엘리자베스 쉬슬러 피오렌자의 해석학 발전과정 연구

Abstract

This article introduces, analyzes, and evaluates the development of Elizabeth Schüssler Fiorenza’s critical feminist hermeneutics. Schüssler Fiorenza’s hermeneutics developed in three stages. The first step was a mutually linear hermeneutical model of suspicion, proclamation, remembrance, and creative actualization, which takes the women-church as a hermeneutical horizon. The middle stage was the hermeneutical model of suspicion, remembrance, evaluation and proclamation, as well as liberative vision and imagination. This stage had many of the same elements as the first stage but reinforced the consciousness-raising and the systematic analysis of patriarchy in the social, political, cultural and religious dimensions. It took the ekklesia of wo/men as a hermeneutical horizon. Finally, the latter stage, had more elements than the first two. These included the hermeneutical model of experience, domination and social location, suspicion, critical evaluation, creative imagination, remembering and reconstruction, and transformative action for change. The final stage, interacting in a complex and intersecting way, developed as if it were actively dancing. Schüssler Fiorenza named this hermeneutical model “Wisdom Dance.” Each of these steps has an episte-practical ground common to feminist critique. But over the feminist second wave to third, their differences moved from the emphasis on community to the embracement of diversity, from the critique of patriarchy to the critique of kyriarchy and from the mutual linear process of hermeneutics to the intersectional and complex process. The hermeneutical horizon of Schüssler Fiorenza’s in the first step was the women-church and in the second and third stages it was the ekklesia of wo/men. While the women church strongly colored by her idea of the earlychurch of New Testament times and emphasized communality, the ekklesia of wo/men paid attention to the democratic coexistence of other voices and practices on a global level. Furthermore, moving from the critique of patriarchy to kyriarchy differentiates the ekklesia of wo/men of the third from the second stage. This distinction changed the width and depth of the critique and the affirmation of diversity. These differences influenced the results of Schüssler Fiorenza’s hermeneutics in each stage.