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¢º Âü·É ¹Ù¹Ù¶ó 1905(Major Barbara 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(49¼¼)¿¡ 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. Å׸¶¿©Çà½Å¹® TTN Korea ¿µ¾î°íÀü(English Classics) 1,999¼±°ú ÇÔ²² ¾îÁ¦µµ, ¿À´Ãµµ, ³»Àϵµ ¸ÚÁø ¹®Çп©ÇàÀ»!

¢º ÀÚ¼±´Üü´Â µµ´öÀûÀ¸·Î ¼ø¼öÇÑ µ·¸¸À» ±âºÎ ¹Þ¾Æ¾ß Çϴ°¡?! : ¹Ù¹Ù¶ó ¾ð´õ»þÇÁÆ®(Barbara Undershaft)´Â ±º¼öÇ° Á¦Á¶¾÷ü(Munitions Maker)·Î Å«µ·À» ¹ø ¾Øµå·ù ¾ð´õ»þÇÁÆ®(Andrew Undershaft)¿Í ¿µ±¹ ¹éÀÛÀÇ µþ ºê¸®Å丶Ʈ ¾ð´õ»þÇÁÆ® ºÎÀÎ(Lady Britomart Undershaft)ÀÇ µþÀ̶õ È­·ÁÇÑ ¹è°æ¿¡µµ ºÒ±¸ÇÏ°í, ·±´ø¿¡ À§Ä¡ÇÑ ±¸¼¼±º(Salvation Army)¿¡¼­ Âü·É(óÑÖÅ, Major)À¸·Î º¹¹« ÁßÀÎ ¿©ÁÖÀΰøÀÔ´Ï´Ù. ºó¹Î±¸Á¦¸¦ À§ÇØ ±¸¼¼±º¿¡ º¹¹«Çϸ鼭µµ, ¾Æ¹öÁö°¡ »ç¶÷ ¸ñ¼ûÀ» Á×ÀÌ´Â ±º¼öÇ°À» ÆÈ¾Æ ¹ø ÇÇ¿¡ Á¥Àº µ·À» ±¸¼¼±º¿¡ ±âºÎÇÏ´Â °Í¿¡ ȯ¸êÀ» ´À³¢´Â ¹Ù¹Ù¶ó´Â Çö½Ç°ú ÀÌ»ó »çÀÌ¿¡¼­ ²÷ÀÓ¾øÀÌ °í³úÇÕ´Ï´Ù. ÆäÀ̺ñ¾ð Çùȸ(Fabian Society, 1884~)ÀÇ ÆäÀ̺ñ¾ð »çȸÁÖÀÇÀÚ(Fabian Socialist)ÀÎ ¹ö³ªµå ¼îÀÇ Ã¶ÇÐÀÌ ¹Ù¹Ù¶óÀÇ Çຸ¿¡ £°Ô ¹è¾î ÀÖÀ½À» È®ÀÎÇÏ½Ç ¼ö ÀÖ½À´Ï´Ù.

¢º ÀÌ»ó°ú Çö½Ç »çÀÌ, Âü·É ¹Ù¹Ù¶ó(Major Barbara)ÀÇ °í³ú : ±×³à´Â ÀÌ¿ôµéÀ» ¿Ã¹Ù¸¥ ±æ·Î ÀεµÇÏ°íÀÚ ÇÏ´Â »ç¸í¿¡ ºÒŸ´Â Àι°ÀÌÁö¸¸, ºó°ïÀ̶õ °Å´ëÇÑ Çö½Ç ¾Õ¿¡¼­ ÁÂÀýÇÒ ¼ö¹Û¿¡ ¾ø¾ú½À´Ï´Ù. ¡®°¡³­Àº ³ª¶óµµ ±¸Á¦ÇÏÁö ¸øÇÑ´Ù.¡¯¶ó´Â ¸»ÀÌ ÀÖÀ» Á¤µµ·Î Àηù ¿ª»ç¿¡¼­ ºó°ïÀº °áÄÚ ÇØ°áÇÒ ¼ö ¾ø´Â °Å´ëÇÑ À庮ÀÌ¿´±â¿¡, ¹ö³ªµå ¼î´Â ÀڽŸ¸ÀÇ ³Ã¼ÒÁÖÀÇ(Cynicism)¸¦ °ü°´µé¿¡°Ô ¼³ÆÄÇÕ´Ï´Ù. ³²ÀÇ ³ª¶ó¿¡¼­ ¹ú¾îÁö´Â ÀüÀïÀ¸·Î ¹ø µ·ÀÏÁö¶óµµ, ¿ì¸® °çÀÇ ºó¹ÎµéÀ» ±¸Çϱâ À§ÇØ ¾µ ¼ö ÀÖ´Ù¸é ÁÁÀº °Å ¾Æ´Ñ°¡?!

¢º ¹ö³ªµå ¼î´Â ÀÛÇ°°ú º°µµ·Î ÀÛÇ°°ú °ü·ÃÇÑ 6ÆíÀÇ ¿ø°í¸¦ ¹­Àº ºñÆò°¡¸¦ À§ÇÑ ÀÀ±Þóġ: Âü·É ¹Ù¹Ù¶ó ¼­¹® 1905(Preface to Major Barbara: First Aid to Critics by George Bernard Shaw)¸¦ ¹ßÇ¥ÇÏ¿´À¸¸ç Âü·É ¹Ù¹Ù¶ó 1905(Major Barbara by George Bernard Shaw)¿Í ÇÔ²² ÀÐÀ¸½Ã¸é ´õ¿í ÁÁ½À´Ï´Ù. ¼¼ÀÎÆ® ¾Øµå·ù ¾ð´õ»þÇÁÆ®ÀÇ º¹À½¼­(The Gospel Of St. Andrew Undershaft), ±¸¼¼±º(The Salvation Army), ¹Ù¹Ù¶óÀÇ »ö±ò·ÎÀÇ º¹±Í(Barbara's Return To The Colors.), ±¸¼¼±ºÀÇ ¾àÁ¡(Weaknesses Of The Salvation Army.), ±âµ¶±³¿Í ¹«Á¤ºÎÁÖÀÇ(Christianity And Anarchism), °ÇÀüÇÑ °á·Ð(Sane Conclusions).

¢º Before dealing with the deeper aspects of Major Barbara, let me, for the credit of English literature, make a protest against an unpatriotic habit into which many of my critics have fallen. Whenever my view strikes them as being at all outside the range of, say, an ordinary suburban churchwarden, they conclude that I am echoing Schopenhauer, Nietzsche, Ibsen, Strindberg, Tolstoy, or some other heresiarch in northern or eastern Europe. ¢¹ ¹Ù¹Ù¶ó ¼Ò·ÉÀÇ ´õ ±íÀº Ãø¸éÀ» ´Ù·ç±â Àü¿¡, ¿µ¹®ÇÐÀÇ ¸í¿¹¸¦ À§ÇØ ³ª¸¦ ºñÆÇÇÏ´Â ¸¹Àº »ç¶÷µéÀÌ ºüÁ® ÀÖ´Â ºñ¾Ö±¹ÀûÀÎ ½À°ü¿¡ ´ëÇØ Ç×ÀÇÇÏ°í ½Í½À´Ï´Ù. ³» °ßÇØ°¡ ±×µéÀ» Æò¹üÇÑ ±³¿Ü ±³È¸ °¨µ¶ÀÚÀÇ ¹üÀ§ ¹Û¿¡ ÀÖ´Â °ÍÀ¸·Î »ý°¢ÇÒ ¶§¸¶´Ù ±×µéÀº ³»°¡ ¼îÆæÇÏ¿ì¾î, ´Ïü, ÀÔ¼¾, ½ºÆ®¸°µåº£¸®, Å罺ÅäÀÌ ¶Ç´Â ºÏÀ¯·´À̳ª µ¿À¯·´ÀÇ ´Ù¸¥ ÀÌ´ÜÀÚµéÀ» ¹Ý¿µÇÏ°í ÀÖ´Ù°í °á·ÐÀ» ³»¸³´Ï´Ù.

¢º I confess there is something flattering in this simple faith in my accomplishment as a linguist and my erudition as a philosopher. But I cannot tolerate the assumption that life and literature is so poor in these islands that we must go abroad for all dramatic material that is not common and all ideas that are not superficial. I therefore venture to put my critics in possession of certain facts concerning my contact with modern ideas. ¢¹ ³ª´Â ¾ð¾îÇÐÀڷμ­ÀÇ ³ªÀÇ ¼ºÃë¿Í öÇÐÀڷμ­ÀÇ ÇнĿ¡ ´ëÇÑ ÀÌ ´Ü¼øÇÑ ¹ÏÀ½¿¡ ¹º°¡ ¿ìÂáÇÑ °ÍÀÌ ÀÖÀ½À» °í¹éÇÕ´Ï´Ù. ±×·¯³ª ³ª´Â ÀÌ ¼¶µéÀÇ »ýÈ°°ú ¹®ÇÐÀÌ ³Ê¹« ¿­¾ÇÇؼ­ ¿ì¸®°¡ ÀϹÝÀûÀÌÁö ¾ÊÀº ¸ðµç ±ØÀûÀÎ ÀÚ·á¿Í ÇÇ»óÀûÀÌÁö ¾ÊÀº ¸ðµç ¾ÆÀ̵ð¾î¸¦ ¾ò±â À§ÇØ ÇØ¿Ü·Î ³ª°¡¾ß ÇÑ´Ù´Â °¡Á¤À» ¿ë³³ÇÒ ¼ö ¾ø½À´Ï´Ù. ±×·¯¹Ç·Î ³ª´Â Çö´ë »ç»ó°úÀÇ Á¢ÃË¿¡ °üÇÑ Æ¯Á¤ »ç½ÇÀ» ºñÆÇÀڵ鿡°Ô ¾Ë¸®·Á°í °¨È÷ ³ë·ÂÇÕ´Ï´Ù.

¢º THE GOSPEL OF ST. ANDREW UNDERSHAFT. It is this credulity that drives me to help my critics out with Major Barbara by telling them what to say about it. In the millionaire Undershaft I have represented a man who has become intellectually and spiritually as well as practically conscious of the irresistible natural truth which we all abhor and repudiate: to wit, that the greatest of evils and the worst of crimes is poverty, and that our first duty?a duty to which every other consideration should be sacrificed?is not to be poor. ¢¹ ¼¼ÀÎÆ®ÀÇ º¹À½. ¾Øµå·ù ¾ð´õ»þÇÁÆ®. ¹Ù¹Ù¶ó ¼Ò·É¿¡ ´ëÇØ ¹«¾ùÀ» ¸»ÇØ¾ß ÇÒÁö ¸»ÇÔÀ¸·Î½á ³ªÀÇ ºñÆò°¡µéÀ» µµ¿ÍÁÖ°Ô µÈ °ÍÀº ¹Ù·Î ÀÌ·¯ÇÑ °æ½ÅÀÔ´Ï´Ù. ¹é¸¸ÀåÀÚ ¾ð´õ»þÇÁÆ®¿¡¼­ ³ª´Â ¿ì¸® ¸ðµÎ°¡ Çø¿ÀÇÏ°í °ÅºÎÇÏ´Â °ÅºÎÇÒ ¼ö ¾ø´Â ÀÚ¿¬Àû Áø¸®, Áï °¡Àå Å« ¾Ç°ú ÃÖ¾ÇÀÇ ¹üÁË´Â °¡³­À̶ó´Â »ç½ÇÀ» ÁöÀûÀ¸·Î³ª ¿µÀûÀ¸·Î ±×¸®°í ½ÇÁúÀûÀ¸·Î ÀǽÄÇÏ°Ô µÈ »ç¶÷À» ´ëÇ¥Çß½À´Ï´Ù. ¿ì¸®ÀÇ Ã¹ ¹ø° Àǹ«, Áï ´Ù¸¥ ¸ðµç °ÍÀ» Èñ»ýÇØ¾ß ÇÏ´Â Àǹ«´Â °¡³­ÇÏÁö ¾Ê´Â °ÍÀÔ´Ï´Ù.

¢º THE SALVATION ARMY. When Major Barbara was produced in London, the second act was reported in an important northern newspaper as a withering attack on the Salvation Army, and the despairing ejaculation of Barbara deplored by a London daily as a tasteless blasphemy. And they were set right, not by the professed critics of the theatre, but by religious and philosophical publicists like Sir Oliver Lodge and Dr Stanton Coit, and strenuous Nonconformist journalists like Mr William Stead, who not only understood the act as well as the Salvationists themselves, but also saw it in its relation to the religious life of the nation, a life which seems to lie not only outside the sympathy of many of our theatre critics, but actually outside their knowledge of society. ¢¹ ±¸¼¼±º. ¹Ù¹Ù¶ó ¼Ò·ÉÀÌ ·±´ø¿¡¼­ Á¦À۵ǾúÀ» ¶§, µÎ ¹ø° ¸·Àº ±¸¼¼±º¿¡ ´ëÇÑ À§ÃàÀûÀÎ °ø°ÝÀ¸·Î ºÏºÎÀÇ Áß¿äÇÑ ½Å¹®¿¡ º¸µµµÇ¾ú°í, ¹Ù¹Ù¶óÀÇ Àý¸ÁÀûÀÎ »çÁ¤Àº ·±´ø ÀÏ°£Áö¿¡¼­ ¸À¾ø´Â ½Å¼º ¸ðµ¶À¸·Î °³ÅºµÇ¾ú½À´Ï´Ù. ±×¸®°í ±×µéÀº ±ØÀåÀÇ ºñÆò°¡¶ó°í °ø¾ðÇÏ´Â »ç¶÷µé¿¡ ÀÇÇؼ­°¡ ¾Æ´Ï¶ó ¿Ã¸®¹ö ·ÎÁö °æ°ú ½ºÅÄÆ° ÄÚÀÌÆ® ¹Ú»ç¿Í °°Àº Á¾±³ÀûÀÌ°í öÇÐÀûÀÎ È«º¸ ´ã´çÀÚµé°ú ±¸¼¼ÁÖÆĻӸ¸ ¾Æ´Ï¶ó ±× ÇàÀ§¸¦ ÀÌÇØÇßÀ» »Ó¸¸ ¾Æ´Ï¶ó Àª¸®¾ö ½ºÅ×µå ¾¾¿Í °°Àº ¿­¼ºÀûÀÎ ºñ±¹±³µµ ¾ð·ÐÀε鿡 ÀÇÇØ ¹Ù·ÎÀâÇû½À´Ï´Ù. ¸¹Àº ¿¬±Ø Æò·Ð°¡µéÀÇ µ¿Á¤ ¹Û¿¡ ÀÖ´Â °Íó·³ º¸ÀÏ »Ó¸¸ ¾Æ´Ï¶ó ½ÇÁ¦·Î´Â »çȸ¿¡ ´ëÇÑ ±×µéÀÇ Áö½Ä ¹Û¿¡ ÀÖ´Â °Íó·³ º¸ÀÌ´Â »î, Áï ±¹°¡ÀÇ Á¾±³ »ýÈ°°úÀÇ °ü°è¿¡¼­µµ ±×°ÍÀ» º¸¾Ò½À´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°íÀü1,180 Á¶Áö ¹ö³ªµå ¼îÀÇ ºñÆò°¡¸¦ À§ÇÑ ÀÀ±Þóġ: Âü·É ¹Ù¹Ù¶ó ¼­¹® 1905(English Classics1,180 Preface to Major Barbara: First Aid to Critics by George Bernard Shaw)
The Gospel Of St. Andrew Undershaft
The Salvation Army
Barbara's Return To The Colors.
Weaknesses Of The Salvation Army.
Christianity And Anarchism
Sane Conclusions
¢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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A09. Ä«À̽ºÆ®(KAIST) µ¶¼­¸¶Àϸ®ÁöÁ¦ Ãßõµµ¼­ 100±Ç
A10. ¹®Çлó(Literary Awards) ¼ö»óÀÛ ¹× Ãßõµµ¼­(44)
A11. ¿µ¾î°íÀü(English Classics) ¿Àµð¿ÀºÏÀ» ¹«·á·Î µè´Â 5°¡Áö ¹æ¹ý(How to listen to FREE audio Books legally?)
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