1991 人文科學 Vol.66 No.-

토머스 모어의 『유토피아』

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.

그리이스 비극의 기원

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.

The Concept of Ethical Freedom and Authentic Existence in Sartre's The Flies

Yim, Chol Kyu 연세대학교 인문과학연구소 1979 人文科學 Vol.40-41 No.-

이 논문은 극작품「파리떼」를 통해서 사르트르가 그의 사상의 핵심이 되고 있는 윤리적 자유와 참된 실존의 개념들을 어떻게 보여주고 있는가를 밝히는데 있다. 존재는 본질을 선행하는 실존주의 사상과 근본적인 명제하에서 사르트르는 우리가 익혀 잘 알고 있는 그 자유의 개념을 끌어내고 있으며 자유의 구체적인 표현이 하나의 프로젝트, 즉 행동의 선택과 그 행동의 일환으로 나타나고 있다. 인간이 선택을 통해서 존재하는 그 선택이 자유에 바탕을 두고 있다면, 선택에서 일어나는 책임 또한 피할 수 없으며, 이 책임은 자유의 인식에 연관되는 불안을 동반하고 있는 것이다. 그러나 사르트르에게 있어서 이 책임은 보다 심원하다. 왜냐하면 선택에 의해서 인간은 자신을 "참여"시킬 뿐만 아니라 모든 인간, 전 인류를 참여시키고 있기 때문이다. 사르트르의 자유의 윤리는 이와 같은 책임의 개념과 다른 사람들을 위한 참여의 개념과 더불어 시작하지만, 이 작품에 있어서 왜 오레스테스가 마침내 아르고스 시민으로 부터 버림을 받은 후 자아추방을 강제하고 있는가? 사르트르는 인간관계의 본질이, 하이데카의 용어를 빌리자면, 공존(Mitsein)이 아니라 갈등과 투쟁이라는 비극적인 본질을 말하고자 함인가? 실존주의가 하나의 휴머니즘이라고 일컬어질 수 있다면, 그것은 갈등이 아닌 공존의 윤리를 그 본질로서 실현시키는데 있어야 할 것이다.

SOPHOCLES' ANTIGONE

Yim, Chol-Kyu 연세대학교 대학원 1980 延世論叢 Vol.17 No.1

Antigone's motive against Creon in Sophocles' play was rooted on her natural love and common humanity, that is, on her deepest and most sacred eros toward a dead body, whether the motive be political, instinctive, or religious. Following the true eros as the principle of her raison d'etre, Antigone acted by her own law, autonomos. And in her moment of despair and total isolation from the world of men and gods, Antigone appealed neither to man nor to gods and chose death or suicide, without losing the sense of her unique identity like the other heroes in the Sophoclean tragedy. What made Antigone heroic was her capacity for action or passion, for doing or suffering, which is above ordinary human experience. When she committed suicide in her total alienation, our moral sense of divine justice was challenged. In a strict sense Sophocles is "the most cruel of Greek tragedians," as Jan Kott puts it. For the Greek poet shows that the heroes of the Homeric tradition, Ajax, Heracles and Philoctetes, are the objects of humility and victims of new "guilt-culure" in all post-Homeric tradition, as Dodds called it, of the dark jealousy of the destructive gods. Sophocles neither praised the action of Antigone nor approved it, while he clearly condemned Creon. He showed that tragedy, as in all other great and true tragedies, was witness to the moral ambiguities of every action of Antigone. To be sure, tragedy is existential in the sense that the experience of the tragic cannot be moralized within any conceptual world-view. But it was our empathetic reaction, even though against the dramatic intention of Sophocles, that Antigone's death was not a punishment but a sacrifice to prov-e the vindication of the moral order of dike which without doubt condemned Creon.

Brecht and Artaud as the theoreticians of the theatre

YIM, CHOL KYU 연세대학교 영어영문학과 1977 영어영문학연구 Vol.5 No.-

Modern theatre has been characterized by the strong tendency which makes theatre an imitation of the prison of consciousness This tendency was pioneered by Strindberg but it is Artaud who conceptualized the idea of theatre as a mirror of human consciousness imprisoned within itself. Artaud's theatre is to expose the contradictions that exist between society and nature Society is dramatic: it sees human behavior under the aspect of ideas, continuities, and plot Nature is theatrical: it is a series of acts (not actions), unconnected, present to consciousness unmediated by reason. To bring this difference forward, the theatre goes by a strong inclination toward certain, acts that are clearly antisocial. Artaud's ideal theatre would resemble primitive rites in which different members of the community play the roles of death, lust, hate, etc. In this manner the theatre allows man to portray instincts capable of destroying society if released in the world of reality In other words, Artaud justifies his conception of theatre with the argument of theatrical catharsis. That is, Artaud wishes to create a theatre of cruelty which would expose instincts or inner conflicts so that their expulsion might allow man to commune more deeply, both with himself and his fellow beings. Since the ideal theatre envisioned by Artaud is clearly metaphysical, it is understandable that Artaud should disparage the social theatre of the West in favor of Oriental drama which concerns itself with spiritual realities Orientals have understood that the language of the stage must correspond to movements of nature, their theatre demonstrates that man and nature can form a perfect, harmonious whole.