¢º ±â°¢ 1912(Overruled 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(56¼¼)¿¡ ÁýÇÊÇÑ Äڹ̵ð ´Ü¸·±Ø(comic one-act play)ÀÔ´Ï´Ù. 1912³â ·±´ø ¿þ½ºÆ®¹Î½ºÅÍ ½ÃÀÇ µàÅ© ¿Àºê ¿äÅ© ±ØÀå(The Duke of York's Theatre)¿¡¼ ÃÊ¿¬À» ¿Ã·È½À´Ï´Ù¸¸, ´ëÁßÀûÀ¸·Îµµ Æò·ÐÀ¸·ÎºÎÅ͵µ ½â ÁÁÁö ¾ÊÀº Æò°¡¸¦ ¹Þ¾Ò½À´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 "ÀϺδÙóÁ¦°¡ ±×°Í¿¡ °üÇÑ ¸ðµç »ö´Ù¸¥ °ßÇØ¿¡ ¼øÁøÇÑ Æò¹üÇÑ »ç¶÷µé »çÀÌ¿¡¼ ¾î¶»°Ô ¹ß»ýÇϴ°¡(how polygamy occurs among quite ordinary people innocent of all unconventional views concerning it.) : ¹Ù´Ù Ç×ÇØ(sea voyage) Áß¿¡ ¸¸³ À¯ºÎ³² ±×·¹°í¸® ·é(Gregory Lunn)°ú À¯ºÎ³à ÁÖ³ë ºÎÀÎ(Mrs Juno)Àº ÀڽŵéÀÇ ¹è¿ìÀÚ°¡ ÀÖÀ½¿¡µµ ºÒ±¸ÇÏ°í, ¼·Î¿¡°Ô ¸Å·ÂÀ» ´À³§´Ï´Ù. ÇÑÆí ½Ãºê¼ÒÇÁ ÁÖ³ë(Mr. Sibthorpe Juno)´Â ·é ºÎÀÎ(Mrs Lunn)¿¡°Ô È£°¨À» °®Áö¸¸, ·é ºÎÀÎÀº ±×Àú ¾à°£ÀÇ È£±â½É¸¸À» °¡Á³À» »ÓÀÔ´Ï´Ù. °¢ÀÚÀÇ ¿¬Àο¡°Ô ²ø¸° µÎ ºÎºÎ´Â °ú¿¬ ¾î¶² °á¸»À» ¸ÂÀÌÇÏ°Ô µÉ±î¿ä?!
¢º THE ALLEVIATIONS OF MONOGAMY. This piece is not an argument for or against polygamy. It is a clinical study of how the thing actually occurs among quite ordinary people, innocent of all unconventional views concerning it. The enormous majority of cases in real life are those of people in that position. ¢¹ ÀϺÎÀÏóÁ¦ÀÇ ¿ÏÈ. ÀÌ ±ÛÀº ÀϺδÙóÁ¦¸¦ ¿ËÈ£Çϰųª ¹Ý´ëÇÏ´Â ÁÖÀåÀÌ ¾Æ´Õ´Ï´Ù. ±×°ÍÀº ±×°Í¿¡ °üÇÑ ¸ðµç Ʋ¿¡ ¾ô¸ÅÀÌÁö ¾Ê´Â °ßÇØ¿¡ °á¹éÇÑ ¾ÆÁÖ Æò¹üÇÑ »ç¶÷µé »çÀÌ¿¡¼ ±× ÀÏÀÌ ½ÇÁ¦·Î ¾î¶»°Ô ÀϾ´ÂÁö¿¡ ´ëÇÑ ÀÓ»ó ¿¬±¸ÀÔ´Ï´Ù. ½ÇÁ¦ »ýÈ°¿¡¼ ÀϾ´Â °æ¿ìÀÇ ´ëºÎºÐÀº ±× À§Ä¡¿¡ ÀÖ´Â »ç¶÷µéÀÇ °æ¿ìÀÔ´Ï´Ù.
¢º THE FAVORITE SUBJECT OF FARCICAL COMEDY. The little piece which follows this preface accordingly takes the form of a farcical comedy, because it is a contribution to the very extensive dramatic literature which takes as its special department the gallantries of married people. ¢¹ Èñ±Ø Äڹ̵𿡼 °¡Àå ÁÁ¾ÆÇÏ´Â ÁÖÁ¦. µû¶ó¼ ÀÌ ¼¹® ´ÙÀ½¿¡ ³ª¿À´Â ÀÛÀº ÀÛÇ°Àº Èñ±Ø Äڹ̵ðÀÇ ÇüŸ¦ ÃëÇÕ´Ï´Ù. ¿Ö³ÄÇϸé ÀÌ ÀÛÇ°Àº ±âÈ¥ÀÚµéÀÇ ¿ë°¨ÇÔÀ» Àü¹® ºÐ¾ß·Î »ï´Â ¸Å¿ì ±¤¹üÀ§ÇÑ ¿¬±Ø ¹®Çп¡ ´ëÇÑ °øÇåÀ̱⠶§¹®ÀÔ´Ï´Ù.
¢º ART AND MORALITY. It is ridiculous to say, as inconsiderate amateurs of the arts do, that art has nothing to do with morality. What is true is that the artist's business is not that of the policeman; and that such factitious consequences and put-up jobs as divorces and executions and the detective operations that lead up to them are no essential part of life, though, like poisons and buttered slides and red-hot pokers, they provide material for plenty of thrilling or amusing stories suited to people who are incapable of any interest in psychology. ¢¹ ¿¹¼ú°ú µµ´ö. ¿¹¼úÀÇ »ç·Á ±íÁö ¸øÇÑ ¾Æ¸¶Ãß¾îµéÀÌ ±×·¯ÇϵíÀÌ, ¿¹¼úÀº µµ´ö°ú ¾Æ¹« »ó°üÀÌ ¾ø´Ù°í ¸»ÇÏ´Â °ÍÀº ¸»µµ ¾È µË´Ï´Ù. Áø½ÇµÈ °ÍÀº ¿¹¼ú°¡ÀÇ ÀÏÀº °æÂûÀÇ ÀÏÀÌ ¾Æ´Ï¶ó´Â °ÍÀÔ´Ï´Ù. ÀÌÈ¥, »çÇü°ú °°Àº »ç½ÇÀûÀÎ °á°ú¿Í Á÷¾÷, ±×¸®°í ±×°Íµé·Î À̾îÁö´Â Çü»ç ¾÷¹«°¡ ÀλýÀÇ º»ÁúÀûÀÎ ºÎºÐÀº ¾Æ´ÏÁö¸¸, µ¶±Ø¹°, ¹öÅÍ ¹Ù¸¥ ½½¶óÀ̵å, »¡°£ ½ºÆ÷Ä¿¿Í °°ÀÌ ½É¸®Çп¡ ÀüÇô °ü½ÉÀÌ ¾ø´Â »ç¶÷µé¿¡°Ô ÀûÇÕÇÑ ½º¸± ³ÑÄ¡°Å³ª Àç¹ÌÀÖ´Â À̾߱⸦ ¸¹ÀÌ Á¦°øÇÕ´Ï´Ù.
¢º THE LIMITS OF STAGE PRESENTATION. But the stage presents much more shocking phenomena than those of sex. There is, of course, a sense in which you cannot present sex on the stage, just as you cannot present murder. Macbeth must no more really kill Duncan than he must himself be really slain by Macduff. But the feelings of a murderer can be expressed in a certain artistic convention; and a carefully prearranged sword exercise can be gone through with sufficient pretence of earnestness to be accepted by the willing imaginations of the younger spectators as a desperate combat. ¢¹ ¹«´ë ÇÁ·¹Á¨Å×À̼ÇÀÇ ÇÑ°è. ±×·¯³ª ¹«´ë´Â ¼½½ºº¸´Ù ÈξÀ ´õ Ãæ°ÝÀûÀÎ Çö»óÀ» º¸¿©ÁÝ´Ï´Ù. ¹°·Ð, »ìÀÎÀ» ¼±º¸ÀÏ ¼ö ¾ø´Â °Íó·³ ¹«´ë¿¡¼ ¼½½º¸¦ ¼±º¸ÀÏ ¼ö ¾ø´Ù´Â Àǹ̵µ ÀÖ½À´Ï´Ù. ¸Æ´õÇÁ°¡ ´øÄÁ ÀÚ½ÅÀ» Á׿©¾ß ÇÏ´Â °Íó·³ ¸Æº£½ºµµ ´øÄÁÀ» ½ÇÁ¦·Î Á׿©¼´Â ¾È µË´Ï´Ù. ±×·¯³ª »ìÀÎÀÚÀÇ °¨Á¤Àº ƯÁ¤ÇÑ ¿¹¼úÀû °ü½ÀÀ¸·Î Ç¥ÇöµÉ ¼ö ÀÖ½À´Ï´Ù. ½ÅÁßÇÏ°Ô ¹Ì¸® ÁغñµÈ °Ë¼ú ÈÆ·ÃÀº ÀþÀº °üÁßµéÀÇ ±â²¨ÀÌ »ó»óÇÏ´Â ¸¶À½¿¡ ÇÊ»çÀûÀÎ ÀüÅõ·Î ¹Þ¾Æµé¿©Áú ¸¸Å ÁøÁöÇÑ Ã´À» ÅëÇØ ÁøÇàµÉ ¼ö ÀÖ½À´Ï´Ù.
¢º FARCICAL COMEDY SHIRKING ITS SUBJECT. Now if all this can be done in the key of tragedy and philosophic comedy, it can, I have always contended, be done in the key of farcical comedy; and Overruled is a trifling experiment in that manner. Conventional farcical comedies are always finally tedious because the heart of them, the inevitable conjugal infidelity, is always evaded. ¢¹ ÁÖÁ¦¸¦ ȸÇÇÇÏ´Â Àͻ콺·± Äڹ̵ð. ¸¸¾à ÀÌ ¸ðµç °ÍÀÌ ºñ±Ø°ú öÇÐ Äڹ̵ðÀÇ Çٽɿ¡¼ ÀÌ·ç¾îÁú ¼ö ÀÖ´Ù¸é, Àú´Â Ç×»ó ±×°ÍÀÌ Àͻ콺·¯¿î Äڹ̵ðÀÇ Çٽɿ¡¼ ÀÌ·ç¾îÁú ¼ö ÀÖ´Ù°í ÁÖÀåÇØ ¿Ô½À´Ï´Ù. ±×¸®°í ¿À¹ö·êÀº ±×·± ½ÄÀ¸·Î »ç¼ÒÇÑ ½ÇÇèÀÔ´Ï´Ù. ±âÁ¸ÀÇ Àͻ콺·¯¿î Äڹ̵ðµéÀº ±×µéÀÇ ÇÙ½ÉÀÎ ÇÊ¿¬ÀûÀÎ ºÎºÎ°£ÀÇ ºÎÁ¤ÀÌ Ç×»ó ȸÇǵDZ⠶§¹®¿¡ °á±¹ Áö·çÇÕ´Ï´Ù.
-¸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°íÀü1,192 Á¶Áö ¹ö³ªµå ¼îÀÇ ±â°¢ 1912(English Classics1,192 Overruled by George Bernard Shaw)
¢¹ PREFACE TO OVERRULED.
The Alleviations Of Monogamy.
Inaccessibility Of The Facts.
The Convention Of Jealousy
The Missing Data Of A Scientific Natural History Of Marriage.
Artificial Retribution.
The Favorite Subject Of Farcical Comedy.
The Pseudo Sex Play.
Art And Morality.
The Limits Of Stage Presentation.
Pruderies Of The French Stage.
Our Disillusive Scenery.
Holding The Mirror Up To Nature.
Farcical Comedy Shirking Its Subject.
¢¹ OVERRULED.
¢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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