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From ์˜๋…๋Šฅ์ฐฌ6 2018 All Rights Reserved. Written by Wayne | Contact us: wayne36@daum.net | Web: wayne.tistory.com


MUSIC_BOX

6-1 A New Perspective/ Art that Questions Reality


๐Ÿ‘บ ์ ˆ๋Œ€ ์ œ๋ฐœ ์ฝ์ง€์ข€ ๋งˆ์„ธ์š”.


์„ ์ƒ๋‹˜: ์•ˆ๋…•ํ•˜์„ธ์š”, ์—ฌ๋Ÿฌ๋ถ„. ์˜ค๋Š˜ ์šฐ๋ฆฌ๋Š” ๋ฒจ๊ธฐ์— ์ถœ์‹ ์˜ ์ดˆํ˜„์‹ค์ฃผ์˜ ํ™”๊ฐ€์ธ ๋ฅด๋„ค ๋งˆ๊ทธ๋ฆฌํŠธ์— ๊ด€ํ•ด์„œ ์ด์•ผ๊ธฐํ•˜๋ ค ํ•ฉ๋‹ˆ๋‹ค. ๊ทธ๋Š” 1898๋…„์— ํƒœ์–ด๋‚˜ 1967๋…„์— ์‚ฌ๋งํ–ˆ์Šต๋‹ˆ๋‹ค. ์ดˆํ˜„์‹ค์ฃผ์˜๋Š” 20์„ธ๊ธฐ ์ „๋ฐ˜์— ํ”„๋ž‘์Šค์—์„œ ์‹œ์ž‘๋˜์—ˆ์–ด์š”. 'Sur'๋Š” ํ”„๋ž‘์Šค์–ด๋กœ '๋„˜์–ด ๋˜๋Š” ์ดˆ์›”ํ•œ'์ด๋ผ๋Š” ๋œป์œผ๋กœ, ์ดˆํ˜„์‹ค์ฃผ์˜๋Š” 'ํ˜„์‹ค์„ ์ดˆ์›”ํ•˜์—ฌ'๋ผ๋Š” ๋œป์ž…๋‹ˆ๋‹ค. ๊ทธ ์ด๋ฆ„์ฒ˜๋Ÿผ, ์ดˆํ˜„์‹ค์ฃผ์˜ ํ™”๊ฐ€๋“ค์€ ํ˜„์‹ค ์„ธ๊ณ„์˜ ์ด๋ฏธ์ง€๋“ค์„ ๋‹จ์ˆœํžˆ ๊ทธ๋ฆฌ๋Š” ๋Œ€์‹ , ๊ทธ๋“ค์˜ ๊ฟˆ๊ณผ ์ƒ์ƒ์—์„œ ๋น„๋กฏ๋œ ์ƒ๊ฐ๋“ค์„ ํ‘œํ˜„ํ•˜๋ ค ํ–ˆ์Šต๋‹ˆ๋‹ค. ๋ฅด๋„ค ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ์ด๋Ÿฌํ•œ ์šด๋™์˜ ๊ฐ€์žฅ ์œ ๋ช…ํ•˜๊ณ  ์˜ํ–ฅ๋ ฅ ์žˆ๋Š” ํ™”๊ฐ€๋“ค ๊ฐ€์šด๋ฐ ํ•œ ๋ช…์ด์—ˆ๊ณ , ๋‹ค๋ฅธ ๋งŽ์€ ํ™”๊ฐ€๋“ค์˜ ์ž‘ํ’ˆ์— ์˜๊ฐ์„ ์ฃผ์—ˆ์–ด์š”. ๊ทธ์˜ ๊ฐ€์žฅ ์ธ๊ธฐ ์žˆ๋Š” ์ž‘ํ’ˆ ๊ฐ€์šด๋ฐ ์„ธ ๊ฐ€์ง€๋ฅผ ์‚ดํŽด๋ณด๋„๋ก ํ•ฉ์‹œ๋‹ค. ์šฐ๋ฆฌ๊ฐ€ ๋ณด๊ฒŒ ๋  ์ฒซ ๋ฒˆ์งธ ๊ทธ๋ฆผ์€ '๋น›์˜ ์ œ๊ตญ'์ด๋ผ ๋ถˆ๋ฆฌ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค. ์—ฌ๋Ÿฌ๋ถ„์€ ์ด ์ž‘ํ’ˆ์—์„œ ๋ฌด์—‡์ด ๋ณด์ด๋‚˜์š”? ํ•™์ƒ A: ๋ฐค์ด์š”. ๋‚˜๋ฌด๋กœ ๋‘˜๋Ÿฌ์‹ธ์ธ ์–ด๋‘์šด ์ง‘์ด ํ•œ ์ฑ„ ์žˆ์–ด์š”. ์ง‘ ์•ˆ์—๋Š” ๋ถˆ์ด ์ผœ์ ธ ์žˆ๊ณ , ๊ธธ์„ ๋ฐํ˜€ ์ฃผ๋Š” ๋“ฑ์ด ์žˆ์–ด์š”.
Teacher: Good morning, everyone. Today we're going to talk about Rene Magritte, a Belgian surrealist painter. He was born in 1898 and died in 1967. Surrealism was started in France in the first half of the twentieth century. "Sur" means "over or beyond" in French, so surrealism means "beyond reality." Like its name, surrealist artists tried to present ideas taken from their dreams and imaginations, instead of simply painting images from the real world. Rene Magritte was one of the most famous and influential artists of this movement and inspired the works of many other artists. Let's take a look at three of his most popular works. The first painting we're going to look at is called The Empire of Lights. What do you see in it? Student A: It's nighttime. There is a dark house with trees around it. The lights are on inside the house and there is a lamp lighting up the sidewalk.



์ ˆ๋Œ€ ๋„ค๋ฒ„ ํ•ด์„ํ•˜์ง€ ๋งˆ์„ธ์š”. 1๋“ฑ๊ธ‰ ๋˜๋‹ˆ๊นŒ์š”~โค๏ธ


 โ™• Teacher: Good morning, everyone.
  
Need_Help?

โ–ทteacher
๊ต์‚ฌ, ์„ ์ƒ 
โ–ทmorning
์•„์นจ, ์˜ค์ „ 
โ–ทeveryone
๋ชจ๋“  ์‚ฌ๋žŒ, ๋ชจ๋‘ .
์„ ์ƒ๋‹˜: ์•ˆ๋…•ํ•˜์„ธ์š”, ์—ฌ๋Ÿฌ๋ถ„.



 โ™• Today we're going to talk about Rene Magritte, a Belgian surrealist painter.
  
Need_Help?

โ–ทtoday
์˜ค๋Š˜๋‚ , ์˜ค๋Š˜ 
โ–ทgoing
๊ฐ€๊ธฐ, ๊ณ„์† 
โ–ทtalk
ํšŒ๋‹ด, ๋งํ•˜๋‹ค 
โ–ทbelgian
๋ฒจ๊ธฐ์—์˜, ๋ฒจ๊ธฐ์—์ธ 
โ–ทpainter
ํ™”๊ฐ€, ํŽ˜์ธํŠธ๊ณต .
์˜ค๋Š˜ ์šฐ๋ฆฌ๋Š” ๋ฒจ๊ธฐ์— ์ถœ์‹ ์˜ ์ดˆํ˜„์‹ค์ฃผ์˜ ํ™”๊ฐ€์ธ ๋ฅด๋„ค ๋งˆ๊ทธ๋ฆฌํŠธ์— ๊ด€ํ•ด์„œ ์ด์•ผ๊ธฐํ•˜๋ ค ํ•ฉ๋‹ˆ๋‹ค.



 โ™• He was born in 1898 and died in 1967.
  
Need_Help?
he was
โ–ทborn
ํƒœ์–ด๋‚œ, ~ํƒœ์ƒ์˜  in 1898 and died in 1967.
๊ทธ๋Š” 1898๋…„์— ํƒœ์–ด๋‚˜ 1967๋…„์— ์‚ฌ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.



 โ™• Surrealism was started in France in the first half of the twentieth century.
  
Need_Help?
surrealism was
โ–ทstarted
์‹œ์ž‘ํ•˜๋‹ค, ์ถœ๋ฐœ์  
โ–ทhalf
์ ˆ๋ฐ˜, ์ „๋ฐ˜์ „ 
โ–ทtwentieth
20์„ธ๊ธฐ, ์Šค๋ฌด ๋ฒˆ์งธ 
โ–ทcentury
์„ธ๊ธฐ, 100๋…„ .
์ดˆํ˜„์‹ค์ฃผ์˜๋Š” 20์„ธ๊ธฐ ์ „๋ฐ˜์— ํ”„๋ž‘์Šค์—์„œ ์‹œ์ž‘๋˜์—ˆ์–ด์š”.



 โ™• "Sur" means "over or beyond" in French, so surrealism means "beyond reality."
  
Need_Help?
" sur"
โ–ทmeans
์˜๋ฏธํ•˜๋‹ค, ๋œป 
โ–ทbeyond
~์„ ๋„˜์–ด์„œ, ~์ด์ƒ์œผ๋กœ 
โ–ทfrench
ํ”„๋ž‘์Šค์˜, ํ”„๋ž‘์Šค์–ด 
โ–ทmeans
์˜๋ฏธํ•˜๋‹ค, ๋œป 
โ–ทbeyond
~์„ ๋„˜์–ด์„œ, ~์ด์ƒ์œผ๋กœ 
โ–ทreality
ํ˜„์‹ค, ๋ฆฌ์–ผ๋ฆฌํ‹ฐ ."
'Sur'๋Š” ํ”„๋ž‘์Šค์–ด๋กœ '๋„˜์–ด ๋˜๋Š” ์ดˆ์›”ํ•œ'์ด๋ผ๋Š” ๋œป์œผ๋กœ, ์ดˆํ˜„์‹ค์ฃผ์˜๋Š” 'ํ˜„์‹ค์„ ์ดˆ์›”ํ•˜์—ฌ'๋ผ๋Š” ๋œป์ž…๋‹ˆ๋‹ค.



 โ™• Like its name, surrealist artists tried to present ideas taken from their dreams and imaginations, instead of simply painting images from the real world.
  
Need_Help?

โ–ทlike
์ข‹์•„ํ•˜๋‹ค 
โ–ทartists
์˜ˆ์ˆ ๊ฐ€, ํ™”๊ฐ€ 
โ–ทtried
๋…ธ๋ ฅํ•œ, ~ํ•˜๋ ค๊ณ  ํ•œ 
โ–ทpresent
ํ˜„์žฌ์˜, ๋ณด์—ฌ์ฃผ๋‹ค 
โ–ทideas
์ƒ๊ฐ, ์•„์ด๋””์–ด 
โ–ทtaken
์ฐ์€, ๋ฐ›์€ 
โ–ทdreams
๊ฟˆ, ๊ฟˆ๊พธ๋‹ค 
โ–ทimaginations
์ƒ์ƒ, ์ฐฉ๊ฐ 
โ–ทinstead
๋Œ€์‹ ์—, ๋ณด๋‹ค 
โ–ทsimply
๋‹จ์ˆœํžˆ, ๊ฐ„๋‹จํžˆ 
โ–ทpainting
๊ทธ๋ฆผ, ํŽ˜์ธํŠธ์น  
โ–ทimages
์ด๋ฏธ์ง€, ์‚ฌ์ง„ 
โ–ทreal
์ง„์งœ์˜, ์‹ค์ œ์˜ 
โ–ทworld
์„ธ๊ณ„, ์„ธ์ƒ .
๊ทธ ์ด๋ฆ„์ฒ˜๋Ÿผ, ์ดˆํ˜„์‹ค์ฃผ์˜ ํ™”๊ฐ€๋“ค์€ ํ˜„์‹ค ์„ธ๊ณ„์˜ ์ด๋ฏธ์ง€๋“ค์„ ๋‹จ์ˆœํžˆ ๊ทธ๋ฆฌ๋Š” ๋Œ€์‹ , ๊ทธ๋“ค์˜ ๊ฟˆ๊ณผ ์ƒ์ƒ์—์„œ ๋น„๋กฏ๋œ ์ƒ๊ฐ๋“ค์„ ํ‘œํ˜„ํ•˜๋ ค ํ–ˆ์Šต๋‹ˆ๋‹ค.



 โ™• Rene Magritte was one of the most famous and influential artists of this movement and inspired the works of many other artists.
  
Need_Help?
rene magritte was one of the
โ–ทmost
๊ฐ€์žฅ, ๋Œ€๋ถ€๋ถ„์˜ 
โ–ทfamous
์œ ๋ช…ํ•œ, ์ž˜ ์•Œ๋ ค์ง„ 
โ–ทinfluential
์˜ํ–ฅ๋ ฅ์žˆ๋Š”, ์œ ๋ ฅํ•œ 
โ–ทartists
์˜ˆ์ˆ ๊ฐ€, ํ™”๊ฐ€ 
โ–ทmovement
์šด๋™, ์›€์ง์ž„ 
โ–ทinspired
์˜๊ฐ์„ ๋ฐ›์€, ์˜๊ฐ์„ ๋ฐ›์€ ๊ฒฐ๊ณผ์˜ 
โ–ทworks
์ผํ•˜๋‹ค, ์ž‘ํ’ˆ 
โ–ทother
๋‹ค๋ฅธ, ๊ธฐํƒ€์˜ 
โ–ทartists
์˜ˆ์ˆ ๊ฐ€, ํ™”๊ฐ€ .
๋ฅด๋„ค ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ์ด๋Ÿฌํ•œ ์šด๋™์˜ ๊ฐ€์žฅ ์œ ๋ช…ํ•˜๊ณ  ์˜ํ–ฅ๋ ฅ ์žˆ๋Š” ํ™”๊ฐ€๋“ค ๊ฐ€์šด๋ฐ ํ•œ ๋ช…์ด์—ˆ๊ณ , ๋‹ค๋ฅธ ๋งŽ์€ ํ™”๊ฐ€๋“ค์˜ ์ž‘ํ’ˆ์— ์˜๊ฐ์„ ์ฃผ์—ˆ์–ด์š”.



 โ™• Let's take a look at three of his most popular works.
  
Need_Help?

โ–ทlet
~ํ•˜๊ฒŒ ํ•ด์ฃผ๋‹ค, ~ํ•˜๋„๋ก ๋‘๋‹ค 
โ–ทtake
(์‹œ๊ฐ„)์ด ๊ฑธ๋ฆฌ๋‹ค, ๊ฐ€์ง€๋‹ค 
โ–ทlook
๋ณด๋‹ค, ์ฐพ๋‹ค 
โ–ทmost
๊ฐ€์žฅ, ๋Œ€๋ถ€๋ถ„์˜ 
โ–ทpopular
์ธ๊ธฐ ์žˆ๋Š”, ์œ ๋ช…ํ•œ 
โ–ทworks
์ผํ•˜๋‹ค, ์ž‘ํ’ˆ .
๊ทธ์˜ ๊ฐ€์žฅ ์ธ๊ธฐ ์žˆ๋Š” ์ž‘ํ’ˆ ๊ฐ€์šด๋ฐ ์„ธ ๊ฐ€์ง€๋ฅผ ์‚ดํŽด๋ณด๋„๋ก ํ•ฉ์‹œ๋‹ค.



 โ™• The first painting we're going to look at is called The Empire of Lights.
  
Need_Help?
the first
โ–ทpainting
๊ทธ๋ฆผ, ํŽ˜์ธํŠธ์น  
โ–ทgoing
๊ฐ€๊ธฐ, ๊ณ„์† 
โ–ทlook
๋ณด๋‹ค, ์ฐพ๋‹ค 
โ–ทcalled
๋ถ€๋ฅด๋‹ค, ์ „ํ™”ํ•˜๋‹ค 
โ–ทempire
์ œ๊ตญ, ์™•๊ตญ 
โ–ทlights
๋ฐ๊ฒŒํ•˜๋‹ค, ์กฐ๋ช… .
์šฐ๋ฆฌ๊ฐ€ ๋ณด๊ฒŒ ๋  ์ฒซ ๋ฒˆ์งธ ๊ทธ๋ฆผ์€ '๋น›์˜ ์ œ๊ตญ'์ด๋ผ ๋ถˆ๋ฆฌ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.



 โ™• What do you see in it?
  
Need_Help?
what
โ–ทdo
์กฐ๋™์‚ฌ, ํ•˜๋‹ค 
โ–ทsee
๋ณด๋‹ค, ์•Œ๋‹ค  in it?
์—ฌ๋Ÿฌ๋ถ„์€ ์ด ์ž‘ํ’ˆ์—์„œ ๋ฌด์—‡์ด ๋ณด์ด๋‚˜์š”?



 โ™• Student A: It's nighttime.
  
Need_Help?

โ–ทstudent
ํ•™์ƒ, ์ƒ๋„  a: it's nighttime.
ํ•™์ƒ A: ๋ฐค์ด์š”.



 โ™• There is a dark house with trees around it.
  
Need_Help?

โ–ทthere
is ์žˆ๋‹ค 
โ–ทdark
์–ด๋‘์šด, ์ง€๋‹ค 
โ–ทhouse
์ง‘, ์ฃผํƒ 
โ–ทtrees
๋‚˜๋ฌด, ํŠธ๋ฆฌ 
โ–ทaround
์ฃผ๋ณ€์—, ์ฃผ์œ„์—  it.
๋‚˜๋ฌด๋กœ ๋‘˜๋Ÿฌ์‹ธ์ธ ์–ด๋‘์šด ์ง‘์ด ํ•œ ์ฑ„ ์žˆ์–ด์š”.



 โ™• The lights are on inside the house and there is a lamp lighting up the sidewalk.
  
Need_Help?
the
โ–ทlights
๋ฐ๊ฒŒํ•˜๋‹ค, ์กฐ๋ช… 
โ–ทinside
๋‚ด๋ถ€, ์•ˆ์ชฝ 
โ–ทhouse
์ง‘, ์ฃผํƒ 
โ–ทthere
is ์žˆ๋‹ค 
โ–ทlamp
๋žจํ”„, ์ „๋“ฑ 
โ–ทlighting
๋ฐ๊ฒŒํ•˜๋‹ค, ์กฐ๋ช… 
โ–ทsidewalk
๋ณด๋„, ์ธ๋„ .
์ง‘ ์•ˆ์—๋Š” ๋ถˆ์ด ์ผœ์ ธ ์žˆ๊ณ , ๊ธธ์„ ๋ฐํ˜€ ์ฃผ๋Š” ๋“ฑ์ด ์žˆ์–ด์š”.



6-2


๐Ÿ‘บ ์ ˆ๋Œ€ ์ œ๋ฐœ ์ฝ์ง€์ข€ ๋งˆ์„ธ์š”.


์„ ์ƒ๋‹˜: ๊ทธ๋Ÿฐ๊ฐ€์š”? ํ•˜๋Š˜์„ ๋ณด์„ธ์š”. ๋ฌด์—‡์ฒ˜๋Ÿผ ๋ณด์ด๋‚˜์š”? ํ•™์ƒ A: ์•„, ๋‚ฎ์ด๋„ค์š”! ์•„๋ฆ„๋‹ต๊ณ  ํ‘ธ๋ฅธ ํ•˜๋Š˜์— ์˜ˆ์˜๊ณ  ํ•˜์–€ ๊ตฌ๋ฆ„๋“ค์ด ์žˆ๋„ค์š”. ํ•˜์ง€๋งŒ ๋ฐค๊ณผ ๋‚ฎ์ด ๋™์‹œ์— ์กด์žฌํ•˜๋Š” ๊ฒƒ์€ ํ˜„์‹ค์—์„œ ๋ถˆ๊ฐ€๋Šฅํ•ด์š”. ์„ ์ƒ๋‹˜: ๋ฐ”๋กœ ๊ทธ๋ ‡์Šต๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์ด ๋ฐ”๋กœ ์ด ๊ทธ๋ฆผ์„ ์ดˆํ˜„์‹ค์ ์œผ๋กœ ๋งŒ๋“œ๋Š” ์ ์ด์ง€์š”. ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์€ ์ฒ˜์Œ ์ด ๊ทธ๋ฆผ์„ ๋ณผ ๋•Œ ์ด๋Ÿฌํ•œ ์—ญ์„ค์„ ๋ณด์ง€ ๋ชปํ•˜๋Š”๋ฐ, ์™œ๋ƒํ•˜๋ฉด ๋ฐค๊ณผ ๋‚ฎ ๋‘ ๋ถ€๋ถ„์ด ๋ชจ๋‘ ๋Œ€๋‹จํžˆ ์‚ฌ์‹ค์ ์œผ๋กœ ๊ทธ๋ ค์ ธ ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ . ์ด ๊ทธ๋ฆผ์€ ์šฐ๋ฆฌ๋กœ ํ•˜์—ฌ๊ธˆ ์šฐ๋ฆฌ๊ฐ€ ๋ณด๋Š” ๊ฒƒ๊ณผ, ๊ทธ๊ฒƒ์ด ์‹ค์ œ์ธ์ง€ ์•„๋‹ˆ๋ฉด ๊ทธ์ € ๊ฟˆ์—์„œ ๋‚˜์˜จ ํ•˜๋‚˜์˜ ์ด๋ฏธ์ง€์ผ ๋ฟ์ธ์ง€์— ๋Œ€ํ•˜์—ฌ ์ƒ๊ฐํ•˜๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค. ์ด๊ฒƒ์ด ๋ฅด๋„ค ๋งˆ๊ทธ๋ฆฌํŠธ์˜ ๊ทธ๋ฆผ๋“ค์„ ๋งค์šฐ ํฅ๋ฏธ๋กญ๊ฒŒ ๋งŒ๋“œ๋Š” ์ ์ž…๋‹ˆ๋‹ค. ์ด๋Ÿฌํ•œ ๋ฐฉ์‹์œผ๋กœ, ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ์šฐ๋ฆฌ์˜ ์ผ์ƒ ๊ฒฝํ—˜๋“ค์„ ์ง„์‹คํ•˜๊ณ  ํ™•์‹คํ•œ ๊ฒƒ์œผ๋กœ ๋ฐ›์•„๋“ค์ด๋Š” ์šฐ๋ฆฌ์˜ ๊ฒฝํ–ฅ์— ๋„์ „์žฅ์„ ๋˜์กŒ์Šต๋‹ˆ๋‹ค. ๋งˆ๊ทธ๋ฆฌํŠธ์˜ ์ž‘ํ’ˆ, '์ด๋ฏธ์ง€์˜ ๋ฐฐ๋ฐ˜'์€ ๊ทธ๊ฐ€ 1928๋…„๊ณผ 1929๋…„ ์‚ฌ์ด์— ๊ทธ๋ฆฐ ๊ฒƒ์œผ๋กœ, ๋ฐ”๋กœ ์ด๋Ÿฌํ•œ ์ƒ๊ฐ์— ์ดˆ์ ์„ ๋‘๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ๊ทธ์˜ ๊ฐ€์žฅ ์ž˜ ์•Œ๋ ค์ง„ ์ž‘ํ’ˆ ๊ฐ€์šด๋ฐ ํ•˜๋‚˜์ž…๋‹ˆ๋‹ค. ์ด๊ฒƒ์— ๋Œ€ํ•ด ์–ด๋–ป๊ฒŒ ์ƒ๊ฐํ•˜๋‚˜์š”? ํ•™์ƒ B: ๊ทธ๋‹ค์ง€ ํŠน๋ณ„ํ•œ ์ ์€ ๋ณด์ด์ง€ ์•Š๋Š”๋ฐ์š”. ๋‹จ์ˆœํžˆ ํ•˜๋‚˜์˜ ํŒŒ์ดํ”„ ๊ทธ๋ฆผ์ด์ž–์•„์š”. ๊ทธ๊ฒƒ์— ์ดˆํ˜„์‹ค์ ์ธ ๊ฒƒ์€ ์•„๋ฌด๊ฒƒ๋„ ์—†์–ด ๋ณด์ด๋Š”๋ฐ์š”.
Teacher: Is it? Look at the sky. What does it look like? Student A: Oh, it is daytime! There is a beautiful blue sky with pretty white clouds. But it is impossible in real life to have night and day at the same time. Teacher: Exactly. That's what makes this painting surreal. Many people do not see this paradox the first time they look at this painting because both parts of it are so realistically painted. This painting makes us think about what we see and whether it is real or just an image from a dream. This is what makes Rene Magritte's paintings so interesting. In this way, Magritte challenged our tendency to accept our everyday experiences as true and clear. Magritte's work The Treachery of Images, which he painted between 1928 and 1929, focuses exactly on this idea. It is one of his most well-known works. What do you think of it? Student B: It doesn't look like anything special to me. It's simply a picture of a pipe. There doesn't seem to be anything surreal about it.



์ ˆ๋Œ€ ๋„ค๋ฒ„ ํ•ด์„ํ•˜์ง€ ๋งˆ์„ธ์š”. 1๋“ฑ๊ธ‰ ๋˜๋‹ˆ๊นŒ์š”~โค๏ธ


 โ™• Teacher: Is it?
  
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โ–ทteacher
๊ต์‚ฌ, ์„ ์ƒ : is it?
์„ ์ƒ๋‹˜: ๊ทธ๋Ÿฐ๊ฐ€์š”?



 โ™• Look at the sky.
  
Need_Help?

โ–ทlook
๋ณด๋‹ค, ์ฐพ๋‹ค 
โ–ทsky
ํ•˜๋Š˜, ์ƒ๊ณต .
ํ•˜๋Š˜์„ ๋ณด์„ธ์š”.



 โ™• What does it look like?
  
Need_Help?
what
โ–ทdoes
์กฐ๋™์‚ฌ, ํ•˜๋‹ค 
โ–ทlook
๋ณด๋‹ค, ์ฐพ๋‹ค 
โ–ทlike
์ข‹์•„ํ•˜๋‹ค ?
๋ฌด์—‡์ฒ˜๋Ÿผ ๋ณด์ด๋‚˜์š”?



 โ™• Student A: Oh, it is daytime!
  
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โ–ทstudent
ํ•™์ƒ, ์ƒ๋„ 
โ–ทdaytime
๋‚ฎ, ์ฃผ๊ฐ„ !
ํ•™์ƒ A: ์•„, ๋‚ฎ์ด๋„ค์š”!



 โ™• There is a beautiful blue sky with pretty white clouds.
  
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โ–ทthere
is ์žˆ๋‹ค 
โ–ทbeautiful
์•„๋ฆ„๋‹ค์šด, ๋ฉ‹์žˆ๋Š” 
โ–ทblue
ํŒŒ๋ž€, ํ‘ธ๋ฅธ 
โ–ทsky
ํ•˜๋Š˜, ์ƒ๊ณต 
โ–ทpretty
๊ฝค, ์˜ˆ์œ 
โ–ทwhite
์กฐ๊ธˆ, ์†Œ๋Ÿ‰ 
โ–ทclouds
๊ตฌ๋ฆ„, ํด๋ผ์šฐ๋“œ .
์•„๋ฆ„๋‹ต๊ณ  ํ‘ธ๋ฅธ ํ•˜๋Š˜์— ์˜ˆ์˜๊ณ  ํ•˜์–€ ๊ตฌ๋ฆ„๋“ค์ด ์žˆ๋„ค์š”.



 โ™• But it is impossible in real life to have night and day at the same time.
  
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but it is
โ–ทimpossible
๋ถˆ๊ฐ€๋Šฅํ•œ, ~ํ•  ์ˆ˜ ์—†๋Š” 
โ–ทreal
์ง„์งœ์˜, ์‹ค์ œ์˜ 
โ–ทlife
์‚ถ, ์ธ์ƒ 
โ–ทnight
๋ฐค, ์ €๋… 
โ–ทsame
๊ฐ™์€, ๋˜‘๊ฐ™์€  time.
ํ•˜์ง€๋งŒ ๋ฐค๊ณผ ๋‚ฎ์ด ๋™์‹œ์— ์กด์žฌํ•˜๋Š” ๊ฒƒ์€ ํ˜„์‹ค์—์„œ ๋ถˆ๊ฐ€๋Šฅํ•ด์š”.



 โ™• Teacher: Exactly.
  
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โ–ทteacher
๊ต์‚ฌ, ์„ ์ƒ 
โ–ทexactly
์ •ํ™•ํžˆ, ๊ทธ๋ ‡์†Œ .
์„ ์ƒ๋‹˜: ๋ฐ”๋กœ ๊ทธ๋ ‡์Šต๋‹ˆ๋‹ค.



 โ™• That's what makes this painting surreal.
  
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that's that is์˜ ๋‹จ์ถ•ํ˜• what
โ–ทmakes
~ํ•˜๊ฒŒ ํ•˜๋‹ค, ๋งŒ๋“ค๋‹ค 
โ–ทpainting
๊ทธ๋ฆผ, ํŽ˜์ธํŠธ์น   surreal.
๊ทธ๊ฒƒ์ด ๋ฐ”๋กœ ์ด ๊ทธ๋ฆผ์„ ์ดˆํ˜„์‹ค์ ์œผ๋กœ ๋งŒ๋“œ๋Š” ์ ์ด์ง€์š”.



 โ™• Many people do not see this paradox the first time they look at this painting because both parts of it are so realistically painted.
  
Need_Help?
many
โ–ทpeople
์‚ฌ๋žŒ๋“ค, ๊ตญ๋ฏผ 
โ–ทdo
์กฐ๋™์‚ฌ, ํ•˜๋‹ค 
โ–ทsee
๋ณด๋‹ค, ์•Œ๋‹ค 
โ–ทparadox
์—ญ์„ค, ๋ชจ์ˆœ 
โ–ทlook
๋ณด๋‹ค, ์ฐพ๋‹ค 
โ–ทpainting
๊ทธ๋ฆผ, ํŽ˜์ธํŠธ์น  
โ–ทbecause
~๋•Œ๋ฌธ์—, ์™œ๋ƒํ•˜๋ฉด 
โ–ทboth
๋‘˜ ๋ชจ๋‘์—๊ฒŒ, ๋‘ ~ 
โ–ทparts
๋ถ€๋ถ„, ์ผ๋ถ€ 
โ–ทpainted
๊ทธ๋ฆฐ, ์ฑ„์ƒ‰ํ•œ .
๋งŽ์€ ์‚ฌ๋žŒ๋“ค์€ ์ฒ˜์Œ ์ด ๊ทธ๋ฆผ์„ ๋ณผ ๋•Œ ์ด๋Ÿฌํ•œ ์—ญ์„ค์„ ๋ณด์ง€ ๋ชปํ•˜๋Š”๋ฐ, ์™œ๋ƒํ•˜๋ฉด ๋ฐค๊ณผ ๋‚ฎ ๋‘ ๋ถ€๋ถ„์ด ๋ชจ๋‘ ๋Œ€๋‹จํžˆ ์‚ฌ์‹ค์ ์œผ๋กœ ๊ทธ๋ ค์ ธ ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .



 โ™• This painting makes us think about what we see and whether it is real or just an image from a dream.
  
Need_Help?
this
โ–ทpainting
๊ทธ๋ฆผ, ํŽ˜์ธํŠธ์น  
โ–ทmakes
~ํ•˜๊ฒŒ ํ•˜๋‹ค, ๋งŒ๋“ค๋‹ค 
โ–ทthink
์ƒ๊ฐํ•˜๋‹ค, ๊ฐ™๋‹ค 
โ–ทsee
๋ณด๋‹ค, ์•Œ๋‹ค 
โ–ทwhether
์–ด๋–จ์ง€, ~์ด๋“  ์•„๋‹ˆ๋“  
โ–ทreal
์ง„์งœ์˜, ์‹ค์ œ์˜ 
โ–ทjust
๊ฒƒ๋งŒ, ๊ทธ๋ƒฅ 
โ–ทimage
์ด๋ฏธ์ง€, ์‚ฌ์ง„ 
โ–ทdream
๊ฟˆ, ๊ฟˆ๊พธ๋‹ค .
์ด ๊ทธ๋ฆผ์€ ์šฐ๋ฆฌ๋กœ ํ•˜์—ฌ๊ธˆ ์šฐ๋ฆฌ๊ฐ€ ๋ณด๋Š” ๊ฒƒ๊ณผ, ๊ทธ๊ฒƒ์ด ์‹ค์ œ์ธ์ง€ ์•„๋‹ˆ๋ฉด ๊ทธ์ € ๊ฟˆ์—์„œ ๋‚˜์˜จ ํ•˜๋‚˜์˜ ์ด๋ฏธ์ง€์ผ ๋ฟ์ธ์ง€์— ๋Œ€ํ•˜์—ฌ ์ƒ๊ฐํ•˜๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.



 โ™• This is what makes Rene Magritte's paintings so interesting.
  
Need_Help?
this is what
โ–ทmakes
~ํ•˜๊ฒŒ ํ•˜๋‹ค, ๋งŒ๋“ค๋‹ค 
โ–ทpaintings
๊ทธ๋ฆผ, ํŽ˜์ธํŠธ์น  
โ–ทinteresting
ํฅ๋ฏธ๋กœ์šด, ์žฌ๋ฏธ์žˆ๋Š” .
์ด๊ฒƒ์ด ๋ฅด๋„ค ๋งˆ๊ทธ๋ฆฌํŠธ์˜ ๊ทธ๋ฆผ๋“ค์„ ๋งค์šฐ ํฅ๋ฏธ๋กญ๊ฒŒ ๋งŒ๋“œ๋Š” ์ ์ž…๋‹ˆ๋‹ค.



 โ™• In this way, Magritte challenged our tendency to accept our everyday experiences as true and clear.
  
Need_Help?
in this
โ–ทway
๋ฐฉ๋ฒ•, ๋ฐฉ์‹ 
โ–ทchallenged
๋…ธ๋ ฅ์„ ์š”ํ•˜๋Š” 
โ–ทour
์šฐ๋ฆฌ์˜, ํ˜„๋Œ€์˜ 
โ–ทtendency
๊ฒฝํ–ฅ, ์ถ”์„ธ 
โ–ทaccept
๋ฐ›์•„๋“ค์ด๋‹ค, ์ˆ˜์šฉํ•˜๋‹ค 
โ–ทour
์šฐ๋ฆฌ์˜, ํ˜„๋Œ€์˜ 
โ–ทeveryday
๋งค์ผ์˜, ์ผ์ƒ์˜ 
โ–ทexperiences
๊ฒฝํ—˜, ๊ฒช๋‹ค 
โ–ทtrue
์‚ฌ์‹ค, ์ง„์ •ํ•œ 
โ–ทclear
๋ถ„๋ช…ํ•ด์ง€๋‹ค, ๋ถ„๋ช…ํ•œ .
์ด๋Ÿฌํ•œ ๋ฐฉ์‹์œผ๋กœ, ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ์šฐ๋ฆฌ์˜ ์ผ์ƒ ๊ฒฝํ—˜๋“ค์„ ์ง„์‹คํ•˜๊ณ  ํ™•์‹คํ•œ ๊ฒƒ์œผ๋กœ ๋ฐ›์•„๋“ค์ด๋Š” ์šฐ๋ฆฌ์˜ ๊ฒฝํ–ฅ์— ๋„์ „์žฅ์„ ๋˜์กŒ์Šต๋‹ˆ๋‹ค.



 โ™• Magritte's work The Treachery of Images, which he painted between 1928 and 1929, focuses exactly on this idea.
  
Need_Help?
magritte's
โ–ทwork
์ผํ•˜๋‹ค, ์ž‘ํ’ˆ 
โ–ทtreachery
๋ฐฐ๋ฐ˜, ๋ฏฟ์„ ์ˆ˜ ์—†๋Š” 
โ–ทimages
์ด๋ฏธ์ง€, ์‚ฌ์ง„ 
โ–ทpainted
๊ทธ๋ฆฐ, ์ฑ„์ƒ‰ํ•œ 
โ–ทbetween
์‚ฌ์ด์—, ~๊ฐ„์˜ 
โ–ทfocuses
์ดˆ์ , ์ง‘์ค‘ํ•˜๋‹ค 
โ–ทexactly
์ •ํ™•ํžˆ, ๊ทธ๋ ‡์†Œ 
โ–ทidea
์ƒ๊ฐ, ์•„์ด๋””์–ด .
๋งˆ๊ทธ๋ฆฌํŠธ์˜ ์ž‘ํ’ˆ, '์ด๋ฏธ์ง€์˜ ๋ฐฐ๋ฐ˜'์€ ๊ทธ๊ฐ€ 1928๋…„๊ณผ 1929๋…„ ์‚ฌ์ด์— ๊ทธ๋ฆฐ ๊ฒƒ์œผ๋กœ, ๋ฐ”๋กœ ์ด๋Ÿฌํ•œ ์ƒ๊ฐ์— ์ดˆ์ ์„ ๋‘๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.



 โ™• It is one of his most well-known works.
  
Need_Help?
it is one of his
โ–ทmost
๊ฐ€์žฅ, ๋Œ€๋ถ€๋ถ„์˜ 
โ–ทworks
์ผํ•˜๋‹ค, ์ž‘ํ’ˆ .
์ด๊ฒƒ์€ ๊ทธ์˜ ๊ฐ€์žฅ ์ž˜ ์•Œ๋ ค์ง„ ์ž‘ํ’ˆ ๊ฐ€์šด๋ฐ ํ•˜๋‚˜์ž…๋‹ˆ๋‹ค.



 โ™• What do you think of it?
  
Need_Help?
what
โ–ทdo
์กฐ๋™์‚ฌ, ํ•˜๋‹ค 
โ–ทthink
์ƒ๊ฐํ•˜๋‹ค, ๊ฐ™๋‹ค  of it?
์ด๊ฒƒ์— ๋Œ€ํ•ด ์–ด๋–ป๊ฒŒ ์ƒ๊ฐํ•˜๋‚˜์š”?



 โ™• Student B: It doesn't look like anything special to me.
  
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โ–ทstudent
ํ•™์ƒ, ์ƒ๋„ 
โ–ทdoes
์กฐ๋™์‚ฌ, ํ•˜๋‹ค 
โ–ทlook
๋ณด๋‹ค, ์ฐพ๋‹ค 
โ–ทlike
์ข‹์•„ํ•˜๋‹ค 
โ–ทanything
๋ฌด์—‡์ด๋“ , ์•„๋ฌด๊ฒƒ๋„ 
โ–ทspecial
ํŠน๋ณ„ํ•œ, ํŠน์ˆ˜ํ•œ  to me.
ํ•™์ƒ B: ๊ทธ๋‹ค์ง€ ํŠน๋ณ„ํ•œ ์ ์€ ๋ณด์ด์ง€ ์•Š๋Š”๋ฐ์š”.



 โ™• It's simply a picture of a pipe.
  
Need_Help?
it's
โ–ทsimply
๋‹จ์ˆœํžˆ, ๊ฐ„๋‹จํžˆ 
โ–ทpicture
์‚ฌ์ง„, ๊ทธ๋ฆผ 
โ–ทpipe
~์„ ๋ฐฐ์ฒ™ํ•˜๋‹ค, ์”จ .
๋‹จ์ˆœํžˆ ํ•˜๋‚˜์˜ ํŒŒ์ดํ”„ ๊ทธ๋ฆผ์ด์ž–์•„์š”.



 โ™• There doesn't seem to be anything surreal about it.
  
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there doesn't
โ–ทdoes
์กฐ๋™์‚ฌ, ํ•˜๋‹ค 
โ–ทseem
~๊ฒƒ ๊ฐ™๋‹ค, ~๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด๋‹ค 
โ–ทanything
๋ฌด์—‡์ด๋“ , ์•„๋ฌด๊ฒƒ๋„  surreal about it.
๊ทธ๊ฒƒ์— ์ดˆํ˜„์‹ค์ ์ธ ๊ฒƒ์€ ์•„๋ฌด๊ฒƒ๋„ ์—†์–ด ๋ณด์ด๋Š”๋ฐ์š”.



6-3


๐Ÿ‘บ ์ ˆ๋Œ€ ์ œ๋ฐœ ์ฝ์ง€์ข€ ๋งˆ์„ธ์š”.


์„ ์ƒ๋‹˜: ๊ทธ ํŒŒ์ดํ”„ ์•„๋ž˜์— ํ”„๋ž‘์Šค์–ด๋กœ ์จ์ง„ ๊ฒƒ์ด ๋ฌด์—‡์„ ์˜๋ฏธํ•˜๋Š”์ง€ ์•Œ๊ณ  ์žˆ๋‚˜์š”? ํ•™์ƒ B: ์•„๋‹ˆ์˜ค, ์ €๋Š” ํ”„๋ž‘์Šค์–ด๋ฅผ ํ•  ์ค„ ๋ชฐ๋ผ์š”. ๊ทธ๊ฒƒ์ด ์ค‘์š”ํ•œ๊ฐ€์š”? ์„ ์ƒ๋‹˜: ๋„ค. ์‚ฌ์‹ค, ์•„๋งˆ๋„ ์ด ๊ทธ๋ฆผ์˜ ๊ฐ€์žฅ ์ค‘์š”ํ•œ ๋ถ€๋ถ„์ผ ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€ "์ด๊ฒƒ์€ ํŒŒ์ดํ”„๊ฐ€ ์•„๋‹ˆ๋‹ค."๋ผ๋Š” ๋ง์ž…๋‹ˆ๋‹ค. ๊ทธ๊ฒŒ ๋ฐ”๋กœ ์ด ๊ทธ๋ฆผ์„ ์ดˆํ˜„์‹ค์ ์œผ๋กœ ๋งŒ๋“œ๋Š” ๊ฒƒ์ด์—์š”. ์‚ฌ๋žŒ๋“ค์ด ์ฒ˜์Œ์— ๊ทธ๋ฆผ์„ ๋ณด๊ณ  ์ด ์ง„์ˆ ์— ์˜๋ฌธ์„ ๊ฐ€์งˆ ๋•Œ, ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ๋งŒ์•ฝ ๊ทธ๊ฒƒ์ด ํŒŒ์ดํ”„๋ผ๋ฉด, ๊ทธ๊ฒƒ์— ๋‹ด๋ฐฐ๋ฅผ ์ฑ„์›Œ ๋„ฃ์–ด๋ด์•ผ ํ•œ๋‹ค๊ณ  ๋งํ•˜๊ณค ํ–ˆ์Šต๋‹ˆ๋‹ค. ๋ฌผ๋ก  ์ด๊ฒƒ์€ ๋ถˆ๊ฐ€๋Šฅํ•˜์ฃ . ์™œ๋ƒํ•˜๋ฉด ๊ทธ๊ฒƒ์€ ๋‹จ์ง€ ํŒŒ์ดํ”„์˜ ์ด๋ฏธ์ง€์ผ ๋ฟ์ด์ง€ ์‹ค์ œ ํŒŒ์ดํ”„๋Š” ์•„๋‹ˆ๋‹ˆ๊นŒ์š”. ํ•™์ƒ C: ์•Œ๊ฒ ์–ด์š”. ๊ทธ๋Š” ์‚ฌ๋žŒ๋“ค์ด ์ด๋ฏธ์ง€์™€ ์‚ฌ๋ฌผ ์‚ฌ์ด์˜ ๊ด€๊ณ„์— ๋Œ€ํ•ด ์ƒ๊ฐํ•˜๊ธฐ๋ฅผ ์›ํ–ˆ๋˜ ๊ฒƒ ๊ฐ™์•„์š”. ์„ ์ƒ๋‹˜: ๋ฐ”๋กœ ๊ทธ๊ฑฐ์˜ˆ์š”. ์ด๋Ÿฐ ๊ด€๊ณ„๋“ค์€ ์šฐ๋ฆฌ๊ฐ€ ์ƒ๊ฐํ•˜๋Š” ๊ฒƒ๋งŒํผ ๊ฐ•ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ์–ธ์–ด์™€ ์‚ฌ๋ฌผ ์‚ฌ์ด์˜ ๊ด€๊ณ„ ์—ญ์‹œ ๊ฐ•ํ•˜์ง€ ์•Š์ฃ . ๋น„๋ก ์šฐ๋ฆฌ๊ฐ€ ๊ทธ ์‚ฌ๋ฌผ์„ 'ํŒŒ์ดํ”„'๋ผ๊ณ  ๋ถ€๋ฅด๊ธฐ๋กœ ํ•ฉ์˜ํ–ˆ์ง€๋งŒ, ๊ทธ๊ฒƒ์€ ๊ทธ์ € ์‰ฝ๊ฒŒ '์‚ฌ๊ณผ'๋ผ๊ณ  ๋ถˆ๋ฆด ์ˆ˜๋„ ์žˆ์—ˆ์„ ๊ฒ๋‹ˆ๋‹ค. ์ด ๊ทธ๋ฆผ ์†์˜ ํŒŒ์ดํ”„๋Š” ์‚ฌ๋žŒ๋“ค์ด ๋‹ด๋ฐฐ๋ฅผ ํ”ผ์šฐ๋ ค๊ณ  ์‚ฌ์šฉํ•˜๋Š” ํŒŒ์ดํ”„์™€ ๋˜‘๊ฐ™์€ ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€ ๊ทธ์ € ์‹ค์ œ ํŒŒ์ดํ”„์˜ ํ•œ ์ด๋ฏธ์ง€์ผ ๋ฟ์ด์ฃ . ๋‹ค์‹œ ๋งํ•ด์„œ, ์–ธ์–ด, ์‚ฌ๋ฌผ, ๊ทธ๋ฆฌ๊ณ  ์ด๋ฏธ์ง€ ์‚ฌ์ด์˜ ๊ด€๊ณ„๋Š” ๊ฐ•์ œ์ ์ธ ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค. ๊ทธ ๊ทธ๋ฆผ์€ ์šฐ๋ฆฌ๊ฐ€ ๋ฏธ์ˆ ์„ ๋ณด๋Š” ์ผ๋ฐ˜์ ์ธ ๋ฐฉ์‹์— ๋„์ „ํ•  ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ, ์‹ฌ์ง€์–ด ์šฐ๋ฆฌ๊ฐ€ ์ผ๋ฐ˜์ ์œผ๋กœ ์‚ฌ๋ฌผ์„ ๋ฐ”๋ผ๋ณด๋Š” ๋ฐฉ์‹์— ๋Œ€ํ•ด์„œ๋„ ์˜๋ฌธ์„ ๊ฐ–๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
Teacher: Do you know what the French writing below the pipe means? Student B: No, I don't speak French. Is it important? Teacher: Yes. In fact, it's probably the most important part of the painting. It says, "This is not a pipe." It is what makes this painting surreal. When people first saw the painting and questioned this statement, Magritte would tell them that if it were a pipe, they should try to fill it with tobacco. Of course this is impossible because it is only an image of a pipe, not a real pipe. Student C: I see. I guess he wanted people to think about the relationships between images and objects. Teacher: Exactly. These relationships aren't as strong as we may think. The relationships between words and objects aren't strong, either. Although we had agreed to call the object a "pipe," it could have been called an "apple" just as easily. The pipe in the painting is not the same pipe a person uses to smoke. It's merely an image of it. That is to say, the relationships between words, objects, and images are not binding. The painting not only challenges the common way we view art, but it even makes us question how we view things in general.



์ ˆ๋Œ€ ๋„ค๋ฒ„ ํ•ด์„ํ•˜์ง€ ๋งˆ์„ธ์š”. 1๋“ฑ๊ธ‰ ๋˜๋‹ˆ๊นŒ์š”~โค๏ธ


 โ™• Teacher: Do you know what the French writing below the pipe means?
  
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โ–ทteacher
๊ต์‚ฌ, ์„ ์ƒ 
โ–ทdo
์กฐ๋™์‚ฌ, ํ•˜๋‹ค 
โ–ทknow
์•Œ๋‹ค, ์ธ์‹ํ•˜๋‹ค 
โ–ทfrench
ํ”„๋ž‘์Šค์˜, ํ”„๋ž‘์Šค์–ด 
โ–ทwriting
์“ฐ๊ธฐ, ์ž‘๋ฌธ 
โ–ทbelow
์•„๋ž˜์—, ~์ดํ•˜์˜ 
โ–ทpipe
~์„ ๋ฐฐ์ฒ™ํ•˜๋‹ค, ์”จ 
โ–ทmeans
์˜๋ฏธํ•˜๋‹ค, ๋œป ?
์„ ์ƒ๋‹˜: ๊ทธ ํŒŒ์ดํ”„ ์•„๋ž˜์— ํ”„๋ž‘์Šค์–ด๋กœ ์จ์ง„ ๊ฒƒ์ด ๋ฌด์—‡์„ ์˜๋ฏธํ•˜๋Š”์ง€ ์•Œ๊ณ  ์žˆ๋‚˜์š”?



 โ™• Student B: No, I don't speak French.
  
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โ–ทstudent
ํ•™์ƒ, ์ƒ๋„ 
โ–ทspeak
๋งํ•˜๋‹ค, ์‚ฌ์šฉํ•˜๋‹ค 
โ–ทfrench
ํ”„๋ž‘์Šค์˜, ํ”„๋ž‘์Šค์–ด .
ํ•™์ƒ B: ์•„๋‹ˆ์˜ค, ์ €๋Š” ํ”„๋ž‘์Šค์–ด๋ฅผ ํ•  ์ค„ ๋ชฐ๋ผ์š”.



 โ™• Is it important?
  
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is it
โ–ทimportant
์ค‘์š”ํ•œ, ์ฃผ์š”ํ•œ ?
๊ทธ๊ฒƒ์ด ์ค‘์š”ํ•œ๊ฐ€์š”?



 โ™• Teacher: Yes.
  
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โ–ทteacher
๊ต์‚ฌ, ์„ ์ƒ 
โ–ทyes
๋„ค, ๊ทธ๋ ‡์Šต๋‹ˆ๋‹ค .
์„ ์ƒ๋‹˜: ๋„ค.



 โ™• In fact, it's probably the most important part of the painting.
  
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in
โ–ทfact
์‚ฌ์‹ค, ์ผ 
โ–ทprobably
์•„๋งˆ๋„, ์•„๋งˆ 
โ–ทmost
๊ฐ€์žฅ, ๋Œ€๋ถ€๋ถ„์˜ 
โ–ทimportant
์ค‘์š”ํ•œ, ์ฃผ์š”ํ•œ 
โ–ทpart
๋ถ€๋ถ„, ์ผ๋ถ€ 
โ–ทpainting
๊ทธ๋ฆผ, ํŽ˜์ธํŠธ์น  .
์‚ฌ์‹ค, ์•„๋งˆ๋„ ์ด ๊ทธ๋ฆผ์˜ ๊ฐ€์žฅ ์ค‘์š”ํ•œ ๋ถ€๋ถ„์ผ ๊ฒƒ์ž…๋‹ˆ๋‹ค.



 โ™• It says, "This is not a pipe."
  
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it
โ–ทsays
say์˜ 3์ธ์นญยท๋‹จ์ˆ˜ยท์ง์„ค๋ฒ•ยทํ˜„์žฌํ˜• 
โ–ทpipe
~์„ ๋ฐฐ์ฒ™ํ•˜๋‹ค, ์”จ ."
๊ทธ๊ฒƒ์€ "์ด๊ฒƒ์€ ํŒŒ์ดํ”„๊ฐ€ ์•„๋‹ˆ๋‹ค."๋ผ๋Š” ๋ง์ž…๋‹ˆ๋‹ค.



 โ™• It is what makes this painting surreal.
  
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it is what
โ–ทmakes
~ํ•˜๊ฒŒ ํ•˜๋‹ค, ๋งŒ๋“ค๋‹ค 
โ–ทpainting
๊ทธ๋ฆผ, ํŽ˜์ธํŠธ์น   surreal.
๊ทธ๊ฒŒ ๋ฐ”๋กœ ์ด ๊ทธ๋ฆผ์„ ์ดˆํ˜„์‹ค์ ์œผ๋กœ ๋งŒ๋“œ๋Š” ๊ฒƒ์ด์—์š”.



 โ™• When people first saw the painting and questioned this statement, Magritte would tell them that if it were a pipe, they should try to fill it with tobacco.
  
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when
โ–ทpeople
์‚ฌ๋žŒ๋“ค, ๊ตญ๋ฏผ 
โ–ทsaw
๋ดค๋‹ค, ํ†ฑ 
โ–ทpainting
๊ทธ๋ฆผ, ํŽ˜์ธํŠธ์น  
โ–ทquestioned
์งˆ๋ฌธ, ๋ฌธ์ œ 
โ–ทstatement
๋ฐœํ‘œ, ๋งํ•จ 
โ–ทtell
๋งํ•˜๋‹ค, ์ด์•ผ๊ธฐํ•˜๋‹ค 
โ–ทpipe
~์„ ๋ฐฐ์ฒ™ํ•˜๋‹ค, ์”จ 
โ–ทtry
๋…ธ๋ ฅํ•˜๋‹ค, ํ•ด๋ณด๋‹ค 
โ–ทfill
์ฑ„์šฐ๋‹ค, ๊ฐ€๋“ํ•˜๋‹ค 
โ–ทtobacco
๋‹ด๋ฐฐ, ํก์—ฐ .
์‚ฌ๋žŒ๋“ค์ด ์ฒ˜์Œ์— ๊ทธ๋ฆผ์„ ๋ณด๊ณ  ์ด ์ง„์ˆ ์— ์˜๋ฌธ์„ ๊ฐ€์งˆ ๋•Œ, ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ๋งŒ์•ฝ ๊ทธ๊ฒƒ์ด ํŒŒ์ดํ”„๋ผ๋ฉด, ๊ทธ๊ฒƒ์— ๋‹ด๋ฐฐ๋ฅผ ์ฑ„์›Œ ๋„ฃ์–ด๋ด์•ผ ํ•œ๋‹ค๊ณ  ๋งํ•˜๊ณค ํ–ˆ์Šต๋‹ˆ๋‹ค.



 โ™• Of course this is impossible because it is only an image of a pipe, not a real pipe.
  
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of
โ–ทcourse
๊ณผ์ •, ์ฝ”์Šค 
โ–ทimpossible
๋ถˆ๊ฐ€๋Šฅํ•œ, ~ํ•  ์ˆ˜ ์—†๋Š” 
โ–ทbecause
~๋•Œ๋ฌธ์—, ์™œ๋ƒํ•˜๋ฉด 
โ–ทimage
์ด๋ฏธ์ง€, ์‚ฌ์ง„ 
โ–ทpipe
~์„ ๋ฐฐ์ฒ™ํ•˜๋‹ค, ์”จ 
โ–ทreal
์ง„์งœ์˜, ์‹ค์ œ์˜ 
โ–ทpipe
~์„ ๋ฐฐ์ฒ™ํ•˜๋‹ค, ์”จ .
๋ฌผ๋ก  ์ด๊ฒƒ์€ ๋ถˆ๊ฐ€๋Šฅํ•˜์ฃ .



 โ™• Student C: I see.
  
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โ–ทstudent
ํ•™์ƒ, ์ƒ๋„ 
โ–ทsee
๋ณด๋‹ค, ์•Œ๋‹ค .
์™œ๋ƒํ•˜๋ฉด ๊ทธ๊ฒƒ์€ ๋‹จ์ง€ ํŒŒ์ดํ”„์˜ ์ด๋ฏธ์ง€์ผ ๋ฟ์ด์ง€ ์‹ค์ œ ํŒŒ์ดํ”„๋Š” ์•„๋‹ˆ๋‹ˆ๊นŒ์š”.



 โ™• I guess he wanted people to think about the relationships between images and objects.
  
Need_Help?
i
โ–ทguess
~์ธ ๊ฒƒ ๊ฐ™๋‹ค, ~๋ผ๊ณ  ์ƒ๊ฐํ•˜๋‹ค 
โ–ทwanted
์‹ถ์—ˆ๋‹ค, ์›ํ–ˆ๋‹ค 
โ–ทpeople
์‚ฌ๋žŒ๋“ค, ๊ตญ๋ฏผ 
โ–ทthink
์ƒ๊ฐํ•˜๋‹ค, ๊ฐ™๋‹ค 
โ–ทrelationships
๊ด€๊ณ„, ์—ฐ์• ๊ด€๊ณ„ 
โ–ทbetween
์‚ฌ์ด์—, ~๊ฐ„์˜ 
โ–ทimages
์ด๋ฏธ์ง€, ์‚ฌ์ง„ 
โ–ทobjects
๋ฌผ๊ฑด, ๋ฐ˜๋Œ€ํ•˜๋‹ค .
ํ•™์ƒ C: ์•Œ๊ฒ ์–ด์š”.



 โ™• Teacher: Exactly.
  
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โ–ทteacher
๊ต์‚ฌ, ์„ ์ƒ 
โ–ทexactly
์ •ํ™•ํžˆ, ๊ทธ๋ ‡์†Œ .
๊ทธ๋Š” ์‚ฌ๋žŒ๋“ค์ด ์ด๋ฏธ์ง€์™€ ์‚ฌ๋ฌผ ์‚ฌ์ด์˜ ๊ด€๊ณ„์— ๋Œ€ํ•ด ์ƒ๊ฐํ•˜๊ธฐ๋ฅผ ์›ํ–ˆ๋˜ ๊ฒƒ ๊ฐ™์•„์š”.



 โ™• These relationships aren't as strong as we may think.
  
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โ–ทthese
์ด ~๋“ค์˜, ์ด๋Ÿฐ 
โ–ทrelationships
๊ด€๊ณ„, ์—ฐ์• ๊ด€๊ณ„ 
โ–ทstrong
๊ฐ•ํ•œ, ๊ฐ•๋ ฅํ•œ 
โ–ทthink
์ƒ๊ฐํ•˜๋‹ค, ๊ฐ™๋‹ค .
์„ ์ƒ๋‹˜: ๋ฐ”๋กœ ๊ทธ๊ฑฐ์˜ˆ์š”.



 โ™• The relationships between words and objects aren't strong, either.
  
Need_Help?
the
โ–ทrelationships
๊ด€๊ณ„, ์—ฐ์• ๊ด€๊ณ„ 
โ–ทbetween
์‚ฌ์ด์—, ~๊ฐ„์˜ 
โ–ทwords
๋ง, ๋‹จ์–ด 
โ–ทobjects
๋ฌผ๊ฑด, ๋ฐ˜๋Œ€ํ•˜๋‹ค 
โ–ทstrong
๊ฐ•ํ•œ, ๊ฐ•๋ ฅํ•œ 
โ–ทeither
๋˜ํ•œ, ์–ด๋Š ์ชฝ .
์ด๋Ÿฐ ๊ด€๊ณ„๋“ค์€ ์šฐ๋ฆฌ๊ฐ€ ์ƒ๊ฐํ•˜๋Š” ๊ฒƒ๋งŒํผ ๊ฐ•ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.



 โ™• Although we had agreed to call the object a "pipe," it could have been called an "apple" just as easily.
  
Need_Help?

โ–ทalthough
๋น„๋ก~์ด์ง€๋งŒ, ~์ž„์—๋„ ๋ถˆ๊ตฌํ•˜๊ณ  
โ–ทagreed
ํ•ฉ์˜๋œ, ๋™์˜๋œ 
โ–ทcall
๋ถ€๋ฅด๋‹ค, ์ „ํ™”ํ•˜๋‹ค 
โ–ทobject
๋ฌผ๊ฑด, ๋ฐ˜๋Œ€ํ•˜๋‹ค 
โ–ทpipe
~์„ ๋ฐฐ์ฒ™ํ•˜๋‹ค, ์”จ 
โ–ทcalled
๋ถ€๋ฅด๋‹ค, ์ „ํ™”ํ•˜๋‹ค 
โ–ทjust
๊ฒƒ๋งŒ, ๊ทธ๋ƒฅ 
โ–ทeasily
์‰ฝ๊ฒŒ, ์ž˜ .
์–ธ์–ด์™€ ์‚ฌ๋ฌผ ์‚ฌ์ด์˜ ๊ด€๊ณ„ ์—ญ์‹œ ๊ฐ•ํ•˜์ง€ ์•Š์ฃ .



 โ™• The pipe in the painting is not the same pipe a person uses to smoke.
  
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the
โ–ทpipe
~์„ ๋ฐฐ์ฒ™ํ•˜๋‹ค, ์”จ 
โ–ทpainting
๊ทธ๋ฆผ, ํŽ˜์ธํŠธ์น  
โ–ทsame
๊ฐ™์€, ๋˜‘๊ฐ™์€ 
โ–ทpipe
~์„ ๋ฐฐ์ฒ™ํ•˜๋‹ค, ์”จ 
โ–ทperson
์‚ฌ๋žŒ, ์ธ๋ฌผ 
โ–ทuses
์‚ฌ์šฉํ•˜๋‹ค, ์ด์šฉํ•˜๋‹ค 
โ–ทsmoke
ํก์—ฐ, ๋‹ด๋ฐฐ๋ฅผ ํ”ผ์šฐ๋‹ค .
๋น„๋ก ์šฐ๋ฆฌ๊ฐ€ ๊ทธ ์‚ฌ๋ฌผ์„ 'ํŒŒ์ดํ”„'๋ผ๊ณ  ๋ถ€๋ฅด๊ธฐ๋กœ ํ•ฉ์˜ํ–ˆ์ง€๋งŒ, ๊ทธ๊ฒƒ์€ ๊ทธ์ € ์‰ฝ๊ฒŒ '์‚ฌ๊ณผ'๋ผ๊ณ  ๋ถˆ๋ฆด ์ˆ˜๋„ ์žˆ์—ˆ์„ ๊ฒ๋‹ˆ๋‹ค.



 โ™• It's merely an image of it.
  
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it's
โ–ทmerely
๋‹จ์ง€, ๋‹จ์ˆœํžˆ 
โ–ทimage
์ด๋ฏธ์ง€, ์‚ฌ์ง„  of it.
์ด ๊ทธ๋ฆผ ์†์˜ ํŒŒ์ดํ”„๋Š” ์‚ฌ๋žŒ๋“ค์ด ๋‹ด๋ฐฐ๋ฅผ ํ”ผ์šฐ๋ ค๊ณ  ์‚ฌ์šฉํ•˜๋Š” ํŒŒ์ดํ”„์™€ ๋˜‘๊ฐ™์€ ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค.



 โ™• That is to say, the relationships between words, objects, and images are not binding.
  
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that is to say, the
โ–ทrelationships
๊ด€๊ณ„, ์—ฐ์• ๊ด€๊ณ„ 
โ–ทbetween
์‚ฌ์ด์—, ~๊ฐ„์˜ 
โ–ทwords
๋ง, ๋‹จ์–ด 
โ–ทobjects
๋ฌผ๊ฑด, ๋ฐ˜๋Œ€ํ•˜๋‹ค 
โ–ทimages
์ด๋ฏธ์ง€, ์‚ฌ์ง„ 
โ–ทbinding
์˜๋ฌด์ ์ธ, ๋ฌถ๊ธฐ .
๊ทธ๊ฒƒ์€ ๊ทธ์ € ์‹ค์ œ ํŒŒ์ดํ”„์˜ ํ•œ ์ด๋ฏธ์ง€์ผ ๋ฟ์ด์ฃ .



 โ™• The painting not only challenges the common way we view art, but it even makes us question how we view things in general.
  
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the
โ–ทpainting
๊ทธ๋ฆผ, ํŽ˜์ธํŠธ์น  
โ–ทchallenges
๋„์ „, ๋ฌธ์ œ 
โ–ทcommon
ํ”ํ•œ, ๊ณตํ†ต์˜ 
โ–ทway
๋ฐฉ๋ฒ•, ๋ฐฉ์‹ 
โ–ทview
๊ฒฌํ•ด, ๋ณด๊ธฐ 
โ–ทart
์˜ˆ์ˆ , ๋ฏธ์ˆ ํ’ˆ 
โ–ทmakes
~ํ•˜๊ฒŒ ํ•˜๋‹ค, ๋งŒ๋“ค๋‹ค 
โ–ทquestion
์งˆ๋ฌธ, ๋ฌธ์ œ 
โ–ทhow
์–ด๋–ป๊ฒŒ, ์–ผ๋งˆ๋‚˜ 
โ–ทview
๊ฒฌํ•ด, ๋ณด๊ธฐ 
โ–ทthings
๊ฒƒ, ์ผ 
โ–ทgeneral
์ผ๋ฐ˜์˜, ์žฅ๊ตฐ .
๋‹ค์‹œ ๋งํ•ด์„œ, ์–ธ์–ด, ์‚ฌ๋ฌผ, ๊ทธ๋ฆฌ๊ณ  ์ด๋ฏธ์ง€ ์‚ฌ์ด์˜ ๊ด€๊ณ„๋Š” ๊ฐ•์ œ์ ์ธ ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค.



6-4


๐Ÿ‘บ ์ ˆ๋Œ€ ์ œ๋ฐœ ์ฝ์ง€์ข€ ๋งˆ์„ธ์š”.


์„ ์ƒ๋‹˜: ์šฐ๋ฆฌ๊ฐ€ ์‚ดํŽด๋ณผ ๋งˆ์ง€๋ง‰ ๊ทธ๋ฆผ์€ ๋”์šฑ ๋ช…ํ™•ํ•˜๊ฒŒ ์ดˆํ˜„์‹ค์ ์ด๊ณ  ๋ณต์žกํ•ฉ๋‹ˆ๋‹ค. '๊ณจ์ฝ˜๋‹ค'๋ผ๋Š” ์ž‘ํ’ˆ์œผ๋กœ, ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ์ด๊ฒƒ์„ 1953๋…„์— ์™„์„ฑํ–ˆ์Šต๋‹ˆ๋‹ค. ์—ฌ๋Ÿฌ๋ถ„์ด ์ด ๊ทธ๋ฆผ์„ ๋ณผ ๋•Œ ๊ฐ€์žฅ ๋จผ์ € ์ฃผ๋ชฉํ•˜๊ฒŒ ๋˜๋Š” ๊ฒƒ์€ ๋ฌด์—‡์ธ๊ฐ€์š”? ํ•™์ƒ A: ํ•˜๋Š˜์— ์žˆ๋Š” ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ๊ด€์‹ฌ์ด ๊ฐ€์š”. ๊ทธ ์‚ฌ๋žŒ๋“ค์ด ๊ทธ๋ฆผ์„ ๊ฟˆ์ฒ˜๋Ÿผ ๋ณด์ด๊ฒŒ ํ•ด์š”. ์„ ์ƒ๋‹˜: ๊ทธ ์ ์ด ๋Œ€๋ถ€๋ถ„ ์‚ฌ๋žŒ๋“ค์ด ๊ฐ€์žฅ ๋จผ์ € ์ฃผ๋ชฉํ•˜๋Š” ๊ฒƒ์ด์ฃ . ์–ด๋–ค ์‚ฌ๋žŒ๋“ค์€ ๊ทธ๋“ค์ด ๋น„์ฒ˜๋Ÿผ ๋•…์œผ๋กœ ๋–จ์–ด์ง€๋Š” ๊ฒƒ์œผ๋กœ ๋ณด์ง€๋งŒ, ๋‹ค๋ฅธ ์ด๋“ค์€ ๊ทธ๋“ค์ด ๋– ๋‹ค๋‹ˆ๊ณ  ์žˆ๋Š” ๊ฒƒ์œผ๋กœ ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค. ๋งˆ๊ทธ๋ฆฌํŠธ๊ฐ€ ์–ด๋–ค ์›€์ง์ž„์˜ ๊ธฐ๋ฏธ๋„ ํฌํ•จํ•˜์ง€ ์•Š์•˜๊ธฐ ๋•Œ๋ฌธ์—, ๊ทธ๋Š” ๊ฒฐ์ •์„ ๋ณด๋Š” ์ด๋“ค์—๊ฒŒ ๋งก๊ฒผ์Šต๋‹ˆ๋‹ค. ์–ด๋Š ์ชฝ์ด๋“ , ์ด ๊ทธ๋ฆผ์„ ์ดˆํ˜„์‹ค์ ์œผ๋กœ ๋งŒ๋“œ๋Š” ๊ฒƒ์€ ๋ฐ”๋กœ ์‚ฌ๋žŒ์€ ์ด์ฒ˜๋Ÿผ ์ค‘๋ ฅ์„ ๊ฑฐ์Šฌ๋Ÿฌ ๊ณต์ค‘์— ์žˆ์„ ์ˆ˜ ์—†๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์ด๋“ค์€ ์ง„์งœ ์‚ฌ๋žŒ๋“ค์€ ์•„๋‹™๋‹ˆ๋‹ค. ๊ทธ๋“ค์€ ๋‹จ์ง€ ์‚ฌ๋žŒ๋“ค์˜ ์ด๋ฏธ์ง€์ผ ๋ฟ์ด๊ณ , ๊ทธ๋ž˜์„œ ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ์ด๋ฏธ์ง€๋“ค์ด ํ˜„์‹ค ์„ธ๊ณ„์˜ ์–ด๋– ํ•œ ๊ทœ์น™๋„ ๋”ฐ๋ฅผ ํ•„์š”๊ฐ€ ์—†๋‹ค๋Š” ๊ฒƒ์„ ๋ณด์—ฌ ์ฃผ๊ณ  ์‹ถ์—ˆ๋˜ ๊ฒƒ์ž…๋‹ˆ๋‹ค. ํ•™์ƒ C: ๋ชจ๋“  ์‚ฌ๋žŒ์ด ๋˜‘๊ฐ™์•„ ๋ณด์ด๋Š” ๊ฒƒ ๋˜ํ•œ ๋น„ํ˜„์‹ค์ ์œผ๋กœ ๋ณด์—ฌ์š”. ๊ทธ๋“ค์€ ๋ชจ๋‘ ์–ด๋‘์šด ์™ธํˆฌ์™€ ๋ชจ์ž๋ฅผ ์ฐฉ์šฉํ•˜๊ณ  ์žˆ์–ด์š”. ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ์™œ ์‚ฌ๋žŒ๋“ค์„ ๋ชจ๋‘ ์ €๋ ‡๊ฒŒ ๊ทธ๋ฆฐ ๊ฑธ๊นŒ์š”? ์„ ์ƒ๋‹˜: ์–ด๋–ค ์ด๋“ค์€ ๋งˆ๊ทธ๋ฆฌํŠธ๊ฐ€ ํ˜„๋Œ€ ์‚ฌํšŒ์˜ ์‚ฌ๋žŒ๋“ค์ด ์–ด๋–ป๊ฒŒ ๊ฐœ์„ฑ์„ ์žƒ๊ณ  ์žˆ๋Š”์ง€๋ฅผ ๋ณด์—ฌ ์ฃผ๊ธฐ ์œ„ํ•ด ์ด๋ ‡๊ฒŒ ํ–ˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค. ๊ทธ๋Š” ์‚ฌ์—…๊ฐ€์™€ ์€ํ–‰์› ๊ฐ™์€ ์‚ฌ๋žŒ๋“ค์ด ๋ชจ๋‘ ๊ฐ™์€ ์ข…๋ฅ˜์˜ ์ธ์ƒ์„ ์‚ด์•„๊ฐ€๋Š” ๊ตฐ์ค‘ ์†์—์„œ ๊ธธ์„ ์žƒ์–ด๋ฒ„๋ฆฌ๊ณ  ์žˆ๋‹ค๊ณ  ๋ฏฟ์—ˆ์Šต๋‹ˆ๋‹ค. ์ด๊ฒƒ๊ณผ ๋”๋ถˆ์–ด ๋‹ค๋ฅธ ์ž‘ํ’ˆ๋“ค ์†์—์„œ, ๋ฅด๋„ค ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ์ด๋Ÿฐ ์ข…๋ฅ˜์˜ ์‚ฌํšŒ๋ฅผ ์กฐ์†Œํ•˜๋ ค ํ–ˆ์Šต๋‹ˆ๋‹ค.
Teacher: The last painting we're going to look at is more clearly surreal and complicated. It's called Golconda and Magritte completed it in 1953. What is the first thing you notice when you look at this painting? Student A: My attention goes to the men in the sky. They make it look like a dream. Teacher: That's what most people notice first. Some people view them as falling to the ground like rain, while others imagine them floating. Since Magritte didn't include any sign of movement, he left it to the viewer to decide. Either way, what makes the painting surreal is that men cannot be in the sky against gravity like this. However, these aren't real men. They are only the images of men, so Magritte wanted to show that images don't have to follow any rules of the real world. Student C: It also seems unrealistic that all the men look the same. They are all dressed in dark overcoats and hats. Why did Magritte paint them all like that? Teacher: Some people believe Magritte did this to show how people in modern society are losing their individuality. He believed people like businessmen and bankers were getting lost in the crowds of people all living the same kind of life. In this and other works, Rene Magritte tried to make fun of this kind of society.



์ ˆ๋Œ€ ๋„ค๋ฒ„ ํ•ด์„ํ•˜์ง€ ๋งˆ์„ธ์š”. 1๋“ฑ๊ธ‰ ๋˜๋‹ˆ๊นŒ์š”~โค๏ธ


 โ™• Teacher: The last painting we're going to look at is more clearly surreal and complicated.
  
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โ–ทteacher
๊ต์‚ฌ, ์„ ์ƒ 
โ–ทlast
์ง€๋‚œ, ๋งˆ์ง€๋ง‰์˜ 
โ–ทpainting
๊ทธ๋ฆฌ๋‹ค, ํŽ˜์ธํŠธ 
โ–ทgoing
๊ฐ€๊ธฐ, ๊ณ„์† 
โ–ทlook
๋ณด๋‹ค, ์ฐพ๋‹ค 
โ–ทclearly
๋ถ„๋ช…ํ•˜๊ฒŒ, ๋ช…ํ™•ํžˆ 
โ–ทcomplicated
๋ณต์žกํ•œ, ์–ด๋ ค์šด .
์„ ์ƒ๋‹˜: ์šฐ๋ฆฌ๊ฐ€ ์‚ดํŽด๋ณผ ๋งˆ์ง€๋ง‰ ๊ทธ๋ฆผ์€ ๋”์šฑ ๋ช…ํ™•ํ•˜๊ฒŒ ์ดˆํ˜„์‹ค์ ์ด๊ณ  ๋ณต์žกํ•ฉ๋‹ˆ๋‹ค.



 โ™• It's called Golconda and Magritte completed it in 1953.
  
Need_Help?
it's
โ–ทcalled
๋ถ€๋ฅด๋‹ค, ์ „ํ™”ํ•˜๋‹ค 
โ–ทcompleted
์ž‘์„ฑํ•œ, ์ž‘์„ฑ๋œ  it in 1953.
'๊ณจ์ฝ˜๋‹ค'๋ผ๋Š” ์ž‘ํ’ˆ์œผ๋กœ, ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ์ด๊ฒƒ์„ 1953๋…„์— ์™„์„ฑํ–ˆ์Šต๋‹ˆ๋‹ค.



 โ™• What is the first thing you notice when you look at this painting?
  
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what is the first
โ–ทthing
๊ฒƒ, ์ผ 
โ–ทnotice
์•Œ์•„์ฐจ๋ฆฌ๋‹ค, ๊ณต์ง€ 
โ–ทlook
๋ณด๋‹ค, ์ฐพ๋‹ค 
โ–ทpainting
๊ทธ๋ฆฌ๋‹ค, ํŽ˜์ธํŠธ  ๊ทธ๋ฆผ, ํŽ˜์ธํŠธ์น ?
์—ฌ๋Ÿฌ๋ถ„์ด ์ด ๊ทธ๋ฆผ์„ ๋ณผ ๋•Œ ๊ฐ€์žฅ ๋จผ์ € ์ฃผ๋ชฉํ•˜๊ฒŒ ๋˜๋Š” ๊ฒƒ์€ ๋ฌด์—‡์ธ๊ฐ€์š”?



 โ™• Student A: My attention goes to the men in the sky.
  
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โ–ทstudent
ํ•™์ƒ, ์ƒ๋„ 
โ–ทattention
๊ด€์‹ฌ, ์ฃผ์˜๋ ฅ 
โ–ทgoes
go์˜ 3์ธ์นญยท๋‹จ์ˆ˜ยทํ˜„์žฌํ˜•, go์˜ ๋ณต์ˆ˜ํ˜• 
โ–ทsky
ํ•˜๋Š˜, ์ƒ๊ณต .
ํ•™์ƒ A: ํ•˜๋Š˜์— ์žˆ๋Š” ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ๊ด€์‹ฌ์ด ๊ฐ€์š”.



 โ™• They make it look like a dream.
  
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they
โ–ทmake
~ํ•˜๊ฒŒ ํ•˜๋‹ค, ๋งŒ๋“ค๋‹ค 
โ–ทlook
๋ณด๋‹ค, ์ฐพ๋‹ค 
โ–ทlike
์ข‹์•„ํ•˜๋‹ค 
โ–ทdream
๊ฟˆ, ๊ฟˆ๊พธ๋‹ค .
๊ทธ ์‚ฌ๋žŒ๋“ค์ด ๊ทธ๋ฆผ์„ ๊ฟˆ์ฒ˜๋Ÿผ ๋ณด์ด๊ฒŒ ํ•ด์š”.



 โ™• Teacher: That's what most people notice first.
  
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โ–ทteacher
๊ต์‚ฌ, ์„ ์ƒ 
โ–ทmost
๊ฐ€์žฅ, ๋Œ€๋ถ€๋ถ„์˜ 
โ–ทpeople
์‚ฌ๋žŒ๋“ค, ๊ตญ๋ฏผ 
โ–ทnotice
์•Œ์•„์ฐจ๋ฆฌ๋‹ค, ๊ณต์ง€  first.
์„ ์ƒ๋‹˜: ๊ทธ ์ ์ด ๋Œ€๋ถ€๋ถ„ ์‚ฌ๋žŒ๋“ค์ด ๊ฐ€์žฅ ๋จผ์ € ์ฃผ๋ชฉํ•˜๋Š” ๊ฒƒ์ด์ฃ .



 โ™• Some people view them as falling to the ground like rain, while others imagine them floating.
  
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some
โ–ทpeople
์‚ฌ๋žŒ๋“ค, ๊ตญ๋ฏผ 
โ–ทview
๊ฒฌํ•ด, ๋ณด๊ธฐ 
โ–ทfalling
๋–จ์–ด์ง€๋Š”, ๋‚ด๋ฆฌ๋Š” 
โ–ทground
๋•…, ์ง€์ƒ์˜ 
โ–ทlike
์ข‹์•„ํ•˜๋‹ค 
โ–ทrain
๋น„, ๋น„๊ฐ€ ์˜ค๋‹ค 
โ–ทwhile
~๋™์•ˆ์—, ~์— ๋ฐ˜ํ•˜์—ฌ 
โ–ทothers
๋‹ค๋ฅธ, ๊ธฐํƒ€์˜ 
โ–ทimagine
์ƒ์ƒํ•˜๋‹ค, ์ƒ๊ฐํ•˜๋‹ค 
โ–ทfloating
๋–  ์žˆ๋Š”, ๋ถ€์œ  .
์–ด๋–ค ์‚ฌ๋žŒ๋“ค์€ ๊ทธ๋“ค์ด ๋น„์ฒ˜๋Ÿผ ๋•…์œผ๋กœ ๋–จ์–ด์ง€๋Š” ๊ฒƒ์œผ๋กœ ๋ณด์ง€๋งŒ, ๋‹ค๋ฅธ ์ด๋“ค์€ ๊ทธ๋“ค์ด ๋– ๋‹ค๋‹ˆ๊ณ  ์žˆ๋Š” ๊ฒƒ์œผ๋กœ ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.



 โ™• Since Magritte didn't include any sign of movement, he left it to the viewer to decide.
  
Need_Help?

โ–ทsince
~์ดํ›„, ~๋•Œ๋ถ€ํ„ฐ 
โ–ทinclude
ํฌํ•จํ•˜๋‹ค, ํฌ๊ด„ํ•˜๋‹ค 
โ–ทsign
๊ณ„์•ฝํ•˜๋‹ค, ์„œ๋ช…ํ•˜๋‹ค 
โ–ทmovement
์šด๋™, ์›€์ง์ž„ 
โ–ทleft
๋‚จ์•˜๋‹ค, ๋– ๋‚ฌ๋‹ค 
โ–ทdecide
๊ฒฐ์ •ํ•˜๋‹ค, ํ•˜๊ธฐ๋กœ ํ•˜๋‹ค .
๋งˆ๊ทธ๋ฆฌํŠธ๊ฐ€ ์–ด๋–ค ์›€์ง์ž„์˜ ๊ธฐ๋ฏธ๋„ ํฌํ•จํ•˜์ง€ ์•Š์•˜๊ธฐ ๋•Œ๋ฌธ์—, ๊ทธ๋Š” ๊ฒฐ์ •์„ ๋ณด๋Š” ์ด๋“ค์—๊ฒŒ ๋งก๊ฒผ์Šต๋‹ˆ๋‹ค.



 โ™• Either way, what makes the painting surreal is that men cannot be in the sky against gravity like this.
  
Need_Help?

โ–ทeither
๋˜ํ•œ, ์–ด๋Š ์ชฝ 
โ–ทway
๋ฐฉ๋ฒ•, ๋ฐฉ์‹ 
โ–ทmakes
~ํ•˜๊ฒŒ ํ•˜๋‹ค, ๋งŒ๋“ค๋‹ค 
โ–ทpainting
๊ทธ๋ฆฌ๋‹ค, ํŽ˜์ธํŠธ 
โ–ทcannot
can not์˜ ๋ณตํ•ฉํ˜• 
โ–ทsky
ํ•˜๋Š˜, ์ƒ๊ณต 
โ–ทagainst
~์— ๋Œ€ํ•œ, ๋ฐ˜๋Œ€๋กœ 
โ–ทgravity
์ค‘๋ ฅ, ์ค‘๋Œ€ํ•จ 
โ–ทlike
์ข‹์•„ํ•˜๋‹ค  this.
์–ด๋Š ์ชฝ์ด๋“ , ์ด ๊ทธ๋ฆผ์„ ์ดˆํ˜„์‹ค์ ์œผ๋กœ ๋งŒ๋“œ๋Š” ๊ฒƒ์€ ๋ฐ”๋กœ ์‚ฌ๋žŒ์€ ์ด์ฒ˜๋Ÿผ ์ค‘๋ ฅ์„ ๊ฑฐ์Šฌ๋Ÿฌ ๊ณต์ค‘์— ์žˆ์„ ์ˆ˜ ์—†๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.



 โ™• However, these aren't real men.
  
Need_Help?

โ–ทhowever
๊ทธ๋Ÿฌ๋‚˜, ํ•˜์ง€๋งŒ 
โ–ทthese
์ด ~๋“ค์˜, ์ด๋Ÿฐ 
โ–ทreal
์ง„์งœ์˜, ์‹ค์ œ์˜  men.
๊ทธ๋Ÿฌ๋‚˜ ์ด๋“ค์€ ์ง„์งœ ์‚ฌ๋žŒ๋“ค์€ ์•„๋‹™๋‹ˆ๋‹ค.



 โ™• They are only the images of men, so Magritte wanted to show that images don't have to follow any rules of the real world.
  
Need_Help?
they are only the
โ–ทimages
์ด๋ฏธ์ง€, ์‚ฌ์ง„ 
โ–ทwanted
์‹ถ์—ˆ๋‹ค, ์›ํ–ˆ๋‹ค 
โ–ทshow
๋ณด์—ฌ์ฃผ๋‹ค, ์‡ผ 
โ–ทimages
์ด๋ฏธ์ง€, ์‚ฌ์ง„ 
โ–ทfollow
๋”ฐ๋ฅด๋‹ค, ๋’ค๋ฅผ ์ž‡๋‹ค 
โ–ทrules
๊ทœ์น™, ๊ทœ์ • 
โ–ทreal
์ง„์งœ์˜, ์‹ค์ œ์˜ 
โ–ทworld
์„ธ๊ณ„, ์„ธ์ƒ .
๊ทธ๋“ค์€ ๋‹จ์ง€ ์‚ฌ๋žŒ๋“ค์˜ ์ด๋ฏธ์ง€์ผ ๋ฟ์ด๊ณ , ๊ทธ๋ž˜์„œ ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ์ด๋ฏธ์ง€๋“ค์ด ํ˜„์‹ค ์„ธ๊ณ„์˜ ์–ด๋– ํ•œ ๊ทœ์น™๋„ ๋”ฐ๋ฅผ ํ•„์š”๊ฐ€ ์—†๋‹ค๋Š” ๊ฒƒ์„ ๋ณด์—ฌ ์ฃผ๊ณ  ์‹ถ์—ˆ๋˜ ๊ฒƒ์ž…๋‹ˆ๋‹ค.



 โ™• Student C: It also seems unrealistic that all the men look the same.
  
Need_Help?

โ–ทstudent
ํ•™์ƒ, ์ƒ๋„ 
โ–ทalso
๋˜ํ•œ, ์—ญ์‹œ 
โ–ทseems
~๊ฒƒ ๊ฐ™๋‹ค, ~๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด๋‹ค 
โ–ทlook
๋ณด๋‹ค, ์ฐพ๋‹ค 
โ–ทsame
๊ฐ™์€, ๋˜‘๊ฐ™์€ .
ํ•™์ƒ C: ๋ชจ๋“  ์‚ฌ๋žŒ์ด ๋˜‘๊ฐ™์•„ ๋ณด์ด๋Š” ๊ฒƒ ๋˜ํ•œ ๋น„ํ˜„์‹ค์ ์œผ๋กœ ๋ณด์—ฌ์š”.



 โ™• They are all dressed in dark overcoats and hats.
  
Need_Help?
they are all
โ–ทdressed
์ž…์—ˆ๋‹ค, ๋ณต์žฅ 
โ–ทdark
์–ด๋‘์šด, ์ง€๋‹ค 
โ–ทovercoats
์™ธํˆฌ, ์˜ค๋ฒ„์ฝ”ํŠธ 
โ–ทhats
๋ชจ์ž, ์ง์—… .
๊ทธ๋“ค์€ ๋ชจ๋‘ ์–ด๋‘์šด ์™ธํˆฌ์™€ ๋ชจ์ž๋ฅผ ์ฐฉ์šฉํ•˜๊ณ  ์žˆ์–ด์š”.



 โ™• Why did Magritte paint them all like that?
  
Need_Help?

โ–ทwhy
์™œ, ์–ด๋•Œ์š” 
โ–ทpaint
๊ทธ๋ฆฌ๋‹ค, ํŽ˜์ธํŠธ 
โ–ทlike
์ข‹์•„ํ•˜๋‹ค  that?
๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ์™œ ์‚ฌ๋žŒ๋“ค์„ ๋ชจ๋‘ ์ €๋ ‡๊ฒŒ ๊ทธ๋ฆฐ ๊ฑธ๊นŒ์š”?



 โ™• Teacher: Some people believe Magritte did this to show how people in modern society are losing their individuality.
  
Need_Help?

โ–ทteacher
๊ต์‚ฌ, ์„ ์ƒ 
โ–ทpeople
์‚ฌ๋žŒ๋“ค, ๊ตญ๋ฏผ 
โ–ทbelieve
๋ฏฟ๋‹ค, ์ƒ๊ฐํ•˜๋‹ค 
โ–ทshow
๋ณด์—ฌ์ฃผ๋‹ค, ์‡ผ 
โ–ทhow
์–ด๋–ป๊ฒŒ, ์–ผ๋งˆ๋‚˜ 
โ–ทpeople
์‚ฌ๋žŒ๋“ค, ๊ตญ๋ฏผ 
โ–ทmodern
ํ˜„๋Œ€์˜, ๊ทผ๋Œ€์˜ 
โ–ทsociety
์‚ฌํšŒ, ํ˜‘ํšŒ 
โ–ทlosing
์žƒ์€, ์†ํ•ด๋ณด๋Š” 
โ–ทindividuality
๊ฐœ์„ฑ, ํŠน์„ฑ .
์„ ์ƒ๋‹˜: ์–ด๋–ค ์ด๋“ค์€ ๋งˆ๊ทธ๋ฆฌํŠธ๊ฐ€ ํ˜„๋Œ€ ์‚ฌํšŒ์˜ ์‚ฌ๋žŒ๋“ค์ด ์–ด๋–ป๊ฒŒ ๊ฐœ์„ฑ์„ ์žƒ๊ณ  ์žˆ๋Š”์ง€๋ฅผ ๋ณด์—ฌ ์ฃผ๊ธฐ ์œ„ํ•ด ์ด๋ ‡๊ฒŒ ํ–ˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.



 โ™• He believed people like businessmen and bankers were getting lost in the crowds of people all living the same kind of life.
  
Need_Help?
he believed
โ–ทpeople
์‚ฌ๋žŒ๋“ค, ๊ตญ๋ฏผ 
โ–ทlike
์ข‹์•„ํ•˜๋‹ค 
โ–ทbankers
์€ํ–‰๊ฐ€, ์€ํ–‰์› 
โ–ทgetting
์–ป๋‹ค 
โ–ทlost
์žƒ์€, ํŒจ๋ฐฐํ•œ 
โ–ทcrowds
๊ตฐ์ค‘, ๋ถ๋น„๋‹ค 
โ–ทpeople
์‚ฌ๋žŒ๋“ค, ๊ตญ๋ฏผ 
โ–ทliving
์‚ด์•„ ์žˆ๋Š”, ์ƒํ™œ์˜ 
โ–ทsame
๊ฐ™์€, ๋˜‘๊ฐ™์€ 
โ–ทkind
์ข…๋ฅ˜, ์นœ์ ˆํ•œ 
โ–ทlife
์‚ถ, ์ธ์ƒ .
๊ทธ๋Š” ์‚ฌ์—…๊ฐ€์™€ ์€ํ–‰์› ๊ฐ™์€ ์‚ฌ๋žŒ๋“ค์ด ๋ชจ๋‘ ๊ฐ™์€ ์ข…๋ฅ˜์˜ ์ธ์ƒ์„ ์‚ด์•„๊ฐ€๋Š” ๊ตฐ์ค‘ ์†์—์„œ ๊ธธ์„ ์žƒ์–ด๋ฒ„๋ฆฌ๊ณ  ์žˆ๋‹ค๊ณ  ๋ฏฟ์—ˆ์Šต๋‹ˆ๋‹ค.



 โ™• In this and other works, Rene Magritte tried to make fun of this kind of society.
  
Need_Help?
in this and
โ–ทother
๋‹ค๋ฅธ, ๊ธฐํƒ€์˜ 
โ–ทworks
์ผํ•˜๋‹ค, ์ž‘ํ’ˆ 
โ–ทtried
๋…ธ๋ ฅํ•œ, ~ํ•˜๋ ค๊ณ  ํ•œ 
โ–ทmake
~ํ•˜๊ฒŒ ํ•˜๋‹ค, ๋งŒ๋“ค๋‹ค 
โ–ทfun
์žฌ๋ฏธ์žˆ๋Š”, ์ฆ๊ฑฐ์šด 
โ–ทkind
์ข…๋ฅ˜, ์นœ์ ˆํ•œ 
โ–ทsociety
์‚ฌํšŒ, ํ˜‘ํšŒ .
์ด๊ฒƒ๊ณผ ๋”๋ถˆ์–ด ๋‹ค๋ฅธ ์ž‘ํ’ˆ๋“ค ์†์—์„œ, ๋ฅด๋„ค ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ์ด๋Ÿฐ ์ข…๋ฅ˜์˜ ์‚ฌํšŒ๋ฅผ ์กฐ์†Œํ•˜๋ ค ํ–ˆ์Šต๋‹ˆ๋‹ค.



6-5


๐Ÿ‘บ ์ ˆ๋Œ€ ์ œ๋ฐœ ์ฝ์ง€์ข€ ๋งˆ์„ธ์š”.


์„ ์ƒ๋‹˜: ๊ทธ์˜ ์ž‘ํ’ˆ๋“ค๊ณผ ๊ทธ ์ด๋ฉด์— ์ˆจ์€ ์ด๋Ÿฐ ์ƒ๊ฐ๋“ค์„ ํ†ตํ•ด์„œ, ๋ฅด๋„ค ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ๋‹ค๋ฅธ ํ™”๊ฐ€๋“ค์˜ ์ž‘ํ’ˆ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ, ์˜ํ™”, ์žก์ง€, ๊ทธ๋ฆฌ๊ณ  ์‹ฌ์ง€์–ด TV ๊ด‘๊ณ ์— ์ด๋ฅด๊ธฐ๊นŒ์ง€ ์ปค๋‹ค๋ž€ ์˜ํ–ฅ์„ ๋ผ์ณค์Šต๋‹ˆ๋‹ค. ๊ทธ๋Š” ํ‰๋ฒ”ํ•œ ์‚ฌ๋ฌผ๋“ค์„ ํŠน์ดํ•œ ๋ฐฉ์‹์œผ๋กœ ํ‘œํ˜„ํ•จ์œผ๋กœ์จ ๋ฌด์—‡์ด ํ˜„์‹ค์ด๊ณ  ๋น„ํ˜„์‹ค์ธ์ง€์— ๊ด€ํ•œ ์ผ๋ฐ˜์ ์ธ ๊ฒฌํ•ด์— ๋„์ „์žฅ์„ ๋˜์กŒ์Šต๋‹ˆ๋‹ค. ๊ทธ๋Š” ์‚ฌ๋žŒ๋“ค ์Šค์Šค๋กœ ์ž์‹ ์ด ๋ณด๋Š” ๊ฒƒ์„ ์˜์‹ฌํ•ด ๋ณด๊ณ , ์˜ˆ์ˆ ๊ณผ ์ฃผ๋ณ€์˜ ์„ธ์ƒ์„ ๋‹ค๋ฅธ ๊ด€์ ์—์„œ ์ƒ๊ฐํ•ด ๋ณด๊ธฐ๋ฅผ ์›ํ–ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋Ÿฌ๋ฏ€๋กœ ๊ทธ์˜ ๊ทธ๋ฆผ์„ ํ•ด์„ํ•˜๋Š” ๋‹จ ํ•˜๋‚˜์˜ ์˜ณ์€ ๋ฐฉ๋ฒ•์ด๋ž€ ์—†์Šต๋‹ˆ๋‹ค. ์—ฌ๋Ÿฌ๋ถ„์ด ๋ฌด์—‡์„ ๋ณผ์ง€ ๊ฒฐ์ •ํ•˜๋Š” ๊ฒƒ์€ ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ ๋‹ฌ๋ ค ์žˆ์Šต๋‹ˆ๋‹ค.
Teacher: Through his works of art and these kinds of ideas behind them, Rene Magritte had a great influence not only on the art of other artists, but also on graphic design, movies, magazines, and even TV commercials. He challenged the common views of what's real and unreal by presenting regular things in an unusual way. He wanted people to question what they see and think about art and the world around them from different points of view. Therefore, there is no single correct way to interpret his paintings. It's up to you to decide what you see.



์ ˆ๋Œ€ ๋„ค๋ฒ„ ํ•ด์„ํ•˜์ง€ ๋งˆ์„ธ์š”. 1๋“ฑ๊ธ‰ ๋˜๋‹ˆ๊นŒ์š”~โค๏ธ


 โ™• Teacher: Through his works of art and these kinds of ideas behind them, Rene Magritte had a great influence not only on the art of other artists, but also on graphic design, movies, magazines, and even TV commercials.
  
Need_Help?

โ–ทteacher
๊ต์‚ฌ, ์„ ์ƒ 
โ–ทthrough
ํ†ตํ•˜์—ฌ, ~๋•Œ๋ฌธ์— 
โ–ทworks
์ผํ•˜๋‹ค, ์ž‘ํ’ˆ 
โ–ทart
์˜ˆ์ˆ , ๋ฏธ์ˆ ํ’ˆ 
โ–ทthese
์ด ~๋“ค์˜, ์ด๋Ÿฐ 
โ–ทkinds
์ข…๋ฅ˜, ์นœ์ ˆํ•œ 
โ–ทideas
์ƒ๊ฐ, ์•„์ด๋””์–ด 
โ–ทbehind
๋’ค์˜, ์ˆจ๊ฒจ์ง„ 
โ–ทinfluence
์˜ํ–ฅ, ์™ธ์•• 
โ–ทart
์˜ˆ์ˆ , ๋ฏธ์ˆ ํ’ˆ 
โ–ทother
๋‹ค๋ฅธ, ๊ธฐํƒ€์˜ 
โ–ทartists
์˜ˆ์ˆ ๊ฐ€, ํ™”๊ฐ€ 
โ–ทalso
๋˜ํ•œ, ์—ญ์‹œ 
โ–ทgraphic
๊ทธ๋ž˜ํ”ฝ, ์ƒ์ƒํ•œ 
โ–ทdesign
๋””์ž์ธ, ์„ค๊ณ„ํ•˜๋‹ค 
โ–ทmagazines
์žก์ง€, ๋ฌด๊ธฐ๊ณ  
โ–ทcommercials
์ƒ์—…์šฉ์˜, ์ƒ์—…์ ์ธ .
์„ ์ƒ๋‹˜: ๊ทธ์˜ ์ž‘ํ’ˆ๋“ค๊ณผ ๊ทธ ์ด๋ฉด์— ์ˆจ์€ ์ด๋Ÿฐ ์ƒ๊ฐ๋“ค์„ ํ†ตํ•ด์„œ, ๋ฅด๋„ค ๋งˆ๊ทธ๋ฆฌํŠธ๋Š” ๋‹ค๋ฅธ ํ™”๊ฐ€๋“ค์˜ ์ž‘ํ’ˆ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ๊ทธ๋ž˜ํ”ฝ ๋””์ž์ธ, ์˜ํ™”, ์žก์ง€, ๊ทธ๋ฆฌ๊ณ  ์‹ฌ์ง€์–ด TV ๊ด‘๊ณ ์— ์ด๋ฅด๊ธฐ๊นŒ์ง€ ์ปค๋‹ค๋ž€ ์˜ํ–ฅ์„ ๋ผ์ณค์Šต๋‹ˆ๋‹ค.



 โ™• He challenged the common views of what's real and unreal by presenting regular things in an unusual way.
  
Need_Help?
he
โ–ทchallenged
๋…ธ๋ ฅ์„ ์š”ํ•˜๋Š” 
โ–ทcommon
ํ”ํ•œ, ๊ณตํ†ต์˜ 
โ–ทviews
๊ฒฌํ•ด, ๋ณด๊ธฐ 
โ–ทreal
์ง„์งœ์˜, ์‹ค์ œ์˜ 
โ–ทunreal
์‹ค์žฌํ•˜์ง€ ์•Š๋Š”, ๊ฐ€๊ณต์˜ 
โ–ทpresenting
ํ˜„์žฌ์˜, ๋ณด์—ฌ์ฃผ๋‹ค 
โ–ทregular
์ •๊ทœ์˜, ์ •๊ธฐ์˜ 
โ–ทthings
๊ฒƒ, ์ผ 
โ–ทunusual
ํŠน์ดํ•œ, ๋“œ๋ฌธ 
โ–ทway
๋ฐฉ๋ฒ•, ๋ฐฉ์‹ .
๊ทธ๋Š” ํ‰๋ฒ”ํ•œ ์‚ฌ๋ฌผ๋“ค์„ ํŠน์ดํ•œ ๋ฐฉ์‹์œผ๋กœ ํ‘œํ˜„ํ•จ์œผ๋กœ์จ ๋ฌด์—‡์ด ํ˜„์‹ค์ด๊ณ  ๋น„ํ˜„์‹ค์ธ์ง€์— ๊ด€ํ•œ ์ผ๋ฐ˜์ ์ธ ๊ฒฌํ•ด์— ๋„์ „์žฅ์„ ๋˜์กŒ์Šต๋‹ˆ๋‹ค.



 โ™• He wanted people to question what they see and think about art and the world around them from different points of view.
  
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he
โ–ทwanted
์‹ถ์—ˆ๋‹ค, ์›ํ–ˆ๋‹ค 
โ–ทpeople
์‚ฌ๋žŒ๋“ค, ๊ตญ๋ฏผ 
โ–ทquestion
์งˆ๋ฌธ, ๋ฌธ์ œ 
โ–ทsee
๋ณด๋‹ค, ์•Œ๋‹ค 
โ–ทthink
์ƒ๊ฐํ•˜๋‹ค, ๊ฐ™๋‹ค 
โ–ทart
์˜ˆ์ˆ , ๋ฏธ์ˆ ํ’ˆ 
โ–ทworld
์„ธ๊ณ„, ์„ธ์ƒ 
โ–ทaround
์ฃผ๋ณ€์—, ์ฃผ์œ„์— 
โ–ทdifferent
๋‹ค๋ฅธ, ์—ฌ๋Ÿฌ ๊ฐ€์ง€์˜ 
โ–ทpoints
์ , ์ง€์ ํ•˜๋‹ค 
โ–ทview
๊ฒฌํ•ด, ๋ณด๊ธฐ .
๊ทธ๋Š” ์‚ฌ๋žŒ๋“ค ์Šค์Šค๋กœ ์ž์‹ ์ด ๋ณด๋Š” ๊ฒƒ์„ ์˜์‹ฌํ•ด ๋ณด๊ณ , ์˜ˆ์ˆ ๊ณผ ์ฃผ๋ณ€์˜ ์„ธ์ƒ์„ ๋‹ค๋ฅธ ๊ด€์ ์—์„œ ์ƒ๊ฐํ•ด ๋ณด๊ธฐ๋ฅผ ์›ํ–ˆ์Šต๋‹ˆ๋‹ค.



 โ™• Therefore, there is no single correct way to interpret his paintings.
  
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โ–ทtherefore
๊ทธ๊ฒƒ์„ ์œ„ํ•ด, ๊ทธ๊ฒƒ์— ๋Œ€ํ•ด 
โ–ทthere
is ์žˆ๋‹ค 
โ–ทsingle
ํ•˜๋‚˜์˜, ์‹ฑ๊ธ€ 
โ–ทcorrect
์ •ํ™•ํ•œ, ์ˆ˜์ •ํ•˜๋‹ค 
โ–ทway
๋ฐฉ๋ฒ•, ๋ฐฉ์‹ 
โ–ทinterpret
ํ•ด์„ํ•˜๋‹ค, ์ดํ•ดํ•˜๋‹ค 
โ–ทpaintings
๊ทธ๋ฆผ, ํŽ˜์ธํŠธ์น  .
๊ทธ๋Ÿฌ๋ฏ€๋กœ ๊ทธ์˜ ๊ทธ๋ฆผ์„ ํ•ด์„ํ•˜๋Š” ๋‹จ ํ•˜๋‚˜์˜ ์˜ณ์€ ๋ฐฉ๋ฒ•์ด๋ž€ ์—†์Šต๋‹ˆ๋‹ค.



 โ™• It's up to you to decide what you see.
  
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it's
โ–ทup
to ~๊นŒ์ง€ 
โ–ทdecide
๊ฒฐ์ •ํ•˜๋‹ค, ํ•˜๊ธฐ๋กœ ํ•˜๋‹ค 
โ–ทsee
๋ณด๋‹ค, ์•Œ๋‹ค .
์—ฌ๋Ÿฌ๋ถ„์ด ๋ฌด์—‡์„ ๋ณผ์ง€ ๊ฒฐ์ •ํ•˜๋Š” ๊ฒƒ์€ ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ ๋‹ฌ๋ ค ์žˆ์Šต๋‹ˆ๋‹ค.


๐Ÿ‘โค๐ŸฟVOCAB. ์—ฌ๋Ÿฌ๋ฒˆ ์“ฐ๋ฉด์„œ ์—ฐ์Šตํ•˜์„ธ์š”!!!
bind  
commercial  ์ƒ์—…์ ์ธ
complet  
complicat  ๋ณต์žกํ•˜๊ฒŒํ•˜๋‹ค
differ  
float  ๋œจ๋Š” ๊ฒƒ;๋œจ๋‹ค
gene  ์œ ์ „์ž
graphic  ์ƒ์ƒํ•œ
gravity  ์ค‘๋ ฅ
imagination  ์ƒ์ƒ๋ ฅ;์ƒ์ƒ
influential  ์˜ํ–ฅ๋ ฅ์ด ์žˆ๋Š”
inspir  ์˜๊ฐ์„์ฃผ๋‹ค
interpret  ํ•ด์„ํ•˜๋‹ค
means  ์ˆ˜๋‹จ
mere  ๋‹จ์ˆœํ•œ
mode  ๋ฐฉ์‹
movement  ์›€์ง์ž„;์šด๋™
paradox  
quest  ํƒ๊ตฌ
realistic  ์‹ค์ œ์ ์ธ;์‚ฌ์‹ค์ ์ธ
reality  ํ˜„์‹ค
regular  
relation  ๊ด€๊ณ„
statement  ์ง„์ˆ 
tendency  ๊ฒฝํ–ฅ;์„ฑํ–ฅ
unusual  ํŠน์ดํ•œ

# #010-3338-3436 #์œ„์Šค๋งˆํŠธ #๊ตฌ๋ฆฌ์‹œ #์ธ์ฐฝ๋™ #์˜์–ดํ•™์› #๊ณ ๋“ฑ #์ค‘๋“ฑ #๋‚ด์‹  #์ˆ˜๋Šฅ #ํ…์Šค #TEPS #ํ† ํ”Œ #ํ† ์ต
2018 All Rights Reserved. Written by Wayne | Contact us: wayne36@daum.net | Web: wayne.tistory.com

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