Why should you read "The Handmaid's Tale"? - Naomi R. Mercer

2,259,350 views ใƒป 2018-03-08

TED-Ed


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Ju Hye Lim ๊ฒ€ํ† : Won Jang
"๋ฌด์‹œ๋Š” ๋ฌด์ง€์™€๋Š” ๋‹ค๋ฅด๋ฏ€๋กœ"
"์šฐ๋ฆฌ๋Š” ์ด๋ฅผ ์—†์• ๊ธฐ ์œ„ํ•ด ํž˜์จ์•ผ ํ•œ๋‹ค." -ํ•ธ๋“œ๋ฉ”์ด์ฆˆํ…Œ์ผ, ๋งˆ๊ฐ€๋ › ์• ํŠธ์šฐ๋“œ
00:06
In Margaret Atwood's near-future novel, "The Handmaid's Tale,"
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๋งˆ๊ฐ€๋ › ์• ํŠธ์šฐ๋“œ์˜ ๋ฏธ๋ž˜์†Œ์„ค "ํ•ธ๋“œ๋ฉ”์ด์ฆˆ ํ…Œ์ผ"์—์„œ
00:11
a Christian fundamentalist regime called the Republic of Gilead
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๊ทผ๋ณธ์ฃผ์˜ ๊ธฐ๋…๊ต ์ •๊ถŒ์ธ ๊ธธ๋ฆฌ์•„๋“œ ๊ณตํ™”๊ตญ์€
00:15
has staged a military coup and established a theocratic government
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๋ฏธ๊ตญ์—์„œ ๊ตฐ์‚ฌ ์ฟ ๋ฐํƒ€๋ฅผ ์ผ์œผ์ผœ ์‹ ์ •๊ตญ๊ฐ€๋ฅผ ์ˆ˜๋ฆฝํ•ฉ๋‹ˆ๋‹ค.
00:19
in the United States.
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00:21
The regime theoretically restricts everyone,
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์ด ์ •๊ถŒ์€ ๋ฒ•๋ฅ ์ƒ์œผ๋กœ๋Š” ๋ชจ๋“  ์‚ฌ๋žŒ๋“ค์„ ํ†ต์ œํ•˜์ง€๋งŒ
00:24
but in practice a few men have structured Gilead so they have all the power,
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์‹ค์ œ๋กœ๋Š” ์†Œ์ˆ˜์˜ ๋‚จ์„ฑ๋“ค์ด ์ž์‹ ๋“ค์ด ๋ชจ๋“  ๊ถŒ๋ ฅ์„ ๊ฐ–๋„๋ก ์กฐ์ž‘ํ•ฉ๋‹ˆ๋‹ค.
00:30
especially over women.
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ํŠนํžˆ ์—ฌ์„ฑ์— ๋Œ€ํ•ด์„œ์š”.
00:33
The Handmaid's Tale is what Atwood calls speculative fiction,
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์• ํŠธ์šฐ๋“œ๋Š” ํ•ธ๋“œ๋ฉ”์ด์ฆˆ ํ…Œ์ผ์ด ์‚ฌ๋ณ€์†Œ์„ค์ด๋ผ๊ณ  ๋งํ•ฉ๋‹ˆ๋‹ค.
00:37
meaning it theorizes about possible futures.
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์ด๋Š” ์ผ์–ด๋‚  ๊ฐ€๋Šฅ์„ฑ์ด ์žˆ๋Š” ๋ฏธ๋ž˜๋ฅผ ์ƒ์ƒํ•˜๋Š” ์†Œ์„ค์ด๋ผ๋Š” ๋œป์ž…๋‹ˆ๋‹ค.
00:40
This is a fundamental characteristic
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์œ ํ† ํ”ผ์•„ ์†Œ์„ค๊ณผ ๋””์Šคํ† ํ”ผ์•„ ์†Œ์„ค์—์„œ ๊ณตํ†ต์ ์œผ๋กœ ๋‚˜ํƒ€๋‚˜๋Š” ํŠน์ง•์ด์ฃ .
00:42
shared by both utopian and dystopian texts.
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00:46
The possible futures in Atwood's novels are usually negative, or dystopian,
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์• ํŠธ์šฐ๋“œ ์†Œ์„ค ์†์˜ ๋ฏธ๋ž˜ ๋ชจ์Šต์€ ๋Œ€๊ฐœ ๋ถ€์ •์ ์ด๊ฑฐ๋‚˜ ๋””์Šคํ† ํ”ผ์•„์ ์ž…๋‹ˆ๋‹ค.
00:50
where the actions of a small group have destroyed society as we know it.
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์†Œ์ˆ˜์ง‘๋‹จ์˜ ํ–‰๋™๋“ค์ด ์šฐ๋ฆฌ์—๊ฒŒ ์ต์ˆ™ํ•œ ํ˜„๋Œ€์‚ฌํšŒ๋ฅผ ํŒŒ๊ดดํ•˜์ง€์š”.
00:57
Utopian and dystopian writing tends to parallel political trends.
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์œ ํ† ํ”ผ์•„์™€ ๋””์Šคํ† ํ”ผ์•„ ์†Œ์„ค์€ ์ •์น˜์  ๋™ํ–ฅ์„ ๋‹ฎ๋Š” ๊ฒฝํ–ฅ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
01:02
Utopian writing frequently depicts an idealized society
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์œ ํ† ํ”ผ์•„์ ์ธ ๊ธ€์€ ์ฃผ๋กœ ์ด์ƒ์ ์ธ ์‚ฌํšŒ๋ฅผ ๊ทธ๋ฆฌ๋ฉฐ
01:05
that the author puts forth as a blueprint to strive toward.
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์ž‘๊ฐ€๋Š” ์ด ์‚ฌํšŒ๋ฅผ ์šฐ๋ฆฌ๊ฐ€ ์ง€ํ–ฅํ•ด์•ผ ํ•  ํ•˜๋‚˜์˜ ์ฒญ์‚ฌ์ง„์œผ๋กœ ์ œ์‹œํ•ฉ๋‹ˆ๋‹ค.
01:09
Dystopias, on the other hand,
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๋ฐ˜๋ฉด์— ๋””์Šคํ† ํ”ผ์•„๋Š”
01:11
are not necessarily predictions of apocalyptic futures,
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๊ผญ ์„ธ์ƒ์˜ ์ข…๋ง์„ ์˜ˆ๊ฒฌํ•˜๋Š” ๊ฑด ์•„๋‹ˆ์ง€๋งŒ
01:14
but rather warnings about the ways in which societies can set themselves
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์‚ฌํšŒ๊ฐ€ ์ž๋ฉธ์„ ํ–ฅํ•œ ๊ธธ์„ ๊ฑท๊ฒŒ ๋˜๋Š” ๊ฒฝ์šฐ๋“ค์— ๋Œ€ํ•ด ๊ฒฝ๊ณ ํ•ฉ๋‹ˆ๋‹ค.
01:18
on the path to destruction.
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01:21
The Handmaid's Tale was published in 1985, when many conservative groups
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ํ•ธ๋“œ๋ฉ”์ด์ฆˆ ํ…Œ์ผ์€ 1895๋…„์— ์ถœํŒ๋˜์—ˆ๋Š”๋ฐ
๋ณด์ˆ˜์ง‘๋‹จ๋“ค์ด ํŽ˜๋ฏธ๋‹ˆ์ฆ˜์šด๋™์˜ ์ œ2๋ฌผ๊ฒฐ๋กœ ์–ป์€ ์„ฑ๊ณผ๋ฅผ ๋น„๋‚œํ•˜๋˜ ์‹œ๊ธฐ์˜€์Šต๋‹ˆ๋‹ค.
01:26
attacked the gains made by the second-wave feminist movement.
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01:30
This movement had been advocating greater social and legal equality for women
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์ด ์šด๋™์€ ์—ฌ์„ฑ์—๊ฒŒ ๋” ๋งŽ์€ ์‚ฌํšŒ์ , ๋ฒ•์  ํ‰๋“ฑ์„ ์ฃผ์–ด์•ผ ํ•œ๋‹ค๊ณ 
01:34
since the early 1960s.
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19060๋…„๋Œ€ ์ดˆ๋ถ€ํ„ฐ ์ฃผ์žฅํ•ด์™”์Šต๋‹ˆ๋‹ค.
01:37
The Handmaid's Tale imagines a future in which the conservative
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ํ•ธ๋“œ๋ฉ”์ด์ฆˆ ํ…Œ์ผ์€ ๋ณด์ˆ˜์ ์ธ ๋ฐ˜๋Œ€ ์„ธ๋ ฅ์ด ์„ธ๋ ฅ์—์„œ ์šฐ์œ„๋ฅผ ์ ํ•˜์—ฌ
01:40
counter-movement gains the upper hand
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01:43
and not only demolishes the progress women had made toward equality,
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์—ฌ์„ฑ์ด ์„ฑํ‰๋“ฑ์—์„œ ์ด๋ค„๋‚ธ ๋ฐœ์ „์„ ์ง“๋ฐŸ๋Š” ๊ฒƒ์„ ๋„˜์–ด์„œ
01:47
but makes women completely subservient to men.
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์—ฌ์„ฑ์ด ๋‚จ์„ฑ์—๊ฒŒ ์ „์ ์œผ๋กœ ๋ณต์ข…ํ•˜๋Š” ๋ฏธ๋ž˜๋ฅผ ๊ทธ๋ฆฝ๋‹ˆ๋‹ค.
01:51
Gilead divides women in the regime into distinct social classes
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๊ธธ๋ฆฌ์•„๋“œ๋Š” ์ •๊ถŒ ๋‚ด์˜ ์—ฌ์„ฑ์„ ๋ถ„๋ช…ํ•œ ์‚ฌํšŒ์  ๊ณ„์ธต์œผ๋กœ ๋‚˜๋ˆ•๋‹ˆ๋‹ค.
01:55
based upon their function as status symbols for men.
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์ด ๊ณ„์ธต์€ ๋‚จ์„ฑ๊ณผ ๊ด€๋ จํ•œ ์—ฌ์„ฑ์˜ ์ง€์œ„์™€ ์—ญํ• ์— ๋”ฐ๋ผ ๋ถ„๋ฅ˜๋˜์—ˆ์ง€์š”.
01:59
Even their clothing is color-coded.
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์‹ฌ์ง€์–ด ์˜ท์˜ ์ƒ‰๊น”๋„ ์ •ํ•ด์ ธ ์žˆ์Šต๋‹ˆ๋‹ค.
02:01
Women are no longer allowed to read
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์—ฌ์„ฑ์€ ๋” ์ด์ƒ ์ฑ…์„ ์ฝ์„ ์ˆ˜๋„ ์—†๊ณ 
02:03
or move about freely in public,
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์ž์œ ๋กญ๊ฒŒ ์™ธ์ถœํ•  ์ˆ˜๋„ ์—†์Šต๋‹ˆ๋‹ค.
02:05
and fertile women are subject to state-engineered rape
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๊ฐ€์ž„์—ฌ์„ฑ์€ ๊ตญ๊ฐ€ ์ฃผ๋„ ํ•˜์— ์„ฑํญํ–‰์˜ ํ”ผํ•ด์ž๊ฐ€ ๋˜์–ด
02:08
in order to give birth to children for the regime.
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์ •๊ถŒ์„ ์œ„ํ•ด ์•„์ด๋ฅผ ๋‚ณ์•„์•ผ ํ•ฉ๋‹ˆ๋‹ค.
02:13
Although The Handmaid's Tale is set in the future,
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ํ•ธ๋“œ๋ฉ”์ด์ฆˆ ํ…Œ์ผ์˜ ๋ฐฐ๊ฒฝ์€ ๋ฏธ๋ž˜์ด์ง€๋งŒ
02:16
one of Atwood's self-imposed rules in writing it
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์• ํŠธ์šฐ๋“œ๊ฐ€ ๊ธ€์„ ์“ธ ๋•Œ ์Šค์Šค๋กœ ์ •ํ•œ ๊ทœ์น™์€
02:19
was that she wouldn't use any event
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์ธ๋ฅ˜ ์—ญ์‚ฌ์— ์ผ์–ด๋‚œ ์ ์ด ์—†์—ˆ๋˜ ์ผ์€
02:21
or practice that hadn't already happened in human history.
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์“ฐ์ง€ ์•Š๋Š” ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
02:25
The book is set in Cambridge, Massachusetts,
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์ด ์ฑ…์˜ ์ง€๋ฆฌ์  ๋ฐฐ๊ฒฝ์€ ๋ฉ”์‚ฌ์ถ”์„ธ์ธ ์˜ ์บ ๋ธŒ๋ฆฟ์ง€์ž…๋‹ˆ๋‹ค.
02:28
a city that during the American colonial period
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๋ฏธ๊ตญ์˜ ์‹๋ฏผ์ง€ ์‹œ์ ˆ์— ์‹ ์ •์ฃผ์˜ ์ฒญ๊ต๋„์ธ๋“ค์—๊ฒŒ
02:30
had been ruled by the theocratic Puritans.
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์ง€๋ฐฐ๋‹นํ–ˆ๋˜ ๋„์‹œ์ž…๋‹ˆ๋‹ค.
02:34
In many ways, the Republic of Gilead resembles the strict rules
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๊ธธ๋ฆฌ์•„๋“œ ๊ณตํ™”๊ตญ์€ ๋งŽ์€ ๋ถ€๋ถ„์—์„œ
์ฒญ๊ต๋„ ์‚ฌํšŒ์— ์กด์žฌํ–ˆ๋˜ ์—„๊ฒฉํ•œ ๊ทœ์œจ๊ณผ ๋‹ฎ์•„์žˆ์Šต๋‹ˆ๋‹ค.
02:37
that were present in Puritan society:
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02:40
rigid moral codes,
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์—„๊ฒฉํ•œ ๋„๋•์  ์žฃ๋Œ€,
02:41
modest clothing,
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์ •์ˆ™ํ•œ ์˜ท์ฐจ๋ฆผ์„ ๊ฐ•์š”ํ•˜๊ณ ,
02:43
banishment of dissenters,
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๋ฐ˜๋Œ€ํ•˜๋Š” ์‚ฌ๋žŒ๋“ค์€ ์ถ”๋ฐฉ์‹œํ‚ค๊ณ ,
02:45
and regulation of every aspect of people's lives and relationships.
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์‚ฌ๋žŒ๋“ค์˜ ์‚ถ๊ณผ ์ธ๊ฐ„๊ด€๊ณ„์˜ ๋ชจ๋“  ๋ถ€๋ถ„์„ ํ†ต์ œํ•œ๋‹ค๋Š” ์ ์—์„œ์š”.
02:50
For Atwood, the parallels to Massachusett's Puritans
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๋ฉ”์‚ฌ์ถ”์„ธ์ธ ์˜ ์ฒญ๊ต๋„์ธ๋“ค๊ณผ ๋‹ฎ์•„์žˆ๋Š” ์ด ๋ถ€๋ถ„์€
์• ํŠธ์šฐ๋“œ์—๊ฒŒ ๊ฐœ์ธ์ ์œผ๋กœ๋„ ํ•™๋ฌธ์ ์œผ๋กœ๋„ ์˜๋ฏธ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
02:53
were personal as well as theoretical.
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02:56
She spent several years studying the Puritans at Harvard
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์• ํŠธ์šฐ๋“œ๋Š” ์ˆ˜ ๋…„ ๊ฐ„ ํ•˜๋ฒ„๋“œ๋Œ€์—์„œ ์ฒญ๊ต๋„์ธ์— ๋Œ€ํ•ด ๊ณต๋ถ€ํ–ˆ์Šต๋‹ˆ๋‹ค.
02:59
and she's possibly descended from Mary Webster,
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๊ทธ๋ฆฌ๊ณ  ๋ณธ์ธ๋„ ๋ฉ”๋ฆฌ ์›น์Šคํ„ฐ์˜ ์ž์†์ผ ๊ฐ€๋Šฅ์„ฑ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
03:01
a Puritan woman accused of witchcraft who survived her hanging.
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๋ฉ”๋ฆฌ๋Š” ๋งˆ๋…€๋กœ ๋ชฐ๋ ธ๋˜ ์ฒญ๊ต๋„์ธ์œผ๋กœ ๊ต์ˆ˜ํ˜•์—์„œ ์‚ด์•„๋‚จ์€ ์—ฌ์„ฑ์ž…๋‹ˆ๋‹ค.
03:07
Atwood is a master storyteller.
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์• ํŠธ์šฐ๋“œ๋Š” ์Šคํ† ๋ฆฌํ…”๋ง์˜ ๋Œ€๊ฐ€์ž…๋‹ˆ๋‹ค.
03:10
The details of Gilead, which we've only skimmed the surface of,
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์šฐ๋ฆฌ๊ฐ€ ๊ฒ‰์œผ๋กœ๋งŒ ํ›‘์–ด๋ณธ ๊ธธ๋ฆฌ์•„๋“œ์˜ ์„ธ๋ถ€์ ์ธ ๋ชจ์Šต์€
03:13
slowly come into focus through the eyes of its characters,
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๋“ฑ์žฅ์ธ๋ฌผ๋“ค์˜ ๋ˆˆ์„ ํ†ตํ•ด ์„œ์„œํžˆ ์กฐ๋ช…๋ฉ๋‹ˆ๋‹ค.
03:17
mainly the novel's protagonist Offred,
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ํ•œ ์‚ฌ๋ น๊ด€์˜ ์‹œ๋…€์ธ ์ฃผ์ธ๊ณต ์˜คํ”„๋ ˆ๋“œ์˜ ์‹œ์ ์„ ํ†ตํ•ด ์ฃผ๋กœ ๋‚˜ํƒ€๋‚˜์ง€์š”.
03:20
a handmaid in the household of a commander.
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03:23
Before the coup that established Gilead,
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๊ธธ๋ฆฌ์•„๋“œ๋ฅผ ํƒ„์ƒ์‹œํ‚จ ์ฟ ๋ฐํƒ€๊ฐ€ ์ผ์–ด๋‚˜๊ธฐ ์ „์—
03:25
Offred had a husband, a child, a job, and a normal, middle-class American life.
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์˜คํ”„๋ ˆ๋“œ๋Š” ๋‚จํŽธ๊ณผ ์•„์ด์™€ ์ง์žฅ์ด ์žˆ๋Š” ํ‰๋ฒ”ํ•œ ์ค‘์‚ฐ์ธต ๋ฏธ๊ตญ์ธ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
03:31
But when the fundamentalist regime comes into power,
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ํ•˜์ง€๋งŒ ๊ทผ๋ณธ์ฃผ์˜ ์ •๊ถŒ์ด ๊ถŒ๋ ฅ์„ ์žก๊ฒŒ ๋˜๋ฉด์„œ
03:34
Offred is denied her identity,
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์˜คํ”„๋ ˆ๋“œ๋Š” ์ž์‹ ์˜ ์ •์ฒด์„ฑ์„ ๋ถ€์ •๋‹นํ•˜๊ณ 
03:37
separated from her family,
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๊ฐ€์กฑ๊ณผ ๊ฒฉ๋ฆฌ๋˜์—ˆ๊ณ ,
03:38
and reduced to being, in Offred's words,
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์˜คํ”„๋ ˆ๋“œ์˜ ๋ง์„ ๋นŒ๋ฆฌ์ž๋ฉด
03:41
"a two-legged womb for increasing Gilead's waning population."
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"๊ธธ๋ฆฌ์•„๋“œ ์ธ๊ตฌ๋ฅผ ๋Š˜๋ฆฌ๊ธฐ ์œ„ํ•œ ๋‹ค๋ฆฌ ๋‹ฌ๋ฆฐ ์ž๊ถ"์œผ๋กœ ์ „๋ฝํ–ˆ์Šต๋‹ˆ๋‹ค.
03:46
She initially accepts the loss of her fundamental human rights
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์ฒ˜์Œ์— ์˜คํ”„๋ ˆ๋“œ๋Š” ์ƒˆ ์ •๋ถ€ ์ˆ˜๋ฆฝ์ด๋ผ๋Š” ๋ช…๋ถ„ํ•˜์—
03:49
in the name of stabilizing the new government.
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๊ธฐ๋ณธ์ธ๊ถŒ์„ ๋ฐ•ํƒˆ๋‹นํ•œ ๊ฒƒ์„ ๋ฐ›์•„๋“ค์ž…๋‹ˆ๋‹ค.
03:52
But state control soon extends into attempts to control the language,
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ํ•˜์ง€๋งŒ ๋จธ์ง€์•Š์•„ ๊ตญ๊ฐ€๋Š” ํ†ต์ œ ๋ฒ”์œ„๋ฅผ
์–ธ์–ด์™€
03:57
behavior,
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ํ–‰๋™
03:58
and thoughts of herself and other individuals.
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๊ทธ๋…€์™€ ๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์˜ ์ƒ๊ฐ์œผ๋กœ๊นŒ์ง€ ํ™•๋Œ€์‹œํ‚ค๋ ค ํ•ฉ๋‹ˆ๋‹ค.
04:01
Early on, Offred says,
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์ดˆ๋ฐ˜์— ์˜คํ”„๋ ˆ๋“œ๋Š” ์ด๋ ‡๊ฒŒ ๋งํ•ฉ๋‹ˆ๋‹ค.
04:03
"I wait. I compose myself.
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"๋‚˜๋Š” ๊ธฐ๋‹ค๋ฆฌ๋ฉฐ, ์Šค์Šค๋กœ๋ฅผ ๊ฐ€๋‹ค๋“ฌ๊ฒ ๋‹ค.
04:07
My self is a thing I must compose, as one composes a speech."
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์—ฐ์„ค๋ฌธ์„ ์ •๋ฆฌํ•˜๋“ฏ ๋‚˜ ์ž์‹ ์„ ๊ฐ€๋‹ค๋“ฌ์–ด์•ผ ํ•œ๋‹ค."
04:13
She likens language to the formulation of identity.
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์˜คํ”„๋ ˆ๋“œ๋Š” ์–ธ์–ด์™€ ์ •์ฒด์„ฑ ํ˜•์„ฑ์„ ๋™์ผ์‹œํ•ฉ๋‹ˆ๋‹ค.
04:17
Her words also acknowledge the possibility of resistance,
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๊ทธ๋…€์˜ ์–ธ์–ด๋Š” ์ €ํ•ญ์˜ ๊ฐ€๋Šฅ์„ฑ์„ ๋ณด์—ฌ์ฃผ๊ณ 
04:21
and it's resistance, the actions of people who dare to break the political,
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์ •์น˜์ , ์ง€์ , ์„ฑ์  ๊ทœ์œจ์„ ๊นจ๋œจ๋ฆฌ๋ ค๋Š” ์šฉ๊ฐํ•œ ์‚ฌ๋žŒ๋“ค์˜ ์ €ํ•ญ๊ณผ ํ–‰๋™์ด
04:26
intellectual,
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04:27
and sexual rules,
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04:28
that drives the plot of the Handmaid's Tale.
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ํ•ธ๋“œ๋ฉ”์ด์ฆˆ ํ…Œ์ผ์˜ ์ด์•ผ๊ธฐ๋ฅผ ์ด๋Œ์–ด๋‚˜๊ฐ‘๋‹ˆ๋‹ค.
04:32
Ultimately, the novel's exploration of the consequences of complacency,
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์ด ์†Œ์„ค์ด ๊ทผ๋ณธ์ ์œผ๋กœ ํƒ๊ตฌํ•˜๋Š” ์•ˆ์ผํ•จ์œผ๋กœ ์ธํ•œ ๊ฒฐ๊ณผ์™€
04:37
and how power can be wielded unfairly,
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๊ถŒ๋ ฅ์˜ ๋ถˆ๊ณต์ •ํ•œ ๋‚จ์šฉ์€ ๋””์Šคํ† ํ”ผ์•„ ์ •๊ถŒ์— ๋Œ€ํ•œ
04:40
makes Atwood's chilling vision of a dystopian regime ever relevant.
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์• ํŠธ์šฐ๋“œ์˜ ์†Œ๋ฆ„ ๋‹๋Š” ํ†ต์ฐฐ์„ ์‹œ๋Œ€๋ฅผ ์ดˆ์›”ํ•œ ์ง„๋ฆฌ๋กœ ๋งŒ๋“ค์–ด์ค๋‹ˆ๋‹ค.
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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