구약 수사비평의 새로운 연구방향 모색
A Proposal for a New Direction for the Study of Old Testament Rhetorical Criticism
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20세기 후반 마일렌버그에 의해 수사비평이 성서연구에 도입된 이래로 그의 영향을 받은 마일렌버그 학파의 기여와 고전수사학과 새수사학의 도입으로 수사비평이 발전한 점도 있지만 그 자체의 한계로 인하여 수사비평에 새로운 돌파구가 필요한 시점이 되었다. 본 연구의 목적은 지금까지 수사비평의 긍정적인 기여를 수용하면서도 구약성서 나름대로의 수사적 특성을 최대한 살리는 새로운 수사비평을 위한 연구방향을 제언하는데 있다. 마일렌버그와 마일렌버그 학파가 면밀한 읽기를 통해 본문의 범위를 설정하고 구조를 파악하고 수사적 장치들을 세밀하게 관찰한 점들은 후대의 수사학적 접근을 위해 기여한 점이다. 특히 이미지와 광의적 대구법을 포괄하는 문학적 장치들을 관찰한 점은 본 연구를 위한 중요한 기여이다. 그럼에도 불구하고 이들의 약점은 너무 문체론에 치우쳐 수사학의 고전적인 정의인 ‘설득의 기술’을 간과한 점이다. 이들은 의미의 이해에 있어서 저자나 텍스트 중심의 편향된 해석을 시도한 점이 또한 한계점이다. 고전수사학의 발전에 크게 기여한 아리스토텔레스는 본 연구를 위해서 중요한 기여를 했는데, 이미지에 대한 다양한 연구와 대구법의 증폭의 효과에 대해서도 이미 관찰하고 있고 『시학』에서는 내러티브 연구에 사용될 수 있는 ‘플롯’에 대한 상당한 안목도 제공하고 있다. 고전수사학의 강점을 케네디와 기타이가 성서 수사비평에 도입하였는데, 이들로 말미암아 ‘설득의 기술’이라는 고전적인 정의를 수용하게 되었다. 특히 비쳐의 “수사적 상황”이라는 개념은 마일렌버그 학파에 의해 무너뜨려진 역사적 사회적 배경에 대한 연구를 활성화시켰다. 케네디와 기타이의 기여에도 불구하고 이들은 고전수사학의 장르(법정, 정책, 칭찬 연설)의 범위를 벗어나지 못한 점이 한계이다. 페럴만과 올브레히츠-티테카의 의해 새수사학이 시작되면서 이들의 영향으로 수사비평은 연설자/저자에서 청중/독자에게로 관심이 옮겨지게 되었다. 이들은 연설을 논증의 기법으로 발전시켰고, 논증은 청중의 지지를 얻어야 하기 때문에 청중의 위치를 격상시켰다. 버크는 설득의 개념을 뛰어넘어 연설자의 개인적 사회적 동일시와 변화에 초점을 맞추게 되었고, 청중은 비평가와 심판자의 위치에 서게 되었다. 부쓰가 등장하면서 수사학은 이의 효과에 관심을 기울이게 되어 실천적인 학문으로 발전하였다. 그런데 그 이후에 다양한 이론들이 우후죽순처럼 생겨나면서 수사학은 방향을 잃은 느낌이다. 필자는 지금까지 수사비평의 기여를 수용하면서도 히브리 성서의 독특한 문학적 특성을 반영하는 새로운 연구방향을 결론부분에서 제언하고 있다. 이미 팍스는 히브리 성서 나름대로의 독특한 수사적 특성이 있음을 주장하고 있다. 필자의 핵심적인 제언은 다음 두 가지이다. 첫째, 내러티브가 구약성서의 1/3을 차지하고 있기 때문에 내러티브 분석(특히, 플롯)이 구약 수사비평의 핵심적인 연구가 되어야 함을 역설한다. 고전수사학이 제공하는 세 가지 장르의 개념으로는 히브리 내러티브의 플롯이 주는 설득의 효과를 설명할 수 없기 때문이다. 둘째, 구약의 시가서와 선지서는 시(詩)문체로 주로 되어 있기 때문에 히브리 시의 수사적 특성인 이미지와 대구법과 생략법의 연구가 구약 수사비평의 또 다른 한 축이 되어야 한다고 본다. 특히 이들 문체에 대한 수사학적 연구는 저자에 의한 청중의 설득과 변화의 역학을 이해하는데 크게 기여할 것이다.
Abstract
Muilenburg pioneered a rhetorical study of the Old Testament in the second half of the twentieth century. The rhetorical criticism of the Old Testament has since been advanced by the studies of the Muilenburg School, the classical rhetorics, and the new rhetoric. Because of the limitations in these disciplines, however, we need to come up with a breakthrough in the study of the OT rhetorical criticism to overcome its shortcomings. The goal of this study, while adopting the contributions of the rhetorical studies of the Old Testament up to the present, is to propose a new direction for the rhetorical study which reflects the dominant rhetorical characteristics of the Old Testament itself. Muilenburg and the Muilenburg School have contributed to the rhetorical studies of the Old Testament by giving us the insights into the close reading strategies of the Bible, and thereby we are able to know how to set the limit of the text, how to analyze its structure, and how to study its stylistic features. Their observations on literary devices including imageries and the diverse types of parallelisms have contributed to our goal of this study. However, their contributions focus on the stylistic aspects and miss the classical definition of rhetorics as the art of persuasion. Additionally, their biased interpretation, centered on the author or the text itself for the understanding of the meaning, doesn’t allow for a holistic understanding. Aristotle, who significantly contributed to the development of the classical rhetorics, gives us a few great insights into our rhetorical studies of the Old Testament. His observations include diverse studies on the effects of the literary devices such as imageries and parallelisms. He also provides some insights into the ‘plot’ which can be used in the analysis of the OT narratives. Kennedy and Gitay have adopted the strengths of the classical rhetorics in the study of the OT rhetorical criticism. By their efforts the OT rhetorical criticism comes to accommodate the art of persuasion which is the generic concept of the rhetorics. The idea of the ‘rhetorical situation’ proposed by Bitzer has enlivened the study of the socio-historical background of the text which was put aside by the Muilenburg School. However, the approaches adopted by Kennedy and Gitay were not able to overcome the limitations of the classical concept of the three genres which had been inherited from the classical rhetorics. The new rhetoric initiated by Perelman and Olbrechts-Tyteca has changed the focus of the rhetoric(s) from the orator/the author to the audience/the reader. They regard the rhetoric(s) as the technique of argumentation. The audience-based perspective is critical, because argumentation needs to be supported by the audience. Going beyond the idea of persuasion, Burke focuses on the orator’s personal and social identification and transformation. Hence the audience turns out to be the critic and the judge. With the appearance of Booth’s work, the rhetoric is interested in its effects, and thereby it has progressed as a practical discipline. Since then, many diverse and conflicting theories have appeared in the studies of rhetorics and brought about the loss of direction in the studies of the OT rhetorical criticism. The last part of this paper suggests a new direction for the study of the OT rhetorical criticism which, while adopting the contributions of the studies of the rhetorical criticism up to the present, reflects the unique literary characteristics of the Hebrew Bible. Fox has already argued that there are peculiar rhetorical characteristics of the Hebrew Bible in itself. The writer’s two suggestions are as follows. First, the analysis of the narrative, especially the plot, should be the primary study of the OT rhetorical criticism, since the narrative occupies about 1/3 of the Old Testament. It is due to the limitations of the three classical genres the classical rhetorics has inherited to us in that they cannot explain the persuasive power of the narrative plot in the Hebrew Bible. Second, the poetic literary devices such as imagery, parallelism, and ellipsis should be another main focus of the study of the OT rhetorical criticism, because the OT poetry and prophets are mainly composed in a poetic style. The rhetorical studies of these literary devices will contribute to our understanding of the dynamics of persuasion and transformation between the author and the reader.
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