이 연구는 산림치유마을을 계획하는데 있어서 치유공간의 위계를 구성하는데 요구되는 개념을 모색하고 이를 적용하는 과정을 다룬 것이다. 여기에 필요한 개념은 사례연구 대상지인 향도원 마을의 원형을 엿볼 수 있는『桃花源記』로부터 추출하였으며, 이 개념을 회화로서 구현하고 있는『夢遊桃源圖』의 구도를 치유공간의 위계로서 적용하였다. 도연명이『도화원기』를 통해서 노래한 동양적 이상향인 도화원(또는 도원경)의 의미는 장생불사, 무병장수의 선경으로 해석한다. 이것을 공간적으로 구현한 것이『몽유도원도』이다. 현실세계-전이지대-이상세계에 이르도록 표현한『몽유도원도』의 구도는 산림치유마을이 지향해야 할 구도와 매우 흡사하고 대상지의 현실적 상황에도 매우 근사하다. 이에 도원도의 구도를 향도원 마을에 중첩시킴으로써 산림치유마을의 공간분화에 적용하였다. 분화된 산림치유마을의 공간구도는『몽유도원도』와 같은 현실세계-전이지대-이상세계 등 3개 구역으로 자연스럽게 구분되었다. 현실세계는 치유서비스지구와 물놀이지구, 전이지대는 물치유지구와 솔밭치유지구, 그리고 이상세계는 도원경지구 등 5개 지구로 세분하여 치유활동을 배분하였다. 도원경지구는 원터가 있는 제1도원경과 굴바위가 있는 제2도원경으로 구분하고 두 지역을 닥터발트(Dr. Wald) 숲길로 이어지도록 구상하였다. 각각의 지구는 오감체험을 중심으로 활동이 일어나도록 구상하였다. 도원경지구의 굴바위지역은 심원경이고 도화원으로서 가장 고요한 곳이어서 굴바위 이야기를 듣고 영적 치유의 세계로 몰입이 가능한 곳이다. 치유의 마지막 단계가 진행되는 곳이다. 따라서 제1도원경지구를 지나서 닥터발트 숲길을 통과할 때는 명상과 사색으로 소요유(逍遙遊)함으로써 마지막 치유단계로 가기 위한 준비를 하도록 유도하여야 한다. 이 연구가 아직 준비 단계인 산림치유마을 조성계획에 있어서 치유공간구도와 공간별 치유활동 수립에 기여할 수 있기를 기대한다.

After his conversion in 1927, Eliot started a new life. This new life was directed by George Bell, Bishop of Chichester, whose interest was in the reconciliation of the Church and the arts. Eliot appears to have taken seemingly two divergent roads laid by George Bell after his meeting with the bishop in 1930; one is turning his gift towards poetic drama and another is moving towards the Church of England as a Christian social critic while reconciling two different activities in his career. After the Oxford Conference in 1937, an order of Christian lay people called the Moot emerged by dint of J. H. Oldham who was a prime mover of the Oxford Conference. The Moot, the group of distinguished intellectuals, met from 1938 to 1947 to discuss the nature of modern society, the relationship between social planning and freedom, and the role of religiously-based values in shaping society. Learning much from discussions with other intellectuals in the Moot, Eliot, one of the core members of the Moot who attended 12 meetings out of 21 total meetings, formulated his idea of a Christian elite which is necessary for shaping an ideal Christian society. Distinguishing between an elite and the clerisy in his paper ‘On the Place and Function of the Clerisy’ delivered to the Moot meeting in December 1944, Eliot defined the often confusing terms precisely—elite is ‘any category of men and women who because of their individual capacities exercise significant power in any particular area’. However, the clerisy is ‘those individuals who originate the dominant ideas, and alter the sensibility, of their time’ at the top. This means that the clerisy is elite at the highest level who generate the new ideas of their time, including the new expression of an old idea, and who alter sensibility. Thus, Eliot’s use of the term clerisy includes clergy and laity as Samuel Coleridge did, however, Eliot’s idea of the clerisy is wider than that of Samuel Coleridge whose clerisy implies a body of the definite vocation which tends to become ‘merely a brahminical caste’. Eliot’s clerisy is even wider than the ‘Community of Christians’ which he expounded in The Idea of a Christian Society in 1939; ‘the consciously and thoughtfully practicing Christians, especially those of intellectual and spiritual superiority’.

20세기 초반 쇤베르크는 무조성과 12음 음악이라는 새로운 음악 어법을 시도하였다. 과 거의 어법에서 벗어나 혁신적인 창작 기법을 발전시켰음에도 불구하고 쇤베르크는 자신이 독일 음악 전통을 버린 것이 아니라 오히려 그것을 확장하여 지속하고 있다고 믿었다. 쇤베 르크의 이러한 역설적 주장은 그의 예술관과 깊이 관련된다. 그는 예술이 ‘아이디어’의 표현 이며, 예술 작품은 그 ‘아이디어’가 구현된 유기적 통일체로 보았다. 예술 작품의 유기체적 본 질에 관한 쇤베르크의 철학과 아이디어를 음악적으로 구현하기 위한 요소인 ‘기초 악상’ 개 념은 그의 창작 과정에서 중요한 역할을 한다. 그는 작품의 아이디어를 드러내기 위해 가장 기본적으로 ‘기초 악상’을 제시하고, 음악적 요소들과의 다양한 관계 안에서 변화와 통일성, 긴장과 이완, 구심력과 원심력의 대비 등의 역동적 과정을 만들어내며 유기적 전체를 형성한 다. 이는 쇤베르크의 음악 스타일과 어법의 변화를 초월하여 일관성 있게 존속되는 창작의 본질이며, 과거 대가들로부터 계승한 전통적 패러다임이다. 본 논문은 쇤베르크의 창작 과정 에서 본질적으로 작용하는 음악적 아이디어와 기초 악상에 대해서 살펴보고, 그것이 후기 조 성 음악, 무조 음악, 12음 음악에서 일관성 있게 나타나는 과정을 분석하였다.

In the history of the church, there have always been both a quest for the true church and a call for personal and communal reform and renewal. Most frequently the predominant model for this reform and renewal was the ecclesia primitiva. The notion of the ecclesia primitiva in the church history has most frequently referred to the apostolic church as portrayed in such New Testament passages as Acts 4:32ff, but has sometimes been extended to cover either the pre-Constantinian church or the whole patristic period. The first known use of the term ecclesia primitiva dates at least from the fifth century. One may find occasional references to the idea of the ecclesia primitiva in Merovingian documents. Also, during the Carolingian period, the idea of the ecclesia primitiva remained and was used primarily to signify the ideals of the common and apostolic life. The idea was current, especially among those groups interested in the reform of monastic and canonical life. The use of the term ecclesia primitiva is seldom found in the tenth-century documents but the idea remained and was widely revived in the middle of the eleventh century and later on was used to promote the ideal of monastic and canonical reform. The idea of the ecclesia primitiva was also associated with the search for the most perfect form of the Christian life. The idea became so common by the middle of the twelfth century that sometimes it was simply used to refer to the institutions believed to have existed in the early church, very occasionally implying that in the early church Christianity had not achieved the fullness of its development. In general the idea of the ecclesia primitiva in the Middle Ages was most commonly associated with the following of the apostolic life and the practice of having all things in common and living a simple and communal life. The reform on the model of the primitive church has been a primary motive for dissent since the early Middle Ages. Reformation, especially of the Anabaptists, was the culmination of the efforts to restore the primitive church. The ecclesia primitiva has been the model for the reform and renewal toward the true church within Protestantism as well as within Catholicism throughout the history of Christianity.

T. S. Eliot had a wide-ranging poetic sensibility by incorporating in his poetry not only the best of European culture and American mind but also Indian thought and tradition. He used Indian ideas elaborately in his poems. This study focused on the elements of bhakti yoga depicted in his poem Four Quartets. Bhakti is one of the three major ways to salvation in Hinduism. It refers to the attitude of devotion to God. The bhakta usually devotes himself to a personal God, such as Kṛṣṇa. Eliot introduced this representative personal God Kṛṣṇa in the Four Quartets. Bhakti yoga emphasizes on loving devotion and surrender of the self to the personal God, leading a devotee to inner transformation through grace. Bhakti yoga considers “humility” as an essential tool to seek the love of God. Going through “East Coker ,” one may encounter bhakti yoga’s ideas on humility. “The meditation on the great teacher” who guides a devotee by example is one of the various paths to bhakti. “The meditation on the great teacher” was depicted in “Little Gidding .” “The concentration” on God is also a very important way to approach God. The spiritual condition does not arise spontaneously, so man must take up the practice of concentration. Concentration requires a devotee to abandon egoism and desires. By this practice, the man may gradually make himself fit for the steadfast directing of the spirit of God. The religious idea of concentration was transformed into poetic expression in “Burnt Norton.” In his poem, Eliot has drawn the ideas of bhakti yoga. The use of these ideas confirms Eliot’s assimilation of bhakti yoga. There is no denying the fact that such ideas of bhakti yoga left its marks on the Four Quartets.

This study wi1l examine the Eliot‘s reaction to the American Puritanism. One of the remarkable characteristics of American Puritan society was that it kept its balance between two contradictory doctrines. While the American Puritans had the Calvinistic notion of original sin, they emphasized their self-confidence and pride as the chosen people and believed that they had been already saved as New Israelites of the City of God. As a result, they paradoxical1y came to dilute the doctrine of original sin. It is the American Puritan jeremiad that reveals this paradox and has worked through American rhetoric as the ideology accelerating Americanization up to the present. Though it was a kind of reprimand and lamentation, the jeremiad was at the same time the rhetoric that directed an imperiled people of God to fulfill their destiny and guided them individually toward salvation and collectively toward the American City of God. This study examines Eliot’s reaction against such an optimistic progressive rhetoric. In a sense, E1iot as a Christian poet should be fundamentaIIy optimistic. Therefore it might be said that he is opposed not to optimism or progress itself, but to shallow such optimism and blind belief in progress without understanding of human life as Eliot thinks is Emerson’s Transcendentalism. And it is the transition from American Puritanism to Transcendentalism that Eliot pays attentlOn to. In the course of his reaction to American Puritanism inc1uding Unitarianism and Transcendentalism as a sequence of American Puritanism, Eliot in turn criticizes humanism for the be1ief in the goodness of human nature and the ignorance of original sin, which drives the modem world to what he regards as wrong, i. e., Romanticism, Democracy, and Protestantism. Therefore what concems Eliot the most about the modem world is the disappearance of the sense of sin, which, he argues, is another product of the American Puritan optimism.