Who decides what art means? - Hayley Levitt

904,811 views ・ 2018-11-26

TED-Ed


μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

λ²ˆμ—­: Minseo Yun κ²€ν† : Won Jang
00:13
Imagine you and a friend are strolling through an art exhibit
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μ—¬λŸ¬λΆ„μ΄ μΉœκ΅¬μ™€ ν•¨κ»˜ λ―Έμˆ κ΄€μ„ 거닐고 μžˆλŠ”λ°
00:16
and a striking painting catches your eye.
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λˆˆμ— λ„λŠ” 그림을 λ°œκ²¬ν–ˆλ‹€κ³  μƒκ°ν•΄λ΄…μ‹œλ‹€.
00:18
The vibrant red appears to you as a symbol of love,
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ν™œκΈ°μ°¬ 빨간색이 μ—¬λŸ¬λΆ„μ—κ²ŒλŠ” μ‚¬λž‘μ„ μƒμ§•ν•˜λŠ” κ²ƒμœΌλ‘œ λ³΄μ΄μ§€λ§Œ
00:22
but your friend is convinced it's a symbol of war.
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μ—¬λŸ¬λΆ„μ˜ μΉœκ΅¬λŠ” 이것이 μ „μŸμ˜ 상징이라고 ν™•μ‹ ν•˜κ³  μžˆμŠ΅λ‹ˆλ‹€.
00:25
And where you see stars in a romantic sky,
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그리고 μ—¬λŸ¬λΆ„μ΄ λ‚­λ§Œμ μΈ ν•˜λŠ˜μ˜ 별듀이라고 μƒκ°ν•˜λŠ” 것을
00:28
your friend interprets global warming-inducing pollutants.
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μΉœκ΅¬λŠ” 지ꡬ μ˜¨λ‚œν™”λ₯Ό μœ λ°œν•˜λŠ” μ˜€μ—Ό λ¬Όμ§ˆλ“€λ‘œ ν•΄μ„ν•©λ‹ˆλ‹€.
00:33
To settle the debate, you turn to the internet, where you read
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λ…ΌμŸμ„ 잠재우기 μœ„ν•΄ 인터넷에 μ ‘μ†ν•œ μ—¬λŸ¬λΆ„μ€
00:37
that the painting is a replica of the artist's first-grade art project:
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이 μž‘ν’ˆμ΄ ν™”κ°€μ˜ 1ν•™λ…„ 미술 과제의 λ³΅μ œν’ˆμ΄λΌλŠ” 것과
00:41
Red was her favorite color and the silver dots are fairies.
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κ·Έλ…€κ°€ κ°€μž₯ μ’‹μ•„ν•˜λŠ” 색이 뢉은색이고 은색 점듀은 μš”μ •μ΄λΌλŠ” 것을 λ³΄μ•˜μŠ΅λ‹ˆλ‹€.
00:46
You now know the exact intentions that led to the creation of this work.
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이제 μ—¬λŸ¬λΆ„μ€ 이 μž‘ν’ˆμ΄ μ°½μž‘λœ μ •ν™•ν•œ μ˜λ„λ₯Ό μ•Œμ•„λƒˆμŠ΅λ‹ˆλ‹€.
00:51
Are you wrong to have enjoyed it as something the artist didn’t intend?
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ν•˜μ§€λ§Œ ν™”κ°€κ°€ μ˜λ„ν•œ λŒ€λ‘œ 즐기지 μ•Šμ€ 게 잘λͺ»λœ κ²ƒμΈκ°€μš”?
00:55
Do you enjoy it less now that you know the truth?
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진싀을 μ•Œκ²Œ 된 이후 μž‘ν’ˆμ„ 잘 즐길 수 μ—†λ‚˜μš”?
00:58
Just how much should the artist's intention
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ν™”κ°€μ˜ μ˜λ„κ°€ μ—¬λŸ¬λΆ„μ˜ μž‘ν’ˆ 해석에
01:01
affect your interpretation of the painting?
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μ–΄λŠ μ •λ„μ˜ 영ν–₯을 μ£Όμ–΄μ•Ό ν•˜λ‚˜μš”?
01:04
It's a question that's been tossed around
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이것은 μ§€λ‚œ μˆ˜μ‹­ λ…„ λ™μ•ˆ
01:06
by philosophers and art critics for decades, with no consensus in sight.
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μ² ν•™μžλ“€κ³Ό 예술 평둠가듀이 던쑌던 μ§ˆλ¬Έμž…λ‹ˆλ‹€.
ν•˜μ§€λ§Œ 아직도 결둠이 λ‚˜μ§€ μ•Šμ•˜μ£ .
01:11
In the mid-20th century,
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20μ„ΈκΈ° μ€‘λ°˜μ—
01:13
literary critic W.K. Wimsatt and philosopher Monroe Beardsley
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λ¬Έν•™ 평둠가 W. K. μ›œμ„œνŠΈμ™€ μ² ν•™μž 먼둜 λΉ„μ–΄μ¦λ¦¬λŠ”
01:17
argued that artistic intention was irrelevant.
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예술적 μ˜λ„λŠ” λ¬΄μ˜λ―Έν•˜λ‹€κ³  μ£Όμž₯ν–ˆμŠ΅λ‹ˆλ‹€.
01:21
They called this the Intentional Fallacy:
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그듀은 이것을 'μ˜λ„λ‘ μ˜ 였λ₯˜'라고 λΆˆλ €μŠ΅λ‹ˆλ‹€.
01:23
the belief that valuing an artist's intentions was misguided.
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μ˜ˆμˆ κ°€μ˜ μ˜λ„λ₯Ό ν‰κ°€ν•˜λŠ” 것은 잘λͺ»λœ νŒλ‹¨μ΄λΌλŠ” μƒκ°ν–ˆμ§€μš”.
01:28
Their argument was twofold:
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κ·Έλ“€μ˜ μ£Όμž₯은 두 κ°€μ§€μ˜€μŠ΅λ‹ˆλ‹€.
01:30
First, the artists we study are no longer living,
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첫째둜, μš°λ¦¬κ°€ λ°°μš°λŠ” μ˜ˆμˆ κ°€λ“€μ€ 더 이상 μ‚΄μ•„ μžˆμ§€ μ•Šκ±°λ‚˜
01:33
never recorded their intentions,
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κ·Έλ“€μ˜ μ˜λ„λ₯Ό κΈ°λ‘ν•˜μ§€ μ•Šμ•˜μ„ μˆ˜λ„ 있고
01:35
or are simply unavailable to answer questions about their work.
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μžμ‹ μ˜ μž‘ν’ˆμ— λŒ€ν•΄ λ‹΅λ³€ν•  수 μ—†λŠ” 상황에 μžˆμ„μ§€λ„ λͺ¨λ¦…λ‹ˆλ‹€.
01:39
Second, even if there were a bounty of relevant information,
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λ‘˜μ§Έλ‘œ, ν’λΆ€ν•œ κ΄€λ ¨ 정보가 μžˆλ‹€κ³  해도
01:44
Wimsatt and Beardsley believed
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μ›œμ„œνŠΈμ™€ λΉ„μ–΄μ¦λ¦¬λŠ”
01:45
it would distract us from the qualities of the work itself.
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이 정보가 우리λ₯Ό μž‘ν’ˆμ˜ λ³Έμ§ˆμ— μ§‘μ€‘ν•˜μ§€ λͺ»ν•˜κ²Œ ν•  것이라고 λ―Ώμ—ˆμŠ΅λ‹ˆλ‹€.
01:49
They compared art to a dessert:
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그듀은 μ˜ˆμˆ μ„ λ””μ €νŠΈμ— λΉ„μœ ν–ˆμŠ΅λ‹ˆλ‹€.
01:51
When you taste a pudding,
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μ—¬λŸ¬λΆ„μ΄ 푸딩을 먹을 λ•Œ
01:52
the chef's intentions don't affect whether you enjoy its flavor or texture.
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κ·Έ λ§›κ³Ό 식감을 μ¦κΈ°λŠ”λ° μš”λ¦¬μ‚¬μ˜ μ˜λ„κ°€ 영ν–₯을 μ£Όμ§€λŠ” μ•ŠμŠ΅λ‹ˆλ‹€.
01:57
All that matters, they said, is that the pudding "works."
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그듀이 λ§ν•˜λŠ” μš”μ μ€ λ°”λ‘œ, 푸딩이 "영ν–₯을 μ£Όμ—ˆλ‹€"λŠ” κ²λ‹ˆλ‹€.
02:01
Of course, what "works" for one person might not "work" for another.
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λ¬Όλ‘ , ν•œ μ‚¬λžŒμ—κ²Œ 영ν–₯을 μ£Όμ—ˆμ–΄λ„ λ‹€λ₯Έ μ‚¬λžŒμ—κ²ŒλŠ” 아닐 μˆ˜λ„ 있죠.
02:05
And since different interpretations appeal to different people,
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그리고 μ‚¬λžŒλ§ˆλ‹€ λ‹€λ₯Έ 해석을 ν•˜κΈ°μ—
02:09
the silver dots in our painting could be reasonably interpreted as fairies,
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그림에 μžˆλŠ” 은색 점듀은 μš”μ •μ΄λΌκ³  해석될 μˆ˜λ„ 있고
02:13
stars, or pollutants.
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λ³„μ΄λ‚˜ μ˜€μ—Όλ¬Όμ§ˆλ‘œ 보일 μˆ˜λ„ μžˆμŠ΅λ‹ˆλ‹€.
02:15
By Wimsatt and Beardsley's logic, the artist's interpretation of her own work
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μ›œμ„œνŠΈμ™€ λΉ„μ–΄μ¦λ¦¬μ˜ 논리에 λ”°λ₯΄λ©΄ μžμ‹ μ˜ μž‘ν’ˆμ— λŒ€ν•œ μ˜ˆμˆ κ°€μ˜ 해석은
02:19
would just be one among many equally acceptable possibilities.
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μˆ˜λ§Žμ€ λ‹€λ₯Έ 해석 쀑 ν•˜λ‚˜μΌ λΏμ΄λΌλŠ” κ²ƒμž…λ‹ˆλ‹€.
02:24
If you find this problematic,
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여기에 λ¬Έμ œκ°€ μžˆλ‹€κ³  μƒκ°ν•œλ‹€λ©΄
02:26
you might be more in line with Steven Knapp and Walter Benn Michaels,
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μ—¬λŸ¬λΆ„μ˜ 생각은 μŠ€ν‹°λΈ λƒ…κ³Ό μ›”ν„° λ²€ λ§ˆμ΄ν΄μŠ€μ™€ 더 κ°€κΉŒμš΄ κ²λ‹ˆλ‹€.
02:30
two literary theorists who rejected the Intentional Fallacy.
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μ˜λ„λ‘ μ˜ 였λ₯˜λ₯Ό 받아듀이지 μ•Šμ•˜λ˜ 두 λͺ…μ˜ λ¬Έν•™ 이둠가듀이죠.
02:34
They argued that an artist's intended meaning
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그듀은 μ˜ˆμˆ κ°€κ°€ μ˜λ„ν•œ μ˜λ―ΈλŠ”
02:36
was not just one possible interpretation,
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κ·Έμ € ν•˜λ‚˜μ˜ 해석이 μ•„λ‹ˆλΌ
02:39
but the only possible interpretation.
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μœ μΌν•œ 해석이라고 μ£Όμž₯ν–ˆμŠ΅λ‹ˆλ‹€.
02:41
For example, suppose you're walking along a beach
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예λ₯Ό λ“€μ–΄, μ—¬λŸ¬λΆ„μ΄ 해변을 κ±·κ³  μžˆλ‹€κ³  μƒκ°ν•΄λ³΄μ„Έμš”.
02:44
and come across a series of marks in the sand that spell out a verse of poetry.
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μ—¬λŸ¬λΆ„μ€ λͺ¨λž˜ μœ„μ—μ„œ μ‹œμ˜ ν•œ ꡬ절의 흔적듀을 λ°œκ²¬ν–ˆμŠ΅λ‹ˆλ‹€.
02:49
Knapp and Michaels believed the poem would lose all meaning
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λƒ…κ³Ό λ§ˆμ΄ν΄μŠ€λŠ” κ·Έ 흔적듀이 μ‚¬λžŒμ˜ μž‘ν’ˆμ΄ μ•„λ‹ˆλΌ
02:52
if you discovered these marks were not the work of a human being,
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νŒŒλ„μ— μ˜ν•΄ μš°μ—°νžˆ 생긴 κ²ƒμ΄λΌλŠ” 사싀을 μ•Œκ²Œ λœλ‹€λ©΄
02:55
but an odd coincidence produced by the waves.
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κ·Έ μ‹œλŠ” λͺ¨λ“  의미λ₯Ό μžƒμ„ 것이라고 λ―Ώμ—ˆμŠ΅λ‹ˆλ‹€.
02:58
They believed an intentional creator
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그듀은 μ–΄λ–€ μ˜λ„λ₯Ό κ°€μ§„ μ°½μ‘°μžκ°€ μžˆμ–΄μ•Όλ§Œ
03:00
is what makes the poem subject to understanding at all.
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κ·Έ μ‹œκ°€ μ΄ν•΄μ˜ λŒ€μƒμ΄ 될 수 μžˆλ‹€κ³  λ―Ώμ—ˆμ§€μš”.
03:04
Other thinkers advocate for a middle ground,
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λ‹€λ₯Έ 사상가듀은 쀑도적 μž…μž₯을 μ§€μ§€ν–ˆμŠ΅λ‹ˆλ‹€.
03:06
suggesting that intention is just one piece in a larger puzzle.
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μ˜λ„λŠ” κ±°λŒ€ν•œ 퍼즐 μ†μ˜ ν•œ 개의 퍼즐 쑰각일 뿐이라고 λ§ν–ˆμ£ .
03:11
Contemporary philosopher Noel Carroll took this stance,
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ν˜„λŒ€ μ² ν•™μž λ…Έμ—˜ 캐둀은 이런 생각을 ν–ˆμŠ΅λ‹ˆλ‹€.
03:15
arguing that an artist's intentions are relevant to their audience
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λ§ν•˜λŠ” μ‚¬λžŒμ˜ μ˜λ„κ°€ λŒ€ν™”ν•˜λŠ” μ‚¬λžŒλ“€κ³Ό κ΄€λ ¨ μžˆλŠ” κ²ƒμ²˜λŸΌ
03:18
the same way a speaker's intentions
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μ˜ˆμˆ κ°€μ˜ μ˜λ„ λ˜ν•œ
03:20
are relevant to the person they’re engaging in conversation.
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κ΄€λžŒκ°λ“€κ³Ό 관계가 μžˆλ‹€κ³  μ£Όμž₯ν–ˆμŠ΅λ‹ˆλ‹€.
03:24
To understand how intentions function in conversation,
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κ·ΈλŠ” λŒ€ν™”μ—μ„œ μ˜λ„κ°€ μ–΄λ–»κ²Œ μž‘μš©ν•˜λŠ”μ§€ μ΄ν•΄ν•˜κΈ° μœ„ν•΄
03:27
Carroll said to imagine someone holding a cigarette and asking for a match.
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λˆ„κ΅°κ°€κ°€ λ‹΄λ°°λ₯Ό λ“€κ³ μ„œ μ„±λƒ₯을 λΆ€νƒν•˜λŠ” 것을 μƒμƒν•˜λΌκ³  ν–ˆμŠ΅λ‹ˆλ‹€.
03:31
You respond by handing them a lighter,
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μ—¬λŸ¬λΆ„μ€ 이 μ‚¬λžŒμ—κ²Œ μ„±λƒ₯이 μ•„λ‹ˆλΌ 라이터λ₯Ό 쀄 수 있겠죠.
03:33
gathering that their motivation is to light their cigarette.
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κ·Έ μ‚¬λžŒμ˜ μ˜λ„λŠ” 담배에 λΆˆμ„ λΆ™μ΄λŠ” 것 이라고 ν•΄μ„ν–ˆκΈ° λ•Œλ¬Έμž…λ‹ˆλ‹€.
03:36
The words they used to ask the question are important,
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λ§μ—μ„œ μ‚¬μš©λœ 단어듀도 μ€‘μš”ν•˜μ§€λ§Œ
03:39
but the intentions behind the question dictate your understanding and ultimately,
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μ‹€μ œλ‘œλŠ” κ·Έ 말에 μˆ¨μ–΄μžˆλŠ” μ˜λ„κ°€ μ—¬λŸ¬λΆ„μ˜ 이해λ₯Ό μ’Œμš°ν•˜κ³  κΆκ·Ήμ μœΌλ‘œλŠ”
03:43
your response.
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μ—¬λŸ¬λΆ„μ˜ 닡변을 μ’Œμš°ν•©λ‹ˆλ‹€.
03:45
So which end of this spectrum do you lean towards?
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κ·Έλž˜μ„œ μ—¬λŸ¬λΆ„μ€ μ–΄λŠ 편으둜 κΈ°μšΈμ΄μ‹€ κ±΄κ°€μš”?
03:48
Do you, like Wimsatt and Beardsley, believe that when it comes to art,
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μ›œμ„œνŠΈμ™€ λΉ„μ–΄μ¦λ¦¬μ²˜λŸΌ μ˜ˆμˆ μ— λŒ€ν•œ 증λͺ…은
03:52
the proof should be in the pudding?
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푸딩에 μžˆμ–΄μ•Ό ν•œλ‹€κ³  μƒκ°ν•˜λ‚˜μš”?
03:53
Or do you think that an artist's plans and motivations for their work
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μ•„λ‹ˆλ©΄ μ˜ˆμˆ κ°€μ˜ κ³„νšκ³Ό μž‘ν’ˆ μ œμž‘ 동기가 κ·Έ μ˜λ―Έμ—
03:57
affect its meaning?
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영ν–₯을 μ€€λ‹€κ³  μƒκ°ν•˜λ‚˜μš”?
03:59
Artistic interpretation is a complex web
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예술적인 해석은 λ³΅μž‘ν•œ 거미쀄과 κ°™κΈ° λ•Œλ¬Έμ—
04:02
that will probably never offer a definitive answer.
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μ•„λ§ˆλ„ μ ˆλŒ€ ν™•μ‹€ν•œ 닡을 내놓을 수 없을 κ²λ‹ˆλ‹€.
이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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