감정과 상황으로서의 사랑 ― H. 슈미츠의 ‘사랑의 현상학’과 그 인간학적 의미에 대한 고찰(1) ―

하선규 ( Ha Sun-kyu ) 전남대학교 호남학연구원 2018 감성연구 Vol.0 No.17

사랑에 대한 철학적 성찰은 오늘날 어떤 상황에 있을까? 크게 볼 때 우리는 욕망이나 충동에 대해서는 비교적 예민한 감수성과 전문적인 지식을 갖고 있다. 하지만 두 사람 사이의 사랑에 대해서는 여전히 어떤 모호한 ‘신비주의’와 ‘비합리주의’에 의지하고 있다고 할수 있다. 이러한 문제의식에서 본고는 독일의 현대철학자 헤르만 슈미츠(H. Schmitz, 1928~ )가 두 사람 사이의 성적인 파트너 사랑에 대해 현상학적으로 성찰한 내용을 고찰 해본다. 메를로-퐁티에 버금가는 독창적인 신체현상학자로 평가되는 슈미츠는 저서 『사랑』(1999/ 2007)에서 두 사람 사이의 사랑에 대해 의미심장한 철학적 분석을 시도한다. 이 저작이 도달한 이론적 성취는, 만약 오늘날 철학적 사유가 사랑의 신비주의에 머물지 않고 보다 더 정치한 이론으로 나아가고자 한다면, 찬찬히 숙고해야 할 가치가 있다. 본고에서 필자는 우선 슈미츠의 현상학적 이론의 비판적 동기와 근본적인 사상적 지향점을 살펴본다. 이어 슈미츠의 중요한 이론적 성취를 ‘감정으로서의 사랑’과 ‘상황으로서의 사랑’으로 나누어 분석해 볼 것이다. ‘감정’과 ‘상황’의 존재론적 성격에 대한 새로운 현상학적 해명을 바탕으로 슈미츠는 사랑의 감정과 그 대상이 지닌 복합적인 성격, 감정과 상황의 상이한 존재론적 층위, 이로부터 비롯되는 사랑의 근본적인 딜레마에 설득력 있는 이론을 전개한다. 결어에서는 슈미츠의 사랑의 현상학의 한계와 남겨진 연구 과제들을 언급해 본다. What is the philosophical reflection on love today? To a large extent, we have relatively sufficient sensitivity and professional knowledge of desire or impulse. But the love between the two is still dependent on an obscure ‘mysticism’ and ‘irrationalism’. In this sense of critical consciousness, I consider phenomenological reflections on sexual love between two people of Hermann Schmitz, a German philosopher of modern philosophy. Schmitz attempts a meaningful philosophical analysis of the love between the two in his book The Love of 1999 from the viewpoint of his own phenomenology of body. The theoretical accomplishment that this work reaches is worth thinking over, if the philosophical thought today is to go beyond a mysticism of love and to move toward a more profound theory of love. In this article, I first examine Schmitz' critical motivation and fundamental ideological intention of his own phenomenological theory. In the second part of this article, I will analyze Schmitz' significant theoretical achievements that accurately elucidate “love as emotion” and “love as a situation.” Based on the new phenomenological explanation of the ontological nature of ‘emotion’ and ‘situation’. Schmitz develops a convincing theory of complexity of emotional quality and object of partner love. the fundamental dilemma of love stemming from the different ontological strata of emotion and situation. At the end of the article, I briefly mention Schmitz' ideological importance of the phenomenology of love and some remaining research issues.

홍대용(洪大容)의 범애(汎愛)의미 연구

신정근 ( Jeong Keun Shin ) 동양철학연구회 2015 동양철학연구 Vol.82 No.-

Kongzi emphasized virtue of humanity(仁) that “take care of man.” Now love became the subject of chinese philosophy. Mozi divided love into indiscriminate love or universal love(兼愛) and graded love(別愛). Partial love make society result in endless opposition and struggle. But universal love make society overcome disorder and confusion. He insisted that Kongzi’s humanity(仁) based on family bond lead to graded love. Mengzi criticized that Mozi’ universal love bring out the state without father(無父). After the bitter criticism of Mengzi, no one dare to speak the justification of universal love. Through love for everyone, Hong Dae-yong(洪大容, 1731~1783) intended to break taboo of universal love in the later Joseon. Further he asserted equality of Chinese and foreigner, equality of human and things. Prior to Hong Dae-yong, Mengzi adhered to equality of the goodness of human nature(性善) but methodological discrimination of it’s realization. Because he believed the social order that exemplary person(君子) enlighten and control ordinary person(小人). Hong Dae-yong intended to solve the contradiction of Mengzi’ thought. Therefore he can develop the new horizon that overcome the social rank and international degree.

『님의 침묵』에 나타난 기독교적 상징과 성서적 구조

이경희(Lee Kyoung-Hee) 한국시학회 2006 한국시학연구 Vol.- No.16

『Love Silence』(님의 침묵) has multi-vocal implicatures more than another poetical works. This thesis investigates Biblical structure on Manhae Han Yong-won's 『Love Silence』 as one of multi-vocal interpretations. And then it intends to compare contents and structures of 『Love Silence』with Song of Songs which is one chapter of Christian Bible. Manhae didn't only dip into the works of Buddhism, but also various and wide thought, and he was also interested in Occidental philosophy and Occidental religions. It reveals on all sides of his works. He mentioned, "everything, which is the most magnificent philosophies in all ages and countries, can be explanatory notes of Buddhist scriptures." So Manhae extensively discussed Occidental philosophy and Buddhism in 『Joseon Buddhist Theism』, and he treated Christianity in 『Religions of Modern America』, 『Buddhist Meditation and Life』etc. Established researchers have made comparative studies of Han Yong-won with Devendranath Tagore and Walter Whitman. We have to pay attention to Christian influence which penetrates these poets' spirits to transcend the East and the West. There are a lot of Christian Symbols in 『Love Silence』: "a lost lamb", "heaven", "the palace of heaven", "hell", "love in heaven", "a watchman and a lamp", "the imperial crown", "devil", "wine", "confession", "baptism by a holy angel" etc. This thesis examines poems which reveal Christian Symbols, and especially investigates 「The Glorification」 with imagines of heaven. He expressed the glorification for ‘Love’(님), the confession for 'Love's nature, and his desire to 'Love' as a prayer in 「The Glorification」. 『Love Silence』is composed of 88 poems and constructs one story through each poems. It brings up the image of Song of Songs which accomplishes a poem sequence of strong love. There is another similarity in which 'Love' can be interpreted variously between 『Love Silence』 and Song of Songs; 'Love' can be a subject of love, god, and a nation. It is a sensual expression of love. Also it has an identical context in the end. It conclude by giving readers advance notice of a fateful encounter with Love, even if Love isn't there. This thesis doesn't deny that Han Yong-won's works are under the influence of Buddhism, but intends to enlarge range of understanding about his poems through looking into Christian effect as the internalized others.

조선시대 애정소설에 나타난 사랑과 성

김지영(Kim Jee young) 한국고전여성문학회 2005 한국고전여성문학연구 Vol.0 No.10

이 논문은 조선시대 애정소설의 문학적 관습을 분석함으로써 당시의 애정관과 애정소설의 문화적 기능에 대해 추론하고 있다. '사랑'이라는 것은 시대와 장소에 따라 발견되는 방식과 절차가 다르고 그 안에 담긴 연인들의 이상과 좌절 역시 독특한 특징을 가질 만큼 문화적이고 역사적인 속성을 가지고 있다. 조선시대의 애정소설은 애정전기류에서 파생되어 전기적이면서 환상적인 요소를 보여주고 있지만, 점차 현실의 문제를 반영하며 남녀들의 사랑이 성장하기 어려웠던 조건을 보여주기에 이른다. 이 논문에서는 사랑에 대한 당대의 감각적, 문화적 맥락을 복원하고 비유적 표현과 애정시라는 담화 양식의 활용 방식을 살펴봄으로써 조선시대 애정소설에서 발견되는 고급한 문학으로서의 관습적 빗장을 풀고 조선시대 애정 이야기의 특징을 좀더 쉽게 풀어내보고자 했다. 조선시대 애정소설에서 남녀의 첫 만남부터 성애가 이루어지기까지 걸리는 시간, 만남의 장소, 연애과정과 시련, 이루어지지 않은 사랑의 비극적인 결과 등, 사랑의 세부 장면들을 자세히 들여다보면, 우리는 거기에서 일정한 사랑의 시나리오를 읽을 수 있다. 거리에서 만난 한 여인에게 반하여 한 달간 여인의 방밖에서 밤을 지새우는 서생, 양가집 담을 넘어 들어가 깊은 규방에 감춰져 있는 처녀를 멋들어진 시 한 수로 유혹하는 남성, 귀신이 되어서도 배필을 만나 운우지락을 이룰 것을 부처님께 탄원하는 여귀, 이웃집 선비에게 연정을 품다가 못 참고 한밤중에 그의 처소에 뛰어든 처녀 등의 생동하는 인물들, 이들이 주고받는 시속에 나오는 인물들과 관련된 고사가 압축하고 있는 장면들, 남녀의 감정을 표현하는 데 자주 사용된 사물이나 배경들, 애인들이 마음속에 품고 있는 이상적인 커플과 그들의 사랑이 규정되는 방식과 인용 상황들, 애정소설에서 사라진 혹은 억압되어 감추어진 관습과 그 의미 등이 이 논문에서 분석하고자 한 구체적인 대상이다. 여기서 우리는 사랑에 얽힌 당대의 여러 관습들을 추론해 볼 수 있다. 여기에는 실제적인 관습도 있겠지만 문학적인 관습이라 해야 할 것들이 더 많다. 조선시대 애정소설은 남녀의 사랑이나 성역할을 다르게 규정함으로써 일정한 패턴의 사랑 이야기를 만들고 있는 것이다. 하지만 특수한 사랑이야기에는 사랑에 대한 당대의 관습이 반영되어 있기 마련이다. 첫눈에 사랑에 빠진 남녀가 현실의 제약 조건들을 극복해가는 과정은 남녀 모두에게 결코 쉽지 않은 과정이었다. 애정소설에 동원된 여러 가지 고사와 비유적 표현들은 그러한 그들의 고민과 원망을 담은 채 낭만적 사랑의 관습을 이어가고 있다. 하지만 그 위에서도 현실과 문학의 상관관계를 살펴볼 수 있다. 남녀의 사랑에 초점을 맞추기 위해 '후사 잇기'라는 서사적 패턴을 과감히 생략하고 성애에 대해 이야기할 자리를 마련할 수 있었지만 사랑의 육체적 측면보다는 정신적 측면을 먼저 강조함으로써 사랑을 고상한 것으로 표현했다. 그 이유는 당대의 독서 관습에서 찾아볼 수 있다. 교훈적인 독법을 강조하는 조선시대 유교적 관습은 애정소설의 독법 역시 일정 정도 제한하고 있었다. 흔히 애정소설은 '음란'한 것으로 치부되면서도 교훈적인 효과를 거둘 수도 있다고 생각되었는데, 이러한 이중적인 독서 태도는 애정소설을 교훈적으로 읽는 독특한 방식을 마련하게 된다. 애정 소설에 흔히 표현된 '기이'라든가 '허망함', '망연자실' 등의 감상은 애정소설에 표현된 사랑이 현실에서는 이루기 어려운 것임을 깨달을 수밖에 없었던 당대의 독서 관습이 작품 속에 그대로 반영됨을 보여주고 있다. 말하자면 조선시대 애정소설은 사랑의 실패로 인한 허망함과 인생의 씁쓸함을 느끼게 해주는 특수한 '감정교육'의 역할을 했다고 생각해볼 수 있는 것이다. 이것은 일종의 상징적 차원에서 제안한 것이지만 애정소설이 씌어지고 읽혀졌던 나름의 특수한 문학적 맥락을 추정해 보는 노력의 일환이 될 수 있을 것이다. The purpose of this study is to elucidate the cultural function and literary convention of romance in Chosŭn. There were many pieces of romance which were written by men literati; they were of noble extraction and highly educated, but most of them couldn't have a chance to go into politics. Those romances were in general considered that they were influenced by their writers' class and desire. The theme of love that is pointed up in romances is, however, not able to be appropriated only by men or women, and I think that the given interpretations are resulted from somewhat a male-oriented perspective. Romances of Chosŭn offer diverse sources for past ways of loving and enable us to see lovers in years past and to shape the ways of love in their time. The way of representation for love and sexuality in a romance is fraught with several kinds of interferences of main discourse at those days. In this sense, love and sexuality of romances should be interpreted in the appropriate historical contexts and signified to retrieve the relationship and sexual politics between men and women. Although when those romances were at first written by men literati, they might be high quality literature. In fact, however, they were actually marginal texts in the Confucius tradition and incorporated with other novels in many narrative aspects. Those romances had been influenced and generated by Liu-chao(六朝)'s Zhi-guai(志怪) and Tang(唐)'s Chuan-qi(傳奇), which were characterized by weird and uncanny things, but they were getting close to reality, and in turn rendered the social world and historical context of the relationship. Love and sexuality represented in romances, however, isn't equivalent to the reality and we should be careful to the literary convention of romance developed in correlation with reality. In most of romances, we can see the discrimination, of the character of women's love from men's love. Love of women is a romantic love; when the spring comes and the autumn ripens, heroine of romance laments her own lot and indulges in reverie. Her love comes from the incorporation of reality and fantasy. Love of men, on the contrary, is a passionate love; hero of romance is fascinated by attraction and beauty of women, and steals into her abode to make a sexual relationship with her. However, love of men is more obscure than women's because romance is rendered not by the view of women but by the perspective of men. Love in romance, as a rule, can be said a romantic love in the sense that it makes compromise with the society in the problem of system of wedding. The resources of passionate love are concealed by metaphors accompanying clichés consisted of historical and canonical events. While this means that romances of Chosŭn have structural weaknesses and fragilities, instead, we can find through them some of the desire, the anxiety and ideal couples which people of Chosŭn had cherished. Following this axis, love stories have their own typical love scenario from beginning to end of love. When we speculate on the modes of love in romances, we can find which is received and which is rejected in romances. It is wedding and chastity of women that they receive, but it is the obligation of descending that they reject. In a patriarchal and Confucian society, love and sexuality are separate from each other, wedding and sexuality are directly combined. In this cultural background, it is difficult to find any erotic view in the relation of men and women. Romances of Chosŭn, therefore, obliterate the cliché of 'descending' that is the introductory part in other different kinds of novels and, are able to make enough room to narrate love and sexuality. However, it is not easy to grasp the way of representing the relationship between love and sexuality in Chosŭn romances. Romances represent love and sexuality as lofty one by poem of love and in tradition of instructive reading since negative evaluat

『사랑의 헛수고』에 대한 통과의례적 해석

홍기영(Ki-young Hong) 한국셰익스피어학회 2004 셰익스피어 비평 Vol.40 No.2

Love's Labour's Lost has been regarded as one of the most difficult and obscure comedies of Shakespeare. As the tittle of this comedy implies, love's labour is so full of word play and abstract talking that it seems to be lost. But love's labour is won after a long trial and endurance at the end of the play. The great amount of word play which caused some difficulty to approach this comedy is another merit to make the audience come back to the stage and readers to the text. In this paper, I tried to analyze the actions of the main men characters in Love's Labour's Lost by applying the rite of passage of anthropology. The period of separation, transition and incorporation can be traced through the actions of the main men characters. I pointed out that the four young men go through the long period of hardship and penance, but arrive at the last step of love achievement at the end of the play. The four young men of Navarre who swear to fast and study for three years take the course of the three steps of the rite of passage. The four young men are forced to break their vows by falling in love with the four young women from France. But the way of courting between the lovers of Love's Labour's Lost is very different from the other Shakespeare's romantic comedies. Especially the youthful King of Navarre with three other courtiers acts in a group, so there is no personal talk or action with his love partner. The love among the young men is implied in the word plays such as quibbling, jokes and punning or in writhing love poems. So the four young men seek their love only in the form of abstraction. The four young women make fun of their partners by way of testing their love. The four young men who are confined in the house of abstract study and fanciful love are driven and tested by their partners. At the end of the play, Shakespeare shows another aspect of treating with the final of his romantic comedies by making the Lord of Marcade appear with the news of the sudden death. By this abrupt ending, Shakespeare reassures the unreality of the merry courting of the young men before they are fully accepted by their partners. And by postponing love commitment for twelve months, Shakespeare emphasizes that the young men should be more trained to be in the state of maturity and incorporation.

매체와 코드로서의 사랑, 그리고 사랑 이후의 도시

정성훈(Sung-Hoon Jung) 인제대학교 인간환경미래연구원 2014 인간 · 환경 · 미래 Vol.- No.12

이 논문은 근대화 시대에 사랑의 탄생지였던 도시가 ‘사랑 이후의 도시’로 변화하고 있다는 진단을 내림으로써, 그에 따르는 ‘사랑 이후’에 관한 여러 물음들에 대한 답변의 실마리를 제공하고자 한다. 이를 위해서는 우선 사랑 혹은 연애가 도대체 어떤 관계를 뜻하는 것인지에 대한 규정이 필요하다. 필자는 사랑을 ‘친밀성의 코드화’를 이룬 ‘상징적으로 일반화된 커뮤니케이션 매체’로 간주하는 니클라스루만의 이론에 따라 사랑의 의미론이 변화해온 과정을 고찰할 것이다. 그리고 근대화 혹은 도시화가 왜 사랑과 깊은 연관성을 갖는지를 살펴보고, 근대 사회의 성립과 근대적 자아 형성에서 연애의 기능은 무엇인지 밝힐 것이다. 이 논문의 후반부는 정이현의 소설을 비롯한 최근 한국의 소설, 음악, 영화, 그리고 청춘의 현실에 관한 문헌들을 기초로 사랑 이후의 도시로 변화하는 서울을 진단할 것이다. 결론적으로 이러한 진단은 근대 사회 혹은 근대인의 기초가 흔들리고 있다는 문제의식과 밀접하게 연결된다. In this paper, I diagnose a change of urban life. It is the turn from the city of love to the post-love city. Through the age of modernization in Korea, the place which lovers met had been city. Nowadays radical individualism and the risk of exclusion are bringing about a turn to the post-love city. This diagnosis premises the concept of love. I regard love as a symbolic generalized communication media. This media has been coded for intimate relations. By Niklas Luhmann, the passionate love causes the coding of love and the romantic love causes the distinct differentiation of this symbolic media. Love as a coded media has formed the self-narrative of individual. In the Korean popular literature, music and cinema after 1990"s, young women and young men do not pursuit loving. Love is being pushed out for the individual life or the social inclusion. This change implies the crisis of modernity.

A Political Value of Love in Shakespeare's Antony and Cleopatra, against the Regime og Brothers

장선영 한국중세근세영문학회 2008 고전·르네상스 영문학 Vol.17 No.1

Shakespeare's Antony and Cleopatra shows how love could give an alternative value against the regime of brothers in Shakespeare's Antony and Cleopatra. This trial to find a new political value in love accompanies a critical perspective on the serious harm the western civilization has brought out. In the play, the regime of brothers consisted of the Roman triumvirate, Caesar, Antony, and Lepidus, though representing the ideal of Roman empire, is closely associated with imperialism, nationalism, and racism. Freud, in his Group Psychology and the Analysis of the Ego, defining the group as the constitution of group members under the ideal or transcendental leader, points out that this group lies in conflict with love. Freud also states that group includes in it the cruel hostility against others, whereas love shows a creative power that could cross the national and racial boundaries. As love is closely related with women group alienates women first. Therefore, thinking of women in the political realm means embracing not only the first others, woman but also other political sense of others, national and racial strangers. This hostile relationship between the regime of brothers and love can be each compared to the masculine and the feminine side in Lacan's sexuation. If the regime of brothers is related with the masculine subjectivity that assumes a certain exception, love is connected to the feminine subjectivity, its inconsistency or not-wholeness, which does not include an exception. In Antony and Cleopatra, Cleopatra consistently shows the feminine side's not-all subjectivity through her masquerade. Antony undergoes a subjective transformation which is affected by his love with Cleopatra, from the external division between his love and duty, to the internal division that indicates a shame about his being, his split subjectivity. In psychoanalysis, love, founded on a non-imaginary, non-natural, and non-human theory of sexual difference, is to mark a sexual impossibility, not the sexual fantasy of harmony. Antony and Cleopatra's not-all subjectivities and their love confirm this love that exceeds the sexual fantasy. This love provides a new political value against Caesar's imperial conquest.

사랑, 사랑의 신학 그리고 한국인의 정 -몰트만의 사랑의 하나님 이해를 중심으로

김정두 ( Jung Doo Kim ) 한국조직신학회 2014 한국조직신학논총 Vol.40 No.-

Based on the perspective and method of a theology of love, this article seeks a constructive notion of love and a new direction of Christian theology and practice for justice and peace in the contemporary context of the crisis of the world. Theology is a dis- cipline whose purpose is to disclose and share the love of God. A theology of love as love seeking understanding is that which be- gins with the experience and practice of love rather than a concept and abstraction. Based on the idea that love precedes and brings knowledge, the epistemology of love is suggested as grounds for the theology of love. This essay interprets and presents Moltmann’s theology as a theology of love for the contemporary world. His theology is cha- racterized by a theology of hope. However, one can find he deve- lops his own theology of love. For him, love is a trinitarian peri- choretic fellowship; God’s self-communication of the good; the odyssey or stream of the cosmic Shekinah within or through each self in the world; and kenosis as self-limitation. One of the most distinctive theses in his notion of love is that God suffers with the world. Moltmann argues and highlights that God is the compas- sionate God. For human beings, the response to and participation in God’s love is required. In his understanding of love, the dicho- tomy or binarity of agape and eros in the Western traditional dis- courses is deconstructed and overcome. Moltmann understands subjects from the perspective of intersubjectivity instead of the separated subjects that modern philosophy has assumed. In this way, Moltmann unfolds a new understanding of love. One can find that the Korean concept of jeong has deep and great resonance with Moltmann’s notion of love. Jeong is a unique Korean concept of love. It entails the dimensions of agape, eros, and other forms of love. It is a familial, sticky relationality which is formulated among interdependent and interpenetrating subjects who are open to the other beyond the separation and boundary bet- ween subject and object, affection and hate, or the oppressor and the oppressed. Jeong is deepened through go-eun jeong and mi-eun jeong while existing together in a certain time and place and sha- ring joy and suffering. It is an embodied, incarnated, and kenotic love. In this love of jeong, one can discern the potentiality of a Korean theology of love.

청년기 이성교제에 관한 내러티브탐구

이우금 평택대학교 피어선기념성경연구원 2012 피어선 신학 논단 Vol.1 No.1

This research was conducted based on love stories of young adults in a narrative inquiry. The subjects of inquiry are what young adults experience through love, what the love in young adults means to their life, and how different Christian’s love and non-Christian’s love are. The research shows that experience of love and the meaning make a significant difference depending on whether they have religion or not. The similarity and difference derived from the inquiry are as in the following. The first similarity between Christian young adults and non-Christians is that love changes. The second similarity is that love stories are being shaped by their own world views. The subjects(participants) in this inquiry had different love stories; Christian had their own love stories based on Christian world view; Non-Christian based on non-Christian world view. Third, the love is influenced by their original families. Fourth, the common feeling through love is happiness. The subjects(participants) described their feeling while they love the other; the feeling they expressed in common is happiness. The difference of love between Christian young adults and non-Christian young adults are as in the following. First, the source of love is different. The starting point of love is different between Christian and non-Christian. Second, two different groups have different priority of romance and commitment in the composition of love. Third, the meaning of commitment is interpreted in different ways between Christian and non-Christian. Fourth, non-Christian young adults and Christian young adults have different priority for their future stories in story profile. This inquiry tries to provide opportunities of reinterpreting individual love stories to consolidate relational identity with God. It was meaningful in the aspect of counseling to inquire what young adults experience through love and through which how the experience influence their life because young adults’ existential matter can be practically approached. 본 연구는 내러티브 연구방법을 사용하여 청년들의 사랑이야기를 심층연구를 하였다. 청년들은 사랑을 통하여 무엇을 경험하고, 청년기의 사랑이 청년기의 삶에 주는 의미는 무엇이며, 그 경험과 그 의미가 기독청년과 비기독청년의사랑에서는 어떻게 다르게 나타나는가를 연구문제로 설정하였다. 연구결과 청년들의 사랑의 경험과 의미는 신앙의 유무에 따라 확연히 다르게 나타났다. 연구의결과로 도출되어진 공통점과 차이점은 다음과 같다. 기독청년과 비기독청년의 사랑이야기에서 도출된 공통점은 첫째, 사랑은변한다는 것이다. 둘째, 자신이 가지고 있는 세계관대로 사랑이야기를 만들어 나간다는 것이다. 본 연구에 참여한 청년들은 기독교인은 기독교인의 세계관으로, 비기독교인은 비기독교인의 세계관으로 다른 사랑이야기를 가지고 있었다. 셋째, 사랑은 원가족 경험에 의해 영향을 받는다는 것이다. 넷째, 사랑을 통하여 공통적으로 느끼는 감정은 행복이었다. 참여자들은 사랑을 하면서 느끼는 감정을여러 가지로 표현했는데 공통적으로 나온 감정은 행복이었다. 비기독청년과 기독청년의 사랑이야기에서 도출된 차이점은 다음과 같다. 첫째, 비기독교인과 기독교인은 사랑의 근원이 다르다는 것이다. 사랑의시작점이 기독교인과 비기독교인은 다르게 나타났다. 둘째, 비기독교청년과 기독청년의 사랑의 구성에 있어 낭만과 헌신의 우선순위의 다르다는 것이다. 셋째, 비기독교인과 기독교인의 헌신의 의미가 다르다는 것이다. 넷째, 비기독청년과기독청년의 이야기 프로파일은 미래이야기에 대한 우선순위가 다르다는 것이다. 본 연구는 개인적인 사랑이야기의 지평을 하나님과의 관계적 정체성의 이야기로 확장시켜 주는 지평의 융합이라는 재해석과정에 이르는 계기를 제공하고자 하였다. 청년들이 사랑을 통하여 어떤 경험을 하며, 그 경험은 삶에 어떤 의미를 부여 하는지를 연구하는 것은 청년들의 실존 문제를 실재적으로 접근할 수 있어서 상담학적으로도 큰 의미가 있었다.

키에르케고어의 사랑론과 나르시시즘 그리고 교육

김동규 중앙대학교 중앙철학연구소 2023 철학탐구 Vol.72 No.-

이 글의 목적은 키에르케고어의 사랑론을 간결하게 요약하고, 그것의 정수가 성스러운 나르시시즘임을 입증하는 데 있다. 그러는 과정에서 본 논문은 그의 사랑론이 예수의 언행에 기초를 둔 대표적인 헤브라이즘적 사랑론임을 밝힐 것이다. 이 작업은 플라톤 사랑론과의 선명한 비교를 통해서 진행될 것이다. 마지막으로 사랑에 내재한 교육학적 차원이 맹목적인 사랑, 그 정열의 파고(波高)를 헤쳐 나가는 나침반 역할을 하고 있음을 보여줄 것이다. 키에르케고어에 따르면, 진정한 사랑이란 자기 부정과 희생을 통해 확보되는 이웃 사랑이다. 이 사랑은 신 앞에서 평등한 사랑이다. 반면 우리가 통상 사랑이라 부르는 것, 곧 에로틱한 사랑이나 우정의 본질은 편애다. 여기서 사랑의 대상은 또 다른 ‘나’에 불과하다. 편애를 통해서 궁극적으로는 자기를 사랑하는 것이다. 한편 사랑관계는 3자관계로서 사랑하는 사람, 사랑받는 사람, 그리고 사랑으로 구성된다. 여기서 중간항으로서의 사랑이 바로 키에르케고어가 이해했던 신(神)이기도 하다. 아름다운 사람만을 사랑의 대상으로 선택하는 플라토닉 러브와는 반대로, 키에르케고어는 못나고 추한 사람을 사랑해야만 한다고 주장한다. 못난 이웃이더라도 피조물에 내재한 신성(신과의 유사성), 즉 사랑의 씨앗이 감춰져 있기 때문이다. 이 점에서 그의 사랑관은 사랑(신과 자기 속의 신성)이 사랑(타인 속의 신성)을 사랑하는 동어반복적인 절대적 나르시시즘이다. 이렇듯 키에르케고어가 사랑을 절대화한 까닭은 ‘성장해야한다’라는 당위 때문이라고 해석할 수 있다. 그에게 교육의 당위는 사랑에 힘입어 무조건적이고 절대적인 것이며, 교육적 정향(Orientation)으로 말미암아 사랑은 맹신으로부터 거리를 둘 수 있게 되었다. This paper aims to concisely summarise Kierkegaard’s theory of love and demonstrate that its essence is absolute narcissism. The paper will compare Plato’s theory of love to Kierkegaard’s and show that the latter is derived from Hebraic traditions and is based on Jesus’s teachings. Finally, it will be shown that education is deployed as a device to prevent love, which occupies the highest ontological position, from falling into dogma and blind faith. Kierkegaard posits that neighbourly love, which involves self-denial and sacrifice, is the embodiment of true love. Thus, it is a love that emphasizes equality in the sight of God. However, the fundamental nature of what we commonly refer to as love, encompassing both erotic love and friendship, is based on personal preference. In this context, the object of love is another ‘self.’ Ultimately, in such relationships, one loves oneself. A loving relationship constitutes of three entities: the lover, the beloved and the love shared between them. Kierkegaard believes that God, as perceived by him, is represented by the concept of love as an intermediary. In contrast to platonic love, which chooses only what is good and beautiful to love, Kierkegaard argues that we should also love the ugly. This is because even an unattractive neighbor contains the seed of love by being a creature that resembles God. Thus, one can conclude that Kierkegaard’s view of love is the absolute narcissism, in which the divine in me loves the divine in others. Kierkegaard deifies love in this way because of the pedagogical imperative to grow up. For him, the pedagogical imperative is unconditional and absolute, driven by love, and the value of education helps to protect love from blind faith.