Q & A Session on October 20, 2014
Gender(Theory Yellow, Lazarus)
Theory
1. Gender ppt ³»¿ë Áß¿¡ the cultural forms and practices are shaped by the subjectivities of individual women and men as social actors ¶ó°í ³ª¿Â ºÎºÐ ÀÌÇØ°¡ Àß ¾È°¡¿ä
ÇÑ »çȸÀÇ ¹®ÈÀû Çü½Ä°ú °ü½ÀµéÀº ÀüÀûÀ¸·Î »çȸ ÀüüÀÇ ±¸Á¶¿¡ ÀÇÇØ Á¿ìµÈ´Ù°í »ý°¢Çϱ⠽±Áö¸¸, ±× »çȸ¿¡ ¼ÓÇÑ °³ÀεéÀÇ ÁÖ°üÀûÀÎ ³»¸é¿¡ ÀÇÇØ¼µµ Çü¼ºµÉ ¼ö ÀÖ´Ù´Â °Í.
2. Louis Althusser's idea of ideology ¾î·Á¿ö¿ä.
¾Ë¶Ù¼¼ÀÇ À̵¥¿Ã·Î±â´Â ÇÑ »çȸ¿¡ Á¸ÀçÇÏ´Â ÀÏ·ÃÀÇ À̳äÀû ±¸Á¶Àε¥, °³ÀÎÀÇ ³»¸éÀº ÀÌ·¯ÇÑ À̳äÀû ±¸Á¶ÀÇ Àç·áÀ̱⵵ ÇÏÁö¸¸, ±×°Í¿¡ ÀÇÇØ Çü¼ºµÇ±âµµ ÇÑ´Ù. °³ÀÎÀÇ ³»¸é°ú À̵¥¿Ã·Î±â´Â »óÈ£ÀûÀ¸·Î ¿µÇâÀ» ¹ÌÄ¡°í, »óÈ£ÀûÀ¸·Î ±× ³»¿ëÀ» ±ÔÁ¤Çϱ⵵ ÇÑ´Ù.
The Yellow Wallpaper
1. The Yellow Wallpaper¿¡¼ verbal irony, dramatic irony, situational irony°¡ ³ª¿À´Âµ¥
situational irony´Â ¼Ò¼³ ÀüüÀûÀ¸·Î ³²ÆíÀÌ ¾Æ³»¸¦ µ½±â À§ÇØ ÇÑ Ä¡·á°¡ °á±¹Àº ¾Æ³»¸¦ ¹ÌÄ¡°ÔÇÑ´Ù´Â irony¶ó´Â °ÍÀº ÀÌÇØ°¡ µÇ´Âµ¥¿ä, verbal irony¿Í dramatic irony ÀÌ µÎ °¡Áö °³³äÀÌ ±¸ºÐÀÌ µÇÁö ¾Ê¾Æ ±³¼ö´ÔÀÇ µµ¿òÀÌ ÇÊ¿äÇÕ´Ï´Ù.
2. The Yellow Wallpaper sparknote ¿¡¼ ÀÌ ¼Ò¼³¿¡ dramatic irony ¶û situational irony °¡ ÀÖ´Ù°í Çϴµ¥ ±× ºÎºÐÀÌ ¾î·Á¿ö¿ä.
Verbal irony´Â ´Ü¾î Çϳª°¡ Ç¥¸éÀûÀÎ ¶æ°ú ´Ù¸¥ °ÍÀ» ÀǹÌÇÒ ¶§ »ý±â´Â °ÍÀ̰í, Situational Irony´Â ÀÏ·ÃÀÇ »óȲ¿¡ ÀÇÇØ ¾Ö´çÃÊÀÇ Àǵµ¿Í´Â ´Ù¸¥ °á°ú¸¦ ³º¾ÒÀ» ¶§ ¹ß»ýÇÏ´Â °ÍÀÔ´Ï´Ù. Áú¹®¿¡¼ ¼³¸íÇÑ ³»¿ëÀº ÈÄÀÚ¿¡ ÇØ´çÇÕ´Ï´Ù. Dramatic irony´Â NaiveÇÑ ÁÖÀΰø(¿¬±Ø¿¡¼ Ã⿬ÀÚ)°¡ ¾î¶² ¾ê±â¸¦ ÇÒ ¶§, ±× ½ÇÁ¦ÀûÀÎ Àǹ̸¦ ¸»ÇÑ ÁÖÀΰø¸¸ ¸ð¸£°í, °ü°´À̳ª µ¶ÀÚ´Â ±× ÁøÁ¤ÇÑ Àǹ̸¦ ¾Ë°í ÀÖÀ» ¶§¸¦ ¸»ÇÕ´Ï´Ù.
3. The Yellow Wallpaper ÄûÁî Áß 3¹ø ¹®Á¦(This is the very moment that the narrator's insanity was advanced to another stage)¿¡ ´ëÇÑ ´äÀ» ÀÚ¼¼ÇÏ°Ô ´õ µè°í ½Í½À´Ï´Ù.
4. The Yellow Wallpaper ¿¡¼ ±³¼ö´Ô²²¼ 'Did not that sound innocent?' °¡ important sentence¶ó°í Çϼ̴µ¥ ÀÌ sentence ÀÌÈÄ·Î different world·Î ³ª¾Æ°£´Ù´Â °Ç°¡¿ä?
ÁÖÀΰøÀÌ JennieÀÇ ÇÕ¸®ÀûÀÎ ¸»(µ¶ÀÚ°¡ º¸±â¿¡)À» ÀüÀûÀ¸·Î ÀǽÉÇϱ⠽ÃÀÛÇÑ´Ù´Â °Í, Áï ÁÖÀΰøÀÌ ÀÌÁ¦ ¿ÏÀüÈ÷ ¸Á»ó¿¡ ºüÁ³À½À» º¸¿©Áִ ù ¹øÂ° ¹ß¾ðÀ̴ϱî.
5. There are things in that paper which nobody knows but me , or ever will. ÀÌ ºÎºÐÀÌ the things in the paper are both the ghostly women the narrator sees and the disturbing ideas she is coming to understand she is stimultaneously jealous if the secret ÀÌ·¨´Âµ¥ ÀÌÇØ°¡ Àß ¾È°¡¿ä.(?)
6. ÄûÁî¿¡ ´ëÇÑ Áú¹®Àä the yellow wallpaper ÄûÁî Áö¹®ÀÌ jennie´Â ÈÀÚ ¿Ê¿¡ ¹¯Àº ³ë¶û ¾ó·è°ú º®Áö°¡ Âõ°ÜÁø °ÍÀ» ¾Æ´Âµ¥ ÈÀÚ´Â jennie°¡ ÀڽŸ¸ÀÌ ¾Æ´Â ºñ¹Ð(º®Áö¿¡´Â creeping womenÀÌ ÀÖ°í patternÀÌ ÀÖ´Ù´Â °ÍÀ») ¾Ë¾ÆÃ«´Ù°í ´À³¢´Â °Ç°¡¿ä? ±×·¡¼ Àڱ⸸ ±× ºñ¹ÐÀ» ¾Ë°í ÀÖ¾î¾ßÇÑ´Ù°í ÁúÅõÇÏ´Â °ÍÀΰ¡¿ä?
ÄûÁî Áö¹®Àº Jennie°¡ ÀÚ½ÅÀº ÀÌ¹Ì ¹ß°ßÇÑ º®Áö ¼ÓÀÇ ¿©ÀÎÀÇ Á¸ÀçÀÇ ³¦»õ¸¦ ¾Ë¾ÆÂ÷¸®°í ÀǽÉÇϰí ÀÖ´Ù°í »ý°¢ÇÔ. »ç½ÇÀº º®ÁöÀÇ ³ë¶õ »ö±òÀÌ ¿ÂÅë ´Ù¸¥ °÷¿¡ ¹¯¾îÀÖ´Â °ÍÀÌ ÀÌ»óÇØ¼ º¸´Â °ÍÀε¥...
Lady Lazarus
1. Lady Lazarus ¿¡¼ ÈÀÚ°¡ nazi ¶û jew ¾ê±âÇÏ´Â ÀÌÀ¯°¡ ¹¹ÁÒ? A sort of walking miracle, my skin bright as a Nazu lampshape my right foot À̺κп¡¼ ¿Ö ³ª¿Í¿ä?? ³ªÄ¡°¡ ¿©¼ºÀ» ¾ï¾ÐÇÏ´Â ³²¼ºÀ¸·Î »ó¡µÇ´Â°Í °°±ä Çѵ¥ ÀÚ¼¼ÇÏ°Ô Àß ÀÌÇØ°¡ ¾ÈµÇ¿ä.
³ªÄ¡´Â ÈÀÚ¿Í °°Àº ¿©ÀÚ¸¦ ±Ùº»ÀûÀ¸·Î ¾ïÇÕÇÏ´Â °¡ºÎÀåÀû ±ÇÀ§ÀÇ ±Ã±ØÀûÀÎ ÇüÅÂÀÓ.
2. °°Àº ½Ã¿¡¼ it's the theatrical À̶ó´Â ºÎºÐÀÌ Àִµ¥ ÀÌ°Ô °è¼Ó µÇ´Â ±¸¿øÀÌ ¿¬±ØÀûÀÎ ´À²¸Áø´Ù´Â ¶æÀÌ¿¡¿ä? ±×³É ±¸¿ø ¹Þ´Â°ÍÀÌ ½È´Ù´Â °ÍÀ» µå·¯³»´Â °ÍÀΰ¡¿ä?
ÀڱⰡ ÀÚ²Ù¸¸ ºÎȰÇÏ´Â °ÍÀÌ ¸¶Ä¡ ÀڱⰡ ¿¬±Ø¹è¿ìó·³ µÇ¾î »ç¶÷µéÀÇ ±¸°æ°Å¸®°¡ µÈ´Ù´Â ¶æ. ÀڱⰡ Á×´Ù »ì¾Æ³ª´Â µ¥µµ »ç¶÷µéÀº °ø°¨ ȤÀº µ¿Á¤ÇÏ´Â °ÍÀÌ ¾Æ´Ï¶ó ¸ÅÁ¤ÇÏ°Ô ±¸°æÀÇ ´ë»óÀ¸·Î »ï´Â´Ù´Â °ÍÀ» ´Ù¼Ò ³Ã¼ÒÀûÀ¸·Î ¾ê±âÇÏ´Â °Í.
3. ±×¸®°í ±³¼ö´ÔÀÌ narrator °¡ ±ºÁßµéÇÑÅ× ³Ê³×´Â ³»°¡ ±¸¿ø¹Þ´Â °ÍÀ» º¸¾ÒÀ¸´Ï ³»°Ô µ·À» ³»! ¶ó´Â ´µ¾Ó½º¶ó°í ¸»¾¸Çϼ̴µ¥ ±×°Ô ºÐ³ë? ³²¼ºÀûÀÎ ÀÚ½ÅÀ» ¾ï¾ÐÇÏ´Â °Íµé¿¡ ´ëÇÑ ºÐ³ë¸¦ Ç¥ÇöÇÑ´Ù´Â °ÍÀΰ¡¿ä?
4. ÁÖÀΰøÀÌ charge¸¦ ¿ä±¸ÇÑ ÀÌÀ¯°¡ °ü°´µéÀÌ ½ºÆ®¸³¼î¸¦ °ü¶÷ÇØ¼ÀÎÁö, ¾Æ´Ï¸é ÁÖÀΰøÀÌ ºÎȰÇÏ´Â °ÍÀ» º¸¾Ò±â ¶§¹®ÀÎÁö ÀÚ¼¼È÷ ¾Ë·ÁÁÖ¼ÌÀ¸¸é ÁÁ°Ú¾î¿ä!!
5. ·¹À̵ð ¶óÀÚ·¯½º¿¡¼ charge ¶ó°í Çϴ°ÍÀÌ ¾à°£ÀÇ ºñ²¿´ÂµíÇÑ ¾îÈÖÀΰ¡¿ä? ³ª´Â ¾ï¾Ð´çÇϰí ÂøÃë´çÇØ °è¼Ó ºÎȰÀ» Çϴµ¥ ³ª¿¡°Õ ±«·Î¿îÀϵéÀº crowd´Â º¸°í Áñ±â´Ï±ñ?
±â¿Õ¿¡ ±¸°æ°Å¸®°¡ µÉ °Í °°À¸¸é,(³ª¸¦ ±×·¸°Ô ±¸°æÇÒ °Í °°À¸¸é), µ·ÀÌ¶óµµ ³»°í ºÁ¶ó. ±×µéÀÌ ³ªÀÇ »î¿¡ ´ëÇØ °ø°¨°ú ¾ÖÁ¤À» °á¿©Çϰí ÀÖ´Ù´Â »ç½Ç¿¡ ´ëÇÑ ³Ã¼ÒÀûÀÎ ºÐ³ëÀÇ Ç¥Çö.
6. "What a trash ~ decade." ÀÌ ¹®Àå ÇØ¼®À» ¸ð¸£°Ú½À´Ï´Ù¤Ð¤Ð
´ÙÀ½ Á×À» ¶§±îÁö ¶Ç ½Ê ³âÀ» ±â´Ù·Á¾ß ÇÏ´Ù´Ï, ¾ó¸¶³ª ¾²·¹±âó·³ °¡Ä¡¾ø´Â ½Ê³âÀÌ µÉ °ÍÀΰ¡?
7. ÀÌ ½ÃÀÇ ¸¶Áö¸· ºÎºÐ Âë¿¡ soapÀ̶ó´Â ´Ü¾î°¡ ³ª¿À´Âµ¥ ÀÌ ºñ´©´Â Á׾´Â »ç¶÷µéÀ» À§ÇÑ °ÍÀÌ ¾Æ´Ï¶ó ¾Æ¹«·± µ¿Á¤½É ¾øÀÌ ±ÍÁßÇÑ ¹°°ÇµéÀ» ¸ðÀ¸´Âµ¥¸¸ °ü½ÉÀÌ ÀÖ´Â ÀÚµéÀ» À§ÇÑ °ÍÀ̶ó´Â ¼³¸íÀ» ÇØÁּ̽À´Ï´Ù. ÀÌ ¼³¸íÀÌ Àß ÀÌÇØ°¡ µÇÁö ¾Ê¾Æ¼ ´Ù½Ã Çѹø¸¸ ¼³¸íÇØÁÖ¼ÌÀ¸¸é ÁÁ°Ú¾î¿ä~
±× ºñ´©´Â ½Ãü¸¦ ó¸®ÇÏ´Â »ç¶÷µéÀÌ Á×Àº »ç¶÷¿¡ ´ëÇØ¼´Â ÀüÇô °ü½ÉÀÌ ¾ø°í, ±× ½Ãü¸¦ µÚÁ® ¹ÝÁö³ª ±ÝÀÌ»¡ °°Àº °ÍÀ» ì±â°í ³ª¼ ¼ÕÀ» ¾Ä±â À§ÇÑ °ÍÀ̴ϱî¿ä.
8. ÀÌ ½Ã¿¡¼ ÁÖÀΰøÀÌ ÀÚ»ìÀ» ÇØ¼ °á±¹Àº Á×¾ú´ÂÁö, ¾Æ´Ï¸é ¿øÇÏÁö ¾Ê°Ô ´Ù½Ã »ì¾Æ³µ´ÂÁö Çò°¥¸³´Ï´Ù¤Ð¤Ð °á±¹¿¡´Â ÀÚ»ìÀ» ¼º°øÇؼ Á¤½ÅÀ¸·Î ºÎȰÀ» ÇØ¼ ³²Àڵ鿡°Ô º¹¼ö¸¦ ÇÑ´Ù´Â ¶æÀΰ¡¿ä, ¾Æ´Ï¸é ¾î¿ ¼ö ¾øÀÌ ´Ù½Ã »ì¾Æ³ª¼ ÀÚ½ÅÀÇ ÈûÀ¸·Î¸¸ ³²Àڵ鿡°Ô ´ëÇ×Çϰڴٴ ¶æÀΰ¡¿ä??
´Ù¸¥ »ç¶÷µéÀÇ °¿ä¿¡ ÀÇÇØ ÇÒ ¼ö ¾øÀÌ ºÎȰÇÏ´Â °ÍÀÌ ¾Æ´Ï¶ó ÇǴнºÃ³·³ ÀÚ·ÂÀ¸·Î ºÎȰÇÏ¿© ¿µ»ýÀ» Ãß±¸Çϰڴٴ °Í. Áï ³²¼ºµéÀÇ Àý´ëÀûÀÎ ±ÇÀ§¸¦ ºÎÀÎÇϰí ÀÚ½ÅÀÇ ¿î¸íÀ» ½º½º·Î °áÁ¤Çϰڴٴ °áÀǸ¦ ±ØÀûÀ¸·Î Ç¥ÇöÇÑ °Í.
9. Lady Lazarus ¿¡¼ 'As a seashell/They had to call and call/And pick the worms off me like sticky pearls.' ´Ü¶ôÀÌ ¿Ö Paradox of DeathÀÎÁö ±Ã±ÝÇÕ´Ï´Ù.
±×µéÀÌ °è¼Ó ºÎ¸¥´Ù´Â °Ç, ³ª¸¦ Á×À½À¸·ÎºÎÅÍ ºÒ·¯ ±ú¿ì·Á°í ÇÑ´Ù´Â °Í. ¹ú·¹¸¦ Áý¾î³½´Ù´Â °ÍÀº ºÎȰ½ÃŰ·Á°í ÇÑ´Ù´Â °Í(Á×À½À» Çã¿ëÇÏÁö ¾Ê´Â´Ù´Â °Í-¼¾ç¿¡´Â ½Ãü°¡ µÇ¸é ¹ú·¹°¡ À°½ÅÀ» ÆÄ¸Ô´Â´Ù´Â »ý°¢ÀÌ ÀÖÀ½). Àß ¶³¾îÁöÁö ¾Ê´Â ÁøÁÖ¶ó´Â °ÍÀº ±×µéÀÇ ºÎȰÀÇ ³ë·Â¿¡ ÈÀÚ´Â ²öÁú±â°Ô ÀúÇ×ÇÑ´Ù´Â ¶æ. ¸¶Ä¡ ÀÔ¹ú¸®±â¸¦ °ÅºÎÇÏ´Â Á¶°³Ã³·³.
Race
Theory
1. Giving name is defining race. The original race can protect its real heritage. ÀÌ ¸»ÀÇ Á¤È®ÇÑ ¶æ°ú ½Ã»çÇÏ´Â ¹Ù¸¦ Àß ¸ð¸£°Ú½À´Ï´Ù. Essentialism°ú °ü·ÃµÈ À̾߱âÀΰ¡¿ä?
2. The act of Naming is an act of power¿¡¼ ³ª¿À´Â ¼Ò³âÀÇ À̾߱â(¹«½½¸² ±×¸²À» ±×·È´Ù´Â À̾߱â)¿¡¼ ½Ã»çÇÏ´Â ¹Ù¸¦ Á¤È®È÷ ¸ð¸£°Ú½À´Ï´Ù. °á±¹ ÀÚ½ÅÀÇ Original Identity¸¦ ¼û±æ ¼ö ¾ø´Ù´Â À̾߱âÀÎ °ÍÀΰ¡¿ä? º»¹®ÇϰíÀÇ ¿¬°ü¼ºµµ Àß ÆÄ¾ÇÀÌ µÇÁö ¾Ê½À´Ï´Ù.
ÈÀÚ°¡ °¡Áø º»Áú, »ý°¢, Àǰ߰ú »ó°ü¾øÀÌ ±ÇÀ§Àִ ŸÀÚ°¡ ÈÀÚ¸¦ ÀϹæÀûÀ¸·Î ±ÔÁ¤Çعö¸®°í ±×°Ô ¶Ç ÅëÇÑ´Ù´Â °ÍÀÌÁö¿ä. ±×·¸°Ô ±ÇÀ§Àִ ŸÀÚ¿¡ ÀÇÇÑ À̸§ºÎ¿©°¡ ±× º»Áú°ú »ó°ü¾øÀÌ ±× ³»¿ëÀ» °áÁ¤ÇÑ´Ù´Â °ÍÀÔ´Ï´Ù.
3. Essentialist°¡ º»ÁúÀû Àھƴ Àý´ë º¯ÇÏÁö ¾Ê´Â´Ù°í ÇÏ´Â ÀÔÀåÀ̶ó°í ÇÏÀݾƿä. ±×·¯¸é EssentialistÀÔÀå¿¡¼ DeeÇϰí Phillis wheatley´Â ºñÆÇÀÇ ´ë»óÀ̰í Dee's mother°¡ ¿Ç´Ù°í ¸»ÇÒ ¼ö ÀÖ´Â °Ç°¡¿ä?
EssentialistÀÔÀå¿¡¼´Â DeeÀÇ ¹éÀÎÈ ³ë·ÂÀ̳ª WeatleyÀÇ ÆòµîÀǽÄÀº ºÒ°¡´ÉÇÏ°í °¡¼Ò·Î¿ï »ÓÀ̰í, ÈæÀι®ÈÀÇ º»ÁúÀ» Á÷½ÃÇÏ°í °í¼öÇÏ´Â DeeÀÇ ¾ö¸¶°¡ Â÷¶ó¸® ¿Ã¹Ù¸¥ ŵµ¶ó°í ÆÇ´ÜÇÒ °Í °°¾Æ¿ä. ´Ù¸¸, DeeÀÇ ¾ö¸¶´Â ÀÚ½ÅÀÇ ¹®È¸¦ Àý´ë·Î ¿µîÇÏ´Ù°í º¸Áö ¾ÊÁö¸¸. ±×·¯³ª ±×·¸´Ù°í ÇØ¼ DeeÀÇ ¾ö¸¶¸¦ Essentialist¶ó°í º¼ ÀÌÀ¯´Â ¾ø¾î¿ä. ±×³à´Â ¹®ÈÀÇ º»ÁúÀ» ±í¼÷ÀÌ ÀÌÇØÇϰí ÀÖÀ» »ÓÀÌÁö, ÇǺλöÀÌ ±× ÀǽÄÀ» °áÁ¤ÇÑ´Ù°í »ý°¢ÇÑ ÀûÀº ¾øÀ¸´Ï±î¿ä.
Everyday Use
1. Everyday Use ¿¡¼ 'something hit me in the top of my head and ran down to the soles of my feet' ÀÌ Narrator °¡ º¯ÇÏ´Â ºÎºÐÀ̶ó°í º¼ ¼ö ÀÖ³ª¿ä? ³×
±×³à°¡ DeeÀÇ ÇൿÀÇ Àǹ̸¦ ±ú´Ý°í Dee·ÎºÎÅÍ ÄþÆ®(African heritage)¸¦ Áö۰íÀÚ ÇൿÇÏ°Ô µÇ´Â ¼ø°£À̶ó°í º¼ ¼ö ÀÖ´ÂÁö ±Ã±ÝÇÕ´Ï´Ù! ³×
2. Everyday Use ¸¶Áö¸·¿¡ °¡¼ Narrator °¡ African heritage ÀÇ Àǹ̸¦ ±ú´Ý°í À̸¦ Áö۰íÀÚ º¯ÇÏ°Ô µÇ´Â °ÍÀÎÁö ±Ã±ÝÇÕ´Ï´Ù!
³×. óÀ½¿¡´Â Dee¿¡°Ô ¹éÀÎÀÇ ±³À°À» ½ÃÄѼ »îÀ» Çâ»ó½ÃÄÑ¾ß°Ú´Ù°í »ý°¢ÇßÁö¸¸, ÀÌÁ¦´Â ÀڽŵéÀÌ °í¼öÇÏ´Â »îÀÇ ¹æ½Ä°ú ¹®È°¡ °¡Áø °¡Ä¡¸¦ ´Ù½Ã ±ú´Ý°Ô µÇ¾ú½À´Ï´Ù.
3. Alice walker°¡ ¿ø·¡ ÈæÀο©ÀÚµéÀÇ ÀÎÁ¾Â÷º°, °¡ºÎÀåÀû ¿©¼ºÂ÷º°, ºó°ïÀ» ÁÖ·Î ´Ù·é´Ù°í ±×³àÀÇ BioÇÁ¸°Æ®¿¡¼ ÀÐÀº °Í °°Àºµ¥ everyday use´Â ±×·³ ¾î´À ¸Æ¶ô¿¡¼ ÀÌÇØÇØ¾ß Çϳª¿ä? AfricaÀÇ Á¤½ÅÀ» ¼ÒÁßÈ÷ ¿©±â°í °£Á÷ÇÏÀÚ..ÀÌ·± °Ç°¡¿ä?
ÇǺλöÀÌ ¼ºÇ°À̳ª ¹®È¸¦ °áÁ¤ÇÑ´Ù´Â ½ÄÀÇ EssentialistÀÇ °üÁ¡À» ¹Þ¾Æµé¿´´Ù±â º¸´Ù´Â ¹éÀεéÀÇ ¹®È¿Í ±¸º°µÇ´Â ÀÚ½ÅÀÇ ¹®ÈÀû À¯»êÀÇ °¡Ä¡¸¦ »õ·Ó°Ô ÀνÄÇß´Ù´Â °ÍÀÌÁö¿ä. ±×°ÍÀÌ ÀÎÁ¾Â÷º°¿¡ ÀúÇ×ÇÏ´Â º»ÁúÀûÀÎ ¹æ½ÄÀ̶ó´Â »ç½Çµµ º»´ÉÀûÀ¸·Î ±ú´Þ¾Ò±¸¿ä.
4. Every day UseÀÇ ¡° pressed us to her with the serious way she read, to shove us away at just the moment, like dimwits, we seemed about to understand¡±¿¡¼ shove us away¿¡ ´ëÇÑ Áú¹®ÀÔ´Ï´Ù. Dee°¡ ¿ì¸® °¡Á·À» show us awayÇÏ°í ½Í¾ú´ø ÀÌÀ¯°¡ ´ÜÁö ±×³à°¡ ÀÚ½ÅÀÇ °üÁ¡ÀÌ °¡Á·µéÀÇ °üÁ¡º¸´Ù ¿ì¿ùÇÏ´Ù´Â °ÍÀ» È®ÀÎÇϰí, °¡Á·µé°ú ¼¯ÀÌÁö ¾Ê±â À§ÇؼÀΰ¡¿ä? ´õ ±¸Ã¼ÀûÀÎ ÀÌÀ¯´Â ¾ø³ª¿ä?
¹éÀεéÀÇ ¹®È¸¦ Àڱ⠰¡Á·µé¿¡°Ô ÀüÆÄÇϰí, ±×µéÀ» °è¸ùÇÑ´Ù´Â ¸íºÐÀ» °¡Áö°í Ã¥À» ÀоîÁÖ¾úÁö¸¸, ÀÚ½ÅÀÌ °¡Á³´Ù°í »ý°¢Çϴ Ư±ÇÀûÀÎ ¹®ÈÀû ÁöÀ§(¹éÀεéÀÇ Áö½Ä¿¡ ´ëÇÑ Á¢±Ù±Ç)À» ±×µé°ú ÁøÁ¤À¸·Î ³ª´©°í ½ÍÀº »ý°¢ÀÌ ¾ø¾ú´ø °Í. ´ÜÁö Àß³ ôÇϰí, ÀÚ½ÅÀÇ ¿ì¿ù¼ºÀ» È®ÀÎÇϱâ À§ÇÑ ÇൿÀ̾ú´ø °Í.
On being brought from Africa to America
1. WheatlyÀÇ ½Ã¿¡¼ sable race°¡ ±¸¿øÀÇ ¿©Áö°¡ ÀÖ¾î¼ ±àÁ¤ÀûÀ¸·Îµµ ÇØ¼®µÉ ¼ö ÀÖ´Ù´Â ºÎºÐÀÌ Àß ÀÌÇØ°¡ °¡Áö ¾Ê½À´Ï´Ù. SableÀ» ±àÁ¤ÀûÀ¸·Î ¹Þ¾ÆµéÀÏ ¼ö ÀÖ´Â Á¤È®ÇÑ ±Ù°Å°¡ ¾Ë°í ½Í½À´Ï´Ù.
SableÀ» BlackÀÇ poetic euphemismÀ̶ó°í º» °Í.
2. On being brought from africa to america¿¡¼ 'Their colour is a diabolic die' ¹®ÀåÀÌ ½Ã»çÇÏ´Â ¹Ù°¡ dyed 'black' ¶Ç´Â darkness without God ¶ó´Â ¶æÀ̶ó´Âµ¥ Àß ÀÌÇØ°¡ °¡Áö ¾Ê½À´Ï´Ù. ¼³¸í ºÎʵ右´Ï´Ù!
die¸¦ dye(»ö±ò)·Î º» °Í.
3. Phillis WheatleyÀÇ ½Ã´Â ±× ½ÃÀÎÀÌ ÀڽŵéÀ» Â÷º°ÇÏ´Â ¹éÀεéÀ» °£Á¢ÀûÀ¸·Î ºñÆÇÇϰí ÀÖ´Â °ÍÀº ¸ÂÁö¸¸ Àº¿¬ Áß¿¡ ¹éÀεéÀÇ »ç°í¹æ½ÄÀÎ 'ÀڽŵéÀº ÇǺλöµµ °Ë°í ¾ÇÇϰí, ±âµ¶±³¸¦ ¹ÏÀ¸¸é ±× »ç¶÷µéó·³ ÇϾêÁö°í ¼±ÇØÁú ¼ö ÀÖ´Ù'À̰ÍÀ» ¹Þ¾ÆµéÀÎ Á¡¿¡¼ ÇѰèÁ¡ÀÌ ÀÖ´Ù°í º¸´Â °Ç°¡¿ä?
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Autobiography
A Pair of Ticket
1. ÀÌ ÀÛǰÀÌ happy endingÀ̶ó°í ÇÒ ¼ö ÀÖ´Â ÀÌÀ¯´Â °á±¹ ÁÖÀΰøÀÌ °¡Á·µéÀ» ¸¸³ª¸é¼ ÀڽŠ¾È¿¡ ³»ÀçµÇ¾îÀÖ´Â Áß±¹Àû Ư¡À» ¹ß°ßÇÏ¿© ¹Þ¾ÆµéÀ̰í, ¾ö¸¶ÀÇ À̾߱⸦ µè°í ¾ö¸¶¸¦ ÀÌÇØÇÏ°Ô µÇ¾î ¾ö¸¶¿Í ÈÇØ¸¦ Çϱ⠶§¹®À̶ó°í ¸»ÇÒ ¼ö ÀÖ´Â °Ç°¡¿ä? ³×
ÀÌ ÀÛǰ¿¡¼ ÁÖÀΰøÀÇ identity°¡ Áß±¹ÀÎÀ¸·Î È®Á¤µÈ °Ç°¡¿ä?
Áß±¹ÀÎÀ¸·Î È®Á¤µÇ¾ú´Ù±â º¸´Ù´Â ÀáÀçÀûÀÎ Áß±¹Àû Á¤Ã¼¼ºÀ» »õ»ï½º·´°Ô ¹ß°ßÇÏ°Ô µÈ °ÍÀÌÁö¿ä. ±×°ÍÀÌ ¹Ýµå½Ã ¹Ì±¹ÀÎÀ» ¹èÁ¦Çϰųª ºÎÀÎÇß´Ù´Â ¶æÀº ¾Æ´Õ´Ï´Ù.
2. ÀÌ ÀÛǰ Analysis(from sparknote)ÇÁ¸°Æ®¿¡ 'plot discrepancy'°¡ ³ª¿À¸é¼ 'However, in the first section of the book, the members of the Joy Luck Club told Jing-mei that Suyuan had located her daughters' address before she died' ¶ó°í ³ª¿À´Âµ¥ ÀÌ°Ô ¹«½¼¸»Àΰ¡¿ä?, ¾ö¸¶°¡ Á×±âÀü¿¡ µþµéÀÇ ÁÖ¼Ò¸¦ ¾Ë°í ÀÖ¾ú´Ù´Â °Ô »ç½ÇÀΰ¡¿ä?
±×°Ç Joy Luck Club¿¡ ³ª¿À´Â ´Ù¸¥ ÀÛǰµé¿¡ ±×·¸°Ô ³ª¿À±âµµ Çϴµ¥, ÀÌ ÀÛǰ¿¡´Â ÇØ´ç»çÇ×ÀÌ ¾ø½À´Ï´Ù.
3. A pair of tickets 8ÆäÀÌÁö¿¡ 'Right after my mother died, I asked myself a lot of things, things that couldn't be answered, to force myself to grieve more.' 'But now i ask the questions mostly because i want to know the answers'
¶ó´Â ±¸ÀýÀÌ Àִµ¥ JingmeiÀÇ ÀÌ·¯ÇÑ Åµµº¯È°¡ ÀÌÁ¦´Â ÀÚ±âÀÚ½ÅÀÇ Á¤Ã¼¼º¿¡ ´ëÇØ ÁÖüÀûÀ¸·Î ã¾Æº¸°í ½Í±â ¶§¹®ÀÎ °Ç°¡¿ä? ³×, Àü¿¡´Â Áß±¹ÀÇ ¹®ÈÀû À¯»ê¿¡ ´ëÇÑ ¹®Á¦¸¦ ¾î¸Ó´Ï¿Í °ü·Ã ¼Ó¿¡¼¸¸ ºÃ¾úÁö¸¸, Áö±ÝÀº ÀÚ½ÅÀÇ ¹®Á¦·Îµµ º¸±â ½ÃÀÛÇß´Ù´Â °Í.
±×¸®°í ù¹øÂ° ¹®ÀåÀº JIngmei °¡ ½½ÇÄÀ» °è¼Ó À¯ÁöÇϱâÀ§ÇØ ÀÚ±â Àڽſ¡°Ô ¸¹Àº °ÍÀ» ¹°¾îº»´Ù°í Çߴµ¥ ±× ¶æÀÌ Àß ÀÌÇØ°¡ µÇÁö ¾Ê½À´Ï´Ù.
¡°½½ÇÄÀ» °è¼Ó À¯ÁöÇϱâ À§ÇÑ¡± °ÍÀÌ ¾Æ´Ï¶ó ¾ö¸¶¸¸ÀÌ ´äÇÒ ¼ö ÀÖ´Â ±×·± Áú¹®Àº ´øÁö¸é ´õ ½½ÆÛÁö±â¸¸ Çß´Ù´Â ¶æ. ±×·¯´Ï±î ±×¶§´Â Áú¹®ÀÌ ±× ÀÚü·Î Áß¿äÇߴٱ⠺¸´Ù´Â ±× Áú¹®°ú ¿¬°üµÈ ¾î¸Ó´Ï¸¦ ÀÒÀº ½½ÇÄÀÌ ´õ Áß¿äÇß´Ù´Â ¶æ.
4. A pair of ticket ¿¡¼ Àú´Â ¸¶Áö¸·ÀÌ ÇØÇÇ¿£µùÀÌ µÉ¼öÀÖ´Ù´Â ÀÌÀ¯·Î ¡¸ÞÀ̰¡ ¾ð´ÏµéÀ» ¸¸³ª¼ °¡Á·¾Ö¸¦ ´À³¢°í ÀڽžÈÀÇ Áß±¹ÀÎÀÇ ¾ÆÀ̵§Æ¼Æ¼¸¦ ±ú´Ý°Ô µÇ±â ¶§¹®À̶ó°í »ý°¢Çߴµ¥ ±³¼ö´ÔÀº ¡¸ÞÀ̰¡ µ¹¾Æ°¡½Å ¾î¸Ó´ÏÀÇ ½ºÅ丮¸¦ ¾Ë°Ô µÇ¼ ±×·± °ÍÀ̶ó°í Çϼ̾î¿ä. ±× ºÎºÐÀÌ Á¶±Ý ÀÌÇØ°¡ ¾È°¡¿ä. ¾î¸Ó´ÏÀÇ Àλý¿¡ ´ëÇØ ¾Ë°Ô µÇ¾î¼ ±×°ÍÀÌ ½Ã¹ßÁ¡ÀÌ µÇ¾î Áß±¹ÀÎÀ¸·Î¼ÀÇ Á¤Ã¼¼ºÀ» ±ú´Ý°Ô µÇ¾î ±×·±°¡¿ä? ³×. ÀÌ À̾߱â´Â °á±¹ ¾î¸Ó´ÏÀÇ °ú°Å¸¦ ¾Ë°Ô µÇ°í, ±×·¸°Ô µÊÀ¸·Î½á ¾î¸Ó´Ï¿ÍÀÇ ¹®ÈÀû °¥µî(½Ã°¢Â÷)°¡ ÇØ¼ÒµÇ¸ç, ±× °á°ú ÀÚ½ÅÀÇ Á¤Ã¼¼ºµµ ´Ù½Ã È®¸³ÇÏ´Â ¾ê±â°Åµç¿ä. ´Ù½Ã ¸»ÇÏ¸é ¾î¸Ó´ÏÀÇ °ú°Å¸¦ ¹ß°ßÇϰí, ±×°ÍÀÌ ÀÚ½ÅÀÇ ÀϺÎÀÓÀ» ±ú´ÞÀ¸¸é¼ ¾î¸Ó´Ï¿Í ±Ùº»ÀûÀÎ ÈÇØ¸¦ ÇÏ°Ô µÇ´Â ¾ê±âÀÌÁö¿ä.
Tintern Abbey
1. William WordsworthÀÇ Tintern abbey¿¡¼ 'my moral being'¿¡ ´ëÇØ The growth of the poetic mind¿Í °ü·ÃÇÏ¿© ½ÃÀÎÀ¸·Î¼ÀÇ moral beingÀ¸·Î¼ ŸÀο¡°Ô ½Ã·Î ±â»Ý°ú °¨µ¿À» Áشٴ Àǹ̿¡ ´ëÇØ ¸»¾¸À» Çϼ̴ø °Í °°Àºµ¥ ÀÌ ºÎºÐÀÌ ÀÌÇØ°¡ µÇÁö ¾Ê¾Æ ´Ù½Ã Çѹø ¼³¸íÇØÁÖ¼ÌÀ¸¸é ÇÕ´Ï´Ù.