아리스토텔레스에 있어서 요소들과 제일 질료의 관계

손윤락(Sohn, Yun-Rak) 한국서양고전학회 2009 西洋古典學硏究 Vol.37 No.-

전통적인 해석에서는 아리스토텔레스의 존재론을 큰 틀에서 볼 때, 존재의 위계에서 정점에 있는 완전 현실태인 신에 대칭하는 위치 즉 가장 하부에 “순수 잠재태”로서 “제일 질료”(pr?t? hyl?)가 필요하다고 본다. 한편 이 전통에 반대하는 쪽에서는 아리스토텔레스의 텍스트에 나타나는 이른바 “제일 질료”라는 용어와 이에 관련한 언급들은 요소들(stoicheia)을 가리키는 것이지 요소들이 그것으로부터 생겨나는바 어떤 “원질” 같은 것은 아니라고 주장한다. 양쪽의 견해는 지금까지도 서로 대척점에 서 있는 것으로 보인다. 그러나 최근의 연구 결과들을 볼 때, 전통적인 해석의 반대편 주장이 텍스트 상의 근거를 적잖이 가질 뿐 아니라 아리스토텔레스의 존재론의 큰 틀에서도 전통적인 해석보다 더 타당한 그림을 내놓고 있는 것으로 보인다. 본고는 이를 입증하기 위해 “제일 질료”가 언급된 구절들을 하나하나 분석하는 통상의 방법을 사용하는 대신, 『생성소멸론』 Ⅱ 권 4장에 나타나는 요소들의 생성에 관한 구절들을 분석하고 그 메커니즘을 살펴보기로 한다. 우리는 이를 통하여 아리스토텔레스의 자연 철학에서 이러한 순수 잠재태로서의 “제일 질료”라는 개념은 불필요하며, 오히려 배제되고 있다는 귀결에 이른다는 사실을 보여주려고 한다. The friends of traditional interpretation of Aristotle’s philosophy affirm that, on a larger scale of his ontology, it is necessary that the prima materia (prote hyle) as “pure potentiality” exists at the bottom of the hierarchy of beings (t?n ont?n) and just at the antipode of the God who exists at the top of the hierarchy as “pure actuality”. However, on the other side of the traditional interpretation, there is a group of scholars who argue that the term “prote hyle” and the mentions relative of this word occurred in the texts of Aristotle indicate the simple bodies(hapla s?mata), i.e. the four kinds of elements(stoicheia) - fire, air, water, earth - and not an “arche-matter” from which the elements might come to be. Until now the two positions about the concept of prima materia stand still on the parallel lines. But the recent results of research seem to give us some more textually established reasons to this old dispute, in favor of the anti-traditional interpretation. To prove this point, we do not use the general method of anti-traditionalists who seek the meaning of the word prima materia as elements in its occurrence in all texts, but we analyse the phrases on the generation of elements in GC Ⅱ 4 and see how the mechanism of elemental transformation goes exactly. Through this work we are attempting to show that the concept of “prima materia” qua “pure potentiality” is not necessary in the natural philosophy of Aristotle, and in all his ontology.

Psychological Meaning of Western Alchemy from the Jungian Standpoint of View

Lee, You Kyeng 한국분석심리학회 1996 心性硏究 Vol.11 No.1-2

김소진 소설 연구

양선규 대구교육대학교 초등교육연구소 2009 초등교육연구논총 Vol.25 No.1

김소진 소설의 주제 형성 층위를 흙, 공기, 불, 물의 상상력이라는 네 가지 국면에서 살펴보았다. 4원소의 물질성에 기대어, 작가 김소진은 부자유친이라는 토대적 상상력을 바탕으로 유친의 글쓰기로 나아간 작가라는 전제를 하고, 그의 소설이 민중적 연대감에 입각한 묘사의 힘을 중시하고 있으며 트라우미적 기억을 변용시켜 실존과 역사를 통합하는 계기를 만들고 있음을 확인하였다. 그에 덧붙여 부자일여(父子一如), 혹은 모성성을 대상으로 하는 근친적 에로티즘(incestuous eroticism)이 곧 프리마 마테리아로의 귀환을 통한 재생의 성수(成遂)를 위한 전통적 서사규범의 원용이었음을 밝혔다. Kim So-jin's novels are known as a kind of 'family fantasytromance)' in which the son narrator as a hero continuously questions his father's historical and existential evidence, tracing back his family line, to escape from his insecure identity. However, secure identity seeking motif is just one way to evaluate his novels, which virtually have a number of distinctive structures characterizing them. Kim So-jin's novels show an conscious, and unconscious, effort to place the harmony and balance of his diverse writer's consciousness, which are characterized as follows: a structure of identity narrative as a recovery of self-identity through 'friendship between father and son', a psychological approach as a mutation of trauma, writer's consciousness to realize the will to reform, a will of salvation through womanhood or motherhood as prima materia, a problem of social existence of the rule and obedience or will to power shown by employing a child narrator or companion of labor movement to describe the basic collectivity, and a serious attitude on the discovery of cosmological understanding of life based on eroticism. This varied textuality is due to the young writer's occupational writer's consciousness. In sum, the structures of Kim So-jin's novels are categorized as four types. Those are a 'friendship between father and son' and a problem of father-friendly writing as an identity narrative, a problem of narrative completion based on literary intention and a fellowship of peopleipopular collectivity) as a means of reforming reality, a problem of power revealed through a traumatic memory and the rule and obedience, and a problem of salvation through womanhood and eroticism as prima materia. These four structures function complementarily based on the equally assigned authorial attention, and work for the completion of his novels showing tight structure of mutual competition and joint for the balance and harmony, or for insuring the wholeness. This resembles ancient people's material imagination which consider the world as a combination of four basic element which control each other. This article considers that the four structures have the same connotation as the 4 elements <Earth, Air, Fire, Water> have, in that the implication of the material imagination of <Earth, Air, Fire, Water>, and their thematic significance perfectly correspond with the 4 structures shown in Kim So-jin's novels.

연금술과 ꡔ네 사중주ꡕ

손기표 한국T.S.엘리엇학회 2013 T.S. 엘리엇 연구 Vol.23 No.2

엘리엇은 ꡔ네 사중주ꡕ에서 시간과 공간을 초월하는 정지점을 탐구한다. 이 탐구는 고대와 중세의 연금술사들이 광물을 금으로 바꿀 수 있는 현자의 돌 또는 라피스를 찾는 탐구와 유사하다. 그들은 현자의 돌의 원질료라 할 프리마 마테리아(prima materia)가 자연의 네 원소인 흙, 공기, 물, 불에서 나온다고 믿었다. 엘리엇 역시 ꡔ네 사중주ꡕ에서 자연의 네 원소를 탐구한다. 엘리엇의 흙은 흑암과 연결되지만 긍정과 부정이 공존한다. ꡔ네 사중주ꡕ에 나타난 물 요소 역시 죽음과 삶의 자연적 리듬을 반영한다. 「번트 노튼」의 장미원은 연금술의 현자들의 장미원과 일치하며 대극의 합일을 통한 개성화 과정을 나타내고 있다. 물의 대극으로서 불 또한 이중적 의미를 갖는다. 천상으로부터의 긍정적인 빛과 지하계로부터의 부정적 불이 그것이다. 이 네 요소를 바탕으로 삼라만상이 삶과 죽음 그리고 부활을 반복하면서 끝없이 순환하며 정지점이 그 중심에 있다. 결국, 연금술사들은 그들이 탐구했던 현자의 돌이 물리적 세계가 아닌 자신들의 의식 속에 있음을 깨닫게 된다. 엘리엇의 정지점 역시 현자의 돌과 마찬가지로 우리의 의식에 있으며, 이 정지점은 시간과 무시간, 그리고 순간과 영원을 매개하는 그리스도이다.

Tasan Chŏng’s and Leibniz’s Concept of God Viewed in the Light of Neo-Confucian Tradition

Werner Gabriel 재단법인다산학술문화재단 2010 다산학 Vol.- No.16

Leibniz may be regarded as the only major European philosopher who dealt with Chinese philosophy in an appropriate and fundamental manner, i.e. in a philosophical way. Leibniz discusses this problem thoroughly in a long letter addressed to the French nobleman de Remond (Lettre de Mons, Leibniz sur la Philosophie Chinoise àa Mons. de Remond, 1716, in the year 1716.)The possibility of rapprochement between Christianity and Chinese culture depends on the question whether there are basic concepts in which we can recognise the Christian concept of God, so that on this common basis we can conduct a dialogue. A first candidate for such a concept, of course, is lĭ., as a spiritual and immaterial substance. “The basic principle of the Chinese is called lĭ., which is fundamental reason, on which all nature rests, a reasonable and universal substance. There is nothing greater than lĭ.. This great and universal cause is pure, tranquil, without body and without form and it can only be grasped by reason.” (Lettre 419)“Having considered all this, would one not be obliged to say the Chinese lĭ. is the sovereign substance, which we venerate by the name of God?” (Lettre 423)In opposition to this theory we find those who say that the lĭ. simply means the law of nature and therefore represents a purely materialistic philosophy. As we know, Buddhism teaches that all phenomena of our world are void, that in this sense they don’t exist. This “destruction” of the phenomenal world constitutes a great difficulty in the reception of Buddhism by the Chinese tradition, and it constitutes the main point of attack in the polemics against Buddhism put forward by the revived Confucianism, from the 10th century onwards. “When we understand that the Great Emptiness is the same as the visible qìi, we realise that there is no Nothingness.” (Zhang Zai)The lĭ., then, is what lifts the phenomena out of the stream of changes, and also separates them by distinguishing them. When a thing wanes it is abandoned by its lĭ.. For this reason alone the lĭ. is imperishable, it is situated beyond change, it is therefore unchanging, eternal. “It would seem that the Ether is dependent upon lĭ. for its operation. Thus when there is a condensation of such qìi, lĭ. is also present with it. It is the qìi that has the capacity to condense and thus create, whereas lĭ. lacks volition or plan…” (Zhu Xi)Tasan recognised this problem in all its acuteness and investigated it. The Western concept of God leads him to a revision of the concepts lĭand qì(. Kim writes:“Tasan thus introduces a new idea to the debate. Faced with the alternative of lĭor qì he sides with qì), but he adds that this qìby no means is matter, but, on the contrary, something of utmost spirituality, i.e. the divine, creative force itself, which endows the lĭ)’s with reality. One could, perhaps, say that Tasan thus successfully proceeds from taking the foundations of classical Chinese philosophy as his basis. In his case, this approach succeeds through mediation by the living, personal God of the Judaic-Christian tradition.” (Kim Shin-ja, Das philosophische Denken von Tasan Chŏg, Frankfurt/Main: Peter Lang Verlag, 2006, S. 180).