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ÆÄÀ̵å·Î½º (phaedrus) µéÀ¸¸é¼­ Àд ¿µ¾î ¸íÀÛ 594
ÆÄÀ̵å·Î½º (phaedrus) µéÀ¸¸é¼­ Àд ¿µ¾î ¸íÀÛ 594
  • ÀúÀÚÇöóÅæ (Plato) Àú
  • ÃâÆÇ»çÀ¯ÆäÀÌÆÛ
  • ÃâÆÇÀÏ2016-11-15
  • µî·ÏÀÏ2017-07-18
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¡ß ±¹³»¿¡ ÀÚÁÖ ¼Ò°³µÇÁö ¾ÊÀº ¸íÀÛÀ» ¹ß±¼ÇÏ¿© ÀüÀÚÃ¥À¸·Î Ãâ°£ÇÏ´Â ¼û¾îÀÖ´Â ¸íÀÛ ½Ã¸®Áî ¡ß ¡°For there is no light of justice or temperance, or any of the higher ideas which are precious to souls, in the earthly copies of them: they are seen through a glass, dimly¡¦¡± Socrates and his earnest friend Phaedrus, enjoying the Athenian equivalent of a lunchtime stroll in the park, exchange views on love and on the power of words, spoken and written. Phaedrus is the most enchanting of Plato¡¯s Erotic dialogues (capitalised in honour of the god). The barefoot philosopher urges an eager young acquaintance ? who has allowed his lover¡¯s oratorical skills to impress him overmuch ? to re-examine the text of Lysias¡¯s speech in the light of his own exalted (and Platonic) vision of Love. Not long ago this early example of literary dismantling was itself deconstructed by a contemporary sage - Jacques Derrida. The present reader tries to present Socrates as he conceivably was: the chortling, pot-bellied ex-soldier, a flirtatious yet charismatic talker with a serious passion for Truth. (Introduction by Martin Geeson) ------------------------------------- ÇöóÅæÀÇ ´ëÈ­Æí <ÆÄÀ̵å·Î½º(Phaedrus)>¿¡´Â ¼ÒÅ©¶óÅ×½º°¡ Ä£±¸ ÆÄÀ̵å·Î½º¿¡°Ô µé·ÁÁØ, ÀÌÁýÆ®ÀÇ Å¸¹«½º¿Õ°ú ¹ß¸íÀÇ ½Å Å׿콺°¡ ÁÖ°í¹ÞÀº À̾߱Ⱑ ½Ç·Á ÀÖ½À´Ï´Ù. ¼ö, °è»ê, ±âÇÏÇÐ, õ¹®ÇÐ, ¹®ÀÚ µî ¸¹Àº °ÍµéÀ» °í¾ÈÇØ ³½ ¹ß¸íÀÇ ½Å Å׿콺´Â ÀÚ½ÅÀÌ ¹ß¸íÇÑ ¹®ÀÚÀÇ ¿ëµµ¿¡ ´ëÇÏ¿© ¿Õ¿¡°Ô ÀÌ·¸°Ô ¼³¸íÇß´Ù°í ÇÕ´Ï´Ù. ¡°¿ÕÀÌ¿©, ¿©±â¿¡ ³»°¡ ½ÉÇ÷À» ±â¿ï¿© ¿Ï¼ºÇÑ ÀÛǰÀÌ ÀÖ¼Ò. À̰ÍÀº ÀÌÁýÆ®ÀεéÀÇ ÁöÇý¿Í ±â¾ï·ÂÀ» ´Ã·Á ÁÙ °ÍÀÌ¿À. ±â¾ï°ú ÁöÇýÀÇ ¿Ïº®ÇÑ º¸Áõ¼öÇ¥¸¦ ¹ß°ßÇØ ³½ °ÍÀÌÁö¿ä.¡± Å׿콺ÀÇ ¼³¸í¿¡ ´ëÇÏ¿© Ÿ¹«½º¿ÕÀº ÀÌ·¸°Ô °æ°èÇÏ¿´½À´Ï´Ù. ¡°¸ðµç ¹ß¸í°¡ÀÇ ¸ð¹üÀÌ µÇ½Ã´Â Å׿콺¿©, ±â¼úÀÇ ¹ß¸íÀÚ´Â ±× ±â¼úÀÌ ÀåÂ÷ ÀÌÀÍÀÌ µÉÁö ÇØ°¡ µÉÁö ÆÇÁ¤ÇÒ ¼ö ÀÖ´Â ÃÖ¼±ÀÇ ÀçÆÇ°üÀº µÉ ¼ö ¾ø½À´Ï´Ù. ¹®ÀÚÀÇ ¾Æ¹öÁöÀÎ ´ç½ÅÀº ÀÚ¼ÕµéÀ» »ç¶ûÇÏ¿© ¹ß¸íÇØ ³½ ±× ¹®ÀÚ¿¡ º»·¡ÀÇ ±â´É¿¡ Á¤ ¹Ý´ëµÇ´Â ¼ºÁúÀ» ºÎ¿©ÇÑ ¼ÀÀÔ´Ï´Ù. ¹®ÀÚ¸¦ ½ÀµæÇÑ »ç¶÷µéÀº ±â¾ï·ÂÀ» »ç¿ëÇÏÁö ¾Ê°Ô µÇ¾î ¿ÀÈ÷·Á ´õ ¸¹ÀÌ ÀØ°Ô µÉ °ÍÀÔ´Ï´Ù. ±â¾ïÀ» À§ÇØ ³»Àû ÀÚ¿ø¿¡ ÀÇÁ¸Çϱ⺸´Ù´Â ¿ÜÀû ±âÈ£¿¡ ÀÇÁ¸ÇÏ°Ô µÇ´Â Å¿ÀÌÁö¿ä. ´ç½ÅÀÌ ¹ß°ßÇÑ °ÍÀº ȸ»óÀÇ º¸Áõ¼öÇ¥ÀÌÁö ±â¾ïÀÇ º¸Áõ¼öÇ¥°¡ ¾Æ´Õ´Ï´Ù. ±×¸®°í ÁöÇý¿¡ ´ëÇØ¼­¶ó¸é, ´ç½ÅÀÇ Á¦ÀÚµéÀº »ç½Ç°ú´Â »ó°ü¾øÀÌ ÁöÇý¿¡ ´ëÇÑ ¸í¼ºÀ» °è¼Ó ´©¸®°Ô µÉ °ÍÀÔ´Ï´Ù. ±×µéÀº ÀûÀýÇÑ °¡¸£Ä§ ¾øÀ̵µ ¸¹Àº Á¤º¸¸¦ ¹Þ¾ÆµéÀÏ ¼ö ÀÖ°Ô µÉ °ÍÀ̰í, µû¶ó¼­ ½ÇÁ¦·Î´Â °ÅÀÇ ¹«ÁöÇÏ´Ù ÇÒÁö¶óµµ Áö½ÄÀ» °¡Áø °ÍÀ¸·Î ÀÎÁ¤¹Þ°Ô µÉ °ÍÀÔ´Ï´Ù. ±×¸®°í ±×µéÀº ÁøÁ¤ÇÑ ÁöÇý´ë½Å ÁöÇý¿¡ ´ëÇÑ ÀÚ¸¸½ÉÀ¸·Î °¡µæ Â÷ ÀåÂ÷ »çȸ¿¡ Áü¸¸ µÉ °ÍÀÔ´Ï´Ù.¡±(Á¦2ȸ Çѱ¹Ã¶Çпø²ÇÇ¾Æµå °íµîºÎ ³í¼ú¹®Á¦¸¦ ÀοëÇÏ¿´½À´Ï´Ù) Àΰ£ÀÇ °£±³ÇÔÀ» Á¦´ë·Î ¤¾î³½ °ÍÀ̶ó ÇϰڽÀ´Ï´Ù. ÀÌÁ¦ Á¤º¸ÀÇ ¹Ù´Ù¶ó°í ºÎ¸£´Â ÀÎÅÍ

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ÀÛǰ ¼³¸í
¡á Phaedrus
INTRODUCTION.
PHAEDRUS
ÀÛ°¡ ¼Ò°³
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ÀÔü ÀüÀÚÃ¥ ½Ã¸®Áî ¼Ò°³
ºÎ·Ï ¢º ¿µ¾î ±Û¾²±â ±âº» (THE ELEMENTS OF STYLE)
I. INTRODUCTORY
II. ELEMENTARY RULES OF USAGE
III. ELEMENTARY PRINCIPLES OF COMPOSITION
IV. A FEW MATTERS OF FORM
V. WORDS AND EXPRESSIONS COMMONLY MISUSED
VI. SPELLING
VII. EXERCISES ON CHAPTERS II AND III
- CONTENTS
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