‘드보라 이야기’의 모호성 이해 ― 협력적 구원자들을 중심으로

장석정 한신대학교 신학사상연구소 2022 신학사상 Vol.- No.199

This study plans to shed some light on the ambiguity of judge-savior in the story of Deborah in Judges 4:1-24. I want to show that ambiguity exists in the text rather than interpret it with a preconceived ideology. At the same time, I want to deduce with logical thought why the author described the identity of a savior in such an ambiguous way. First of all, the fact that Deborah is a woman could be the reason for the ambiguity present through the whole story of Deborah. Judges like Othniel and Ehud came earlier than Deborah and played the role of both a judge and a savior. And Gideon, Jephthah, and Samson came later than Deborah and were also judges who played the role of both a judge and a savior. In this respect, Deborah is a unique case of the judicial judge, instead of a warrior-judge. If Deborah is a warrior-judge, she could have played the role of both a judge and a savior. However, the first and the only female and judicial judge, Deborah could not have done it. In her case the role of a savior was divided into three different individuals, two women and one man: Deborah, Barak, and Jael. The savior who was supposed to save the Israelites from the bondage of the Canaanites, is no longer limited to a single male judge nor an ethnic community of the Israelites. In the chaotic situation of the exilic period, the Israelites could not help living with the Canaanites in the promised land. Also, the outstanding ability of Ehud led Israel to rely on the male human figure rather than YHWH. Therefore, the story of Deborah shows the crucial point that YHWH raised a savior who would save the Israelites regardless of their sex or ethnicity. Furthermore, the author clearly shows that God is always behind the scene in Judges by emphasizing the point that although all three people have their reason for disqualification for a judge-savior, through YHWH’s work, all three of them could play the role of a savior, that is as cooperative saviors. 본 논문은 사사기 4:1-24에 기록된 ‘드보라 이야기’를 분석하여 이 이야기 속에 나타난 ‘모호성’과 드보라, 바락, 야엘의 협력적 구원자의 역할 분담을 조명하는 것이다. 저자가 의도적으로 설정했다고 판단되는 모호성이 분명히 존재하고 있다는 것을 보여주는 것과 동시에 이렇게 저자가 구원자의 역할을 세 명에게 분담시킴으로써, 각자의 역할과 동기에 있어서 모호성이 나타나는 이유에 관해서도 논리적인 추론을 시도해 보았다. 우선적으로 드보라가 유일한 재판 담당 사사라는 점과 예언자라는 점이 드보라 이야기 전체에 드리워진 모호성의 원인이 될 수 있다. 그녀보다 앞뒤에 기록된 옷니엘과 에훗, 기드온, 입다, 삼손의 경우에는 사사가 곧 구원자의 역할을 겸임하는 ‘1인 구원자’였으며, 드보라 이야기는 드보라, 바락, 야엘이 협력적으로 구원자 역할을 하는 ‘협력적 구원자’의 독특한 경우를 보여주고 있다고 하겠다. 전쟁 지휘관을 맡은 사사였다면 혼자서도 구원자의 역할을 겸직할 수 있었겠지만 처음 시도되는 재판 담당 사사의 경우에는 구원자의 역할을 두 명의 여성과 한 명의 남성이 협력적으로 분담하는 모습을 보여준다. 이방 족속의 억압에서 이스라엘을 구원하는 구원자는 더 이상 한 명에 국한되지 않으며, 남성만 되는 것도 아니고 이스라엘 자손에 한정되지도 않는다는 것을 알 수 있다. 포로기의 혼란스러운 상황 속에서 이스라엘은 약속의 땅에서 이방 족속들과 공존하면서 살아가야 하는 처지가 되었다. 때문에 성별이나 민족에 상관없이 여호와 하나님은 구원자를 세워주시고 이스라엘 자손의 구원을 감당하게 하신다는 것을 ‘드보라 이야기’는 보여준다. 또한 세 사람이 모두 그 역할이나 행동의 모호성을 보여주면서 동시에 나름대로 독특성을 가지고 있었기 때문에, 여호와 하나님이 역사하심으로 세 사람이 모두 ‘협력적 구원자’의 역할을 할 수 있었다는 것을 강조함으로써, 구원자로 세우심을 받은 모든 사사들의 뒤에는 하나님이 계심을 사사기 저자는 분명히 알려주고 있다.

박지원 <삼종형수록대부금성위겸오위도총부도총관증시충희공묘지명(三從兄綏祿大夫錦城尉兼五衛都摠府都摠管贈諡忠僖公墓誌銘)>의 구조와 서술전략 : 정조 <錦城尉朴明源神道碑銘幷序>와의 비교를 통해

정순희(Sun hee Jeong) 어문연구학회 2015 어문연구 Vol.83 No.-

박지원은 정조의 명에 따라 을 쓴다. 그 묘지명은 정조의 와 비지류의 구성 요소, 구성의 전개 과정, 어휘에서 상당히 비슷하다. 두 작품은 주제상으로도 서로 긴밀하게 연결된다. 에서는 박명원이 어떻게 '충희(忠僖)'로운 삶을 살았는지를 보여주고, 에서는 박명원이 정조에게 어떤 '은인(恩人)'인지를 보여준다. 이때 '충희'와 '은인(恩人)'은 각각 신하와 임금의 입장에서 박명원을 규정한 말일 뿐, 박명원을 중심으로 보면 같은 말이다. 에서 박명원은 할아버지(영조(英祖))로 인해 아버지(사도세자)를 잃은 정조의 '슬픔'을 깊이 슬퍼하고, 사도세자의 묘 이장을 실현시킴으로써 정조의 '슬픔'과 실천적으로 연대한다. 그 '슬픔'과 연대의 과정이 바로 '충희'와 '은인'으로 명명된 박명원의 삶이라는 말이다. 박지원은 을 통해 박명원과 정조 사이의 이해와 연대를 보여주며, 동시에 과 박명원을 사이에 두고 박지원 자신과 정조 간의 이해와 연대도 함께 보여준다. 박지원은 또한 과 박명원을 사이에 두고 정조와 대립하기도 한다. 에서 정조는 박지원의 『열하일기』를 박명원의 저작이라고 밝힌다. 이것은 '문체반정(文體反正)'을 염두에 둔 정조의 도발이다. 이에 대해 박지원은 박명원의 에서 자신의 8촌형 박명원에게 글쓰는 재주는 없었노라고 밝히며 정조와 대립한다. 박명원은 박지원과 정조에게 각각 다르게, 결정적인 영향을 준 사람이다. 박지원과 정조는'문체반정'과 관련된 대표적 신하와 임금으로서, 자의식 강한 '작가(作家)'로서, 박명원의 행적을 담는 비지류 산문을 통해 연대하고 대립하는 것이다. Ji-won Park inscribes Myojimyeong for Myeong-won Park, which iSamjonghyeongSurokdaebuGeumseongwiGyeomohwidochonggwanJeungsichungheegongMyojimyeong>. It is similar to of King Jeongjo as well as composition, development process and word of Bijiryu. Two works are closely related to each other in the topic. Myeong-won Park shows us how to live a faithful and happy life in Myojimyeong, and gratitude for King Jeongjo as a savior. Specifically, 'ChungHee' and 'savior' are words used to define Park Myeong-won from vassal and king, but they are the same words based on Myeong-won Park. In Myojimyeong, Myeong-wonPark deeply grieved for King Jeongjo who lost his father(Prince Sado), and practically band together with King Jeongjo's sadness by moving the grave of Prince Sado. Solidarity with the sadness is Park Myeong-won's life designated as 'ChungHee' and 'savior'. Ji-won Park shows understanding and solidarity between Myeong-won Park and King Jeongjo as well as between he and King Jeongjo. Furthermore, Park Ji-won sometimes conflicts with King Jeongjo between Myojimyeong and Myeong-won Park. In Shindobimyeong, King Jeongjo determines that 『YeolhaIlgi』 is Myeong-won Park's writing. This is a provocation of King Jeongjo based on Munchebanjeong. Ji-won Park is opposed to King Jeongjo on this because he determines that Myeong-won Park, a third cousin, does not have a talent in writing in Myojimyeong. Myeong-won Park is a person who influence differently to Ji-won Park and King Jeongjo. Ji-won Park and King Jeongjo are a vassal represent and king related with Munchebanjeong and self-conscious writers. In addition, they band together and conflict through Bijiryu prose which includes track of Myeong-won Park.

The “Day-Star” Symbolism in Milton's Lycidas

이병은 한국중세근세영문학회 2014 고전·르네상스 영문학 Vol.23 No.2

From l. 165 of Lycidas the speaker tells his fellow shepherds to stop weeping because Lycidas is not really dead even though he has sunk beneath the ocean. Next the speaker gives us a simile saying Lycidas will rise again like the “day-star”: “For Lycidas your sorrow is not dead, / Sunk though he be beneath the wat‘ry floor, / So sinks the day-star in the Ocean bed, / And yet anon repairs his drooping head, / And tricks his beams, and with new-spangled Ore, / Flames in the forehead of the morning sky.” Here the salvation of Lycidas is assured and prepared for by analogy of the “day-star.” Most of Milton critics have glossed the “day-star” as the sun, but I think that the word symbolizes Christ the savior. The “day-star” has been a biblical, patristic, medieval, and Renaissance symbol of Christ. The premier exhibit is a messianic prophecy of Malachi 4:2, and various patristic writers develop this biblical symbol. Cyprian, for example, in De dominica oratione: “When we at the sinking of the earthly day pray and ask that the light might come over us again, then we therewith ask for the coming of Christ, who will confirm for us the mercy of eternal light, for Christ is the true sun and the true day.” In the Middle Ages the connection between Christ and the sun was well understood. In Norway, for example, Olaf Trygvasson, when his men were about to strike down an image of Thor, pointed to the east and asked the assembly to behold his own god riding in the glorious light. Something may no doubt be gathered of vague hope for Lycidas’ resurrection from the diurnal dipping and rising of the sun, and the poem undoubtedly builds upon a pagan substructure; but the Christological reading is necessary if the analogy of the sun and Christ is to have the effect that the poet intends. For Lycidas is saved not by the daily return of the sun of the watery depths but by the symbolic meaning of Christ returning from the world of sin, tribulation, death, and punishment. The verses in ll. 165-171 help, thus considered, to harmonize the Apollo-theophany in ll. 77-84 and the overt reference to Christ as “Him that walk’d the waves.” They call to mind Christ’s suffering and death and his gathering in the souls of the elect during the Harrowing of Hell. The verses prepare for the apotheosis of Lycidas in ll. 174 ff. They deepen the images of the “two massy Keys” -- “The Golden opes” (the sun-Christ opens the doors of Heaven); “The Iron shuts amain” (the sun-Christ closes the door of Hell).

포스트 레이스 시대 흑백 버디 영화와 모호한 관객성: 영화 <그린 북>

이형숙 문학과영상학회 2024 문학과영상 Vol.25 No.2

Green Book is a biracial buddy film based on the true story between Black pianist Don Shirley and his white driver, Tony Vallelonga. The story focuses on their two-month concert tour in the Deep South of America in the 1960s when the Jim Crow Laws impeded every step of their itinerary. Despite winning the Best Picture Award at the Oscars, the film faced both harsh criticism and praise. Much of the criticism stemmed from concerns that the film repeats the narrative cliches of the “white savior” or “magical negro” formula. However, these familiar narrative structures takes a slightly different path in this film. The film does not provide an anticipated or easy identification for its spectators and ultimately places them in an ambiguous position, offering less visual and emotional pleasure than earlier films with similar formulas. This study suggests that such an ambiguous and un-cathartic spectatorship, structured into Green Book, reflects a crucial aspect of post-racial Hollywood.

칼 필립 엠마누엘 바흐의 “구세주” 음악 스토리텔링에 관한 재조명에 대한 연구

이선영 한국문화융합학회 2023 문화와 융합 Vol.45 No.3

본연구는 18세기의 경건주의가 감정의 중요성을 새롭게 인식시켜 “감정과다”로 함부르크와 유럽에 “구세주” 테마에 신드롬이 되었던 바흐의 오라토리오 ≪예수의 부활과 승천≫의 재조명에 대해 논의하는 것을목적으로 한다. 그것은 음악의 케리그마를 찾고 복음의 이야기를 바흐의 음언어로 말하는 것을 밝히는 것이다. 연구 방법은 음악 분석적인 조사로 접근한다. 본 연구는 결국 바흐의 “구세주” 음악 스토리텔링이 바흐의 감정과다 양식 속에서 “리릭 오라토리오”의 개념으로 “종교 콘서트 오라토리오” 장르의 틀 속에서 새로운 길을 모색한 독창적인 작곡의 원리임을 드러내었다. 바흐의 “구세주”에 관한 음악 스토리텔링이 포스트모던 시대의 한국 땅에서 재조명되기를 기대한다.

영화를 통해 본 교육 현실 읽기 : '죽은 시인의 사회'를 중심으로 Dead Poets Society and its Enemies

정재찬 한국교육인류학회 2003 교육인류학연구 Vol.6 No.2

본 연구의 목적은 ‘죽은 시인의 사회’라는 영화 텍스트가 드러내는 다양한 스펙트럼을 분석적으로 읽어냄으로써 우리 교육 현실에 대한 하나의 해석적 텍스트를 생산해 내는 데 있다. 이에 먼저 영화 속 키팅 선생이 이상적 교사상으로 인식되는 이유를 밝히고자 했다. 그 결과, 학생들의 해방을 꿈꾼 키팅은 구원자이자 교사로서의 예수 이미지에 매우 근사함을 알 수 있었다. 그러나 교육 내용과 방법을 분석해 보면, 그는 지나치게 낭만주의적이었다. 그는 주체와 개인 의지에 대한 강렬한 믿음을 전제로 하여 교육의 의미를 개성의 해방 쪽으로만 경사해서 이해하는 태도를 드러내며, 이론에 대한 저항을 보이지만, 이로 인해 스스로가 또 본질화되는 결과를 낳게 된다. 제자들은 기존 모델로부터 해방되어 새로운 모델, 곧 키팅의 권위 체계 속으로 재편입되고, 결국 낭만과 현실의 경계에서 비극이 발생하고 만다. The present research aims at enhancing meaningful interpretation of the full spectrum of the text, "Dead Poets Society", and reflecting upon how its impact would spill over into the analysis of the present status of our educational system. A common reaction to this movie is one of admiration and appreciation that Keating in DPS may indeed be a hero and an ideal teacher. Why? It’s because he is the picture of Jesus Christ as the teacher and savior. He was seen as an emancipatory teacher freeing his students from a conservative viewpoint. He may well have been a romanticist with his radical teaching methods and will to challenge the traditional knowledge. But, so obsessed by the idea of emancipatory education that he resisted to theory itself and strongly demanded his students to explore their own individuality and challenged them in their traditional thinking, yet he himself regressed to be naturalized. Therefore, his students could be liberated from the authority of the traditional model, but they only transferred to the another model, that is, Keating’s authority. Eventually, their transformation left a tragic consequence, because the reality still had a power to prevent them from resisting to the traditional order and authority.

바다 위를 걸으신 예수의 기적 이야기(막6:45-52)에 나타난 출애굽 이미지 연구와 새 출애굽으로서의 신학적 의의

김선욱(Sun Wook Kim) 한국복음주의신약학회 2016 신약연구 Vol.15 No.2

This study argues that Jesus' walking on the sea (Mark 6:45-52) reflects the victory at the Red Sea (Exod 14, 15), presenting that Jesus' sea miracle has the significance of the New Exodus. In order to prove this, I discover Exodus' images, motifs, and theme in this story. Many scholars think that the main focus of this story is to show Jesus' divine epiphany, which manifests Jesus as equal to God. Investigating the scenes of God' s epiphany in the Old Testament, the scholars have attempted to relate them with the story of Jesus' walking on the sea. However, I believe that the main theme of this story is salvation that Jesus delivers his disciples in the peril of wind-swept sea and his epiphany serves as the supplement of presenting his salvific work: the rescue and epiphany motifs play a role in developing this sea-miracle story. For the rescue of his disciples by calming the storm-swept sea, in the previous sea miracle (Mark 4:35-41) Jesus rebukes the roaring sea by his words, and in this story Jesus walks on the wild sea by his divine epiphany. Here the sea is a chaotic force threatening the disciples' lives. The rescue and epiphany motifs in Jesus' walking on the sea also appears in the victory at the Red Sea, in which both stories bears similarities. More specifically, the parallelism between the two stories appears in terms of words and phrases, settings, and theme. First, a number of equal words and phrases are discovered in the two stories. Second, the settings of time and space are also similar: The time is at dawn and the space is the sea. Finally, the central theme is same the deliverance of God's people with epiphany- and the rescue and epiphany motifs serves as the means to deliver this theme. Both stories focus on the rescue of people in danger. The Egyptian army was pursuing the Israelites with the threat of death, and the Red Sea blocked their escape. God delivered the Israelites by parting the water, and they safely crossed the sea. Likewise, the disciples who were ordered to go to the opposite side of the Sea of Galilee were endangered by a furious storm. Jesus rescued the disciples when he climbed into the boat with them, and they safely crossed the sea. In both stories the rescue comes with epiphany. God appeared in the pillar of fire and cloud in the midst of the sea (Exod 14: 24) and exterminated the Egyptian army. Similarly, Jesus appeared before the disciples in the midst of the sea (Mark 6:48) and calmed down the storm. In conclusion, Jesus redemption of his disciples from the chaos-sea with his epiphany signifies his salvific work as the New Exodus, manifesting Jesus as the universal Savior.

여성 구원자와 하나님 어머니: 세계평화통일가정연합의 독생녀론 고찰

주재완 한국평화종교학회 2022 평화와 종교 Vol.- No.13

In religious history, the religions centered on the masculine gods and male saviors have formed a male-centered culture. Unlike them, Family Federation for World Peace and Unification (hereafter FFWPU) understands that God possesses yin-yang attributes and savior is parents. FFWPU believes in its founder couple as saviors, and calls them True Parents. These characteristics lead to the expectation that the FFWPU’s culture is more gender-balanced. However, until the theology of the Only Begotten-Daughter appeared, FFWPU tended to interpret the God with yin-yang attributes as masculine and father, and view True Parents from a male-centered perspective. The theology of the Only-Begotten Daughter that is based on Hak Ja Han’s new teachings is developing FFWPU to a more gender-balanced religious organization. The theology is transforming the male-centered interpretations of the doctrine and the male-centered culture into gender-balanced interpretations and culture. Particularly, it reinterprets the views of God and the savior True Parents, and this influences to reconstruct the thought system and culture of FFWPU. The theology redefines the yin-yang God as Heavenly Parent in whom Heavenly Father and Heavenly Mother are harmoniously unified, not masculine and father. The forgotten female divinity is recovered as God the Mother. The theology understands True Parents from a gender-balanced perspective. True Father is a male savior, the Only-Begotten Son of God, and True Mother is a female savior, the Only-Begotten Daughter of God. The unique experiences of women are redescribed as the holy essence of salvation. 종교사 안에서 대체로 남성 신과 남성 구원자를 중심한 종교는 남성 중심적 문화를 형성해왔다. 가정연합은 그와 다르게 음양적 신관과 부부 구원자관을 가지고 있다. 이러한 사상적 특징은 가정연합이 더 남녀평등의 문화를 형성할 것으로 기대하게 한다. 그러나 독생녀론이 나오기 전까지 가정연합은 남성 구원자 중심의 신앙관에서 음양의 신을 남성격이며 아버지로 이해하고, 부부 구원자를 남성 중심으로 이해하는 경향이 컸다. 한학자의 새로운 주장에 근거한 독생녀론은 가정연합을 남녀 평등적 교단으로 발전시키고 있다. 독생녀론은 교단의 남성 중심적 교리 해석과 문화를 남녀 평등적 교리 해석과 문화로 전환한다. 특히 신관과 구원자관을 재해석함으로써, 교단 전체의 사상과 문화를 재구성하도록 영향을 준다. 독생녀론은 음양의 신이 남성격이며 아버지만이 아니고, 아버지와 어머니가 조화된 부모이며, 신의 속성인 양성과 음성은 서로 수평적인 조화를 이루도록 재해석했다. 그 가운데 잊혔던 여성적 신성 곧 하나님 어머니를 교리와 신앙의 전면에 회복했다. 구원자로 믿는 교조 부부는 동등하게 조화를 이룬 남성 구원자와 여성 구원자 부부라고 재규정했다. 여성도 남성과 동등한 거룩한 구원의 주체가 되며, 특히 여성 고유의 경험이 구원의 본질을 구성하는 신성한 것이라고 정의되었다.

18세기 ‘해도진인설’의 변화 양상과 의미

박상현(Park, Sang-hyun) 한국역사연구회 2015 역사와 현실 Vol.- No.96

At the end of the 17<SUP>th</SUP> century, there was a tale of a ‘savior,’ who would emerge from an island on the sea, and come to the shore to save the people. It was a unique form of Docham beliefs, which the people would not have witnessed before. In incidents that would involve rumors or social disruptions, this tale was seemingly used to recruit new followers or instigate a political upheaval. It also continued to appear in newly rising religions and their propagation. This particular tale, which managed to retain its influence for many years, was also inserted in the most renowned prophecy book of the Joseon period, Jeong’gam-rok, and is now considered as one of the most crucial tales amongst others. So far, this particular notion of a savior from the island on the sea was mainly examined as part of Jeong’gam-rok?centered studies. In the process, the tale itself ended up being considered as merely a part or portion of Jeong’gam-rok, and the question of how this particular tale, and of course all the others as well, came to be included in Jeong’gam-rok in the first place was never adequately addressed. It is not sure whether or not this tale was part of Jeong’gam-rok from the very beginning, or it had existed separately and then came to be inserted at a particular time point. Judging the contents, however, it is highly possible that this ‘savior from an island’ tale had not been part of Jeong’gam-rok at all in the past. So a new perspective, suggesting the possibility that this tale was never originally part of Jeong’gam-rok, should be employed in future studies of this tale. Such approach would contribute not only to the evaluation of the meaning of this tale but also to the task of determining Jeong’gam-rok’s own history and nature.

Born on the Fourth of July: From Victim to Savior

Kang, Hyeong-min 한국현대영미드라마학회 2020 현대영미드라마 Vol.33 No.1

Based upon Ron Kovic’s autobiography, Olive Stone’s Born on the Fourth of July dramatizes how the protagonist, Ron Kovic, has progressed from a victim of the nation to a savior of the nation. At first, Kovic believes in the values of American society and American Myth. More specifically, Kovic truly follows the values represented by American institutions: family, community, military and history. However, through his experiences in the Vietnam War, he has disillusioned with the existing values since he comes to believe that those values are nothing but lies. Through its three-part dramatic structure, part one of Born on the Fourth of July shows the process of how the traditional American ideology has brainwashed and sent the innocent protagonist to the Vietnam War and sacrificed him. Paralyzed from the chest down because of his wound in Vietnam, the protagonist returns home and begins to experience the home front in part two of the film. Although the protagonist has become disillusioned with the American institutions and their values on the one hand in his war on the home front, he has also come to terms with his own mistakes and damaged self on the other. Thus, in part three of the film, the protagonist emerges as the national savior equipped with his new political and moral awakening as well as his anti-war activism.