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¢º ¹Ì±¹ ¹®Çп¡¼­ °¡Àå À¯¸íÇÏ°í ÀÚÁÖ ÀηùÈ­µÈ À̾߱âµé Áß Çϳª(one of the most famous and frequently anthologized stories in American literature) : ¿Ã»©¹Ì ½Ã³Á¹° ´Ù¸®¿¡¼­ »ý±ä ÀÏ 1890(An Occurrence at Owl Creek Bridge by Ambrose Bierce)Àº Àΰ£ º»¼º¿¡ ´ëÇÑ ³Ã¼ÒÀûÀΠŵµ·Î ¾²¶ó¸° ºñ¾î½º(Bitter Bierce)¶ó°í ºÒ¸° 19¼¼±â ¹Ì±¹ ÀÛ°¡ ¾Úºê·ÎÁî ºñ¾î½º(Ambrose Bierce, 1842~1914?)ÀÇ ´ëÇ¥ÀÛÀ¸·Î ¾Ç¸¶ÀÇ »çÀü(The Devil's Dictionary, 1906)ÀÌ °¡Àå À¯¸íÇϸç, ±× µÚ¸¦ µû¸£´Â °ÉÀÛ ´ÜÆíÀ¸·Î ¿Ã»©¹Ì ½Ã³Á¹° ´Ù¸®¿¡¼­ »ý±ä ÀÏ(An Occurrence at Owl Creek Bridge, 1890)ÀÌ °Å·ÐµË´Ï´Ù. ¢º ½ÇÁ¦·Î ¹Ì±¹ ³²ºÏ ÀüÀï(American Civil War, 1861~1865)¿¡ ÂüÀüÇÑ ±ºÀÎ Ãâ½ÅÀÇ ¾Úºê·ÎÁî ºñ¾î½º´Â ÂüȤÇÑ ÀüÀåÀÇ »óȲÀ» ´ãÀº °øÆ÷¹°ÀÌÀÚ ½É¸®¹°À» ÁýÇÊÇÏ¿´´Âµ¥, À̸¦ ¸ðÀº ¼±ÁýÀÌ ±ºÀΰú ¹Î°£ÀÎ À̾߱â(Tales of Soldiers and Civilians, 1891)ÀÔ´Ï´Ù.

¢º ºñ¾î½º°¡ 48¼¼ÀÇ ³ªÀÌ·Î ¹ßÇ¥ÇÑ ¸Å´Þ·Á Á×Àº »ç³ªÀÌ¿Í À¯·É À̾߱â 1888(Present at a Hanging and Other Ghost Stories by Ambrose Bierce)Àº ºñ¾î½º ƯÀ¯ÀÇ °©ÀÛ½º·¯¿î Àü°³(An Abrupt Beginning), ¾îµÎÄÄÄÄÇÑ À̹ÌÁö(Dark Imagery), ½Ã°£¿¡ ´ëÇÑ ¸ðÈ£¼º(Vague References To Time), µ¶ÀÚ¿¡°Ô ºÒÄ£ÀýÇÑ ¼³¸í(Limited Descriptions), Çö½ÇÀûÀ¸·Î ºÒ°¡´ÉÇÑ »ç°Ç(Impossible Events), ±×¸®°í ÂüÀü¿ë»ç·Î½á ¹Ýº¹ÀûÀ¸·Î ¼ÒÀç·Î »ïÀº ÀüÀï(The Theme Of War) µîÀÇ Æ¯Â¡À» ¶Ñ·ÇÇÏ°Ô º¸¿©ÁÝ´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 ¿©±â¿¡ ¼ö·ÏµÈ ¿Ã»©¹Ì ½Ã³Á¹° ´Ù¸®¿¡¼­ »ý±ä ÀÏ(An Occurrence at Owl Creek Bridge, 1890)Àº ±×ÀÇ ´ëÇ¥ ´ÜÆíÀ¸·Î ¹Ì±¹ ¹®Çп¡¼­ °¡Àå À¯¸íÇÏ°í ÀÚÁÖ ÀηùÈ­ µÈ À̾߱âµé Áß Çϳª(one of the most famous and frequently anthologized stories in American literature)¶õ Īȣ¸¦ ¾òÀ¸¸ç, ¼öÂ÷·Ê ¿µÈ­È­µÇ¾ú½À´Ï´Ù. »Ó¸¸ ¾Æ´Ï¶ó ¡®Âû³ªÀÇ ¼ø°£¡¯À» ¸ðƼºê·Î ÇÑ ½¢ÇÑ À½¾Ç°ú ¹ÂÁ÷ºñµð¿À, ¿µÈ­ µî¿¡ ¿µÇâÀ» ¹ÌÃƽÀ´Ï´Ù. ¢º 1929³â Âû½º ºñµµ¸£(Charles Vidor) °¨µ¶ÀÇ ¹«¼º¿µÈ­ ½ºÆÄÀÌ(The Spy)¸¦ ºñ·ÔÇØ 1959³â ·Î¹öÆ® ½ºÆ¼ºì½¼(Robert Stevenson) °¨µ¶ÀÇ µ¿¸í ¿µÈ­ ¿Ã»©¹Ì ½Ã³Á¹° ´Ù¸®¿¡¼­ »ý±ä ÀÏ(An Occurrence at Owl Creek Bridge, 1959)·Î Á¦ÀÛµÈ ¹Ù ÀÖ½À´Ï´Ù. ¢º La Riviere du hibou(1962)Àº ¿Ã»©¹Ì ½Ã³Á¹° ´Ù¸®¿¡¼­ »ý±ä ÀÏ(An Occurrence at Owl Creek Bridge, 1890)À» ¿øÀÛÀ¸·Î Á¦ÀÛµÈ ·Î¹öÆ® ¿£¸®ÄÚ(Robert Enrico) °¨µ¶ÀÇ ÇÁ¶û½º ´ÜÆí ¿µÈ­·Î, ¿µÈ­ Á¦¸ñÀº ÇÁ¶û½º¾î·Î ¿Ã»©¹Ì °­(The Owl River)À̶õ ¶æÀÔ´Ï´Ù. ¢º 2014³â Á¦ÀÛµÈ Riley Solter °¨µ¶ÀÇ µ¿¸í ´ÜÆí¿µÈ­µµ À¯Æ©ºê¿¡ °ø°³µÇ¾î ÀÖ½À´Ï´Ù.

¢º A man stood upon a railroad bridge in northern Alabama, looking down into the swift water twenty feet below. The man¡¯s hands were behind his back, the wrists bound with a cord. A rope closely encircled his neck. It was attached to a stout cross-timber above his head and the slack fell to the level of his knees. Some loose boards laid upon the ties supporting the rails of the railway supplied a footing for him and his executioners?two private soldiers of the Federal army, directed by a sergeant who in civil life may have been a deputy sheriff. ¢¹ ÇÑ ³²ÀÚ°¡ ¾Ù¶ó¹è¸¶ ºÏºÎÀÇ Ã¶±³ À§¿¡ ¼­¼­ 20ÇÇÆ® ¾Æ·¡ÀÇ ¹°»ìÀÌ ºü¸¥ ¹°À» ³»·Á´Ùº¸°í ÀÖ¾ú½À´Ï´Ù. ³²ÀÚÀÇ ¼ÕÀº µî µÚ¿¡ ÀÖ¾ú°í, ¼Õ¸ñÀº ²öÀ¸·Î ¹­¿© ÀÖ¾ú´Ù. ±×ÀÇ ¸ñ¿¡´Â ¹åÁÙÀÌ ÃÎÃÎÇÏ°Ô °¨°Ü ÀÖ½À´Ï´Ù. ±×°ÍÀº ±×ÀÇ ¸Ó¸® À§ÀÇ Æ°Æ°ÇÑ ½ÊÀÚÇü ¸ñÀç¿¡ ºÎÂøµÇ¾î ÀÖ¾ú°í, ´À½¼ÇØÁø ºÎºÐÀº ±×ÀÇ ¹«¸­ ³ôÀ̱îÁö ¶³¾îÁ³½À´Ï´Ù. öµµ ³­°£À» ÁöÁöÇÏ´Â ²ö À§¿¡ ³õÀÎ ´À½¼ÇÑ ÆÇÀÚ ¸î °³´Â ±×¿Í ±×ÀÇ »çÇüÁýÇàÀÎ, Áï ½Ã¹Î »ýÈ°¿¡¼­´Â ºÎº¸¾È°üÀ̾úÀ» ¼ö ÀÖ´Â Çϻ簡 ÁöÈÖÇÏ´Â µÎ ¸íÀÇ ¿¬¹æ±º »çº´¿¡°Ô ¹ßÆÇÀ» Á¦°øÇß½À´Ï´Ù.

¢º That opportunity, he felt, would come, as it comes to all in wartime. Meanwhile he did what he could. No service was too humble for him to perform in the aid of the South, no adventure too perilous for him to undertake if consistent with the character of a civilian who was at heart a soldier, and who in good faith and without too much qualification assented to at least a part of the frankly villainous dictum that all is fair in love and war. ¢¹ ±×´Â Àü½Ã¿¡ ¸ðµç °Í¿¡ °üÇÑ ÇÑ ±× ±âȸ°¡ ¿Ã °ÍÀ̶ó°í ´À²¼½À´Ï´Ù. ±× µ¿¾È ±×´Â ÀÚ½ÅÀÌ ÇÒ ¼ö ÀÖ´Â ÀÏÀ» Çß½À´Ï´Ù. ¾î¶² ºÀ»çµµ ±×°¡ ³²ºÎÀÇ µµ¿òÀ¸·Î ¼öÇàÇϱ⿡´Â ³Ê¹« °â¼ÕÇÏÁö ¾Ê¾Ò°í, ±ºÀÎÀÇ ¸¶À½À» °¡Áø ¹Î°£ÀÎÀÇ ¼º°Ý°ú ÀÏÄ¡ÇÑ´Ù¸é ±×°¡ ¼öÇàÇϱ⿡´Â ³Ê¹« À§ÇèÇÑ ¸ðÇèµµ ¾ø¾ú°í, ¼±ÀÇ·Î ±×¸®°í ³Ê¹« ¸¹Àº ÀÚ°Ý ¾øÀÌ »ç¶û°ú ÀüÀï¿¡¼­ ¸ðµç °ÍÀÌ °øÆòÇÏ´Ù´Â ¼ÖÁ÷È÷ »ç¾ÇÇÑ °Ý¾ðÀÇ Àû¾îµµ ÀϺο¡ µ¿ÀÇÇÑ »ç¶÷À̾ú½À´Ï´Ù.

¢º These sensations were unaccompanied by thought. The intellectual part of his nature was already effaced; he had power only to feel, and feeling was torment. He was conscious of motion. Encompassed in a luminous cloud, of which he was now merely the fiery heart, without material substance, he swung through unthinkable arcs of oscillation, like a vast pendulum. Then all at once, with terrible suddenness, the light about him shot upward with the noise of a loud splash; a frightful roaring was in his ears, and all was cold and dark. The power of thought was restored; he knew that the rope had broken and he had fallen into the stream. ¢¹ ÀÌ·¯ÇÑ °¨°¢¿¡´Â »ý°¢ÀÌ ¼ö¹ÝµÇÁö ¾Ê¾Ò½À´Ï´Ù. ±×ÀÇ º»¼ºÀÇ ÁöÀû ºÎºÐÀº ÀÌ¹Ì »ç¶óÁ³½À´Ï´Ù. ±×¿¡°Ô´Â ´ÜÁö ´À³¥ ¼ö ÀÖ´Â ÈûÀÌ ÀÖ¾ú°í, ´À³¦Àº °íÅëÀ̾ú´Ù. ±×´Â ¿òÁ÷ÀÓÀ» ÀǽÄÇÏ°í ÀÖ¾ú½À´Ï´Ù. ÀÌÁ¦ ±×´Â ¹°ÁúÀû ½Çü ¾øÀÌ ºÒŸ¿À¸£´Â ½ÉÀå¿¡ ºÒ°úÇß´ø ºû³ª´Â ±¸¸§¿¡ µÑ·¯½Î¿© ¸¶Ä¡ °Å´ëÇÑ ÁøÀÚó·³ »ó»óÇÒ ¼ö ¾ø´Â Áøµ¿ È£¸¦ ±×¸®¸ç Èֵѷ¶½À´Ï´Ù. ±×·¯ÀÚ °©Àڱ⠲ûÂïÇÒ Á¤µµ·Î °©Àڱ⠱×ÀÇ ÁÖÀ§ÀÇ ºûÀÌ Å« ¼Ò¸®¸¦ ³»¸ç À§·Î ¼Ú¾Æ¿Ã¶ú½À´Ï´Ù. ±×ÀÇ ±Í¿¡´Â ¹«¼­¿î ±²À½ÀÌ µé·È°í, ¸ðµç °ÍÀÌ Â÷°©°í ¾îµÎ¿ü½À´Ï´Ù. »ç°í·ÂÀÌ È¸º¹µÇ¾ú½À´Ï´Ù. ±×´Â ¹åÁÙÀÌ ²÷¾îÁ® ÀÚ½ÅÀÌ °³¿ï¿¡ ºüÁ³´Ù´Â °ÍÀ» ¾Ë¾Ò½À´Ï´Ù.