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¿µ¾î°íÀü1,202 Á¶Áö ¹ö³ªµå ¼îÀÇ Çõ¸í°¡¸¦ À§ÇÑ °Ý¾ð(English Classics1,202 Maxims for Revolutionists by George Bernard Sha

¿µ¾î°íÀü1,202 Á¶Áö ¹ö³ªµå ¼îÀÇ Çõ¸í°¡¸¦ À§ÇÑ °Ý¾ð(English Classics1,202 Maxims for Revolutionists by George Bernard Sha

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¢º Çõ¸í°¡¸¦ À§ÇÑ °Ý¾ð(Maxims for Revolutionists 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)ÀÇ ¾î·Ï Áß Äڹ̵ð¿Í öÇÐ: Àΰ£°ú ÃÊÀÎ 1902(Man and Superman: A Comedy and a Philosophy by George Bernard Shaw)¿¡ ¼ö·ÏµÈ °ÍÀ» Ãß·Á ¹­Àº °Ý¾ðÁý(Maxims)ÀÔ´Ï´Ù. ºÐ·®Àº ±×¸® ¸¹Áö ¾ÊÀº ÀÛÇ°ÀÓ¿¡µµ ºÒ±¸ÇÏ°í, Àç±â¹ß¶öÇÑ µ¶¼³°¡ÀÌÀÚ À¯¸Ó·¯½ºÇÑ Ç³ÀÚ°¡·Î½áÀÇ ¹ö³ªµå ¼îÀÇ Áø¸é¸ñÀ» ¿À·ÔÀÌ ´ãÀº Ã¥À¸·Î, ¾î·Ï Áß¿¡ ¹Ýµå½Ã µ¶ÀÚÀÇ ½ÉÀåÀ» °üÅëÇÒ¸¸ÇÑ °ÍÀÌ ÇѵΠ°³´Â ÀÖÀ» °ÍÀÔ´Ï´Ù. ´Ù¸¸ Çö´ëÀÎÀÇ °üÁ¡¿¡¼­ º¸¸é ¼ºÂ÷º°ÀûÀÎ ¿ä¼Ò³ª ¾Æµ¿ÇÐ´ë µî À±¸®ÀûÀ¸·Î ¹®Á¦µÉ ¼ö ÀÖ´Â ºÎºÐÀÌ Æ÷ÇԵǾî ÀÖ´Ù´Â Á¡Àº °æ°èÇؾßÇÒ °ÍÀÔ´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 Äڹ̵ð¿Í öÇÐ: Àΰ£°ú ÃÊÀÎ 1902(Man and Superman: A Comedy and a Philosophy 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(46¼¼)¿¡ ÁýÇÊÇÑ 4¸·(Act I.~Act IV.)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.

¢º Àηù ¿ª»ç»ó ÃÖ¾ÇÀÇ ¿©¼º Æí·Â°¡´Â ´©±¸Àϱî? Ä«»ç³ë¹Ù VS µ· ÈÄ¾È : ÀÌÅ»¸®¾ÆÀÇ ÀÚÄÚ¸ð Áö·Ñ¶ó¸ð Ä«»ç³ë¹Ù(Giacomo Girolami Casanova, 1725~1798)°¡ ½ÇÁ¸Àι°Àε¥ ¹ÝÇÏ¿©, ¡®¹Ù¶÷ÀÇ ´ë¸í»ç¡¯ µ· ÈľÈ(Don Juan) ȤÀº µ· Á¶¹Ý´Ï(Don Giovanni)´Â »ç½Ç ¿ª»ç¿¡ ½ÇÁ¸Çß´ø Àι°Àº ¾Æ´Õ´Ï´Ù. ÀÌ ¶§¹®¿¡ ±×ÀÇ ¾÷Àû(?!)Àº ±¹°æ°ú ½Ã´ë¸¦ ÃÊ¿ùÇØ È®ÀåµÇ¾î ¿Ô°í, ±×ÀÇ ÀÏ´ë±â´Â ¼ö¸¹Àº ÀÛ°¡, ÀÛ°î°¡, È­°¡µéÀÇ »ó»ó·ÂÀ» ºÒ·¯ ÀÏÀ¸Ä×½À´Ï´Ù. µ· ÈľÈÀÌ ÃÖÃÊ·Î µîÀåÇÑ ÀÛÇ°À¸·Î ±â·ÏµÈ ½ºÆäÀÎ ÀÛ°¡ Ƽ¸£¼Ò µ¥ ¸ô¸®³ª(Tirso de Molina, 1579~1648)ÀÇ ¼¼ºñ¾ßÀÇ ³­ºÀ²Û°ú ¼®»óÀÇ ÃÊ´ë(El burlador de Sevilla y convidado de piedra, 1630)¸¦ ½ÃÀÛÀ¸·Î ÇÁ¶û½º ±ØÀÛ°¡ ¸ô¸®¿¡¸£(Moliere, 1622~1673)ÀÇ µ¿Áã¾Ó ¶Ç´Â ¼®»óÀÇ ÀÜÄ¡(Dom Juan ou le Festin de pierre, 1665), º¼ÇÁ°­ ¾Æ¸¶µ¥¿ì½º ¸ðÂ÷¸£Æ®(Wolfgang Amadeus Mozart, 1756~1791)ÀÇ ¿ÀÆä¶ó µ· Á¶¹Ý´Ï(Don Giovanni, K.527, 1787), µ¶ÀÏ ÀÛ°î°¡ ¸®Çϸ£Æ® ½´Æ®¶ó¿ì½º(Richard Strauss, 1864~1949)ÀÇ ±³Çâ½Ã µ· ÈÄ¾È ÀÛÇ°¹øÈ£ 20(Don Juan, 1888)¡¦.

¢º THE GOLDEN RULE. Do not do unto others as you would that they should do unto you. Their tastes may not be the same. Never resist temptation: prove all things: hold fast that which is good. Do not love your neighbor as yourself. If you are on good terms with yourself it is an impertinence: if on bad, an injury. The golden rule is that there are no golden rules.

¢¹ Ȳ±Ý·ü. ³²µéÀÌ ´ç½Å¿¡°Ô ÇØ¾ß ÇÒ °Íó·³ ±×µé¿¡°Ô ÇÏÁö ¸¶½Ê½Ã¿À. ±×µéÀÇ ÃëÇâÀº °°Áö ¾ÊÀ» ¼ö ÀÖ½À´Ï´Ù. À¯È¤À» À̰ܳ»Áö ¸¶½Ê½Ã¿À. ¸ðµç °ÍÀ» Áõ¸íÇϽʽÿÀ. ÁÁÀº °ÍÀ» »¡¸® Áõ¸íÇϽʽÿÀ. ´ç½ÅÀÇ ÀÌ¿ôÀ» ´ç½Å ÀÚ½Åó·³ »ç¶ûÇÏÁö ¸¶½Ê½Ã¿À. ´ç½Å°ú »çÀÌ°¡ ÁÁÀ¸¸é ±×°ÍÀº ¹«·ÊÇÑ °ÍÀÔ´Ï´Ù. ³ª»Û °ÍÀº »óóÀÔ´Ï´Ù. Ȳ±Ý·üÀ̶õ Ȳ±Ý·üÀº ¾ø´Ù´Â °ÍÀÔ´Ï´Ù.

¢º IMPERIALISM. Excess of insularity makes a Briton an Imperialist. Excess of local self-assertion makes a colonist an Imperialist. A colonial Imperialist is one who raises colonial troops, equips a colonial squadron, claims a Federal Parliament sending its measures to the Throne instead of to the Colonial Office, and, being finally brought by this means into insoluble conflict with the insular British Imperialist, "cuts the painter" and breaks up the Empire.

¢¹ Á¦±¹ÁÖÀÇ. °í¸³¼ºÀÇ °úÀ×Àº ¿µ±¹ÀÎÀ» Á¦±¹ÁÖÀÇÀÚ·Î ¸¸µì´Ï´Ù. Áö¿ªÀû ÀÚ±âÁÖÀåÀÇ °úÀ×Àº ½Ä¹ÎÁÖÀÇÀÚ¸¦ Á¦±¹ÁÖÀÇÀÚ·Î ¸¸µì´Ï´Ù. ½Ä¹ÎÁö Á¦±¹ÁÖÀÇÀÚ´Â ½Ä¹ÎÁö ±º´ë¸¦ ÀÏÀ¸ÄÑ ½Ä¹ÎÁö ºñÇà´ë¸¦ ÀåºñÇÏ°í, ¿¬¹æ ÀÇȸ°¡ ½Ä¹ÎÁö »ç¹«¼Ò ´ë½Å ¿ÕÁ¿¡ ±× Á¶Ä¡¸¦ º¸³½´Ù°í ÁÖÀåÇÏ´Â »ç¶÷ÀÔ´Ï´Ù. ±×¸®°í ¸¶Ä§³» ÀÌ ¼ö´ÜÀ¸·Î °í¸³µÈ ¿µ±¹ Á¦±¹ÁÖÀÇÀÚ¿Í ÇØ°áÇÒ ¼ö ¾ø´Â °¥µî¿¡ ºüÁö°Ô µÇ°í, "È­°¡¸¦ º£°í" Á¦±¹À» ÇØüÇÕ´Ï´Ù.

¢º HOW TO BEAT CHILDREN. If you strike a child, take care that you strike it in anger, even at the risk of maiming it for life. A blow in cold blood neither can nor should be forgiven. If you beat children for pleasure, avow your object frankly, and play the game according to the rules, as a foxhunter does; and you will do comparatively little harm. No foxhunter is such a cad as to pretend that he hunts the fox to teach it not to steal chickens, or that he suffers more acutely than the fox at the death. Remember that even in childbeating there is the sportsman's way and the cad's way.

¢¹ ¾ÆÀ̵éÀ» ¶§¸®´Â ¹æ¹ý. ¾ÆÀ̸¦ ¶§¸± °æ¿ì, Æò»ý ºÒ±¸°¡ µÉ À§ÇèÀÌ ÀÖ´õ¶óµµ È­°¡ ³ª¼­ ¶§¸®Áö ¾Êµµ·Ï ÁÖÀÇÇϽʽÿÀ. ³ÃÇ÷ÇÑ Å¸°ÝÀº ¿ë¼­µÉ ¼öµµ ¾ø°í ¿ë¼­µÇ¾î¼­µµ ¾È µË´Ï´Ù. Áñ°Å¿òÀ» À§ÇØ ¾ÆÀ̵éÀ» ¶§¸°´Ù¸é, ¿©¿ì»ç³É²Ûó·³ ÀÚ½ÅÀÇ ¸ñÇ¥¸¦ ¼ÖÁ÷ÇÏ°Ô °ø¾ðÇÏ°í ±ÔÄ¢¿¡ µû¶ó °ÔÀÓÀ» ÇϽʽÿÀ. ±×·¯¸é ´ç½ÅÀº ºñ±³Àû Çظ¦ ´ú ³¢Ä¥ °ÍÀÔ´Ï´Ù. ¾î¶² ¿©¿ì»ç³É²Ûµµ ¿©¿ì¸¦ »ç³ÉÇÏ¿© ´ßÀ» ÈÉÄ¡Áö ¸»¶ó°í °¡¸£Ä¡°Å³ª ¿©¿ì°¡ Á×¾úÀ» ¶§ ±×º¸´Ù ´õ ±Ø½ÉÇÑ °íÅëÀ» °Þ´Â °Íó·³ °¡ÀåÇÏ´Â ¹ÌÄ£ »ç¶÷Àº ¾ø½À´Ï´Ù. ¾ÆÀ̸¦ ¶§¸®´Â °Í¿¡µµ ½ºÆ÷Ã÷¸ÇÀÇ ¹æ¹ý°ú ijµðÀÇ ¹æ¹ýÀÌ ÀÖ´Ù´Â °ÍÀ» ±â¾ïÇϽʽÿÀ.

¢º GAMBLING. The most popular method of distributing wealth is the method of the roulette table. The roulette table pays nobody except him that keeps it. Nevertheless a passion for gaming is common, though a passion for keeping roulette tables is unknown. Gambling promises the poor what Property performs for the rich: that is why the bishops dare not denounce it fundamentally.

¢¹ µµ¹Ú. ºÎ¸¦ ºÐ¹èÇÏ´Â °¡Àå ´ëÁßÀûÀÎ ¹æ¹ýÀº ·ê·¿ Å×ÀÌºí ¹æ¹ýÀÔ´Ï´Ù. ·ê·¿ Å×À̺íÀº ±×°ÍÀ» ÁöÅ°´Â »ç¶÷ ¿Ü¿¡´Â ´©±¸¿¡°Ôµµ µ·À» ÁöºÒÇÏÁö ¾Ê½À´Ï´Ù. ±×·³¿¡µµ ºÒ±¸ÇÏ°í °ÔÀÓ¿¡ ´ëÇÑ ¿­Á¤Àº ÈçÇÏÁö¸¸ ·ê·¿ Å×À̺í À¯Áö¿¡ ´ëÇÑ ¿­Á¤Àº ¾Ë·ÁÁ® ÀÖÁö ¾Ê½À´Ï´Ù. µµ¹ÚÀº Àç»êÀÌ ºÎÀڵ鿡°Ô Á¦°øÇÏ´Â °Í°ú °°Àº °ÍÀ» °¡³­ÇÑ »ç¶÷µé¿¡°Ô ¾à¼ÓÇÕ´Ï´Ù. ÀÌ°ÍÀÌ ¹Ù·Î ÁÖ±³µéÀÌ °¨È÷ ±×°ÍÀ» ±Ùº»ÀûÀ¸·Î ºñ³­ÇÏÁö ¸øÇÏ´Â ÀÌÀ¯ÀÔ´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°íÀü1,202 Á¶Áö ¹ö³ªµå ¼îÀÇ Çõ¸í°¡¸¦ À§ÇÑ °Ý¾ð(English Classics1,202 Maxims for Revolutionists by George Bernard Shaw)
01. The Golden Rule
02. Idolatry
03. Royalty
04. Democracy
05. Imperialism
06. Liberty And Equality
07. Education
08. Marriage
09. Crime And Punishment
10. Titles
11. Honor
12. Property
13. Servants
14. How To Beat Children
15. Religion
16. Virtues And Vices
17. Fairplay
18. Greatness
19. Beauty And Happiness, Art And Riches
20. The Perfect Gentleman
21. Moderation
22. The Unconscious Self
23. Reason
24. Decency
25. Experience
26. Time's Revenges
27. Good Intentions
28. Natural Rights
29. Faute De Mieux
30. Charity
31. Fame
32. Discipline
33. Women In The Home
34. Civilization
35. Gambling
36. The Social Question
37. Stray Sayings
38. Self-Sacrifice
¢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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