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¢º ´Ïº§·îÀÇ ¹ÝÁö ºñÆò¼­: ÆÛÆåÆ® ¹Ù±×³Ê¶óÀÌÆ® 1898(The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw)Àº ¡®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(42¼¼)¿¡ ÁýÇÊÇÑ Ã¶ÇÐÀû ³íÆò(Philosophical Commentary)ÀÔ´Ï´Ù. ³íÆòÀÇ ´ë»óÀº µ¶ÀÏÀÇ ¼¼°èÀûÀÎ °ÅÀå ÀÛ°î°¡ ºôÇ︧ ¸®Çϸ£Æ® ¹Ù±×³Ê(Wilhelm Richard Wagner, 1813~1883)ÀÇ ´Ïº§·î°ÕÀÇ ¹ÝÁö(Der Ring des Nibelungen, 1876)! ¿µ±¹ÀÇ °ÉÃâÇÑ Èñ°î ÀÛ°¡ ¹Ù±×³Ê ¼î´Â °ú¿¬ µ¶ÀÏ ÀÛ°î°¡ ¹Ù±×³ÊÀÇ °ÉÀÛÀ» ¾î¶»°Ô ºÐ¼®ÇÏ°í, ¾î¶»°Ô Æò°¡ÇßÀ»±î¿ä? Å׸¶¿©Çà½Å¹® TTN Korea ¿µ¾î°íÀü(English Classics) 1,999¼±°ú ÇÔ²² ¾îÁ¦µµ, ¿À´Ãµµ, ³»Àϵµ ¸ÚÁø ¹®Çп©ÇàÀ»!

¢º ¿ÀÆä¶ó ¿ª»ç»ó °¡Àå Áß¿äÇÑ À§´ëÇÑ °ÉÀÛ °¡¿îµ¥ Çϳª! : ´Ïº§·îÀÇ ¹ÝÁö(Der Ring des Nibelungen, 1876)´Â ºñ´Ü ¹Ù±×³ÊÀÇ ¾Ç±Ø(Musicdrama) Áß¿¡¼­µµ ÃÖ°íÀÇ ¿ªÀÛÀ̶ó ²ÅÈ÷´Â °ÍÀ» ³Ñ¾î¼­, ¿ÀÆä¶ó ¿ª»ç»ó ÃÖ°íÀÇ °ÉÀÛ Áß Çϳª·Î Ãß¾Ó¹Þ´Â ÀÛÇ°ÀÔ´Ï´Ù. ¾Ç±ØÀÇ ¼ÒÀç´Â ºÏÀ¯·´ ½ÅÈ­ÀÇ ¿µ±¹ ½Ã±×¹®µå(Sigmundr)¿Í ½Ã±¸¸£µå(Sigurd)·Î ¹Ù±×³Ê ÀÚ½ÅÀÌ ¸ðµç °¢º»À» Á÷Á¢ ¾²°í, ÀÛ°îÇÏ¿´À» »Ó¸¸ ¾Æ´Ï¶ó ÀÛ°î ±â°£ ¶ÇÇÑ ¹«·Á 28³â¿¡ ´ÞÇÕ´Ï´Ù. µ¶ÀÏ ¹ÙÀÌ·ÎÀÌÆ®ÀÇ ¹Ù±×³Ê Àü¿ë ±ØÀå ¹ÙÀÌ·ÎÀÌÆ® ÃàÁ¦±Ø(Bayreuth Festspielhaus)¿¡¼­ °ø½ÄÀûÀ¸·Î ÃÊ¿¬ÇÑ ÇØ´Â 1876³âÀ¸·Î, Á¦1ºÎ(îñå¨) ¶óÀÎÀÇ È²±Ý(Das Rheingold)ºÎÅÍ Á¦2ºÎ(ìéå¨) ¹ßÄû·¹(Die Walkure), Á¦3ºÎ(ì£å¨) ÁöÅ©ÇÁ¸®Æ®(Siegfried), ±×¸®°í Á¦4ºÎ(ß²å¨) ½ÅµéÀÇ È²È¥(Gotterdammerung)±îÁö ÃÑ 4ºÎ·Î ±¸¼ºµÇ¾î ÀÖ½À´Ï´Ù.

¢º PRELIMINARY ENCOURAGEMENTS. It is generally understood, however, that there is an inner ring of superior persons to whom the whole work has a most urgent and searching philosophic and social significance. I profess to be such a superior person; and I write this pamphlet for the assistance of those who wish to be introduced to the work on equal terms with that inner circle of adepts. ¢¹ ¿¹ºñ °Ý·Á. ±×·¯³ª ÀϹÝÀûÀ¸·Î Àüü ÀÛ¾÷ÀÌ °¡Àå ½Ã±ÞÇÏ°í Ž±¸ÀûÀΠöÇÐÀû, »çȸÀû Á߿伺À» °®´Â ¿ì¼öÇÑ »ç¶÷µéÀÇ ³»ºÎ °í¸®°¡ ÀÖ´Ù´Â °ÍÀÌ ÀÌÇص˴ϴÙ. ³ª´Â ±×Åä·Ï ¶Ù¾î³­ »ç¶÷À̶ó°í °ø¾ðÇÕ´Ï´Ù. ±×¸®°í ³ª´Â ³»¸éÀÇ ¼÷·ÃÀÚµé°ú µ¿µîÇÑ Á¶°ÇÀ¸·Î ÀÛÇ°À» Á¢Çϱ⸦ ¿øÇÏ´Â »ç¶÷µéÀÇ µµ¿òÀ» À§ÇØ ÀÌ ÆÊÇ÷¿À» ¾¹´Ï´Ù.

¢º WAGNER AS REVOLUTIONIST. Before leaving this explanation of The Rhine Gold, I must have a word or two about it with the reader. It is the least popular of the sections of The Ring. The reason is that its dramatic moments lie quite outside the consciousness of people whose joys and sorrows are all domestic and personal, and whose religions and political ideas are purely conventional and superstitious. To them it is a struggle between half a dozen fairytale personages for a ring, involving hours of scolding and cheating, and one long scene in a dark gruesome mine, with gloomy, ugly music, and not a glimpse of a handsome young man or pretty woman. Only those of wider consciousness can follow it breathlessly, seeing in it the whole tragedy of human history and the whole horror of the dilemmas from which the world is shrinking today. ¢¹ Çõ¸í°¡·Î¼­ÀÇ ¹Ù±×³Ê. ¶óÀÎ °ñµå¿¡ ´ëÇÑ ¼³¸íÀ» ³²±â±â Àü¿¡, µ¶ÀÚµé°ú ÇѵΠ°¡Áö À̾߱⸦ ÇØ¾ß ÇÕ´Ï´Ù. ±×°ÍÀº ¸µÀÇ ¼½¼Ç Áß °¡Àå ÀαⰡ ¾ø½À´Ï´Ù. ±× ÀÌÀ¯´Â ±×°ÍÀÇ ±ØÀûÀÎ ¼ø°£µéÀÌ ±â»Ý°ú ½½ÇÄÀÌ ¸ðµÎ °¡Á¤ÀûÀÌ°í °³ÀÎÀûÀ̸ç Á¾±³¿Í Á¤Ä¡Àû »ý°¢ÀÌ ¼øÀüÈ÷ °ü½ÀÀûÀÌ°í ¹Ì½ÅÀûÀÎ »ç¶÷µéÀÇ ÀÇ½Ä ¹Û¿¡ Àֱ⠶§¹®ÀÔ´Ï´Ù. ±×µé¿¡°Ô ±×°ÍÀº ¹ÝÁö¸¦ ¾ò±â À§ÇÑ ¿©¼¸ ¸íÀÇ µ¿È­ Àι°µéÀÇ ÅõÀïÀÌ°í, ¸î ½Ã°£ µ¿¾ÈÀÇ ²Ù¢À½°ú ¹Ù¶÷À» ÇÇ¿ì¸ç, À½¿ïÇÏ°í ÃßÇÑ À½¾ÇÀÌ ÀÖ´Â ¾îµÎ¿î ¼¶¶àÇÑ ±¤»ê¿¡¼­ÀÇ ±ä Àå¸é Çϳª¿Í Àß»ý±ä ÀþÀºÀ̳ª ¿¹»Û ¿©ÀÚ¸¦ »ì¦ º¼ ¼ö ¾ø½À´Ï´Ù. ´õ ³ÐÀº ÀǽÄÀ» °¡Áø »ç¶÷µé¸¸ÀÌ ±×°ÍÀ» ¼û °¡»Ú°Ô µû¶ó°¥ ¼ö ÀÖ°í, ±× ¾È¿¡¼­ Àηù ¿ª»çÀÇ ¸ðµç ºñ±Ø°ú ¿À´Ã³¯ ¼¼°è°¡ ÁÙ¾îµé°í ÀÖ´Â µô·¹¸¶ÀÇ ¸ðµç °øÆ÷¸¦ º¼ ¼ö ÀÖ½À´Ï´Ù.

¢º THE MUSIC OF THE RING. THE REPRESENTATIVE THEMES. To be able to follow the music of The Ring, all that is necessary is to become familiar enough with the brief musical phrases out of which it is built to recognize them and attach a certain definite significance to them, exactly as any ordinary Englishman recognizes and attaches a definite significance to the opening bars of God Save the King. There is no difficulty here: every soldier is expected to learn and distinguish between different bugle calls and trumpet calls; and anyone who can do this can learn and distinguish between the representative themes or "leading motives" (Leitmotifs) of The Ring. ¢¹ ¹ÝÁöÀÇ À½¾Ç. ´ëÇ¥ÀûÀÎ ÁÖÁ¦. ¹ÝÁö(The Ring)ÀÇ À½¾ÇÀ» µû¶ó°¥ ¼ö ÀÖÀ¸·Á¸é ÇÊ¿äÇÑ °ÍÀº ÀÏ¹Ý ¿µ±¹ÀÎÀÌ ÀνÄÇÏ°í ÀÌÇØÇÏ´Â °Í°ú ¶È°°ÀÌ ±×°ÍÀ» ÀνÄÇÏ°í °Å±â¿¡ ƯÁ¤ÇÑ Àǹ̸¦ ºÎ¿©Çϱâ À§ÇØ ¸¸µé¾îÁø °£´ÜÇÑ À½¾Ç ¹®±¸¿¡ ÃæºÐÈ÷ Àͼ÷ÇØÁö´Â °ÍÀÔ´Ï´Ù. ½ÅÀÌ¿© ¿ÕÀ» ±¸¿øÇϼҼ­(God Save the King)ÀÇ ¿ÀÇÁ´× â»ì¿¡ ¸íÈ®ÇÑ Àǹ̸¦ ºÎ¿©ÇÕ´Ï´Ù. ¿©±â¿¡´Â ¾î·Á¿òÀÌ ¾ø½À´Ï´Ù. ¸ðµç ±ºÀÎÀº ´Ù¾çÇÑ ³ªÆÈ ¼Ò¸®¿Í Æ®·³Æê ¼Ò¸®¸¦ ¹è¿ì°í ±¸º°ÇØ¾ß ÇÕ´Ï´Ù. ±×¸®°í ÀÌ°ÍÀ» ÇÒ ¼ö ÀÖ´Â »ç¶÷Àº ´©±¸³ª ¹ÝÁö(The Ring)ÀÇ ´ëÇ¥ÀûÀÎ ÁÖÁ¦³ª "ÁÖ¿ä µ¿±â"(Leitmotifs)¸¦ ¹è¿ì°í ±¸º°ÇÒ ¼ö ÀÖ½À´Ï´Ù.

¢º WAGNERIAN SINGERS. The truth is, there is nothing wrong with England except the wealth which attracts teachers of singing to her shores in sufficient numbers to extinguish the voices of all natives who have any talent as singers. Our salvation must come from the class that is too poor to have lessons. ¢¹ ¹Ù±×³Ê½Ä °¡¼ö. Áø½ÇÀº, °¡¼ö·Î¼­ÀÇ Àç´ÉÀÌ ÀÖ´Â ¸ðµç ¿øÁÖ¹ÎÀÇ ¸ñ¼Ò¸®¸¦ ¼Ò¸ê½Ãų ¸¸Å­ ÃæºÐÇÑ ¼öÀÇ ³ë·¡ ±³»çµéÀ» ÇؾÈÀ¸·Î ²ø¾îµéÀÌ´Â ºÎ¸¦ Á¦¿ÜÇÏ¸é ¿µ±¹¿¡´Â ¾Æ¹«·± ¹®Á¦°¡ ¾ø´Ù´Â °ÍÀÔ´Ï´Ù. ¿ì¸®ÀÇ ±¸¿øÀº ³Ê¹« °¡³­Çؼ­ ±³ÈÆÀ» ¹ÞÀ» ¼ö ¾ø´Â ¹Ý¿¡¼­ ³ª¿Í¾ß ÇÕ´Ï´Ù.

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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°íÀü1,172 Á¶Áö ¹ö³ªµå ¼îÀÇ ´Ïº§·îÀÇ ¹ÝÁö ºñÆò¼­: ÆÛÆåÆ® ¹Ù±×³Ê¶óÀÌÆ® 1898(English Classics1,172 The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw)
Preface To The First German Edition
Preface To The Second Edition
Preface To The First Edition
¢¹ THE PERFECT WAGNERITE
Preliminary Encouragements
The Ring Of The Niblungs
The Rhine Gold
Wagner As Revolutionist
The Valkyries
Siegfried
Back To Opera Again
Siegfried As Protestant
Panacea Quackery, Otherwise Idealism
Dramatic Origin Of Wotan
The Love Panacea
Not Love, But Life
Anarchism No Panacea
Siegfried Concluded
Night Falls On The Gods : Prologue
A Wagnerian Newspaper Controversy
Forgotten Ere Finished
Why He Changed His Mind
Wagner's Own Explanation
The Pessimist As Amorist
The Music Of The Ring
The Characterization
The Old And The New Music
The Nineteenth Century
The Music Of The Future
Bayreuth
Bayreuth In England
Wagnerian Singers
¢º ºÎ·Ï(Appendix). ¼¼°èÀÇ °íÀüÀ» ¿©ÇàÇÏ´Â È÷Ä¡ÇÏÀÌÄ¿¸¦ À§ÇÑ ¾È³»¼­(The Hitchhiker¡¯s Guide to Worlds¡¯s Classics)
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