When photography came along in the nineteenth century, painting was put in crisis.
사진술이 19세기에 나타났을 때, 회화는 위기에 처했다.
The photograph, it seemed, did the work of imitating nature better than the painter ever could.
사진은 여태까지 화가가 할 수 있었던 것보다 자연을 모방하는 일을 더 잘하는 것처럼 보였다.
Some painters made practical use of the invention.
몇몇 화가들은 그 발명품(사진술)을 실용적으로 이용했다.
There were Impressionist painters who used a photograph in place of the model or landscape they were painting.
자신들이 그리고 있는 모델이나 풍경 대신에 사진을 사용하는 인상파 화가들이 있었다.
But by and large, the photograph was a challenge to painting and was one cause of painting’s moving away from direct representation and reproduction to the abstract painting of the twentieth century.
하지만 대체로, 사진은 회화에 대한 도전이었고 회화가 직접적인 표현과 복제로부터 멀어져 20세기의 추상 회화로 이동해 가는 한 가지 원인이었다.
Since photographs did such a good job of representing things as they existed in the world, painters were freed to look inward and represent things as they were in their imagination, rendering emotion in the color, volume, line, and spatial configurations native to the painter’s art.
사진은 사물을 세상에 존재하는 대로 아주 잘 표현했기 때문에, 화가들은 구속되지 않고 내면을 보고 자신들의 상상 속에서 존재하는 대로 사물을 표현하게 되어, 화가의 그림에 고유한 색, 양감, 선, 그리고 공간의 배치로 감정을 표현하였다.
어법문제
When photography came along in the nineteenth century, painting was (put/putting) in crisis. The photograph, it seemed, (did/was) the work of imitating nature better than the painter ever could. Some painters made practical use of the invention. There were Impressionist painters who (using/used) a photograph in place of the model or landscape they were (painted/painting). But by and large, the photograph was a challenge to (paint/painting) and was one cause of painting’s (moving/moved) away from direct representation and reproduction to the abstract painting of the twentieth century. Since photographs (did/was) such a good job of representing things as they existed in the world, painters were freed to look inward and (representing/represent) things as they were in their imagination, (render/rendering) emotion in the color, volume, line, and spatial configurations native to the painter’s art.
12강 Exercise 01
According to evolutionary biologist Elisabet Sahtouris, cooperation is the only way toward sustainability.
진화 생물학자 Elisabet Sahtouris에 따르면, 협력은 지속 가능성을 향한 유일한 길이다.
Mature ecosystems such as prairies and rainforests evolve when there is more cooperation than when there is hostile competition.
대초원과 열대 우림과 같은 장년기의 생태계는 적대적인 경쟁이 존재할 때보다 협력이 더 많을 때 진화한다.
The highly complex ecosystem of the rainforest is a particularly vivid example of a mature system that has survived through millions of years because species learned to cooperate with each other.
열대 우림의 고도로 복잡한 생태계는 종들이 서로 협력하는 법을 배웠기 때문에 수백만 년 동안 살아남은 장년기 생태계의 매우 생생한 예이다.
In the rainforest, every species is fully employed, all work cooperatively while recycling all of their resources, and all products and services are distributed in such a way that every species remains healthy.
열대 우림에서는 모든 종들이 충분히 이용되고, 모든 종들이 자신들의 자원을 모두 재활용하면서 전부 협력적으로 기능하며, 모든 산물과 편익은 모든 종들이 건강하게 지낼 수 있는 방식으로 분배된다.
That is sustainability.
‘그것’이 지속 가능성이다.
어법문제
According to evolutionary biologist Elisabet Sahtouris, cooperation is the only way (toward/backward) sustainability. Mature ecosystems such as prairies and rainforests (evolve/evolving) when there is more cooperation than when there is hostile competition. The highly complex ecosystem of the rainforest is a particularly vivid example of a mature system (that/what) has (been survivied/survived) through millions of years because species learned to cooperate with each other. In the rainforest, every species (is/are) fully (employed/employing), all work cooperatively while recycling all of their resources, and all products and services are distributed in such a way (that/where) every species remains healthy. That is sustainability.
12강 Exercise 02
The word “scientist” in its present meaning did not become a part of language until the modern era.
현재 의미의 ‘과학자’라는 단어는 현대에 이르러서야 언어의 일부분이 되었다.
In ancient and medieval times philosophy was everything, and the philosopher was the caretaker of human wisdom.
고대와 중세 시대 때는 철학이 가장 중요한 것이었고, 철학자가 인간의 지혜의 관리인이었다.
He knew of the moral law, religion, government, natural history, alchemy, mathematics, healing, and all knowledge.
그는 도덕률, 종교, 통치체제, 자연사, 연금술, 수학, 치료, 그리고 모든 지식에 대해 알고 있었다.
Indeed, the diligent scholar at one time had been able to master the entire sum of academic learning.
정말이지, 부단히 노력하는 학자는 한때 학문적 지식의 전체[총체]에 숙달할 수 있었다.
This is in striking contrast with the world of today, in which a man may devote a lifetime to a single type of germ or bacteria and still consider his subject vast and complex enough for a full generation of profound study.
이것은 오늘날의 세계와는 현저한 대조를 이루는데, 오늘날의 세계에서는 한 사람이 한 가지 유형의 미생물이나 세균에 전 생애를 바치고 여전히 자신의 (학문) 주제를 온전히 한 세대가 심오한 연구를 할 만큼 충분히 광대하고 복잡하다고 생각할 수 있다.
Having few details to bother about in his pursuit of knowledge, the ancient could think in broad and encompassing terms.
고대인들은, 자신의 지식의 추구에서 신경을 써야할 세부 사항을 거의 가지지 않았기에, 폭넓고 포괄적인 측면에서 사고할 수 있었다.
어법문제
The word “scientist” in its present (means/meaning) did not become a part of language until the modern era. In ancient and medieval times philosophy was everything, and the philosopher was the caretaker of human wisdom. He knew of the moral law, religion, government, natural history, alchemy, mathematics, (healing/healed), and all knowledge. Indeed, the diligent scholar at one time (had been/was) able to master the entire sum of academic learning. This is in striking contrast with the world of today, (in/at) which a man may devote a lifetime to a single type of germ or bacteria and still consider his subject (vast/vastly) and complex enough for a full generation of profound study. (Having/Had) few details to bother about in his pursuit of knowledge, the ancient could think in broad and encompassing terms.
12강 Exercise 03
In America, we find a long history of mourning practices for nonhuman animals.
미국에서 우리는 인간이 아닌 동물에 대한 애도 관행의 오랜 역사를 보게 된다.
Indeed, the human-animal relationship is neatly blended into American history and continues to grow and change as society continues to evolve.
사실, 인간과 동물의 관계는 미국 역사에 일목요연하게 혼합되어 있고 사회가 계속해서 발전함에 따라 계속해서 성장하고 변화하고 있다.
During the precolonial period, Native Americans formed complex relationships with a variety of animals like bison, deer, and other woodland creatures.
식민지 이전 시기에, 아메리카 원주민들은 들소, 사슴 그리고 다른 삼림 동물들과 같은 다양한 동물들과 복잡한 관계를 형성했다.
Many hunting tribes showed great respect for animals, and even though they needed to hunt them for food and other uses, they felt that they must be killed in a proper, ritualized manner.
많은 사냥 부족들은 동물에 대한 커다란 존중심을 보여 주었고, 비록 그들이 식량 및 다른 용도로 동물을 사냥할 필요가 있었을지라도 그들은 동물이 적절한 의례적인 방식으로 살해되어야 한다고 생각했다.
Some Native Americans believed that animal deaths are temporary and that the animal would be reincarnated and return to our world as the same species.
일부 아메리카 원주민들은 동물들의 죽음이 일시적이고 동물들이 같은 종으로 환생하여 우리의 세상으로 돌아올 것이라고 믿었다.
If the hunter did not kill the animal properly, the animal could return as a ghost and haunt the hunter and possibly infect him with a disease.
만약 사냥꾼이 그 동물을 적절하게 죽이지 않는다면, 그 동물은 유령으로 돌아와 사냥꾼을 괴롭히고 그를 질병에 감염시킬 수도 있다는 것이다.
어법문제
In America, we find a long history of (mourning/mourned) practices for nonhuman animals. Indeed, the human-animal relationship is (neatly/neat) blended into American history and continues to grow and change as society continues to evolve. (During/While) the precolonial period, Native Americans formed complex relationships with a variety of animals (like/alike) bison, deer, and other woodland creatures. Many hunting tribes showed great respect for animals, and (even though/so) they needed to hunt them for food and other uses, they felt that they must be killed in a proper, (ritualizing/ritualized) manner. Some Native Americans believed that animal deaths (are/be) temporary and that the animal would be reincarnated and (return/returned) to our world as the same species. If the hunter did not kill the animal properly, the animal (can/could) return as a ghost and haunt the hunter and possibly infect him with a disease.
12강 Exercise 04
In the United States, there has been a trend toward the dissolution of the traditional nuclear family.
미국에서는 전통적인 핵가족이 해체되는 경향이 있어 왔다.
With people marrying later and divorcing more often, the “typical” family of father, mother, and children living in one dwelling has become far less common than in the past.
사람들이 더 늦게 결혼하고 더 자주 이혼하게 되면서, 동일한 거처에서 살고 있는 아버지, 어머니, 그리고 자녀라는 ‘전형적인’ 가족은 과거보다 훨씬 덜 흔하게 되었다.
More recently, a similar trend in Western Europe has resulted in an increase in the number of households even in countries where the overall population is decreasing.
보다 최근에는 서유럽에서의 유사한 경향이 전체 인구가 감소하고 있는 국가에서도 가구 수의 증가를 야기했다.
This outcome has in turn increased demand for many consumer durables, such as washing machines and ovens, whose sales correlate with the number of households rather than with population.
이 결과는 결국 세탁기와 오븐 같은, 판매가 인구가 아니라 가구 수와 상관있는 많은 내구 소비재의 수요를 늘렸다.
Also, an increasing number of women are working outside the home, a situation that boosts demand for frozen dinners and child-care centers.
또한, 점점 더 많은 수의 여성이 가정 바깥에서 일하고 있는데, 이는 저녁용 냉동식품과 보육 시설의 수요를 증가시키는 상황이다.
어법문제
In the United States, there has been a trend toward the dissolution of the traditional nuclear family. With people (marrying/married) later and (divorced/divorcing) more often, the “typical” family of father, mother, and children (living/lived) in one dwelling has become far less common than in the past. More recently, a similar trend in Western Europe has (resulted/been resulted) in an increase in the number of households even in countries where the overall population is (decreased/decreasing). This outcome has in turn increased demand for many consumer durables, such as washing machines and ovens, (whose/who) sales correlate with (the/a) number of households rather than with population. Also, an increasing number of women are working outside the home, a situation (that/where) boosts demand for frozen dinners and child-care centers.
12강 Exercise 05
If all our knowledge stopped at the level of the senses, we would be no better off than the subhuman members of the animal kingdom.
우리의 모든 지식이 감각 수준에서 멈춘다면, 우리는 동물계의 인간 이하의 구성원들보다 (형편이) 더 나을 것이 없을 것이다.
Different animals have different levels of proficiency on the sense level.
서로 다른 동물들은 감각 수준에 있어서 서로 다른 수준의 능숙함을 가지고 있다.
In many cases it’s much better than anything human beings can do.
많은 경우에 있어 그것은 인간이 할 수 있는 어떤 것보다 훨씬 더 낫다.
Eagles see much better, dogs can detect odors that completely escape our power of smell, and some animals fly through the air using radar.
독수리는 훨씬 더 잘 보고, 개는 우리의 후각 능력을 완전히 벗어나는 냄새를 감지할 수 있으며, 어떤 동물들은 레이더를 사용하여 공중을 난다.
But we can do something that our pets can’t do, to wit, form concepts, and then put concepts together in reasoning processes.
그러나 우리는 애완동물이 할 수 없는 일을 할 수 있는데, 더 정확히 말하면, 개념을 형성한 다음, 추론 과정에서 개념을 결합할 수 있다.
By reflecting upon this ability we come to realize that we must have a mind distinct from our body, and that, regardless of how much pseudo-science there is in the world, it’s a grave error to confuse the mind with the body.
이 능력을 생각해 보면 우리는 신체와 구별되는 정신을 가지고 있음에 틀림없다는 것과 세상에 얼마나 많은 사이비 과학이 있는지와는 상관없이 정신과 신체를 혼동하는 것이 중대한 오류라는 것을 깨닫게 된다.
어법문제
If all our knowledge stopped at the level of the senses, we would (be/have been) no better off than the subhuman members of the animal kingdom. Different animals have different levels of proficiency on the sense level. In many cases it’s much better than anything human beings can (do/be). Eagles see much better, dogs can detect odors that completely (escape/escaping) our power of smell, and some animals fly through the air (used/using) radar. But we can do something that our pets can’t do, to wit, form concepts, and then (putting/put) concepts together in reasoning processes. By reflecting upon this ability we come to realize (that/what) we must have a mind distinct from our body, and that, regardless of how much pseudo-science there is in the world, it’s a grave error to confuse the mind with the body.
12강 Exercise 06
The social reform movement and the cause for wilderness preservation can both be understood as Romantic efforts to counter the negative consequences of the Industrial Revolution.
사회 개혁 운동과 황무지 보존의 명분은 둘 다 산업 혁명의 부정적인 결과에 대응하기 위한 낭만주의적인 노력으로 이해될 수 있다.
Artists and writers came to appreciate nature as an aesthetic object in the 19th century.
미술가들과 작가들은 19세기에 심미적인 대상으로 자연의 진가를 알아보게 되었다.
They celebrated in their work the awe-inspiring phenomena and natural scenery that they believed were capable of transforming one’s soul.
그들은 사람들의 영혼을 변화시킬 수 있다고 믿었던 경외심이 들게 하는 현상과 자연의 풍경을 자신들의 작품에서 찬미했다.
Transcendentalist writers like Henry David Thoreau, Ralph Waldo Emerson, and Walt Whitman saw in untamed nature the hand of God.
Henry David Thoreau, Ralph Waldo Emerson, 그리고 Walt Whitman과 같은 초월주의 작가들은 길들지 않은 자연에서 신의 손을 보았다.
The Hudson River School painters were the first to treat the landscape as a legitimate genre in itself, devoid of any classical imagery.
허드슨 리버 화파의 화가들은 고전적인 형상화가 전혀 없이, 그 자체로 풍경화를 본격적인 장르로 다룬 첫 번째 화가들이었다.
They were instrumental in developing a sense of pride and value in the unique American landscape.
그들은 독특한 미국적인 풍경 속에서 자긍심과 가치를 발현시키는 데 중요한 역할을 했다.
어법문제
The social reform movement and the cause for wilderness preservation can both (understand/be understood) as Romantic efforts to counter the negative consequences of the Industrial Revolution. Artists and writers came to appreciate nature as an aesthetic (object/objected) in the 19th century. They celebrated in their work the awe-inspiring phenomena and natural scenery that they believed (were/being) capable of transforming one’s soul. Transcendentalist writers like Henry David Thoreau, Ralph Waldo Emerson, and Walt Whitman saw in (tamed/untamed) nature the hand of God. The Hudson River School painters were the first to treat the landscape as a legitimate genre in itself, (devoid/avoid) of any classical imagery. They were instrumental in developing a sense of pride and value in the unique American landscape.
12강 Exercise 07
An interesting aspect of human psychology is that we tend to like things more and find them more appealing if everything about those things is not obvious the first time we experience them.
인간 심리의 흥미로운 일면은 우리가 처음 어떤 것들을 경험할 때 그것들에 대한 모든 것이 명확하지 않다면 그걸들을 더 좋아하고 더 매력적으로 느끼는 경향이 있다는 것이다.
This is certainly true in music.
이것은 음악에 있어서 분명히 사실이다.
For example, we might hear a song on the radio for the first time that catches our interest and decide we like it.
예를 들어, 우리는 처음으로 라디오에서 우리의 관심을 끄는 노래를 듣고, 그 곡이 마음에 든다고 결정 내릴지도 모른다.
Then the next time we hear it, we hear a lyric we didn’t catch the first time, or we might notice what the piano or drums are doing in the background.
그리고 나서 다음에 우리가 그것을 들을 때, 우리가 처음에는 알아차리지 못한 가사를 듣거나, 배경에서 피아노나 드럼이 무엇을 하는지 알아책 수 있다.
A special harmony emerges that we missed before.
우리가 전에 놓친 특별한 화음이 나타난다.
We hear more and more and understand more and more with each listening.
우리는 점점 더 많이 듣고, 매번 들을 때 마다 점점 더 이해한다.
Sometimes, the longer it takes for a work of art to reveal all of its subtleties to us, the more fond of that thing — whether it’s music, art, dance, or architecture — we become.
때때로, 예술 작품이 우리에게 모든 중요한 세부요소들을 드러내는데 걸리는 시간이 길어질수록, 그것이 음악이든 미술이든 춤이든 건축이든 간에 우리는 그것을 더 좋아하게 된다.
어법문제
An interesting aspect of human psychology is (that/what) we tend to like things more and find them more (appealed/appealing) if everything about those things is not obvious the first time we experience them. This is certainly (true/truth) in music. For example, we might hear a song on the radio for the first time that (catches/caught) our interest and (decide/deciding) we like it. Then the next time we hear it, we hear a lyric we didn’t catch the first time, or we might notice (that/what) the piano or drums are (doing/done) in the background. A special harmony emerges that we (missed/missing) before. We hear more and more and understand more and more with each listening. Sometimes, the longer it takes for a work of art to reveal all of its subtleties to us, the more fond of (that/it) thing — whether it’s music, art, dance, or architecture — we become.
12강 Exercise 08
Vision has until recently been perceived as being the most powerful of our five senses; however, research indicates that this may no longer be true.
시각은 최근까지 우리의 오감 중에서 가장 강력한 것으로 인식되어 왔지만, 이것이 더 이상 사실이 아닐 수도 있다는 것을 연구가 보여 준다.
Whatever the case, there’s no escaping the fact that distinctive design often goes hand in hand with distinctive brands, and successful brands are by their very nature visually identifiable.
어떤 경우든, 독특한 디자인은 흔히 독특한 브랜드와 밀접한 관련이 있고, 성공적인 브랜드는 본래 시각적으로 식별 가능하다는 사실은 피할 수 없다.
Pharmaceutical companies make their tablets and capsules in all shapes, sizes, and colors, with each one intended to differentiate the product, impart a particular emotional “feel” to the drug and instill customer loyalty.
제약 회사들은 자기네들의 알약과 캡슐을 온갖 모양, 크기, 색깔로 만드는데, 각각의 제품은 그 상품을 차별화하고, 그 약에 특별한 감성적인 ‘느낌’을 주며 고객에게 충성심을 주입시키려는 의도를 가진다.
The automobile industry is another category where shape plays a vital role. In many models, shape has become the defining feature.
자동차 산업은 형태가 중요한 역할을 하는 또 다른 부문이다. 많은 모델에서 형태가 본질적인 의미를 규정하는 특징이 되었다.
어법문제
Vision has until recently (been perceived/perceived) as being the most powerful of our five senses; however, research (indicating/indicates) that this may no longer be true. Whatever the case, there’s no (escaping/escape) the fact that distinctive design often goes hand in hand with distinctive brands, and successful brands (is/are) by their very nature visually identifiable. Pharmaceutical companies make their tablets and capsules in all shapes, sizes, and colors, with each one (intending/intended) to differentiate the product, impart a particular emotional “feel” to the drug and instill customer loyalty. The automobile industry is another category (which/where) shape plays a vital role. In many models, shape has (become/been become) the defining feature.
Heritage is concerned with the ways in which very selective material artefacts, mythologies, memories and traditions become resources for the present.
문화유산은 매우 선별적인 물질적 인공물, 신화, 기억, 그리고 전통이 현재를 위한 자원이 되는 방식과 관련이 있다.
The contents, interpretations and representations of the resource are selected according to the demands of the present; an imagined past provides resources for a heritage that is to be passed onto an imagined future.
그 자원의 내용, 해석, 표현은 현재의 요구에 따라 선택되며, 상상된 과거는 상상된 미래로 전해질 수 있는 유산을 위한 자원을 제공한다.
It follows too that the meanings and functions of memory and tradition are defined in the present.
또한 기억과 전통의 의미와 기능들이 현재에 와서 정의된다는 것도 사실이다.
Further, heritage is more concerned with meanings than material artefacts.
게다가, 유산은 물질적 인공물보다 의미와 더 많이 관련된다.
It is the former that give value, either cultural or financial, to the latter and explain why they have been selected from the near infinity of the past.
후자(물질적 인공물)에게 문화적 혹은 재정적 가치를 부여하고 거의 무한하게 많은 과거의 것들로부터 왜 그것들이 선택되었는지 설명해 주는 것은 바로 전자(의미)이다.
In turn, they may later be discarded as the demands of present societies change, or even, as is presently occurring in the former Eastern Europe, when pasts have to be reinvented to reflect new presents.
결국, 현재 사회의 요구가 변화함에 따라, 혹은 심지어, 구 동유럽에서 현재 일어나고 있는 것처럼, 새로운 현재를 반영하기 위해서 과거가 재창조되어야 할 때, 그것들은 나중에 버려질 수도 있다.
Thus heritage is as much about forgetting as remembering the past.
따라서 유산은 과거를 기억하는 것만큼 과거를 잊는 것에 관한 것이다.
어법문제
Heritage is concerned with the ways (at/in) which very selective material artefacts, mythologies, memories and traditions become resources for the present. The contents, interpretations and representations of the resource (are selected/select) according to the demands of the present; an (imagined/imagining) past provides resources for a heritage that is to be (passing/passed) onto an imagined future. It follows too that the meanings and functions of memory and tradition (is/are) defined in the present. Further, heritage is more (concerning/concerned) with meanings than material artefacts. It is the former that (giving/give) value, either cultural or financial, to the latter and explain why they have been (selecting/selected) from the near infinity of the past. In turn, they may later be (discarding/discarded) as the demands of present societies change, or even, as is (present/presently) occurring in the former Eastern Europe, when pasts have to be reinvented to reflect new presents. Thus heritage is as (many/much) about forgetting as (remember/remembering) the past.
11강 Exercise 01
Every puddle is a sign that the water has been blocked, stopped from travelling down through the ground.
모든 물웅덩이는 물이 막혀 땅속으로 내려가는 것이 차단되었다는 표시이다.
So if a puddle is persistent, then the first thing we can deduce is that the ground beneath the puddle is either nonporous or extremely wet.
그래서 물웅덩이가 되풀이하여 나타나면, 우리가 첫 번째로 추론할 수 있는 것은 물웅덩이 밑에 있는 땅에 물이 스며들 수 없거나 (그 땅이) 흠뻑 젖었다는 것이다.
This is mainly interesting when we travel through a rural area and notice that the number of puddles suddenly increases, despite there not being any more rain in that area.
이것은 우리가 시골 지역을 여행하다가 그 지역에 비가 조금도 더 오지 않았음에도 불구하고 물웅덩이의 수가 갑자기 많아지는 것을 알아차릴 때 주로 흥미롭다.
This is a sign that the rocks beneath your feet have probably changed, even if the appearance of the mud has not changed.
이것은 진흙의 외관이 변하지 않았다 하더라도 여러분의 발밑에 있는 암석들이 아마도 바뀌었을 것이라는 표시이다.
Since the rocks are responsible for a lot of the characteristics of the soil in an area and the soil strongly influences the types of plants and animals you will find, a sudden change in the number of puddles, without a very local downpour, is a sign that the rocks, soil, plants and animals all around you will also have changed.
암석은 한 지역에 있는 흙의 여러 특성을 생기게 하고, 흙은 여러분이 보게 되는 식물과 동물의 종류에 강한 영향을 미치기 때문에, 국지성 호우가 없어도 물웅덩이의 수가 갑작스럽게 변화한 것은 여러분 주변 사방에 있는 암석, 흙, 식물과 동물도 또한 변해 있을 것이라는 표시이다.
어법문제
Every puddle is a sign that the water has (blocked/been blocked), (stopping/stopped) from travelling down through the ground. So if a puddle is persistent, then the first thing we can deduce (be/is) that the ground beneath the puddle is either nonporous or (extremely/extreme) wet. This is mainly interesting when we travel through a rural area and (notice/noticed) that the number of puddles suddenly (is increased/increases), despite there (not being/aren't) any more rain in that area. This is a sign that the rocks beneath your feet have probably (been changed/changed), even if the appearance of the mud has not changed. Since the rocks are responsible for a lot of the characteristics of the soil in an area and the soil strongly (influencing/influences) the types of plants and animals you will find, a sudden change in the number of puddles, without a very local downpour, (be/is) a sign that the rocks, soil, plants and animals all around you will also have (been changed/changed).
11강 Exercise 02
Keep in mind that while coaching our children to future success, we can’t forget about the present.
우리 아이들을 미래의 성공을 위해 지도하는 중에, 우리가 현재에 대해서 잊으면 안 된다는 것을 명심하라.
Understanding how what you are doing today benefits you today and not just somewhere down the road is an essential part of personal motivation.
여러분이 오늘 하고 있는 일이 어떻게 해서 앞으로 어느 때만이 아닌 오늘 도움이 되는지를 이해하는 것은 개인적인 동기 부여의 필수적인 부분이다.
Sometimes seeing the big picture isn’t enough; in fact, the big picture can sometimes be overwhelming.
때때로 큰 그림[전체적인 상황]을 보는 것만으로는 충분하지 않은데, 사실, 그 큰 그림은 때로는 감당하기 어려운 것일 수 있다.
For example, when writing the manuscript for this book, I spent many a morning procrastinating because I could only see the big picture.
예를 들어, 이 책을 위한 원고를 쓸 때, 나는 오로지 그 큰 그림만 볼 수 있었기 때문에 여러 날의 아침을 (해야 할 일을) 뒤로 미루면서 보냈다.
The big picture overwhelmed me!
그 큰 그림이 내겐 버거웠다[감당하기 어려웠다]!
The ability to break a goal down into manageable pieces is important to motivation.
목표를 관리할 수 있는 조각들로 쪼개는 능력은 동기 부여에 중요하다.
When I saw that if I only did some work every day, I would eventually reach my goal of finishing an enormous project, I was motivated to do a little bit every day.
만약 내가 매일 ‘어느 정도의’ 일을 하기만 한다면 나는 결국 거대한 프로젝트를 끝낸다는 내 목표에 도달할 것이라는 것을 내가 이해했을 때, 나는 매일 조금씩 할 의욕이 생겼다.
I began to enjoy the journey of writing when I saw how writing every day benefitted me today and not just at some time in the future.
내가 매일 글을 쓰는 것이 어떻게 미래의 어느 시점에서만이 아니라 오늘 내게 도움이 되는지를 이해했을 때 나는 쓰기라는 여정을 즐기기 시작했다.
In that sense, be careful using the big picture as motivation.
그러한 면에서, 큰 그림을 동기 부여로 사용하는 데 주의하라.
어법문제
(Keeping/Keep) in mind that while coaching our children (for/to) future success, we can’t forget about the present. Understanding (why/how) what you are doing today (benefits/is benefited) you today and not just somewhere down the road is an essential part of personal motivation. Sometimes (see/seeing) the big picture isn’t enough; in fact, the big picture can sometimes be (overwhelmed/overwhelming). For example, when (written/writing) the manuscript for this book, I spent many a morning procrastinating because I could only see the big picture. The big picture (overwhelming/overwhelmed) me! The ability to break a goal down into manageable pieces (are/is) important to motivation. When I saw that (although/if) I only did some work every day, I (will/would) eventually reach my goal of finishing an enormous project, I was motivated to do a little bit every day. I began to enjoy the journey of writing when I saw how writing every day (benefitting/benefitted) me today and not just at some time in the future. In that sense, be careful (use/using) the big picture as motivation.
11강 Exercise 03
Arturo Toscanini had a phenomenal memory as well as a phenomenal ear.
Arturo Toscanini는 경이로운 귀[청력]뿐만 아니라 경이로운 기억력을 가지고 있었다.
Once, he decided to conduct Ernest Schelling’s “Impressions from an Artist’s Life,” and he invited Mr. Schelling himself to play solo piano.
한번은 Ernest Schelling의 ‘Impressions from an Artist’s Life’를 지휘하기로 했고, Schelling에게 직접 피아노 독주를 하도록 요청하였다.
During rehearsal, Maestro Toscanini — who never looked at a score during rehearsal, although he kept one on the stage — stopped Mr. Schelling and stated that he believed the pianist had omitted a G flat.
리허설을 하는 동안, 악보를 무대 위에 두기는 했지만 리허설에서는 악보를 절대 보지 않았던 거장 Toscanini는 Schelling(의 연주)을 중지시켰고 피아노 연주자(Schelling)가 G 플랫음을 분명 빠뜨린 것 같다고 말했다.
Mr. Schelling replied, “You are right. I did omit the G flat because I never wrote a G flat at that particular point in my original score.”
Schelling은 “당신 말이 맞습니다. 나는 나의 원래 악보에서 그 특정 지점에 G 플랫음을 쓰지 않았기 때문에 G 플랫음을 정말 뺐습니다.”라고 대답했다.
That surprised Maestro Toscanini, so he invited Mr. Schelling to look at the score with him.
그 말은 거장 Toscanini를 놀라게 했고, 그래서 그는 Schelling에게 자신과 함께 악보를 살펴보자고 요청했다.
After looking at the score, it was Mr. Schelling who was surprised, and he said, “Mr. Toscanini, I did omit the G flat. In all the times I have played this piece I always omitted the G flat.
악보를 보고나서 놀란 것은 Schelling이었는데, 그는 “Toscanini 씨, 나는 ‘정말이지’ G 플랫음을 뺐습니다. 나는 이 곡을 연주할 때마다 G 플랫음을 ‘항상’ 뺐단 말입니다.
Since the day I wrote it, I had completely forgotten it was there.”
내가 그 곡을 작곡한 날 이후로, 나는 그것[G 플랫음]이 거기 있었다는 것을 완전히 잊어버렸던 것이지요.”라고 말했다.
어법문제
Arturo Toscanini had a phenomenal memory as well as a phenomenal ear. Once, he decided (to conduct/conducting) Ernest Schelling’s “Impressions from an Artist’s Life,” and he invited Mr. Schelling himself to play solo piano. During rehearsal, Maestro Toscanini — who never (looking/looked) at a score during rehearsal, although he kept one on the stage — (stopping/stopped) Mr. Schelling and stated that he believed the pianist had omitted a G flat. Mr. Schelling replied, “You are right. I did omit the G flat because I never (have written/wrote) a G flat at that particular point in my original score.” That surprised Maestro Toscanini, so he invited Mr. Schelling (to look/look) at the score with him. After looking at the score, it was Mr. Schelling who was (surprising/surprised), and he said, “Mr. Toscanini, I did omit the G flat. In all the times I have played this piece I always omitted the G flat. Since the day I (write/wrote) it, I had completely forgotten it was there.”
11강 Exercise 04
By the end of the millennium, emotions had become such a central part of psychology’s focus that many scholars viewed emotions as the motivational force guiding almost all of human behavior.
20세기 말 무렵 감정은 심리학의 초점의 매우 주요한 부분이 되어서 많은 학자들이 감정을 거의 모든 인간 행동을 이끄는 동기 부여의 힘으로 보았다.
Today, many psychological scientists agree that any decision we make, any relationship we pursue, any thing we want — all these judgments, behaviors, and desires are influenced by emotion.
오늘날, 많은 심리학자들은 우리가 내리는 그 어떤 결정이든, 우리가 추구하는 그 어떤 관계든, 우리가 원하는 그 어떤 ‘것’이든, 모든 이러한 판단, 행동, 욕구는 감정에 의해 영향을 받는다는 것에 동의한다.
Even those decisions which, we believe, are shaped by rationality or logical principles about what is right or good are in fact more often triggered by a gut emotional response.
우리가 합리성이나 무엇이 옳거나 좋은지에 대한 논리적 원칙들에 의해 형성된다고 믿는 그런 결정들조차도 사실 직감에 따른 감정적 반응에 의해 더 자주 유발된다.
We tell ourselves that such decisions aren’t driven by our emotions, and that we are relying on the mind’s most sophisticated reasoning processes, but research shows that we are very good at coming up with “sophisticated” reasons to justify what we want to think, and what we want to think is almost always shaped by how we feel.
우리는 스스로에게 그런 결정들이 우리의 감정에 의해서 유도되지 않고, 우리가 정신의 가장 정교한 추론 과정에 의지하고 있다고 말하지만, 연구는 우리가 생각하고 싶어 하는 것을 정당화하기 위해 ‘정교한’ 이유들을 제시하는 데 매우 능숙하고 우리가 생각하고 싶어 하는 것은 거의 항상 우리가 느끼는 방식에 의해 형성된다는 것을 보여 준다.
어법문제
By the end of the millennium, emotions had (been become/become) such a central part of psychology’s focus that many scholars viewed emotions as the motivational force (guiding/guide) almost all of human behavior. Today, many psychological scientists agree that any decision we make, any relationship we pursue, any thing we want — all these judgments, behaviors, and desires are (influencing/influenced by) emotion. Even those decisions (where/which), we believe, are (shaping/shaped by) rationality or logical principles about what is right or good (is/are) in fact more often triggered by a gut emotional response. We tell ourselves that such decisions aren’t (driving/driven by) our emotions, and that we are relying on the mind’s most sophisticated reasoning processes, but research shows that we are very good at coming up with “sophisticated” reasons to justify what we want to think, and (that/what) we want to think is almost always shaped by (why/how) we feel.
11강 Exercise 05
Can you tell how a toy is made?
여러분은 장난감이 어떻게 만들어지는지 아는가?
While there is certainly room and a need for some manufactured plastic in our lives, we also need to make much more room for simple, natural materials.
우리의 삶에서 (기계를 이용하여 대량으로) 제조되는 플라스틱의 자리와 필요성이 분명 있지만, 우리는 또한 단순하고 자연적인 재료를 위한 훨씬 더 많은 자리를 만들 필요가 있다.
Does your children’s toy selection show an adequate representation of nature?
여러분 자녀들의 각종 장난감들은 자연을 충분히 나타내어 보여 주는가?
Is there wood?
나무가 있는가?
Cloth? Natural fibers?
천은? 천연 섬유는?
Not only do these toys feel good to play with and connect children to the outside world, but they are also often strong enough to last a lifetime and even more.
이런 장난감들은 가지고 놀기에 느낌이 좋고 아이들을 바깥 세상에 연결해 줄 뿐만 아니라, 흔히 평생 혹은 그보다 훨씬 더 오래 지속될 만큼 튼튼하다.
I think we should consider our toy materials in the same way that people talk about whole foods: the closer to the original source, the better.
나는 사람들이 자연 식품에 대해 말하는 것과 같은 방식으로 장난감 재료를 고려해야 한다고 생각하는데, 원재료에 더 가까울수록, 더 좋은 것이다.
Can you picture your toy growing somewhere on the earth? Wooden blocks, felt balls, and cotton dolls are often some of the best toys.
지구 어딘가에서 여러분의 장난감이 자라고 있다는 것을 상상할 수 있는가? 나무 벽돌, 펠트 공, 그리고 면 인형은 흔히 가장 좋은 장난감들 중 일부이다.
어법문제
Can you tell how a toy is made? While there is certainly room and a need for some (manufacturing/manufactured) plastic in our lives, we also need to make much more room for simple, natural materials. Does your children’s toy selection show an adequate representation of nature? Is there wood? Cloth? Natural fibers? Not only (are/do) these toys feel good to play with and (connect/connecting) children to the outside world, but they are also often (strong enough/enough strong) to last a lifetime and even more. I think we should consider our toy materials in the same way that people talk about whole foods: the closer to the original source, the (best/better). Can you picture your toy (grown/growing) somewhere on the earth? Wooden blocks, felt balls, and cotton dolls are often some of the best toys.
11강 Exercise 06
A particular difficulty that attends efforts to determine the extent of cross-cultural convergence in emotional expression is the fact that cultures do not categorize emotions in the same way.
여러 문화 간에 감정적 표현이 비슷하게 되어가는 과정의 정도를 알아내려는 노력에 수반되는 특별한 어려움은 문화권에서 같은 방식으로 감정을 분류하지 않는다는 사실이다.
Marc Benamou, studying the use of affective terms to describe the expressive character of music among Western and Javanese subjects, ascertained that some Javanese emotion terms did not straightforwardly correspond to Western categories.
서양인과 자바인 연구 대상자들의 음악의 표현 특성을 설명하기 위한 정서적인 용어의 사용을 연구하면서, Marc Benamou는 몇몇 자바어의 감정을 나타내는 용어는 서양의 범주와 바로 일치하지 않는다는 사실을 알아냈다.
This raises some doubts about how much we can trust studies that purport to compare cultures.
이것은 문화를 비교한다고 주장하는 연구를 우리가 얼마나 신뢰할 수 있는지에 대해 어느 정도 의심을 불러일으킨다.
Presumably, we can assume that when Javanese subjects report expressiveness in music using words for which English-speaking subjects have no term, the two groups of subjects are not recognizing the same expressive content.
아마, 우리는 자바인 연구 대상자들이 영어를 사용하는 연구 대상자의 말에는 없는 단어를 사용하여 풍부한 음악적 표현을 말할 때, 양쪽 집단의 연구 대상자들은 같은 (감정적인) 표현의 내용을 인식하고 있는 것은 아니라고 추정할 수 있다.
But more generally, we should be alert to the possibility that imperfect translations lead us to imagine greater agreement about musical expression than we would find if we had a more nuanced sense of the way the terms are used in the respective languages.
그러나 좀 더 일반적으로, 만일 우리가 각각의 언어에서 그 용어들이 사용되는 방식에 대해 더 미묘한 감각을 가진다면 우리가 아마 발견할 것(음악적 표현에 대한 일치)보다 음악적인 표현에서 더 많은 일치가 있다고 상상하도록 불완전한 번역이 우리를 유도할 가능성에 대해 유의해야 한다.
어법문제
A particular difficulty that attends efforts to determine the extent of cross-cultural convergence in emotional expression is the fact that cultures do not (be categorized / categorize) emotions in the same way. Marc Benamou, (studied/studying) the use of affective terms to describe the expressive character of music among Western and Javanese subjects, (ascertaining/ascertained) that some Javanese emotion terms did not straightforwardly correspond to Western categories. This raises some doubts about how much we can trust studies that (purporting/purport) to compare cultures. Presumably, we can assume that when Javanese subjects report expressiveness in music (using/used) words (for which/in which) English-speaking subjects have no term, the two groups of subjects are not recognizing the same expressive content. But more generally, we should be alert to the possibility that (perfect/imperfect) translations lead us to imagine greater agreement about musical expression than we (will/would) find if we had a more nuanced sense of the way the terms (are used/use) in the respective languages.
11강 Exercise 07
To know whether an artistic performance succeeds or fails requires that we know what counts as success or failure in any performance context.
예술 공연의 성패 여부를 알기 위해서는 어떤 공연 상황에서든지 성공이나 실패로 간주되는 것을 알아야 한다.
Music critics will consider a pianist’s tone, phrasing, tempo, accuracy, and ability to sustain a line or build to a climax.
음악 비평가들은 피아니스트의 악음, 악구를 구분하여 연주하기, 박자, 정확성, 그리고 멜로디를 유지하거나 최고조에 이르게 하는 능력을 고려할 것이다.
Speed and brilliance may be important considerations, which is not to say the fastest performance will be the best.
속도와 (음색의) 맑음은 중요한 고려 사항일 수 있는데, 이는 가장 빠른 연주가 최고일 것이라는 말은 아니다.
But behind these considerations is an unstated assumption: that it is one person’s ten unaided fingers that produce the sounds
그러나 이런 고려 사항의 이면에는 무언의 가정이 들어 있는데, 그것은 그 음을 만들어 내는 것이 바로 한 사람의, ‘도움을 받지 않는 열 개의 손가락’이라는 것이다.
The excitement a virtuoso pianist generates with a glittering shower of notes is intrinsically connected with this fact.
거장 피아니스트가 찬란하게 쏟아 내는 음들로 만들어 내는 흥분은 본질적으로 이 사실과 관계가 있다.
An aurally identical experience that is electronically synthesized can never dazzle us in the same way: sound synthesizers can produce individual notes as fast as you please, while pianists cannot.
전자 장치를 이용하여 소리가 합성된 동일한 청각 경험은 결코 우리를 (그와) 똑같이 감탄시킬 수 없는데, 피아니스트는 여러분이 원하는 만큼 빨리 개개의 음을 낼 수 없지만, 전자 음향 합성 장치는 그렇게 할 수는 있다.
Built into the thrill of hearing a virtuoso is admiration for what the performance represents as a human achievement.
연주가 인간의 성취임을 보여 주는 것에 대한 찬탄은 거장의 연주를 듣는 전율을 형성한다.
Forgery and other forms of fakery in the arts misrepresent the nature of the performance and so misrepresent achievement.
예술에서의 위조와 여러 다른 형태의 속임수는 공연의 본질을 잘못 전하고 그런 이유로 성취를 잘못 전한다.
어법문제
(Know/To know) whether an artistic performance succeeds or fails requires (what/that) we know what counts as success or failure in any performance context. Music critics will consider a pianist’s tone, phrasing, tempo, accuracy, and ability to sustain a line or (building/build) to a climax. Speed and brilliance may be important considerations, (what/which) is not to say the fastest performance will be the best. But behind these considerations is an (stated/unstated) assumption: that it is one person’s ten (unaided/aided) fingers that produce the sounds. The excitement a virtuoso pianist generates with a glittering shower of notes (are/is) intrinsically connected with this fact. An aurally identical experience that is electronically (synthesized/synthesizing) can never dazzle us in the same way: sound synthesizers can produce individual notes as fast as you please, (during/while) pianists cannot. Built into the thrill of hearing a virtuoso is admiration (for what/at that) the performance represents as a human achievement. Forgery and other forms of fakery in the arts (represent/misrepresent) the nature of the performance and so misrepresent achievement.
11강 Exercise 08
The story of how milk became America’s drink combines the perfection of industry with the perfection of consumer knowledge.
어떻게 우유가 미국의 음료가 되었는지에 대한 이야기는 산업의 완벽성과 소비자 지식의 완벽성을 결합한 것이다.
For example, Spencer and Blanford attribute the increase in milk drinking to “significant improvements in the quality of milk and cream sold,” which led to a “more generous use of those products.”
예를 들어, Spencer와 Blanford는 우유 섭취량의 증가를 ‘판매된 우유와 크림의 품질에 있어 상당한 향상’ 덕으로 돌리는데 그것은 ‘그러한 제품들을 더 아낌없이 소비’하게 만들었다.
Consumers drank more milk because they had “greater knowledge of the food value of milk,” which was the result of “favorable teaching and publicity based on important findings and research.”
소비자들은 ‘우유의 식품 가치에 대한 더 많은 지식’을 가지면서 더 많은 우유를 마셨는데, 이는 ‘중요한 연구 결과와 연구에 토대를 둔 우호적인 교육과 홍보’의 결과였다.
In other words, the rise of milk consumption, according to these economic studies, is due to the increasing perfection of milk — in both quality and price — and education of consumers about this perfection.
다시 말해, 이러한 경제 연구에 따르면, 우유 소비의 증가는 품질과 가격 측면 모두에서 향상되는 우유의 완벽성과 이러한 완벽성에 대한 소비자 교육에 기인하는 것이다.
The history of milk drinking becomes a history of this increased perfection through increased consumption and through a public/private promotion of the product.
우유 섭취의 역사는 증가한 소비와 그 상품(우유)에 대한 공적인/사적인 홍보를 통한 이러한 증대된 완벽성의 역사가 된다.
어법문제
The story of how milk became America’s drink (is combined/combines) the perfection of industry with the perfection of consumer knowledge. For example, Spencer and Blanford (distribute/attribute) the increase in milk drinking to “significant improvements in the quality of milk and cream (sell/sold),” (what/which) led to a “more generous use of those products.” Consumers drank more milk (though/because) they had “greater knowledge of the food value of milk,” (that/which) was the result of “favorable teaching and publicity based on important findings and research.” In other words, the rise of milk consumption, according to these economic studies, is due to the (increased/increasing) perfection of milk — in both quality and price — and education of consumers about this perfection. The history of milk drinking becomes a history of this increased perfection through increased consumption and through a public/private promotion of the product.
11강 Exercise 09
Research suggests that a person’s level of self-complexity can have important consequences, particularly when people are confronted with negative events or difficulties in a given life domain.
연구에 따르면, 한 개인의 자아 복잡성의 정도는 특히 사람들이 특정 삶의 영역에서 부정적인 사건이나 어려움에 직면했을 때 중요한 결과를 가져올 수 있다.
Imagine learning that you did poorly on a midterm exam.
여러분이 중간고사를 잘 보지 못했다는 것을 알게 된다고 상상해 보라.
If you’re someone who is high in self-complexity — that is, you define yourself in terms of many nonoverlapping domains (for example, student, avid skier, committed volunteer, enthusiastic fan of Glee) — the negativity that results from your poor exam grade is relatively contained, affecting only how you feel about yourself as a student.
자아 복잡성이 높은 사람이라면, 즉 서로 겹치지 않는 많은 영역의 면에서 자신을 정의한다면(예를 들어, 학생, 스키를 광적으로 좋아하는 사람, 헌신적인 자원봉사자, Glee(미국에서 방영된 인기 뮤지컬 코미디 드라마)의 열정적인 팬), 형편없는 시험 성적으로부터 비롯되는 부정적 성향은 상대적으로 억제되어, 학생으로서의 자신에 대해 느끼는 기분에만 영향을 끼친다.
But if you’re low in self-complexity such that your identity as a student overlaps to a great extent with the few other identities you have — then the negativity associated with your poor exam grade is likely to lower your evaluations of yourself as a student as well as spill over and affect how you evaluate your other, overlapping identities.
그러나 학생으로서의 정체성이 여러분이 가지고 있는 다른 소수의 정체성과 크게 겹칠 정도로 자아복잡성이 낮다면, 그렇다면 형편없는 시험 성적과 관련된 부정적 성향이 번져 나가 여러분이 겹치는 다른 정체성을 평가하는 방식에 영향을 끼칠 뿐만 아니라 학생으로서의 스스로에 대한 평가를 낮출 가능성도 있다.
In short, putting all your “self eggs” in one basket can be risky in the face of threatening, self-relevant events.
요컨대, ‘자기 달걀’을 모두 하나의 바구니에 담는 것은 위협적인, 자신이 관련된 사건에 직면할 때 위험할 수 있다.
어법문제
Research suggests that a person’s level of self-complexity can have important consequences, particularly when people are (confronting/confronted) with negative events or difficulties in a given life domain. Imagine learning that you (were/did) poorly on a midterm exam. If you’re someone who is high in self-complexity — that is, you define (to/x) yourself in terms of many nonoverlapping domains (for example, student, avid skier, committed volunteer, enthusiastic fan of Glee) — the negativity that results from your poor exam grade is relatively (containing/contained), affecting only how you feel about yourself as a student. But if you’re low in self-complexity such (what/that) your identity as a student (overlapping/overlaps) to a great extent with the few other identities you have — then the negativity associated with your poor exam grade is (likely/unlikely) to lower your evaluations of yourself as a student as well as spill over and (affected/affect) how you evaluate your other, (overlaps/overlapping) identities. In short, putting all your “self eggs” in one basket can be (risk/risky) in the face of threatening, self-relevant events.
11강 Exercise 10
A few years ago, the video store down the road from our house closed and moved downtown.
몇 년 전에 우리 집에서 길 아래쪽에 있던 비디오 가게가 문을 닫고 시내로 옮겨 갔다.
The reason for the move was that another video store had opened downtown and was already operating successfully.
옮겨 간 이유는 시내에 다른 비디오 가게가 (이전에) 개업했는데, 이미 성공적으로 운영되고 있었다는 것이었다.
Businesses of a particular type tend to gather together in the same part of town.
특정 유형의 업체는 시내의 같은 지역에 함께 모이는 경향이 있다.
This is not necessarily because those areas have been designated for (say) theatres or law firms.
이것이 반드시 그 지역이 (가령) 극장이나 법률 회사를 위해 지정되었기 때문인 것은 아니다.
Rather it is because no one wants their competitors to gain an advantage over them.
오히려 그것은 아무도 자신의 경쟁 업체들이 자신보다 우위를 점하는 것을 원하지 않기 때문이다.
If you set up your business near a competitor, you avoid losing any advantage that their location gives them.
경쟁 업체 근처에 업체를 세우면, 여러분은 그 경쟁 업체의 (지리적) 위치가 그 경쟁 업체에게 제공하는 어떤 이점도 놓치지 않게 된다.
You also give yourself the chance to steal customers away from them.
여러분은 또한 그 경쟁 업체로부터 고객들을 빼앗을 기회를 스스로 갖게 된다.
As more theatres cluster together, the area becomes known as the theatre district.
더 많은 극장이 함께 모여들면서, 그 지역은 극장 구역으로 알려지게 된다.
It is then imperative for new theatres to open in the same area or face a potential loss of patrons.
그렇게 되면 새로운 극장들은 어쩔 수 없이 바로 그 (동일한) 지역에 개업하거나, (그렇지 않으면) 고객의 잠재적인 감소에 직면할 수밖에 없다.
어법문제
A few years ago, the video store down the road from our house closed and moved downtown. The reason for the move was (when/that) another video store had (opening/opened) downtown and was already operating successfully. Businesses of a particular type tend to gather together in the same part of town. This is not necessarily because those areas have (been designated/designated) for (say) theatres or law firms. Rather it is because no one wants their competitors (to gain/gaining) an advantage over them. If you set up your business near a competitor, you avoid (lost/losing) any advantage that their location gives them. You also give yourself the chance to steal customers away from them. As more theatres cluster together, the area becomes (known/knowing) as the theatre district. It is then imperative for new theatres to open in the same area or (facing/face) a potential loss of patrons.
11강 Exercise 11
We all know from experience that some of our dreams seem to be related to daily problems, some are vague and incoherent, and some are anxiety dreams that occur when we are worried or depressed.
우리는 모두 경험으로부터 우리 꿈의 일부는 일상의 문제와 관련이 있는 것 같고, 일부는 모호하고 일관성이 없으며, 그리고 일부는 우리가 걱정하고 있거나 우울할 때 꾸게 되는 불안 꿈이라는 것을 알고 있다.
But whatever the source of the images in our sleeping brains may be, we need to be cautious about interpreting our own dreams or anyone else’s.
그러나 우리의 수면 중인 두뇌 속의 영상의 원천이 무엇이든지, 우리는 우리 자신의 꿈, 혹은 다른 누군가의 꿈을 해석하는 데 신중해야 한다.
A recent study of people showed that individuals are biased and self-serving in their dream interpretations, accepting those that fit in with their preexisting beliefs or needs and rejecting those that do not.
사람들에 대한 최근의 연구는 사람들이 자신들의 기존의 신념이나 필요에 맞는 것들을 수용하고 그렇지 않은 것들을 거부하면서 그들의 꿈 해석에서 편향되고 자기 본위적이라는 것을 보여 주었다.
For example, they will give more weight to a dream in which God commands them to take a year off to travel the world than one in which God commands them to take a year off to work in a relief camp.
예를 들어, 그들은 신이 그들에게 1년간 휴가를 내어 구호 수용소에서 봉사하라고 명하는 꿈보다 신이 그들에게 1년간 휴가를 내어 세계를 여행하라고 명하는 꿈에 더 큰 비중을 둘 것이다.
Our biased interpretations may tell us more about ourselves than do our actual dreams.
우리의 편향된 해석은 우리의 실제 꿈이 하는 것보다 우리 자신에 대해 더 많은 것을 우리에게 말해 줄 것이다.
어법문제
We all know from experience that some of our dreams seem to (be related/relate) to daily problems, some are vague and incoherent, and some are anxiety dreams that (occur/are occurred) when we are worried or depressed. But (whenever/whatever) the source of the images in our sleeping brains may be, we need to be cautious about interpreting our own dreams or anyone else’s. A recent study of people showed that individuals are biased and (self-serving/self-served) in their dream interpretations, accepting those that fit in with their preexisting beliefs or needs and (rejected/rejecting) those that (are/do) not. For example, they will give more weight (for/to) a dream (in which/of which) God commands them to take a year off to travel the world than one (in which/of which) God commands them to take a year off to work in a relief camp. Our biased interpretations may tell us more about ourselves than (do/are) our actual dreams.
11강 Exercise 12
Customers like e-mail because it’s easy to use and it gives them immediate access to organizations.
이메일은 사용하기 쉽고 고객들이 회사에 즉각적인 연락을 할 수 있도록 해주므로 고객들은 이메일을 좋아한다.
Most of the time, customers receive an automated response indicating that their e-mail has been received and stating when they can expect to get a response.
대부분의 경우, 고객들은 자기들의 이메일이 수취되었다는 것을 말해 주고 그들이 언제 응답을 받을 것으로 예측할 수 있는지를 말해 주는 자동으로 작성된 응답을 받는다.
However, even automated responses need to be phrased appropriately.
그러나 자동으로 작성된 답신일지라도 적절하게 표현되어야 한다.
Some years ago, a clothing company used to send out an automated reply that read, “While we cannot get back to you personally, we do appreciate your input.”
몇 년 전, 한 의류 회사가 “저희가 개별적으로 답신을 해드리지는 못하지만 귀하의 의견을 정말 가치 있게 여깁니다.”라고 쓰인 자동으로 작성된 답신을 보내곤 했다.
That response didn’t provide much satisfaction or a feeling of connectivity.
그 응답은 그리 많은 만족감이나 친숙한 느낌을 제공하지 못했다.
Researchers Judy Strauss and Donna Hill, in one of the first major studies covering consumer complaints sent by e-mail, found that less than half (47 percent) of the firms studied created higher customer satisfaction with their in-kind e-mail responses.
연구자인 Judy Strauss와 Donna Hill은 이메일로 보낸 고객들의 항의를 다룬 첫 번째 주요 연구 중 하나에서 받은 것과 같은 종류의 답신에 대한 고객들의 (상대적으로) 더 높은 만족도를 이끌어낸 것은 (조사) 연구된 회사 중 절반 미만(47퍼센트)이라는 것을 발견했다.
They found that simple things make a difference. This included a fast response, an e-mail that addressed the specific problem, and an e-mail that was signed with a real person’s name.
그들은 간단한 것들이 차이를 만든다는 것을 발견했다. 이것은 빠른 응답, 구체적인 문제를 다룬 이메일, 그리고 실제로 사람의 이름이 서명된 이메일을 포함했다.
어법문제
Customers like e-mail because it’s easy to use and it gives them immediate access to (organizations/organize). Most of the time, customers receive an automated response (indicating/indicate) that their e-mail has been (receiving/received) and (stated/stating) when they can expect to get a response. However, even automated responses need to be phrased (appropriately/appropriated). Some years ago, a clothing company (using/used) to send out an automated reply that read, “While we cannot get back to you personally, we do appreciate your input.” That response didn’t provide much satisfaction or a feeling of (connectivity/connection). Researchers Judy Strauss and Donna Hill, in one of the first major studies (covering/cover) consumer complaints sent by e-mail, (finding/found) that less than half (47 percent) of the firms studied (creating/created) higher customer satisfaction with their in-kind e-mail responses. They found that simple things (make/made) a difference. This included a fast response, an e-mail that (addressing/addressed) the specific problem, and an e-mail that was signed with a real person’s name.
