Q & A II

 

Representation

-¿Ö meaning is dialogue partially understood ÀΰÅÁÒ? : ¾î¶² ¸»ÀÌ¶óµµ ¸»ÇÏ´Â »ç¶÷°ú µè´Â »ç¶÷ÀÌ ÀÌ¹Ì °¡Áö°í ÀÖ´Â ¹®È­Àû, ¾ð¾îÀû Äڵ忡 µû¶ó ´Ù¸£°Ô Çؼ®µÇ±â ¶§¹®.

-discourse °¡ discursive practiceÀÎ ÀÌÀ¯? : discourse´Â ¾ðÁ¦³ª »çȸÀû ÇàÀ§ÀÌ°í, »çȸÀû À̵¥¿Ã·Î±â¿¡ ÀÛ¿ëÇÏ´Â Çö»óÀ̱⠶§¹®.

-representationÀº ¿ì¸® »çȸ ¹®Á¦(»ý°¢)À» ¹Ý¿µÇؼ­ ¸¸µé¾îÁö°í, ÀÌ·Î ÀÎÇØ Discourse°¡ Çü¼ºµÇ¸ç, ÀÌ°ÍÀÌ »ç¶÷µé¿¡°Ô ¿µÇâÀ» ³¢Ä¡°í »çȸ¸¦ ¹ßÀüÇÏ´Â °ÍÀ̶ó´Â ¸»Àΰ¡¿ä?: ³×

Jhumpa Lahiri, "Interpreter of Maladies"

-Interpreter of maladies ÄûÁî¿¡¼­ 1¹ø ¹®Á¦¿¡¼­, ±×°¡ shock¸¦ ¹ÞÀº ±î´ßÀÌ Á÷¾÷¿¡ ´ëÇØ ÄªÂùÀ» ¹Þ¾Ò±â ¶§¹®Àΰ¡¿ä? ¾Æ´Ï¸é Á÷¾÷¿¡ ´ëÇÑ ÄªÂù°ú ÇÔ²² ÆíÁö¸¦ ÁÖ°í ¹ÞÀ» ¼ö ÀÖ´Ù´Â Èñ¸ÁÀ» ¶°¿Ã¸®¸é¼­ ¿ìÁ¤±îÁöµµ ³ª´­ ¼ö ÀÖ´Ù´Â °¡´É¼ºÀ» ¹ß°ßÇؼ­Àΰ¡¿ä?: ÀÚ±â Á÷¾÷ÀÌ ´Ù¸£°Ô ±àÁ¤ÀûÀ¸·Î ¹Þ¾Æµé¿©Áú ¼öµµ ÀÖ´Ù´Â °Í ¶§¹®. ±×·¯´Ï±î ÀüÀÚ.

- Interpreter of maladiesÄûÁî 4¹ø ¹®Á¦¿¡¼­ knowledge´Â ¹Ì¼¼½º ´Ù½º°¡ Ä«ÆĽÿ¡°Ô °É¾ú´ø ±â´ë (±×°¡ ÀÚ½ÅÀÇ ºÒÆíÇÑ °¨Á¤À» Ä¡À¯ÇØ ÁÙ °ÍÀÌ´Ù.)°¡ ÇêµÈ °ÍÀ̾úÀ½À» ±ú´Ý°Ô µÈ °Ç°¡¿ä, ¾Æ´Ï¸é Ä«ÆĽÿ¡°Ô Ä¡À¯¸¦ ¹Þ´Â °Í ÀÚü°¡ ºñÇö½ÇÀûÀÌ°í ±×¿Í ÁÁÀº °ü°è¸¦ ¸Î´Â´Ù´Â°Ô ¹«ÀǹÌÇÏ´Ù´Â °Ç°¡¿ä?: µÑ ´Ù ¾Æ´Ò±î¿ä? °á±¹ ÀڱⰡ KapasiÀÇ ¡°Áúº´ÀÇ Å뿪»ç¡±¶ó´Â Á÷¾÷À» ³Ê¹« ³¶¸¸ÀûÀ¸·Î ¹Þ¾Æµé¿´°í, ±×¸¦ ³Ê¹« °ú´ëÆò°¡Çß´Ù´Â »ý°¢ÀÌ°ÚÁö¿ä.

-4¹ø°ú 5¹ø ¹®Á¦¸¦ Àß ¸ð¸£°Ú½À´Ï´Ù.

-³×¹ø° ÄûÁî 4,5¹ø ¹®Á¦ ´Ù½Ã Çѹø ¼³¸íÇØÁÖ½Ã¸é ¾ÈµÉ±î¿ä?: Mrs Das°¡ Àڽſ¡ ´ëÇØ °¡Á³´ø ³¶¸¸ÀûÀΠȯ»ó(ÀÚ½ÅÀÇ ¸¶À½ÀÇ º´µµ ¡°Å뿪¡±ÇØÁÙ ¼ö ÀÖÀ» °Å¶ó´Â ȯ»ó)ÀÌ ±úÁ³À½À» ÀνÄÇß°í, ±× ¶§¹®¿¡ ÀÚ½ÅÀÇ È¯»óµµ ÇêµÈ °ÍÀÓÀ» ±ú´Þ¾Ò±â ¶§¹®¿¡.

Mrs. Das´Â Mr.Kapasi·ÎºÎÅÍ ÀÚ½ÅÀÌ ¿øÇß´ø °Í(ÀÌ°ÍÀÌ °ø°¨ÀÎÁö, ÇØ°áÃ¥ÀÎÁö...??)À» ¾òÀ» ¼ö ¾ø´Ù´Â °ÍÀ» ±ú´Ý°í ŵµ¸¦ ¹Ù²Ù´Âµ¥ ÀÌ°ÍÀÌ Mr. Kapasi¸¦ ¸¶À½ ¾ÆÇÁ°Ô Çß´Ù. ¶ó°í ÀÌÇØÇߴµ¥ ¸Â´ÂÁö ¸ð¸£°Ú½À´Ï´Ù:

She turned to him and glared, mustard old thick on her frosty pink lips. She opened her mouth to say something,(3) but as she glared at Mr.Kapasi some certain knowledge(4) seemed to pass before her eyes, and she stopped. It crushed him;(5) he knew at that moment that he was not even important enough to be properly insulted.

(4)What do you think would "some certain knowledge" be?

(5)Explain the reason why he was "crushed".

-Mr. Das°¡ Àڳ࿡°Ô ¾Æ³»¸¦ ÁöĪÇÒ ¶§ MomÀÌ ¾Æ´Ï¶ó À̸§À¸·Î ¸»ÇÏ´Â ÀÌÀ¯°¡ ÀÖ³ª¿ä?: ¸»ÇÏÀÚ¸é, ¹Ì±¹½ÄÀ̶ó´Â °ÅÁö¿ä. Àεµ¿¡¼­´Â °¡Á·À» À̸§À¸·Î ºÎ¸£´Â °æ¿ì°¡ ¾øÀ¸´Ï±î. Mr. Kapasi°¡ ¹®È­Àû Â÷À̸¦ ´À³¢´Â ºÎºÐ.

-Mrs. Das°¡ Mr. Kapasi¿¡°Ô ÀÚ½ÅÀÇ ºñ¹ÐÀ» ¹°¾îº¸´Â ÀÌÀ¯°¡ °ø°¨À» ¹Þ°í ½Í¾î¼­ÀÎÁö, ÀÚ½ÅÀÇ ±«·Î¿òÀ» ÇØ°áÇÒ ¹æ¾ÈÀ» ¾ò°í ½Í¾î¼­ÀÎÁö ¸ð¸£°Ú½À´Ï´Ù: À§ ´äº¯ Âü°í.

-Mr. Kapasi felt insulted that Mrs. Das should ask him to interpret her common, trivial little secret.¿¡¼­ Mr. Kapasi°¡ ¿Ö ¸ð¿åÀ» ´À³¢´ÂÁö Á¤È®È÷ ¸ð¸£°Ú½À´Ï´Ù. ±×¸®°í Mr. Kapasi´Â ±×³àÀÇ ±«·Î¿òÀ» ÁøÁ¤ÇÑ °íÅëÀ¸·Î ¿©±âÁö ¾Ê´Â°Ç°¡¿ä? ³×. Mr. Kapasi¿¡°Ô´Â ±×·± ±«·Î¿òÀº ÁËÀǽİú ¾ç½ÉÀÇ °¡Ã¥¿¡¼­ ºñ·ÔµÈ °íÅëÀÏ »ÓÀÌÁö, À§·Î°¡ ÇÊ¿äÇÑ ºÎºÐÀ̶ó°í´Â ÀüÇô »ý°¢ÇÏÁö ¾Ê°Åµç¿ä. ÀεµÀÇ ÀüÅëÀûÀÎ »ç°í¹æ½Ä.

-±³¼ö´ÔÀÌ ¿Ã·ÁÁֽŠ¼Ò¼³ ¿ø¹® ÇÁ¸°Æ® 11ÂÊ¿¡¼­ Mr.Kapasi felt insulted that Mrs.Das should ask him to interpret her common, trivial little secret. À̶ó°í Çߴµ¥¿ä. À̺κп¡¼­ Kapasi°¡ ¸ð¿å°¨À» ´À³¤ ÀÌÀ¯°¡ Àß ÀÌÇØ°¡ ¾È °©´Ï´Ù. º´¿ø¿¡¼­ Kapasi¿¡°Ô interpretÇØ´Þ¶ó°í ÇÏ´Â »ç¶÷µéÀº ÀüºÎ Àý¹ÚÇÏ°í °£ÀýÇѵ¥ Das ºÎÀÎÀº ±×·± ¸éÀÌ Çϳªµµ º¸ÀÌÁö ¾Ê¾Æ¼­ Àå³­ Ä¡´Â °Í °°°í, ¾ÆÁÖ »ç¼ÒÇÑ °ÍÀ» ÀÚ±âÇÑÅ× ¸»ÇÏ´Â°Ô ±×³à°¡ Ä«ÆĽà Àڽŵµ »ç¼ÒÇÏ°Ô ¿©±â´Â °Í °°´Ù´Â ´À³¦ÀÌ µé¾î¼­ Àΰ¡¿ä?: À§ ´äº¯ Âü°í.

W. H. Auden, "The Unknown Citizen"

-The unknown citizen¿¡¼­ odd in his viewÀÇ ÀǹÌ: ȸ»çÀÇ ÀÔÀå¿¡¼­ ÁÖ¸ñÇÒ ¸¸ÇÑ(±×·¯´Ï±î ³ëÁ¶ÀÇ ÀÔÀå¿¡ µ¿Á¶ÇÏ´Â) ÀÔÀåÀÌ ¾Æ´Ï¾ú´Ù´Â °Í.

-He°¡ ÇÒºÎÁ¦µµ(Installment plan)ÀÇ ÀåÁ¡À» Àß ¾Ë°í ÀÖ´Ù°í ³ª¿Í Àִµ¥ ÀÌ ±¸Àý¿¡ Ưº°ÇÑ Àǹ̰¡ ÀÖ³ª¿ä? ÇÒºÎÁ¦µµ¸¦ ±×°¡ »ç¿ëÇÑ ÀÌÀ¯´Â ´Ü¼øÈ÷ °¡Áö°í ÀÖ´Â µ·ÀÌ ºÎÁ·Çϱ⠶§¹®Àΰ¡¿ä?: ¿©±â´Â ¿¬±ÝÁ¦µµ¸¦ ¸»ÇÏ´Â °Í. ¿¬±ÝÀÇ ÀåÁ¡À» ¾Ë°í, ²¿¹Ú²¿¹Ú ºÎÀ» ¿ëÀÇ°¡ ÀÖ¾ú´Ù, Áï »çȸÀûÀ¸·Î Á¦°øµÇ´Â »çȸº¸ÀåÁ¦µµ¸¦ ±àÁ¤ÀûÀ¸·Î ¹Þ¾ÆµéÀÌ°í, °Å±â¿¡ ¼øÀÀÇÏ´Â ¿Â°ÇÇÑ(ºÒ¿ÂÇÏÁö ¾ÊÀº) »ç¶÷À̾ú´Ù´Â ¶æ.

-Policies taken out~insured. ÀÌ ºÎºÐÀÇ policy¸¦ º¸ÇèÀ¸·Î ºÁµµ µÇ³ª¿ä? ¡°º¸ÇèÀ» µé¾î ³õÀº °ÍÀ¸·Î º¸¾Æ ±×´Â º¸ÁõÀ» ¹ÞÀ» ¼ö ÀÖÀ» ¸¸ÇÑ »ç¶÷ÀÌ´Ù.¡±¶ó°í Çؼ®Çصµ µÇ´Â °Ç°¡¿ä?:

°Ç°­º¸ÇèÀ» ¾ê±âÇÏ´Â °Í. °Ç°­º¸Çè¿¡ °¡ÀÔÇß¾ú°í, º´¿ø¿¡ ÀÔ¿øÇؼ­ °Ç°­º¸ÇèÀ» ÀÌ¿ëÇÑ ÀûÀÌ ÀÖ¾ú°í, º´ÀÌ ³ª¾Æ¼­ Åð¿øÇÑ ±â·ÏÀÌ ÀÖ´Ù.

-Çö´ëÀεéÀÇ ÇʼöÇ°ÀÎ ÃàÀ½±â, ¶óµð¿À, Â÷, ³ÃÀå°í¸¦ °¡Áö°í ÀÖÀ¸¹Ç·Î ÇÊ¿äÇÑ ¸ðµç °ÍµéÀ» ¼ÒÀ¯ÇÏ°í ÀÖ´Ù°í ³ª¿À´Âµ¥ ÀÌ ±¸ÀýÀÌ ´ã°í ÀÖ´Â Àǹ̴ ¹«¾ùÀΰ¡¿ä? ±×°¡ ±¹°¡¿¡ º¹Á¾ÇÏ¸ç »ì¾Ò±â ¶§¹®¿¡ °æÁ¦ÀûÀ¸·Î ¿©À¯°¡ ÀÖ¾ú´Ù´Â ¶æÀΰ¡¿ä?: ±¹°¡ÀÇ ÀÔÀå¿¡¼­´Â ±¹¹ÎµéÀÌ ÀÌ·¯Àú·¯ÇÑ ¹°°ÇÀ» °®Ãß°í »ì±â¸¸ ÇÑ´Ù¸é Çö´ëÀÎÀ¸·Î¼­ ÇÊ¿äÇÑ ¸ðµç °ÍÀ» °¡Á³´Ù°í ÆÇ´ÜÇÑ´Ù´Â °Í. Á¤Ä¡Àû ÀÚÀ¯³ª À뱂 µî°ú °°Àº °¡Ä¡°¡ ¾Æ´Ï¶ó ³ÃÀå°í¸¸ ÀÖÀ¸¸é Á·ÇÏ´Ù°í »ý°¢ÇÏ´Â ±¹°¡¿Í Á¤ºÎÀÇ °ü·áÁÖÀǸ¦ dzÀÚ, ºñÆÇÇÑ °Í.

History

-History ÀÌ·ÐÁß John ToshÀÇ ÀÔÀåÀº historical narrative¿¡°Ô´Â Á߸³ÀÌ Á¸ÀçÇÏÁö ¾Ê°í, ¼­¼úÇÏ´Â ´©±º°¡´Â Ç×»ó ¾î´À Áý´ÜÀÇ ÀÏ¿øÀ̱⠶§¹®¿¡, ¹«ÀǽÄÀûÀ¸·Î ±ò·ÁÀÖ´Â °Í¿¡ ¿µÇâÀ» ¹ÞÀ½À¸·Î Æí°ßÀ» °®°í ¼­¼úÇÑ´Ù°¡ ¸Â³ª¿ä?

-history Áß history for the working class ºÎºÐ¿¡¼­ fabian orthodoxy ³ª¿À´Âµ¥ ¹º ³»¿ëÀÎÁö ¸ð¸£°Ú¾î¿ä

-History ºÎºÐ Áß history vs myth ºÎºÐ¿¡¼­ ÇÏ°í½ÍÀº¸» myth is simplified history. Myth = fact ¶ó´Â °Å¿¡¿ä??

William Faulkner, "A Rose for Emily"

-¼ö¾÷½Ã°£¿¡ ¾ð¶æ ÀÌ ¼Ò¼³ÀÇ narrator´Â Emily¿¡ ´ëÇؼ­ È£ÀÇÀûÀÎ ½Ã°¢À» º¸ÀÎ´Ù°í µéÀº °Í °°Àºµ¥ ÀÌ ºÎºÐÀÌ ÀÌÇØ°¡ ¾È °©´Ï´Ù. ÀÛ°¡°¡ Emily¸¦ È£ÀÇÀûÀÌ°í °æ¿Ü°¨À¸·Î ¹Ù¶óº¸´Â °Ç ÀÌÇØ°¡ °¡´Âµ¥ narrator´Â ¾î¶»°Ô È£ÀÇÀûÀÎ °Ç°¡¿ä? ÀÌ ¼Ò¼³ÀÇ narrator´Â ¡®we¡¯ÁßÀÇ ÇѸíÀ¸·Î ¸¶À» »ç¶÷µéó·³ ¿¡¹Ð¸®ÀÇ »óȲÀ» ÃßÃøÇÏ°í ÀǽÉÇϱ⵵ Çß´Ù°¡ °í¼ÒÇØÇϱ⵵ Çß´Ù°¡ ºÒ½ÖÇØÇϱ⵵ Çß´Ù°¡ ±×·¯´Â°Å ¾Æ´Ñ°¡¿ä? Narrator´Â (¾Æ¸¶µµ ÀÛ°¡¿¡ ºñÇØ)ºñ±³Àû Á߸³ÀûÀÎ ÀÔÀåÀ» º¸ÀÌ°í ÀÖÁö¸¸, ¸¶À» »ç¶÷µé°ú´Â ´Þ¸® ¿¡¹Ð¸®ÀÇ Àº¹ÐÇÑ »çÁ¤À» ¹Ì¸® ¾Ë°í ÀÖ¾ú°í, ±×¸¸Å­ ¿¡¹Ð¸®¿¡ ´ëÇØ °ø°¨ÇÏ´Â ÆíÀÓ.

-a rose for emily ½ºÆÄÅ© ³ëÆ® º¸¸é a narrator is critical of the old men in their confederate uniforms who gather for emilys funeral À̶ó°í ³ª¿À´Âµ¥ ÀÌ°Ô ±¸½Ã´ë»çÇԵ鿡 ´ëÇÑ ºñÆÇÀΰǰ¡¿ä? ±¸½Ã´ë »ç¶÷µéÀÌ ½Ã´ëÀÇ º¯È­¸¦ ÀνÄÇÏÁö ¸øÇϰųª °ÅºÎÇÏ´Â ÇàŸ¦ º¸ÀÌ´Â °ÍÀ» ´Ù¼Ò ³Ã¼ÒÀûÀ¸·Î ¹¦»çÇÑ °Í. ¸Í·ÄÇÑ ºñÆÇÀ̶ó±â º¸´Ù´Â. ¸¶Ä¡ ¿äÁò ¼¼´ë »ç¶÷µéÀÌ ¿¡¹Ð¸®¸¦ ºñÆÇÇϴ°Íó·³? ±×¸®°í ³ª·¹ÀÌÅÍ´Â ¿¡¹Ð¸®¿¡°Ô´Â ³²ºÎ ¹Ì±¹ÀÇ Çâ¼ö¸¦ ´À²¸¼­ ±×´ÙÁö ºñÆÇÀûÀÌÁö ¾ÊÁö¸¸ old peopleµéÇÑÅ×´Â º°´Ù¸¥ Á¸°æ½É( ¾Æ´Ï¸é ³²ºÎ¹Ì±¹À» »ó¡ÀûÀ¸·Î ³ªÅ¸³»Áö¾Ê¾Æ¼­)À̾ø¾î¼­ ºñÆÇÇϴ°ÍÀΰ¡¿ä? old peopleµé°ú emily°¡ ±×·¸°Ô ´Ù¸£°Ô Ãë±ÞµÇÁö´Â ¾ÊÀ½. ´Ù¸¸ EmilyÀÇ °æ¿ì´Â ¸¶À»ÀÇ ÀüÅë°ú °ü·ÃÇÏ¿© Á»´õ Ưº°ÇÑ Àǹ̰¡ ÀÖ°í, ±×¸¸Å­ µ¿Á¤°ú °ø°¨ÀÇ ¸¶À½ÀÌ Å©´Ù°í ÇÒ ¼ö ÀÖ´Ù.

-A rose for emily ÀÇ ½ºÆÄÅ© ³ëÆ®¿¡¼­ necrophilia ¶ó´Â ´Ü¾î°¡ ³ª¿À´Âµ¥ Ä£±¸µé ¹ßÇ¥ÇÒ ´ç½Ã ±³¼ö´Ô²²¼­ ¾Æ´Ï¶ó°í Çϼ̴µ¥ º¸Á¶±³Àç¿¡´Â ³ª¿ÍÀ־ ¹¹°¡ ¸Â´ÂÁö ±Ã±ÝÇÕ´Ï´Ù.

Ç¥¸éÀûÀ¸·Î´Â necrophilia¶ó°í ¸»ÇÒ ¼ö´Â ÀÖÁö¸¸, ¿©±â¼­´Â ½Ãü¸¦ ¼ºÀû ´ë»óÀ¸·Î ¼±È£ÇÏ´Â(»ê »ç¶÷º¸´Ù) ½Ãü¼º¾Ö¿¡ ÃÊÁ¡ÀÌ Àִٱ⠺¸´Ù´Â ½ÃüÀÇ ÇüÅÂ·Î¶óµµ Æ÷±âÇÒ ¼ö ¾ø¾ú´ø ¿¡¹Ð¸® ³ª¸§ÀÇ ·Î¸Ç½º¿¡ ÃÊÁ¡ÀÌ ÀÖ´Â °ÍÀÓ. ±× ·Î¸Ç½º´Â ÀÚ½Å(³²ºÎ)ÀÇ ÁÖµµÇÏ¿¡(Çö½ÇÀÇ ¿ª»ç¿Í´Â ´Þ¸®) È£¸Ó ¹Ù·Ð(ºÏºÎ)¸¦ Æ÷¼·ÇÏ°í ¼ÒÀ¯ÇÏ´Â °Í. ÀÌ°ÍÀº °á±¹ Á¤½ÅÀûÀ¸·Î¶óµµ ³²ºÎÀûÀÎ °¡Ä¡¿Í ÀüÅëÀ» ÁöÄѳª°¡°Ú´Ù´Â °áÀǸ¦ º¸¿©ÁØ °Í. ¹Ù·Î ÀÌ·± Á¡ ¶§¹®¿¡ ÀÛ°¡´Â ¿¡¹Ð¸®¿¡°Ô Àå¹Ì¸¦ ¹ÙÄ¡´Â °Í. ÀÌ·¯ÇÑ ¿ª»çÀû Àǹ̸¦ º¸Áö ¸øÇÏ°í, ±×³É ¿¡¹Ð¸®ÀÇ ÇàÀ§¸¦ ¹ÌÄ£ ÇÒ¸Ó´ÏÀÇ ½Ãü¼º¾ÖÁõÀ̶ó°í Ç¥ÇöÇÏ´Â °ÍÀº ÀÛÇ°ÀÇ ¿ª»çÀû Àǹ̸¦ ÀüÇô ÀÐÁö ¸øÇÑ °Í.

-EmilyÀÇ Àå·Ê½Ä¿¡ ¿Â ³²ºÎ ±ºº¹À» ÀÔÀº ³²Àڵ鵵 Emilyó·³ °ú°Å¿¡ ºÙÀâÇô »ç´Â »ç¶÷µéÀΰ¡¿ä? ³× Çö½Ç¿¡¼­ ¿¡¹Ð¸®Ã³·³ ¿Ï°­ÇÏ°Ô ±×°ÍÀ» °íÁýÇÏÁö´Â ¸øÇÏÁö¸¸.

-EmilyÀÇ »çÃ̵éÀÇ Emilyº¸´Ù ´õ¿í °í±ÍÇÑ Ã´ÇÏ°í ±×¸®¾î½¼ °¡ÀÇ Àι°µéÀÓÀ» Ƽ¸¦ ³Â±â ¶§¹®¿¡ ¸¶À» »ç¶÷µéÀÌ °©ÀÚ±â ŵµ¸¦ ¹Ù²ã Barron°ú EmilyÀÇ °áÈ¥À» ÀÀ¿øÇÑ°Ç°¡¿ä? ¾Æ´Ï¿ä. °©ÀÚ±â ŵµ¸¦ ¹Ù²Û °ÍÀº ¾Æ´Ï°í, ½Ã»ù, µ¿Á¤, ¹Ý´ë µîµîÀÇ °¨Á¤ÀÌ »ç¶÷µé ¸¶´Ù ¼¯¿©ÀÖ¾ú´ø °ÍÀÓ.

-ÆäÀÌÁöÀÇ ¥´¿¡¼­ ¡°all the past is not diminishing~decade of years." ÀÌ ¹®Àå Çؼ® ºÎŹµå·Á¿ä. !!!! What kind of question is this?

-´Ù¼¸¹ø° ÄûÁî 2¹ø ±×¸²ÀÇ Àǹ̴ Emily°¡ ¾Æ¹öÁöÀÇ Áö¹èÇÏ¿¡ ÀÖ´Ù´Â °ÍÀΰ¡¿ä? ³×. Á»´õ ¼³¸íÇØÁÖ½Ã¸é ¾ÈµÉ±î¿ä

-´Ù¼¸¹ø° ÄûÁî 3¹ø. Emily°¡ ½º½º·Î¸¦ ³Ê¹« ³ô°Ô ¿©°Ü¼­ Àڽſ¡°Ô °É¸ÂÀº »ç¶÷ÀÌ ¾ø´Ù°í »ý°¢ÇÒ °ÍÀ̶ó´Â ¸¶À» »ç¶÷µéÀÇ ÀÇ°ßÀÌ ¿Ç´Ù°í ÀÔÁõµÇ¾ú´Ù´Â °Ç°¡¿ä? ÀÌÁ¦ ´Þ¶óÁø »óȲÀε¥µµ ¾ÆÁ÷µµ ¿¾³¯ÀÇ ÁöÀ§°¡ ÀÖ´Ù°í »ý°¢ÇÏ°í, ¹è¿ìÀÚ¸¦ ã´Âµ¥ ´«ÀÌ Å͹«´Ï¾øÀÌ ³ô´Ù´Â ½ÄÀ¸·Î »ý°¢Çß´ø ÀڽŵéÀÇ »ý°¢ÀÌ ¿Ç¾Ò´Ù´Â °Í(±×·¯´Ï ¼­¸¥ÀÌ ´ÙµÇµµ ¦À» ¸øãÀº °Å¶ó´Â °Í)

-Emily°¡ Homer Barron°ú °áÈ¥ ÇÏÁö´Â ¾ÊÁö¸¸, ±×¸¦ Á×ÀÓÀ¸·Î½á ¼Õ¿¡ ³Ö´Â °ÍÀº, ÀÚ½ÅÀÇ °¡Ä¡°ü(noblesse oblige)¸¦ Èñ»ýÇÏÁö ¾Ê°í »ç¶ûÀ» ¼ºÃëÇÏ·Á Ç߱⠶§¹®À̶ó°í º¸¸é µÇ³ª¿ä? À§ÀÇ ´äº¯ Âü°í.

-³²ºÎÀÇ ÀüÅë,¿ª»ç¸¦ »ó¡ÇÏ´Â Emily°¡ ºÏºÎ¸¦ ÀǹÌÇÏ´Â Homer BarronÀ» Á×ÀÎ °ÍÀº ³²ºÏÀüÀï¿¡¼­ Æй踦 ÇßÀ»Áö¶óµµ, ³²ºÎÀÇ ÀüÅë°ú ¿ª»ç´Â À¯ÁöµÈ´Ù´Â °ÍÀ» ¶æÇÏ´Â °Ç°¡¿ä?

À§ÀÇ ´äº¯ Âü°í.

Percy Bysshe Shelley, "England in 1819"

-England 1819¿¡¼­ Golden and sanguine laws °¡ ¾î¶² ¶æÀÎÁö Àß ÀÌÇØ°¡ ¾È°©´Ï´Ù. ´ëÇ¥°¡ µÇ°í, ¹ýÀ» Á¦Á¤ÇÏ°í, ¼¼±ÝÀ» °È¾î¼­ ºÎÀÚ°¡ µÇ´Â ¾Ç¼øȯÀ» ¸»ÇÏ´Â °Ç°¡¿ä?

-Golden and sanguine laws are laws that vested interests caused to be passed and which led to bloodshed.

ÀÌ ¹®Àå Çؼ® ºÎŹµå¸³´Ï´Ù.

¹ýÀÌ ºÎÀÚµéÀÇ ÀÌÇØ°ü°è¿¡¸¸ ºÀ»çÇÏ°í(Golden), ±¹¹ÎµéÀ» ÀüÀïÀ¸·Î ³»¸ð´Â °Í(sanguine)À» ºñÆÇÇÑ °Í.

-Percy Bysshe ShelleyÀÌ ½Ã England in 1819¿¡¼­ 6¹ø° ÁÙ till they blow°¡ ¹«¾ùÀ» ÀǹÌÇÏ´ÂÁö ¸ð¸£°Ú½À´Ï´Ù. À§Á¤ÀÚ¸¦ ´Ù ¾²·¯Á®°¡´Â ³ª¶ó¿¡¼­ ÇǸ¦ ºü´Â °Å¸Ó¸®¿¡ ºñÀ¯ÇÑ °Í. °Å¸Ó¸®°¡ ÇǸ¦ ½ÇÄÆ »¡°í³ª¼­(±×·¡¼­ ÇǸ¦ ³Ê¹« ¸¹ÀÌ »¡¾Æ ´«ÀÌ ¸Õä·Î) ÇǸ¦ »¡´ø ¸öÀ¸·ÎºÎÅÍ(¾Æ¹«·± Ÿ°ÝÀ» °¡ÇÏÁö ¾Ê¾Æµµ) ±×³É Åö ¶³Áø´Ù´Â °Í.

-A defence of poetry... ³Ê¹« ¾î·Á¿ö¿ä...»ì·ÁÁÖ¼¼¿ä...ÇÏ·Á´Â ¸»ÀÇ ÇÙ½ÉÀÌ poetry acts in a way that awakens and enlarges the mind itself by rendering it the receptance of a thousand unapprehended combination of thoughts ÀÌ°Å Çϳ­°¡¿ä??

µµ´ëü ³»¿ëÀÌ ¹ºÁö ¸ð¸£°Ú¾î¿ä ..¤Ì Áú¹®À» Á» ´õ ±¸Ã¼ÀûÀ¸·Î!

Spaces and Places

-Henri Lefebvre, "space are produced": °ø°£Àº ƯÁ¤ÇÑ »ç¶÷°ú ¸ñÇ¥¿¡ ÀÇÇؼ­ ¸¸µé¾îÁö´Â °Í, ±× ÀÚ¸®¿¡¸¸ Á¸ÀçÇÏ´Â ¹°¸®ÀûÀÎ °ÍÀÌ ¾Æ´Ï¶ó, Ãß»óÀû °üÁ¡ÀÌ´Ù. Ãß»óÀû °üÁ¡ÀÌ ¾Æ´Ï¶ó ±× °ø°£À» Çؼ®ÇÏ´Â »ç¶÷ÀÇ Àǵµ¿¡ µû¶ó ¸¸µé¾îÁö´Â °ÍÀÌ´Ù.

-Henri Lefebvre ¡°Spaces are produced¡±ºÎºÐ¿¡¼­¿ä

¡°The conventional signs used in these documents constitute a code even more deceptive than the things themselves, for they are at one more remove from reality.¡± ÀÌ ºÎºÐÀÌ ÀÌÇØ°¡ Àß ¾ÈµË´Ï´Ù. Áöµµ´Â ÁöµµÁ¦ÀÛÀÚÀÇ Àǵµ¿¡ µû¶ó Çö½ÇÀ» º¯ÇüÇÏ¿© Á¦½Ã(¿©±â¼­ Çö½Ç°ú Çѹø ºÐ¸®µÇ°í), ¶Ç Áöµµ¿¡ ¸Â´Â ºÎÈ£¸¦ »ç¿ëÇÏ¿© Çö½ÇÀ» ÀçÇöÇÑ´Ù. µû¶ó¼­ ¿©±â¼­ Çö½Ç°ú Çѹø ´õ ºÐ¸®µÈ´Ù´Â °Í.

-Henri

They are products of an activity which involves the economic and technical realms but which extends well beyond them, for these are also political products, and strategic spaces.

 

ÀÌ ¹®Àå¿¡¼­ They°¡ ÁöĪÇÏ´Â °ÍÀÌ ¹«¾ùÀΰ¡¿ä? º»¹® Àüü¸¦ ÀоîºÁµµ Àß ¸ð¸£°Ú¾î¿ä. ±×¸®°í ÀÌ ¹®Àå Çؼ®µµ ºÎŹµå¸³´Ï´Ù. ÀüüÀûÀ¸·Î Henri°¡ space¿¡ °üÇØ °®°í ÀÖ´Â »ý°¢À» ¾Ë·ÁÁÖ¼ÌÀ¸¸é ÁÁ°Ú½À´Ï´Ù. ´ÜÁö ¡®Áöµµ°¡ ÁÖ°üÀûÀ¸·Î ¸¸µé¾îÁø °ÍÀ̹ǷΠ¹ÏÀ» °ÍÀÌ ¸øµÇ°í, place¶ó´Â °ÍÀº °³ÀÎÀÇ ÁÖ°üÀûÀÎ »ý°¢¿¡ µû¶ó produceµÈ´Ù.¡¯´Â °³³äÀΰ¡¿ä? ¹®ÀåÀ» Àо¸é economic, technical, political products¶ó°í ÀûÇô ÀÖ´Â °Í °°Àºµ¥ ÀÌ°ÍÀº spaces¸¦ ÁöĪÇÏ´Â ¸»Àΰ¡¿ä?

°ø°£Àº °æÁ¦ÀûÀÌ°í Áö¼úÀûÀÎ ¿µ¿ªÀÏ »Ó¸¸ ¾Æ´Ï¶ó ±× ¾È¿¡ Á¤Ä¡Àû Àü·«Àû »ý°¢µéµµ ¹Ý¿µÇÏ°íÀÖ´Ù´Â °Í.

-Peter Vujakovic, "All maps are propaganda": ¿ì¸® ¸Ó¸® ¼Ó¿¡¼­ ±×·ÁÁö´Â Áöµµ, ±× ¿¾³¯ ÁßÈ­ÁÖÀÇ »ç»óÀ¸·Î Áß±¹À» °¡Àå Å©°Ô ±×·È´ø °Íó·³. ³×.

-Judy Giles and Tim Middleton, the importance of cultural geography: ¹®È­Àû Áö¸®¶õ ÀüÅë, ¿ª»ç, ¹®ÇÐ µîÀÇ È¥ÇÕÀ» ¸»ÇÏ´Â °ÍÀΰ¡¿ä..? ±×³É È¥ÇÕÀÌ ¾Æ´Ï°í, ¹®È­Áö¸®ÇÐÀº ÁöÇü¿¡ ´ëÇÑ ¹°¸®ÀûÀÎ Á¤º¸»Ó¸¸ ¾Æ´Ï¶ó ÀüÅë, ¿ª»ç, ¹®ÇеîÀÇ ¿ä¼Ò°¡ °°ÀÌ °í·ÁµÈ´Ù´Â ¶æ.

-cultural geograpy ºÎºÐ¿¡¼­ »ïûµ¿Ã³·³ °ø°£ÀÚü°¡ ¹®È­°¡ µÈ´Ù´Â °ÍÀº ÀÌÇظ¦ ÇÏ°Ú¾î¿ä.±¸·±µ¥ º»¹®¿¡¼­ º¸¸é cannot be reduced to a set of discourse but has to take account if the physical places ´Â ÀÌÇØ°¡ À߾Ȱ¡¿ä.. º»¹® ÀÚü°¡ ÀÌÇØ°¡ ¾î·Á¿ö¿ä.

ÇØ´ç ºÎºÐÀ» ¹ø¿ªÇϸé,

¹®È­Àû Áö¸®ÇÐÀÌ ¹®È­¿¬±¸¿¡ Áß¿äÇÑ ÀÌÀ¯´Â ±×°ÍÀÌ ´ÙÀ½°ú °°Àº Á¡À» °­·ÂÇÏ°Ô È¯±âÇϱ⠶§¹®ÀÌ´Ù. ¹®È­´Â ÀÏ·ÃÀÇ ¾ð¼ú·Î ±Í°áµÇ´Â °ÍÀÌ ¾Æ´Ï¶ó ±×·¯ÇÑ ¾ð¼úÀÌ ÀÌ·ç¾îÁö´Â ¹°¸®ÀûÀÎ °ø°£µéÀ» ¾Æ¿ï·¯ °í·ÁÇØ¾ß ÇÏ´Â °ÍÀÌ´Ù.

Ernest Miller Hemingway, "A Clean, Well-lighted Place"

Matthew Arnold, "Dover Beach"

-Dover beach ¶û spaces and placesÀÇ ¿¬°ü°ü°è: Dover beach¶ó´Â Àå¼ÒÀÇ ¿ª»ç¼ºÀ» ȯ±âÇÏ°í ÀÖÀ½

-¸ÅÆ© ¾Æ³îµåÀÇ Lectures on translating Homer°¡ ¾Æ³îµå¸¦ ÀÌÇØÇÏ´Â µ¥ Áß¿äÇÑ ¿ªÇÒÀ» Çϳª¿ä? ÀÌ translating Homer°¡ ¹«½¼ ³»¿ëÀΰǰ¡¿ä? ?? ¹«½¼ ¶æ?

-±³¼ö´Ô²²¼­ ¼ö¾÷½Ã°£¿¡ ¾Æ³îµå¿¡ ´ëÇØ ¼³¸íÇϽø鼭 European outlook¿¡ ´ëÇØ ¼³¸íÇϼ̴µ¥ ÀÌÇØ°¡ Àß ¾È°©´Ï´Ù. ÀÌ°Ô ¹º°¡¿ä? ¾Æ³îµå´Â ºòÅ丮¾ÆÁ¶ ¸»±âÀÇ ¿µ±¹¹®È­°¡ ¸Å¿ì õ¹ÚÇØÁ³´Ù°í Áø´ÜÇÏ°í, À̸¦ ¹Ù·ÎÀâ±â À§Çؼ­´Â ¼öÁÖ³ôÀº À¯·´¹®È­¸¦ Á»´õ Àû±ØÀûÀ¸·Î ¹Þ¾Æµé¿©¾ß ÇÑ´Ù°í »ý°¢ÇßÀ½.

-Dover Beach¿¡¼­ Love¸¦ ÇØ°áÃ¥À¸·Î Á¦½ÃÇߴµ¥ ¸¶Áö¸·Àº ¶Ç ºÐÀïÀ¸·Î ³¡³³´Ï´Ù. ÁÖÁ¦°¡ Á¤È®È÷ ¹«¾ùÀÎÁö ÆľǵÇÁö ¾Ê½À´Ï´Ù. Love¸¦ ¿ÏÀüÇÑ ÇØ°áÀûÀ¸·Î Á¦½ÃÇߴٱ⠺¸´Ù´Â Çʿ伺ÀÇ Á¦±â ¼öÁØÀ̾ú°í, Çö½Ç¿¡ ´ëÇÑ ÀüüÀûÀÎ ÆÇ´ÜÀº ¸Å¿ì ¿ì¿ïÇÏ°í ºñ°üÀûÀÎ °ÍÀÓ