Two events, apparently distant one from the other and without any direct link between them, but nevertheless strictly connected by a common spiritual legacy, constitute the subject of this paper. The first one, took place in 1971, when a very special «ecumenical chapel» opened its doors to the public. It is known under the name of «Rothko Chapel», due to the general project, undertaken by the painter Mark Rothko. Since that time, it has become one of the most precious artworks (...) that represent the contemporary religious aesthetics. The black Rothko’s paintings, the Greek-cross building designed by the architect Philip Johnson, the Broken Obelisk of the artist Barnett Newman standing right out of the Chapel and the music composed for this ambient by the composer Morton Feldman, have replaced what traditionally has been called an «imago templi»; but contrary to all Christian tradition they represent (literally) no-thing. The second event, took place in 1795, when two young friends, Hegel and Schelling, were making a kind of oath under the sign of an Invisible Church, actualizing an ambiguous concept that, even if rooted in the Holy Scriptures, it had been condemned for its consequences as heretical. The relationship between these two events is given by contemporary art historians which have established that modern abstract painting, from a formal point of view, is rooted in the Romantic tradition. With this paper I would like to contribute to the establishment of this connection, not only by formal means, but by showing a common spiritual attitude towards images. Christianity, essentially figurative in its religious aesthetics, has always had to deal with the Jewish prohibition of image-making. This difficulty has been inherited to contemporary debates in which artist with classical readings and education, often of Jewish origins but active in Christian societies, try to create a new kind of art, above all traditions and free of dogmas. According to my suggestion, Rothko Chapel should be considered as the realization of a fragile balance in which both «aniconism» and «need of images» have simultaneously sublated their one-sidedness, producing a higher spiritual stage. Thus, such a chapel would not be a simple space where all religions could only meet and undertake a dialog, but should be considered as something more surprising: a unique realization of what logically appears as a pure contradiction: the realization of an Imago Templi for an Invisible Church. (shrink)

1. Chesa ran muŏt in'ga -- 2. Sŏnsa-Koryŏ sidae ŭi tawŏnjŏk chesa munhwa -- 3. Chosŏn sidae Sŏul ŭi yugyosik chesa munhwa -- 4. Chesa munha ŭi kŭndaejŏk pyŏnyong kwa hyŏndaejŏk sesokhwa.

Enth.: Die neue Bürgerlichkeit der Philosophie / Walther Ch. Zimmerli. Fortschritt und Terror / Hermann Lübbe. Die Avantgarde und das Museum / Hermann Lübbe.

Research monography about the works of famous Mongolian writer, scholar B. Rinchen.

1. An Tŏng-mun ŭi hangmun chŏngsin kwa ch'ŏse pangsik -- 2. An Tŏng-mun ŭi Samsan Sŏwŏn wisang chŏngnip kwa kŭ ŭimi -- 3. Ha Ik-pŏm ŭi sam kwa munhak -- 4. Pak Ch'i-bok ŭi Nammyŏnghak kyesŭng yangsang -- 5. Kang Pyŏng-ju ŭi hangmun kwa munhak -- 6. Chŏng Chae-gyu ŭi hangmun chŏngsin kwa 'Taehak' haesŏk -- 7. Kim Chin-ho ŭi haksŏl e taehayŏ -- 8. Kwak Chong-sŏk ŭi Myŏngdŏksŏl nonjaeng -- 9. Kim Hwang ŭi Kyŏnghak Sipto e taehayŏ.

우리 시대 시사토론의 명사회자 김규칠이 21세기의 새로운 희망을 제시한 책. 본격적인 개혁시대로 도래한 현시점에 있어서 신문화 운동과 문화력 구축 운동 등에 관한 글들을 모아 엮었다. 또한 동양고전들 중에서 공직자에게 본보기가 될 만한 인물들을 가려 뽑았다.

Analyse: Le penseur chinois Wang Chong (27-97?) fut souvent considéré comme un auteur hétérodoxe, voire anti-confucianiste, tant en Chine ancienne qu'au XXe siècle.

'함양과 체찰-조선의 지성 퇴계 이황의 마음공부법'은 퇴계의 생애와 사상을 핵심적으로 요약한 뒤에 '자성록'을 뼈대로 퇴계의 가르침을 재구성하고 있다. 또한 ‘활인심방’과 ‘수신십훈’ 등 퇴계 이황의 행동적 가르침을 첨가해 그의 삶과 철학을 소개한다. ‘함양과 체찰’은 지폐속에 박제화된 퇴계를 생생하게 되살리고, 난해하게 인식되는 그의 이론을 현대인이 소화하기 쉽게 풀어 쓰고 있다. '함양과 체찰'을 통해 현대의 한국인들은 퇴계의 지혜를 부담 없이 접할 수 있을 뿐만아니라, ‘공부하는 인간, 퇴계’라는 측면에서 퇴계의 생애와 철학을 명료하게 재구성하고 있어서 학자로써의 퇴계와 인간 퇴계의 일면도 재미있게 엿볼 수 있다.