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¿µ¾î°íÀü1,167 Á¶Áö ¹ö³ªµå ¼îÀÇ ¹«±â¿Í Àΰ£ 1894(English Classics1,167 Arms and the Man by George Bernard Shaw)

¿µ¾î°íÀü1,167 Á¶Áö ¹ö³ªµå ¼îÀÇ ¹«±â¿Í Àΰ£ 1894(English Classics1,167 Arms and the Man by George Bernard Shaw)

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¢º ¹«±â¿Í Àΰ£ 1894(Arms and the Man by George Bernard Shaw)´Â ¡®¼ÎÀͽºÇǾî ÀÌÈÄ ÃÖ°íÀÇ ±ØÀÛ°¡(The Greatest Playwright after Shakespeare)¡¯·Î Ãß¾Ó¹Þ´Â 19¼¼±â ¿µ±¹ ±ØÀÛ°¡ Á¶Áö ¹ö³ªµå ¼î(George Bernard Shaw, 1856~1950)°¡ DzDzÇÑ Ã»³â ½ÃÀý(1879~1883)À» Áö³ª ÇÑÃþ ¿ø¼÷ÇÑ ³ªÀÌ(38¼¼)¿¡ ÁýÇÊÇÑ 3¸·(Act I.~Act III.)ÀÇ Èñ°î(ýôÍØ, Play)ÀÔ´Ï´Ù. ¹ö³ªµå ¼îÀÇ ´ëÇ¥ÀÛÀº ´Ü¿¬ Èñ°î(ýôÍØ, Play)ÀÏ °ÍÀ̳ª, °æ·Â ÃÊâ±â¿¡´Â ´Ù¼¸ ±ÇÀÇ ¼Ò¼³(Five Novels Early in His Career)À» ºñ·ÔÇØ Á¤Ä¡, µå¶ó¸¶ ºñÆò(Politics, Drama Criticism) µî ´Ù¾çÇÑ ºÐ¾ßÀÇ ±ÛÀ» ¿Õ¼ºÇÏ°Ô ÁýÇÊÇÑ ¹Ù ÀÖ½À´Ï´Ù. ¹ö³ªµå ¼îÀÇ Èñ°î ¸ðÀ½Áý ºÒÄèÇÑ ¿¬±Øµé 1898(Plays Unpleasant)¿¡ À̾î Ãâ°£ÇÑ À¯ÄèÇÑ ¿¬±Øµé(Plays Pleasant, 1898)¿¡ Æ÷ÇÔµÈ ³× ÀÛÇ°(Arms and the Man 1894, Candida 1894, The Man of Destiny 1895, You Never Can Tell 1896) Áß ÇϳªÀÔ´Ï´Ù. µÎ ÀÛÇ°ÁýÀÇ Á¦¸ñÀÌ ¼­·Î ´ëÁ¶¸¦ ÀÌ·ç´Â °ÍºÎÅÍ ¹ö³ªµå ¼îÀÇ À§Æ®°¡ ´À²¸ÁöÁö ¾Ê½À´Ï±î?

¢º ¹«±â¿Í Àΰ£ 1894(Arms and the Man by George Bernard Shaw)À̶õ Á¦¸ñÀº Ǫºí¸®¿ì½º º£¸£±æ¸®¿ì½º ¸¶·Î(Publius Vergilius Maro, 70 BC~19 BC)ÀÇ ·Î¸¶ ±¹°¡ ¼­»ç½Ã ¾ÆÀ̳×À̽º(Aeneid, BC 19)ÀÇ Arma virumque cano(I sing of arms and a man, ³»°¡ ³ë·¡ÇÏ´Â ¹«±â¿Í ³²ÀÚ¿¡ ´ëÇÏ¿©)¿¡¼­ µû¿Â °ÍÀ¸·Î ÀÛÇ°ÀÌ ¹ßÇ¥µÈ 1894³â ÃÊ¿¬µÇ¾ú½À´Ï´Ù. ÀÌ¹Ì ½¢ÇÑ ÀÛÇ°À» ¹ßÇ¥ÇÑ ¹ö³ªµå ¼îÀÇ »ó¾÷ÀûÀ¸·Î ¼º°øÇÑ Ã¹ ¹ø° ÀÛÇ°(one of Shaw's first commercial successes)À¸·Î Àαâ¸ôÀÌ¿¡ ¼º°øÇÏ¿´½À´Ï´Ù. ´ç½Ã ±×¸¦ ¾ßÀ¯ÇÏ´Â °ü°´¿¡°Ô ´øÁø ´äº¯ ¶ÇÇÑ °ÉÀÛÀÔ´Ï´Ù. "My dear fellow, I quite agree with you, but what are we two against so many? "Ä£¾ÖÇϴ ģ±¸¿©, ³ª´Â ´ç½ÅÀÇ ÀÇ°ß¿¡ ÀüÀûÀ¸·Î µ¿ÀÇÇÕ´Ï´Ù. ÇÏÁö¸¸ ¿ì¸® µÑÀÌ ±×·¸°Ô ¸¹Àº »ç¶÷µé¿¡ ¸Â¼­´Â °ÍÀº ¹«¾ùÀԴϱî?¡°

¢º ÀÛÇ°ÀÇ ¹è°æÀº ¼¼¸£ºñ¾Æ-ºÒ°¡¸®¾Æ ÀüÀï(Serbo-Bulgarian War, 1885). ÀüÀ￵¿õ ¼¼¸£±â¿ì½º »ç¶ó³ëÇÁ(Sergius Saranoff)¿Í ¾àÈ¥ÇÑ ·¹À̳ª ÆäÆ®ÄÚÇÁ(Raina Petkoff)´Â ºÒ½Ã¿¡ ÀÚ½ÅÀÇ Áý¿¡ ħÀÔÇÑ ¼¼¸£ºñ¾Æ ±º´ëÀÇ ½ºÀ§½º ¿ëº´(a Swiss mercenary soldier in the Serbian army) ºí·éÃú¸® ´ëÀ§(Captain Bluntschli)¿Í ºÒÆíÇÏÁö¸¸, ¿î¸íÀûÀ¸·Î ¸¸³ª°Ô µË´Ï´Ù. ÀüÀï¿¡ ´ëÇØ ±Øµµ·Î ³Ã¼ÒÀûÀÎ ºí·éÃú¸® ´ëÀ§¿ÍÀÇ Á¶¿ì·Î ÀÎÇÏ¿©, ±âÁ¸ÀÇ ÀüÀï°üÀÌ ¿ÏÀüÈ÷ ¹Ù²î°Ô µÈ ·¹À̳ª´Â °ú¿¬ ¾î¶°ÇÑ »îÀÇ Çຸ¸¦ À̾°¡°Ô µÉ±î¿ä?

¢º ¸¶Ä§³» ÀüÀïÀº ³¡³ª°í, ¼¼¸£ºñ¾Æ¿Í ºÒ°¡¸®¾Æ´Â ÆòÈ­Á¶¾àÀ» ü°áÇÕ´Ï´Ù. ·¹À̳ª ¶ÇÇÑ ¾àÈ¥ÀÚ ¼¼¸£±â¿ì½º¿Í ¾Æ¹öÁö Æú ÆêÄÚÇÁ ¼Ò·É(Major Paul Petkoff)°ú ¹Ý°©°Ô ÀçȸÇÏ¿´À¸³ª, ±×µéÀÇ °ü°è´Â °áÄÚ ÀüÀï Àü°ú °°À» ¼ö ¾ø¾ú½À´Ï´Ù. ³î¶ø°Ôµµ ¼¼¸£±â¿ì½º¿Í ¾Æ¹öÁö´Â ºí·éÃú¸® ´ëÀ§¸¦ ¸¸³­ ÀûÀÌ ÀÖ¾ú´Âµ¥...?! °ú¿¬ ±×µéÀÇ ¸¸³²¿¡´Â ¾î¶² ºñ¹ÐÀÌ ¼û°ÜÁ® ÀÖÀ»±î¿ä?

¢º ÀÌÁ¦ ¼¼¸£±â¿ì½º¿Í ·¹À̳ªÀÇ ¾àÈ¥ °ü°è´Â ºí·éÃú¸® ´ëÀ§ÀÇ µîÀåÀ¸·Î Èçµé¸®±â ½ÃÀÛÇÕ´Ï´Ù. ±ºÀÎÀ¸·Î½á´Â ÃÊÄݸ´ Å©¸² º´»ç(Chocolate-Cream Soldier)¿´À¸³ª, ÇÑ ¸íÀÇ ³²ÆíÀ¸·Î½á´Â ½ºÀ§½ºÀÇ È£ÅÚ °¡¹®(the family business, several luxury hotels in Switzerland)ÀÇ ÈļÕÀ¸·Î½á ÇÑÃþ ´õ ¸Å·ÂÀûÀÎ ºí·éÃú¸®ÀÇ ±¸¾Ö ¾Õ¿¡ ·¹À̳ª ¶ÇÇÑ ¸¶À½ÀÌ Èçµé¸®´Â °ÍÀ» ´À³¢´Âµ¥...?! ½ÇÁ¸ÇÏ´Â ÀüÀïÀÎ ¼¼¸£ºñ¾Æ-ºÒ°¡¸®¾Æ ÀüÀï(Serbo-Bulgarian War, 1885)À» ¹è°æÀ¸·Î Àΰ£ º»¼ºÀÇ À§¼±°ú ÀüÀïÀÇ ¹«ÀÍÇÔÀ» À¯¸Ó·¯½ºÇÏ°Ô º¸¿©ÁÖ´Â ¹ö³ªµå ¼îÀÇ ³¯Ä«·Î¿î dzÀÚ±Ø(ù¤í©Ð¼, Satire)ÀÇ ¼¼°è·Î µ¶ÀÚ¸¦ ÃÊ´ëÇÕ´Ï´Ù. Å׸¶¿©Çà½Å¹® TTN Korea ¿µ¾î°íÀü(English Classics) 1,999¼±°ú ÇÔ²² ¾îÁ¦µµ, ¿À´Ãµµ, ³»Àϵµ ¸ÚÁø ¹®Çп©ÇàÀ»!

¢º ¹ø¿ÜÀûÀ¸·Î ÀÛÇ°¿¡ µîÀåÇÑ ÃÊÄݸ´ Å©¸² º´»ç(Chocolate-Cream Soldier)À̶õ Ç¥ÇöÀº ½ÇÁ¦·Î ÀüÀå¿¡¼­ Àß ½Î¿ìÁö ¸øÇÏ´Â ±ºÀÎÀ» ºñÇÏÇÏ´Â ¿ëµµ·Î È®ÀåµÇ¾ú½À´Ï´Ù. ¹ö³ªµå ¼îÀÇ ÀÎÁöµµ°¡ ³ôÀº È£ÁÖ¿Í À̽º¶ó¿¤ µî¿¡¼­ ÇϾ⠼Р¼îÄݶóµå(Hayal Shel Shokolad, ???? ?? ??????), ÃÊÄÚ È¤Àº ÃÊÄݸ´ ±ºÀÎ("chokos" or chocolate soldiers) µîÀÇ Ç¥ÇöÀÌ Á¸ÀçÇÕ´Ï´Ù.

¢º INTRODUCTION. In ¡°Arms and the Man¡± the subject which occupies the dramatist¡¯s attention is that survival of barbarity?militarism?which raises its horrid head from time to time to cast a doubt on the reality of our civilization. No more hoary superstition survives than that the donning of a uniform changes the nature of the wearer. This notion pervades society to such an extent that when we find some soldiers placed upon the stage acting rationally, our conventionalized senses are shocked. The only men who have no illusions about war are those who have recently been there, and, of course, Mr. Shaw, who has no illusions about anything. ¢¹ ¼Ò°³. ¡°¹«±â¿Í Àΰ£, 1894¡±¿¡¼­ ±ØÀÛ°¡ÀÇ °ü½ÉÀ» ²ô´Â ÁÖÁ¦´Â ¶§¶§·Î ¹«½Ã¹«½ÃÇÑ °í°³¸¦ µé¾î ¿ì¸® ¹®¸íÀÇ Çö½Ç¿¡ Àǹ®À» Á¦±âÇÏ´Â ¾ß¸¸¼º, Áï ±º±¹ÁÖÀÇÀÇ »ýÁ¸ÀÔ´Ï´Ù. Á¦º¹À» ÀÔ´Â °ÍÀÌ Âø¿ëÀÚÀÇ º»¼ºÀ» º¯È­½ÃŲ´Ù´Â °Íº¸´Ù ´õ ÁøºÎÇÑ ¹Ì½ÅÀº ³²¾Æ ÀÖÁö ¾Ê½À´Ï´Ù. ÀÌ °³³äÀº »çȸ¿¡ ³Î¸® ÆÛÁ® À־ ¹«´ë¿¡ ¼± ±ºÀÎ Áß ÀϺΰ¡ À̼ºÀûÀ¸·Î ÇൿÇÏ´Â °ÍÀ» º¸¸é ¿ì¸®ÀÇ ÀüÅëÀûÀÎ °¨°¢ÀÌ Ãæ°ÝÀ» ¹Þ½À´Ï´Ù. ÀüÀï¿¡ ´ëÇØ È¯»óÀÌ ¾ø´Â À¯ÀÏÇÑ »ç¶÷Àº ÃÖ±Ù¿¡ ±×°÷¿¡ °¡º» »ç¶÷µé, ±×¸®°í ¹°·Ð ¾î¶² °Í¿¡µµ ȯ»óÀÌ ¾ø´Â ¼î ¾¾ÀÔ´Ï´Ù.

¢º ACT I. A MAN¡¯S VOICE. (in the darkness, subduedly, but threateningly). Sh?sh! Don¡¯t call out or you¡¯ll be shot. Be good; and no harm will happen to you. (She is heard leaving her bed, and making for the door.) Take care, there¡¯s no use in trying to run away. Remember, if you raise your voice my pistol will go off. (Commandingly.) Strike a light and let me see you. Do you hear? (Another moment of silence and darkness. Then she is heard retreating to the dressing-table. She lights a candle, and the mystery is at an end. ¢¹ Á¦1¸·. ³²ÀÚÀÇ ¸ñ¼Ò¸®. (¾îµÒ ¼Ó¿¡¼­, °¡¶ó¾É¾Æ ÀÖÁö¸¸, À§ÇùÀûÀ¸·Î). ½¬-½¬! ¼Ò¸®Ä¡Áö ¸¶. ±×·¯¸é ÃÑ¿¡ ¸ÂÀ» °Å¾ß. ÂøÇÏ°Ô ±¼¾î. (±×³à°¡ ħ´ë¸¦ ¶°³ª ¹®À» ÇâÇØ °É¾î°¡´Â ¼Ò¸®°¡ µé·È¾î.) Á¶½ÉÇØ, µµ¸ÁÄ¡·Á°í Çصµ ¼Ò¿ëÀÌ ¾ø¾î. ³×°¡ ¸ñ¼Ò¸®¸¦ ³ôÀÌ¸é ³» ±ÇÃÑÀÌ ¿ï¸°´Ù´Â °ÍÀ» ±â¾ïÇØ. (¸í·É.) ºÒÀ» Ä¡°í ³»°¡ ³Ê¸¦ º¼ ¼ö ÀÖ°Ô ÇØÁà. µé¸®´Ï? (ÇÑ ¼ø°£ ´õ ħ¹¬°ú ¾îµÒÀÌ Èê·¶½À´Ï´Ù. ±×·¯ÀÚ ±×³à°¡ È­Àå´ë·Î ¹°·¯¼­´Â ¼Ò¸®°¡ µé·È½À´Ï´Ù. ±×³à´Â ÃкÒÀ» ÄÑ°í, ¹Ì½ºÅ͸®´Â ³¡ÀÌ ³µ½À´Ï´Ù.

¢º ACT II. PETKOFF. (over his coffee and cigaret). I don¡¯t believe in going too far with these modern customs. All this washing can¡¯t be good for the health: it¡¯s not natural. There was an Englishman at Phillipopolis who used to wet himself all over with cold water every morning when he got up. Disgusting! It all comes from the English: their climate makes them so dirty that they have to be perpetually washing themselves. Look at my father: he never had a bath in his life; and he lived to be ninety-eight, the healthiest man in Bulgaria. I don¡¯t mind a good wash once a week to keep up my position; but once a day is carrying the thing to a ridiculous extreme. ¢¹ Á¦2¸·. ÆêÄÚÇÁ. (±×ÀÇ Ä¿ÇÇ¿Í ´ã¹è À§¿¡). ³ª´Â ÀÌ·¯ÇÑ Çö´ëÀû °ü½ÀÀ» ³Ê¹« ¸Ö¸®ÇÏ´Â °ÍÀ» ¹ÏÁö ¾Ê½À´Ï´Ù. ÀÌ ¸ðµç ¼¼Å¹Àº °Ç°­¿¡ ÁÁÁö ¾Ê½À´Ï´Ù. ÀÚ¿¬½º·´Áö ¾Ê½À´Ï´Ù. Çʸ®Æ÷Æú¸®½º¿¡´Â ¾Æħ¸¶´Ù ÀϾ¸é Âù¹°¿¡ ¸öÀ» Àû½Ã´ø ¿µ±¹ÀÎÀÌ ÀÖ¾ú½À´Ï´Ù. ¿ª°Ü¿î! ±×°ÍÀº ¸ðµÎ ¿µ±¹¿¡¼­ À¯·¡ÇÑ °ÍÀÔ´Ï´Ù. ±âÈÄ·Î ÀÎÇØ ±×µéÀº ³Ê¹« ´õ·¯¿ö¼­ ²÷ÀÓ¾øÀÌ ¸öÀ» ¾Ä¾î¾ß ÇÕ´Ï´Ù. ³» ¾Æ¹öÁö¸¦ º¸¼¼¿ä. ¾Æ¹öÁö´Â Æò»ý ¸ñ¿åÀ» ÇÑ ¹øµµ Çغ» ÀûÀÌ ¾ø½À´Ï´Ù. ±×´Â 98¼¼±îÁö »ì¾ÒÀ¸¸ç ºÒ°¡¸®¾Æ¿¡¼­ °¡Àå °Ç°­ÇÑ »ç¶÷À̾ú½À´Ï´Ù. ³ª´Â ³» À§Ä¡¸¦ À¯ÁöÇϱâ À§ÇØ ÀÏÁÖÀÏ¿¡ ÇÑ ¹ø Àß ¼¼Å¹ÇÏ´Â °ÍÀ» ²¨¸®Áö ¾Ê½À´Ï´Ù. ÇÏÁö¸¸ ÇÏ·ç¿¡ ÇÑ ¹øÀº »óȲÀ» Å͹«´Ï¾ø´Â ±Ø´ÜÀ¸·Î ¸ô¾Æ³Ö´Â °ÍÀÔ´Ï´Ù.

¢º ACT III. BLUNTSCHLI. I have. I have nine thousand six hundred pairs of sheets and blankets, with two thousand four hundred eider-down quilts. I have ten thousand knives and forks, and the same quantity of dessert spoons. I have six hundred servants. I have six palatial establishments, besides two livery stables, a tea garden and a private house. I have four medals for distinguished services; I have the rank of an officer and the standing of a gentleman; and I have three native languages. Show me any man in Bulgaria that can offer as much. ¢¹ Á¦3¸·. ºí·éÃú¸® ´ëÀ§. ÀÖ½À´Ï´Ù. Àú´Â 9,600¹úÀÇ ½ÃÆ®¿Í ´ã¿ä¸¦ °¡Áö°í ÀÖ°í, 2,400¹úÀÇ ¾ÆÀÌ´õ´Ù¿î À̺ÒÀ» °¡Áö°í ÀÖ½À´Ï´Ù. Àú´Â ¸¸ °³ÀÇ ³ªÀÌÇÁ¿Í Æ÷Å©¸¦ °¡Áö°í ÀÖ°í, µðÀúÆ® ½ºÇ¬µµ °°Àº ¾çÀÔ´Ï´Ù. Àú´Â 600¸íÀÇ ÇÏÀÎÀ» µÎ°í ÀÖ½À´Ï´Ù. Àú´Â 6°³ÀÇ ±ÃÀü °Ç¹°À» °¡Áö°í ÀÖ°í, 2°³ÀÇ Ä§»ó°ú Â÷ Á¤¿ø°ú °³ÀÎ ÁÖÅÃÀ» °¡Áö°í ÀÖ½À´Ï´Ù. Àú´Â 4°³ÀÇ ÈÆÀåÀ» °¡Áö°í ÀÖ°í, Àå±³¿Í ½Å»çÀÇ ÁöÀ§¸¦ °¡Áö°í ÀÖ°í, 3°³ÀÇ ¸ð±¹¾î¸¦ °¡Áö°í ÀÖ½À´Ï´Ù. ºÒ°¡¸®¾Æ¿¡¼­ ¾ó¸¶µçÁö Á¦°øÇÒ ¼ö ÀÖ´Â »ç¶÷À» º¸¿©ÁÖ¼¼¿ä.

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-¸ñÂ÷(Index)-
¢º ÇÁ·Ñ·Î±×(Prologue). Å׸¶¿©Çà½Å¹® TTN Korea ¿µ¾î°íÀü(English Classics) 1,999¼±À» Àоî¾ß ÇÏ´Â 7°¡Áö ÀÌÀ¯
¢º 20°¡Áö Å°¿öµå·Î Àд Á¶Áö ¹ö³ªµå ¼î(George Bernard Shaw, 1856~1950)
01. Á¶Áö ¹ö³ªµå ¼î(George Bernard Shaw, 1856~1950)°¡ Á¶Áö(George)°¡ ¾Æ´Ï¶ó, G¶ó°í ¼­¸íÇÑ ÀÌÀ¯´Â?
02. ÆäÀ̺ñ¾ð Çùȸ(Fabian Society, 1884~)ÀÇ ÆäÀ̺ñ¾ð »çȸÁÖÀÇÀÚ(Fabian Socialist)
03. ÇDZ׸»¸®¿Â(Pygmalion, 1913) : Á¶°¢°¡ ÇDZ׸»¸®¿ÂÀÌ ¿©¼ºÀ» Çø¿ÀÇÑ ÀÌÀ¯´Â?
03-1. ¿Àºñµð¿ì½º(Publius Ovidius Naso, BC 43~AD 17)ÀÇ º¯½Å À̾߱â(The Metamorphoses, AD 8)
03-2. ÇDZ׸»¸®¿Â È¿°ú(Pygmalion Effect) VS °ñ·½ È¿°ú(Golem Effect)
03-3. ¿Àµå¸® Çñ¹ø(Audrey Hepburn)ÀÇ ¸¶ÀÌ Æä¾î ·¹À̵ð(My Fair Lady, 1964)
03-4. À¢µð ¹«¾î(Wendy Moore)ÀÇ ¿Ïº®ÇÑ ¾Æ³» ¸¸µé±â(How to Create the Perfect Wife, 2013)
03-5. ÇDZ׸»¸®¿Â(Pygmalion, 1913)À» ±×¸° È­°¡µé
04. ¹ÇµÎ¼¿¶ó ÁõÈıº(Methuselah Syndrome)
05. ¹ö³ªµå ¼î°¡ ³ëº§¹®Çлó(The Nobel Prize in Literature, 1925)Àº ¹ÞµÇ, »ó±ÝÀº °ÅºÎÇÑ ÀÌÀ¯´Â?!
05-1. ¾ÆÀÏ·£µå Ãâ½ÅÀÇ ³ëº§¹®Çлó ¼ö»óÀÛ°¡(Irish Nobel Prize-Winning Author)°¡ ¹«·Á ³Ý?!
05-2. ³ëº§¹®Çлó(1925)°ú ¿À½ºÄ«»ó(1939)À» µÑ ´Ù ¼ö»óÇÑ Áö±¸»ó À¯ÀÏÇÑ ÀÛ°¡(1939~2016)
06. ¼ÎÀͽºÇǾî(William Shakespeare, 1564~1616) VS Á¶Áö ¹ö³ªµå ¼î(George Bernard Shaw, 1856~1950)
07. ¿À¿ªÀ¸·Î ´õ¿í À¯¸íÇØÁø À¯¾ð(1950) : ¿ì¹°ÂÞ¹°ÇÏ´Ù°¡ ³» ÀÌ·² ÁÙ ¾Ë¾ÒÁö
08. ¼ö¸¹Àº ¾î·ÏÀ» ³²±ä ½Å¶öÇÑ ºñÆò°¡(Vitriolic Critic)ÀÌÀÚ À¯¸Ó·¯½ºÇÑ Ç³ÀÚ°¡(Witty Satirist)
09. õ¿¬µÎ ¹é½ÅÀ» ¸Â¾ÒÀ¸³ª, õ¿¬µÎ¿¡ °É¸° ¹é½Å¹Ý´ë·ÐÀÚ(Anti-Vaccinationist)
10. Á¶Áö ¹ö³ªµå ¼î¸¦ ¸¸³¯ ¼ö ÀÖ´Â Àå¼Ò TOP10(10 Places to meet George Bernard Shaw)
11. Á¶Áö ¹ö³ªµå ¼î ¿øÀÛÀÇ ¿µÈ­¡¤µå¶ó¸¶(Movie and Drama of George Bernard Shaw in IMDb and Wikipedia)
12. ¿Àµð¿ÀºÏÀ¸·Î µè´Â Á¶Áö ¹ö³ªµå ¼î(Audio Books of George Bernard Shaw)
13. Á¶Áö ¹ö³ªµå ¼î ¾î·Ï 161¼±(161 Quotes of George Bernard Shaw)
¢º ¿µ¾î°íÀü1,167 Á¶Áö ¹ö³ªµå ¼îÀÇ ¹«±â¿Í Àΰ£ 1894(English Classics1,167 Arms and the Man by George Bernard Shaw)
Introduction
¢¹ ARMS AND THE MAN
Act I.
Act II.
Act III.
¢º ºÎ·Ï(Appendix). ¼¼°èÀÇ °íÀüÀ» ¿©ÇàÇÏ´Â È÷Ä¡ÇÏÀÌÄ¿¸¦ À§ÇÑ ¾È³»¼­(The Hitchhiker¡¯s Guide to Worlds¡¯s Classics)
A01. ÇϹöµå ¼­Á¡(Harvard Book Store) Á÷¿ø Ãßõ µµ¼­ 100¼±(Staff¡¯s Favorite 100 Books) & ÆǸŵµ¼­ 100À§(Top 100 Books)
A02. ¼­¿ï´ë(Seoul University) ±ÇÀåµµ¼­ 100
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A04. °í·Á´ë(Korea University) ¼¼Á¾Ä·ÆÛ½º ±ÇÀåµµ¼­ 100¼±
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