Earticle

감상을 목적으로 하는 예술작품은 감상자와의 관계에 있어서 상식적인 차원이 배제되면 자주 소통의 어려움을 겪는다. 세계적인 베스트셀러인 댄브라운의 <다빈치코드>는 종교적 진리를 왜곡했다는 의미에서 기독교계의 반발을 샀다. 종교적 진리와 예술적 허구의 세계를 혼동했기 때문이다. 댄 브라운의 허구적 상상력에 설득력의 옷을 덧입히기 위해 이용한 작품이 레오나르도 다 빈치의 <최후의 만찬>이다. 본 글은 레오나르도의 <최후의 만찬>의 본래적 의미를 상식적인 차원에서 되짚어본 것이다. 자주 감상의 대상이 되었지만 아는 것을 본 것으로 치부하는 타성적 보기로 인해 ‘유다의 배반’이 주제로 알려졌다. 그러나 도상학적 전통을 통해 알 수 있듯이 아가페적 사랑이라는 카타콤의 묘사가 레오나르도에게 까지 이어져 예수의 죽음을 통해 이루어지는 “성찬의 의미”가 <최후의 만찬>의 주제임을 알 수 있었다. 예수의 시선이 향하는 그의 왼손이 바로 베푸는 손길에 해당하기 때문이다. 상식적 차원의 이미지 읽기를 위해서는 첫째, 작품의 해석은 보는 것으로부터 출발한다는 것이며, 둘째, 작품이 생성된 예술적 조건을 도외시하지 말아야 한다는 것이다.

Ein Kunstwerk, das zum Genuss geschaffen wird, führt uns oft zum Unverständnis, wenn man die allgemeine Grundlage für ein Kunstwerk verliert. Dan Browns Roman “Da Vinci Code”, ein weltberühmter Bestseller, löst heftige Kritik von der Seit der Christen her aus, weil er gegenüber dem christlichen Glauben und der Bibel Aussage macht. Nach dem Roman habe sich Jesus nicht für den Tod auf dem Kreuz, sondern für die Heirat mit Maria Magdalena entschieden. Bei dieser Abhandlung geht es um die Bedeutung des “Letzten Abendmahls” von Leonardo da Vinci, das in “Da Vinci Code” die erfundene Geschichte zum Überzeugung bringen hilft. Leonardos Werk wird oft zum Gegenstand der Betrachtung, aber so oft zum Missverständnis geführt, weil man das Wissen statt das Sehen zur Betrachtung des Werkes nimmt. Gemäß der ikonographischen Tradition ist die Eucharistie das Thema des "Letzten Abendmahls" seit der Darstellung in der Katakombenmalerei. Wenn man im Leonardos Werk die Stellung Jesus, vor allem die Gestik und den Blick genau beobachtet, wird es klar, dass es sich um die Agape durch das Abendmahl handelt, nicht um den Verrat Judas.

This paper discusses the feminist motive to the Da Vinci Code, an extremely popular novel by Dan Brown. His reinterpretation of historical Christianity is a radically feminist one because of four reasons: 1) the biblical God Yahweh (Jehovah) was a bisexual (hermaphroditic) God; 2) Jesus was the first “feminist” and was married to Mary Magdalene, who was intended by Jesus to be head of the Church rather than the apostle Peter; 3) the Emperor Constantine consolidated male power in the Church and collated the Bible; and 4) the Gnostic Gospels suggests a feminist origin of Christianity. I think that there is too little substance or documentation for Dan Brown’s “feminist” theory. In the Judeo-Christian tradition, the biblical God does not truly have gender, although he is represented as father, king, and husband, for he is not a physical creature that has male or female gender. There is no reliable document supporting the marriage of Jesus with a woman. Furthermore, there is no reason to believe Jesus a “feminist.” in the social context of the first century. It is not true that the Roman Emperor Constantine strengthened the male-dominated church. It is historically true that Constantine invited about 300 bishops from across the Roman Empire to the Council of Nicea (325 AD). But these bishops were already male, and women did not hold such positions. A common characteristic of Gnosticism is paternalism rather than feminism. Even if Brown’s feminist critique went the wrong way, the problems of paternalism in the Church should necessarily be examined through a genuinely biblical understanding of the Christian faith.

Long before Dan Brown's The Da Vinci Code was written, effeminacy in Leonardo da Vinci's The Last Supper was supposed to be related to his secret knowledge of the sacred feminine, Mary Magdalene, supposedly mother of Christ's children, as the Holy Grail symbolizes in the novel. Brown has suggested large complex ideas by taking minute details and fragments of intriguing thoughts into his murder mystery. Like Umberto Eco's The Name of the Rose , Brown takes literary form with historical facts, but his ability to take into account extensive intellectual and religious arguments as a rhetorical form of allegory, the kind of religious metaphor. The reader may look for a spiritual recovery as a modern Odyssey through myths, symbolic language, and religious practice. Like other times in history, Brown takes an era when the romance of the hunt for the Holy Grail is being renewed as seen in the legendary days of Arthur, the Crusades, and T. S. Eliot. Also, the novel responds in many ways to new thinking about women's physical sense of love in our culture. Brown then rescues Mary Magdalene as a prostitute until Langdon and Teabing set her straight. In the novel, she is a strong, independent figure, patron of Jesus, cofounder of his movement, his only believer in his greatest hour of need, author of her own Gospel, his romantic partner, and the mother of his child. The novel allows the reader to see early Christianity in an entirely different light. It opens people's eyes to an entire different view of the powerful role of women in the 21th century. By the time the Holy Grail is synonymous with Mary Magdalene and the royal bloodline of Jesus, or The Last Supper is a coded message, the effeminacy of John, from Leonardo about the real history of Jesus and Mary, Brown has cast new scholarship to the field academically related.

Theme that induces controversies and dilemma that does not get resolve will be greatly highlighted when symbol is endowed on fascinating text and myth. Although the <Da Vinci Code> takes the form of adventure that Langdon, a professor of Religious Symbolism at Harvard University, undergoes in the film, it, in fact, appears to be a modification or adaptation on symbolism with commercial entertainment as the goal using the boundary between the substantiality and fabrication as well as the packaging capabilities of story of novel and movie. The theory of Saussure and concept of Peirce are even applied to the name of the leading character, Robert Langdon. Ingenious combination of the term language (langue) with don (sir, mister ?term of respect placed in front of Christian name of a male in Spain. Originally, it is a respective term used for dignitary with hidden meaning of distinguished person, dignitary or master. It must be acknowledged that this has created the text, which heated up the history and the world by recomposing myth and firming it up as an image while the authors ridiculed and mocked semioticians who are attempting to discover and analyze something. Segmentation of the spelling of the aforementioned name Langdon has been done by borrowing the theories of linguistic symbolism of F. D. Saussure and C. S. Peirce. In the text and movie medium, it is displaying idea that modifies into image, surpassing icon. Moreover, precision of work of transferring the 2-dimensional image carved in the head of each reader after having read the signifiant of text author into actual movie clips was sufficiently perceived through secondary symbolic analysis and comparison. For example, it is the fact that this text did not lose the goal and target of modification and productivity not only in the fabrication that appears to be substantive within the work but also in the aspects that are external to the work, and successfully created contents. It is a text that is manual of story telling technique and sincerely complies with the fundamentals of semiotics of hiding the signifie within the signifiant. It is an interesting task to analyze the correlation between cultural creativity of Hollywood and Paris, and symbols that have created new contents through modification of Text and Myth by transcending even the above. We become even more curios about creation of symbols and in-decoding technique to be dealt with in the sequel to the first movie because of above reasons. We may even be able to see Lens dun, which is the name of Satellite Louvre Museum to be completed in 2010.

본 연구에서는 종교미디어교육의 관점에서 다중문화 속에 나타나는 종교적 상징과 종교유사성에 대한 이론과 교육방법을 연구하였다. 오늘날에는 종교의 기본이념이나 종교문화적 가치관이 대중문화를 통해 왜곡되어 전달되는 상황이 종종 발생하고 있다. 따라서 종교 및 미디어 관련 교육문화에 대해 새로운 시각과 실제적 교육방법이 필요하다. 이에 관한 이론적 연구로써 '상징교수법'을 소개하였고, 이 이론을 토대로 한 교수학습 모형을 개발하였다. 이를 위한 연구방법으로써 '행동과 발달지향 미디어교육'의 교수설계 모형에 상징교수법의 교육방법과 교육내용을 통합하였다. 이 모형을 토대로 <다빈치 코드>를 사례로 하는 교수학습 사례를 개발하였다. 이 교육사례를 위해 <다빈치 코드>에 나타난 종교유사성 관련 요인들을 도입하였고, 총 8차시의 교수학습 방안을 개발하였다. 본 연구에서 개발된 상징교수법의 활용방안은 <다빈치 코드> 외 여러 프로그램을 대상으로도 활용할 수 있다. 앞으로 이 교육에 대한 학습효과를 검증하는 실험연구가 이루어져야 할 것이다. 이 교육을 진행할 교사교육도 필요하다. 이 상징교수법 교육사례는 종교교육에서 뿐 아니라 문화, 언어 등 다른 교육주제와의 연계도 가능하다.

In this paper, a new viewpoint and practical education method were presented on educational culture related to today's religions and media. For this purpose, this paper considered the theories of religious media pedagogic and the concept of symbo1ic didactics relating to religious symbols in popular culture. In this paper, a total of eight cases of applying symbolic didactics were developed using the example of "The Da Vinci Code", based on the theoretical framework of religious media education and symbolic didactics. For this, the education methods and contents of religious media education were integrated with the teaching plan model of "action and development oriented media education". In order for this education to be applied effectively, experimental studies have to be carried out verifying the learning effects regarding this education. In particular, education for teachers who will tarry out this education is needed. This is because, in media education, the efficiency of education is significantly affected by the capacity of the one who is teaching.