Introduction to English Literture(35576-01)(2018-1)
 

* ÀÌ ¹ßÇ¥´Â »ï¼º¾ð·ÐÀç´ÜÀÌ 1998³â Çѱ¹ÀÇ ½Ã»çÀâÁö ÆíÁýÀÚµéÀ» À§ÇØ °³ÃÖÇÑ ¼¼¹Ì³ª¿¡¼­ ¹ßÇ¥ÇÑ ±ÛÀÌ´Ù. ¿µ±¹ÀÇ °í±ÞÇÑ ½Ã»çÀâÁöÀÇ ±Û¾²±â¿¡ ºñÇØ ¿ì¸® ½Ã»çÀâÁöÀÇ ±Û¾²±â´Â ³Ê¹« ÀúÁúÀ̶ó´Â ½ÄÀ¸·Î (±×°Íµµ 30´ëÀÇ ÀþÀº ±³¼ö°¡) °¡¸£Ä¡·Á°í µå´Ï±î ³ªÀÌ Áö±ßÇÑ Á¤Ä¡ºÎ ±âÀÚÃâ½ÅÀÇ ÆíÁýÀåµéÀÌ °¡¼Ò·Î¿Í¼­ Çô¸¦ á´Ù. »ç½Ç Áö±Ý ÀоîºÁµµ ¸Â´Â ¸»À̱ä Çѵ¥, ÁÁ°Ô ¾ê±âÇϸé Ç÷±â¹æÀåÇß´ø °ÍÀÌ°í, ³ª»Ú°Ô ¾ê±âÇÏ¸é ¹» ¸ô¶ú´ø °ÍÀÌ°Ú´Ù. Áö±Ý ¾²¸é ÀÌ·¸°Ô ¸ø¾µ °Í °°´Ù.

 

1. ¼­·Ð: ÀâÁöÀÇ ±Û¾²±â¿Í ¹®ÇÐÀû ±³¾ç

 

¿µ±¹Àº 1066³â ³ë¸£¸¸Á·ÀÇ Ä§°øÀÌ·¡ ´ÜÀýµÇÁö ¾ÊÀº À¯±¸ÇÑ ¹®È­Àû ÀüÅëÀ» ÀÚ¶ûÇÑ´Ù. ±×°ÍÀº ¿µ±¹ÀεéÀÇ ÀÏ»óÀ» Á¤½ÅÀûÀ¸·Î dz¿ä·Ó°Ô ÇÒ »Ó¸¸ ¾Æ´Ï¶ó, ±×µéÀÇ ¸ðµç ÁöÀû È°µ¿¿¡ ´Ü´ÜÇÑ ±âÃʸ¦ Á¦°øÇÑ´Ù. ¿µ±¹ÀÇ ¹Ìµð¾î´Â ±×·¯ÇÑ ¹®È­Àû ÀüÅëÀÇ °¡Àå Á÷Á¢ÀûÀÎ ¼öÇýÀÚÀÌ´Ù. ¿µ±¹ÀÇ TV¸¦ ÇÏ·çÀú³á¸¸ º¸°í ÀÖÀ¸¸é ±×µéÀÇ ´ëÁß¹®È­°¡ ¿À·£ ÀüÅëÀÇ »ê¹°ÀÓÀ» ½±°Ô ´À³¥ ¼ö ÀÖ´Ù. ½Ã»çÄڹ̵𵵠±×·¯ÇÏ°í Á¤Ä¡ÀεéÀÇ ´ë´ãµµ ±×·¯ÇÏ´Ù. À¯¸íÀλçµéÀÇ °í¹«ÀÎÇüÀ» ¸¸µé¾î ±×µéÀÇ ÇàŸ¦ ½Å¶öÇÏ°Ô Ç³ÀÚÇÏ´Â "Spitting Image" °°Àº ½Ã»çÄڹ̵ð´Â ÇÊÀÚ°¡ °ÅÁÖÇÏ´ø 80³â´ë ¸»°ú 90³â´ë ÃÊ¿¡ ¸Å¿ì ÀαâÀÖ´Â ÇÁ·Î±×·¥À̾ú´Ù. ±× ÇÁ·Î±×·¥ÀÇ ÁøÁöÇÑ ÁÖÁ¦¼³Á¤°ú ÀçÄ¡¿¡ ³ÑÄ¡´Â ¸¸È­Àû »ó»ó·Â, ±×¸®°í ±× ÀÜÀÎÇÑ Ç³ÀÚ´Â Dryden, Popeµî18¼¼±âÀÇ À§´ëÇÑ Ç³ÀÚ¹®Çаú 19¼¼±âÃÊJames Gillray µîÀÇ Á¤Ä¡Ç³ÀÚ¸¸È­ÀÇ À¯»ê¾øÀÌ´Â »ý°¢ÇÒ ¼ö ¾ø´Â °ÍÀ̾ú´Ù. TV´º½º¿¡ ¸ÅÀÏ µîÀåÇÏ´Â ÇÏ¿øÀÇ¿øµéÀÇ Åä·ÐÀ» ºÁµµ ±×·¯ÇÏ´Ù. ¿ø°íµµ ¾øÀÌ ÁøÇàµÇ´Â ÀÚÀ¯Åä·ÐÀÇ Ç°°Ý°ú ¼öÁØÀº ±×µé Á¤Ä¡¿¡ ±íÀÌ »Ñ¸®¹ÚÈù Åä·Ð¹®È­, Áï 16¼¼±â Á¾±³°³ÇõÀÌ·¡ ¹ú¾îÁ³´ø ¼ö¸¹Àº Á¾±³Àû, Á¤Ä¡Àû ³íÀïÀÇ ÀüÅëÀÇ ³¡¿¡¼­¸¸ ºñ·Î¼Ò ¾ò¾îÁú ¼ö ÀÖ´Â °ÍÀÌ´Ù. TVÀÇ Äڹ̵ð ÇÁ·Î±×·¥°ú Á¤Ä¡ÀÎÀÇ Åä·Ð ¼Ø¾¾°¡ ±×·¯ÇÒÁø´ë ¿µ±¹ÀÇ ½Ã»çÀâÁö°¡ À¯±¸ÇÑ ¹®È­Àû ÀüÅëÀÇ µÞ¹ÞħÀ» ¹Þ°í ÀÖÀ» °ÍÀ̶ó´Â Á¡Àº ÃæºÐÈ÷ ¿¹»óÇÒ ¼ö ÀÖ´Â ÀÏÀÌ´Ù. ƯÈ÷ ¿µ±¹ÀÇ ÀâÁö´Â 1704³â Daniel Defoe°¡ The Review¸¦ °£ÇàÇÑ ÀÌ·¡ ¼¼°è¿¡¼­ °¡Àå ¿À·¡µÈ ÀüÅëÀ» °¡Áö°í ÀÖ´Ù. ±× ÀÌ·¡ °ÅÀÇ 300³â¿¡ ´ÞÇÏ´Â ±â°£µ¿¾È ¿µ±¹ÀÇ »ê¹®¹®ÇÐÀÇ ¹ßÀü°ú ´õºÒ¾î Áö¼ÓÀûÀÎ ¹ßÀüÀ» °ÅµìÇØ¿Â ¿µ±¹ÀÇ ÀâÁö´Â ¿µ±¹ Á¤Ä¡»çÀÇ ÁÖ¿ä ±¹¸é¸¶´Ù ÀǹÌÀÖ´Â ¿ªÇÒÀ» ´ã´çÇØ¿Ô´Ù. ÆíÁýÀÚ³ª ±â°íÀÚ ÀڽŵéÀÌ ¿µÇâ·ÂÀÖ´Â Àι°µéÀ̱⵵ Çß°Å´Ï¿Í ±×µéÀÇ ³í¼³ ÇÑ ÆíÀÌ ¿ª»çÀÇ È帧À» ¹Ù²ã³õ±âµµ ÇÑ °ÍÀÌ´Ù. ÀÌ ±Û¿¡¼­´Â ÇöÀç¿¡ ±îÁö ²ÙÁØÈ÷ À̾îÁ® ³»·Á¿À´Â ¿µ±¹ ½Ã»çÀâÁöÀÇ ¸í¼º°ú ¿µÇâ·ÂÀÇ ½Çü¸¦ ±×µéÀÇ ±Û¾²±âÀÇ Æ¯¼º¿¡¼­ ã¾Æº¸·Á°í ÇÑ´Ù.

°á·ÐºÎÅÍ ¸»ÇÏÀÚ¸é ±×µé ÀâÁöÀÇ ±Û¾²±â°¡ °¡Áö´Â Ư¼ºÀÇ ÇÙ½ÉÀº ÇÊÀÚ °³°³ÀÎÀÇ ±Û¾²±â¸¦ µÞ¹ÞħÇÏ°í ÀÖ´Â Æø³ÐÀº ¹®ÇÐÀû ±³¾çÀÌ´Ù. Çö»óÀû »ç½Ç À§ÁÖÀÇ Á¶±ÞÇÑ ºÐ¼®¿¡ Ä¡ÁßÇÏ´Â ¿ì¸® ÀâÁöÀÇ ±Û¾²±â¿¡ ºñÇØ ÇÊÀÚ°¡ ÀÐ¾î º» ¸î¸î "ÁÁÀº" ½Ã»çÀâÁöÀÇ ±Ûµé¿¡´Â Çö»óÀû »ç½Ç À̸éÀÇ ¿øÄ¢°ú öÇп¡ ´ëÇÑ Á»´õ º»ÁúÀûÀÎ ºñÆÇÁ¤½ÅÀÌ ±êµé¿©ÀÖ°í, ÀÌ°ÍÀ» °¡´ÉÇÏ°Ô ÇÏ´Â °ÍÀº ¾î¶² Á¾·ùÀÇ ¹®ÇÐÀû ±³¾çÀ̶ó´Â °ÍÀÌ´Ù. ÀÌ·¯ÇÑ Á¾·ùÀÇ ±Û¾²±â¸¦ ÇÊÀÚ´Â ÀÏ´Ü "Áö¼ºÀû ±Û¾²±â"¶ó°í ¸í¸íÇÏ¿´´Ù. »ç½Ç "Áö¼ºÀû" ±Û¾²±â º¸´Ù´Â "Àι®Àû" ±Û¾²±â, "¹®ÇÐÀû" ±Û¾²±â¶ó°í ÇÏ´Â ÆíÀÌ ´õ ³ª¾ÒÀ» Áöµµ ¸ð¸£°Ú´Ù. ¿Ö³ÄÇÏ¸é ±×·¯ÇÑ ±Û¾²±â°¡ °¡´ÉÇÏ°í, ±×°ÍÀÌ ÀâÁöÀÇ ±Û¾²±â·Î »ýÁ¸ÇÒ ¸¸Å­ "Áö¼ºÀû" µ¶ÀÚµéÀÌ Á¸ÀçÇÑ´Ù´Â °ÍÀº ¾Õ¼­ ¾ð±ÞÇÑ ´ÜÀýµÇÁö ¾ÊÀº ¹®È­Àû ÀüÅëÀÌ ±¸ÃàÇØ¿Â ¹®È­Àû ÇϺα¸Á¶¿¡ ÈûÀÔÀº °ÍÀÌ°í, ¿µ±¹¹®ÇÐÀÇ "À§´ëÇÑ ÀüÅë"°ú ±íÀº °ü·ÃÀÌ Àֱ⠶§¹®ÀÌ´Ù. ±×·¯³ª ÀÌ ±Û¿¡¼­ ¿ËÈ£ÇÏ·Á´Â ÀâÁöÀÇ ±Û¾²±â°¡ »ç½Ç¿¡ ´ëÇÑ ±â°èÀûÀÎ Áø¼ú·Î Ư¡Áö¾îÁö´Â °ÇÁ¶ÇÑ ½Å¹®±â»çÀÇ ±Û¾²±âµµ ¾Æ´Ï°í ¶Ç »ç½ÇÀÇ Àü´Þ º¸´Ù´Â ¾Æ¸§´Ù¿ò°ú Áø½ÇÀ» ¾ð¾îÀûÀ¸·Î Çü»óÈ­ÇÏ´Â ¹®ÇÐÀû ±Û¾²±âµµ ¾Æ´Ï¶ó´Â Á¡¿¡¼­ "Áö¼ºÀû" ±Û¾²±â¶ó´Â ¸»À» °ßÁöÇϵµ·Ï ÇÏ°Ú´Ù.

ÀÌ ±ÛÀÇ ³»¿ëÀº µÎ ºÎºÐÀ¸·Î ³ª´©¾îÁú °ÍÀÌ´Ù. ù ºÎºÐ¿¡¼­´Â ÇöÀç °£ÇàµÇ´Â ¿µ±¹ ½Ã»çÀâÁöÀÇ ±Û ¸î °¡Áö¸¦ ¼Ò°³Çϸ鼭, ±×µé ÀâÁöÀÇ ±Û¾²±âÀÇ "Àι®Àû" Ư¼º, ±×°ÍÀÌ ¿ì¸® ÀâÁöÀÇ Çö½Ç¿¡ ºñÃß¾î °¡Áö´Â ¼±Áø¼ºÀ» ±¸Ã¼ÀûÀ¸·Î ¿¹½ÃÇÒ °ÍÀÌ´Ù. µÎ¹ø° ºÎºÐ¿¡¼­´Â ÀÌ·¯ÇÑ ¼±Áø¼ºÀÇ ¿ª»çÀû ¹è°æÀ» Á¶¸íÇϱâ À§ÇÏ¿© ÀâÁöÆíÁý¿¡ ±íÀÌ °ü¿©Çß¾ú´ø 18-19¼¼±âÀÇ ¹®ÀεéÀÇ ÀÛ¾÷À» °£·«ÇÏ°Ô ¼Ò°³ÇÏ°Ú´Ù.

 

 

2. Áö¼ºÀû ±Û¾²±â¿Í Çö´ë¿µ±¹ÀÇ ÀâÁö: New Statesman°ú ProspectÀÇ °æ¿ì

 

ÇöÀç ¿µ±¹¿¡¼­ °¡Àå ´ëÇ¥ÀûÀÎ ½Ã»çÀâÁö°¡ ¹«¾ùÀÎÁö¸¦ ¹¯´Â´Ù¸é ´©±¸³ª New Statesman, The Spectator, The Economist ¼¼ °¡Áö¸¦ ²Å´Â´Ù. ¿ª»ç°¡ °¡Àå ¿À·¡µÈ °ÍÀº 1828³â 7¿ù 5ÀÏ¿¡ ù È£¸¦ ³½ The SpectatorÀÌ´Ù. ⸳ÀÚÀÌÀÚ ÃÊ´ë ÆíÁýÀÎÀÎ Robert Stephen RintoulÀº 1711-12³â Addison°ú SteeleÀÌ °£ÇàÇß´ø The Spectator¸¦ º»µû¼­ »õ·Î¿î ÀâÁö¸¦ ¸¸µé¾ú´Âµ¥, ¿­·ÄÇÑ °³Çõ°¡¿´´ø ±×´Â ÀÌ ÀâÁö¸¦ ÅëÇÏ¿© 1832³â Á¦ 3Â÷ ¼±°Å¹ý°³Á¤À» À̲ø¾î ³»´Âµ¥ ÀûÁö¾ÊÀº °øÀ» ¼¼¿ü´Ù°í ÀüÇØÁø´Ù. "The Bill, the whole Bill, and nothing but the Bill"À̶ó´Â À¯¸íÇÑ ±¸È£´Â Rintoul ÀÚ½ÅÀÌ ¸¸µé¾î³»¾î The Spectator¸¦ ÅëÇØ ÀüÆĽÃÄ״µ¥, ±× ÀÌÈÄ¿¡µµ RintoulÀº 30³â°£ ±× ÀâÁö¸¦ ¸Ã¾Æ¿À¸é¼­ ƯÁ¤ Á¤´ç¿¡ ¿¬°üµÇÁö ¾Ê°í µ¶¸³ÀûÀÎ ÀÔÀå¿¡¼­ °³Çõ¿¡ Àû´ëÀûÀÎ ¼¼·Âµé°ú ¸Â¼­ ½Î¿ü´Ù°í ÇÑ´Ù. 1861³â¿¡´Â Meredith Townsend°¡ Richard Holt HuttonÀ̶ó´Â ºñÆò°¡¿Í ÇÔ²² °øµ¿ÆíÁýÀÎÀÌ µÇ¸é¼­, ÀÚ½ÅÀº Á¤Ä¡ºÐ¾ß¸¦ Hutton¿¡°Ô ¹®Çко߸¦ Àü´ãÄÉÇϴ üÁ¦·Î 25³âÀ» À̲ø¾î°¬´Ù. 1897³â¿¡´Â TownsendÀÇ ÀÚ¸®¸¦ John St Loe Strachey°¡ À̾î¹Þ¾Ò°í, ÀÌ ¼¼ »ç¶÷ÀÇ ÆíÁýÀÎÀÌ The Spectator¸¦ ¿µ±¹ÀÇ ´ëÇ¥ÀûÀÎ ½Ã»çÀâÁö, Á¤Ä¡ÀûÀ¸·Î °¡Àå ¿µÇâ·ÂÀÖ´Â ÀâÁö·Î Å°¿ö³Â´Ù. ÇöÀç´Â 36,000ºÎÁ¤µµÀÇ ¼Ò¹ÚÇÑ ÆǸźμö¸¦ ±â·ÏÇÏ°í ÀÖÁö¸¸, ºÎ¼ö¿Í »ó°ü¾ø´Â ¿µÇâ·Â°ú ¸í¼ºÀ» ¿©ÀüÈ÷ À¯ÁöÇÏ°í ÀÖ´Ù. ±× ´ÙÀ½À¸·Î´Â ÇöÀç¿¡µµ 50¸¸ºÎ ÀÌ»óÀÇ ÆǸźμö¸¦ ÀÚ¶ûÇϸ鼭 ±¹Á¦ÀûÀ¸·Î À¯ÅëµÇ´Â °ÅÀÇ À¯ÀÏÇÑ ¿µ±¹ÀâÁö·Î The Economist°¡ ÀÖ´Ù. The Economist´Â 1843³â Walter Bagehot°¡ â°£Çß°í ±×°¡ Á×Àº 1877³â±îÁö ÆíÁýÀ» ¸Ã¾Ò´Ù. ±× Á¦¸ñÀÌ ¸»ÇØÁÖµí ⸳´ç½ÃºÎÅÍ Áö±Ý±îÁö °æÁ¦ÀûÀÎ ¹®Á¦¿¡ ÁýÁßÇÏ´Â ÀâÁö·Î¼­ ÁÖµÈ µ¶ÀÚ°¡ »ç¾÷°¡µéÀÌÁö¸¸ Á¤Ä¡¿Í ¹®Çко߿¡ °üÇÑ ±Ûµµ ÇÔ²² ´Ù·ç¾îÁ® ¿Ô´Ù. ´ÙÀ½À¸·Î´Â ÀÌ µÎ ÀâÁöº¸´Ù ¿ª»ç´Â ªÁö¸¸ ±× µÑ¿¡ ¸øÁö¾Ê°Ô ¿µÇâ·ÂÀÖ´Â New Statesman(1996³â New Statesman & Society¿¡¼­ °³Äª)ÀÌ ÀÖ´Ù. 1913³â Fabian Socialist¿´´ø Sidney and Beatrice Webb¿¡ ÀÇÇØ Ã¢°£µÇ¾î ÇöÀç±îÁö À̾îÁ®¿À°í Àִµ¥, ÆǸźμö´Â ÇöÀç 26,000Á¤µµ¿¡ ºÒ°úÇÏÁö¸¸ ±â»çÀÇ Ç°°Ý°ú ±ÇÀ§´Â ÃÖ°í¶ó°í ÇÒ ¸¸ÇÏ´Ù. ⸳ÀÚ°¡ »çȸÁÖÀÇÀÚÀÎ °Í¿¡¼­ ÁüÀ۵ǵíÀÌ Á¤Ä¡ÀûÀÎ ³ë¼±Àº Á¤ÅëÀûÀÎ ÁÂÀÍÀÌ°í, ÀüÅëÀûÀ¸·Î ³ëµ¿´çÀÇ ÀÔÀåÀ» ÁöÁöÇØ¿Ô´Ù.

ÀÌ·¯ÇÑ ¿µ±¹ ½Ã»çÀâÁöÀÇ °èº¸¸¦ °£·«ÇÏ°Ô »ìÆìºÁµµ ºÐ¸íÇØÁö´Â °ÍÀº ±×°ÍµéÀÌ ¸ðµÎ ´ç´ëÀÇ ´ëÇ¥ÀûÀÎ Áøº¸Àû Áö½ÄÀο¡ ÀÇÇØ ÁÖµµµÇ¾ú´Ù´Â °ÍÀÌ´Ù. The SpectatorÀÇ RintoulÀº ¾î¸° ½ÃÀýºÎÅÍ ´Ù¾çÇÑ ÃâÆÇ/¾ð·Ð ¸Åü¸¦ °ÅÄ¡¸é¼­ ´ç´ëÀÇ "±³À°¹Þ´Â °³ÇõÀû Áö½ÄÀÎ(Educated Radical)"ÀÇ ¸ñ¼Ò¸®¸¦ ´ëº¯ÇÏ´Â ´ëÇ¥ÀûÀÎ Àι°·Î¼­ 19¼¼±â ¿µ±¹ÀÇ °¡Àå Å« Á¤Ä¡Àû »ç°ÇÀ̾ú´ø Á¦ 3Â÷ ¼±°Å¹ý°³Á¤À» À̲ø¾î ³½ °³Çõ°¡¿´°í, The EconomistÀÇ Walter Bagehot ¿ª½Ã 19¼¼±âÀÇ ´ëÇ¥ÀûÀÎ "¹®ÇÊ°¡(man of letters)"·Î¼­ Lord Bryce¿¡ ÀÇÇØ "±× ¼¼´ëÀÇ °¡Àå âÀÇÀûÀÎ Á¤½ÅÀÇ ¼ÒÀ¯ÀÚ"¶ó°í Ī¼Û¹ÞÀ» ¸¸Å­ ¶Ù¾î³­ Áö½ÄÀÎÀ̾ú´Ù. 19¼¼±â Áß¹ÝÀÇ ¿µ±¹¿¡¼­´Â "Economist"¶ó´Â ¸»ÀÌ ÁÖ·Î Jeremy BenthamÀÇ °ø¸®ÁÖÀÇ(Utilitarianism)³ª Adam Smith, David RicardoµîÀÇ Á¤Ä¡°æÁ¦ÇÐ(Political Economy)µî°ú ¿¬°üµÇ¾î ÀÚÀ¯ÁÖÀÇ°æÁ¦¸¦ ½ÅºÀÇÏ´Â Áøº¸ÀûÀÌ°í °³ÇõÀûÀÎ Áö½ÄÀÎÀ» ÁöĪÇÏ´Â ¸»À̾ú´Ù. New StatesmanÀÇ Sidney WebbÀº ¿µ±¹ ³ëµ¿¿îµ¿ÀÇ À̳äÀû Åä´ë¶ó°í ÇÒ ¼ö ÀÖ´Â Fabian SocietyÀÇ Ã¢¼³ÀÚ°í ·±´ø´ëÇÐÀÇ ÇϳªÀÎ LSE(London School of Economics)ÀÇ Ã¢¼³¸â¹ö°â ÇàÁ¤ÇÐ ±³¼ö¿´´Ù. ÀÌ·¯ÇÑ ¼³¸³ÀÚ/ÃÊ´ë ÆíÁýÀÎÀÇ °æ·ÂÀº ÀÌ·¯ÇÑ ÀâÁöµéÀÌ ¾î°¼­ ÇöÀç±îÁö ´ëÇ¥ÀûÀÎ ½Ã»çÀâÁö·Î ¸í¼ºÀ» ¶³Ä¡´Â°¡¸¦ ¸»ÇØÁØ´Ù. ÀÌ·¯ÇÑ ÀâÁöµéÀº ´Ü¼øÈ÷ ´ç´ëÀÇ ¿©·ÐÀ» À̲ø¾î¿Â Á¤µµ°¡ ¾Æ´Ï¶ó ¿ª»çÀÇ °íºñ¸¶´Ù ´ç½ÃÀÇ °¡Àå ³ôÀº ¼öÁØÀÇ Áøº¸Àû Áö½ÄÀÎÀÇ ¸ñ¼Ò¸®¸¦ °áÁý½ÃÅ´À¸·Î¼­ ±×µé ½º½º·Î°¡ ¿ª»çÀû ¹ßÀü¿¡ ÇÙ½ÉÀûÀÎ ½ÇõÀ» ÇØ¿Ô´ø °ÍÀÌ´Ù. ºñÆÇÀû Áö¼º°ú Áøº¸Àû ½ÇõÀº ¿µ±¹ ½Ã»çÀâÁöÀÇ ÀÚ¶û½º·¯¿î °æ·ÂÀÇ ´ÜÀûÀΠǥÇöÀ̸ç, °ú°ÅÀÇ ÀâÁöÆíÁýÀÎÀ̳ª ÁÖ¿ä ±â°íÀÚµéÀº ±×µéÀÇ ³í¼³·Î ¿ª»çÀÇ Çâ¹æÀ» ¹Ù²Ü ¸¸Å­ ¿µÇâ·ÂÀÖ´Â Àι°µéÀ̾ú´Ù.

±×·¸´Ù¸é ±×·¯ÇÑ ºñÆÇÀû Áö¼º°ú Áøº¸Àû ½ÇõÀÇ ³»¿ëÀº °ú¿¬ ¹«¾ùÀΰ¡? ±× µÎ °¡Áö´Â °á±¹ ±×µéÀÌ ±×¶§±×¶§ ÁÖ¾îÁø Á¤Ä¡, °æÁ¦, ¹®È­Àû °úÁ¦¿¡ ´ëÇÏ¿© ½á³½ ±ÛµéÀÇ Á¤Ä¡Àû È¿°ú¿Í ¿ª»çÀû ÀÇÀǸ¦ ¶æÇÏ´Â °ÍÀε¥, ±×°ÍÀ» Ãß»óÀûÀÎ ³í¸®·Î ÀϹÝÈ­Çϰųª Çй®ÀûÀÎ ¿øÄ¢À¸·Î Á¤¸®ÇÑ´Ù´Â °ÍÀº ºÒ°¡´ÉÇϰųª ¹«ÀǹÌÇÏ´Ù. ¿Ö³ÄÇÏ¸é ±×µéÀÇ ºñÆÇÀû Áö¼ºÀ̶ó´Â °ÍÀº ¾ðÁ¦³ª ƯÁ¤ÇÑ ½Ã´ë¿¡ ƯÁ¤ÇÑ »çȸÀû ¸Æ¶ô¿¡¼­ ¹ß»ýÇÏ´Â ÀÏ·ÃÀÇ ¹®Á¦µé¿¡ ´ëÇÏ¿© ´ëÀÀÇÏ´Â °úÁ¤¿¡¼­ ±¸Ã¼ÀûÀ¸·Î ¹ßÈֵǴ °ÍÀ̱⠶§¹®ÀÌ´Ù. ÀÌ ±Û¿¡¼­´Â ÇöÀç ¿µ±¹ÀÇ ÀâÁö°è¿¡¼­ È°¾àÇÏ´Â ºñÆÇÀû Áö¼ºÀÇ ÇÑ ¿¹·Î New StatesmanÀÇ ColumnistÀÎ John Pilger¸¦ ¼Ò°³ÇÏ°íÀÚ ÇÑ´Ù. ÇÊÀÚ´Â ±×¿¡ ´ëÇÑ ¿¹ºñÀû Áö½ÄÀÌ ¾ø´Â »óÅ¿¡¼­ PilgerÀÇ ÃÖ±Ù Ä®·³µéÀ» Àоú´Âµ¥, ±×´Â ±¹³»¿ÜÀÇ ÁÖ¿ä Çö¾ÈµéÀ» ¸Á¶óÇÏ´Â ´Ù¾çÇÑ ÁÖÁ¦¸¦ Æø³Ð°Ô ´Ù·ç¸é¼­ Áøº¸ÀûÀÌ°í ºñÆÇÀûÀÎ Áö½ÄÀÎÀÇ ¸é¸ð¸¦ À¯°¨¾øÀÌ º¸¿©ÁÖ¾ú°í, ÀÌ´Â Çö´ë ¿µ±¹ÀÇ Á¤Ä¡Æò·ÐÀÇ ¼öÁØÀ» ´ëÇ¥Çϱ⿡ ¸ðÀÚ¶÷ÀÌ ¾ø´Ù°í ÆǴܵǾú´Ù.

Áö³­ 7¿ù 24ÀÏÀÚ New StatesmanÀÇ Ä÷³µµ ±× ÁÁÀº ¿¹ÀÌ´Ù. ÀÌ ±ÛÀº ¹Ì±¹À̳ª ¿µ±¹ °°Àº ³ª¶óÀÇ ¼ÒÀ§ Àαǿܱ³¶ó´Â °ÍÀÌ ¾ó¸¶³ª À§¼±ÀûÀΰ¡¸¦ º¸¿©ÁÖ´Â ±ÛÀÌ´Ù. ¹Ì±¹À̳ª ¿µ±¹ °°Àº ¼±Áø ¹ÎÁÖ±¹°¡¿¡°Ô "ÀαÇ"Àº °¡Àå ¼ÒÁßÇÑ Á¤Ä¡Àû °¡Ä¡ÀÌ´Ù. ¼Ò·Ã°ú µ¿±¸±ÇÀ» ¹«³Ê¶ß¸° °ÍÀº ÀÚº»ÁÖÀÇ °æÁ¦ÀÇ »çȸÁÖÀÇ °èȹ°æÁ¦¿¡ ´ëÇÑ ½Â¸®ÀÌÁö¸¸ ±×µéÀÇ Á¤Ä¡Àû ¼ö»ç¿¡¼­´Â "ÀαÇ"À» ¼þ»óÇÏ´Â ÀÚÀ¯¹ÎÁÖÁÖÀÇÀÇ ÀüüÁÖÀÇ µ¶Àç¿¡ ´ëÇÑ ½Â¸®·Î ´õ ÀÚÁÖ ¹¦»çµÈ´Ù. ±× ¶§¹®¿¡ ¼­¹æ ¼±Áø±¹¿¡¼­´Â Çѱ¹ÀÇ ±è´ëÁß ´ëÅë·É°ú üÄÚÀÇ ÇϺ§ ´ëÅë·É, ±×¸®°í ³²¾ÆÇÁ¸®Ä« °øÈ­±¹ÀÇ ³Ú½¼ ¸¸µ¨¶ó°¡ "ÀαÇ"ÀÇ ¼ÒÁßÇÔÀ» º¸¿©ÁÖ´Â »ì¾ÆÀÖ´Â Áõ°ÅÀÎ °ÍÀÌ´Ù. ¸¸µ¨¶ó¿¡ ´ëÇÑ ¿µ±¹ÀεéÀÇ "¼þ¹è"´Â ¿ì¸®ÀÇ »ó»óÀ» ÃÊ¿ùÇÑ´Ù. °¡·É ±×°¡ 27³â¸¸¿¡ °¨¿Á¿¡¼­ ³ª¿À´Â ³¯, ¿µ±¹ÀÇ TV´Â Á¤±Ô¹æ¼ÛÀ» Áß´ÜÇÏ°í ±×°¡ À§´Ï ¸¸µ¨¶ó¿Í ÇÔ²² °¨¿Á¿¡¼­ °É¾î³ª¿À´Â ±¤°æÀ» À§¼ºÀ¸·Î »ýÁß°èÇß´Ù. ¸¸µ¨¶ó°¡ ¿µ±¹ÀÇ ¾ç½ÄÀÖ´Â Áö½ÄÀε鿡°Ô °®´Â µµ´öÀû ±ÇÀ§´Â ¾Æ¸¶ 70³â´ë ±èÁöÇϳª ±è´ëÁßÀÌ Çѱ¹ÀÇ Áö½ÄÀÎ »çȸ¿¡¼­ °¡Á³´ø ±ÇÀ§¸¦ ´É°¡ÇÒ Á¤µµÀÏ °ÍÀÌ´Ù. PilgerÀÇ ÀÌ ±â»ç´Â ¼­¹æ ¼±Áø±¹µéÀÌ ³²¾Æ°ø¿¡ ´ëÇÏ¿© ÃëÇÏ°í ÀÖ´Â À§¼±ÀûÀÎ Á¤Ã¥À» °¡Â÷¾øÀÌ ºñÆÇÇÒ »Ó¸¸ ¾Æ´Ï¶ó ¸¸µ¨¶ó ÀÚ½ÅÀÇ Á÷¹«À¯±â¸¦ ³¯Ä«·Ó°Ô ÁöÀûÇÏ°í ÀÖ´Ù. 80ȸ »ýÀÏÀ» ¸ÂÀº ¸¸µ¨¶ó¿¡°Ô Ŭ¸°ÅÏÀº Á¸°æ¾î¸° ÃàÇÏÀλ縦 °Ç³×Áö¸¸ ¹Ù·Î °°Àº ³¯ ³²¾Æ°øÀÇ ¼öÃâ»óÇ°¿¡ º¸º¹°ü¼¼¸¦ ºÙÀÌ´Â ¹ý¾È¿¡ ¼­¸íÇÏ¿´À¸¸ç, ºí·¹¾î´Â À¯·´¿¬ÇÕÀÇ ¼öÃâÀ庮À» ³·Ã纸·Á´Â ¸¸µ¨¶óÀÇ ³ë·ÂÀº °¡º±°Ô ÀÏÃàÇÏ°í ±×·Î ÇÏ¿©±Ý ¿þÀÏÁîÀÇ ÃʵîÇлýµé°ú "¹Ý¦ ¹Ý¦ ÀÛÀº º°"À» ÇÕâÇϵµ·Ï À¯µµÇß´Ù´Â °ÍÀÌ´Ù.

 

¹°·Ð ÀÌ°ÍÀ̾߸»·Î ¹Ìµð¾Æ°¡ ¸¸µ¨¶ó¿¡°Ô ´Ü°ñ·Î ¿ä±¸ÇÏ´Â ¿ªÇÒÀÌ´Ù. ¹Ìµð¾Æ¿¡°Ô ¸¸µ¨¶ó´Â ¿ÕÁ·°°Àº Á¸ÀçÀÌ¸ç ´ÙÀ̾Ƴª¸¦ ´É°¡ÇÏ´Â À¯¸íÀλçÀÌ´Ù. ¸¸µ¨¶ó°¡ ¾î°¼­ ÀÚ½ÅÀÇ µµ´öÀû ±ÇÀ§¸¦ È°¿ëÇÏ¿© ÀÚ±¹¹Îµé¿¡°Ô °­¿äµÇ´Â °æÁ¦Àû Â÷º°ÁÖÀÇ¿¡ ¼Ò¸®³ô¿© Ç×ÀÇÇÏÁö ¾Ê°í °è¼ÓÇؼ­ ÀÌ·¯ÇÑ ¾Æ÷²ÛµéÀÇ ³ó°£¿¡ ³î¾Æ³ª°Å³ª »õ·Î¿î ºÎÀ¯Ãþ ¿¤¸®¶ß¸¦ ÈÄ¿øÇÏ´ÂÁö Ç®¸®Áö ¾Ê´Â ¼ö¼ö²²³¢ÀÌ´Ù. ¸¸ÀÏ ¸¸µ¨¶ó°¡ ÀÚ±¹¿¡¼­´Â º¸È£Á¤Ã¥À» °ßÁöÇϸ鼭 ³ª¸ÓÁö ³ª¶ó¿¡¼­´Â "ÀÚÀ¯¹«¿ª"À» ¿ä±¸ÇÏ´Â ¼­¹æÀÇ À§¼±Àû Á¤Ã¥µéÀ» °ø°³ÀûÀ¸·Î ºñÆÇÇß´Ù¸é ±×°ÍÀº ³²¾Æ°ø ±¹¹ÎµéÀÇ °¥¼ö·Ï Àý¹ÚÇØÁö´Â (°æÁ¦Àû) ¿ä±¸¿¡ ºÎÀÀÇÏ´Â °ÍÀ̾úÀ» »Ó¸¸ ¾Æ´Ï¶ó ´ë´Ù¼öÀÇ Àηù¸¦ À§Çؼ­µµ ÁÁÀº ÀÏÀ̾úÀ» °ÍÀÌ´Ù.

 

This, of course, is the media's designated role for Mandela; he is royalty, a celebrity greater than Diana. It is Mandela's enduring enigma that he goes along with this, performing with the sychophantic and patronising a new, enriched elite rather than using his moral authority to speak out against the economic apartheid imposed on his people. A public blast by him at hypocritical policies that ensure protectionism in the west, while demanding "free trade" of the rest of the world would have not only served the increasingly desperate needs of his people; it would have spoken for the majority of humanity.

 

PilgerÀÇ ÀÌ·¯ÇÑ ¸¸µ¨¶ó ºñÆÇÀº ´ÜÁö ±×ÀÇ ÀϽÃÀûÀÎ "½Ç¼ö"¸¦ ÁöÀûÇÏ´Â µ¥¿¡¼­ ±×Ä¡Áö ¾Ê´Â´Ù. ¸¸µ¨¶ó¸¦ Áß½ÉÀ¸·ÎÇÏ´Â ANC°¡ ¹éÀÎÁ¤ºÎ¸¦ ŸµµÇÏ°í Â÷º°ÁÖÀǸ¦ Á¾½Ä½ÃÅ°°í ³­ ÈÄ¿¡ ÃëÇÑ ÀÏ·ÃÀÇ °æÁ¦Àç°Ç Á¤Ã¥µéÀÌ ¾î°¼­ ¹éÀεéÀÇ °æÁ¦Á¤Ã¥ÀÇ ´ä½ÀÀÌ¿ä ÈæÀιÎÁߵ鿡 ´ëÇÑ ¹è½ÅÀΰ¡¸¦ ±¸Ã¼ÀûÀÎ ¿¹¸¦ µé¾î°¡¸ç Á¶¸ñÁ¶¸ñ µûÁö´Â °ÍÀÌ´Ù. ÅõÀïÀÇ °úÁ¤¿¡¼­ ´Ã µ¿Áö¿´´ø ³²¾Æ°ø ³ëµ¿Á¶ÇÕÃÑȸ¿Í ³²¾Æ°ø °ø»ê´çÀ¸·ÎºÎÅÍÀÇ ºñÆÇÀ» ¸¸µ¨¶ó°¡ ¾î¶»°Ô ¾ï¾ÐÇÏ´ÂÁö¸¦ ¿ª¼³Çϸ鼭 °á±¹Àº "¾Æ¹«°Íµµ º¯ÇÏÁö ¾Ê¾Ò´Ù"°í °á·ÐÁþ´Â´Ù. Pilger°¡ Ä®·³À» ³¡¸ÎÀ¸¸ç ÀοëÇÏ´Â ShelleyÀÇ "È¥µ·ÀÇ °¡¸é±Ø(The Mask of Anarchy)"ÀÇ ÇÑ ±¸ÀýÀº ±×ÀÇ ºñÆÇÀÌ ¾ó¸¶³ª ±Ùº»ÀûÀΰ¡¸¦ Àß º¸¿©ÁØ´Ù.

 

±×·± Çлì±ØÀº ¿µ°¨Ã³·³ »Õ¾î³ª¿Í

¿Â ³ª¶ó¿¡ º¸À̸®¶ó.

¿õº¯Ã³·³, ½ÅŹÀÇ ¸ñ¼Ò¸®Ã³·³,

¸Ö¸®¼­ µé·Á¿À´Â È°È­»êó·³.

 

And that slaughter to the Nation

Shall steam up like inspiration,

Eloquent, oracular

A volcano heard afar.

 

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ÀÌ¿Í ºñ½ÁÇÑ ÃëÁö·Î ¾²¿©Áø ProspectÀÇ ±â»ç´Â Á¤È®ÇÏ°Ô ½Åµ¿¾Æ ±â»ç°¡ ¸ØÃç¼± ÁöÁ¡¿¡¼­ Ãâ¹ßÇÑ´Ù. ½Åµ¿¾Æ±â»ç°¡ ±³¼öµéÀÌ º»ºÐÀ¸·Î ¸ÅÁøÇÑ´Ù´Â Àü°ø°øºÎÀÇ "³»¿ë"À» µûÁö´Â ÀÏÀ» °â¼ÕÇÏ°Ô Æ÷±âÇÏ°í ½ÃÁ¾ÀÏ°ü ´ë±¹ÀûÀΠåÀÓ¸¸À» °Å·ÐÇß´Ù¸é, ProspectÀÇ ±â»ç´Â ±³¼öµéÀÇ ¼ÒÀ§ "Àü¹®¼º", ±×¸®°í ±× "Àü¹®¼º"ÀÌ ºÒ°¡ÇÇÇÏ°Ô ¿ä±¸ÇÑ´Ù´Â "³­Çؼº" ÀÚü¿¡ ´ëÇÏ¿© ¹®Á¦¸¦ Á¦±âÇϱ⠶§¹®ÀÌ´Ù. ÀÌ ±â»ç´Â À۳⠹̱¹¿¡¼­ ÀÖ¾ú´ø "Sokal scandal"À» ¼Ò°³ÇÏ´Â °ÍÀ¸·Î ½ÃÀÛÇÑ´Ù. ¹Ì±¹ÀÇ ¹°¸®ÇÐÀÚÀÎ Alan SokalÀº ÃÖ±Ù¿¡ ȾÇàÇÏ°í ÀÖ´Â ¹Ì±¹ Å»±¸Á¶ÁÖÀÇ À̷а¡µéÀÌ »ç¿ëÇÏ´Â °úÇÐÀûÀÌ°í ±â¼úÀûÀÎ ¾ð¾î°¡ ¾ó¸¶³ª ¾ûÅ͸®Àΰ¡¸¦ Æø·ÎÇϱâ À§ÇÏ¿© ÀÚ½ÅÀÇ °úÇÐÀû Áö½ÄÀ» ¾Æ¹«·¸°Ô³ª Á¶ÇÕÇÏ¿© "Transgressing the Boundaries: Toward a transformative hermeneutics of quantum gravity"¶ó´Â ±×·²µíÇÑ Á¦¸ñÀ¸·Î Social Text¶ó´Â Àι®»çȸºÐ¾ßÀÇ ´ëÇ¥Àû ÀâÁö¿¡ Åõ°íÇß´Ù. ±×°ÍÀÌ ¾ûÅ͸®ÀÓÀ» ¾Ë¾Æº¼ ¸¸ÇÑ ¾È¸ñÀÌ ¾ø¾ú´ø ÆíÁýÀÚ´Â ±×°ÍÀ» ±×´ë·Î ÃâÆÇÇÔÀ¸·Î½á ¹Ì±¹ÀÇ ÀÏ·ù ¹®ÇÐÀ̷а¡µéÀÇ Çй®Àû »ç±â¼ºÀ» ¸¸ÃµÇÏ¿¡ µå·¯³½ °ÍÀÌ´Ù. ÀÌ ÀÏÈ­¸¦ ¼Ò°³Çϸ鼭 ÀÌ ±â»ç´Â Çö´ë Àι®ÇÐÀÇ "Àü¹®¼º"°ú "³­Çؼº"Àº °áÄÚ ºÒ°¡ÇÇÇÑ °ÍÀÌ ¾Æ´Ï¶ó´Â ³íÁö¸¦ Àü°³ÇÑ´Ù. Àι®ÇÐÀÚµéÀº ±×µéÀÇ Çй®ÀÇ ½Ç¿ë¼º¿¡ ´ëÇÑ »çȸÀÇ ¿ä±¸¸¦ "Çй®Àº ½º½º·Î¸¦ Á¤´çÈ­ÇÑ´Ù"´Â °í¾ÐÀûÀÎ ÀÚ¼¼·Î ÀÏÃàÇÒ °ÍÀÌ ¾Æ´Ï¶ó °â¼ÕÇÏ°Ô ¹Þ¾Æµé¿©¼­ ÀÚ±â Çй®ÀÇ Á¸ÀçÀÇÀÇ¿¡ ´ëÇØ Á»´õ ±Ùº»ÀûÀ¸·Î °í¹ÎÇØ ºÁ¾ß ÇÑ´Ù´Â °ÍÀÌ´Ù. ÀÌ ±â»çÀÇ ÇÊÀÚ´Â ÀϹÝÀÎÀÌ ÀÌÇØÇϱ⿡ ÀüÇô ¾î·Á¿òÀÌ ¾ø´Â ÆòÀÌÇÏ°í ¸íÄèÇÑ ½ºÅ¸ÀÏÀ» ä¿ëÇϸ鼭µµ ¸Å¿ì "Àü¹®ÀûÀÎ" Àι®Àû ½Ä°ßÀ» µ¿¿øÇÏ¿© ÀÌ·¯ÇÑ ÁÖÀåÀ» Á¦½ÃÇÑ´Ù. ´ÏÀÌü¿Í ¸ù¶¼´º´Â ±×µéÀÌ ´ë´ÜÈ÷ ½É¿ÀÇÑ Çй®À» Çϸ鼭µµ, ±×µéÀÇ Çй®Àû ¸ñÀûÀÌ »î¿¡ ºÀ»çÇÏ´Â °ÍÀ̾î¾ß ÇÑ´Ù´Â ½Å³äÀ» °¡Áö°í ÀÖ¾ú´Ù. ±×¿¡ ¹ÝÇØ ¿À´Ã³¯ÀÇ ÇÐÀÚµéÀ» ±×µéÀÇ Çй®ÀÇ Çö½ÇÀû ÀÇÀÇ´Â ¹¯Áö ¾Ê°í ³²ÀÇ ±ÛÀ» ²ø¾î´Ù ´ë´Â °Í¿¡¸¸ ¸ôµÎÇÏ°í ÀÖ´Ù´Â °ÍÀÌ´Ù.

 

Àι®Çа迡¼­ ÀÌ·ç¾îÁö´Â ¸¹Àº Çмú¿¬±¸°¡ ÆíÇùÇÑ °ÍÀ¸·Î °£Áֵȴٸé, ±×°ÍÀº ÇÐÀÚµéÀÌ Á×ÀºÁö ¿À·¡µÈ ÀúÀÚµéÀÇ ÅؽºÆ®¸¦ ¾öû³ª°Ô Á¸ÁßÇϱ⠶§¹®À̱⵵ ÇÒ °ÍÀÌ´Ù. ´ç´ë¿¡ ±× ÀúÀÚµé ÀÚ½ÅÀÌ ¾¾¸§Çß´ø ÁÖÁ¦µé°ú´Â »ó°üµµ ¾øÀÌ ¸»ÀÌ´Ù. ¿µ¹®°ú¿¡¼­´Â, Å°ÀÌÃ÷°¡ »ç¶ûÀ» ¾î¶»°Ô Çß´ÂÁö¸¦ ¹è¿ìÁö¸¸ ±×·¸´Ù°í Å°ÀÌÃ÷¸¦ ÅëÇÏ¿© »ç¶ûÀ» ÀÌÇØÇÏ·Á°í ÇÏÁö´Â ¾Ê´Â´Ù. °íÀüÇаú¿¡¼­´Â Ž¿å¿¡ ´ëÇÑ ¿¡ÇÇÅ¥·¯½ºÀÇ »ý°¢Àº °øºÎÇصµ ±×¸¦ ÅëÇØ Å½¿åÀ» ÀÌÇØÇÏ·Á ÇÏÁö´Â ¾Ê´Â´Ù. Å°ÀÌÃ÷°¡ Á¤È®È÷ ¹«½¼ ¶æÀ¸·Î ±×·± À̾߱⸦ Çß´ÂÁö¸¦ ¾Ë¾Æ³»°í, ¿¡ÇÇÅ¥·¯½º°¡ Á¤È®È÷ ¹«½¼ ¸»À» Çß´ÂÁö¸¦ ¹ß°ßÇÏ´Â µ¥¿¡¸¸ ÃÊÁ¡ÀÌ °¡ÀÖ´Ù. ±×·¯ÇÑ ¸»À̳ª ¶æ ÀÚü°¡ ±Ã±ØÀûÀ¸·Î´Â ¸Å¿ì ¿ìµÐÇϰųª À߸øµÈ °ÍÀ̶ó´Â »ý°¢Àº ÇÏÁöµµ ¾Ê°í ¸»ÀÌ´Ù. ÀÌ°ÍÀº ÀοëÀÇ ¹®È­ÀÌ´Ù....¼º°øÀûÀÎ ÁöÀû Ž±¸´Â ¾ðÁ¦³ª ºÒ°æÀ̶ó´Â ÁöÀû µµ¹ÚÀ» ¿ä±¸ÇÑ´Ù. ¾Æ¸®½ºÅäÅÚ·¹½º°¡ Àç¹ÌÀÖ´Â °ÍÀº ±×°¡ ±× ÀÌÀü¿¡ ÃàÀûµÇ¾î ÀÖ¾ú´ø Áö½ÄÀÇ ´ëºÎºÐÀ» ½º½º·Î ȸÀÇÇ߱⠶§¹®ÀÌ´Ù. ±×·¯ÇÑ È¸ÀÇ´Â ÇöóÅæÀ̳ª Çì¶óŬ¸®Åõ½º¸¦ ÀÐÁö ¾Ê´Â °Í¿¡ ÀÇÇؼ­°¡ ¾Æ´Ï¶ó ±×µéÀÇ °­Á¡À» ¾Ë°í ÀÎÁ¤ÇÏ´Â °ÍÀ» ÀüÁ¦·Î ÇÏ¿© ±×µéÀÇ ¾àÁ¡À» ºñÆÇÇÏ´Â ¹æ½ÄÀ¸·Î ÀÌ·ç¾îÁ³´Ù. ÁøÁ¤À¸·Î ¾Æ¸®½ºÅäÅÚ·¹½ºÀû Á¤½ÅÀ¸·Î ÇൿÇÏ´Â °ÍÀº...±×¿Í ÁöÀûÀ¸·Î µ¿Á¶ÇÏÁö ¾Ê°Ô µÇ´Â °ÍÀ» ÀǹÌÇÑ´Ù.

 

If much academic work in the humanities is regarded as parochial, it is also because of the enormous respect academics have for the texts of long dead authors, as opposed to the themes with which these authors were themselves concerned. In an English department, you study what Keats thought of love, you do not try to understand love via Keats. In a classics department, you study Epicurus's thoughts on greed, not greed via Epicurus. The emphasis is on recovering exactly what Epicurus said, trying to understand precisely what Keats meant--with no thought that this might ultimately be quite dull or mistaken. It is a culture of quotation. ...Successful intellectual inquiry always requires an intelligent gamble with irreverence: what made Aristotle interesting was that he himself doubted much of the knowledge that had been built up earlier--not by refusing to read Plato or taking a look at Heraclitus, but by mounting a critique of their weaknesses premised on a knowledge and appreciation of their strengths. To act in a truly Aristotalian apirit...meant coming to intelligent disagreements with him.

 

Àι®ÇÐÀÚµéÀ̶õ "Àü¹®¼º"°ú "³­Çؼº"ÀÇ À̸§À¸·Î Çй®ÀÇ ÁøÁ¤ Á¸ÀçÀÇÀǸ¦ ¿Ü¸éÇϸ鼭 ½ÇÁ¦·Î´Â Çаè¶ó´Â Á¦µµÀû Å׵θ®¾È¿¡¼­ °íÀü ÀÛ°¡µéÀ̳ª ¾ÈÀÏÇÏ°Ô ÀοëÇϸç ÁöÀû °ÔÀÓÀ̳ª ÀÚ±â¹æ¾î¿¡¸¸ ¸ôµÎÇØ ¿Â °ÍÀº ¾Æ´Ï³Ä´Â ±×ÀÇ ºñÆÇÀº ºñ´Ü ¿µ±¹°ú ¹Ì±¹ÀÇ ±³¼öµé¿¡°Ô¸¸ Àû¿ëµÇ´Â °ÍÀº ¾Æ´Ò °ÍÀÌ´Ù. ±×³ª¸¶ ±×µéÀÇ "Àü¹®¼º"¿¡µµ À̸£Áö ¸øÇÏ´Â ±³¼öµéÀÌ ´õ ¸¹Àº Çѱ¹ÀÇ Çа迡¼­´Â ±×´ÙÁö ¿Í´êÁö ¾Ê´Â ¾ê±âÀÏÁö´Â ¸ð¸£°ÚÁö¸¸, ÀÌ°ÍÀÌ ½Åµ¿¾ÆÀÇ "Á÷¹«À¯±â·Ð"º¸´Ù ÈξÀ ´õ ±Ùº»ÀûÀÌ°í À¯È¿ÇÑ ºñÆÇÀ̶ó´Â °Í¸¸Àº ºÐ¸íÇÏ´Ù. ½Åµ¿¾ÆÀÇ ±ÛÀº ÇÐÀÚµéÀÌ ¡°¹«½¼¡± °øºÎ¸¦ ÇÏ´ÂÁö, ¶Ç´Â ÇØ¾ß ÇÏ´ÂÁö¸¦ ¹¯Áö ¾Ê¾Ò°í, ProspectÀÇ ±ÛÀº ¹Ù·Î ±×°ÍÀ» ¹®Á¦»ï¾Ò´Ù. ÀüÀÚ´Â Åë³äÀ» Àç»ý»êÇß°í, ÈÄÀÚ´Â Åë³ä¿¡ µµÀüÇß´Ù. ±×°ÍÀº ÇѸ¶µð·Î ºñÆÇÀû Áö¼ºÀÌ ÀÖ´Â³Ä ¾ø´À³ÄÀÇ Â÷ÀÌÀÌ´Ù.

½Åµ¿¾Æ±â»ç´Â "±âÀÚ"°¡ ½è°í, ProspectÀÇ ±â»ç´Â ÇмúÀû ÈÆ·ÃÀ» ¹ÞÀº "¿¬±¸¿ø"ÀÌ ½èÀ¸´Ï ±×·¯ÇÑ Â÷ÀÌ´Â ´ç¿¬ÇÏÁö ¾Ê´À³Ä´Â ¹Ý·ÐÀÌ ÀÖÀ»Áöµµ ¸ð¸¥´Ù. ±âÀÚ¿¡°Ô ³Ê¹« ¸¹Àº °ÍÀ» ¹Ù¶ó´Â °ÍÀÌ ¾Æ´Ñ°¡. ±âÀÚ°¡ ½º½º·Î Àü¹®°¡°¡ µÉ ¼ö´Â ¾øÁö ¾ÊÀº°¡. ±×·¯³ª ±âÀÚ¿Í "Àü¹®°¡"¸¦ ±¸ºÐÇÔÀ¸·Î½á ½º½º·ÎÀÇ ¿µ¿ªÀ» Ãà¼ÒÇÏ´Â °Í, ±âÀÚ¸¦ ³²ÀÇ ¸»À» ÀüÇÏ´Â ÀÏÁ¾ÀÇ "±â´ÉÀÎ"À¸·Î Æò°¡ÀýÇÏ ÇÏ´Â °Í, ½º½º·Î Àι®Àû Áö½ÄÀÎÀÌ µÇ±â¸¦ Æ÷±âÇÏ´Â °Í, ±×°ÍÀ̾߸»·Î ¿ì¸® ÀâÁöÀÇ Áö¼ºÀû ºó°ïÀ» ÀÚÃÊÇÏ´Â °Í ¾Æ´Ï°Ú´Â°¡. '¸Ó¸®'´Â ºô¸± ¼ö ÀÖÁö¸¸ '¸ö'Àº ºô¸± ¼ö ¾ø´Ù¸ç ¿­½ÉÈ÷ Á¶±ëÀ» ÇÏ´ø »ç¶÷ÀÌ ¿ÜȯÀ§±â¸¦ ºÒ·¯¿Â °ÍÀÌ ¾Æ´Ï¾ú´ø°¡.

 

 

3. ¿µ±¹ÀâÁö¿Í ¹®ÇÐÀû ÀüÅë

 

¿À´Ã³¯ÀÇ ¿µ±¹ÀâÁö´Â 300³â¿¡ °¡±î¿î ¿ª»ç¸¦ °¡Áö°í ÀÖ´Ù. ±×¸®°í ±× ³»¿ëÀ» °¡Àå ÈǸ¢ÇÏ°Ô Ã¤¿ö³ÖÀº °ÍÀº ¿µ±¹ÀÇ ½ÃÀΰú ¼Ò¼³°¡, ±×¸®°í ¼ÒÀ§ '¹®ÇÊ°¡(Man of Letters)'¶ó°í ºÒ¸®´Â ¹®ÇÐÀû ±³¾çÀÎÀ̾ú´Ù. ¾Õ¼­ ¾ð±ÞÇÑ ¿µ±¹ ÃÖÃÊÀÇ ÀâÁö A ReviewÀÇ ÆíÁýÀÎÀº "·Îºó½¼ Å©·ç¼Ò"·Î ¿ì¸®¿¡°Ô Àß ¾Ë·ÁÁø Daniel Defoe¿´´Ù. ±×´Â ¼Ò¼³°¡·Î¼­ º¸´Ù´Â "¿µ±¹ ÀâÁöÀÇ ¾Æ¹öÁö"·Î ´õ À¯¸íÇÑ Àι°À̾ú´Ù. ±×´Â ÁÖ 3ȸ °£ÇàÇÏ´ø A ReviewÀÇ Áö¸éÀ» 9³â µ¿¾ÈÀ̳ª È¥ÀÚ¼­ ¸Þ¿ö°¬´Ù. ¿µ±¹¿¡´Â ÀÌ·¯ÇÑ Á¤±â°£Ç๰ÀÌ »ý°Ü³ª±â ÀÌÀü¿¡ ÀÌ¹Ì Á¤Ä¡³í¼³ÀÇ ÀüÅëÀÌ ÀÖ¾ú´Âµ¥ ÀÌ°ÍÀº ÁÖ·Î "¼ÒÃ¥ÀÚ(Pamphlet)"ÀÇ ÇüÅ·ΠÃâÆǵǾú´Ù. ¾ð·ÐÀÚÀ¯¿¡ ´ëÇÑ ±â³äºñÀû ¹®¼­ÀÎ "½Ç¶ô¿ø"ÀÇ ½ÃÀÎ John MiltonÀÇ Areopagiticaµµ "¼ÒÃ¥ÀÚ" ¿´°í 19¼¼±â¿¡ µé¾î¿Í ÀâÁö°¡ ´ë·®À¯ÅëµÇ±â ÀÌÀü¿¡´Â "¼ÒÃ¥ÀÚ"°¡ Á¤Ä¡Àû ³íÀïÀÇ ÁÖµÈ ¸Åü¿´´Ù. Defoeµµ ÀâÁö¸¦ ¸¸µé±â ÀÌÀü¿¡ ÀÌ¹Ì ÈÖ±×ÀÇ ÀÔÀå¿¡¼­ Å丮ÀÇ ºñ±¹±³µµ ź¾ÐÀ» dzÀÚÇÑ "The Shortest Way with Dissenters"(1702)¶ó´Â ¼ÒÃ¥ÀÚ¸¦ ½á¼­ Áý±Ç¼¼·ÂÀÇ ¸Í·ÄÇÑ ºÐ³ë¸¦ »ò°í, °á±¹ üÆ÷µÇ¾î »ó´ç±â°£ °¨¿Á»ìÀ̸¦ ÇØ¾ß Çß´Ù. ±×¿¡°Ô µ¿Á¤ÀûÀ̾ú´ø ¿Â°ÇÇÑ Å丮´ç Á¤°´ Robert HarleyÀÇ µµ¿òÀ¸·Î °Ü¿ì ¿Á»ìÀ̸¦ ¸éÇÏ°í ¾ð·ÐÀÎÀ¸·Î¼­ÀÇ °æ·ÂÀ» ½×¾Æ³ª°¥ ¼ö ÀÖ¾ú´Ù. Defoe°¡ ¼Ò¼³°¡°¡ µÈ °ÍÀº ±×ÀÇ ³ªÀÌ 60¼¼¶§ ¿´°í ±×ÀÇ ÁÖµÈ È°µ¿Àº ÀâÁöÆíÁýÀÚ/ Á¤Ä¡Æò·Ð°¡¿´´Ù.

Defoe¿Í ÇÔ²² 18¼¼±â ¿µ±¹¼Ò¼³À» ´ëÇ¥ÇÏ´Â ¶Ç ÇϳªÀÇ ÀÛ°¡ Henry Fielding ¿ª½Ã Defoe ¸øÁö ¾ÊÀº ÀâÁöÆíÁýÀÎ °â ±â°í°¡¿´´Ù. dzÀÚÀÛ°¡ Jonathan Swift°¡ â°£ÇÑ CraftmanÀÇ ÇÊÀÚ¿´À¸¸ç ½º½º·Î Champion, A True Patriot µî ÀâÁö¸¦ â°£ÇÏ¿© ÆíÁýÇϱ⵵ ÇÏ¿´´Ù.

ÀÌ ´ç½ÃÀÇ ´ëÇ¥Àû ¹®ÀÎ °â ÀâÁöÆíÁýÀÎ/ ±â°í°¡·Î »©³õÀ» ¼ö ¾ø´Â Àι°ÀÌ 18¼¼±â ½Å°íÀüÁÖÀǸ¦ ´ëÇ¥ÇÏ´Â ½ÃÀÎÀÌÀÚ ÃÖÃÊÀÇ Çö´ëÀû ¹®ÇÐÆò·Ð°¡ÀÎ Samuel JohnsonÀÌ ÀÖ´Ù. ±×´Â ¶Ç ÃÖÃÊÀÇ ¿µ¾î»çÀüÀÇ ÀúÀÚÀ̱⵵ ÇÏ´Ù. ±×´Â "ÀâÁö(Magazine)"¶ó´Â ¿ë¾î¸¦ ÃÖÃÊ·Î µµÀÔÇÑ Edward CaveÀÇ Gentleman's MagazineÀÇ ±â°íÀڷμ­ ¾ð·ÐÀÎÀ¸·Î¼­ÀÇ °æ·ÂÀ» ½ÃÀÛÇÏ¿© 1750³â¿¡´Â The Rambler¶ó´Â ÀÚ½ÅÀÇ ÀâÁö¸¦ ½ÃÀÛÇß´Ù. ÀâÁöÀÇ ÆíÁýÀÎ °â ÇÊÀڷμ­ JohnsonÀÌ °¡Áö°í ÀÖ´ø ÀںνÉÀº ´ë´ÜÇÑ °ÍÀ̾ú´Ù. ÀâÁöÀÇ ÇÊÀÚ´Â ±³¾çÀÖ´Â ¹®ÀÎÀ¸·Î¼­ ´º½º³ª ÀüÇÏ´Â "±âÀÚ"µé°ú´Â º»ÁúÀûÀ¸·Î ´Ù¸£´Ù´Â °ÍÀÌ´Ù. ±×´Â ½Å¹®±âÀÚ¿¡ ´ëÇÏ¿© ÀÌ·¸°Ô ¸»Çß´Ù.

 

´º½º¸¦ ¾²´Â ÀÚµéÀº ´ö¸ñÀ̶ó°í´Â ¾ø´Â ÀÚµé·Î¼­ ½º½º·ÎÀÇ ÀÌÀÍÀ» À§ÇÏ¿© °Åħ¾øÀÌ °ÅÁþ¸»À» ½á´í´Ù. ÀÌ·± ±ÛµéÀ» ¾²´Âµ¥´Â Àç´Éµµ, Áö½Äµµ, ±Ù¸éµµ, È°±âµµ ÇÊ¿ä¾ø´Ù. ±× ´ë½Å Àý´ëÀûÀ¸·Î ÇÊ¿äÇÑ °ÍÀº ºÎ²ô·¯¿ò¿¡ ´ëÇÑ °æ¸ê, Áø½Ç¿¡ ´ëÇÑ ¹«°ü½ÉÀÌ´Ù.

 

A news-writer is a man without virtue who writes lies at home for his own benefit. To these compositions is required neither genius nor knowledge, neither industry nor sprightliness, but contempt of shame, indifference to truth are absolutely necessary.

 

18¼¼±â¸¦ ´ëÇ¥ÇÏ´Â ¹®ÀÎÀÇ ÀÌ·¯ÇÑ ¾ð±ÞÀº ´ç½ÃÀÇ ¸Æ¶ô¿¡¼­ ÀâÁöÇÊÀÚ¿Í ½Å¹®±âÀÚÀÇ »çȸÀû À§»óÀÌ ¾î¶»°Ô ´Þ¶ú´Â°¡¸¦ ÁüÀÛÄÉ ÇÑ´Ù. ÀâÁöÀÇ ÇÊÀÚ´Â ±× ½Ã´ëÀÇ Á¤Ä¡¿Í ¹®È­¸¦ ¼±µµÇÏ´Â ±³¾çÀÖ´Â Áö½ÄÀÎÀ̸ç, ½Å¹®±âÀÚ´Â ÇÑ°® ±ÛÀïÀÌ¿¡ ºÒ°úÇß´ø °ÍÀÌ´Ù. ¿µ±¹ÀâÁöÀÇ ÀÌ·¯ÇÑ ¹®ÇÐÀû ÀüÅë ¶§¹®¿¡ ´ç´ëÀÇ ¹®ÀεéÀº ÀâÁö³ª ¼ÒÃ¥ÀÚÀÇ ±Û¾²±â¸¦ ¹®ÇÐÀÇ º»·ÉÀº ¾Æ´Ï¶ó ÇÏ´õ¶óµµ ¾ðÁ¦¶óµµ ³Ñ³ªµé¼ö ÀÖ´Â Á÷¾÷Àû ¿µ¿ªÀÇ ÀϺηΠ°£ÁÖÇß´Ù. "¹«Áö°³"·Î À¯¸íÇÑ ³¶¸¸ÁÖÀÇ ½ÃÀÎ William Wordsworthµµ »ç½ÇÀº ÀâÁöÆíÁýÀÎÀ» ²Þ²Ù¾ú¾ú´Ù. ±×´Â1793³â ÃÖÃÊÀÇ ½ÃÁýÀ» °£ÇàÇÑ Á÷ÈÄ¿¡ ÇÁ¶û½ºÇõ¸í¿¡ ´ëÇÑ ÀÚ½ÅÀÇ ¿­·ÄÇÑ ÁöÁö¿Í °øÈ­ÁÖÀÇÀû ½Å³äÀ» ÇÇ·ÂÇÑ ¼ÒÃ¥ÀÚ "·£´ÙÇÁÁÖ±³¿¡°Ô º¸³»´Â °ø°³¼­ÇÑ"À» À͸íÀ¸·Î ½è´ø ÀûÀÌ ÀÖ¾ú´Ù. ´ç½Ã ¿µ±¹ Á¤ºÎÀÇ Åº¾ÐÁ¤Ã¥Àº ±×°ÍÀÇ ÃâÆÇÀ» ¸·¾ÒÁö¸¸ Wordsworth´Â ±× ÀÌÈÄ¿¡µµ Mathews¶ó´Â Ä£±¸¿Í ÇÔ²² "ÀÚ¼±°¡(Philanthropist)"¶ó´Â ÀâÁöÀÇ Ã¢°£À» °èȹÇÑ´Ù. ±×°ÍÀ» ³íÀÇÇÏ´Â ÆíÁö¿¡¼­ °³Çõ°¡°â ÀâÁöÆíÁýÀڷμ­ ÀÚ½ÅÀÇ Æ÷ºÎ¸¦ ÀÌ·¸°Ô ¹àÇû´Ù.

 

´ëÁßµéÀÌ ¾ÏÈæ¼Ó¿¡ °È°íÀÖÀ½À» ³ª´Â ¾Ë°íÀÖ´Ù. ³ª´Â ±×µé Çϳª Çϳª¿¡°Ô ±×µéÀ» ÀεµÇØ ÁÙ µîºÒÀ» °Ç³×ÁÖ°í, ±×·¸°Ô ÇÔÀ¸·Î½á ±×µéÀÌ ´Ù½Ã´Â ¼ø½Ä°£¿¡ ²¨Á®¹ö¸®´Â ¹ø°³ºÒºûÀ̳ª ±Ý»õ ½º·¯Áö´Â º°¶Ëº°ÀÇ ¹ø¶àÀÓÀ¸·Î ±æÀ» ¹àÈ÷¸ç ¿©ÇàÀ» ³ª¼­Áö ¾Êµµ·Ï ÇÏ°íÀÚ ÇÑ´Ù.

 

I know that the multitude walk in darkness. I would put into each man's hand a lantern to guide him and not have him to set out upon his journey depending for illumination on abortive flashes of lightening, or the coruscations of transitory meteors.

 

WordsworthÀÇ ÀÌ·¯ÇÑ Æ÷ºÎ´Â ³¡³» ½ÇÇöµÇÁö ¸øÇßÁö¸¸ ´ëÁßÀ» °èµµÇÏ°Ú´Ù´Â °³Çõ°¡·Î¼­ÀÇ ½Å³äÀº ±×ÀÇ ¹®ÇÐÀû ±âȹ, Áï ¹ÎÁßÀÇ °íÅë¿¡ ÁÖ¸ñÇÏ°í, ±×µéÀÇ °¨¼ö¼º¿¡ È£¼ÒÇϸç, ±×µéÀÇ ¾ð¾î·Î °¡Àå öÇÐÀûÀÎ Áø½ÇÀ» Ž±¸ÇÏ°íÀÚ ÇÏ´Â ¹ÎÁÖÁÖÀÇÀû ½Ã·ÐÀ¸·Î ¿­¸Å¸¦ ¸Î´Â´Ù. ÀÌ·¯ÇÑ WordsworthÀÇ ÇàÀûÀÌ ½Ã»çÇÏ´Â °ÍÀº ´ç½Ã¿¡´Â ÀâÁöÀÇ ±Û¾²±â¿Í ¹®ÇÐÀû ±Û¾²±â°¡ ¹üÁÖÀûÀ¸·Î ±¸º°µÇÁö ¾Ê¾ÒÀ¸¸ç, ±×¸¸Å­ ÀâÁöÀÇ ±Û¾²±âÀÇ »çȸÀû À§»ó°ú ¿µÇâ·ÂÀÌ ÄÇ´Ù´Â °ÍÀÌ´Ù.

Wordsworth°¡ ÀâÁöÆíÁýÀÚ¸¦ ²Þ²Ù¸ç ³¶¸¸ÁÖÀǽÃÀÎÀ¸·Î Àڶ󳪰íÀÖÀ» ¶§ÀÎ 1790³â´ë´Â ¿À´Ã³¯ ÀâÁöÀÇ Á¤Ä¡³í¼³ÀÇ ¿øÇüÀÎ ¼ÒÃ¥ÀÚÀÇ Àü¼º½Ã´ë¿´´Ù. ÇÁ¶û½ºÇõ¸íÀÇ ¿©ÆÄ·Î ¿µ±¹Àº Çõ¸íÀÇ ¿­±â·Î µé¶°ÀÖ¾ú°í, º¸¼ö¼¼·Â°ú °³Çõ¼¼·Â°£¿¡´Â À̸¥¹Ù "¼ÒÃ¥ÀÚ ÀüÀï(Pamphlet War)"°¡ ¹ú¾îÁö°í ÀÖ¾ú´Ù. ±Ù´ë»çȸÀÇ Åµ¿±â¿¡ ¹ú¾îÁø ÀÌ À̳ä³íÀïÀº ±× À¯¸íÇÑ Edmund Burke¿Í Thomas Paine°£ÀÇ ³íÀïÀ¸·Î Ã˹ߵǾú´Âµ¥, ÀÌ°ÍÀº ¿µ±¹ÀÇ ¹®ÇкñÆò°¡ Terry EagletonÀÌ ¼­±¸ÀÇ ¿ª»ç¿¡¼­ ¸¶Áö¸·À¸·Î ÀǹÌÀÖ´Â Á¤Ä¡³íÀïÀ̶ó°í ÀÏÄÃÀ» ¸¸Å­ À¯¸íÇÑ »ç°ÇÀ̾ú´Ù. BurkeÀÇ The Reflections on the Revolution in France´Â ÇÁ¶û½ºÇõ¸í¿¡ ´ëÇÑ ºÀ°ÇÁöÁÖ°è±ÞÀÇ °¡Àå °­·ÂÇÑ ºñÆÇÀ̾ú°í, ÀÌ¿¡ ´ëÇ×ÇÑ Thomas PaineÀÇ The Rights of ManÀº °³Çõ¼¼·ÂÀÇ °¡Àå È¿°úÀûÀÎ ¹Ý·ÐÀ̾ú´Âµ¥, Á¤Ä¡³í¼³ÀÇ ¹®ÇÐÀû ¼º°ÝÀ̶ó´Â °üÁ¡¿¡¼­ Àç¹ÌÀÖ´Â °ÍÀº ±×µéÀÇ À̳äÀû ³ë¼±ÀÇ ´ë¸³ÀÌ ´Ü¼øÈ÷ Á¤Ä¡Àû ÁÖÀåÀÇ ´ë¸³ »Ó¸¸ÀÌ ¾Æ´Ï¶ó ¹®ÇÐÀû ¼ö»çÀÇ ´ë°á·Î µå·¯³ª±âµµ Ç߱⠶§¹®ÀÌ´Ù. °¡·É BurkeÀÇ ´ÙÀ½°ú °°Àº ´ë¸ñÀº ±× À̳äÀû ³»¿ëº¸´Ùµµ ¾Æ¸§´Ù¿î ¹®ÇÐÀû ¼ö»ç·Î ÀÎÇØ Burke »ê¹®ÀÇ ¹é¹Ì·Î ²ÅÈù´Ù.

 

³»°¡ ´ç½Ã¿£ ¿Õ¼¼ÀÚºñ¼Ì´ø ÇÁ¶û½º ¿Õºñ¸¦ º£¸£»çÀÌÀ¯¿¡¼­ ¾ËÇöÇÑÁö ¹ú½á 16-7³âÀ̳ª µÇ¾ú´Ù. ¿Õºñ²²¼­´Â ³»°Ô °ÅÀÇ ´«±æÀ» ÁÖ½ÃÁö ¾Ê¾ÒÁö¸¸, ³ª´Â ±×ºÐº¸´Ù ´õ º¸±âÁÁÀº ¸ð½ÀÀ» ³» ´«¿¡ ´ã¾Æº» ÀûÀÌ ¾ø¾ú´Ù. ±×ºÐÀÌ ³» ´«¿¡ µé¾î¿Í ¸ÎÇô¼­ ±×°ÍÀ» ¾Æ¸§´ä°Ô Àå½ÄÇÏ°í Áñ°Ì°Ô ÇÏ´Â µ¿¾È ³ª´Â ±×ºÐÀ» ³» ´« ¹Ù·Î À§¿¡¼­ ºÈ °ÍÀÌ´Ù. È°±â¿Í ±¤Ã¤, Áñ°Å¿òÀ¸·Î °¡µæÂù »õº®º°Ã³·³ ºû³ª´Â ±× ºÐÀÇ ¸ð½ÀÀ». ¾Æ, Çõ¸íÀ̶ó´Ï! ±×·¸°Ô °í¾çµÇ°í, ±×·¸°Ô ½º·¯Áö´Â °ÍÀ» ÀÌó·³ ´ã´ãÇÏ°Ô µÇ»õ±â°Ô µÇ´Â ³ª´Â ¾ó¸¶³ª ÀÎÁ¤¾ø´Â Àΰ£Àΰ¡.¸í¿¹¸¦ ¾Æ´Â ³²ÀÚµé°ú ±â»çµéÀÇ ³ª¶ó¿¡¼­ ±×ºÐ¿¡°Ô ±×·± Àç¾ÓÀÌ µ¤ÃÄ¿À´Â °ÍÀ» »ì¾Æ³²¾Æ º¸°ÔµÉ ÁÙ ´©°¡ ¾Ë¾ÒÀ¸·ª! ±×ºÐÀ» ¸ð¿åÇÏ´Â ¹«¼­¿î ½Ã¼±À» Çѹø ´øÁö±â¸¸ ÇÏ´õ¶óµµ ±× ¿ø¼ö¸¦ °±±âÀ§ÇØ ¼ö¸¸ÀÇ Ä®µéÀÌ Ä®Áý¿¡¼­ »ÌÇûÀ» °Å¶ó°í ³ª´Â »ý°¢Çß´Ù. ÇÏÁö¸¸, ±â»çµµÀÇ ½Ã´ë´Â °¬´Ù. ±×¸®°í ±Ëº¯°¡¿Í °æÁ¦ÇÐÀÚ¿Í °è»ê ÀßÇÏ´Â ÀÚµéÀÇ ¼¼»óÀÌ ¿Ô´Ù. À¯·´ÀÇ ¿µ±¤Àº ¿µ¿øÈ÷ »ç¶óÁ³´Ù.

 

It is now sixteen or seventeen years since I saw the queen of France, then the dauphiness, at Versailles; and surely never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she just began to move in, --glittering like the morning-star, full of life, and splendor, and joy. Oh! What a revolution! And what a heart must I have, to contemplate without emotion that elevation and that fall! Little did I dream that I should have lived to see such disasters fallen upon her in a nation of gallant men in a nation of men of honour and of cavaliers. I thought ten thousand swords must have leaped from their scabbards to avenge even a look that threatened her with insult. But the age of chivalry is gone. That of sophisters, oeconomists, and calculators, has succeeded; and the glory of Europe is extinguished for ever..(Reflections on the Revolution in France, Penguin, 1969, 169-170)

 

·çÀÌ 16¼¼ÀÇ ¿Õºñ ¸¶¸® ¾Ó¶ß¿Í³×Æ®ÀÇ ¸ð½ÀÀ» ·Î¸Á½ºÀÇ ¿©ÁÖÀΰøó·³ ºÀ°ÇÀûÀÎ °¡Ä¡¿Í ¾Æ¸§´Ù¿òÀ» »ó¡ÇÏ´Â Á¸Àç·Î ÀÌ»óÈ­ÇÏ°í, Çõ¸í¼¼·ÂÀ» ÁÖÀΰøÀ» ³³Ä¡ÇÏ´Â ±«¹° °°Àº Á¸Àç·Î Çü»óÈ­ÇÔÀ¸·Î½á, Çõ¸íÀÇ ºÎµµ´ö¼º°ú Æı«¼ºÀ» ±ØÀûÀ¸·Î ºÎ°¢½ÃÅ°´Â BurkeÀÇ ÀÌ·¯ÇÑ ¹®ÇÐÀû ¼ö»ç´Â ´ç½Ã¿¡ ½ÇÁ¦·Î ¼ö¸¹Àº ÀϽÃÀû µ¿Á¶ÀÚµéÀÇ ¸¶À½À» µÇµ¹·Á ³õ¾ÒÀ» ¸¸Å­ È¿°úÀûÀ̾ú´Ù. Çõ¸íÀÌ Æı«ÇÏ·Á´Â ¾Æ¸§´Ù¿î ¿Õºñ´Â ¿Ïº®ÇÏ°Ô Á¶È­µÈ ÀÚ¿¬Àû Áú¼­ÀÇ Ç¥ÇöÀ̾ú°í, µû¶ó¼­ Çõ¸íÀº ÀÚ¿¬¹ýÄ¢À» Æı«ÇÏ°í È¥µ·°ú ¹«Áú¼­¸¦ °¡Á®¿Ã »ÓÀ̶ó´Â BurkeÀÇ º¸¼öÀû ÁÖÀåÀº Á÷¼³ÀûÀ¸·Î ¼³¸íµÇ´Â °ÍÀÌ ¾Æ´Ï¶ó ¾Æ¸§´Ù¿î ¿ÕºñÀÇ ºÎ´çÇÑ Á×À½À» ºñ±ØÀûÀ¸·Î ¹¦»çÇÔÀ¸·Î½á Àü´ÞµÇ°í ÀÖ´Â °ÍÀÌ´Ù. ÀÌ·¯ÇÑ °­·ÂÇÑ ¹®ÇÐÀû ¼ö»ç¿¡ ´ëÇ×ÇÏ´Â °ÍÀº ³¯Ä«·Î¿î ºñÆò°¡ÀÇ ´«À» °¡Áø PaineÀÇ ³Ã¼ÒÀûÀÎ ºÐ¼®ÀÌ´Ù.

 

¿ì¸®¿¡°Ô Àо°í ¹ÏÀ¸¶ó´Â ¾î¶² ÃâÆǹ°¿¡¼­ "±â»çµµÀÇ ½Ã´ë´Â °¬´Ù," "À¯·´ÀÇ ¿µ±¤Àº ¿µ¿øÈ÷ »ç¶óÁ³´Ù"¸ç ¿¬±ØÀûÀ¸·Î °³ÅºÇÏ´Â »ç¶÷À» º¸¾ÒÀ» ¶§, ±×¸®°í ±× ¸ðµç °ÍÀÌ µ·³¢È£Å×ÀÇ ¾ûÅ͸® ±â»çµµ ½Ã´ë°¡ »ç¶óÁ³±â ¶§¹®À̶ó°í ÇßÀ» ¶§, ¾îÂî ¿ì¸®°¡ ±×·± »ç¶÷ÀÇ ÆÇ´Ü¿¡¼­ (»ç¸®¿¡ ¸Â´Â) ÀÇ°ßÀ» ±â´ëÇÒ ¼ö ÀÖÀ¸·ª? ±×°¡ Á¦½ÃÇÏ´Â »ç½ÇµéÀ» ¾î¶»°Ô Á¸ÁßÇÒ ¼ö ÀÖÀ¸·ª? ±×´Â ÀÚ½ÅÀÇ »ó»ó·ÂÀÇ ±¤½Ã°î¾È¿¡¼­ dzÂ÷ÀÇ ¼¼°è¸¦ ¹ß°ßÇß°í, ±×ÀÇ ½½ÇÄÀ̶õ ±× dzÂ÷¸¦ °ø°ÝÇÒ ³¢È£Å×°¡ ¾ø±â ¶§¹®¿¡ »ý°Ü³µ´Ù´Ï. ¸¸ÀÏ ±â»çµµÀÇ ½Ã´ëó·³ ±ÍÁ·ÀÇ ½Ã´ë°¡ °£´Ù¸é(±× µÑÀº ¿ø·¡ ¼­·Î ¿¬°üÀÌ ÀÖ¾ú´Ù), ±¸Áú¼­ÀÇ ¼öÈ£ÀÚ ¹öÅ©¾¾´Â ±×ÀÇ ±â»çµµ dzÀÚ¸¦ ³¡±îÁö ¹Ð°í³ª°£ ´ÙÀ½ ÀÌ·¸°Ô ¿ÜÄ¡¸ç ¸¶¹«¸®ÇÒÁöµµ ¸ð¸£°Ú´Ù. "¿Àµ¨·ÎÀÇ ÀӱⰡ ³¡³ª°í ¸»¾Òµµ´Ù! ±×ÀÇ Ã¥¿¡´Â ¾îµð¸¦ µÑ·¯ºÁµµ °¡Àå ºñÂüÇÑ °¨¿Á¿¡¼­ Àý¸Á¼Ó¿¡ °í³­ÀÇ »îÀ» À̾´Â »ç¶÷µé¿¡ ´ëÇؼ­´Â ´Ü ÇÑÂ÷·ÊÀÇ µ¿Á¤¾î¸° ½Ã¼±µµ, ´Ü ÇÑÂ÷·ÊÀÇ µ¿Á¤¾î¸° »ý°¢µµ Çã¶ôÇÏÁö ¾Ê´Â´Ù. ±×´Â ±êÅÐÀ» µ¿Á¤ÇÑ´Ù, ÇÏÁö¸¸, Á׾´Â »õ´Â ÀØ°í ÀÖ´Ù.

 

When we see a man dramatically lamenting in a publication intended to be believed, that, 'The age of chivalry is gone!' that 'The glory of Europe is extinguished for ever!' and all this because the Quixote age of chivalry nonsense is gone, what opinion can we form of his judgement, or what regard can we pay to his facts? In the rhapsody of his imagination, he had discovered a world of windmills, and his sorrows are, that there are no Quixotes to attack them. But if the age of aristocracy, like that of chivalry, should fall, (and they had originally some connection), Mr Burke, the trumpeter of the Order, may continue his parody to the end, and finish with exclaiming, 'Othello's occupation's gone!Not one glance of compassion, not one commiserating reflection, that I can find throughout his book, has he bestowed on those who lingered out the most wretched of lives, a life without hope, in the most miserable of prisons.He pities the plumage, but forgets the dying bird. ("The Rights of Man", in The Thomas Paine Reader, Penguin, 1987, 211-213)

 

PaineÀÌ BurkeÀÇ °­·ÂÇÑ ¹®ÇÐÀû ¼ö»ç¿¡ ´ëÇ×ÇÏ´Â ¹æ¹ýÀº Burke°¡ µ¶ÀÚÀÇ °ø°¨À» À̲ø¾î³»±â À§ÇÏ¿© »ç¿ëÇÑ ±Ç¼±Â¡¾ÇÀûÀÌ°í Áß¼¼ÀûÀÎ ·Î¸Á½ºÀÇ ±¸µµ¸¦ µ·³¢È£Å׶ó´Â ·Î¸Á½ºÀÇ ÆзεðÀÇ ±¸µµ·Î ½½Â½ ¹Ù²Ù¾î ³õÀ½À¸·Î½á BurkeÀÇ °¨»óÀûÀΠȣ¼Ò¸¦ ´Ü¼û¿¡ ¿ôÀ½°Å¸®·Î ¸¸µé¾î¹ö¸° °ÍÀÌ´Ù. ±×¸®°í ¾î´À»õ Burke ÀÚ½ÅÀ» ½Ã´ëÂø¿ÀÀûÀÎ µ·³¢È£Å×Àû Àι°·Î µ¿ÀϽÃÇϸ鼭 ±×ÀÇ ÁÖÀåÀÇ ½Å·Ú¼ºÀ» ±Ù¿øÀûÀ¸·Î Á¦°ÅÇØ ¹ö·È´Ù. BurkeÀÇ ±ØÀû È£¼Ò¸¦ ¶°¹ÞÄ¡´ø ·Î¸Á½ºÀÇ ±¸µµ´Â ¿ÀÈ÷·Á ±×ÀÇ ÁÖÀåÀ» ¿ÀµµµÈ °¨»óÁÖÀÇ·Î ¸¸µé¾î ¹ö¸° °ÍÀÌ´Ù. PaineÀº °Å±â¿¡ ´õÇÏ¿© Burke ¸øÁö¾Ê´Â À¯·ÁÇÏ°í »ýµ¿°¨ÀÖ´Â »ê¹® ¼Ó¿¡¼­ ÇÙ½ÉÀ» Â´Â ÀºÀ¯(mataphor)·Î BurkeÀÇ µ¿Á¤½ÉÀÇ ºÎÁ¶¸®¼ºÀ» µ¶ÀÚÀÇ ¸¶À½¿¡ °­·ÂÇÏ°Ô °¢ÀÎÇÏ°í ÀÖ´Ù. "±×´Â ±êÅÐÀ» µ¿Á¤ÇÑ´Ù, ÇÏÁö¸¸, Á׾´Â »õ´Â ÀØ°í ÀÖ´Ù."

¿ì¸®´Â ¿©±â¿¡¼­ ÀÌ°ÍÀÌ ÇÐÀڵ鳢¸®ÀÇ ÇÑ°¡ÇÑ °©·ÐÀ»¹ÚÀÌ ¾Æ´Ï¶ó Çõ¸íÀÇ Àü¾ß¿¡ ÀÚ½ÅÀÌ ¼ÓÇÑ Ã¼Á¦ÀÇ ¿î¸íÀ» ³õ°í ¹úÀÎ Àý¹ÚÇÑ Á¤Ä¡³íÀïÀ̾ú´Ù´Â »ç½ÇÀ» ±â¾ïÇÒ ÇÊ¿ä°¡ ÀÖ´Ù. °íµµÀÇ ¹®ÇÐÀû ¼ö»ç¹ýÀ» ÀÚÀ¯ÀÚÀç·Î ±¸»çÇÑ PaineÀº Burke¿Í °°Àº ´ëÁ¤Ä¡°¡µµ ¹®ÇÊ°¡µµ ¾Æ´Ï°í, µ¶ÇÐÀ¸·Î ÀÔ½ÅÇÑ ÀüÇüÀûÀÎ ¾ð·ÐÀÎÀ̾ú´Ù. ±×´Â Á¤±Ô±³À°À» °ÅÀÇ ¸ø¹Þ¾ÒÀ½¿¡µµ ºÒ±¸ÇÏ°í ÀÌ·¯ÇÑ ¹®ÇÐÀû ±³¾çÀÇ ¼ÒÀ¯ÀÚ¿´±â ¶§¹®¿¡ ´Ü ÇϳªÀÇ ¼ÒÃ¥ÀÚ(Common Sense, 1776)·Î ¹Ì±¹µ¶¸³ÀüÀïÀÇ ºÒÀ» ´ç°å°í, ¿©±â¿¡ ÀοëÇÑ ¶Ç ´Ù¸¥ ÇÑÆíÀÇ ±Û(The Rights of Man)·Î ¿Â ¿µ±¹À» Çõ¸íÀû ºÐÀ§±â·Î ¸ô¾Æ ³ÖÀº °ÍÀÌ´Ù.

Çö´ë ¿µ±¹ÀâÁöÀÇ "Áö¼ºÀû" ±Û¾²±â´Â ÀÌó·³ ÇÏ·ç¾Æħ¿¡ ÀÌ·ç¾îÁø °ÍÀÌ ¾Æ´Ï´Ù. ¶Ç ¿µ±¹¿¡¼­Á¶Â÷ ½ÇÁ¦ Á¤Ä¡Çö½Ç¿¡¼­ ¿¹Àü¸¸ÇÑ ¸í¼º°ú ¿µÇâ·ÂÀ» Çà»çÇÏ´Â °Í °°Áö´Â ¾Ê´Ù. ¾Õ¼­ ÀοëÇÑ °í±Þ ½Ã»çÀâÁöÀÇ ÆǸźμö°¡ The Radio Times °°Àº ÀâÁöÀÇ 5% ¿¡µµ ¹Ì´ÞÇÑ´Ù´Â °ÍÀº Çö´ëÀÇ ½Ã»çÀâÁö ÆíÁýÀÚµéÀº 200³âÀü°ú ÀüÇô ´Ù¸¥ ¼¼»óÀ» »ì°í ÀÖ´Ù´Â °ÍÀ» ¶æÇÑ´Ù. ±×·¯³ª ¸ð±¹¾î·Î ½Å¹®°ú ÀâÁö¸¦ Âï¾î³½Áö 100³â ³²Áþ¹Û¿¡ ¾ÊµÇ´Â ¿ì¸®¿¡°Ô´Â ±×·¯ÇÑ ±Û¾²±â°¡ ¾ÆÁ÷µµ Á¸ÀçÇÏ°í, ±×·¯ÇÑ ±ÛÀ» Àаí, »çȸÀû ÀÚ¿øÀ¸·Î È°¿ëÇÏ´Â ¼±Áø±¹ÀÇ ¿¹°¡ ºÎ·´Áö ¾ÊÀ» ¼ö ¾ø´Ù. ±×·¯³ª ¿ì¸®¿¡°Ôµµ ºñ·Ï ´ÜÀýµÈ °ÍÀ̱â´Â Çϳª ¿À·£ Àι®Àû ÀüÅëÀÌ ÀÖ°í, ´©±¸¿¡ ¸øÁö¾ÊÀº ¹®ÇÐÀû À¯»êÀÌ ÀÖÀ¸¸ç, °æ·ûÀÖ´Â Áö½ÄÀεéÀÌ ÀÖÀ½À» °¨¾ÈÇϸé, ¿ì¸® ³ª¸§ÀÇ "Áö¼ºÀû ±Û¾²±â"°¡ »ý°¢º¸´Ù ½±°Ô º¸ÆíÈ­µÉ ¼ö ÀÖÀ»Áöµµ ¸ð¸¥´Ù. ÀâÁö¿¡ ³ª°¡´Â ÇÑ ÆíÀÇ ±ÛÀÌ ¼¼»óÀ» ¹Ù²Ü ¼ö ÀÖ´Ù´Â ¿¹Àü ¹®ÇÊ°¡µéÀÇ ¾ß½É°ú Àڽۨ, ±×¸®°í Áö½ÄÀÎÀ¸·Î¼­ÀÇ ¿ª»çÀû Ã¥ÀÓ°¨À» µÇã´Â °ÍÀÌ Áö±ÝÀ¸·Î¼­´Â Á¦ÀÏ ÇÊ¿äÇÑ ÀÏÀÌ ¾Æ´Ò±î.

 

 

 

Âü °í ¹® Çå

 

*ÇöÀç ¿µ±¹ ÀâÁö°èÀÇ ÇöȲÀ» ÆľÇÇϴµ¥ Glasgow Caledonian UniversityÀÇ ¾ð·ÐÇаú ±³¼ö Dr Ken GarnerÀÇ »ó¼¼ÇÑ Á¶¾ðÀÌ Å« µµ¿òÀ» ÁÖ¾úÀ½.

 

New Statesman, July 24, 1998; August 7,1998

Prospect, August/September 1998

½Åµ¿¾Æ 9¿ùÈ£

 

Brake, Laurel, and Aled Jones and Lionel Madden, eds., Investigating Victorian Journalism, Macmillan, 1990.

 

Butler, Marilyn, ed., Burke, Paine, Godwin, and the Revolution Controversy, Cambridge UP, 1984.

 

Ford, Boris, The New Pelican Guide to English Literature 4; From Dryden to Johnson, Penguin, 1957.

 

Griffiths, Dennis, ed., The Encyclopedia of the British Press 1422-1992, St. Martin's Press,1992.

 

Gross, John, The Rise and Fall of the Man of Letters, Penguin, 1969.

 

Herd, Harold, The March of Journalism: The story of the British Press from 1622 to the Present Day, George Allen & Unwin Ltd,1952.

 

Sullivan, Alvin, ed., British Literary Magazines, 4 vols, Greenwood Press, 1983.

 

ºÎ·Ï

 

 

John Pilger

New Statesman; London; Jul 24, 1998

 

Abstract:

South African Pres Nelson Mandela received 80th birthday greetings from world leaders like Pres Clinton and Prime Minister Blair. Their honeyed words belied the economic apartheid the West is imposing on South Africa.

 

 

Johannesburg

 

When Nelson Mandela celebrated his 80th birthday he received greetings from the voices of hypocrisy. "Many affectionate wishes to you, Mr President," wrote Bill Clinton on the same day that his administration penalised a range of South African imports with a special duty. This will remain in force until the US drugs industry is allowed its "intellectual property rights" in South Africa - that is, the right to dominate the local market and deny affordable medicines to the poorest.

 

"Dear Nelson," wrote Tony Blair. "Many happy returns and congratulations. It was a pleasure to see you in Cardiff recently." When Mandela visited Cardiff last month, his mission was to remind the European Union that its leaders had pledged to allow South African products "concessionary access" to the great cartel's market. This, it was said, would assist South Africa's emergence from the long night of apartheid.

 

Blair, as Prime Minister of the government holding the presidency of the EU, told Mandela, in so many words, to jump in the wine lake. Murmuring his disappointment, Mandela chose not to embarrass his host; and the betrayal was immersed in unctuous news images of the great man leading Welsh schoolchildren in "Twinkle Twinkle Little Star".

 

This, of course, is the media's designated role for Mandela; he is royalty, a celebrity greater than Diana. It is Mandela's enduring enigma that he goes along with this, performing with the sycophantic and patronising a new, enriched elite rather than using his moral authority to speak out against the economic apartheid imposed on his people. A Public blast by him at hypocritical policies that ensure protectionism in the west, while demanding "free trade" of the rest of the world would have not only served the increasingly desperate needs of his people; it would have spoken for the majority of humanity.

 

Global apartheid is the system under which most people now live. Eighty per cent of the world's population have access to less than 20 per cent of its resources, while the west controls more than 70 per cent of all wealth and resources. This almost exactly reflects the distortion in South Africa, the result of apartheid. Patterns of business investment also follow the South African model. Less than 20 per cent of direct foreign investment ends up in the third world, while the majority remains in the west; western Europe draws 60 times a head more in foreign investment than Africa. In economic and class terms, the parallel is that of white supremacist South Africa and its colonies, the "homelands".

 

"We will reintroduce the market," Mandela reassured American bankers prior to his election, while at home he promised the majority of his people a New Deal, based on the ANC's Freedom Charter. This was an article of faith, which Mandela called "the fundamental policy of the ANC, and it is inconceivable we will ever change it". Without consulting the electorate, the ANC replaced this with a policy known by its acronym, Gear("growth, employment and redistribution"). It is orthodox monetarism offering nothing to the majority other than the theory of "trickle-down".

 

Now the gloss has worn off. "Social delivery", as they say here, has effectively stopped. The late Joe Slovo's housing programme is moribund, leaving more than a third of the population without a secure roof over their heads and whole communities in jerry-built matchboxes. Land restitution is virtually non-existent, with the majority of arable land in the hands of white farmers whose existing property rights are protected in the constitution. Not even the vast areas of state land, much of it controlled by the military, have been opened up to African farmers.

 

Water supply, one of the government's successes, is to be subjected to creeping privatisation under a bill published last week and hailed by the water resources minister Kadar Asmal as a "showcase of participative formulation". Shell, the rapacious oil company, is running the water ministry's "information campaign", which the minister describes proudly as "a South African first". This cosiness with, and dependence on, international business, including firms that profited during the apartheid era, stems partly from the ANC government's selfinflicted penury. Almost a quarter of the national budget goes on paying the interest on the apartheid debt, which paid for the "homelands", the war in Angola and busting UN sanctions.

 

The implication of these policies, which allow the haemorrhage of 100,000 jobs a year, was spelt out in a recent report by the United Nations Development Programme. Based on an official study by the National Institute for Economic Policy in Johannesburg, it says monetary policy has not changed since the apartheid era; that the policy of Gear is little better than an IMF structural adjustment programme; that "trickle-down" is entirely inappropriate for South Africa; and the reduction of poverty and the creation of labour-intensive production ought to be at the heart of government planning.

 

Mandela's silence at Cardiff does not extend to the ANC's restless allies, the Congress of South African Trade Unions and the South African Communist Party, which oppose the government's monetarism. Wagging his finger from the platform of the recent SACP Congress, Mandela and his successor, Thabo Mbeki, sought to blunt a growing opposition from within the tripartite alliance. Soon after they spoke, delegates were treated to the spectacle of security guards hired by the ANC-run Johannesburg Council removing homeless squatters from nearby state land. Nothing had changed.

 

In the Eastern Cape, the poorest province, support for the ANC has fallen from 77 to 57 per cent. In Gauteng, which includes the great industrial belt of Johannesburg, it is less than 50 per cent. The ANC will undoubtedly win next year's election. After that, it is highly likely that the new generation in the SACP and in the biggest unions, such as the chemical workers, will break away and form a new party. South Africa remains an unusually politicised nation. That is the hope. As Shelley wrote in "The Mask of Anarchy": And that slaughter to the nation

Shall steam up like inspiration,

Eloquent, oracular

A volcano heard afar.

 

John Pilger

New Statesman; London; Aug 7, 1998; John Pilger;

 

While Monica Lewinsky and other circuses occupy precious time and space in the news, an invisible censorship becomes entrenched. This is seldom discussed in this country because it is censorship by omission, the most virulent form. In France, the same taboo has become a j'accuse against journalism by Pierre Bourdieu, a professor at the College de France, whose lectures have become a best-selling book, On Television and, Journalism (published in English by Pluto Press).

 

He defines invisible censorship as the "formidable effect of mental closure" arising from a "vicious information circle" of repetitive, trivial and establishment-approved information, "almost a nothingness, shunting aside relevant news that all citizens ought to have in order to exercise their democratic rights". News has become surreal, "with an earthquake in Turkey turning up next to proposed budget cuts, and sport alongside a murder trial... events reduced to the level of the absurd, cut off from their antecedents and consequences".

 

His basic charge is that journalism claiming to be free has become merely another outlet of "cultural fast food", whose predigested conformity is guaranteed by journalists feeding off the work of each other so that, in the end, "everyone thinks in cliches, in the received ideas of the banal and the conventional". He does not doubt the good faith of many journalists, but says that what is different today is "the growth of a vast journalistic sub-proletariat, forced into a kind of selfcensorship by an increasingly precarious job situation".

 

Television is his main target; the more you watch it, the less you know. With political debate reduced to sound-bites, "television has gradually done away with public discourse [which] remains one of the most authentic forms of resistance to manipulation and a vital affirmation of the freedom of thought." The result is a relentless Big Brother message that the "free" market is good for you, and that there is no alternative.

 

Around this time of year, the great and good and career-minded of British broadcasting stage the annual Edinburgh Television Festival. Censorship by omission is never on the agenda; nor the undeclared pact between much of broadcast journalism and the ideology of power. There is a defensiveness among many of the media's celebrities and managers, who retreat into what Bourdieu describes as "narcissistic complacency" and are "all too inclined to pseudo-criticism" while protesting that they are merely giving the public what it wants.

 

In Britain, the writer David Edwards is one of the few media critics outside the media and its fringes who, like Bourdieu, challenges its received wisdoms. In the current Ecologist he quotes from a letter he received from Michael Jackson, the chief executive of Channel 4, in response to criticism of the series Against Nature, which attacked the environmental movement. "The small but significant group of people who hold views opposed to the environmental lobby have rarely been seen on British television," wrote Jackson.

 

To Edwards, this was "a revealing version of what constitutes 'balance' in the media today". He asks: "Can we assume, then, that the TV advertisers say, petrochemical, automobile, atomic energy, fast food and retail corporations - are not expressing views opposed to the environmental lobby? Channel 4 doesn't seem to feel duty-bound to balance each corporate TV commercial with a 'sub-advertisement' by environmentalists." The reason, he writes, is that business dominance is so total that any challenges to it are seen as "biased" and "strange".

 

Twenty years ago Alex Carey, one of the pioneers of the study of corporate propaganda, wrote: "The 20th century has been characterised by three developments of great political importance: the growth of democracy; the growth of corporate power; and the growth of corporate propaganda against democracy." At the core of "globalisation" is the American model of corporate propaganda, whose roots can be traced back to the 1930s when American business looked to the media and the growing public relations industry to counter the radicalising effects of the Great Depression. Business propaganda promoted the "red scare" and the "American way of life", which by the 1950s had spawned the witch-hunting of dissent known as McCarthyism.

 

In his memoirs, the great American reporter Edwin P Bayley revealed and regretted how he and the majority of his colleagues became the tools of McCarthyism by "going along with the propaganda" and seldom challenging its assumptions or identifying the power that lay behind it. "All the while we believed we were being objective," he wrote.

 

Modern McCarthyism, based on business propaganda, is infinitely more subtle, pervasive and powerful. Instead of railing against "communists", it sets out to depoliticise fundamental human rights, such as the right to secure work for a decent wage, and denigrates those who defend these principles as relics of a distant, discredited past.

 

The Blair government is the apotheosis of this renewed power. Occasional tiffs aside, it is backed by a media concerned mainly with personalities and gossip and which excludes almost anything that might identify the government in its true role as the political wing of the City of London.

 

That, for example, is why Gordon Brown's recent spending review was hailed in the liberal media as a "magical act of redistribution" - when the opposite is true. Some 440 billion was said to be released for hospitals and schools. In fact, once inflation is calculated, the actual increases in cash terms are an average of less than 22 billion a year, which is barely enough for the NHS to survive. The spending on education will be about the same and lower, as a proportion of gross domestic product, than during the Tories' last term. That is the real news.

 

I recommend Pierre Bourdieu's lively book. "I hope," he writes, "that real criticism will provide weapons to all those in the image professions who are struggling to keep what could be an extraordinary instrument of direct democracy from turning into an instrument of symbolic oppression."

 

*Reproduced with permission of the copyright owner. Further reproduction or distribution is prohibited without permission.. 

 

 

 

 

 

 

 

 

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