How do you know what's true? - Sheila Marie Orfano

1,306,384 views ・ 2021-06-10

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—­: Jihyeon J. Kim κ²€ν† : DK Kim
00:09
A samurai is found dead in a quiet bamboo grove.
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ν•œ 사무라이가 ν•œμ ν•œ λŒ€λ‚˜λ¬΄ μˆ²μ—μ„œ 죽은 μ±„λ‘œ λ°œκ²¬λ©λ‹ˆλ‹€.
00:13
One by one, the crime’s only known witnesses recount their version
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λͺ©κ²©μžλ“€μ΄ ν•œ μ‚¬λžŒμ”© μžμ‹ μ˜ μ²˜μ§€μ—μ„œ 이야기λ₯Ό ν•©λ‹ˆλ‹€.
00:18
of the events that transpired.
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λ²Œμ–΄μ§„ 사건에 λŒ€ν•΄μ„œμš”.
00:20
But as they each tell their tale,
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ν•˜μ§€λ§Œ 그듀이 각각 μ΄μ•ΌκΈ°ν• μˆ˜λ‘
00:23
it becomes clear that every testimony is plausible, yet different.
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λͺ¨λ“  증언이 섀득λ ₯ μžˆμ§€λ§Œ 닀름이 λΆ„λͺ…ν•΄μ‘Œμ£ .
00:27
And each witness implicates themselves.
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각 λͺ©κ²©μžλŠ” 사건에 κ΄€λ ¨λ˜μ–΄ μžˆμŠ΅λ‹ˆλ‹€.
00:31
This is the premise of β€œIn a Grove,” a short story published in the early 1920s
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이것이 1920λ…„ λŒ€ μ΄ˆμ— λ°œν‘œλœ λ‹¨νŽΈ μ†Œμ„€ β€˜λ€λΆˆ μ†β€™μ˜ 배경인데
00:36
by Japanese author RyΕ«nosuke Akutagawa.
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λ₯˜λ…ΈμŠ€μΌ€ μ•„μΏ νƒ€κ°€μ™€λΌλŠ” 일본 μž‘κ°€κ°€ μΌμŠ΅λ‹ˆλ‹€.
00:39
Though many know this tale of warring perspectives by a different name:
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μ„œλ‘œ λ§žμ§€ μ•ŠλŠ” κ²¬ν•΄μ˜ 이 μ΄μ•ΌκΈ°λŠ” λ‹€λ₯Έ μ΄λ¦„μœΌλ‘œ 널리 μ•Œλ €μ‘ŒμŠ΅λ‹ˆλ‹€.
00:44
β€œRashomon.”
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λ°”λ‘œ β€˜λΌμ‡Όλͺ½β€™μž…λ‹ˆλ‹€.
00:45
In 1950, Japanese filmmaker Akira Kurosawa adapted two of Akutagawa’s stories
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1950년에 μ œμž‘μž 아킀라 μΏ λ‘œμ‚¬μ™€κ°€ μ•„μΏ νƒ€κ°€μ™€μ˜ μ†Œμ„€ 두 νŽΈμ„
00:51
into one film.
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ν•œ 편의 μ˜ν™”λ‘œ κ°μƒ‰ν–ˆμŠ΅λ‹ˆλ‹€.
00:53
This movie introduced the world to an enduring cultural metaphor
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이 μ˜ν™”λŠ” λΆˆν›„μ˜ 문화적 μ€μœ λ₯Ό μ†Œκ°œν•˜λŠ”λ°
00:57
that has transformed our understanding of truth, justice and human memory.
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μ§„μ‹€, μ •μ˜μ™€ μΈκ°„μ˜ 기얡에 λŒ€ν•œ 이해λ₯Ό λ°”κΏ”λ†“μŠ΅λ‹ˆλ‹€.
01:06
The Rashomon effect describes a situation
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라쇼λͺ½ νš¨κ³ΌλŠ” λ§ν•˜λŠ” 상황은
01:08
in which individuals give significantly different but equally conceivable accounts
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κ°œμΈλ“€μ΄ 동일 사건에 λŒ€ν•΄μ„œ μƒλ‹Ήνžˆ λ‹€λ₯΄μ§€λ§Œ λ™μ‹œμ—
01:13
of the same event.
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κ·ΈλŸ΄μ‹Έν•œ 이야기λ₯Ό ν•˜λŠ” κ²λ‹ˆλ‹€.
01:16
Often used to highlight the unreliability of eyewitnesses,
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λͺ©κ²©μžλ₯Ό 믿을 수 μ—†μŒμ„ κ°•μ‘°ν•  λ•Œ 주둜 μ“°μ΄λŠ”λ°
01:19
the Rashomon effect usually occurs under two specific conditions.
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라쇼λͺ½ νš¨κ³ΌλŠ” 보톡 두 κ°€μ§€ νŠΉμ • 쑰건 ν•˜μ—μ„œ λ²Œμ–΄μ§‘λ‹ˆλ‹€.
01:24
The first: there’s no evidence to verify what really happened.
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μ²«μ§ΈλŠ” μ‹€μ œ λ²Œμ–΄μ§„ 일을 증λͺ…ν•  증거가 μ—†κ³ 
01:28
And the second: there’s pressure to achieve closure,
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λ‘˜μ§ΈλŠ” 사건 μ’…κ²°μ˜ 압박이 μžˆμ„ λ•ŒμΈλ°
01:31
often provided by an authority figure trying to identify the definitive truth.
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주둜 결정적인 진싀을 μ•Œμ•„λ‚΄λ €λŠ” κΆŒμœ„μžκ°€ μ••λ°•ν•©λ‹ˆλ‹€.
01:36
But the Rashomon effect undermines the very idea of a singular, objective truth.
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라쇼λͺ½ νš¨κ³ΌλŠ” λ‹¨μΌν•˜κ³  객관적인 μ§„μ‹€ 자체λ₯Ό ν›Όμ†ν•©λ‹ˆλ‹€.
01:43
In the source material,
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μ›μž‘ν’ˆμ—μ„œ
01:44
Akutagawa and Kurosawa use the tools of their media
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아쿠타가와와 μΏ λ‘œμ‚¬μ™€λŠ” κ·Έλ“€μ˜ 문학적, μ˜ν™”μ  μž₯치둜
01:48
to give each character’s testimony equal weight,
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각 인물의 증언에 λ™μΌν•œ 무게λ₯Ό μ£ΌλŠ”λ°
01:51
transforming each witness into an unreliable narrator.
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각 λͺ©κ²©μžμ˜ 말을 믿을 수 μ—†κ²Œ λ§Œλ“­λ‹ˆλ‹€.
01:55
Without any hints on who’s sharing the most accurate account,
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λˆ„κ°€ κ°€μž₯ μ •ν™•ν•œ 이야기λ₯Ό ν•˜λŠ”μ§€ μ–΄λ–€ λ‹¨μ„œλ„ μ—†μœΌλ―€λ‘œ
01:58
the audience can’t tell which character to trust.
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관객은 μ–΄λ–€ 인물을 λ―Ώμ–΄μ•Ό ν• μ§€ μ•Œ 수 μ—†μŠ΅λ‹ˆλ‹€.
02:02
Instead, each testimony takes on a truthful quality,
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λŒ€μ‹  각 증언은 진싀성이 있고
02:05
and the audience is left doubting their convictions
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관객은 μžμ‹ μ˜ λ―ΏμŒμ„ μ˜μ‹¬ν•˜κ²Œ 되죠.
02:08
as they guess who ended the samurai’s life.
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λˆ„κ°€ 사무라이λ₯Ό μ£½μ˜€λŠ”μ§€ μ§μž‘ν•΄λ³΄λ©΄μ„œμš”.
02:11
Some might find this frustrating because the plot subverts expectations
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일반적인 μΆ”λ¦¬λ¬Όμ˜ λ§ˆλ¬΄λ¦¬μ™€λŠ” 이야기가 λ„ˆλ¬΄λ‚˜ λ‹€λ₯΄κΈ° λ•Œλ¬Έμ—
02:15
of how mysteries usually end.
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λ‹΅λ‹΅ν•˜κ²Œ μ—¬κΈΈ μˆ˜λ„ μžˆμŠ΅λ‹ˆλ‹€.
02:18
But by refusing to provide a clear answer,
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ν•˜μ§€λ§Œ ν™•μ‹€ν•œ 닡을 μ£Όμ§€ μ•ŠμŒμœΌλ‘œμ¨
02:20
these two artists capture the messiness and complexity of truth and human memory.
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두 μ˜ˆμˆ κ°€λŠ” μ§„μ‹€κ³Ό κΈ°μ–΅μ˜ ν˜Όλž€μŠ€λŸ¬μ›€κ³Ό λ³΅μž‘μ„±μ„ 잘 λ³΄μ—¬μ€λ‹ˆλ‹€.
02:27
Neuroscientists have found that when we form a memory,
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μ‹ κ²½ν•™μžλ“€μ— λ”°λ₯΄λ©΄ μš°λ¦¬κ°€ 기얡을 ν˜•μ„±ν•  λ•Œ
02:30
our interpretation of visual information is influenced
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μ‹œκ° μ •λ³΄μ˜ 해석은
02:33
by our previous experiences and internal biases.
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이전 κ²½ν—˜κ³Ό 내적 νŽΈκ²¬μ— 영ν–₯을 λ°›λŠ”λ‹€κ³  ν•©λ‹ˆλ‹€.
02:37
Some of these biases are unique to individuals,
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μ–΄λ–€ νŽΈκ²¬μ€ κ°œμΈλ§ˆλ‹€ λ‹€λ₯΄μ§€λ§Œ
02:40
but others are more universal.
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μ–΄λ–€ 것은 맀우 λ³΄νŽΈμ μž…λ‹ˆλ‹€.
02:42
For example, egocentric bias can influence people
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예λ₯Ό λ“€μ–΄, μžκΈ°μ€‘μ‹¬μ μΈ νŽΈκ²¬μ€
02:45
to subconsciously reshape their memories
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λ¬΄μ˜μ‹μ μœΌλ‘œ 기얡을 μž¬νŽΈμ„±ν•˜λŠ”λ°
02:48
in ways that cast a positive light on their actions.
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μžμ‹ μ˜ 행동을 κΈμ •μ μœΌλ‘œ 보게 영ν–₯을 쀄 수 μžˆμŠ΅λ‹ˆλ‹€.
02:51
Even if we were able to encode a memory accurately,
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기얡을 λ§Œλ“€ λ•ŒλŠ” μ •ν™•ν•˜λ”λΌλ„
02:54
recalling it incorporates new information that changes the memory.
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μƒˆλ‘œμš΄ 정보와 κ²°ν•©ν•˜μ—¬ λ– μ˜¬λ¦¬λ©΄ 기얡은 λ°”λ€λ‹ˆλ‹€.
02:58
And when we later recall that event,
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λ‚˜μ€‘μ— 사건을 νšŒμƒν•  λ•Œ
03:00
we typically remember the embellished memory instead of the original experience.
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보톡은 μ›λž˜ κ²½ν—˜λ³΄λ‹€λŠ” λ―Έν™”λœ 기얡을 λ– μ˜¬λ¦½λ‹ˆλ‹€.
03:06
These underlying psychological phenomena mean that the Rashomon effect
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μ΄λŸ¬ν•œ κΈ°μ €μ˜ 심리 ν˜„μƒμ€ 라쇼λͺ½ νš¨κ³Όκ°€
03:10
can pop up anywhere.
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μ–΄λ””μ„œλ“  λ²Œμ–΄μ§ˆ 수 μžˆμŒμ„ μ˜λ―Έν•©λ‹ˆλ‹€.
03:12
In biology, scientists starting from the same dataset
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μƒλ¬Όν•™μ—μ„œ 같은 λ°μ΄ν„°λ‘œ 연ꡬλ₯Ό μ‹œμž‘ν•˜κ³ 
03:15
and applying the same analytical methods, frequently publish different results.
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같은 뢄석법을 μ“΄ κ³Όν•™μžλ“€μ΄ μ’…μ’… λ‹€λ₯Έ κ²°κ³Όλ₯Ό λ°œν‘œν•©λ‹ˆλ‹€.
03:21
Anthropologists regularly grapple with the impact personal backgrounds can have
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인λ₯˜ν•™μžλ“€μ€ μ „λ¬Έκ°€ 견해에 영ν–₯을 λ―ΈμΉ  수 μžˆλŠ”
03:25
on an expert's perception.
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κ°œμΈμ‚¬λ‘œ 인해 어김없이 κ³ μƒν•©λ‹ˆλ‹€.
03:27
In one famous case, two anthropologists visited the Mexican village of Tepoztlan.
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ν•œ 유λͺ…ν•œ μ‚¬λ‘€μ—μ„œ 두 인λ₯˜ν•™μžκ°€ λ©•μ‹œμ½”μ˜ ν…Œν¬μŠ€ν‹€λž€μ„ λ°©λ¬Έν–ˆμŠ΅λ‹ˆλ‹€.
03:33
The first researcher described life in the town as happy and contented,
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첫 번째 μ—°κ΅¬μžλŠ” λ§ˆμ„μ˜ 삢을 ν–‰λ³΅ν•˜κ³  λ§Œμ‘±μŠ€λŸ½λ‹€κ³  ν‘œν˜„ν–ˆμ§€λ§Œ
03:37
while the second recorded residents as paranoid and disgruntled.
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두 번째 μ—°κ΅¬μžλŠ” λ§ˆμ„ μ‚¬λžŒλ“€μ΄ κ³ΌλŒ€λ§μƒμ— λΆˆλ§Œνˆ¬μ„±μ΄λΌκ³  κΈ°λ‘ν–ˆμŠ΅λ‹ˆλ‹€.
03:41
Experts aside, the Rashomon effect can also impact the general public,
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μ „λ¬Έκ°€ 말고도 라쇼λͺ½ νš¨κ³ΌλŠ” μΌλ°˜μΈλ„ 영ν–₯을 쀄 수 μžˆμŠ΅λ‹ˆλ‹€.
03:46
particularly when it comes to the perception of complicated world events.
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특히 μ„Έμƒμ˜ λ³΅μž‘ν•œ 사건을 인식할 λ•Œ κ·Έλ ‡μŠ΅λ‹ˆλ‹€.
03:50
For example, following a 2015 security summit
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μ˜ˆλ“€ λ“€μ–΄, 2015λ…„
03:54
between the United States and leaders from the Arab States,
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λ―Έκ΅­κ³Ό μ•„λž κ΅­κ°€ μ •μƒλ“€μ˜ μ•ˆλ³΄ μ •μƒνšŒμ˜ ν›„
03:57
media reports about the summit varied enormously.
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μ •μƒνšŒμ˜μ— λŒ€ν•œ 맀체 보도듀이 λ„ˆλ¬΄λ‚˜ λ‹¬λžμŠ΅λ‹ˆλ‹€.
04:01
Some stated that it had gone smoothly, while others called it a complete failure.
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μ–΄λ–€ 곳은 μ›ν™œνžˆ 진행됐닀고 ν•˜κ³  μ–΄λ–€ 곳은 μ™„μ „ν•œ μ‹€νŒ¨λΌκ³  ν–ˆμŠ΅λ‹ˆλ‹€.
04:07
It's tempting to fixate on why we have competing perceptions,
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μ„œλ‘œ λ‹€λ₯Έ 관점을 κ°–λŠ” μ΄μœ μ— μ§‘μ°©ν•˜κΈ° μ‰½μ§€λ§Œ
04:11
but perhaps the more important question the Rashomon effect raises is,
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라쇼λͺ½ νš¨κ³Όκ°€ μ œκΈ°ν•˜λŠ” 것이 λ”μš± μ€‘μš”ν•  κ²λ‹ˆλ‹€.
04:15
what is truth anyway?
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κ³Όμ—° μ§„μ‹€μ΄λž€ λ¬΄μ—‡μΌκΉŒμš”?
04:17
Are there situations when an β€œobjective truth” doesn’t exist?
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β€˜κ°κ΄€μ  진싀’이 μ‘΄μž¬ν•˜μ§€ μ•ŠλŠ” 상황이 μžˆμ„κΉŒμš”?
04:21
What can different versions of the same event tell us
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동일 사건에 λŒ€ν•œ λ‹€λ₯Έ μ²˜μ§€μ˜ 이야기듀이
04:24
about the time, place and people involved?
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μ‹œκ°„, μž₯μ†Œμ™€ κ΄€λ ¨μžμ— λŒ€ν•΄ 무엇을 말해쀄 수 μžˆμ„κΉŒμš”?
04:28
And how can we make group decisions if we’re all working
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μ–΄λ–»κ²Œ 집단 μ˜μ‚¬κ²°μ •μ„ ν•  수 μžˆμ„κΉŒμš”?
μ„œλ‘œ λ‹€λ₯Έ 정보, λ°°κ²½κ³Ό νŽΈκ²¬μ„ κ°€μ§€κ³  μΌν•œλ‹€λ©΄μš”.
04:31
with different information, backgrounds, and biases?
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04:36
Like most questions, these don’t have a definitive answer.
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λŒ€λΆ€λΆ„μ˜ 질문처럼 λͺ…ν™•ν•œ 닡은 μ—†μŠ΅λ‹ˆλ‹€.
04:41
But the enduring importance of Akutagawa’s story
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ν•˜μ§€λ§Œ 아쿠타가와 μ΄μ•ΌκΈ°μ˜ λ³€ν•¨μ—†λŠ” μ€‘μš”μ„±μ€
04:45
suggests there may be value in embracing the ambiguity.
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λͺ¨ν˜Έν•¨μ„ ν¬μš©ν•˜λŠ” 것이 κ°€μΉ˜μžˆλ‹€λŠ” 점을 λ§ν•©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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