NDSL 296 Link page¿¡¼­ [¿ø¹®º¸±â] ¹öÆ°À» Ŭ¸¯Çϼ¼¿ä.

[±¹³» ÇÐÀ§³í¹®]

¿¹¼ö ±×¸®½ºµµ²²¼­ °¡Àå È®½ÇÇÏ°Ô °¡¸£ÃÄÁֽŠ°ÍÀÌ ¹Ù·Î Áֱ⵵¹®ÀÌ´Ù. ÀÌ ±âµµ´Â À¯´ëÀÎÀÇ Çü½ÄÀûÀÌ°í ¹ÎÁ·ÀûÀÎ ±¸¿øÀÇ ±âµµ°¡ ¾Æ´Ï¿ä, À̹æÀεéÀÇ ±âµµ¿Í °°Áö ¾Æ´ÏÇÏ°í Àº¹ÐÇÑ Áß¿¡ °è½Å Çϳª´Ô ¾Æ¹öÁö²²¼­ ÀÀ´äÇØ Áֽñ⿡ ÇÕ´çÇÑ ±âµµÀ̸ç, ÀÌ ¶¥¿¡ ¸ðµç ±âµ¶±³ÀεéÀÌ ±¸¿øÀ» ÀÌ·ê ¼ö ÀÖ´Â ÃÖ°í ¸ð¹üÀûÀÎ ±âµµÀÌ´Ù. ±×·¯³ª Çö´ë ±âµ¶±³È¸´Â º¹À½ÀÇ Çٽɰú ½ÅÇÐÀÌ µé¾î ÀÖ´Â Áֱ⵵¹®À» ¿¹¹è ¼Ó¿¡¼­¸¸ Çü½ÄÀûÀÎ ÀǽÄÀ¸·Î¸¸ »ç¿ëÇÏ°í ÀÖ´Â °ÍÀÌ ¾ÈŸ±î¿î ±âµ¶±³ ½Å¾ÓÀÇ Çö½ÇÀÌ´Ù. Áֱ⵵¹®Àº ÀüºÎ¸¦ Æ÷ÇÔÇÏ´Â, Æ÷°ýÀûÀÎ ±âµµÀ̸ç, ÇϳªÀÇ ¿ÏÀüÇÑ ¿ä¾àÀ̶ó´Â Àǹ̴ ±âµµÀÇ ¸ðµç ¿ø¸®°¡ Æ÷ÇԵǾî Àֱ⠶§¹®ÀÌ´Ù. Áֱ⵵¹®ÀÇ ½ÅÇÐÀû Ư¼ºÀ» Á¤¸®ÇÏ¸é ´ÙÀ½°ú °°´Ù. ù°, ¡®Çϴá¯À̶õ Çϳª´ÔÀÌ °è½Ã´Â Â÷¿øÀ» ¸»ÇÑ´Ù. ¡®Çϴá¯À̶õ ¹Ù·Î Çϳª´ÔÀÌ º¸Á¸¦ µÎ°í °è½Å ±× ÇÏ´ÃÀÌ´Ù. ¡®Çϴá¯À̶õ õ»çµéÀÌ Çϳª´ÔÀÇ ¿µ±¤À» À§Çؼ­ ¸Ó¹°°í ÀÖ´Â °÷ÀÌ´Ù. ÇÏ´ÃÀº Çϳª´ÔÀÇ ¶æÀ» ÃÊ¿ùÇϰųª Çϳª´ÔÀÇ ±ÇÀ§¸¦ ÃÊ¿ùÇÒ ¼ö°¡ ¾ø´Ù. µÑ°, ¡®¿ì¸® ¾Æ¹öÁö¡¯´Â Çϴÿ¡ °è½Å ±×ºÐÀÌ ¹Ù·Î ¡®¿ì¸® ¾Æ¹öÁö¡¯À̽ôÙ. ¡®¿ì¸® ¾Æ¹öÁö¡¯¶ó´Â ¸»Àº ¸ðµç º¸ÀÌ´Â °Íµé°ú ¸ðµç º¸ÀÌÁö ¾Ê´Â ¿µµéÀ» âÁ¶ÇϽÅ, °ð ¸ðµç ÇÇÁ¶¹°ÀÇ Á¶¹°ÁÖ¶ó´Â ¶æÀÌ´Ù. ¼Â°, ¡®Çϳª´ÔÀÇ À̸§¡¯Àº ¿µ¿øÇÑ À̸§ÀÌ´Ù. ¿µ¿øÇÑ À̸§À̶õ ¿µ¿ø ÀüºÎÅÍ ¿µ¿ø±îÁö °è½Ç À̸§À̶ó´Â ÀǹÌÀÌ´Ù. Çϳª´ÔÀÇ À̸§Àº, Çϳª´Ô ÀÚ½ÅÀ» ÇÇÁ¶¹°¿¡°Ô º¸À̽ðí ÇÇÁ¶¹°µéÀÌ ±× À̸§À» ºÎ¸£°í ¼¶±âµµ·Ï ½º½º·Î ³ªÅ¸³»½Å À̸§ÀÌ´Ù. ³Ý°, ¡®Çϳª´ÔÀÇ ³ª¶ó¡¯´Â ¿¹¼öÀÇ ¸Þ½ÃÁöÀÇ Áß½ÉÀÎ ¸¸Å­ ¶ÇÇÑ °ø°üº¹À½¼­ÀÇ Á߽ɻç»óÀ̸ç, ħ·Ê¿äÇÑ, ¿¹¼ö¿Í »çµµµéÀÇ ¸»¾¸¼±Æ÷ÀÇ ÇÙ½ÉÀÌ¸ç ¼±±³ÀÇ ÇÙ½ÉÀÌ´Ù. ¡°Çϳª´ÔÀÇ ³ª¶ó¡±¶ó°í ÇÒ ¶§ ±×ÀÇ Ã¢Á¶ÇϽŠ¿ìÁÖ¿Í Áö±¸¿Í, ¶ÇÇÑ ±×ÀÇ ¹é¼º¿¡ ´ëÇÏ¿© °¡Áö´Â ÁÖ±Ç(ñ«Ïí)À» ÀǹÌÇÑ´Ù. ´Ù¼¸Â°, ¡®Çϳª´ÔÀÇ ¶æ¡¯Àº Çϳª´ÔÀÇ ±¸¿ø°èȹÀÌ¿ä µ¿½Ã¿¡ Çϳª´ÔÀÇ ³ª¶óÀÇ È®Àå°ú ºÐ¸®µÇÁö ¾Ê´Â´Ù. Çϳª´ÔÀÇ ¶æÀÇ ½ÇÇö ¾øÀÌ´Â À̸§À» °Å·èÈ÷ ÇÒ ¼öµµ ¾ø°í, Çϳª´Ô³ª¶ó°¡ ÀÓÇÒ ¼öµµ ¾ø´Ù. ¿©¼¸Â°, ¡°¿À´Ã³¯ ¿ì¸®¿¡°Ô ÀÏ¿ëÇÒ ¾ç½ÄÀ» ÁÖ¿É½Ã°í¡±¶ó´Â û¿øÀº °¨»çÇÏ´Â ½Å¾ÓÀÇ °í¹éÀ¸·Î µå¸®´Â °ÍÀ̾î¾ß ÇÑ´Ù. ¡®ÀÏ¿ëÇÒ ¾ç½ÄÀ» ÁֿɼҼ­¡¯´Â ¡®¿À´Ã ÇÏ·çÀÇ ÀÏÀ» ÁֿɼҼ­¡¯ ÇÏ´Â ±âµµÀÌ´Ù. ÀÌ ¾ç½ÄÀ» ¾ò±â¿¡ ºÎ²ô·´Áö ¾Êµµ·Ï ¿À´Ã ÇÏ·çÀÇ ÀÏÀ» ´Þ¶ó´Â ±âµµÀÌ´Ù. ÀÏ°ö°, ¡®ÁË »çÇÔ¡¯ÀÇ Àǹ̴ ¿ì¸®°¡ Çϳª´Ô²²·ÎºÎÅÍ ÁË ¿ë¼­ÇÔÀ» ¹ÞÀº °Íó·³ ¿ì¸®°¡ ¿ì¸®µé¿¡°Ô ÁË ÁöÀº »ç¶÷µéÀ» ¿ë¼­ÇÒ ¶§ Çϳª´Ô²²¼­µµ °è¼ÓÇÏ¿© ¿ì¸®¿¡°Ô ¿ë¼­¸¦ º£Ç®¾î ÁֽŴٴ ÀǹÌÀÌ´Ù. ¿©´ü°, ¡°½ÃÇè¿¡ µé°Ô ÇÏÁö ¸¶¿É½Ã°í¡±¶ó´Â ±âµµ´Â, ¡®Çϳª´ÔÀÌ¿© ³ª¸¦ ½ÃÇèÇÏÁö ¸¶¼Ò¼­¡¯ÇÏ´Â °ÍÀÌ ¾Æ´Ï¶ó ¡®¸¶±ÍÀÇ ½ÃÇè¿¡ ºüÁ® µé¾î°¡Áö ¾Êµµ·Ï ¸¶±Í°¡ ½ÃÇèÇÒ ¶§¿¡ ¼ÓÁö ¾Êµµ·Ï ÇϿɼҼ­¡¯ÇÏ´Â °ÍÀÌ´Ù. ¾Æȩ°, ¡°³ª¶ó¿Í ±Ç¼¼¿Í ¿µ±¤ÀÌ ¾Æ¹öÁö²² ¿µ¿øÈ÷ ÀÖ»ç¿É³ªÀÌ´Ù¡± ÀÌ°ÍÀº ÀÌ ¼¼»óÀÇ ³ª¶ó¿Í ±Ç¼¼¿Í ¿µ±¤ÀÌ ÀÌ¹Ì ±×·¯ÇßµíÀÌ Áö±Ýµµ, ±×¸®°í ¿µ¿øÅä·Ï Çϳª´ÔÀÇ °ÍÀ̶ó´Â °ÍÀÌ´Ù. ¡°¾Æ¸à¡±Àº Áֱ⵵¹® º»¹®°ú ¼Û¿µÀ» ¡°Áø½Ç·Î ±×¸®ÇÕ´Ï´Ù¡±, ¡°±×·¸°Ô ÀÌ·ç¾î ÁÖ¼Ò¼­¡±¶ó°í ±âµµÇÒ ¼ö ÀÖµµ·Ï ±âµµÀÇ È®½ÅÀ» ÁØ´Ù. ¡°¾Æ¸à¡±Àº ½Å¾ÓÀÇ ÂüµÈ °í¹éÀ» ±âµµ ¼Ó¿¡ ´ã¾Æ µå¸®´Â º¸ÁõÀÌ µÈ´Ù. ¡° Áֱ⵵¹®Àº ±× °£°á¼º, °ð ÁÖ´Ô²²¼­ Áֱ⵵¹®À» ¸ðµÎ ¿ä¾àÇϽŠ¹æ¹ý, ºÒ°ú ¸î °³ÀÇ ¹®ÀåÀ¸·Î ¸ðµç °ÍÀ» ¾ÐÃàÇϽŠ±× °£°áÇÔÀº, ¸»¾¸ÇϽŠÀÌ°¡ ´Ù¸¥ ºÐÀÌ ¾Æ´Ñ ¹Ù·Î Çϳª´ÔÀÇ ¾ÆµéÀ̽öó´Â »ç½ÇÀ» ºÐ¸íÈ÷ ¼±¾ðÇÏ°í ÀÖ´Ù. ½ÅÀÚÀÇ ±âµµ°¡ Áֱ⵵¹®ÀÇ Æ¯Á¤ ¸ðÇü°ú Çü½Ä¿¡ ÀÏÄ¡ÇÏÁö ¾Ê´Â´Ù¸é ±×°ÍÀº ÂüµÈ ±âµµ°¡ ¾Æ´Ï´Ù. ½ÅÀÚ°¡ Áֱ⵵¹®ÀÇ ±Ëµµ¸¦ µû¶ó¼­ ±âµµÇÏ´Â °Íº¸´Ù ´õ À§´ëÇÏ°í °í±ÍÇÑ °ÍÀÌ ÀÖÀ» ¼ö ¾ø´Ù´Â »ç½ÇÀ» ÀνÄÇØ¾ß ÇÑ´Ù. Áֱ⵵¹®À» ¿µÀûÀ¸·Î ÀÌÇØÇÒ ¶§ Áֱ⵵¹®¿¡ Çϳª´ÔÀÇ ÀºÇý°¡ Ã游ÇØ ÀÖ´Ù´Â °ÍÀ» ¾Ë ¼ö ÀÖ´Ù. ´©±¸¶óµµ ¿µÈ¥ÀÌ Çϳª´ÔÀÇ ÀºÇý¸¦ ¹ÞÁö ¸øÇϸé Áֱ⵵¹®À» ¹Ù·Î ÀÌÇØÇÒ ¼ö ¾ø´Ù. °á·ÐÀûÀ¸·Î È¥½ÅÀ» ±â¿ï¿© °£ÀýÇÑ ¸¶À½À¸·Î Áֱ⵵¹®ÀÇ ÇÑ Á¶¸ñ ÇÑ Á¶¸ñÀ» Çϳª´Ô²² °£±¸ÇÏ´Â, Çϳª´ÔÀÇ ¶æÀ» ½ÇÇöÇÏ´Â Áֱ⵵¹®ÀÇ È¸º¹ÀÌ Àý½ÇÈ÷ ÇÊ¿äÇÏ´Ù.

[±¹³» ÇÐÀ§³í¹®]

[±¹³» ÇÐÀ§³í¹®]

21¼¼±â¸¦ »ì¾Æ°¡´Â Àηù°¡ °¡Áö°í ÀÖ´Â »ýÅÂÇÐÀû °ü½ÉÀº ¸Å¿ì Áö´ëÇÏ´Ù. ÀÌ °ü½ÉÀº »çȸ, °æÁ¦, ¹®È­ µî ¾î´À ƯÁ¤ ¿µ¿ª¿¡ ±¹ÇѵÇÁö ¾Ê°í ±¤¹üÀ§Çϵµ°í ´Ù°¢ÀûÀÎ °¢µµ¿¡¼­ Ã˹ߵǰí ÀÖ´Ù. ÀÌ·¯ÇÑ »ýÅÂÀû µµÀüÀº ±³È¸·Î ÇÏ¿©±Ý Çö´ë »çȸ¿¡¼­ ÀÚ½ÅÀÇ ¿ªÇÒÀ» ÁøÁöÇÏ°Ô ¼ºÂûÇÏ°í ¹Þ¾ÆµéÀ̵µ·Ï Ã˱¸ÇÑ´Ù. 
 ƯÈ÷ Á¦2Â÷ ¹ÙƼĭ °øÀÇȸ´Â ±³È¸°¡ ¡®½Ã´ëÀÇ Â¡Ç¥¡¯¸¦ ÀÐ°í º¹À½ÀÇ ºû ¾È¿¡¼­ ¹®Á¦µéÀ» Çؼ®ÇÒ °ÍÀ» ±Ç°íÇÏ¿´´Ù. º¹À½ÀÇ ºû ¾È¿¡¼­ ¹Ù¶óº» ȯ°æ¹®Á¦ÀÇ ¿øÀÎÀº Àΰ£ÀÌ ÇÇÁ¶¹° ¾È¿¡¼­ ÀڽŵéÀÇ ÁøÁ¤ÇÑ À§Ä¡¸¦ ÀÌÇØÇÏÁö ¸øÇÏ°í ´ÜÁö ¡®¼ÒÀ¯¹°¡¯ °ð, ¿å±¸ ÃæÁ· ´ë»óÀ¸·Î Ãë±ÞÇÏ¿© °á±¹¿¡´Â ÀÚ¿¬¼¼°è·ÎºÎÅÍ ¸Ö¾îÁö°í ÃÖÁ¾ÀûÀ¸·Î ÇÏ´À´ÔÀ¸·ÎºÎÅÍ ¸Ö¾îÁ³´Ù. 
 ¸Ö¾îÁø °ü°è¸¦ ȸº¹Çϱâ À§Çؼ­ Àΰ£Àº ÇÏ´À´ÔÀ» »ç¶ûÇϸç, ¹«¾ùº¸´Ùµµ âÁ¶ ¼±¹°¿¡ °üÇÏ¿© °¨»ç¿Í Âù¹Ì¸¦ µå·Á¾ß ÇÑ´Ù. °ð, °ü°èȸº¹Àº ÇöÁ¸ÇÏ´Â ÇÏ´À´Ô ¾È¿¡¼­ Àΰ£ÀÌ ÇÇÁ¶¹°°ú ºÐ¸®µÈ Á¸Àç°¡ ¾Æ´Ï¶ó ÇÇÁ¶¹°ÀÇ ÀϺÎÀÓÀ» ±ú¿ìħÀ¸·Î¼­ ÇÏ´À´Ô, ÇÇÁ¶¹° ±×¸®°í ¹Ì·¡ ¼¼´ë¸¦ À§Çؼ­ ÇÇÁ¶¹°À» µ¹º¸´Â ûÁö±â Á÷¹«¸¦ Áö³à¾ß ÇÑ´Ù.
 °ð, ³í¹®ÀÇ ¸ñÀûÀº Àü·Ê ½ÅÇÐÀû °üÁ¡¿¡¼­ Àΰ£ÀÌ ¡®Àü·Ê ¾È¿¡¼­ âÁ¶¸¦ ¿Ã¹Ù¸£°Ô ÀÌÇØÇÏ°í, ÇÇÁ¶¹°À» Á¸ÁßÇÏ°í ¼ÒÁßÈ÷ ÀÌ¿ëÇÏ¿© ÇÏ´À´Ô°ú ÀÏÄ¡ ÇÒ ¼ö Àִ°¡?¡¯¿¡ ´ëÇÑ ¹°À½À» ¹ÙÅÁÀ¸·Î ¹Ì»ç Àü·Ê ±âµµ¹®À» ÅëÇØ ¾î¶°ÇÑ ¹æ½ÄÀ¸·Î ÇÇÁ¶¹°À» ¸Å°³·ÎÇÏ¿© ÇÏ´À´Ô²² °¨»ç¸¦ µå¸®´ÂÁö Àü·Ê ±âµµ¹®À» ºÐ¼®ÇÏ°í, ´Ù¾çÇÑ ¼º»ç ¾È¿¡¼­ ÇÇÁ¶¹°ÀÇ ¾²ÀÓ»õ¸¦ ¿Ã¹Ù¸£°Ô ÀνÄÇÏ¿©, Çö´ë ±³È¸°¡ ¿äûÇÏ´Â ¡®½Ã´ëÀÇ Â¡Ç¥¡¯¿¡ µû¶ó âÁ¶ ÁÖÁ¦¿¡ ÁÖÀǸ¦ ±â¿ïÀÏ °Í¿¡ ¸ñÀûÀ» µÐ´Ù. ¿Ö³ÄÇÏ¸é ¼ºÂù·Ê¿Í Àü·Ê ±âµµ¹®Àº ÇÇÁ¶¹°À» Á¸ÁßÇÏ´Â Á¤½Å°ú, ¼º»çÀûÀ¸·Î´Â ÇÇÁ¶¹°ÀÇ Á¸ÁßÀÌ ÇÏ´À´ÔÀÇ ÇöÁ¸À» µå·¯³»±â ¶§¹®ÀÌ´Ù. ±×·¯¹Ç·Î Àü·Ê °ÅÇàÀÇ ¹Ø¹ÙÅÁÀÌ µÇ´Â ½ÅÇÐÀû Åä´ë´Â Àΰ£ÀÌ Àü·Ê °ÅÇàÀ» ÅëÇØ Ã¢Á¶¹°°ú »ó¡Àû »óÈ£ÀÛ¿ëÀ» ÇÏ´Â °ÍÀ̸ç, ±×°ÍÀ» ÅëÇؼ­ ÇÏ´À´ÔÀÌ µå·¯³ª°í ÇÏ´À´Ô¿¡ ´ëÇÑ ¹ÏÀ½ÀÌ ±³È¸ ¾È¿¡¼­ Çü¼ºµÇ°í »õ·Î¿öÁö±â À§ÇÑ ¸ñÀû¿¡ ÁýÁßÇÏ¿© ³í¹®À» Àü°³ÇÏ¿´´Ù.
 Á¦1Àå¿¡¼­´Â Ãʴ뱳ȸÀÇ ¼ºÂù ±âµµ¹® ¾È¿¡¼­ ±×µéÀÌ Ã¢Á¶ °ð Àΰ£°ú ÀÚ¿¬¹° ±×¸®°í ÇÏ´À´ÔÀÇ ÁÖÁ¦¸¦ ¾î¶»°Ô »ý°¢ÇÏ°í, ½Å¾ÓÀûÀ¸·Î °í¹éÇÑ ±âµµ¹®À» ºÐ¼®ÇÏ¿´´Ù.
 Ãʴ뱳ȸ °øµ¿Ã¼ÀÇ ¼ºÂù ±âµµ¹®À» ÅëÇØ ÇÏ´À´ÔÀÇ Ã¢Á¶¿¡ ´ëÇÑ ºÐ¸íÇÑ ÀνÄÀ» °¡Áö°í ÀÖÀ¸¸ç, °¨»ç¶ó´Â ¶Ñ·ÇÇÑ ÁÖÁ¦¸¦ µå·¯³½´Ù. ±× °¨»ç ¾È¿¡ ¼º·ÉÀÇ ÈûÀ¸·Î »§°ú Æ÷µµÁÖÀÇ ¼ºº¯È­ °ð ¿¹¼ö ±×¸®½ºµµÀÇ ¸ö°ú ÇǶó´Â »ç½ÇÀ» ÀüÁ¦ÇÑ´Ù. Ãʴ뱳ȸ´Â Àΰ£ÀÌ µå¸®´Â ÀÌ °¨»ç°¡ »ïÀ§ÀÏü ÇÏ´À´Ô²² µå¸®´Â °ÍÀ̸ç, Àΰ£¸¸ÀÌ È¦·Î µå¸®´Â °ÍÀÌ ¾Æ´Ñ ÀÚ¿¬¼¼°è°¡ ÇÔ²² Âü¿©ÇÏ´Â ¿ìÁÖÀû »ç°ÇÀÓÀ» ³ªÅ¸³½´Ù. °ð Á¦1ÀåÀ» ÅëÇØ ¾Ë¾Æº» Ãʴ뱳ȸ ¼ºÂù·Ê´Â ÇÏ´À´Ô°ú Àΰ£ ±×¸®°í ÀÚ¿¬ÀÌ ¸¸³ª¼­ ¾î¿ì·¯Áö´Â ÃàÁ¦ÀÇ ÀåÀ̸鼭 µ¿½Ã¿¡, âÁ¶¿Í ±¸¿øÀ» ¾Æ¿ì¸£´Â »õ âÁ¶ÀÇ ÃàÁ¦ÀÇ ÀåÀ¸·Î º¼ ¼ö ÀÖ´Ù. ÀÌ ÃàÁ¦ÀÇ ÀåÀº Çö´ë±³È¸ÀÇ ¼ºÂù·Ê ¾È¿¡¼­ Áö¼ÓµÈ´Ù.
 Á¦2Àå¿¡¼­´Â Çö´ë Àü·Ê ±âµµ¹® Áß °¨»ç¼Û°ú °¨»ç±âµµ ±×¸®°í ¿©·¯ ¼º»ç ±âµµ¹®¾È¿¡ ³ªÅ¸³­ âÁ¶ ³»¿ëÀ» ¿¬±¸Çß´Ù. ¶ÇÇÑ ±× ¾È¿¡¼­ µå·¯³ª´Â »ïÀ§ÀÏü ÇÏ´À´Ô²² ´ëÇÑ °¨»ç¿Í Âù¾ç ±×¸®°í Àΰ£°ú ÀÚ¿¬¼¼°è¿¡ ´ëÇÑ »óÈ£°ü°è¼ºÀ» º¸¾Ò´Ù. 
 °¨»ç¼Û°ú °¨»ç±âµµ¸¦ ÅëÇØ ¾Ë¾Æ º¼ ¼ö ÀÖ´Â »ç½ÇÀº ÇÏ´À´Ô²²¼­ âÁ¶ÇϽÉÀ» ÅëÇÏ¿© ´ç½ÅÀÇ ¿µ±¤À» ³ë·¡ÇÏ°í, âÁ¶¸¦ ÅëÇÑ ¸¸¹°ÀÇ ÀÏÄ¡°¡ ±×¸®½ºµµ¸¦ ÅëÇØ, ¼º·É ¾È¿¡¼­ ÀÌ·ç¾îÁ³´Ù´Â »ç½ÇÀ» ¾Ë ¼ö ÀÖ´Ù. °ð, ÇÏ´À´Ô°ú Àΰ£ ±×¸®°í ÇÇÁ¶¹°ÀÇ °ü°è´Â ±×¸®½ºµµÀÇ Á×À½°ú ºÎÈ°·Î ÀýÁ¤À» ÀÌ·é´Ù. °ð ±×¸®½ºµµ¸¦ ÅëÇÑ Ã¢Á¶¿Í ±¸¿øÀ» °­Á¶ÇÑ´Ù. 
 ±× ´ÙÀ½À¸·Î, Çö´ë±³È¸ÀÇ ¿©·¯ ±âµµ¹®ÀÎ ¼º¹«Àϵµ¿Í ¼¼·Ê, °ßÁø, º´ÀÚ ±×¸®°í ¼ºÃ¼¼º»ç¿¡¼­ ³ªÅ¸³­ âÁ¶¸¦ »ìÆ캸¾Ò´Ù. °ð ¾ÆħºÎÅÍ Àú³á±îÁö Âù¹Ì°¡¿Í ½ÃÆí ±âµµ¸¦ ÅëÇØ Ã¢Á¶ÁÖ ÇÏ´À´ÔÀ» ¸ðµç ÇÇÁ¶¹°°ú ÇÔ²² ³ë·¡Çϸç Âù¾çÇÑ´Ù. ¶ÇÇÑ Çö´ë ¼º»ç ±âµµ¹®À» ÅëÇØ ¾Ë ¼ö ÀÖ´Â °ÍÀº âÁ¶ ¾È¿¡¼­ µå·¯³ª´Â ÇÏ´À´ÔÀ» Âù¾çÀº Àΰ£¸¸ÀÌ µå¸®´Â °ÍÀÌ ¾Æ´Ñ ÇÇÁ¶¹°°ú ÇÔ²² »ó¡Àû, ¼º»çÀûÀ¸·Î µå¸°´Ù´Â »ç½ÇÀ» ¾Ë ¼ö ÀÖ¾ú´Ù. 
 ¸¶Áö¸· Á¦3Àå¿¡¼­´Â âÁ¶Áú¼­¸¦ À§ÇÑ ¿©·¯ ÇüÅÂÀÇ »ç¸ñÀû ´ë¾È¿¡ ´ëÇؼ­ ¼­¼úÇÏ¿´´Ù. Á¦3ÀåÀº °¡Àå ÃÖ±Ù¿¡ ¹ßÇ¥ÇÑ ±³È² ÇÁ¶õÄ¡½ºÄÚÀÇ È¸Ä¢ ¡¸Âù¹Ì¹ÞÀ¸¼Ò¼­¡¹¿Í ¡®ÇÇÁ¶¹° º¸È£¸¦ À§ÇÑ ±âµµÀÇ ³¯¡¯ÀÇ ¹®Ç×°ú ±âµµ¹®À» ºÐ¼®ÇÔÀ¸·Î¼­ Çö´ë±³È¸°¡ °­Á¶ÇÏ´Â ¡®½Ã´ëÀÇ Â¡Ç¥¡¯¸¦ »ìÆ캸¾Ò´Ù. À̾îÁö´Â ³»¿ëÀº ´Ü¼øÈ÷ ÇØ°áÃ¥¸¸À» ³»³õ´Â °ÍÀÌ ¾Æ´Ñ ȯ°æ¿¡ °üÇÑ µµÀüÀûÀÎ ¹®Á¦¸¦ ¹Ù¶óº¸´Â ¿ª´ë ±³È²µéÀÇ ³ë·ÂÀÌ ´ã±ä ȸĢ°ú ´ãÈ­¹®À» »ìÆ캸°í, »ç¸ñÀû ´ë¾È°ú Á¦¾ðÀ» À̾°¬´Ù. ƯÈ÷ »ç¸ñÀû ´ë¾È°ú Á¦¾ðÀº ÇÇÁ¶¹° º¸È£¸¦ À§ÇÑ ÁÖ°£ ¾È¿¡ ÇÊ¿äÇÑ ±âµµ¹®, ¼º°¡ ±×¸®°í À̸¦ Àß µå·¯³¾ ¼ö Àִ ģȯ°æÀû °ø°£ÀÇ Çʿ伺À» º» ³í°í¸¦ ÅëÇØ Á¦¾ðÇÏ¿´´Ù.
 °á·ÐÀûÀ¸·Î ¡®Àü·Ê ¾È¿¡¼­ âÁ¶¸¦ ¿Ã¹Ù¸£°Ô ÀÌÇØÇÏ°í, ÇÇÁ¶¹°À» Á¸ÁßÇÏ°í ¼ÒÁßÈ÷ ÀÌ¿ëÇÏ¿© ÇÏ´À´Ô°ú ÀÏÄ¡ ÇÒ ¼ö Àִ°¡?¡¯¶ó´Â Áú¹®¿¡ ´ë´äÀ» ÇÒ ¼ö ÀÖ´Ù. °ð ¡®Ãʴ뱳ȸºÎÅÍ ¹ÙÃÄ¿Â Àü·Ê ¾È¿¡¼­ ±×¸®°í À̸¦ À̾î¹ÞÀº Çö´ë Àü·Ê ¾È¿¡¼­ Àΰ£ÀÌ ÇÇÁ¶¹°À» ¿Ã¹Ù·Î ÀÌ¿ëÇÏ¿© ÇÏ´À´Ô°ú ÀÏÄ¡¸¦ À̸¦ ¼ö ÀÖ´Ù¡¯´Â °á·ÐÁöÀ» ¼ö ÀÖ´Ù. Ãʴ뱳ȸÀÇ Àü·Ê ±âµµ¹®À» ÅëÇØ µµÃâµÇ´Â ±×¸®½ºµµ±³ÀÇ ÀüÅë, ±×¸®°í Çö´ë±³È¸ÀÇ Àü·Ê ±âµµ¹® ¾È¿¡¼­ ³ªÅ¸³ª´Â °¡¸£Ä§Àº ¿¹¼ö ±×¸®½ºµµ°¡ Àηù¿Í ÀÚ¿¬¼¼°è¿Í ±× ¸ðµç âÁ¶¹°ÀÇ ±¸¼¼ÁÖ¶ó´Â °ÍÀÌ´Ù. ¿À´Ã³¯ ±×¸®½ºµµÀεéÀº Àΰ£ÀÇ ÇàÀ§¿¡ µû¶ó »óó¹ÞÀ» ¼ö ÀÖ´Â ´Ü ÇϳªÀÇ Áö±¸¿¡ »ì°í ÀÖÀ½À» ±ú´ÞÀ¸¸é¼­ ¿¹¼ö ±×¸®½ºµµÀÇ ±¸¿øÀÌ ¿ìÁÖ ¸¸¹°°ú ¸Î°í ÀÖ´Â »ó°ü°ü°è¸¦ ´Ù½Ã »õ·Ó°Ô Á¤¸³ÇØ¾ß ÇÒ °ÍÀÌ´Ù. ÀÌ »ó°ü°ü°è´Â Àü·Ê½ÅÇÐ ¾È¿¡¼­ âÁ¶ Áß½ÉÀÇ Àü·Ê ÇàÀ§¿¡ ±âÃÊÇÑ´Ù. º» ³í¹®À» ÅëÇØ Ã¢Á¶ Áß½ÉÀÇ Àü·Ê ½ÅÇÐÀº »ïÀ§ÀÏü°¡ âÁ¶ ¾È¿¡¼­ ¾î¶»°Ô ÀÛ¿ëÇÏ´ÂÁö, ±×¸®°í ÇÏ´À´ÔÀÇ º»¼º°ú ¼±ÇÔÀ» Ç¥ÇöÇÏ´Â Àü·Ê´Â âÁ¶µÈ ¼¼°è¸¦ À¯ÁöÇϴµ¥ ¾î¶»°Ô ÀÛ¿ëÇÏ´ÂÁö °­Á¶ÇÔÀ¸·Î½á Àü·ÊÀÇ »ïÀ§ÀÏüÀû ½ÅÇÐÀÇ ±âÃʸ¦ ÀÌ·ç°í Ç¥ÇöÇÏ´ÂÁö ¾Ë¾Æº¸¾Ò´Ù. µû¶ó¼­ Àü·Ê ¾È¿¡¼­ Àΰ£°ú ÀÚ¿¬¼¼°è¿ÍÀÇ °ü°è´Â âÁ¶ÁÖ ÇÏ´À´Ô°ú ±¸¼¼ÁÖ ¿¹¼ö¸¦ ÅëÇØ ¼º·ÉÀÇ ÈûÀ¸·Î °³Àΰú °øµ¿Ã¼°¡ ÀÒ¾î¹ö·È´ø ÇÏ´À´ÔÀÇ ¸ð»ó¼ºÀÌ È¸º¹µÉ °ÍÀÌ´Ù.

[±¹³» ÇÐÀ§³í¹®]

¿ì¸®´Â ¾Õ¿¡¼­ ÁÖÀÇ ±âµµ¹®ÀÇ Çü¼º°ú ±× Àǹ̿¡ ´ëÇؼ­ ³ª´©¾î º¸¾Ò´Ù. Áï, ÁÖÀDZ⵵¹®Àº ¿¹¼ö²²¼­ Á¦Àڵ鿡°Ô ±âµµÀÇ ¸ð¹üÀ¸·Î¼­ °¡¸£ÃÄ ÁֽŠ±âµµ¹®ÀÌ´Ù. ÁÖÀÇ ±âµµ¹®Àº ¿¹¼ö²²¼­ Á¦Àڵ鿡°Ô Ä£È÷ °¡¸£ÃÄ ÁֽŠÀ¯ÀÏÀÇ ±âµµ¹®À¸·Î½á Çϳª´Ô ³ª¶ó¿¡´ëÇÑ °¡¸£Ä§À» Àß ¿ä¾àÇØ ÁØ´Ù. ¸¶ÅÂ¿Í ´©°¡, µÎ º¹À½¼­¿¡¸¸ º¸Á¸µÇ¾î ÀÖ´Â ÀÌ ±âµµ¹®Àº ¾î·Ï(Q)¿¡¼­ À¯·¡ÇÏ¿´À¸¸ç, ±æÀÌ ¸é¿¡¼­´Â ´©°¡ÀÇ ±âµµ¹®ÀÌ ¿øÇü¿¡ °¡±õ°í ¾îÈÖ ¸é¿¡¼­´Â ¸¶ÅÂÀÇ °ÍÀÌ ¿øÇü¿¡ °¡±õ´Ù.. ¾î·Ï¿¡ ÀÖ¾úÀ» °ÍÀ¸·Î ÃßÁ¤µÇ´Â ÁÖÀÇ ±âµµ¹®Àº ´ÙÀ½°ú °°´Ù. ¡°¾Æ¹öÁö, ´ç½ÅÀÇ À̸§ÀÌ °Å·èÇÏ°Ô µÇ¼Ò¼­. ´ç½ÅÀÇ ³ª¶ó°¡ ¿À°ÔÇϼҼ­. ¿ì¸®°¡ ÀÏ¿ëÇÒ »§À» ¿À´Ã ¿ì¸®¿¡°Ô ÁÖ¼Ò¼­. ±×¸®°í ¿ì¸®°¡ ¿ì¸®¿¡°Ô ºúÁøÀ̵éÀ» ¿ë¼­ÇßµíÀÌ, ¿ì¸®¿¡°Ôµµ ¿ì¸® ºúµéÀ» ¿ë¼­ÇϼҼ­.±×¸®°í ¿ì¸®¸¦ À¯È¤¿¡ ºüÁöÁö ¾Ê°Ô ÇϼҼ­.¡± ¾î·ÏÀÇ ±âµµ¹®Àº ¿¹¼ö²²·Î ¼Ò±ÞÇÒ ¼ö ÀÖÀ¸¸ç, ¿¹¼öÀÇ Á᫐ »ç»óÀ» ÇÔÃàÀûÀ¸·Î Ç¥ÇöÇÏ¿© ÁØ´Ù. ÁÖÀÇ ±âµµ¹®ÀÇ ÇüŸ¦ »ìÆ캸¸é1)ȣĪ, 2)Çϳª´ÔÀ»¡°´ç½Å¡±À¸·Î ºÎ¸£´Â ±âµµ, 3) ¡°¿ì¸®¡±ÀÇ Çʿ並 ±¸ÇÏ´Â ±âµµ µîÀ¸·Î ¼¼ ºÎºÐÀ¸·Î µÇ¾îÀÖ´Ù. ȣĪ ¾Æ¹öÁö(¥ð¡à¥ó¥å¥ñ)´Â ¾Æ¶÷¾î ¡à¥ább¥á¿¡¡à ¼­ À¯·¡ÇÑ ¸»·Î, ¿¹¼öÀÇ Çϳª´Ô²² ´ëÇÑ Ä£¹ÐÇÏ°í µ¶Æ¯ÇÑ °ü°è¸¦ ³ªÅ¸³½´Ù. ÀÌ È£ÄªÀ» Á¦Àڵ鿡°Ô ÁֽŠ°ÍÀº Çϳª´Ô°úÀÇ Ä£¹ÐÇÑ °ü°è ¾ÈÀ¸·Î ÃÊ´ëÇϽô °ÍÀÌ´Ù. Çϳª´ÔÀ» ¡°´ç½Å¡±À¸·Î ºÎ¸£´Â ±âµµµéÀº Çϳª´Ô ³ª¶óÀÇ µµ·¡¸¦ ±â¿øÇϴ û¿øÀ¸·Î ¿ä¾àµÉ ¼ö ÀÖ´Ù. ÀÌ°ÍÀº ¿¹¼öÀÇ »ç¸íÀ» ÅëÇØ ÀÌ¹Ì ½ÃÀÛµÈ Çϳª´ÔÀÇ ±¸¿ø ÇàÀ§°¡ ÃÖÁ¾ÀûÀ¸·Î ¿Ï°áµÉ Çϳª´ÔÀÇ Á¾¸» ÅëÄ¡¸¦ °¡¸®Å²´Ù. µû¶ó¼­, ¡°´ç½Å¿¡ ´ëÇÑ¡± ±âµµ´Â Á¾¸»·ÐÀûÀÎ ¹Ì·¡¸¦ ÁöÇâÇÑ´Ù. ¡°¿ì¸®¡±ÀÇ Çʿ並 ±¸Çϴ±⵵µéÀº Çϳª´Ô ³ª¶ó¸¦ °í´ëÇÏ¸ç »ì¾Æ°¡´Â ¿¹¼öÀÇ Á¦Àڵ鿡°Ô ÇʼöÀûÀ¸·Î ¿äûµÇ´Â ³ª³¯ÀÇ ÇÊ¿äµéÀÌ´Ù. ÀÏ¿ëÇÒ »§°ú ¿ë¼­, À¯È¤¿¡¼­ÀÇ ±¸¿øÀº ¿ª»çÀû ÇöÀç Á¶°Ç ¾È¿¡¼­ Á¦ÀÚ µÊÀÇ ±æÀ» »ì¾Æ°¡´Âµ¥ ÀºÃÑÀ¸·Î ÁÖ¾îÁ®¾ß ÇÒ ¼±¹°µéÀÌ´Ù. ±×·¯¹Ç·Î ÁÖÀDZ⵵ ¾È¿¡¼­ Çϳª´Ô ³ª¶ó¿¡ ´ëÇÑ ±â¿ø°ú ÇöÀçÀÇ »îÀ» À§ÇÑ ¿äûÀº ¼­·Î ºÐ¸®ÇÒ ¼ö ¾ø´Â Çϳª´ÔÀÇ ±¸¿ø ÇàÀ§ÀÌ´Ù. µû¶ó¼­ ¿À´ÃÀÇ Çö½Ç ¼Ó¿¡¼­ ±×¸®½ºµµÀεéÀº ¼¼»óÀ» ±¸¿øÀÇ Çö½Ç·Î º¯Çõ½Ãų ºÎ¸§À» ¹Þ°í ÀÖ´Ù. ¿Ï¼ºµÉ ¹Ì·¡ÀÇ Çϳª´Ô ³ª¶ó¸¦ Èñ¸ÁÇϱ⿡, ¿ì¸®ÀÇ Çö½ÇÀº Çϳª´ÔÀÇ ¶æ¿¡ ¾Ë¸ÂÀº °ÍÀ¸·Î º¯ÇõµÇ¾î¾ß¸¸ ÇÒ °ÍÀÌ´Ù. ÀÌ·¯ÇÑ Ã¥ÀÓÀ» °¡Áö°í ÀÖ´Â ±×¸®½ºµµÀÎÀÇ ½Å¾Ó»ýÈ° °¡¿îµ¥ ±âµµÀÇ Á߿伺Àº ¾Æ¹«¸® °­Á¶Çصµ Áö³ªÄ¡Áö ¾ÊÀ» °ÍÀÌ´Ù. ¹Ù¸£Æ®´Â ÀÌ Á߿伺À» °­Á¶ÇÏ¿© ¡°±×¸®½ºµµÀÎÀ̶ó´Â °Í°ú ±âµµÇÑ´Ù´Â °ÍÀº °ð ÇÑ °¡Áö »ç½Ç¡±À̶ó°í Çß´Ù. ±âµµ°¡ ÀÌ¿Í °°ÀÌ Áß¿äÇÏ´Ù¸é ´ÙÀ½À¸·Î Áß¿äÇÑ °ÍÀº ±× ±âµµ¸¦ ¡°¾î¶»°Ô¡± ÇÒ °ÍÀΰ¡ ÇÏ´Â °ÍÀε¥, Áֱ⵵¹®Àº °ð ¿ì¸®¿¡°Ô °¡Àå ¿Ïº®ÇÑ ±âµµÀÇ ÀüÇü(¸ðµ¨)À» º¸¿© ÁÖ´Â °ÍÀÌ´Ù. ÁøÁ¤ÇÑ ±âµµ´Â ±×°ÍÀ» ÅëÇؼ­ ³» ¶æÀ» Çϳª´Ô²² ¾Æ·Ú±âº¸´Ù Çϳª´ÔÀÇ ¶æÀ» ´õ Àß ¾Ë°Ô µÇ¸ç, Çϳª´ÔÀ» ¿ì¸®¿¡°Ô ÀÏÄ¡½ÃÅ°´Â °ÍÀÌ ¾Æ´Ï¶ó ¿ì¸®¸¦ Çϳª´Ô²² ÀÏÄ¡½ÃÅ°´Â °ÍÀÌ´Ù. Ãʴ뱳ȸÀÇ ¼ºµµµéÀº ÇÏ·ç¿¡ ¼¼ ¹ø¾¿ Áֱ⵵¹®À» µå·È´Ù°í ÇÏ°Å´Ï¿Í ¿ì¸®´Â ³¯¸¶´Ù ÀÌ ±âµµ¸¦ µå·Á¾ß ÇÒ °ÍÀÌ´Ù. ±×¸®°í ÀÌ ±âµµ´Â ¿ì¸®°¡ Çϳª´ÔÀÇ ³ª¶ó¿¡ °¥ ¶§±îÁö, ¶Ç´Â ÀÌ ¶¥¿¡ Çϳª´ÔÀÇ ³ª¶ó°¡ ±Ã±ØÀûÀ¸·Î ÀÌ·ç¾îÁú ¶§±îÁö °è¼ÓµÇ¾î¾ß ÇÑ´Ù.

[±¹³» ÇÐÀ§³í¹®]

¾È¼¿¹«½ºÀÇ ¡ºÇÁ·Î½½·Î±â¿Â¡»¿¡ ³ª¿À´Â ±âµµ¹®Àº ½Å Á¸Àç Áõ¸í¿¡¼­ À̼ºÀÇ ¿ªÇÒÀÌ ¹«¾ùÀÎÁö¸¦ ±ÔÁ¤Áþ´Â Áß¿äÇÑ ±âÁØÀÌ µÈ´Ù. ¡ºÇÁ·Î½½·Î±â¿Â¡»ÀÇ ±âµµ¹®À» ¿ÀÁ÷ À̼ºÀÇ ´É·ÂÀÌ ¾Æ´Ñ ½ÅÀÇ °³ÀÔÀ¸·Î¸¸ ½Å Á¸À縦 ¾Æ´Â °ÍÀ¸·Î Çؼ®Çϸé À̼ºÀ¸·Î ½Å Á¸À縦 Áõ¸íÇÏ´Â °¡´É¼ºÀº Æ÷±âµÈ´Ù. ¹Ý¸é¿¡ ¡ºÇÁ·Î½½·Î±â¿Â¡»ÀÌ À̼ºÀÇ ³íÁõÀ̶ó¸é ¡ºÇÁ·Î½½·Î±â¿Â¡»¿¡¼­ ±âµµ¹®Àº ¾î¶² ¿ªÇÒÀ» ÇÏ°í ÀÖ´ÂÁö ¹àÇô¾ß¸¸ ÇÑ´Ù. Áö±Ý±îÁö ¡ºÇÁ·Î½½·Î±â¿Â¡»ÀÇ ±âµµ¹®À» À̼º°úÀÇ °ü°è¿¡¼­ °íÂûÇÑ ³× °¡Áö °ßÇØ°¡ ÀÖ¾ú´Ù. ù°, ¾È¼¿¹«½º¸¦ ½Å¾ÓÁÖÀÇÀÚ·Î º¸´Â °ßÇØÀÌ´Ù. ¾È¼¿¹«½º¸¦ ½Å¾ÓÁÖÀÇÀÚ·Î º¸´Â ´ëÇ¥ÀûÀÎ »ç¶÷Àº Ä® ¹Ù¸£Æ®(K. Barth)ÀÌ´Ù. ±×µéÀÇ ÁÖÀåÀº ¡ºÇÁ·Î½½·Î±â¿Â¡»Àº À̼ºÀ¸·Î½á Áõ¸íÀÌ ¾Æ´Ï¶ó ½Å¾ÓÀ¸·Î½á Áõ¸íÀ̶ó´Â °ÍÀÌ´Ù. Áï ½ÅÀÚÀÌµç ºÒ½ÅÀÚÀ̵ç À̼ºÀ¸·Î ÇÏ´À´ÔÀÇ Á¸À縦 ±ú´ÞÀ» ¼ö ¾ø°í À̼º¿¡ ÇÏ´À´ÔÀÇ °³ÀÔÀ¸·Î¸¸ ±ú´ÞÀ» ¼ö ÀÖ´Ù´Â °ÍÀÌ´Ù. ±âµµ´Â ¹Ù·Î ±× Áõ°Å¶ó´Â °ÍÀÌ´Ù. µÑ°, ¾È¼¿¹«½º¸¦ ÇÕ¸®ÁÖÀÇÀÚ·Î º¸´Â °ßÇØÀÌ´Ù. ¡ºÇÁ·Î½½·Î±â¿Â¡»À» À̼ºÀÇ ³íÁõÀ¸·Î º¸´Â Àι°·Î´Â Äí¸£Æ® Çöó½Ã, ¿¡¾Æµå¸Ó µîÀÌ ÀÖ´Ù. À̵éÀº ±Ù°Å·Î '¿ÀÁ÷ À̼º'À¸·Î ³íÁõÇÏ°Ú´Ù°í ¸»ÇÑ ¾È¼¿¹«½ºÀÇ Áø¼ú¿¡¼­ ã´Â´Ù. ±×·¯³ª ´ÜÁ¡Àº ¡ºÇÁ·Î½½·Î±â¿Â¡»¿¡ ³ª¿À´Â ±âµµ¹®°ú '¹ÏÁö ¾ÊÀ¸¸é ÀÌÇØÇÒ ¼ö ¾ø´Ù'´Â ¾È¼¿¹«½ºÀÇ ¡ºÇÁ·Î½½·Î±â¿Â¡»¿¡ ³ª¿À´Â Áø¼úÀÌ´Ù. ÀÌ¿¡ ´ëÇØ ÇÕ¸®ÁÖÀÇÀÚ´Â ±âµµ¹®À» ÈÄ´ë »ðÀÔÀ̶ó°í ´äº¯ÇÑ´Ù. ¼Â°, ¾È¼¿¹«½º¸¦ ½Å¾Ó°ú À̼ºÀÌ ¸íÈ®ÇÏ°Ô ±¸ºÐµÇÁö ¾Ê´Â ÀÚ·Î º¸´Â °ßÇØÀÌ´Ù. ÀÌ·¯ÇÑ °ßÇØ¿¡´Â Áú¼Û, ÄÚÇýºÅæÀÌ ÀÖ´Ù. À̵鵵 ³Ð°Ô º¸¸é ¾È¼¿¹«½º°¡ ÇÕ¸®ÁÖÀÇÀÚÀÎ °ÍÀ» ÀÎÁ¤ÇÏÁö¸¸ ¸íÈ®ÇÑ À̼ºÁÖÀÇÀÚ·Î º¸Áö´Â ¾Ê´Â´Ù. ±× ÀÌÀ¯¿¡ ´ëÇؼ­´Â ±âµµ¹®ÀÌ À̼ºÀû ³íÁõ°ú º´ÇàµÇ¾î ¡ºÇÁ·Î½½·Î±â¿Â¡»¿¡ ³ª¿À±â ¶§¹®À̶ó°í ¸»ÇÑ´Ù. ³Ý°, ¾È¼¿¹«½º¸¦ ½ÅºñÁÖÀÇÀÚ·Î º¸´Â °ßÇØÀÌ´Ù. ÀÌ °ßÇØ¿¡ ´ëÇ¥ÀûÀÎ »ç¶÷Àº ½´ÅçÃ÷ÀÌ´Ù. ½´ÅçÃ÷´Â ¡ºÇÁ·Î½½·Î±â¿Â¡»ÀÇ ¸ñÀûÀº À̼ºÀûÀÎ Áõ¸íÀ̱⺸´Ù´Â ÇÏ´À´Ô°úÀÇ ÇÕÀÏÀ» ÀÌ·ç·Á´Â ½ÅºñÀû üÇèÀ̶ó°í º»´Ù. ±× ±Ù°Å·Î´Â ¡ºÇÁ·Î½½·Î±â¿Â¡»¿¡ ³ª¿À´Â ±âµµ¹®µéÀÌ ÇÏ´À´Ô°ú ½ÅºñÀû ÇÕÀÏÀ» ÀÌ·ç·Á´Â °ÍÀ¸·Î ³ªÅ¸³ª±â ¶§¹®ÀÌ´Ù. Ưº°È÷ ¡ºÇÁ·Î½½·Î±â¿Â¡» 14ÀåÀÇ ´Ù½Ã ÇÏ´À´ÔÀ» ¾Ë°Ô ÇØ ´Þ¶ó´Â ±âµµ´Â ¾È¼¿¹«½º°¡ ÇÏ´À´Ô°ú ÇÕÀÏÀ» ÀÌ·ç·Á´Â ½ÅºñÁÖÀÇÀÚÀÓÀ» º¸¿©ÁÖ°í ÀÖ´Â ±Ù°Å¶ó°í ÁÖÀåÇÑ´Ù. ÀÌ·¯ÇÑ ¡ºÇÁ·Î½½·Î±â¿Â¡»ÀÇ À̼º°ú ±âµµ¹®¿¡ ´ëÇÑ ³× °¡Áö °ßÇØÀÇ ´ÜÁ¡Àº ±âµµ¹®À» À̼º°ú ½Å¾ÓÀÇ °ü°è·Î¸¸ °íÂûÇÏ·Á°í Çß´Ù´Â °ÍÀÌ´Ù. ¾È¼¿¹«½ºÀÇ ±âµµ¹®À» Àß »ìÇDZâ À§Çؼ­´Â ¡ºÇÁ·Î½½·Î±â¿Â¡»¿¡ ³ª¿À´Â ´ë»óÀÚµé(µîÀåÀι°) ±×¸®°í ¡ºÇÁ·Î½½·Î±â¿Â¡»À» ±× ´ë»óÀÚ¿¡°Ô ¾´ µ¿±â¸¦ ÅëÇØ À̼º°ú ½Å¾ÓÀÇ °ü°è¸¦ »ìÆì¾ßÇÑ´Ù´Â °ÍÀÌ´Ù. ÀÌ°ÍÀÌ ÇÊÀÚÀÇ °ßÇØÀÌ´Ù. ¡ºÇÁ·Î½½·Î±â¿Â¡»¿¡´Â ¼¼ ¸íÀÇ ´ë»óÀÚ(µîÀåÀι°)°¡ ³ª¿Â´Ù. ¾È¼¿¹«½º, ¼ö»ç, ¾î¸®¼®Àº ÀÚÀÌ´Ù. ±× ´ë»óÀÚµé°ú µ¿±â, À̼º°ú ±âµµÀÇ °ü°è¸¦ »ìÆ캸¸é ´ÙÀ½°ú °°´Ù. ¡ºÇÁ·Î½½·Î±â¿Â¡»¿¡´Â ù ¹ø° ´ë»óÀÚÀÎ ¾È¼¿¹«½º°¡ ÀÖ´Ù. ±×´Â ¡º¸ð³î·Î±â¿Â¡»ÀÌÈÄ À̼ºÀ¸·Î °¡´ÉÇÑ ´Ü¼øÇÏ°í ÀÚÁ·ÇÑ ÇÑ°¡Áö Áõ¸íÀ» ã°íÀÚÇÏ´Â ¿­¸ÁÀ» °®°Ô µÇ¾ú´Ù. ÀÌ°ÍÀÌ ¡ºÇÁ·Î½½·Î±â¿Â¡»À» ¾²°Ô µÈ Á÷Á¢ÀûÀÎ µ¿±â¿´´Ù. ±×·±µ¥ ±×´Â ÀÌ Áõ¸íÀ» ã´Â ¿­¸Á °¡¿îµ¥ À̼ºÀÇ ÇѰ輺 ¼Ó¿¡ ´Ù´Ù¸£°Ô µÇ¾ú´Ù. À̼ºÀÇ ÇѰ輺À» ±Øº¹ÇÏ´Â ±æÀº ÀÚ½ÅÀÇ À̼º¿¡ ±ú´ÞÀ½À» Áֽô ÇÏ´À´Ô²² '±âµµ'ÇÏ´Â °ÍÀ̾ú´Ù. ±×·¯¹Ç·Î ¾È¼¿¹«½º´Â °£Ã»ÀÇ ±âµµ¸¦ ÅëÇÏ¿© ½Å Á¸Àç Áõ¸í¿¡ À־ ¾î¶»°Ô À̼ºÀÇ ÇѰ輺À¸·ÎºÎÅÍ °¡´É¼ºÀ¸·Î °¡°Ô µÇ¾ú´ÂÁö¸¦ º¸¿©ÁÖ°í ÀÖ´Â °ÍÀÌ´Ù. ¡ºÇÁ·Î½½·Î±â¿Â¡»¿¡ ³ª¿À´Â µÎ ¹ø° ´ë»óÀ¸·Î ¼ö»çµéÀÌ ÀÖ´Ù. ¾È¼¿¹«½º´Â ¼ö»çµéÀÌ ¡º¸ð³î·Î±â¿Â¡»¿¡ À̾ÇÁ·Î½½·Î±â¿Â¡»À» ÀÐÀ» °ÍÀ» ¿°µÎ¿¡ µÎ°í ÀÖ¾ú´Ù. ÀÌ·¯ÇÑ ¡ºÇÁ·Î½½·Î±â¿Â¡»ÀÇ µÎ ¹ø° ´ë»óÀÎ ¼ö»ç¸¦ ÇâÇØ ¾È¼¿¹«½º´Â À̼ºÀ¸·Î½á ½ÅÁ¸Àç Áõ¸í°¡´É¼º°ú ½ÅÀڷμ­ÀÇ À̼ºÀÇ ¿ªÇÒ¿¡ ´ëÇÏ¿© °¡¸£Ä¡°í ½Í¾îÇß´Ù.(¡ºÇÁ·Î½½·Î±â¿Â¡»À» ¾²°Ô µÈ ¶Ç ´Ù¸¥ µ¿±â) ÀÌ·¯ÇÑ °¡¸£Ä§À» ¾È¼¿¹«½º´Â ±âµµ·Î °¡¸£Ä£´Ù. ±× ÀÌÀ¯´Â ¾È¼¿¹«½º°¡ (1) ¾È¼¿¹«½º ÀÚ½ÅÀÇ À̼ºÀ̳ª ¼ö»çÀÇ À̼ºÀº ¾î¸®¼®Àº ÀÚ¿Í ÇÔ²² °øÀ¯ÇÒ ¼ö ÀÖ´Â Àΰ£À¸·Î¼­ º¸ÆíÀ̼ºÀ̶ó ÇÒÁö¶óµµ ÇÏ´À´Ô°ú °ü°è ¾È¿¡ ÀÖ´Â À̼ºÀ¸·Î ¿©°åÀ¸¸ç (2) À̼ºÀÇ ÇѰ輺¿¡¼­ °¡´É¼ºÀ¸·Î °¡´Â ¾È¼¿¹«½ºÀÇ ±âµµÀÇ »óȲÀ» ¼ö»çµéÀÇ »óȲÀ¸·Î µ¿ÀϽà ¿©°å±â ¶§¹®ÀÌ´Ù. ¼¼ ¹ø° ´ë»óÀº ½Å Á¸Àç Áõ¸íÀÇ Á÷Á¢ÀûÀÎ ´ë»óÀÎ ¾î¸®¼®Àº ÀÚÀÌ´Ù. ¾È¼¿¹«½º´Â ±×¿¡°Ô ÇÏ´À´ÔÀ» Áõ¸íÇØ¾ß Çϴ åÀÓ°ú ±×¸¦ ÇâÇÑ ±àÈá°ú »ç¶ûÀ» ±âµµ¸¦ ÅëÇØ ¸»ÇÑ´Ù. ÀÌ°ÍÀÌ¡ºÇÁ·Î½½·Î±â¿Â¡»À» ¾²°Ô µÈ ¶Ç ´Ù¸¥ µ¿±âÀÌ´Ù. ±×·¯³ª ¾î¸®¼®Àº ÀÚ¸¦ À§ÇÑ Á÷Á¢ÀûÀÎ ±âµµ¹®Àº ³ª¿ÀÁö ¾Ê´Â´Ù. ÀÌ·¯ÇÑ ¡ºÇÁ·Î½½·Î±â¿Â¡»¿¡ ³ª¿À´Â ´ë»óÀÚµé°ú µ¿±â, ±âµµ¿Í À̼º°úÀÇ °ü°è¸¦ ÅëÇÏ¿© ¾ÕÀÇ ³× °¡Áö °ßÇظ¦ ºñÆÇÇϰųª º¸ÃæÇÏ¸é ´ÙÀ½°ú °°´Ù. ¸ÕÀú ¾È¼¿¹«½º¸¦ ½Å¾ÓÁÖÀÇÀÚ·Î º¸´Â °ßÇØ¿¡ ´ëÇÑ ºñÆÇÀÌ´Ù. (1) ±âµµ¹®Àº ±× ´ë»ó¿¡ µû¸¥ ¿ªÇÒÀÌ ÀÖ´Â °ÍÀÌ´Ù. ±×·¯¹Ç·Î °¢ ´ë»óÀι°¿¡ µû¸¥ ±âµµ¹®ÀÇ ¿ªÇÒÀ» »ìÇÇ¸é ±×°¡ ÇÕ¸®ÁÖÀÇÀÚÀÓÀÌ µå·¯³­´Ù. (2) '¹ÏÁö ¾Ê°í¼­´Â ÀÌÇظ¦ ÇÒ ¼ö ¾ø´Ù'´Â ¾È¼¿¹«½ºÀÇ °í¹éÀº ½Å ÀνĿ¡ À־ À̼ºÀÇ ÇѰ輺°ú °¡´É¼º »çÀÌ¿¡¼­ À̼º ¿ªÇÒ¿¡ ´ëÇÑ °í¹éÀÏ »Ó ½Å¾ÓÀÌ ÀüÁ¦µÈ À̼ºÀ» ¸»ÇÏ´Â °ÍÀº ¾Æ´Ï´Ù. (3) 14ÀåÀÇ ±âµµ¹®Àº ¿ÀÈ÷·Á ±×°¡ ¾ó¸¶³ª À̼ºÁÖÀÇÀÚÀΰ¡¸¦ º¸¿©ÁÖ´Â ±âµµ¹®ÀÌ´Ù. (4) ¾È¼¿¹«½º°¡ ±âµµ¹®À» »ç¿ëÇÏ´Â °ÍÀº ÀÚ½ÅÀÇ À̼º ÇÑ°è¶ó´Â »óȲ°ú ¼ö»çµéÀÇ À̼ºÀÌ ÇÏ´À´Ô°úÀÇ °ü°è ¾Æ·¡ ³õ¿© ÀÖÀ½À» ÀüÁ¦ÇÑ °ÍÀÌÁö ½Å¾ÓÀ» ÀüÁ¦ÇÑ °ÍÀÌ ¾Æ´Ï´Ù. (5)ºÒ½ÅÀÚ¸¦ À§ÇÑ ±âµµ¹®Àº ¾ø´Ù. µÑ°, ¾È¼¿¹«½º¸¦ ÇÕ¸®ÁÖÀÇÀÚ·Î º¸´Â °ßÇØ´Â ¼öÁ¤µÇ°í º¸¿ÏµÇ¾î¾ß ÇÑ´Ù. (1) ±âµµ¹®Àº ÈÄ´ë»ðÀÔÀ̳ª ÀÇÁö°­È­Á¤µµ°¡ ¾Æ´Ï¶ó À̼ºÀ¸·Î ½Å Á¸À縦 Áõ¸íÇÏ·Á°í ÇÏ´Â ¾È¼¿¹«½ºÀÇ °èȹÀÌ´Ù. (2)¾È¼¿¹«½º°¡ ±âµµ¹®À» ¼±ÅÃÇÑ °ÍÀº ´Ü ÇÑ°¡Áö Áõ¸íÀ» ã´Â ¾È¼¿¹«½ºÀÇ »óȲ°ú ÇÏ´À´Ô°ú °ü°èµÈ À̼ºÀ̶ó´Â ½ÅÀÚÀÇ À̼ºÀÌ ÀÖ¾ú±â ¶§¹®ÀÌ´Ù. ÀÌ·¯ÇÑ ½ÅÀڷμ­ ÀÚ½ÅÀÇ À̼ºÀ» ¼ö»çµéÀÇ À̼º°ú µ¿ÀϽÃÇÏ¿© ±×µéÀ» °¡¸£Ä¡·Á°í Ç߱⠶§¹®ÀÌ´Ù. ¼Â°, À̼º°ú ½Å¾ÓÀÌ ¸íÈ®ÇÏ°Ô ±¸ºÐµÇÁö ¾Ê´Â ÀÚ·Î º¸´Â °ßÇØ¿¡ ´ëÇÑ ºñÆÇÀÌ´Ù. (1) ¸íÈ®ÇÏ°Ô ±¸ºÐµÇÁö ¾Ê´Â °ÍÀÌ ¾Æ´Ï¶ó °¢ ´ë»ó°ú ±âµµ¹®ÀÇ ¿ªÇÒÀ» ±ÔÁ¤ÇÏ¸é ¸íÈ®ÇÏ°Ô ±¸ºÐµÈ´Ù. ³Ý°, ½ÅºñÁÖÀÇÀÚ·Î º¸´Â °ßÇØ¿¡ ´ëÇÑ ºñÆÇÀÌ´Ù. (1) ½ÅºñÁÖÀÇÀûÀÎ ¿ä¼Ò°¡ ÀÖ´Â ±âµµ¹®Àº ±×°¡ ½ÅºñÁÖÀÇÀÚ¶ó´Â °ÍÀ» ³ªÅ¸³»´Â °ÍÀÌ ¾Æ´Ï¶ó ½ÅÁö½Ä¿¡ ´ëÇÑ °á°ú·Î ¿Â ±â»Ý¿¡ ´ëÇÑ ³»¿ëÀÌ´Ù. (2) 14ÀåÀÇ ±âµµ¹®Àº ¿ÀÈ÷·Á ±×°¡ ¾ó¸¶³ª À̼ºÁÖÀÇÀÚÀΰ¡¸¦ ¹àÈ÷°í ÀÖ´Ù. (3) ±×ÀÇ ±âµµ¹®Àº ¸¶Áö¸·±îÁö ½ÅºñÁÖÀÇ·Î ¸¶ÃÄÁö´Â °ÍÀÌ ¾Æ´Ï¶ó À̼ºÀÇ °¡´É¼º¿¡ ´ëÇÑ °í¹éÀ¸·Î ¸¶ÃÄÁö°í ÀÖ´Ù. °á·ÐÀûÀ¸·Î ¾È¼¿¹«½º´Â ½Å Á¸Àç Áõ¸í¿¡ À־ À̼ºÀÇ ³íÁõÀ» Æ÷±âÇÏÁö ¾Ê¾Ò´Ù. ¡ºÇÁ·Î½½·Î±â¿Â¡»ÀÇ ±âµµ¹®Àº ¿ÀÈ÷·Á ±×°¡ ¾ó¸¶³ª öÀúÈ÷ ½Å Á¸Àç Áõ¸í¿¡ À־ À̼ºÀÇ ³íÁõÀ» ÇÏ°í Àִ°¡¸¦ º¸¿©ÁÖ°í ÀÖ´Ù. ±×·¯¹Ç·Î ½Å Á¸Àç¿¡ ´ëÇÑ À̼ºÀÇ °¡´É¼ºÀ» öÇÐÀû ½ÅÇÐ ¾È¿¡, öÇÐ»ç ¾È¿¡ ¿­¾î ³õÀº °ÍÀÌ´Ù. ´õ ³ª¾Æ°¡ ¡ºÇÁ·Î½½·Î±â¿Â¡»ÀÇ ±âµµ¹®Àº À̼º¿¡¼­ ¹þ¾î³­ ½Å¾Ó, ¶Ç´Â ½Å¾Ó¿¡¼­ ¹þ¾î³­ À̼º, µÑ ´Ù¸¦ ¹èÁ¦ÇÏ°í ÀÖ´Ù. À̼º¿¡¼­ ¹þ¾î³­ ½Å¾ÓÀº ÇÕ¸®¼ºÀÌ °á¿©µÈ ¹Ì½Å°ú ±¤½ÅÀ¸·Î Àüü¼ºÀ» Æ÷¼·ÇÏÁö ¸øÇϹǷΠ±Ã±ØÀûÀ¸·Î Á¾±³Àû ÈûÀ» Àΰ£¿¡°Ô Æø·ÂÀ¸·Î »ç¿ëÇϸç, ½Å¾Ó¿¡¼­ ¹þ¾î³­ Àý´ëÀ̼ºÀº ¶Ç ´Ù¸¥ ¸é¿¡¼­ Àüü¼ºÀ» Æ÷¼·ÇÏÁö ¸øÇϹǷΠÀΰ£ À̼ºÀ¸·Î Æø·ÂÀ» Çà»çÇÏ°Ô µÈ´Ù. ±×·¯¹Ç·Î ½Å¾Ó°ú À̼ºÀÇ °ü°è´Â À̼ºÀ» ÅëÇØ ½Å¾ÓÀ» Æ÷¼·ÇØ¾ß ÇÏ¸ç ½Å¾ÓÀ» ÅëÇØ Àΰ£ À̼ºÀÇ Àý´ë¼ºÀ» ±Øº¹ÇÏ´Â ±æÀ» °É¾î°¡¾ß ÇÏ´Â °ÍÀÌ´Ù. ¾È¼¿¹«½º¿¡°Ô À־ ±× ±æÀº ¹Ù·Î '±âµµ'¿´´ø °ÍÀÌ´Ù. ¾È¼¿¹«½º´Â ±âµµ¸¦ ÅëÇÏ¿© À̼ºÀ¸·Î¼­ ½Å Á¸ÀçÁõ¸íÀÇ °¡´É¼ºÀ» Æ÷±âÇÏÁö ¾Ê¾ÒÀ¸¸ç, µ¿½Ã¿¡ ±âµµ¸¦ ÅëÇÏ¿© À̼ºÀÇ Àý´ë ½Å·Ú¼ºÀ¸·ÎºÎÅÍ ¹þ¾î³ª ÀÖ´Â °ÍÀÌ´Ù. ¡ºÇÁ·Î½½·Î±â¿Â¡»ÀÇ ±âµµ¹®Àº ÀÌ·± ¸é¿¡¼­ öÇÐÀû ½ÅÇаú ±Ù´ëÀû À̼º¿¡°Ô ±³ÈÆÀ» ÁØ´Ù.

[±¹³» ÇÐÀ§³í¹®]

º» ¿¬±¸´Â ¹Ì¼úÀÛ¾÷°ú ±âµµ¹®À» ÅëÇÑ ¹Ì¼úÄ¡·á»çÀÇ ÀÚ±âÀÌÇØ °úÁ¤¿¡¼­ ¹«¾ùÀ» °æÇèÇÏ°í, ±× °æÇèÀÇ ÀÇ¹Ì¿Í °¡Ä¡°¡ ¹«¾ùÀÎÁö Ž±¸ÇÏ´Â ÀÚÀüÀû ³»·¯Æ¼ºê Ž±¸ÀÌ´Ù. Ž±¸ÀÇ ¸ñÀûÀº ¹Ì¼úÄ¡·á»ç·Î¼­ Á¤Ã¼¼ºÀ» ã¾Æ°¡´Â °úÁ¤¿¡¼­ ¹Ì¼ú¸ÅüÀÇ °æÇè°ú ±âµµ¹®À» ±â¹ÝÀ¸·Î ÀÚ±â ÀÌÇØ¿Í ¼ºÂûÀÇ ±âȸ¸¦ ¾ò°íÀÚ ÇÔÀ̸ç, ¹Ì¼úÀÌ ÁÖ´Â »ó¡¼º°ú À̹ÌÁö ±³°¨¹æ½Ä¿¡ ´ëÇÑ ¿¬±¸ÀûÀÎ °¡Ä¡¿Í Àǹ̸¦ ã°íÀÚ ÇÑ´Ù.

[±¹³» ÇÐÀ§³í¹®]

±º »ýÈ°Àº º´»çµé¿¡°Ô ÀÖ¾î ÀÚÁ¸°¨ÀÇ »ó½Ç°ú °úµµÇÑ ½ºÆ®·¹½º¿¡ ³ëÃâµÇ¸é¼­ ÀÌÀüÀÇ ÀÚ±â ÀÚ½ÅÀÇ ¼ºÀå ¹è°æ°ú´Â ÀüÇô ´Ù¸¥ Á¶Á÷¿¡ ÀûÀÀÇØ¾ß Çϸç, ±ºÀ̶ó´Â »õ·Î¿î ȯ°æ¿¡¼­ ±ºº¹¹« ±â°£ µ¿¾È Àß ÀûÀÀÇÏ¿©, ÀλýÀÇ ¹ßÀü±â·Î »ïÀ» ¼ö ÀÖ¾î¾ß ÇÒ »Ó¸¸ ¾Æ´Ï¶ó, ÁÖ¾îÁø ÀÓ¹«¸¦ ¼º½ÇÈ÷ ¼öÇàÇÏ¿©, ±ºÀÇ ÇöÀå¿¡¼­ »îÀÇ ¸¸Á·µµ¸¦ ³ôÀ̵µ·Ï ³ë·ÂÇÏ´Â °ÍÀÌ Á¦´ë ÀÌÈÄ¿¡ ´Ù°¡¿Ã »çȸ¿¡ ´ëÇÑ ÀûÀÀ, Àڱ⼺Àå°ú »îÀÇ ÁúÀ» °¡¸§ÇÏ´Â ÇϳªÀÇ ÁöÇ¥°¡ µÉ ¼ö ÀÖ´Ù. µû¶ó¼­ º» ¿¬±¸¿¡¼­´Â º´»çµéÀÇ ±º»ýÈ° ¸¸Á·µµ¿¡ ¿µÇâÀ» ¹ÌÄ¡´Â ´Ù¾çÇÑ ¿äÀεéÀÌ ÀÖÁö¸¸ ±× Áß¿¡¼­µµ Á¾±³¶ó´Â º¯ÀÎ Áß Æ¯È÷ °³ÀÎÀÇ ±àÁ¤±âµµ¹®¾²±â°¡ º´»çµéÀÇ ÀÚ¾ÆÁ¸Áß°¨ ¹× ±º»ýÈ° ¸¸Á·µµ, ±º»ýÈ° ½ºÆ®·¹½º¿¡ ¹ÌÄ¡´Â ¿µÇâ¿¡ °üÇØ ¿¬±¸ÇÏ°íÀÚ ÇÏ¿´´Ù. Áï ±àÁ¤±âµµ¹®¾²±â È°µ¿À» ÅëÇØ ÁöÁö¿Í °Ý·Á, ĪÂù°ú °­Á¡, ±àÁ¤Àû ÀÚ±ØÀ» ÅëÇÏ¿© ÀÚ¾ÆÁ¸Áß°¨À» ³ô¿© ÁÖ°í, ºÎ´ë »ýÈ° °¡¿îµ¥ ½Ã¼³À̳ª, ȯ°æ, µ¿·á, »óÇÏ °ü°è µî ±º»ýÈ° ¸¸Á·°ú ±º º¹¹«·ÎºÎÅÍ ¿À´Â ½ºÆ®·¹½º¿¡ ¾î¶² ¿µÇâÀÌ ÀÖ´ÂÁö »ìÆ캸°í È¿À²ÀûÀÎ ¹æ¾ÈÀ» ¸¶·ÃÇØ º¸°íÀÚ Çϴµ¥ ¸ñÀûÀÌ ÀÖ´Ù. º» ¿¬±¸¿¡ Âü¿©ÇÑ º´»çµéÀº °æ±âµµÁö¿ª¿¡ À§Ä¡ÇÏ°í ÀÖ´Â YºÎ´ë º´»ç 66¸íÀ¸·Î ±¸¼ºµÇ¾î ÀÖ´Ù. ½ÇÇèÁý´ÜÀº ±àÁ¤±âµµÁý´Ü(½ÇÇèÁý´Ü)°ú ÀϹݱ⵵Áý´Ü(ºñ±³Áý´Ü)°ú ¾Æ¹«·± ±âµµ¸¦ ÇÏÁö ¾ÊÀº Áý´Ü(ÅëÁ¦Áý´Ü)À¸·Î °¢ 22¾¿ ±¸¼ºÇÏ¿´´Ù. ½ÇÇèÁý´ÜÀÇ º´»çµéÀº ±àÁ¤±âµµ¹®¾²±â¸¦, ºñ±³Áý´ÜÀÇ º´»çµéÀº ÀϹݱ⵵¸¦, ÅëÁ¦Áý´ÜÀº ¾Æ¹«·± óġ¸¦ °¡ÇÏÁö ¾Ê´Â »óÅ¿¡¼­ »çÀü»çÈÄ °Ë»ç ¼³°è¸¦ äÅÃÇÏ¿´´Ù. ±àÁ¤±âµµ¹®¾²±â´Â ¼º°æ¿¡ ³ª¿À´Â ±àÁ¤ÀûÀÎ ¸»¾¸À» ¸ÕÀú ¹Ýº¹Çؼ­ ÀÐ°í ¼÷ÁöÇÏ¿©, ±àÁ¤Àû Ư¼ºµéÀ» °­È­ÇÏ°í, ³»¸éÈ­ÇÏ¿© ±âµµ¹® Çü½ÄÀ¸·Î ¾²°Ô ÇÏ´Â °ÍÀÌ´Ù. ±àÁ¤±âµµ¹®¾²±â¿¡¼­´Â Àϻ󿡼­ ÀϾ´ø ÀϵéÀ» ±âµµ¹® Çü½ÄÀ¸·Î ¾²µÇ, °¡±ÞÀû ±àÁ¤´Ü¾î¸¦ »ç¿ëÇÏ°Ô ÇÏ¿´À¸¸ç, 2010³â 3¿ù 6ÀÏ¿¡¼­ 29ÀϱîÁö 3ÁÖ°£ 6ȸ±â¸¦ Á÷Á¢ ¹æ¹®ÇÏ¿© ½Ç½ÃÇÏ¿´´Ù. ±×¸®°í ¸ÕÀú µ¿Áú Áý´Ü ¿©ºÎ¸¦ ÆľÇÇϱâ À§ÇØ »çÀü°Ë»ç¸¦ ½Ç½ÃÇÏ¿´À¸¸ç, ÇÁ·Î±×·¥ Á¾·á¸¦ ±âÁØÀ¸·Î »çÈÄ °Ë»ç¸¦ ÅëÇÏ¿© °¢ ¿äÀΰ£ÀÇ »ó°ü°ü°è¸¦ ºÐ¼®ÇÏ¿´°í ÀÏ¿øº¯·®ºÐ¼®(one-way ANOVA), µ¶¸³ Ç¥º» t °ËÁ¤(t-test), °øº¯·®ºÐ¼®(ANCOVA)À¸·Î ÇÁ·Î±×·¥ÀÇ È¿°ú¼ºÀ» È®ÀÎÇÏ¿´´Ù. º» ¿¬±¸ °á°ú¸¦ ¿ä¾àÇØ º¸¸é ´ÙÀ½°ú °°´Ù. º» ¿¬±¸´Â °¢ ¿äÀκ° »çÀü °Ë»ç¿¡¼­ µ¿Áú¼ºÀÌ È®º¸ µÈ »óÅ¿¡¼­ ù ¹ø° ¿¬±¸ ¹®Á¦¸¦ °ËÁõÇÑ °á°ú ±àÁ¤±âµµ¹®¾²±âÁý´Ü°ú ÀϹݱ⵵Áý´Ü, ÅëÁ¦Áý´Ü °£ÀÇ ±º»ýÈ° ¸¸Á·µµ Â÷ÀÌ¿¡¼­ ±º»ýÈ° ¸¸Á·µµ´Â ±àÁ¤±âµµÁý´ÜÀÌ ±º»ýÈ° ¸¸Á·µµ°¡ °¡Àå ³ôÀº °ÍÀ¸·Î ³ªÅ¸³µ´Ù. µÎ ¹ø° ¿¬±¸ ¹®Á¦¸¦ °ËÁõÇÑ °á°ú ±àÁ¤±âµµ¹®¾²±âÁý´Ü°ú ÀϹݱ⵵Áý´Ü, ÅëÁ¦ Áý´Ü°ú ºñ±³ÇÏ¿© ±àÁ¤±âµµÁý´Ü-ÅëÁ¦Áý´Ü¿¡ µû¸¥ ÀÚ¾ÆÁ¸Áß°¨ Â÷ÀÌ´Â ±àÁ¤±âµµÁý´ÜÀÌ ÅëÁ¦Áý´Üº¸´Ù ÀÚ¾ÆÁ¸Áß°¨ÀÌ ´õ ³ôÀº °ÍÀ¸·Î ³ªÅ¸³µ´Ù. ±×·¯³ª ±àÁ¤±âµµÁý´Ü-ÀϹݱ⵵Áý´Ü¿¡ µû¸¥ ÀÚ¾ÆÁ¸Áß°¨ Â÷ÀÌ´Â ±àÁ¤±âµµÁý´ÜÀÌ ÀϹݱ⵵Áý´Üº¸´Ù ÀÚ¾ÆÁ¸Áß°¨ÀÌ ´õ ³ôÀº °ÍÀ¸·Î ³ªÅ¸³µ´Ù. ÇÏÁö¸¸ Åë°èÀûÀ¸·Î À¯ÀǹÌÇÑ Â÷À̸¦ º¸ÀÌÁö ¾Ê¾Ò´Ù. ¼¼ ¹ø° ¿¬±¸ ¹®Á¦¸¦ °ËÁõÇÑ °á°ú ±º»ýÈ° ½ºÆ®·¹½º´Â ±àÁ¤±âµµÁý´ÜÀÌ À¯ÀǹÌÇÑ Â÷À̸¦ º¸ÀÌ¸ç °¡Àå ³·°Ô ³ªÅ¸³µ´Ù. ÇϺοäÀο¡ ´ëÇØ °ËÁõÇغ» °á°ú ¿ªÇÒ, Á÷¹«, ½ºÆ®·¹½º´Â À¯ÀǹÌÇÑ Â÷À̸¦ º¸ÀÌ¸ç ±àÁ¤ÀûÀα⵵Áý´ÜÀÌ ½ºÆ®·¹½º°¡ ³·Àº °ÍÀ¸·Î ³ªÅ¸³µ´Ù. ¶ÇÇÑ ±º ¿ÜºÎ, °ü°è ½ºÆ®·¹½º ºÎºÐÀº Åë°èÀûÀ¸·Î À¯ÀǹÌÇÑ Â÷ÀÌ´Â º¸ÀÌÁö ¾Ê¾ÒÁö¸¸ ±àÁ¤±âµµ Áý´ÜÀÌ °¡Àå ³·Àº °ÍÀ¸·Î ³ªÅ¸³µ´Ù. º» ¿¬±¸ÀÇ ¿¬±¸ ¹®Á¦¸¦ °ËÁõÇÑ °á°ú ±àÁ¤±âµµ¹®¾²±âÁý´ÜÀº ±º »ýÈ° ¸¸Á·µµ¿Í ÀÚ¾ÆÁ¸Áß°¨ÀÌ ´Ù¸¥ Áý´Ü¿¡ ºñÇØ ³ô°í, ±º»ýÈ° ½ºÆ®·¹½º°¡ ´Ù¸¥ Áý´Ü¿¡ ºñÇØ ³·Àº °ÍÀ» ¾Ë ¼ö ÀÖ´Ù. µû¶ó¼­ ±àÁ¤½É¸®¸¦ ±â¹ÝÀ¸·Î ÇÑ ±àÁ¤±âµµ¹®¾²±â´Â ¿­¾ÇÇÑ ±º´ë ȯ°æ¿¡ ºÎÀûÀÀÇÑ º´»çµéÀ̳ª, ÀϹÝÀûÀÎ »óȲ¿¡ ÀÖ´Â º´»çµéÀÌ ±º»ýÈ° ¸¸Á·µµ¿Í ÀÚ¾ÆÁ¸Áß°¨, ±º»ýÈ° ½ºÆ®·¹½º¿¡¼­ ÀÚ½ÅÀÇ ½Å¾ÓÀ» ÅëÇÑ ÀÚ½ÅÀÇ ÀáÀç·ÂÀ» ¹ß°ßÇÏ°í, °í¾çÇÒ ¼ö ÀÖ´Â È¿°úÀûÀÎ ¹æ¹ýÀÌ µÉ °ÍÀ» ±â´ëÇÒ ¼ö ÀÖ°Ú´Ù. ¶ÇÇÑ Á¾±³ È°µ¿ÀÇ Àû±ØÀû º¸Àå°ú, Á¾±³Àû ÇàÀ§°¡ ±º À庴µé¿¡°Ô ÁÖ´Â ±àÁ¤Àû ¿äÀεéÀ» ÀνÄÇÏ¿© 1ÀÎ 1Á¾±³ °®±â µî Á¾±³ Çà»ç°¡ ´õ¿í È°¼ºÈ­ µÇ¾î¾ß Çϸç, ±àÁ¤±âµµ¹®¾²±â°¡ ±âµ¶±³ º´»çµé¿¡°Ô ±àÁ¤Àû »ç°í¿Í ½Å¾ÓÀ» ±æ·¯ Áִµ¥ ¾ÆÁÖ ½±°í °£´ÜÇϸ鼭µµ È¿°úÀûÀ̹ǷΠ±ºÀα³È¸¿¡¼­ Àû±Ø ±ÇÀåÇÒ ÇÊ¿ä°¡ ÀÖ´Ù. ÀÌ¿¡ ±ºÀα³È¸¿¡ Ãâ¼®ÇÏ´Â º´»çµéÀÇ ±º »ýÈ°¿¡ ±àÁ¤±âµµ¹®¾²±â¸¦ È°¼ºÈ­ ½ÃÄÑ ÇâÈÄ º´»çµéÀÇ È¿°úÀûÀÎ ±º »ýÈ°¿¡ µµ¿òÀÌ µÇ±æ ¹Ù¶õ´Ù.

[±¹³» ÇÐÀ§³í¹®]

Devotions Upon Emergent Occasions is a religious prose work by John Donne(1572-1631) in serious sickness in his late years. Besides its prominent value in theology and psychology, this book also possesses extremely high value in the history of English literature. His life along with preoccupations about death can be attributed to his personal experience and religious life, also related to his social situation. As a heritage of a Catholic family, Donne grew up in a quite tragic and long-suffering life, and he spent much of his life anticipating his death. For him, death was a constant presence. He placed himself frequently on the threshold between this world and the next. His whole life was spent under the miserable shadow of death: especially the death of his brother Henry Donne who died in the prison when Donne was 21. The most serious attack to Donne¡¯s spirit was his wife, Anne More¡¯s death in 1617. After his own experience of ¡°emergent occasions¡±, as he says, which means his illness around 1623, Donne recorded every single thought about his health condition and his emotions every day. In the context to 17th century devotional writing, such writings were ¡°more public than private, vehicles for the diagnosis of spiritual malaise and as sources of remedies'.(Stringer 218) In this book, which is divided into twenty three chapters, we can see Donne¡¯s changing attitude towards life and death, and his attempts to answer a series of important questions related to life and death in a conversational style. Donne defeats his fear of death with humility, shows introspection to his life, and awes God along his stream of thoughts in faith. His writing style is characterized by symbols and metaphors, manifested not only in the theological content, but also in the structure. In one day¡¯s record as in one chapter, it divides into three parts as ¡°Meditation¡±, ¡°Expostulation¡± and ¡°Prayer¡±. Especially the part of ¡°Expostulation¡±, may be the distinguishing feature to other devotional writings, in which Donne quoted scripture sentences only, but did not in the other two parts. Thomas F. Van Laan, writing in Studies in Philology, draws parallels between Donne's style and the Ignatian exercises: a set of structured mental exercises designed to bring an individual closer to understanding God. (Laan 191) It can be concluded that in meditating the interaction between the life and death, Donne actually focuses on the interaction between man and God by the recognition of death. The challenge in the Devotions is to find a way to read deadly illness as consonant not with judgement but mercy. For Donne himself, the model of being alive, death of flesh and spiritual resurrection is like a circle representing perfection and eternity, the prototype of which is God himself. It actually symbolizes his three stage pursuit course of self-salvation through reconciliation with God: spiritual death in sins; bodily weakness and self-negation, bodily recovery and spiritual salvation in giving self wholly to God. The true meaning of death lies not in the condition right before death, but in spiritual vitality along with its usefulness for others¡¯ spiritual pursuit when one was alive. Donne has shown the harmonious state of oneself lies in the harmony of God and man, body and soul, interrelationship in one man to another, which still has great enlightenment on the recognition of both life and death for modern people.

[±¹³»³í¹®]

There appear three prayers in the book of Ezra-Nehemiah: Ezra's prayer, Nehemiah's prayer, and Levites' prayer. These prayers have their own specific characteristics and play important roles in each place. In order to investigate their characteristics and roles, I will analyze the languages, the syntax, and the structures of each prayer and compare the prayers each other.First, Ezra's prayer(Ezra 9:6-15) emphasizes the sin(ßûK, vv. 6, 7, 10, 13, 14) of Israel community, mentioning that Israelites have been deep in guilt from the days of their ancestors to this day. In particular, it quotes Deuteronomic laws(Deut. 7:1a, 3b¥á, 3b¥â; 23:7) in order to indicate the problems of the mixed marriages in the returning community. Furthermore, it plays a role as a sermon in the present position, in that it advised the members of the community who got married with the foreign women to send away their wives and children.Second, Nehemiah's prayer(Neh. 1:5-11a) has a typical form of a prayer, like Israelites' praise of God ¡æ Israelites' confession of sins ¡æ God's mercies for them. In particular, this prayer emphasizes a word, ¡°servant¡±(Ó+!, vv. 6a, 6b, 7, 8, 10, 11a, 11b, 11c) and identifies Nehemiah with Moses, ¡®the Lord's servant.¡¯ This expects that God shall give to Nehemiah the same graces which God gave to Moses. Only Nehemiah's solicitation, ¡°give success to your servant today, and grant him mercy in the sight of this man'(v. 11), shows that according to Neh. 2, his prayer is a prayer preparing the meeting with the king.Third, Levites' prayer(Neh. 9:6-37) emphasizes God's mercies(Ý×è), mentioning God's graces and Israelites' sins with many traditions and five divine mercy formulas(vv. 17, 19, 27, 28, 31) in the first unit(vv. 6-31). And in the second unit(vv. 32-37), the prayer hopes that his mercies appear to the present returning community who have been slaves ¡°in the land that the Lord gave to their ancestors to enjoy its fruit and its good gifts.¡± Accordingly, the first unit is closely connected with the second unit. This prayer plays a role as a background for the sworn covenant in Neh. 10, in that it exhorts the members to contract covenant with God.Accordingly, these prayers have each specific characteristics and play roles as backgrounds of each event in each text. In other words, they play roles as a spiritual prayer, a prayer for preparation of meeting with the king, and a prayer which advices for making a contract with God.

[ÇØ¿Ü³í¹®]

This paper aims to examine how Donne develops and innovates the tradition of the devotional genre in the Devotions upon Emergent Occasions (1624). While the Devotions does refer closely to his personal and intimate experience of serious illness, it does not limit its scope to the issue of sickness. Donne¡¯s illness calls for interpretation and gives him an opportunity for writing a commentary on the subject of death and decay. Donne demonstrates his intellectual and spiritual capacity by skillfully expanding the contemplation to topics of death and conditions of humankind. Therefore, Donne¡¯s Devotions is the result not only of reflection on his personal experience, but of his contemplation on the conditions of human beings. Donne structured his works to reflect this concept properly, by shifting between the singular voice which implies personal conditions and the plural voice which refers to humanity. Donne¡¯s Devotions demonstrates notable traits of contemporary prayers and meditation works through proactive interaction with Scripture and exposure of his personal weaknesses and faults. There are 23 Devotions in the work, each consisting of Meditation, Expostulation, and Prayer. A hermeneutic lies behind the writing of the work of devotion, and Donne¡¯s use of Scripture in the Expostulation involves innovations in the devotional genre.

[±¹³»³í¹®]

The Okchu-gyeong is the core book used in the 9-person mountaintop pray. I have published several articles on this. One of its achievements is that it was able to clarify the reality of the 9 person prayer to some extent.There are a number of non-burnable collections, which show a clear evolutionary process for 9 mountaintop prayer. It was about the process of Korean translation of Okchu-gyeong and Dok-gyeong training according to the Tanjojik organization. In the process, however, the so-called ¡°erased part¡± in the Okchubogyeong was an obstacle to analysis. Now, by revealing the full picture of this expungement mark, it is possible to establish a complete evolutionary process between the Other versions.The results of the restoration of the ink line are shown in Table 3, Finally, the Mount Prayer also presented the full text of prayer. The full text of the prayer is an copy version shown in the appendix.

[±¹³»³í¹®]

This study was carried out to show how the combined beauty of human psychology and floral formative arts portray deep expressions and bring wisdom of life by adjusting the floral designs with the words of prayer. From this study we propose that the beauty of nature which God created is visually artistic enough. However when the Word of God is expressed as flower art, its meaning becomes increasingly important and valuable. The work is composed of ¡°Profession of Faith¡±, ¡°Lords Prayer¡±, ¡°Hail Mary¡±, and ¡°The Gloria¡± and each prayer is expressed by a unified symbolic frame(or structure) and various flowers. Symbolizing the universe in ¡°Profession of Faith¡± (Section ¥².1) by representing the ordinary as a circlar shape using a twirling parallel(striping) technique,thus, creating a line of prayer¡¯s hands by a wistaria-floribunda-crescent shape in ¡°Lords Prayer¡± (Section ¥².2) A sphere shape is created to symbolize prayers of petitions by woven willow weaving technique (Section ¥².3), which represent a jar-shaped wire to symbolize eternity by wire netting technique (Section ¥².4) We appreciate each verse in the prayers, as we meditate and express our thoughts and feelings in flower art. By applying floral formative arts and expressing prayer in visual art, we convey meaning more deeply by prayer to understand it more. Until now, floral art is generally located at the alter, entrance, assembly hall or hallway of any cathedral church, however, we desire it to become a quiet and holy space for meditation or prayer, and furthermore, a place to share and experience inspiration of the artist. In addition, we potentially expect our study on liturgical flower arrangement to be devoted to a positive diffusion of floral formative arts while having a systematic and concrete system.

[±¹³»³í¹®]

Right behind Margery Kempe¡¯s narrative is added a prayer controversial enough for a woman ceaselessly under suspicion of Lollardy. What made this prayer so precarious in Kempe¡¯s time is her bold proclaim of the universal salvation which had been judged unorthodox throughout the Christian history. Compared to the reformist universalism of Julian of Norwich and William Langland, that of Kempe is inexorably outspoken about her message of salvation for everybody even including unredeemable Jews. Kempe¡¯s awareness of Arundel¡¯s Constitutions and harsh persecutions of heresy, and her strategies to negotiate them are evident in the narrative. One of the strategies is to excuse the dangerous ideas in the orthodox forms. This paper claims that the same strategy against the harsh religious persecution works throughout her narrative and even in her prayer. Kempe¡¯s prayer clothes itself in the form of the ¡°Fifteen Oes,¡± a series of petitionary prayers of the complex theology from the Seven Words on Cross. Popular as one of orthodox Brigittine prayers, the ¡°Fifteen Oes¡± was more so with generous indulgences, then a shibboleth of orthodoxy, attached to it. It is in the recognized form of the ¡°Fifteen Oes¡± that Kempe voiced the universal salvation more safely not as a cringing ¡°creature¡± but authoritative ¡°I.¡±

[±¹³» ÇÐÀ§³í¹®]

Áֱ⵵¹®ÀÇ Á߿伺À» »ó±âÇÏ°íÀÚ ±âµµ¿¡ °üÇÑ ÀϹÝÀû °íÂû·ÎºÎÅÍ ½ÃÀÛÇÏ¿© Áֱ⵵¹®ÀÇ Çؼ®°ú ¹ø¿ª¹®Á¦¸¦ ÀÌ»ó°ú °°ÀÌ ´Ù·ç¾ú´Ù. »ìÆ캻 ´ë·Î ¿ì¸®°¡ Çϳª´Ô²² ±âµµÇØ¾ß ÇÒ °Í°ú ±âµµÇÒ ¼ö ÀÖ´Â °ÍÀÌ ¸ðµÎ Áֱ⵵¹®ÀÇ Çü½Ä¿¡ Æ÷ÇԵǾî ÀÖ´Ù. ÀÌ ±âµµ¹®Àº ¿ì¸®ÀÇ ÃÖ°íÀÇ ±³»çÀ̽Š¿¹¼ö ±×¸®½ºµµ²²¼­ ÁֽŠ±âµµÀÇ Ç¥ÁØÀÌ´Ù. Çϳª´Ô²²¼­´Â ±×ÀÇ ±â»µÇϽô °Í, ¿ì¸®¿¡°Ô ÇÊ¿äÇÑ °ÍÀ» ÀÌ ±âµµ¹®¿¡ ¿Ïº®È÷ ¿ä¾àÇØ ³õÀ¸¼Ì´Ù. Ä®ºóÀº '¾Æ¹«¶óµµ ÀÌ ±âµµ¹®ÀÇ ¹üÀ§¸¦ ³Ñ¾î ´Ù¸¥ °ÍÀ» Çϳª´Ô²²·ÎºÎÅÍ ¿øÇÏ´Â »ç¶÷Àº ÀÚ±âÀÇ ÁöÇý·Î Çϳª´ÔÀÇ ÁöÇý¿¡ ¹«¾ùÀ» ÷°¡ÇÏ·Á´Â °ÍÀÌ´Ï, ÀÌ·± °ÍÀº ±¤ÀûÀÎ ¸ðµ¶¿¡ ºÒ°úÇϸç, ¶ÇÇÑ Çϳª´ÔÀÇ ¶æÀÇ ¹üÀ§ ³»¿¡ ¸Ó¹°·¯ ÀÖÀ¸·Á°í ÇÏÁö ¾Ê°í Çϳª´ÔÀÇ ¶æÀ» ¸ê½ÃÇϸ鼭 ÀÚ±âµéÀÇ ³¯¶Ù´Â ¿å¸Á´ë·Î ¸Ö¸® ¹þ³ª°¡ Çì¸Ç´Ù'°í ¸»ÇÑ´Ù. ÀÌ·¯ÇÑ ÀÚµéÀÇ ±âµµ´Â ÀÌ·ç¾î Áú ¼ö°¡ ¾ø´Ù. ±×·¯³ª ÀÌ ¸»ÀÌ Áֱ⵵¹®ÀÇ Çü½ÄÀ» ÀÏÁ¡ÀÏȹÀÌ¶óµµ º¯Çü½ÃÅ°Áö ¸»¶ó´Â °ÍÀº ¾Æ´Ï´Ù. ¼º°æ¿¡´Â Áֱ⵵¹® ÀÌ¿Ü¿¡µµ ¿©·¯ À¯ÇüÀÇ ±âµµ°¡ °¡¸£ÃÄÁö¸ç ÀÌ ¸ðµç ±âµµ´Â °°Àº ¼º·É¿¡ ÀÇÇÑ °ÍÀÌ´Ù. Ä®ºóÀº ÀÌ¿¡ ´ëÇÏ¿© 'Áֱ⵵¹®¿¡ ¿ä¾àµÇ¾î Æ÷ÇÔµÈ °Í ÀÌ¿Ü¿¡´Â ¾Æ¹«°Íµµ ±¸Çϰųª ±â´ëÇϰųª ¿ä±¸Çؼ­´Â ¾ÈµÇ³ª ÀÌ°ÍÀº ¿ë¾îÀÇ ¹®Á¦°¡ ¾Æ´Ï¶ó ³»¿ëÀÇ ¹®Á¦ÀÌ´Ù'¶ó°í ¸»ÇÏ¿´´Ù. µû¶ó¼­ Áֱ⵵¹®ÀÇ ³»¿ëÀ» Àß ¼÷ÁöÇÏ°í ÀÖ¾î¾ß ¿ì¸®´Â ¿Ã¹Ù¸¥ ±âµµ¸¦ µå¸± ¼ö ÀÖ°í ±âµµÀÇ ÀÀ´äÀ» ±â´ëÇÒ ¼ö ÀÖ´Ù. Áֱ⵵¹®Àº ¿ì¸®ÀÇ °æ°ÇÈƷÿ¡µµ ¸Å¿ì À¯ÀÍÇѵ¥ Áֱ⵵¹®À» ÅëÇؼ­ ±ÔÄ¢ÀûÀÎ ±âµµ¸¦ µå¸± ¼ö ÀÖ°í, ±âµµÀÇ ³»¿ëÀ» »ý°¢Çϸ鼭 Çϳª´ÔÀÇ ¶æÀ» °¥¸ÁÇÏ¿© ¿ì¸®ÀÇ ¶æÀ» Çϳª´ÔÀÇ ¶æ¿¡ º¹Á¾½Ãų ¼ö ÀÖ°Ô µÈ´Ù. ¹«¾ùº¸´Ù Áß¿äÇÑ °ÍÀº ¿ì¸®ÀÇ ±âµµ°¡ ¿ÀÁ÷ Çϳª´ÔÀ» Âù¾çÇϱâ À§ÇØ µå·ÁÁ®¾ßÁö »ç¶÷ÀÇ ÇູÀ» À§Çؼ­ µå·ÁÁ®¼­´Â ¾ÈµÈ´Ù´Â °ÍÀÌ´Ù. ¿ì¸®°¡ Çϳª´ÔÀÇ ¿µ±¤¸¸À» »ý°¢ÇÒ ¶§ Çϳª´ÔÀº ¿ì¸®ÀÇ ÇÊ¿äÇÑ ¸ðµç °ÍÀ» °ø±ÞÇϽŴÙ. Ç×»ó ±â»µÇ϶ó, ½¬Áö¸»°í ±âµµÇ϶ó, ¹ü»ç¿¡ °¨»çÇ϶ó. ÀÌ´Â ±×¸®½ºµµ ¿¹¼ö ¾È¿¡¼­ ³ÊÈñ¸¦ ÇâÇϽŠÇϳª´ÔÀÇ ¶æÀ̴϶ó(°¥ 5:16-18).

[±¹³»³í¹®]

It is necessary to collect and organize the data, which were recorded intermittently, including Lee Gong-joo, Kim Young-shin, Lee Kyung-soon and Kim Dae-ger. We need to examine these data to determine the substance of the Okchukyung¡¯s use and to summarize its diverse meanings.These are very important data given the poor early circumstances of the data. Especially hers should be established as a very important piece of data.These records are based on the original material, Okchu Bogyeong. It was proved that the prayer of each member divided by the Palgoee(Æȱ¥) was actually present.The remaining data belongs to the central unit(Áß¾Ó´Ü¿ø) and the general manager(´ÜÀå). The prayer of the remaining members can be inferred from Kim Young-shin¡¯s data.Data to support this analogy remained in the Buddhism study(ºÒ¹ý¿¬±¸È¸) data so that the prayers of each unit could be confirmed.Buddhism study(ºÒ¹ý¿¬±¸È¸) books were sorted in order of group organization. The division was ten parts, including the head and center, gun, gam, gan, jyn, son, ly, gon and tae(°Ç°¨°£Áø¼Õ¸®°ïÅÂ). The section corresponding to the central section corresponds exactly to that of the previous two prospectors, Lee Kyung-soon. Kim Dae-gee¡¯s are the leaders, while Kim Young-shin¡¯s are the leaders, the central and other members of the unit.I looked at how the prayer of a prayer house was distributed and what each one was about. I have no idea why only the leader and central data are left, and the prayers of the other members are left behind. However, it is believed that this may depend on the weight of the position he was given.And the prayers of each unit are not so long as the center and the leader. Maybe it¡¯s because everyone has memorized a prayer. So there is a possibility that they did not record separately. However, the possibility of additional data being released is also open.From this perspective, I can assume that nine people in Gillyong-ri were formed in the same way at the same time. I have already covered it in the previous article, but it remains to be seen whether his data, which he has left now, came from that time. There is no data available to confirm this. It would be fair to say that the system is of the same order, if not of the time.

[±¹³»³í¹®]

Some churches in Korea provide interpretation services during Sunday worship. Although it is a relatively small business related to a particular religion, the number of churches providing worship interpreters is increasing. However, in this regard, studies on worship interpretation are quite insufficient.This study focused on interpretation of prayer from Korean to Japanese during worship, and considered the title that refers to God in prayer. Three things were confirmed from the study. First, in Korean prayer, ¡°Dangsin¡± is not used as a designation of God, but in Japanese prayer, ¡°Anata¡± is used in a large proportion. Second, the data obtained from sequential interpretation of Korean prayers to Japanese revealed that ¡°Jesus¡± and ¡°God¡± as the titles of God tended to be translated as ¡°Jesus¡± and ¡°God¡±. However, 11 out of 28 cases were translated into ¡°Anata¡±, which is not in the original Korean text. Third, in Japanese, ¡°Anata¡± is used less frequently in daily conversations, but it is used at a fairly high rate in both the Japanese pastor's prayer and the Korean-Japanese sequential interpretation during worship.The National Council of Churches in Korea has pointed out that ¡°Dangsin¡± is not suitable as a pronoun for God, and a survey on the use of ¡°Anata¡± in Japanese revealed that the use of ¡°Anata¡± in daily life is not high. It can be said that the high frequency of use of ¡°Anata¡± in Japanese pastors' prayer and Korean-Japanese sequential interpretation is a significant result.

[±¹³»³í¹®]

Áֱ⵵¹® ¼Ó¿¡´Â ¿ì¸®ÀÇ ¼Ò¿ø°ú °£±¸°¡ Æ÷ÇԵǾî ÀÖ´Ù. ±×¸®°í Çϳª´Ô²² °£±¸ÇÏ¿©¾ß ÇÒ ³»¿ëÀÌ ÀÀÁýµÇ¾î ÀÖ°í, ¿ì¸® ½º½º·Î¸¦ »ìÆì¾ß ÇÒ ³»¿ëÀÌ Æ÷ÇԵǾî ÀÖ´Ù. Çϳª´ÔÀÇ ¸»¾¸Àº Àΰ£ÇൿÀÇ ±Ô¹üÀÌ¸ç ±â¾÷°æ¿µÀÇ ÁÁÀº ÁöħÀÌ µÈ´Ù. Áֱ⵵¹®Àº Çϳª´ÔÀÇ ¸»¾¸À» ¿ä¾àÇÏ¿© ¿ì¸®¿¡°Ô ¾Ë·ÁÁÖ´Â Çൿ±Ô¹üÀÌ¸ç µ¿½Ã¿¡ ±â¾÷°æ¿µÀÇ ¹æ½ÄÀÌ ¿©±â¿¡ Á¦½ÃµÇ¾î ÀÖ´Ù. Áֱ⵵¹®Àº Å©°Ô µÎ ºÎºÐÀ¸·Î ³ª´µ´Âµ¥, ù ºÎºÐÀº ¼±¾ðÀÌ¸ç µÑ° ºÎºÐÀº ¿äûÀ¸·Î ±¸¼ºµÅ ÀÖ´Ù. ÀüÀÚ´Â Çϳª´ÔÀÇ À̸§ÀÌ °Å·èÈ÷ ¿©±èÀ» ¹ÞÀ¸½Ã¶ó´Â ¼±¾ðÀÌ°í, ÈÄÀÚ´Â Çϳª´ÔÀÇ ³ª¶ó°¡ ÀÌ·ç¾îÁö°Ô ÇØ´Þ¶ó´Â ¼±¾ðÀÌ´Ù. º» ¿¬±¸´Â Áֱ⵵¹®¿¡ ³ªÅ¸³­ º»¹®ÀÌ °æ¿µ ȤÀº °æ¿µÀÚ¿¡°Ô ÁÖ´Â ±³ÈÆÀ» ¿ì¸®ÀÇ »î, ƯÈ÷ °æ¿µ°ü¸®¿¡ Àû¿ëÇÏ·Á°í ½ÃµµÇÏ¿´´Ù.

[±¹³» ÇÐÀ§³í¹®]

ÆíÁýÀÚÀÎ ¸¶ÅÂ¿Í ´©°¡´Â ±âµµÀÇ ¸ðÀÓ¿¡ »ç¿ëÇϱâ À§ÇÑ ±âµµ¹®À» »ý°¢ÇßÀ¸¸ç ½ÇÁ¦·Î Áֱ⵵¹®Àº °øÀû, »çÀûÀÎ ±âµµ¿Í ȸÁß¿¹¹è¿¡¼­ »ç¿ëµÇ¾ú´Ù. Áֱ⵵¹®¿¡ ¼Û¿µÀÌ Ã·°¡µÈ °ÍÀº ÈÄ´ëÀÇ ÀÏ·Î 18Ãູ ±âµµ¹®¿¡ ¸ÂÃç¼­ ¼¼ ºÎºÐÀ¸·Î ±¸¼ºÇϱâ À§ÇÑ ½Ãµµ¿´´Ù. À¯´ë±³ ȸ´ç¿¹¹è¿¡¼­ µå·ÁÁö´ø ±âµµ¹®ÀÎ 18Ãູ ±âµµ¹®Àº óÀ½ 3°³ÀÇ ±âµµ¹®Àº Çϳª´ÔÀ» Âù¾çÇÏ°í ¸¶Áö¸· 3°³ÀÇ ±âµµ¹®Àº Çϳª´Ô²² °¨»çÇÏ¸ç °¡¿îµ¥ ºÎºÐÀÇ 12°³ û¿øÀº ȸÁßÀÌ °£±¸ÇÏ´Â ³»¿ëÀ¸·Î µÇ¾î ÀÖ´Ù. ¿À¸®°Õ(Origen)Àº 5°³ÀÇ ºÎºÐÀ¸·Î ±âµµÀÇ °³¿ä°¡ Á¤ÇØÁ®¾ß ÇÑ´Ù°í ÁÖÀåÇߴµ¥ Âù¾ç, °¨»ç, °í¹é, û¿ø, ±×¸®°í Âù¾çÀÌ´Ù. ¿©±â¿¡ ºñÇؼ­ Áֱ⵵¹®Àº ´Ü¼øÈ÷ µÎ °³ÀÇ ºÎºÐÀ¸·Î ³ª´¶´Ù. ù ¹ø° ºÎºÐÀº Çϴÿ¡ °üÇÑ Ã»¿øÀÌ°í µÎ ¹ø° ºÎºÐÀº ¶¥¿¡ °üÇÑ Ã»¿øÀÌ´Ù. ù° ºÎºÐÀº ¡®Çϳª´Ô û¿ø¡¯À¸·Î¼­ Çϳª´ÔÀ» Âù¾çÇÏ´Â Çå½ÅÀÌ¸ç µÑ° ºÎºÐÀÎ ¡®¿ì¸® û¿ø¡¯Àº »ç¶÷ÀÇ Çʿ並 °£±¸ÇÑ´Ù. ÀÌ °°Àº Áֱ⵵¹®ÀÇ °³¿ä¿¡ ´ëÇؼ­´Â Ãʴ뱳ȸ·ÎºÎÅÍ °ø°¨µÇ¾îÁ® ¿Ô´Ù(Origen, Tertullian µî).
 Áֱ⵵¹®ÀÇ ±¸Á¶¸¦ »ìÆ캸¸é Çϳª´Ô û¿ø°ú ¿ì¸® û¿øÀÇ »óÈ£°úÁ¤À» ÅëÇØ Çϳª´Ô°ú Àΰ£ »çÀÌÀÇ ³»¸²°ú ¿Ã¸²ÀÇ ÀÛ¿ëÀÌ »ý¸íÀü¼öÀÇ °ü°è¸¦ ÅëÇØ À̾îÁø´Ù. À̸§ÀÇ °Å·è¼º°ú ³ª¶óÀÇ ÀÓÇϽÉÀ» ¼±Æ÷ÇÏ°í Âù¾çÇÏ°í °¨»çÇϸç À̾ ¿ì¸®ÀÇ Çʿ並 ±¸ÇÏ´Â ±âµµ´Â ¸¶Ä¡ µÎ ¹ÙÄû ȤÀº ¾ç ³¯°³Ã³·³ ¸ðµç ±âµµÀÇ ¿ø¸®·Î¼­ ±â´ÉÇÑ´Ù. 
 ºÎ¸ð, ½º½Â, ¾î¸¥ °ø°æ°ú ÀÚ³à, Á¦ÀÚ, ¾î¸°ÀÌ »ç¶ûÀ̶ó´Â È¿½Çõ 7´ë »ç¸íÀÇ Àü°³±¸Á¶¿¡¼­¿Í °°ÀÌ Áֱ⵵¹®Àº »óÈ£°ü°è¼ºÀ» ÅëÇØ µÎ Á¾·ùÀÇ Ã»¿øÀÌ ¿¬°áµÈ´Ù. ½Ê°è¸íÀÇ Á¦5°è¸íÀÌ Çϳª´Ô »ç¶û°ú ÀÌ¿ô »ç¶ûÀÇ ¾ç´ë °è¸íÀ» À̾îÁÖµíÀÌ Áֱ⵵¹®ÀÇ ¡®Çϳª´Ô û¿ø¡¯°ú ¡®¿ì¸® û¿ø¡¯À» À̾îÁÖ´Â ¸Å°³´Â ¿¹¼öÀÇ ¡®¾Æ¹Ù¡¯ ºÎ¸§ÀÌ´Ù. ÀÌ ºÎ¸§Àº ¼ººÎ¿Í ¼ºÀÚÀÇ °ü°è°¡ Çϳª´Ô°ú Á¦ÀÚµéÀÇ °ü°è·Î À̾îÁö°í ¿¹¼öÀÇ ±âµµ°¡ ±³È¸°øµ¿Ã¼ÀÇ ±âµµ·Î À̾îÁö´Â Åë·ÎÀÇ ¿ªÇÒÀ» ÇÑ´Ù. 
 ´©°¡ÀÇ Áֱ⵵¹®Àº ¡®¾Æ¹Ù¡¯ ȣĪÀÌ À̾îÁö´Â ´Ù¼¸ °³ÀÇ Ã»¿øÀ» ±ÔÁ¤ÇÏ´Â ¿ªÇÒÀ» ÇÏ¸ç ¿¹¼ö¿Í Çϳª´ÔÀÇ °ü°è°¡ Á¦ÀÚµé°ú ¿¹¼öÀÇ °ü°è¸¦ ¸Å°³·Î Çؼ­ Çϳª´Ô°ú Á¦ÀÚµéÀÇ °ü°è·Î À̾îÁö´Â °¡Á·°ü°è È®´ë¸¦ °æÇèÇÏ°Ô ÇÑ´Ù. ÀÌ °°Àº °øµ¿Ã¼ÀÇ »õ·Î¿î ÀÚ±âÁ¤Ã¼¼ºÀº °³º°ÀûÀÎ Á¤Ã¼¼ºÀ» °øµ¿ÀÇ ¡®¾Æ¹Ù¡¯·Î ÅëÇÕÇÏ¿© ÇϳªÀÇ Áý´ÜÀû Á¤Ã¼¼ºÀ¸·Î ½ÂÈ­½ÃÄÑ ³½ °á°úÀÌ´Ù. 
 ¿äÄÁ´ë Áֱ⵵¹®ÀÌ ´©°¡°øµ¿Ã¼ÀÇ »îÀÇ ÀÚ¸®¿¡¼­ ¿¹ÀüÈ­ µÇ¾î°¡´Â °úÁ¤¿¡¼­ ³ªÅ¸³ª´Â ¡®¾Æ¹Ù¡¯¸¦ º»Áú·Î ÇÏ´Â ´©°¡ÀÇ È¿½ÅÇÐÀ» ¹ß°ßÇÒ ¼ö ÀÖ¾ú´Ù. Áֱ⵵¹®ÀÇ ¡®ÆÄÅ׸£¡¯(¥Ðά¥ó¥å¥ñ) ȣĪÀº ³ª¸ÓÁö ´Ù¼¸ °³ÀÇ Ã»¿øÀ» ÀüüÀûÀ¸·Î ±ÔÁ¤ÇÏ´Â ÀüÁ¦·Î½á ±â´ÉÇϸ鼭 °¢ û¿øÀÇ ³»¿ëÀ» ¼ººÎ Çϳª´Ô²² ´ëÇÑ °­·ÂÇÑ ÀÇÁ¸¼ºÀ¸·Î ¸¸µé¾î ³ª°¬´Ù. 
 Áֱ⵵¹®Àº ´©°¡ °øµ¿Ã¼ÀÇ ³»Àû °áÁý·ÂÀ» °­È­Çϴµ¥ ±â¿©Çߴµ¥ ÀÌ´Â ¿µÀû ºÎ¸ðÀÚ³à°ü°èÀÇ Á¤¸³À» ÅëÇØ °øµ¿Ã¼Àû °¡Á·°ü°èÀÇ È®ÀåÀ» ÀÌ·ëÀ¸·Î½á °¡´ÉÇß´Ù. Áֱ⵵¹®À¸·Î ÇÔ²² ±âµµÇÏ°í ¶Ç °³ÀÎÀûÀ¸·Î ±âµµÇϸ鼭 Ãʴ뱳ȸ´Â Çö½ÇÀû ³­Á¦µéÀ» ±Øº¹ÇØ ³ª°¡¸ç °¥µî°ú ºÐ¿­À» ÅëÇÕ½ÃÄÑ ³ª°¡´Â ¼º°æÀû È¿¿îµ¿À» ½ÇõÇß´Ù. 

[±¹³»³í¹®]

I analyzed the prayer, which was the foundation of the Boepinjoel. I greatly compared two things, Park Yong - deok¡¯s and Lee kongju¡¯s . Pak¡¯s was taken from the founder of the Bulboepyonkuhoe(Buddha research institute), and the Lee kongju¡¯s brought a part of it from the Okchukyung.These two have completely different contents and systems. Although it is confusing which one is a formal prayer, it is presumed that Lee¡¯s was a clear prayer. Park¡¯s made the creation system as the main content, moved to Daejonggyeong, was coincided with the writing method of the traditional axis. Her use of a Okchukyung is much more magical. The two are different kinds. According to Lee¡¯s record, it seems to have used it in prayer. It is possible to raise many suspicions and problems. The content of her use was not a form of traditional tradition. It was revealed that the prayers of the other members were also used to share the Okchukyung. This point is also waiting for further study. Its use was in the process of forming a savings association and doing dialect construction. It was to strengthen the unity of the economic community. On the one hand, it was used as a way to do new mental arming.At that time, it was considered a book that was famous in the folklore sector.

[±¹³» ÇÐÀ§³í¹®]

¸¶Åº¹À½¼­ÀÇ Áֱ⵵¹®Àº ¿¹¼ö ´ç½ÃÀÇ À¯´ë±³ ±âµµ¹®À» ÀοëÇÏ¿© ¿ä¾àÇÑ °ÍÀ̶óµçÁö, ȤÀº ´Ù¸¥ º¹À½¼­ÀÇ ±âµµ¹®À» ÀοëÇϸ鼭 ±×µéÀÇ »óȲ¿¡ ¸Â°Ô ÀοëÇÏ¿´´Ù´Â ÁÖÀåµéÀÌ ÀÖ´Ù. ¶ÇÇÑ ¸¶ÅÂÀÇ Áֱ⵵¹®Àº ´Ü¼øÇÏ°Ô Á¦Àڵ鿡°Ô ±âµµÀÇ ¸ð¹üÀ¸·Î ÁÖ¾îÁø °ÍÀ̶ó´Â ÁÖÀåµéÀÌ ÀÖ´Ù. ±×·¯³ª ÀÌ·¯ÇÑ ´ëºÎºÐÀÇ ¿¬±¸´Â ¸¶Å°øµ¿Ã¼ÀÇ »çȸÀû ¹è°æÀ̳ª Á¤È² µîÀÇ °üÁ¡¿¡¼­ÀÇ ¿¬±¸º¸´Ù´Â ¹®ÇÐ ºñÆòÀûÀÎ ¹æ¹ý¿¡ ÇÑÁ¤µÇ¾î ¿Ô´Ù. ÀÌ °°Àº ¹®Á¦Á¡µé¿¡ ´ëÇØ Á¦½ÃÇÒ ¼ö ÀÖ´Â °ÍÀº, Áֱ⵵¹®ÀÇ ¹è°æÀÌ µÇ´Â ´ç½ÃÀÇ ÆÈ·¹½ºÆ¾ÀÇ Á¤È²°ú ¹®¸ÆÀ¸·Î µ¹¾Æ°¡¼­ ¸¶Å°øµ¿Ã¼¿Í À¯´ë±³ °øµ¿Ã¼¿ÍÀÇ °ü°è ¼Ó¿¡¼­ Áֱ⵵¹®À» ÀÌÇØÇÏ°í Á¢±ÙÇÒ ¶§ ±×µ¿¾È °£°úÇØ¿Â ´äº¯µéÀ» ¾òÀ» ¼ö ÀÖÀ» °ÍÀÌ´Ù. ÀÌ·± ÀÔÀå¿¡¼­, »çȸÇÐÀû ¼º¼­Çؼ® ¹æ¹ý·ÐÀº ¹®ÇкñÆòÀ̳ª, °ú°ÅÀÇ ¿ª»ç ºñÆòÀÌ Á¢±ÙÇÏÁö ¸øÇÏ°í °£°úÇß´ø ¸¹Àº ºÎºÐµéÀ» µå·¯³»ÁÖ°í Á¶¸íÇØÁÖ°í ÀÖ´Ù. ÀÌ·¯ÇÑ »çȸÇÐÀûÀÎ ¹æ¹ý·ÐÀÇ ÀÔÀå¿¡¼­ º» ³í°í¸¦ Àü°³ÇÑ´Ù. º» ³í°í¿¡¼­ Á¦½ÃÇÏ°íÀÚ ÇÏ´Â ÁÖÁ¦´Â ¸¶Å°øµ¿Ã¼ÀÇ Áֱ⵵¹®Àº À¯´ë±³ °øµ¿Ã¼¿ÍÀÇ °¥µî°ü°è¿¡¼­ ºñ±³ ¿ìÀ§¸¦ Á¦½ÃÇÏ´Â °ÍÀ¸·Î ÀÌÇØÇÏ´Â °ÍÀÌ´Ù. ¿¹¼ö¿Í Á¦ÀÚµéÀº À¯´ëÀÎÀ¸·Î ¼ºÀåÇÏ¿´±â ¶§¹®¿¡ Á¾±³»ýÈ°ÀÇ Áß¿äÇÑ ºÎºÐÀ» Â÷ÁöÇÏ°í ÀÖ´Â À¯´ë±³ÀÇ ±âµµ¹®µéÀ» ¾Ë°í ÀÖ¾ú´Ù. ÀÌ·¯ÇÑ °ü·Ã ¼Ó¿¡¼­ Áֱ⵵¹®ÀÇ À¯´ëÀûÀÎ ¹è°æ°ú ÀÏ»óÀÇ Á¾±³»ýÈ°¿¡¼­ Å« °ü·ÃÀÌ ÀÖ´Â À¯´ëÀÎÀÇ ±âµµ¹®µé¿¡ ´ëÇÑ ÀνÄÀÌ ÇÊ¿äÇÏ´Ù. ÇÑ °øµ¿Ã¼ÀÇ ÀÔÀåÀ» ´ëÇ¥ÇÏ´Â ±âµµ¹®À» ÀÏ»óÀûÀÎ »ç¿ëÀ» À§ÇØ ¸¸µé °æ¿ì, °øµ¿Ã¼ÀÇ °¡Àå Å« ¹®Á¦µé°ú ¼Ò¿øµéÀÌ ¹Ý¿µµÇ¾î ÀÖ´Â °ÍÀº ´ç¿¬ÇÏ´Ù. ¹°·Ð ÀÌ·¯ÇÑ ÀÔÀåÀº Áֱ⵵¹®ÀÌ ÀüÇô ¿¹¼öÀÇ °¡¸£Ä§°ú °ü°è°¡ ¾ø´Ù´Â °ÍÀº ¾Æ´Ï´Ù. ¿¹¼ö²²¼­ °¡¸£ÃÄÁØ ±âµµ¹®À» ¸¶Å°øµ¿Ã¼ÀÇ ÇÊ¿ä¿Í Á¤È²¿¡ µû¶ó¼­ Á¦½ÃÇÑ °ÍÀ̶ó´Â ÀǹÌÀÌ´Ù. ¸¶Å ±âÀÚ´Â º¹À½¼­¸¦ ±â·ÏÇϸ鼭 °ú°Å ¿¹¼öÀÇ À̾߱⸦ ÅëÇØ ÇöÀç ÀÚ½ÅÀÇ °øµ¿Ã¼°¡ Á÷¸éÇÑ ±ä±ÞÇÑ ¹®Á¦µéÀ» ÇØ°áÇÏ°íÀÚ ÇÑ´Ù. ÀÌ·± Á¡¿¡¼­ ¸¶ÅÂÀÇ Áֱ⵵¹®Àº ¸¶Å°øµ¿Ã¼ÀÇ Á¤È²À» °¡Àå Àß ¹Ý¿µÇÏ°í ÀÖ´Ù. º» ³í¹®¿¡¼­´Â ¸¶Å°øµ¿Ã¼¿Í ÁÖÈÄ 70³â ÀÌÈÄÀÇ ¹Ù¸®»õÀû À¯´ë±³¿ÍÀÇ °ü°è°¡ ¸¶Åº¹À½¼­¸¦ ±â·ÏÇÏ°Ô Çß´ø Áß¿äÇÑ µ¿Àΰ¡¿îµ¥ Çϳª·Î¼­ ÀÛ¿ëÇßÀ» °ÍÀ̶ó°í ÀüÁ¦ÇÑ´Ù. À¯´ë Çعæ ÀüÀïÀÌÈÄ ±Øµµ·Î ¾ÇÈ­µÈ °ü°è ¼Ó¿¡¼­µµ °¥¸±¸® ÀÏ´ë¿¡ ±Ù°ÅÇÑ ¸¶Å°øµ¿Ã¼´Â À¯´ë±³ÀÇ È¸´çÀ» ºÎºÐÀûÀ¸·Î °ü·ÃÀ» ¸ÎÀ¸¸é¼­ µ¶¸³µÇ¾î °¡´ø Àüȯ±âÀû °øµ¿Ã¼¿´´Ù. À¯´ë±³ °øµ¿Ã¼´Â ¸¶Å°øµ¿Ã¼·Î »ó¡µÇ´Â Å©¸®½ºÃµµé¿¡ ´ëÇؼ­ Ç̹ÚÇÏ¸ç ±×µéÀÇ Å×Çʶó ±âµµ¹®¿¡ ÀúÁÖÀÇ ±âµµ¹®À» ³Ö°í ÀúÁÖÇϸç, ȸ´ç¿¡¼­ ÃàÃâÇÏ¿´´Ù. ÀÌ·¯ÇÑ Á¤È²¿¡¼­ ¸¶Å°øµ¿Ã¼´Â ¸¶Å°¡ º» ¿¹¼öÀÇ ±âµµ¹®À» ÅëÇؼ­ ¸¶Å°øµ¿Ã¼ÀÇ ºñ±³ ¿ìÀ§¸¦ Á¦½ÃÇÏ´Â °ÍÀÌ´Ù. ¸¶Å°øµ¿Ã¼ÀÇ ±âµµ´Â ȸ´ç¿¡¼­ µå¸®´ø À¯´ë±³°øµ¿Ã¼ÀÇ ±âµµ¹®°ú´Â ´Ù¸¥ ±âµµ¹®ÀÌ´Ù. À¯´ë±³ °øµ¿Ã¼ÀÇ ±âµµ¹®Àº Çϳª´ÔÀ» Ä£±ÙÇÑ ¾Æ¹öÁö·Î ºÎ¸£Áö ¸øÇÏ°í, µÎ·Á¿î Çϳª´ÔÀ¸·Î ºÎ¸£°í ÀÖ´Ù. ¶ÇÇÑ °ú°Å ÀڽŵéÀÇ Á¶»óÀÇ Çϳª´ÔÀ¸·Î ºÎ¸£°Å³ª, ÀڽŵéÀÇ »î°ú´Â µ¿¶³¾îÁø ¸Ö¸®¼­ ÃÊ¿ùÇØ ÀÖ´Â µÎ·Á¿î Çϳª´ÔÀÇ ¸ð½ÀÀ» ±×¸®°í ÀÖ´Ù. ±×·¯³ª ¸¶Å °øµ¿Ã¼ÀÇ Áֱ⵵¹®Àº Çϳª´ÔÀ» ¡®¾Æ¹Ù¡¯·Î ºÎ¸£¸ç, Ç×»ó Çϳª´Ô°ú ÇÔ²² Çϸç, Çϳª´ÔÀÇ ÀÀ´äÀ» ¹Ï´Â ¹ÏÀ½ÀÇ °øµ¿Ã¼ÀÎ °ÍÀ» ³ªÅ¸³½´Ù. ½¦¸¶, Å×Çʶó, Ä«µå½¬ µîÀÌ À¯´ëÀεéÀÇ Á¤È²À» ³ªÅ¸³»´Â ±âµµ¹®À̾ú´Ù¸é, ¸¶ÅÂÀÇ Áֱ⵵¹®Àº ÇÏ´ÃÀÇ ¹é¼ºÀ¸·Î¼­ ¸¶Å°øµ¿Ã¼ÀÇ Á¤È²À» ³ªÅ¸³»´Â ±âµµ¹®ÀÌ´Ù. ¸¶ÅÂÀÇ Áֱ⵵¹®Àº ¸¶Å°øµ¿Ã¼¿øµéÀÌ Çϳª´ÔÀÇ ¾Æµéµé·Î¼­ÀÇ ÇϳªµÈ µ¿Áú¼ºÀ» È®º¸ÇÒ ¼ö ÀÖ´Â °¡Àå ÀûÀýÇÑ °ÍÀ̾úÀ» »Ó¸¸ ¾Æ´Ï¶ó, ÀúÁÖÇÏ°í Ç̹ÚÇÏ´Â À¯´ë±³ °øµ¿Ã¼¿¡°Ô ¿ÀÈ÷·Á ¿ë¼­¿Í »ç¶ûÀ» Á¦½ÃÇÏ´Â °ÍÀ¸·Î¼­ ¿ø¼ö±îÁö »ç¶ûÇÏ´Â ¸¶Å°øµ¿Ã¼ÀÇ ¿ì¿ù¼ºÀ» õ¸íÇÏ¿´´Ù.

[±¹³»³í¹®]

This paper aims to examine how Donne develops and innovates the tradition of the devotional genre in the Devotions upon Emergent Occasions (1624). While the Devotions does refer closely to his personal and intimate experience of serious illness, it does not limit its scope to the issue of sickness. Donne¡¯s illness calls for interpretation and gives him an opportunity for writing a commentary on the subject of death and decay. Donne demonstrates his intellectual and spiritual capacity by skillfully expanding the contemplation to topics of death and conditions of humankind. Therefore, Donne¡¯s Devotions is the result not only of reflection on his personal experience, but of his contemplation on the conditions of human beings. Donne structured his works to reflect this concept properly, by shifting between the singular voice which implies personal conditions and the plural voice which refers to humanity. Donne¡¯s Devotions demonstrates notable traits of contemporary prayers and meditation works through proactive interaction with Scripture and exposure of his personal weaknesses and faults. There are 23 Devotions in the work, each consisting of Meditation, Expostulation, and Prayer. A hermeneutic lies behind the writing of the work of devotion, and Donne¡¯s use of Scripture in the Expostulation involves innovations in the devotional genre.

[±¹³»³í¹®]

This study, on the basis of 200 prayers of Protestantism and Buddhism, examines address and reference terms for the objects of worship that are observed in each religion. The goals of this research were to investigate 1) what are the types of address and reference terms used in Protestant and Buddhist prayers, 2) whether the differences between the two religions in the address and reference terms derive from distinct philosophical or doctrinal background. Buddhist prayers were analyzed as using more various address terms for the objects of worship than Protestant prayers. Kinship address terms were used in a higher rate than in Protestant prayers, while the egalitarian type of address and reference terms were observed in Buddhist prayers alone. The latter difference is suggested by the researcher as originating from a disparity between the two religions in the relationship of worshipper and worshipped. In addition, style differences were observed between the two religions; in particular, vocative postpositions were significantly more frequently used in Buddhist prayers, giving exclamatory impressionistic effects to the prayers. Finally, whereas similar numbers of address and reference terms for the objects of worship were found in Buddhist prayers, more than thrice as many reference terms were observed as address terms in Protestant prayers, which reflects the Protestant worshippers' effort to interact continuously with the diety during the prayer. Some linguistic and sociolinguistic implications of the results are also discussed. (232 words)

[±¹³» ÇÐÀ§³í¹®]

º» ³í¹®Àº ¿¹¹èÀÇ ±¸¼º¿ä¼Ò °¡¿îµ¥ ÇϳªÀÎ Áֱ⵵¹®ÀÌ ¿¹¹èÀÇ ¿ª»ç ¼Ó¿¡¼­ ¾î¶»°Ô »ç¿ëµÇ¾úÀ¸¸ç ¶ÇÇÑ Çѱ¹±³È¸ÀÇ ¿¹¹è¿¡ ¾î¶»°Ô È°¿ëµÇ¾î¾ß Çϴ°¡¿¡ °üÇÑ ¿¬±¸ÀÌ´Ù. Áֱ⵵¹®Àº ¿¹¼ö´Ô²²¼­ Á÷Á¢ °¡¸£ÃÄ ÁֽŠ±âµµÀÓ¿¡µµ ºÒ±¸ÇÏ°í Çѱ¹±³È¸ ¾È¿¡¼­ ±× °¡Ä¡¸¦ ÀÎÁ¤¹ÞÁö ¸øÇÏ´Â »óȲÀÌ´Ù. ±× ÀÌÀ¯·Î ÁÖÀϳ·¿¹¹èÀÇ ¼ø¼­¿¡ Áֱ⵵¹®ÀÌ ±× ÀÚ¸®¸¦ Â÷ÁöÇÏÁö ¸øÇÑ´Ù. Áֱ⵵¹®Àº ´ÜÁö ÁÖÀϳ·¿¹¹è ÀÌ¿ÜÀÇ ¿¹¹è ȤÀº ¼ºµµµéÀÇ ¸ðÀÓÀ» ¸¶Ä¡±â À§ÇÑ ¿ëµµ·Î »ç¿ëµÇ±âµµ ÇÑ´Ù. º» ¿¬±¸ÀÚ´Â ¡®Áֱ⵵¹®ÀÇ ¿¹¹è»çÀû ÀÌÇØ¿Í È°¿ë¡¯À̶ó´Â ³íÁ¦·Î Áֱ⵵¹®ÀÇ °¡Ä¡¿Í Á߿伺À» µå·¯³»·Á°í ÇÑ´Ù. ±×¸®°í Áֱ⵵¹®ÀÌ ÁÖÀϳ·¿¹¹èÀÇ ±¸¼º¿ä¼Ò·Î ȸº¹µÇ¾î¾ß ÇÒ Çʿ伺°ú ÇÔ²² ±× È°¿ë¿¡ ´ëÇÑ ¹æ¾ÈµéÀ» Á¦¾ÈÇÏ¿´´Ù. º» ³í¹®ÀÇ Á¦¥°ÀåÀº º» ¿¬±¸ÀÇ µ¿±â¿Í ¸ñÀû, ¿¬±¸ÀÇ ¹æ¹ý°ú ¹üÀ§ ±×¸®°í °ü·Ã¼±Ç࿬±¸¸¦ ´Ù·ç¾ú´Ù. Á¦¥±ÀåÀº ¿¹¼ö´Ô²²¼­ Á÷Á¢ °¡¸£ÃÄ ÁֽŠ±âµµ·Î ¸¶Åº¹À½ 6Àå 9-13Àý°ú ´©°¡º¹À½ 11Àå 2-4ÀýÀÇ µÎ °÷¿¡ µîÀåÇÏ´Â Áֱ⵵¹®ÀÇ ÀϹÝÀûÀÎ ÀÌÇظ¦ ´Ù·ç¾ú´Ù. Áֱ⵵¹®ÀÇ ¸íĪ°ú ±â¿ø ±×¸®°í Áֱ⵵¹®°ú ÀüÅëÀûÀÎ À¯´ë ±âµµ¹®°úÀÇ ºñ±³¸¦ ÇÏ¿´´Ù. ÀÌ·¯ÇÑ ºñ±³¸¦ ÅëÇØ Áֱ⵵¹®À» ÀÌÇØÇÏ´Â µ¥ µµ¿òÀ» ÁÖ°íÀÚ ÇÏ¿´´Ù. Á¦¥²ÀåÀº Áֱ⵵¹®ÀÇ ¿¹¹è»çÀû ÀÌÇØ·Î Ãʴ뱳ȸ·ÎºÎÅÍ ±Ù´ë¿¡ À̸£±â±îÁö Áֱ⵵¹®ÀÌ ¿¹¹èÀÇ ¿ª»ç¿¡¼­ »ç¿ëµÈ ½ÇÁ¦ÀûÀÎ ¿¹¸¦ µé¾ú´Ù. Áֱ⵵¹®ÀÌ »ç¿ëµÈ ½ÇÁ¦ÀûÀÎ ¿¹¸¦ ÅëÇØ ¿¹¹èÀÇ ±¸¼º¿ä¼ÒÀÎ Áֱ⵵¹®ÀÇ Çʿ伺À» ¾ð±ÞÇÏ¿´´Ù. Á¦¥³ÀåÀº Çѱ¹±³È¸ÀÇ ¹®Çå¿¡ ³ªÅ¸³­ Áֱ⵵¹®ÀÇ ¿¬±¸¸¦ ÅëÇØ ¼º°á±³È¸, °¨¸®±³È¸, Àå·Î±³È¸ÀÇ ¿¹¹èÀÇ ÇöÁÖ¼Ò¸¦ »ìÆ캸¾Ò´Ù. Á¦¥´ÀåÀº Çѱ¹±³È¸ ¿¹¹èÀÇ »Ñ¸®¶ó°í ÇÒ ¼ö ÀÖ´Â º¯¹æ¿¹¹è°¡ °¡Áö°í ÀÖ´Â ¹®Á¦Á¡À» ÁöÀûÇÏ¿´´Ù. ±×¸®°í ¿¹¹èÀÇ °»½ÅÀ» À§ÇÑ ¹æ¾ÈÀ¸·Î Çѱ¹±³È¸ ÁÖÀϳ·¿¹¹èÀÇ ¼ø¼­¸¦ Á¦½ÃÇÏ¿´´Ù. ¶ÇÇÑ Áֱ⵵¹® ȸº¹ÀÇ ´çÀ§¼ºÀ» ÀνÄÇÏ°í Áֱ⵵¹®ÀÇ È°¿ë ¹æ¾È¿¡ ´ëÇÏ¿© ¾ð±ÞÇÏ¿´´Ù. Á¦¥µÀåÀº º» ¿¬±¸ÀÇ °á·ÐÀ¸·Î Áö±Ý±îÁö ³íÀÇÇÏ¿´´ø °ÍÀ» ¿ä¾àÇÏ¿´´Ù. ¶ÇÇÑ ¹Ìó ´Ù·çÁö ¸øÇÑ ºÎºÐ¿¡ ´ëÇÏ¿© ÃßÈÄ°úÁ¦·Î ³²±â¸é¼­ ¸¶¹«¸® ÇÏ¿´´Ù. º» ¿¬±¸ÀÚ´Â Çѱ¹±³È¸ÀÇ ¿¹¹è°¡ Çϳª´Ô°ú ¿¹¹èÀÚ¿ÍÀÇ ¸¸³²À̶ó°í ÇÏ´Â ±âº»ÀûÀÎ ¿¹¹èÀÇ Àǹ̸¦ ³õÄ¡Áö ¾Ê±â¸¦ ¹Ù¶õ´Ù. ¿¹¹èÀÇ Çü½ÄÀº ±×·± Àǹ̿¡¼­ Çϳª´Ô°ú ¿¹¹èÀÚ¸¦ ¿¬°áÇÏ´Â Áß¿äÇÑ Åë·Î°¡ µÈ´Ù. ±× Åë·Î°¡ µÇ´Â ¿¹¹è¿¡ ´ëÇÑ ¿ª»çÀûÀÎ °íÂûÀº Àǹ̰¡ ÀÖ´Ù. ¶ÇÇÑ ¿¹¹èÀÇ °¢°¢ÀÇ ±¸¼º¿ä¼Ò°¡ °¡Áö´Â Àǹ̵µ ¿Ü¸é´çÇؼ­´Â ¾È µÈ´Ù. Áֱ⵵¹®Àº Ãʴ뱳ȸ·ÎºÎÅÍ ÀüÇÏ¿©Áø ¿¹¹èÀÇ ±¸¼º¿ä¼ÒÀÌ´Ù. ¿¹¼ö´Ô²²¼­ Á÷Á¢ °¡¸£ÃÄ ÁֽŠ±âµµÀÇ ¸ð¹üÀÎ Áֱ⵵¹®ÀÌ Çѱ¹±³È¸ÀÇ ¿¹¹è¿¡¼­ »Ó¸¸ ¾Æ´Ï¶ó ¼ºµµÀÇ ±âµµÀÇ »î¿¡¼­µµ ´õ¿í Å« À¯ÀÍÀÌ µÇ±â¸¦ ±â´ëÇÑ´Ù.

[±¹³» ÇÐÀ§³í¹®]

The main thesis of my paper is that the name, 'Father' is the foundation for making requests because it has a certain self determination for children of God and a full dependency on the character of God. The basis for asking from God in the Lord's Prayer is that believers can call Him, Father. Believers are fully dependant on him with a self determination as children of God. Indeed, the name, 'Father' in the Lord's Prayer is the key to understanding the contents of the Lord's Prayer. The writer tried to set the boundary on the meaning of 'Father in the Lord's Prayer based on the Gospel of Matthew, and on the fact that, 'calling God Father is a special usage of Jesus.' The writer intended to show that the name, 'Father' is a precondition for requests since using the name, 'Father' means there is a certain self understanding as children of God and a full dependency on God similar to that of a child with his father. In fact, calling God 'Father' has roots in the Old Testament and Judaic literature. But the name 'Father' in the Old Testament and Judaic literature means a communal rather than a personal understanding as was known by Jesus and His disciples. The person of 'Father' revealed in the Gospel of Matthew and the Sermon on the Mount is as follows. These are useful preconditions to determine the character of 'Father' in the Lord's Prayer. The use of the word, 'Father' in Matthew 11:27 is handed down to His disciples by Jesus with His self understanding. And the word, 'Father', in Matthew 18, implies having a full dependency upon God like a child on a father. In Matthew 10:29-33, father is presented as one giving a solid protection, an interest in and a love for the disciples. Only the man who can love even his enemy can call on the name of God as Father, according to the first part of the Sermon on the Mount in Matthew 5:9, is connected to Matthew 5:45-48 for the preceding role asking forgiveness. It must be made clear that the first part of the Lord's Prayer, calling him 'father', is connected closely with the requests after the study of the Lord Prayer to prove the thesis of this paper. The thesis of this paper is that the name, 'father' is a precondition for the petitions which follow. At first, the concept of the Kingdom of God is connected with 'father'. The Kingdom of God that Jesus proclaimed is already and not yet because Jesus must have a Messianic work in His self determination for He is the Son of God, and Father. So without the condition of calling God, 'Father,' no one can ask for the Kingdom of God. And calling God 'father' is a precondition for the petition for food, asking for forgiveness and asking for protection in the Lord's Prayer. Asking for God to, 'Give us today our daily bread' means full dependence on God, by His children. And this dependence is based on Exodus, where the people of God rely upon Him during their daily travel. Asking for forgiveness must be by God's children and the means of asking for forgiveness is to be emphasized in Matthew 6:14-15. This fact shows that only the man who can use the name 'father' is able to ask for forgiveness. Asking for protection is connected to Matthew 10:29-33. This passage makes us sure of specific protection only for His children, those calling him 'father'. This passage says that asking for protection can be done only in a relationship between a father and his children. Indeed, the requests in the Lord's Prayer cannot exist without the precondition of calling him 'father'. The writer realizes a theological meaning through the study of the condition for 'father' in the Lord Prayer and its commentary. The meaning of Christology, that He is a prophet, a mediator and the servant of God, is revealed in Jesus' self determination upon God. According to Matthew 13:11, the privilege of the children which the secret of Heaven has given, has a theological meaning with an eschatological blessing. As we see, the asking for food, the asking for forgiveness and the asking for protection just after the asking for His Kingdom are asking dependant on God being 'father'. This fact means the first part of the Lord Prayer is a precondition for all further requests. The asking, calling God as 'father' is based on certain self determination of a child of God because only a child of God can call Him 'father', and depend on Him for everything with his/her whole heart. Therefore the name, 'father' is not simple, but comparable to children's self determination upon a fatherly God. It is an expression of wholehearted dependence and a written guarantee that future requests will be realized.

/ 10

Filters

º¸±âÇü½Ä

Á¤·Ä¼ø¼­

Æ÷¸Ë

¸®½ºÆ® ¼ö