Bob Mankoff: Anatomy of a New Yorker cartoon

322,530 views ใƒป 2013-06-26

TED


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

00:00
Translator: Joseph Geni Reviewer: Morton Bast
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๋ฒˆ์—ญ: yunho park ๊ฒ€ํ† : Sieun Lee
00:12
I'm going to be talking about designing humor,
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์ €๋Š” ์œ ๋จธ๋ฅผ ๋””์ž์ธํ•˜๋Š” ๊ฒƒ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•˜๋ ค๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
00:14
which is sort of an interesting thing, but it goes
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์œ ๋จธ๋Š” ์žฌ๋ฏธ์žˆ๋Š” ๊ฒƒ์ด์ง€๋งŒ
00:16
to some of the discussions about constraints,
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๊ทธ ํ•œ๊ณ„์— ๋Œ€ํ•ด์„œ๋„ ์ข€ ๋‹ค๋ค„๋ณด๋ ค๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
00:20
and how in certain contexts, humor is right,
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๊ทธ๋ฆฌ๊ณ  ์–ด๋–ค ๋ฌธ๋งฅ์—์„œ๋Š” ์œ ๋จธ๊ฐ€ ์ ํ•ฉํ•˜๊ณ 
00:22
and in other contexts it's wrong.
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๋˜ ์–ด๋–ค ๋ฌธ๋งฅ์—์„œ๋Š” ํ‹€๋ฆฐ์ง€์— ๋Œ€ํ•ด์„œ๋„ ๋ง์ž…๋‹ˆ๋‹ค.
00:24
Now, I'm from New York,
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์ €๋Š” ๋‰ด์š•์—์„œ ์™”์Šต๋‹ˆ๋‹ค.
00:27
so it's 100 percent satisfaction here.
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ์—ฌ๊ธฐ ์ด๊ฒƒ์— ๋Œ€ํ•œ ๋งŒ์กฑ๋„๋Š” 100 ํผ์„ผํŠธ ์ž…๋‹ˆ๋‹ค.
00:30
Actually, that's ridiculous, because when it comes to humor,
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์‚ฌ์‹ค, ๋ง๋„ ์•ˆ๋˜๋Š” ๊ฒƒ์ด์ฃ . ์™œ๋ƒํ•˜๋ฉด ์œ ๋จธ์— ์žˆ์–ด์„œ๋Š”
00:34
75 percent is really absolutely the best you can hope for.
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75ํผ์„ผํŠธ๊ฐ€ ์ •๋ง ๊ธฐ๋Œ€ํ•  ์ˆ˜ ์žˆ๋Š” ์ตœ์„ ์ด๊ฑฐ๋“ ์š”.
00:37
Nobody is ever satisfied 100 percent with humor
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์–ด๋Š ๋ˆ„๊ตฌ๋„ ์œ ๋จธ์— 100ํผ์„ผํŠธ ๋งŒ์กฑํ•˜์ง€ ๋ชปํ•ด์š”.
00:42
except this woman.
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์ด ์—ฌ์ž๋ถ„์„ ์ œ์™ธํ•˜๋ฉด์š”.
00:45
(Video) Woman: (Laughs)
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(๋น„๋””์˜ค) ์—ฌ์„ฑ : (์›ƒ์Œ)
01:02
Bob Mankoff: That's my first wife.
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์ด ์—ฌ์ž๋ถ„์€ ์ œ ์ฒซ๋ฒˆ์งธ ์•„๋‚ด์ž…๋‹ˆ๋‹ค.
01:03
(Laughter)
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(์›ƒ์Œ)
01:06
That part of the relationship went fine.
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์šฐ๋ฆฌ๋“ค์˜ ๊ด€๊ณ„์—์„œ ๊ทธ ๋ถ€๋ถ„์€ ์ฐธ ์ž˜ ์ง„ํ–‰๋˜์—ˆ์—ˆ์ฃ .
01:08
(Laughter)
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(์›ƒ์Œ)
01:12
Now let's look at this cartoon.
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์ด์ œ ์ด ๋งŒํ™”๋ฅผ ๋ด…์‹œ๋‹ค.
01:15
One of the things I'm pointing out is that
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์ œ๊ฐ€ ์—ฌ๊ธฐ์„œ ํ•˜๊ณ ์ž ํ•˜๋Š” ๋ง์€
01:17
cartoons appear within the context
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๋งŒํ™”๊ฐ€
01:19
of The New Yorker magazine,
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๋‰ด์š”์ปค ์žก์ง€์˜ ์ผ๋ถ€์ด๊ณ ,
01:21
that lovely Caslon type, and it seems
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์‚ฌ๋ž‘์Šค๋Ÿฌ์šด ์บ์Šฌ๋ก  ์„œ์ฒด๋กœ,
01:23
like a fairly benign cartoon within this context.
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๊ทธ๋Ÿฐ ์ ์—์„œ ๊ฝค ์œ ์ˆœํ•œ ๋งŒํ™”์ฒ˜๋Ÿผ ๋ณด์ธ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
01:26
It's making a little bit fun of getting older,
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์ด ๋งŒํ™”๋Š” ๋‚˜์ด๋“œ๋Š” ๊ฒƒ์— ๋Œ€ํ•ด ์•ฝ๊ฐ„ ์กฐ๋กฑํ•˜๊ณ  ์žˆ๋Š”๋ฐ
01:28
and, you know, people might like it.
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์ด๋Ÿฐ ๊ฒƒ์„ ์‚ฌ๋žŒ๋“ค์€ ์ข‹์•„ํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
01:30
But like I said, you cannot satisfy everyone.
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ํ•˜์ง€๋งŒ ๋ง์”€๋“œ๋ ธ๋“ฏ์ด ๋ชจ๋“  ์‚ฌ๋žŒ์„ ๋งŒ์กฑ์‹œํ‚ฌ ์ˆ˜๋Š” ์—†์Šต๋‹ˆ๋‹ค.
01:33
You couldn't satisfy this guy.
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์ด ๋ถ„์„ ๋งŒ์กฑ์‹œํ‚ฌ ์ˆ˜๋Š” ์—†์ฃ .
01:35
"Another joke on old white males. Ha ha. The wit.
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"๋Š™์€ ๋ฐฑ์ธ ๋‚จ์„ฑ์— ๋Œ€ํ•œ ๋˜๋‹ค๋ฅธ ๋†๋‹ด์ด๊ตฐ. ํ•˜ํ•˜. ์œ„ํŠธ์žˆ์–ด.
01:38
It's nice, I'm sure to be young and rude,
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์ Š๊ณ  ๋ฌด๋ก€ํ•˜๋‹ค๋Š” ๊ฑด ์ฆ๊ฒ๊ฒ ์ง€๋งŒ
01:40
but some day you'll be old, unless you drop dead as I wish."
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ํ•˜์ง€๋งŒ ์–ธ์  ๊ฐ€๋Š” ๋„ˆ๋„ ๋Š™์„๊บผ์•ผ. ๋‚ด๊ฐ€ ์†Œ๋งํ•˜๋“ฏ ์ฃฝ์–ด๋ฒ„๋ฆฌ์ง€ ์•Š๋Š”๋‹ค๋ฉด ๋ง์ด์•ผ."
01:43
(Laughter)
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(์›ƒ์Œ)
01:47
The New Yorker is rather a sensitive environment,
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๋‰ด์š”์ปค ์žก์ง€๋Š” ๋ฏผ๊ฐํ•œ ํ™˜๊ฒฝ์ด์–ด์„œ
01:50
very easy for people to get their nose out of joint.
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์‚ฌ๋žŒ๋“ค์ด ์–ธ์งข๊ฒŒ ์ƒ๊ฐํ•˜๊ธฐ ๋งค์šฐ ์‰ฝ์Šต๋‹ˆ๋‹ค.
01:53
And one of the things that you realize
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์—ฌ๋Ÿฌ๋ถ„์ด ๋˜ ๋Š๋ผ์‹ค ์ˆ˜ ์žˆ๋Š” ๊ฒƒ ์ค‘ ํ•˜๋‚˜๋Š”
01:56
is it's an unusual environment.
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๊ทธ ํ™˜๊ฒฝ์ด ๋งค์šฐ ๋“œ๋ฌธ ๊ฒƒ์ด๋ผ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
01:58
Here I'm one person talking to you.
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์—ฌ๊ธฐ์„œ ์ €๋Š” ํ˜ผ์ž ์—ฌ๋Ÿฌ๋ถ„๊ป˜ ์ด์•ผ๊ธฐ๋ฅผ ํ•˜๊ณ  ์žˆ๋Š”๋ฐ์š”.
02:00
You're all collective. You all hear each other laugh and know each other laugh.
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์—ฌ๋Ÿฌ๋ถ„ ๋ชจ๋‘๋Š” ์ง‘๋‹จ์ ์ž…๋‹ˆ๋‹ค. ๋ชจ๋‘ ์„œ๋กœ๊ฐ€ ์›ƒ๋Š” ๊ฒƒ์„ ๋“ฃ๊ณ  ์„œ๋กœ๊ฐ€ ์›ƒ๋Š” ๊ฒƒ์„ ์••๋‹ˆ๋‹ค.
02:04
In The New Yorker, it goes out to a wide audience,
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๋‰ด์š”์ปค์—์„œ๋Š” ์ด๊ฒƒ์ด ๋„“์€ ์ธต์˜ ๋Œ€์ค‘์—๊ฒŒ ์ „๋‹ฌ๋˜์„œ
02:08
and when you actually look at that,
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์—ฌ๋Ÿฌ๋ถ„์ด ๋งŒํ™”๋ฅผ ๋ณด๋”๋ผ๋„
02:10
and nobody knows what anybody else is laughing at,
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๋‹ค๋ฅธ์‚ฌ๋žŒ์ด ์™œ ์›ƒ๋Š”์ง€ ์•Œ์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค.
02:13
and when you look at that the subjectivity involved in humor
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์œ ๋จธ์˜ ์ฃผ๊ด€์ ์ธ ์„ฑ๊ฒฉ์„ ๊ด€์ฐฐํ•˜๋Š” ๊ฒƒ์€
02:17
is really interesting.
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๋งค์šฐ ํฅ๋ฏธ๋กญ์Šต๋‹ˆ๋‹ค.
02:18
Let's look at this cartoon.
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์ด ๋งŒํ™”๋ฅผ ํ•œ ๋ฒˆ ๋ด…์‹œ๋‹ค.
02:20
"Discouraging data on the antidepressant."
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"ํ•ญ์šฐ์šธ์ œ์— ๋Œ€ํ•œ ์ขŒ์ ˆ์Šค๋Ÿฌ์šด ์—ฐ๊ตฌ ๊ฒฐ๊ณผ"
02:22
(Laughter)
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(์›ƒ์Œ)
02:24
Indeed, it is discouraging.
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์ •๋ง ์ขŒ์ ˆ์Šค๋Ÿฝ์ฃ .
02:27
Now, you would think, well, look,
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์ด์ œ ์—ฌ๋Ÿฌ๋ถ„์€, ๊ฑฐ๋ด,
02:29
most of you laughed at that.
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๋Œ€๋ถ€๋ถ„์ด ์žฌ๋ฏธ์žˆ์–ด ํ•˜์ž–์•„ ๋ผ๊ณ  ์ƒ๊ฐํ•˜์‹ค ๊ฒƒ์ž…๋‹ˆ๋‹ค.
02:31
Right? You thought it was funny.
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๊ทธ๋ ‡์ฃ ? ์—ฌ๋Ÿฌ๋ถ„๋„ ์ด๊ฒŒ ์›ƒ๊ธฐ๋‹ค๊ณ  ์ƒ๊ฐํ•˜์…จ์ž–์•„์š”.
02:32
In general, that seems like a funny cartoon,
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์ผ๋ฐ˜์ ์œผ๋กœ ์ด๊ฒƒ์€ ์žฌ๋ฏธ์žˆ๋Š” ๋งŒํ™”์ฒ˜๋Ÿผ ๋ณด์ž…๋‹ˆ๋‹ค,
02:34
but let's look what online survey I did.
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ํ•˜์ง€๋งŒ ์ œ๊ฐ€ ์‹ค์‹œํ•œ ์˜จ๋ผ์ธ ์„ค๋ฌธ ์กฐ์‚ฌ๋ฅผ ๋ณด์„ธ์š”.
02:37
Generally, about 85 percent of the people liked it.
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์ผ๋ฐ˜์ ์œผ๋กœ, 85% ์ •๋„๊ฐ€ ์ด ๋งŒํ™”๋ฅผ ์ข‹์•„ํ–ˆ์Šต๋‹ˆ๋‹ค.
02:39
A hundred and nine voted it a 10, the highest. Ten voted it one.
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109ํ‘œ ์ •๋„๊ฐ€ ์ด์— ์ตœ๊ณ ์  10์ ์„ ์ฃผ์—ˆ์ฃ . 1์ ์„ ์ค€ ๊ฒƒ์€ 10๋ช…์— ๋ถˆ๊ณผํ–ˆ์Šต๋‹ˆ๋‹ค.
02:43
But look at the individual responses.
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ํ•˜์ง€๋งŒ ๊ฐœ๋ณ„์ ์ธ ๋ฐ˜์‘์„ ์‚ดํŽด๋ณด์„ธ์š”.
02:45
"I like animals!!!!!" Look how much they like them.
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"๋‚˜๋Š” ๋™๋ฌผ์„ ์ข‹์•„ํ•ด!!!!" ์–ผ๋งˆ๋‚˜ ์ข‹์•„ํ•˜๋Š”์ง€ ํ•œ ๋ฒˆ ๋ณด์‹ญ์‹œ์˜ค.
02:47
(Laughter)
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(์›ƒ์Œ)
02:51
"I don't want to hurt them. That doesn't seem very funny to me."
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"๋‚˜๋Š” ๋™๋ฌผ์„ ํ•ด์น˜๊ณ  ์‹ถ์ง€ ์•Š์€๋ฐ. ์ด ๋งŒํ™”๋Š” ๋ณ„๋กœ ์›ƒ๊ธฐ์ง€ ์•Š์Œ."
02:54
This person rated it a two.
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์ด๋ถ„์€ 2์ ์„ ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค.
02:56
"I don't like to see animals suffer -- even in cartoons."
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"๋‚˜๋Š” ๋™๋ฌผ์ด ๊ณ ํ†ต ๋ฐ›๋Š” ๊ฒƒ์„ ๋ณด๊ณ ์‹ถ์ง€ ์•Š๋‹ค - ๋งŒํ™”์—์„œ ์กฐ์ฐจ๋„."
03:00
To people like this, I point out we use anesthetic ink.
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์ด๋Ÿฐ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ, ์ €๋Š” ์šฐ๋ฆฌ๊ฐ€ ๋งˆ์ทจ์ œ ์ž‰ํฌ๋ฅผ ์‚ฌ์šฉํ•œ๋‹ค๊ณ  ๋งํ•ด์ค๋‹ˆ๋‹ค.
03:05
Other people thought it was funny.
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๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์€ ์ด๊ฒƒ์ด ์žฌ๋ฏธ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
03:07
That actually is the true nature of the distribution of humor
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์ด๊ฒƒ์ด ์œ ๋จธ๊ฐ€ ์ „์—ผ์„ฑ์„ ๊ฐ–์ง€ ๋ชปํ•  ๋•Œ
03:10
when you don't have the contagion of humor.
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์œ ๋จธ๊ฐ€ ํผ์ง€๋Š” ํŠน์„ฑ์ž…๋‹ˆ๋‹ค.
03:14
Humor is a type of entertainment.
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์œ ๋จธ๋Š” ์˜ค๋ฝ๋ฌผ์˜ ํ•œ ์ข…๋ฅ˜์ž…๋‹ˆ๋‹ค.
03:16
All entertainment contains a little frisson of danger,
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๋ชจ๋“  ์˜ค๋ฝ๋ฌผ์—๋Š” ์œ„ํ—˜ ์š”์†Œ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
03:20
something that might happen wrong,
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๋ฌด์—‡์ธ๊ฐ€ ์ž˜๋ชป๋  ๊ฐ€๋Šฅ์„ฑ์ด์š”.
03:22
and yet we like it when there's protection.
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ํ•˜์ง€๋งŒ ๋ณดํ˜ธ๋ง‰์ด ์žˆ์„ ๋•Œ๋Š” ์šฐ๋ฆฌ๋Š” ์ด๊ฒƒ์„ ์ข‹์•„ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
03:24
That's what a zoo is. It's danger. The tiger is there.
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๋™๋ฌผ์›๊ณผ ๋งˆ์ฐฌ๊ฐ€์ง€์ฃ . ์œ„ํ—˜์š”์†Œ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค. ํ˜ธ๋ž‘์ด๊ฐ€ ์žˆ์ž–์•„์š”.
03:27
The bars protect us. That's sort of fun, right?
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์ฐฝ์‚ด์ด ์šฐ๋ฆฌ๋ฅผ ๋ณดํ˜ธํ•ด์ฃผ๊ณ ์š”. ์Šค๋ฆด์žˆ์ง€ ์•Š๋‚˜์š”?
03:31
That's a bad zoo.
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์ด๊ฒƒ์€ ๋งค์šฐ ๋‚˜์œ ๋™๋ฌผ์›์ž…๋‹ˆ๋‹ค.
03:33
(Laughter)
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(์›ƒ์Œ)
03:35
It's a very politically correct zoo, but it's a bad zoo.
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์ด๊ฒƒ์€ ์ •์น˜์ ์œผ๋กœ ์˜ฌ๋ฐ”๋ฅธ ๋™๋ฌผ์›์ž…๋‹ˆ๋‹ค, ํ•˜์ง€๋งŒ ๋‚˜์œ ๋™๋ฌผ์›์ด์ฃ .
03:39
But this is a worse one.
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ํ•˜์ง€๋งŒ ์ด๊ฒƒ์€ ๋” ํ•ด์š”.
03:42
(Laughter)
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(์›ƒ์Œ)
03:45
So in dealing with humor in the context of The New Yorker,
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๋‰ด์š”์ปค์˜ ๋ฌธ๋งฅ์—์„œ ์œ ๋จธ๋ฅผ ๋‹ค๋ฃฐ ๋•Œ
03:50
you have to see, where is that tiger going to be?
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์—ฌ๋Ÿฌ๋ถ„์€ ์ € ํ˜ธ๋ž‘์ด๊ฐ€ ์–ด๋””์— ์žˆ์„์ง€๋ฅผ ๋ณด์•„์•ผ ํ•ฉ๋‹ˆ๋‹ค.
03:52
Where is the danger going to exist?
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์œ„ํ—˜ ์š”์†Œ๊ฐ€ ์–ด๋””์— ์žˆ์„๊นŒ์š”?
03:54
How are you going to manage it?
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์ด๋ฅผ ์–ด๋–ป๊ฒŒ ์ฒ˜๋ฆฌํ• ๊นŒ์š”?
03:56
My job is to look at 1,000 cartoons a week.
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์ œ ์ž„๋ฌด๋Š” ์ผ์ฃผ์ผ์— 1,000๊ฐœ์˜ ๋งŒํ™”๋ฅผ ๋ณด๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:00
But The New Yorker only can take 16 or 17 cartoons,
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ํ•˜์ง€๋งŒ ๋‰ด์š”์ปค๋Š” 16์—์„œ 17๊ฐœ๋งŒ ์‹ค์„ ์ˆ˜ ์žˆ๊ณ ,
04:05
and we have 1,000 cartoons.
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1,000๊ฐœ ์ค‘์—์„œ ๊ทธ๊ฒƒ๋“ค์„ ๊ณจ๋ผ์•ผ ํ•˜๋Š” ๊ฒƒ์ด์ฃ .
04:06
Of course, many, many cartoons must be rejected.
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๋ฌผ๋ก , ์•„์ฃผ ๋งŽ์€ ๋งŒํ™”๋“ค์ด ๊ฑฐ์ ˆ๋‹นํ•ฉ๋‹ˆ๋‹ค.
04:09
Now, we could fit more cartoons in the magazine
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๋” ๋งŽ์€ ๋งŒํ™”๋“ค์„ ์žก์ง€์— ์‹ค์„ ์ˆ˜ ์žˆ๋Š” ๋ฐฉ๋ฒ•์€
04:12
if we removed the articles.
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๊ธฐ์‚ฌ๋ฅผ ์—†์• ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:14
(Laughter)
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(์›ƒ์Œ)
04:18
But I feel that would be a huge loss,
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ํ•˜์ง€๋งŒ ์™ ์ง€ ๊ทธ๊ฑด ์ปค๋‹ค๋ž€ ์†์‹ค์ผ ๊ฒƒ๋งŒ ๊ฐ™์€ ๋Š๋‚Œ์ด ๋“ค์–ด์„œ์š”.
04:23
one I could live with, but still huge.
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๋ญ ๊ทธ๋ž˜๋„ ์‚ฌ๋Š”๋ฐ ์ง€์žฅ์€ ์—†๊ฒ ์ง€๋งŒ ๊ทธ๋ž˜๋„ ํฐ ์†์‹ค์ผ ๋“ฏ ํ•ด์š”.
04:27
Cartoonists come in through the magazine every week.
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๋งŒํ™”๊ฐ€๋“ค์€ ๋งค์ฃผ ๋งŒํ™”๋ฅผ ์‹ฃ๊ธฐ ์œ„ํ•ด ์žก์ง€์‚ฌ๋ฅผ ์ฐพ์Šต๋‹ˆ๋‹ค.
04:30
The average cartoonist who stays with the magazine
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์žก์ง€์‚ฌ์— ์˜ค๋Š” ๋งŒํ™”๊ฐ€๋Š” ๋ณดํ†ต
04:32
does 10 or 15 ideas every week.
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๋งค์ฃผ 10~15๊ฐœ์˜ ์•„์ด๋””์–ด๋ฅผ ๊ฐ€์ ธ์˜ต๋‹ˆ๋‹ค.
04:34
But they mostly are going to be rejected.
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ํ•˜์ง€๋งŒ ๋Œ€๋ถ€๋ถ„์€ ๊ฑฐ์ ˆ๋‹นํ•˜์ฃ .
04:37
That's the nature of any creative activity.
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์ด๊ฒƒ์ด ์ฐฝ์กฐ์  ํ™œ๋™์˜ ํŠน์„ฑ์ž…๋‹ˆ๋‹ค.
04:40
Many of them fade away. Some of them stay.
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๋Œ€๋ถ€๋ถ„์€ ์‚ฌ๋ผ์ง€๊ณ  ์ผ๋ถ€๋งŒ ๋‚จ๋Š”๊ฑฐ์ฃ .
04:44
Matt Diffee is one of them.
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๊ทธ ์ค‘ ํ•˜๋‚˜๊ฐ€ ๋งท ๋””ํ”ผ(Matt Diffee)์ž…๋‹ˆ๋‹ค.
04:45
Here's one of his cartoons.
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์ด๊ฒƒ์ด ๊ทธ์˜ ๋งŒํ™” ์ค‘ ํ•˜๋‚˜์—์š”.
04:47
(Laughter)
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(์›ƒ์Œ)
04:53
Drew Dernavich. "Accounting night at the improv."
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๋“œ๋ฅ˜ ๋ฐ๋‚˜๋น„์น˜(Drew Dernavich) "ํšŒ๊ณ„์‚ฌ๋“ค์˜ ์ฆ‰ํฅ ์—ฐ๊ทน์˜ ๋ฐค"
04:56
"Now is the part of the show when we ask the audience
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"์ด์ œ ๊ด€์ค‘๋“ค์—๊ฒŒ ์•„๋ฌด ๋ฒˆํ˜ธ๋‚˜
04:58
to shout out some random numbers."
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์™ธ์ณ๋‹ฌ๋ผ๊ณ  ๋ถ€ํƒํ•  ์ฐจ๋ก€์ž…๋‹ˆ๋‹ค."
05:02
Paul Noth. "He's all right. I just wish he were a little more pro-Israel."
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ํด ๋…ธ์“ฐ "๊ดœ์ฐฎ์€ ์‚ฌ๋žŒ ๊ฐ™์€๋ฐ, ์กฐ๊ธˆ๋งŒ ๋” ์นœ์ด์Šค๋ผ์—˜ ์„ฑํ–ฅ์ด๋ฉด ์ข‹๊ฒ ์–ด."
05:07
(Laughter)
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(์›ƒ์Œ)
05:12
Now I know all about rejection,
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์ € ๋˜ํ•œ ๊ฑฐ์ ˆ์— ๋Œ€ํ•ด ์ž˜ ์•„๋Š”๋ฐ์š”,
05:14
because when I quit -- actually, I was booted out of -- psychology school
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์™œ๋ƒํ•˜๋ฉด ์ œ๊ฐ€ ์‹ฌ๋ฆฌํ•™์„ ๊ทธ๋งŒ๋‘๊ณ  -์‹ค์ œ๋กœ, ํ•™๊ต๊ฐ€ ์ €๋ฅผ ๋‚ด์ซ“์•˜์ง€๋งŒ์š”-
05:18
and decided to become a cartoonist, a natural segue,
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๋งŒํ™”๊ฐ€๊ฐ€ ๋˜๊ธฐ๋กœ ๊ฒฐ์‹ฌํ–ˆ์„ ๋•Œ, ๋งค์šฐ ์ž์—ฐ์Šค๋Ÿฝ๊ฒŒ ๋ง์ด์ฃ ,
05:22
from 1974 to 1977 I submitted 2,000 cartoons to The New Yorker,
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1974๋…„์—์„œ 1977๋…„๊นŒ์ง€ ๋‰ด์š”์ปค์— 2,000๊ฐœ์˜ ๋งŒํ™”๋ฅผ ์ œ์ถœํ–ˆ๋Š”๋ฐ
05:27
and got 2,000 cartoons rejected by The New Yorker.
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๊ทธ ์ค‘ 2,000๊ฐœ๊ฐ€ ๊ฑฐ์ ˆ๋‹นํ–ˆ์Šต๋‹ˆ๋‹ค.
05:31
At a certain point, this rejection slip, in 1977 --
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์ด ๊ฑฐ์ ˆ ๋”ฑ์ง€๋Š” 1977๋…„ ์–ด๋Š๋‚  --
05:36
[We regret that we are unable to use the enclosed material. Thank you for giving us the opportunity to consider it.] โ€”
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[๋ณด๋‚ด์ฃผ์‹  ๋งŒํ™”๋ฅผ ์‹ฃ์ง€ ๋ชปํ•˜๊ฒŒ ๋œ ์ ์„ ์œ ๊ฐ์Šค๋Ÿฝ๊ฒŒ ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค. ์‘๋ชจํ•ด ์ฃผ์…”์„œ ๋งค์šฐ ๊ฐ์‚ฌ๋“œ๋ฆฝ๋‹ˆ๋‹ค.]
05:37
magically changed to this.
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์—์„œ ๋‹ค์Œ๊ณผ ๊ฐ™์ด ๋งˆ๋ฒ•์ฒ˜๋Ÿผ ๋ฐ”๋€Œ์—ˆ์Šต๋‹ˆ๋‹ค.
05:38
[Hey! You sold one. No shit! You really sold a cartoon to the fucking New Yorker magazine.]
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[์™€์šฐ! ํ•˜๋‚˜ ํŒŒ์…จ๊ตฐ์š”. ๋†๋‹ด์ด ์•„๋‹ˆ์—์š”! ๋‹น์‹ ์˜ ๋งŒํ™”๊ฐ€ ๋‰ด์š”์ปค ์žก์ง€์— ํŒ”๋ ธ๋‹ต๋‹ˆ๋‹ค.]
05:42
(Laughter)
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(์›ƒ์Œ)
05:44
Now of course that's not what happened,
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๋ฌผ๋ก  ์ด๊ฒŒ ์‹ค์ œ๋กœ ์ผ์–ด๋‚œ ์ผ์€ ์•„๋‹ˆ์ง€๋งŒ,
05:47
but that's the emotional truth.
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๊ฐ์ •์ ์œผ๋กœ๋Š” ์‚ฌ์‹ค์ด์—ˆ์ฃ .
05:51
And of course, that is not New Yorker humor.
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๋ฌผ๋ก , ์ด๊ฒƒ์€ ๋‰ด์š”์ปค์‹ ์œ ๋จธ๋Š” ์•„๋‹™๋‹ˆ๋‹ค.
05:54
What is New Yorker humor?
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๋‰ด์š”์ปค์‹ ์œ ๋จธ๋Š” ๋ญ˜๊นŒ์š”?
05:55
Well, after 1977, I broke into The New Yorker and started selling cartoons.
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1977๋…„ ์ดํ›„์—, ์ €๋Š” ๋‰ด์š”์ปค์— ๋น„์ง‘๊ณ  ๋“ค์–ด๊ฐ€ ๋งŒํ™”๋ฅผ ํŒ”๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
06:00
Finally, in 1980, I received the revered
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๊ทธ๋ฆฌ๊ณ  1980๋…„์—, ๋งˆ์นจ๋‚ด, ์‚ฌ๋žŒ๋“ค์ด ์ˆญ๋ฐฐํ•˜๋Š”
06:03
New Yorker contract,
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๋‰ด์š”์ปค์™€์˜ ๊ณ„์•ฝ์„ ๋งบ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
06:05
which I blurred out parts because it's none of your business.
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์—ฌ๋Ÿฌ๋ถ„์ด ์•Œ ์ผ ์—†๋Š” ๋ถ€๋ถ„์€ ๋ฟŒ์˜‡๊ฒŒ ๊ฐ€๋ ธ๊ณ ์š”.
06:09
From 1980. "Dear Mr. Mankoff, confirming the agreement
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1980๋…„๋ถ€ํ„ฐ. "์นœ์• ํ•˜๋Š” ๋งจ์ฝ”ํ”„ ์”จ, ๊ณ„์•ฝ์„ ํ™•์ •ํ•˜๋ฉฐ
06:13
there of -- " blah blah blah blah -- blur --
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"์–ด์ฉŒ๊ตฌ ์ €์ฉŒ๊ตฌ ์–ด์ฉŒ๊ตฌ ์ €์ฉŒ๊ตฌ-"
06:15
"for any idea drawings."
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"๋ชจ๋“  ์•„์ด๋””์–ด ๊ทธ๋ฆผ์— ์„ฑ๋ฆฝ๋œ๋‹ค."
06:19
With respect to idea drawings, nowhere in the contract
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์•„์ด๋””์–ด ๊ทธ๋ฆผ๊ณผ ๊ด€๋ จํ•ด์„œ, ๊ณ„์•ฝ์˜ ์–ด๋Š ๋ถ€๋ถ„์—๋„
06:22
is the word "cartoon" mentioned.
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"๋งŒํ™”"๋ผ๋Š” ๋‹จ์–ด๊ฐ€ ์–ธ๊ธ‰๋˜์ง€ ์•Š์•˜์Šต๋‹ˆ๋‹ค.
06:24
The word "idea drawings," and that's the sine qua non of New Yorker cartoons.
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"์•„์ด๋””์–ด ๊ทธ๋ฆผ"์ด๋ผ๋Š” ๋‹จ์–ด๋Š” ๋‰ด์š”์ปค ๋งŒํ™”์˜ ํ•„์ˆ˜ ์š”์†Œ์ž…๋‹ˆ๋‹ค.
06:29
So what is an idea drawing? An idea drawing is something
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๊ทธ๋ ‡๋‹ค๋ฉด ์•„์ด๋””์–ด ๊ทธ๋ฆผ์€ ๋ฌด์—‡์ผ๊นŒ์š”? ์•„์ด๋””์–ด ๊ทธ๋ฆผ์€
06:33
that requires you to think.
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์—ฌ๋Ÿฌ๋ถ„์„ ์ƒ๊ฐํ•˜๊ฒŒ ํ•˜๋Š” ๊ทธ๋ฆผ์ž…๋‹ˆ๋‹ค.
06:36
Now that's not a cartoon. It requires thinking
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์ด๊ฑด ๋งŒํ™”๊ฐ€ ์•„๋‹™๋‹ˆ๋‹ค.
06:39
on the part of the cartoonist and thinking on your part
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๋งŒํ™”๊ฐ€๋„ ์ƒ๊ฐํ•˜๊ฒŒ ํ•˜๊ณ  ์—ฌ๋Ÿฌ๋ถ„๋„ ์ƒ๊ฐํ•˜๊ฒŒ ํ•ด์•ผ
06:42
to make it into a cartoon.
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๋งŒํ™”๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ์ฃ .
06:44
(Laughter)
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(์›ƒ์Œ)
06:50
Here are some, generally you get my cast of cartoon mind.
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์—ฌ๋Ÿฌ๋ถ„์ด ์ œ ๋งŒํ™”์  ์‚ฌ๊ณ ๋ฅผ ๋ณด์‹ค ์ˆ˜ ์žˆ๋Š” ๊ฒƒ๋“ค์ด ์žˆ์Šต๋‹ˆ๋‹ค.
06:55
"There is no justice in the world. There is some justice in the world. The world is just."
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"์„ธ์ƒ์— ์ •์˜๋ž€ ์—†๋‹ค. ์„ธ์ƒ์— ์•ฝ๊ฐ„์˜ ์ •์˜๋Š” ์žˆ๋‹ค. ์„ธ์ƒ์€ ์ •์˜๋กญ๋‹ค."
07:01
This is What Lemmings Believe.
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์ด๊ฒƒ์€ ๋ ˆ๋ฐ(๋‚˜๊ทธ๋„ค์ฅ)๊ฐ€ ๋ฏฟ์—ˆ๋˜ ๋ฐ”์ž…๋‹ˆ๋‹ค.
07:03
(Laughter)
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(์›ƒ์Œ)
07:09
The New Yorker and I, when we made comments,
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๋‰ด์š”์ปค์™€ ๋‚˜, ์šฐ๋ฆฌ๊ฐ€ ์ฝ”๋ฉ˜ํŠธ๋ฅผ ๋‹ฌ ๋•Œ,
07:12
the cartoon carries a certain ambiguity about what it actually is.
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๋งŒํ™”๋Š” ์‹ค์ œ๋ณด๋‹ค ์•ฝ๊ฐ„์˜ ๋ชจํ˜ธํ•จ์„ ๊ฐ€์ง‘๋‹ˆ๋‹ค.
07:17
What is it, the cartoon? Is it really about lemmings?
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์ด ๋งŒํ™”๋Š” ๋ฌด์Šจ ์˜๋ฏธ ์ผ๊นŒ์š”? ์‹ค์ œ๋กœ ๋ ˆ๋ฐ์— ๋Œ€ํ•œ ๊ฒƒ์ผ๊นŒ์š”?
07:19
No. It's about us.
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์•„๋‹™๋‹ˆ๋‹ค. ์šฐ๋ฆฌ์— ๊ด€ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
07:21
You know, it's my view basically about religion,
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์ด๊ฑด ์ข…๊ต์— ๊ด€ํ•œ ์ œ ๊ธฐ๋ณธ์ ์ธ ๊ด€์ ์œผ๋กœ์จ,
07:24
that the real conflict and all the fights between religion
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์ข…๊ต๊ฐ„์˜ ์‹ค์ œ ์ถฉ๋Œ๊ณผ ๋ชจ๋“  ์‹ธ์›€์€
07:29
is who has the best imaginary friend.
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๋ˆ„๊ฐ€ ์ตœ๊ณ ์˜ ์ƒ์ƒ์˜ ์นœ๊ตฌ๋ฅผ ๊ฐ€์กŒ๋Š”๊ฐ€๋ผ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
07:32
(Laughter)
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(์›ƒ์Œ)
07:37
And this is my most well-known cartoon.
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์ด๊ฒƒ์ด ๊ฐ€์žฅ ์ž˜ ์•Œ๋ ค์ง„ ์ œ ๋งŒํ™”์ž…๋‹ˆ๋‹ค.
07:39
"No, Thursday's out. How about never โ€” is never good for you?"
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"์•„๋‹ˆ์•ผ, ๋ชฉ์š”์ผ์€ ์•ˆ๋ผ. ๋„ค๋ฒ„(์˜์›ํžˆ ์•ˆ๋ณด๋Š” ๊ฒƒ)๋Š” ์–ด๋•Œ. ๋„ค๋ฒ„ ๊ดœ์ฐฎ์•„?"
07:43
It's been reprinted thousands of times, totally ripped off.
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์ด๊ฑด ์ˆ˜์ฒœ๋ฒˆ ์žฌํŒ๋˜์—ˆ์ฃ . ๋ถˆ๋ฒ• ๋ณต์ œ๋กœ์š”.
07:45
It's even on thongs,
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๋ˆ ์†์˜ท์—๊นŒ์ง€ ์ธ์‡„๋˜์—ˆ๋‹ค๋‹ˆ๊นŒ์š”.
07:48
but compressed to "How about never โ€” is never good for you?"
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๋Œ€์‹  "๋„ค๋ฒ„(์˜์›ํžˆ ์•ˆ๋ณด๋Š” ๊ฒƒ)๋Š” ์–ด๋•Œ. ๋„ค๋ฒ„ ๊ดœ์ฐฎ์•„?" ๋ถ€๋ถ„์œผ๋กœ๋งŒ ์ค„์—ฌ์ ธ์„œ์š”.
07:54
Now these look like very different forms of humor
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์ด๊ฑด ๋งค์šฐ ๋‹ค๋ฅธ ์ข…๋ฅ˜์˜ ์œ ๋จธ์ฒ˜๋Ÿผ ๋ณด์ด์ง€๋งŒ
07:58
but actually they bear a great similarity.
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์‹ค์ œ๋กœ ์„œ๋กœ ๋งค์šฐ ์œ ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
08:00
In each instance, our expectations are defied.
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๊ฐ๊ฐ์˜ ๊ฒฝ์šฐ์—, ์šฐ๋ฆฌ์˜ ๊ธฐ๋Œ€๋Š” ์–ด๊ธ‹๋‚ฉ๋‹ˆ๋‹ค.
08:05
In each instance, the narrative gets switched.
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๊ฐ๊ฐ์˜ ๊ฒฝ์šฐ์—, ๋ฌ˜์‚ฌ๊ฐ€ ์„œ๋กœ ๋ฐ”๋€๋‹ˆ๋‹ค.
08:08
There's an incongruity and a contrast.
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๋ถ€์กฐํ™”์™€ ๋Œ€์กฐ๊ฐ€ ์กด์žฌํ•˜์ฃ .
08:11
In "No, Thursday's out. How about never โ€” is never good for you?"
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"์•„๋‹ˆ์•ผ, ๋ชฉ์š”์ผ์€ ์•ˆ๋ผ. ๋„ค๋ฒ„(์˜์›ํžˆ ์•ˆ๋ณด๋Š” ๊ฒƒ)๋Š” ์–ด๋•Œ. ๋„ค๋ฒ„ ๊ดœ์ฐฎ์•„?"์—์„œ
08:14
what you have is the syntax of politeness
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์—ฌ๋Ÿฌ๋ถ„์ด ๋ณด์‹  ๊ฒƒ์€ ์˜ˆ์˜๋ฐ”๋ฅธ ์–ธ์–ด์  ๊ตฌ์กฐ์™€
08:16
and the message of being rude.
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๋ฌด๋ก€ํ•œ ๋‚ด์šฉ์ž…๋‹ˆ๋‹ค.
08:19
That really is how humor works. It's a cognitive synergy
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์ด๊ฒƒ์ด ๋ฐ”๋กœ ์œ ๋จธ๊ฐ€ ์ž‘๋™ํ•˜๋Š” ๋ฐฉ๋ฒ•์ž…๋‹ˆ๋‹ค. ์ธ์‹์  ์‹œ๋„ˆ์ง€๋กœ์„œ
08:22
where we mash up these two things which don't go together
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์ž˜ ์–ด์šธ๋ฆฌ์ง€ ์•Š๋Š” ์„œ๋กœ ๋‹ค๋ฅธ ๋‘ ๊ฐ€์ง€๋ฅผ ํ˜ผํ•ฉํ•  ๋•Œ ์ผ์–ด๋‚˜๊ณ 
08:26
and temporarily in our minds exist.
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์šฐ๋ฆฌ์˜ ๋จธ๋ฆฌ ์†์—์„œ ์ž ๊น๋งŒ ์กด์žฌํ•˜์ฃ .
08:28
He is both being polite and rude.
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๊ทธ๋Š” ์˜ˆ์˜๋ฐ”๋ฅด๋ฉด์„œ๋„ ๋ฌด๋ก€ํ•˜๊ฒŒ ๊ตด๊ณ  ์žˆ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
08:31
In here, you have the propriety of The New Yorker
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์ด ์˜ˆ์—์„œ๋Š” ๋‰ด์š”์ปค์˜ ์˜ˆ์˜๋ฐ”๋ฆ„๊ณผ
08:34
and the vulgarity of the language.
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์–ธ์–ด์˜ ์ƒ์Šค๋Ÿฌ์›€์ด ์–ด์šธ๋ฆฌ๊ณ  ์žˆ์ฃ .
08:36
Basically, that's the way humor works.
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๊ธฐ๋ณธ์ ์œผ๋กœ, ์ด๊ฒƒ์ด ์œ ๋จธ๊ฐ€ ์ž‘๋™ํ•˜๋Š” ๋ฐฉ๋ฒ•์ž…๋‹ˆ๋‹ค.
08:38
So I'm a humor analyst, you would say.
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์—ฌ๋Ÿฌ๋ถ„์€ ์ €๋ฅผ ์œ ๋จธ ๋ถ„์„๊ฐ€๋ผ๊ณ  ๋ถ€๋ฅด์‹ค ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์ด์ฃ .
08:41
Now E.B. White said, analyzing humor is like dissecting a frog.
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E. B. ํ™”์ดํŠธ๋Š” ์œ ๋จธ๋ฅผ ๋ถ„์„ํ•˜๋Š” ๊ฒƒ์€ ๊ฐœ๊ตฌ๋ฆฌ ํ•ด๋ถ€์™€ ๊ฐ™๋‹ค๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
08:44
Nobody is much interested, and the frog dies.
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์•„๋ฌด๋„ ๊ด€์‹ฌ์ด ์—†๊ณ , ๊ฐœ๊ตฌ๋ฆฌ๋Š” ์ฃฝ๋Š”๋‹ค๋Š” ๊ฒƒ์ด์ฃ .
08:47
Well, I'm going to kill a few, but there won't be any genocide.
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์ด์ œ ์ œ๊ฐ€ ๊ฐœ๊ตฌ๋ฆฌ๋ฅผ ๋ช‡ ๋งˆ๋ฆฌ ์ฃฝ์ด๊ฒ ์ง€๋งŒ, ๋Œ€ํ•™์‚ด์€ ์ผ์–ด๋‚˜์ง€ ์•Š์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
08:52
But really, it makes me โ€”
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ํ•˜์ง€๋งŒ ์ •๋ง, ์ œ๊ฐ€ ๋ฐ›๋Š” ๋Š๋‚Œ์€ ๋ง์ด์ฃ -
08:54
Let's look at this picture. This is an interesting picture,
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์ด ๊ทธ๋ฆผ์„ ๋ด…์‹œ๋‹ค. ์žฌ๋ฏธ์žˆ๋Š” ๊ทธ๋ฆผ์ธ๋ฐ์š”.
08:56
The Laughing Audience.
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์›ƒ๊ณ ์žˆ๋Š” ๊ด€์ค‘๋“ค์ž…๋‹ˆ๋‹ค.
08:58
There are the people, fops up there,
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์‚ฌ๋žŒ๋“ค์ด ์žˆ์Šต๋‹ˆ๋‹ค. ์œ„์—๋Š” ๋ฉ‹์Ÿ์ด๋„ ์žˆ๊ณ ์š”.
08:59
but everybody is laughing, everybody is laughing
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ํ•˜์ง€๋งŒ ๋ชจ๋‘๊ฐ€ ์›ƒ๊ณ ์žˆ์Šต๋‹ˆ๋‹ค. ๋ชจ๋‘๊ฐ€ ์›ƒ๊ณ  ์žˆ์–ด์š”.
09:02
except one guy.
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๋”ฑ ํ•œ ์‚ฌ๋žŒ๋งŒ ๋นผ๊ณ  ๋ง์ด์ฃ .
09:05
This guy. Who is he? He's the critic.
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์ด ์‚ฌ๋žŒ์ž…๋‹ˆ๋‹ค. ๊ทธ๋Š” ๋ˆ„๊ตฌ์ผ๊นŒ์š”? ๋น„ํ‰๊ฐ€์ž…๋‹ˆ๋‹ค.
09:09
He's the critic of humor,
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๊ทธ๋Š” ์œ ๋จธ ๋น„ํ‰๊ฐ€์ด๊ณ ,
09:12
and really I'm forced to be in that position,
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์ €๋Š” ์ œ๊ฐ€ ๋‰ด์š”์ปค์— ์žˆ๋Š” ๋™์•ˆ์€
09:15
when I'm at The New Yorker, and that's the danger
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๋ฐ”๋กœ ์ € ์œ„์น˜์— ์žˆ๋„๋ก ๊ฐ•์š”๋ฐ›์Šต๋‹ˆ๋‹ค.
09:18
that I will become this guy.
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์ œ๊ฐ€ ์ € ์‚ฌ๋žŒ์ฒ˜๋Ÿผ ๋  ์œ„ํ—˜์ด ์žˆ๋Š” ๊ฒƒ์ด์ฃ .
09:23
Now here's a little video made by Matt Diffee, sort of
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์ด๊ฒƒ์€ ๋งท ๋””ํ”ผ๊ฐ€ ๋งŒ๋“  ์งง์€ ๋น„๋””์˜ค์ธ๋ฐ
09:26
how they imagine if we really exaggerated that.
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๊ณผ์žฅ๋œ ๋ชจ์Šต์œผ๋กœ ์ƒ์ƒํ•œ ๋ชจ์Šต์ž…๋‹ˆ๋‹ค.
09:30
(Video) Bob Mankoff: "Oooh, no.
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(๋น„๋””์˜ค) "์˜ค, ์•ˆ๋ผ.
09:33
Ehhh.
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์Œ
09:36
Oooh. Hmm. Too funny.
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์–ด. ์Œ. ์ง€๋‚˜์น˜๊ฒŒ ์›ƒ๊ฒจ.
09:45
Normally I would but I'm in a pissy mood.
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๋ณดํ†ต ๋•Œ๋ผ๋ฉด ์„ ํƒํ•˜๊ฒ ์ง€๋งŒ ๋‚œ ์ง€๊ธˆ ๊ธฐ๋ถ„์ด ์•ˆ ์ข‹์•„.
09:49
I'll enjoy it on my own. Perhaps.
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๋‚˜ ํ˜ผ์ž์„œ๋งŒ ์ฆ๊ฒจ์•ผ ๊ฒ ์–ด. ์•„๋งˆ๋„.
09:52
No. Nah. No.
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์•ˆ๋ผ. ์•ˆ๋ผ. ์•ˆ๋ผ.
09:55
Overdrawn. Underdrawn.
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๋„ˆ๋ฌด ๋งŽ์ด ๊ทธ๋ ธ์–ด. ๋„ˆ๋ฌด ๋œ ๊ทธ๋ ธ์–ด.
09:58
Drawn just right, still not funny enough.
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๋”ฑ ๋งž๊ฒŒ ๊ทธ๋ ธ์ง€๋งŒ, ์ถฉ๋ถ„ํžˆ ์›ƒ๊ธฐ์ง€๊ฐ€ ์•Š์•„.
10:01
No. No.
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์•ˆ๋ผ. ์•ˆ๋ผ.
10:04
For God's sake no, a thousand times no.
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์ ˆ๋Œ€๋กœ ์•ˆ๋ผ, ์ฒœ๋ฒˆ์ด๊ณ  ์•ˆ๋ผ.
10:08
(Music)
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(์Œ์•…)
10:11
No. No. No. No. No. [Four hours later]
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์•ˆ๋ผ. ์•ˆ๋ผ. ์•ˆ๋ผ. ์•ˆ๋ผ. ์•ˆ๋ผ. [4์‹œ๊ฐ„ ํ›„]
10:17
Hey, that's good, yeah, whatcha got there?
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์ €๊ธฐ, ์ž˜๋๊ตฐ, ๋ญ ์žˆ์–ด์š”?
10:21
Office worker: Got a ham and swiss on rye?BM: No.
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ํŒ๋งค์›: ํ–„๊ณผ ์Šค์œ„์Šค ์น˜์ฆˆ๊ฐ€ ๋ฐœ๋ฆฐ ๋ณด๋ฆฌ๋นต์ด์š”? BM: ๊ทธ๊ฑฐ ๋ง๊ตฌ์š”.
10:23
Office worker: Okay. Pastrami on sourdough?BM: No.
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ํŒ๋งค์›: ์‚ฌ์›Œ ๋„์šฐ ๋นต์— ํŒŒ์ŠคํŠธ๋ผ๋ฏธ์š”? BM: ๋‹ค๋ฅธ ๊ฑฐ์š”.
10:26
Office worker: Smoked turkey with bacon?BM: No.
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ํŒ๋งค์›: ํ›ˆ์ œ์—ฐ์–ด์™€ ๋ฒ ์ด์ปจ์š”? BM: ๋‹ค๋ฅธ ๊ฑฐ์š”.
10:28
Office worker: Falafel?BM: Let me look at it.
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ํŒ๋งค์›: ํŒ”๋ผํŽ ์€ ์–ด๋– ์„ธ์š”? BM: ์ œ๊ฐ€ ํ•œ ๋ฒˆ ๋ณด์ฃ .
10:30
Eh, no.
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์œฝ, ์‹ซ์–ด์š”.
10:31
Office worker: Grilled cheese?BM: No.
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ํŒ๋งค์›: ๊ทธ๋ฆด์— ๊ตฌ์šด ์น˜์ฆˆ๋Š”์š”? BM: ์•„๋‹ˆ์š”.
10:33
Office worker: BLT?BM: No.
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ํŒ๋งค์›: BLT(๋ฒ ์ด์ปจ, ์ƒ์ถ”, ํ† ๋งˆํ† )๋Š”์š”? BM: ์‹ซ์–ด์š”.
10:34
Office worker: Black forest ham and mozzarella with apple mustard?BM: No.
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ํŒ๋งค์›: ์‚ฌ๊ณผ ๋จธ์Šคํƒ€๋“œ ์†Œ์Šค๊ฐ€ ๋ฐœ๋ฆฐ ๋ธ”๋ž™ ํฌ๋ ˆ์ŠคํŠธ ํ–„๊ณผ ๋ชจ์งœ๋ ๋ผ ์น˜์ฆˆ๋Š”์š”? BM: ์•„๋‹ˆ์š”.
10:36
Office worker: Green bean salad?BM: No.
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ํŒ๋งค์›: ์ฝฉ ์ƒ๋Ÿฌ๋“œ๋Š”์š”? BM: ๋์–ด์š”.
10:39
(Music)
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(์Œ์•…)
10:41
No. No.
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์•„๋‹ˆ. ์•„๋‹ˆ.
10:43
Definitely no. [Several hours after lunch]
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์ ˆ๋Œ€๋กœ ์•ˆ๋ผ. [์ ์‹ฌ์‹œ๊ฐ„ ๋ช‡ ์‹œ๊ฐ„ ๋’ค]
10:46
(Siren)
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(์‚ฌ์ด๋ Œ)
11:08
No. Get out of here.
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์•„๋‹ˆ์•ผ. ์—ฌ๊ธฐ์„œ ๋‚˜๊ฐ€.
11:11
(Laughter)
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(์›ƒ์Œ)
11:12
That's sort of an exaggeration of what I do.
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์ œ๊ฐ€ ํ•˜๋Š” ์ผ์„ ๊ณผ์žฅํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
11:16
Now, we do reject, many, many, many cartoons,
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์šฐ๋ฆฌ๋Š” ๋งŽ๊ณ , ๋งŽ๊ณ , ๋งŽ์€ ๋งŒํ™”๋“ค์„ ๊ฑฐ์ ˆํ•ฉ๋‹ˆ๋‹ค.
11:19
so many that there are many books called "The Rejection Collection."
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๋„ˆ๋ฌด ๋งŽ์•„์„œ "๊ฑฐ์ ˆ๋‹นํ•œ ๋งŒํ™” ๋ชจ์Œ์ง‘" ์ฑ…์ด ๋ช‡ ๊ถŒ ๋  ์ •๋„์ž…๋‹ˆ๋‹ค.
11:22
"The Rejection Collection" is not quite New Yorker kind of humor.
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"๊ฑฐ์ ˆ๋‹นํ•œ ๋งŒํ™” ๋ชจ์Œ์ง‘"์€ ๋‰ด์š”์ปค ์Šคํƒ€์ผ์˜ ์œ ๋จธ๋Š” ์•„๋‹™๋‹ˆ๋‹ค.
11:26
And you might notice the bum on the sidewalk here
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์—ฌ๊ธฐ ๋ณด์‹œ๋Š” ๊ฑด ๊ธธ๊ฑฐ๋ฆฌ์˜ ๋ถ€๋ž‘์ธ์ด
11:29
who is boozing and his ventriloquist dummy is puking.
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์ˆ ์„ ์ง„ํƒ• ๋งˆ์‹œ๊ณ  ์žˆ๊ณ  ๊ทธ์˜ ๋ณตํ™”์ˆ  ์ธํ˜•์ด ํ† ํ•˜๊ณ  ์žˆ๋Š” ์žฅ๋ฉด์ด์ฃ .
11:33
See, that's probably not going to be New Yorker humor.
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์ด๋Ÿฐ ๊ฒƒ์€ ๋‰ด์š”์ปค์‹ ์œ ๋จธ๊ฐ€ ๋˜์ง€ ์•Š์„ ๊ฐ€๋Šฅ์„ฑ์ด ๋†’์Šต๋‹ˆ๋‹ค.
11:35
It's actually put together by Matt Diffee, one of our cartoonists.
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์ด ์ฑ…์€ ์‚ฌ์‹ค ์šฐ๋ฆฌ ์†Œ์† ๋งŒํ™”๊ฐ€์ธ ๋งท ๋””ํ”ผ๊ฐ€ ๋ฌถ์–ด๋‚ธ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
11:38
So I'll give you some examples of rejection collection humor.
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์ œ๊ฐ€ ๊ฑฐ์ ˆ๋‹นํ•œ ๋งŒํ™” ๋ชจ์Œ์ง‘์˜ ์˜ˆ์‹œ๋ฅผ ๋ช‡ ๊ฐœ ๋ณด์—ฌ ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
11:43
"I'm thinking about having a child."
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"์•  ํ•˜๋‚˜๋Š” ์–ด๋–จ๊นŒ ํ•ด์š”."
11:46
(Laughter)
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(์›ƒ์Œ)
11:51
There you have an interesting -- the guilty laugh,
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์—ฌ๊ธฐ์— ์žฌ๋ฏธ์žˆ๋Š” ๊ฒƒ- ์›ƒ์œผ๋ฉด์„œ ์ฃ„์ฑ…๊ฐ์ด ๋“œ๋Š” ๊ฒƒ์ธ๋ฐ
11:55
the laugh against your better judgment.
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์—ฌ๋Ÿฌ๋ถ„์˜ ๋” ๋‚˜์€ ํŒ๋‹จ์— ๋ฐ˜ํ•˜๋Š” ์›ƒ์Œ์ด์ฃ .
11:58
(Laughter)
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(์›ƒ์Œ)
12:01
"Ass-head. Please help."
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"์—‰๋ฉ์ด ๋จธ๋ฆฌ๋ฅผ ๊ฐ€์กŒ์–ด์š”. ๋ถ€๋”” ๋„์™€์ฃผ์„ธ์š”."
12:04
(Laughter)
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(์›ƒ์Œ)
12:06
Now, in fact, within a context of this book,
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์‚ฌ์‹ค์ƒ, ์ด ์ฑ…์— ์“ฐ์ธ
12:10
which says, "Cartoons you never saw and never will see
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"์—ฌ๋Ÿฌ๋ถ„์ด ๋‰ด์š”์ปค์—์„œ ๋ณธ ์  ์—†๊ณ  ์•ž์œผ๋กœ๋„ ๋ณด์ง€ ๋ชปํ•  ๋งŒํ™”"
12:13
in The New Yorker," this humor is perfect.
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๊ทธ ๋ฌธ๋งฅ ์•ˆ์—์„œ, ์ด ์œ ๋จธ๋Š” ์™„๋ฒฝํ•ฉ๋‹ˆ๋‹ค.
12:16
I'm going to explain why.
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์ œ๊ฐ€ ๊ทธ ์ด์œ ๋ฅผ ์„ค๋ช…ํ•ด ๋“œ๋ฆฌ์ฃ .
12:17
There's a concept about humor about it being
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์œ ๋จธ์—๋Š” ์œ ๋จธ๊ฐ€ ์–Œ์ „ํ•œ ์œ„๋ฐ˜์ด๋ผ๋Š”
12:19
a benign violation.
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๊ฐœ๋…์ด ์žˆ์Šต๋‹ˆ๋‹ค.
12:21
In other words, for something to be funny, we've got to think
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๋‹ฌ๋ฆฌ ๋งํ•ด์„œ, ๋ฌด์–ธ๊ฐ€๊ฐ€ ์žฌ๋ฏธ์žˆ์œผ๋ ค๋ฉด,
12:23
it's both wrong and also okay at the same time.
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์šฐ๋ฆฌ๋Š” ๊ทธ๊ฒŒ ์ž˜๋ชป๋ฌ๋‹ค๊ณ  ์ƒ๊ฐํ•˜๋ฉด์„œ๋„ ๋™์‹œ์— ๊ดœ์ฐฎ๋‹ค๊ณ  ์ƒ๊ฐํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
12:27
If we think it's completely wrong, we say, "That's not funny."
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๋งŒ์•ฝ ๋ฌด์–ธ๊ฐ€๊ฐ€ ์™„์ „ ์ž˜๋ชป๋˜์—ˆ๋‹ค๋ฉด, ์šฐ๋ฆฌ๋Š” "ํ•˜๋‚˜๋„ ์•ˆ ์›ƒ๊ฒจ."๋ผ๊ณ  ๋งํ•˜๊ฒŒ ๋˜๋Š”๊ฑฐ์ฃ .
12:30
And if it's completely okay, what's the joke? Okay?
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๋งŒ์•ฝ ๊ทธ๊ฒƒ์ด ์™„์ „ ๊ดœ์ฐฎ๋‹ค๋ฉด, ๋†๋‹ด์ด ์•„๋‹ˆ๊ฒ ์ฃ ? ๊ทธ๋ ‡์ฃ ?
12:34
And so, this benign, that's true of "No, Thursday's out. How about never โ€” is never good for you?"
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์ด๋Ÿฐ ์–Œ์ „ํ•œ ์œ„๋ฐฐ๋Š” "๋„ค๋ฒ„(์˜์›ํžˆ ์•ˆ๋ณด๋Š” ๊ฒƒ)๋Š” ์–ด๋•Œ. ๋„ค๋ฒ„ ๊ดœ์ฐฎ์•„?"์— ์žˆ์Šต๋‹ˆ๋‹ค.
12:39
It's rude. The world really shouldn't be that way.
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๋ฌด๋ก€ํ•˜์ฃ . ์„ธ์ƒ์€ ์ •๋ง ์ €๋Ÿฐ ์‹์ด์–ด์„œ๋Š” ์•ˆ๋ฉ๋‹ˆ๋‹ค.
12:41
Within that context, we feel it's okay.
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์ด๋Ÿฌํ•œ ๋ฌธ๋งฅ ์•ˆ์—์„œ, ์šฐ๋ฆฌ๋Š” ์ด๊ฒƒ์ด ๊ดœ์ฐฎ๋‹ค๊ณ  ๋Š๋‚๋‹ˆ๋‹ค.
12:44
So within this context, "Asshead. Please help"
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์ด๋Ÿฐ ๋ฌธ๋งฅ ์•„๋ž˜, "์—‰๋ฉ์ด ๋จธ๋ฆฌ๋ฅผ ๊ฐ€์กŒ์–ด์š”. ๋ถ€๋”” ๋„์™€์ฃผ์„ธ์š”."๋Š”
12:47
is a benign violation.
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์–Œ์ „ํ•œ ์œ„๋ฐ˜์ž…๋‹ˆ๋‹ค.
12:49
Within the context of The New Yorker magazine ...
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ํ•˜์ง€๋งŒ ๋‰ด์š”์ปค ์žก์ง€์˜ ๋ฌธ๋งฅ ์•ˆ์—์„œ๋Š”...
12:54
"T-Cell Army: Can the body's immune response
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"T-์„ธํฌ ๊ตฐ๋Œ€: ์‹ ์ฒด์˜ ๋ฉด์—ญ ๋ฐ˜์‘์ด
12:57
help treat cancer?" Oh, goodness.
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์•” ์น˜๋ฃŒ์— ์“ฐ์ผ ์ˆ˜ ์žˆ์„๊นŒ์š”?" ๋ง™์†Œ์‚ฌ.
13:01
You're reading about this smart stuff,
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์—ฌ๋Ÿฌ๋ถ„์ด ์ด ์–ด๋ ค์šด ๋‚ด์šฉ์„ ์ฝ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค,
13:05
this intelligent dissection of the immune system.
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์ด ๋ฉด์—ญ ์ฒด๊ณ„์— ๋Œ€ํ•œ ์ง€์ ์ธ ํ•ด๋ถ€ ๋‚ด์šฉ์„ ๋ง์ด์ฃ .
13:09
You glance over at this, and it says,
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์˜†์„ ํ˜๋‚ ๋ณด๋‹ˆ๊นŒ
13:13
"Asshead. Please help"? God.
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"์—‰๋ฉ์ด ๋จธ๋ฆฌ๋ฅผ ๊ฐ€์กŒ์–ด์š”. ๋ถ€๋”” ๋„์™€์ฃผ์„ธ์š”?" ์„ธ์ƒ์—.
13:18
So there the violation is malign. It doesn't work.
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์—ฌ๊ธฐ์„œ ์ด ์œ„๋ฐ˜์€ ์•…ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค. ์ด๋ ‡๊ฒŒ ํ•ด์„œ๋Š” ์•ˆ๋˜์ฃ .
13:22
There is no such thing as funny in and of itself.
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๊ทธ ์ž์ฒด๊ฐ€, ๊ทธ ์ž์ฒด๋งŒ์œผ๋กœ ์žฌ๋ฐŒ๋Š” ๊ทธ๋Ÿฐ ๊ฒƒ์€ ์—†์Šต๋‹ˆ๋‹ค.
13:25
Everything will be within the context and our expectations.
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๋ชจ๋“  ๊ฒƒ์€ ๋ฌธ๋งฅ๊ณผ ์šฐ๋ฆฌ์˜ ๊ธฐ๋Œ€ ์•ˆ์— ์žˆ์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
13:29
One way to look at it is this.
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์ด๋ฅผ ์ดํ•ดํ•˜๋Š” ๋ฐฉ๋ฒ• ์ค‘ ํ•˜๋‚˜๋Š” ๋‹ค์Œ๊ณผ ๊ฐ™์Šต๋‹ˆ๋‹ค.
13:33
It's sort of called a meta-motivational theory about how we look,
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์šฐ๋ฆฌ๊ฐ€ ๋ฌด์—‡์ธ๊ฐ€๋ฅผ ๋ณด๋Š” ๋ฐฉ์‹์— ๋Œ€ํ•œ ๋ฉ”ํƒ€-๋™๊ธฐ ๋ถ€์—ฌ ์ด๋ก ์ด๋ผ๊ณ  ๋ถˆ๋ฆฌ๋Š” ๊ฒƒ์ธ๋ฐ,
13:37
a theory about motivation and the mood we're in
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๋™๊ธฐ ๋ถ€์—ฌ์™€ ์šฐ๋ฆฌ์˜ ๊ธฐ๋ถ„์— ๋Œ€ํ•œ ์ด๋ก ์ด๋ฉฐ
13:39
and how the mood we're in determines the things we like
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์šฐ๋ฆฌ์˜ ๊ธฐ๋ถ„์ด ์–ด๋–ป๊ฒŒ ์šฐ๋ฆฌ๊ฐ€ ์ข‹์•„ํ•˜๊ณ  ์‹ซ์–ดํ•˜๋Š” ๊ฒƒ์„
13:42
or dislike.
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๊ฒฐ์ •ํ•˜๋Š”์ง€์— ๋Œ€ํ•œ ์ด๋ก ์ž…๋‹ˆ๋‹ค.
13:44
When we're in a playful mood, we want excitement.
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๋†€๊ฑฐ๋‚˜ ์žฅ๋‚œ์น˜๊ณ  ์‹ถ์€ ๊ธฐ๋ถ„์ผ ๋•Œ, ์šฐ๋ฆฌ๋Š” ๋ฌด์—‡์ธ๊ฐ€ ์‹ ๋‚˜๋Š” ๊ฒƒ์„ ์›ํ•ฉ๋‹ˆ๋‹ค.
13:48
We want high arousal. We feel excited then.
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๊ฐ•ํ•œ ์ž๊ทน์„ ์›ํ•ฉ๋‹ˆ๋‹ค. ๊ทธ๋Ÿฌ๋ฉด ์‹ ๋‚˜๊ณ  ํฅ๋ถ„ํ•˜๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
13:51
If we're in a purposeful mood, that makes us anxious.
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๋ชฉ์ ์— ์ง‘์ค‘ํ•œ ๊ธฐ๋ถ„์ผ ๋•Œ, ์šฐ๋ฆฌ๋Š” ๊ธด์žฅํ•˜๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
13:54
"The Rejection Collection" is absolutely in this field.
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"๊ฑฐ์ ˆ๋œ ๋งŒํ™” ๋ชจ์Œ์ง‘"์€ ๋ฐ”๋กœ ์ด ๋ถ€๋ถ„์— ์žˆ์Šต๋‹ˆ๋‹ค.
13:59
You want to be stimulated. You want to be aroused.
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์ด ๋ถ€๋ถ„์˜ ์—ฌ๋Ÿฌ๋ถ„์€ ์ž๊ทน๋ฐ›๊ธฐ๋ฅผ ์›ํ•  ๋•Œ์ž…๋‹ˆ๋‹ค. ํฅ๋ถ„๋˜๊ธฐ๋ฅผ ์›ํ•˜๋Š” ๊ฒƒ์ด์ง€์š”.
14:02
You want to be transgressed.
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๋ฌด์—‡์ธ๊ฐ€ ์œ„๋ฐ˜๋˜๊ธฐ๋ฅผ ๋ฐ”๋ผ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
14:06
It's like this, like an amusement park.
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์ด๊ฑด ๋†€์ด๋™์‚ฐ๊ณผ๋„ ๊ฐ™์Šต๋‹ˆ๋‹ค.
14:11
Voice: Here we go. (Screams)
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๋ชฉ์†Œ๋ฆฌ: ๋‚ด๋ ค๊ฐ„๋‹ค. (๋น„๋ช…)
14:20
He laughs. He is both in danger and safe,
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์ด ์‚ฌ๋žŒ์€ ์›ƒ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ์œ„ํ—˜ํ•˜๋ฉด์„œ๋„ ์•ˆ์ „ํ•œ ์ƒํ™ฉ์— ๋†“์—ฌ์žˆ๋Š”๋ฐ,
14:24
incredibly aroused. There's no joke. No joke needed.
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์ด๋Š” ์‚ฌ๋žŒ์„ ์—„์ฒญ๋‚˜๊ฒŒ ํฅ๋ถ„์‹œํ‚ต๋‹ˆ๋‹ค. ๋†๋‹ด์ด ์—†์ฃ , ํ•„์š”๊ฐ€ ์—†์Šต๋‹ˆ๋‹ค.
14:27
If you arouse people enough and get them stimulated enough,
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์‚ฌ๋žŒ๋“ค์„ ์ถฉ๋ถ„ํžˆ ํฅ๋ถ„์‹œํ‚ค๊ณ  ์ž๊ทน์‹œํ‚ค๋ฉด,
14:30
they will laugh at very, very little.
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๊ทธ๋“ค์€ ์•„์ฃผ ์ž‘์€ ๊ฒƒ์—๋„ ํญ์†Œํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
14:32
This is another cartoon from "The Rejection Collection."
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์ด๊ฒƒ์€ "๊ฑฐ์ ˆ๋œ ๋งŒํ™” ๋ชจ์Œ์ง‘"์— ์žˆ๋Š” ๋˜๋‹ค๋ฅธ ๋งŒํ™”์ž…๋‹ˆ๋‹ค.
14:35
"Too snug?"
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"๋„ˆ๋ฌด ํ—๋ ํ•œ๊ฐ€?"
14:39
That's a cartoon about terrorism.
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์ด๊ฒƒ์€ ํ…Œ๋Ÿฌ๋ฆฌ์ฆ˜์— ๊ด€ํ•œ ๋งŒํ™”์ž…๋‹ˆ๋‹ค.
14:41
The New Yorker occupies a very different space.
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๋‰ด์š”์ปค๋Š” ๋งค์šฐ ๋‹ค๋ฅธ ๊ณต๊ฐ„์„ ์ฐจ์ง€ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
14:45
It's a space that is playful in its own way, and also purposeful,
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์ž๊ธฐ๋งŒ์˜ ๋ฐฉ์‹์œผ๋กœ ์žฅ๋‚œ๊ธฐ๊ฐ€ ์žˆ์œผ๋ฉด์„œ๋„, ๋ชฉ์  ์˜์‹์ด ๋šœ๋ ทํ•œ ๊ณต๊ฐ„์ด์ฃ .
14:48
and in that space, the cartoons are different.
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์ด ๊ณต๊ฐ„์˜ ๋งŒํ™”๋“ค์€ ์กฐ๊ธˆ์ „์˜ ์˜ˆ๋“ค๊ณผ๋Š” ๋‹ค๋ฆ…๋‹ˆ๋‹ค.
14:52
Now I'm going to show you cartoons The New Yorker did
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์ด์ œ ๋‰ด์š”์ปค์— ์‹ค๋ฆฐ ๋งŒํ™”๋“ค์„ ๋ณด์—ฌ๋“œ๋ฆด ๊ฒƒ์ธ๋ฐ์š”.
14:54
right after 9/11, a very, very sensitive area when humor could be used.
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9/11 ์งํ›„, ์œ ๋จธ์˜ ์‚ฌ์šฉ์ด ์•„์ฃผ ์•„์ฃผ ๋ฏผ๊ฐํ•  ๋•Œ์˜€์ฃ .
14:59
How would The New Yorker attack it?
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๋‰ด์š”์ปค๊ฐ€ ๊ทธ๊ฒƒ์„ ์–ด๋–ป๊ฒŒ ๊ณต๊ฒฉํ–ˆ์„๊นŒ์š”?
15:00
It would not be with a guy with a bomb saying, "Too snug?"
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ํญํƒ„์„ ๊ฐ€์ง„ ์‚ฌ๋žŒ์ด "๋„ˆ๋ฌด ํ—๋ ํ•œ๊ฐ€?" ํ•˜๋Š” ๋งŒํ™”๋Š” ์•„๋‹ˆ๊ฒ ์ง€์š”.
15:05
Or there was another cartoon I didn't show because
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์ œ๊ฐ€ ๋ณด์—ฌ๋“œ๋ฆฌ์ง€ ์•Š์€ ๋˜๋‹ค๋ฅธ ๋งŒํ™”๊ฐ€ ์žˆ๋Š”๋ฐ ๊ทธ๊ฑด
15:07
actually I thought maybe people would be offended.
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์‹ค์ œ๋กœ ์‚ฌ๋žŒ๋“ค์ด ๋ถˆ์พŒํ•˜๊ฒŒ ๋Š๋‚„๊ฑฐ๋ผ๊ณ  ์ƒ๊ฐํ–ˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
15:11
The great Sam Gross cartoon, this happened
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์œ„๋Œ€ํ•œ ์ƒ˜ ๊ทธ๋กœ์Šค(Sam Gross)์˜ ๋งŒํ™”์ธ๋ฐ,
15:15
after the Muhammad controversy where it's Muhammad in heaven,
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๋ฌดํ•˜๋ฉ”๋“œ ๋…ผ๋ž€ ํ›„์—, ์ฒœ๊ตญ์˜ ๋ฌดํ•˜๋ฉ”๋“œ๊ฐ€
15:19
the suicide bomber is all in little pieces,
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์ž์‚ด ํญํƒ„ ํ…Œ๋Ÿฌ๋ฒ”์˜ ์˜จ ๋ชธ์ด ์‚ฐ์‚ฐ์กฐ๊ฐ ๋‚˜์ž,
15:21
and he's saying to the suicide bomber,
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๊ทธ ํ…Œ๋Ÿฌ๋ฒ”์—๊ฒŒ ๋งํ•ฉ๋‹ˆ๋‹ค.
15:24
"You'll get the virgins when we find your penis."
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"๋„ค ์„ฑ๊ธฐ๋ฅผ ์ฐพ์œผ๋ฉด ์•ฝ์†ํ•œ ์ˆซ์ฒ˜๋…€๋“ค์„ ์ฃผ๋งˆ."
15:27
(Laughter)
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(์›ƒ์Œ)
15:31
Better left undrawn.
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๊ทธ๋ฆฌ์ง€ ์•Š๋Š”๊ฒŒ ๋‚˜์•˜๊ฒ ์ฃ .
15:34
The first week we did no cartoons.
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๊ทธ ์ฃผ๋Š” ๋‰ด์š”์ปค๊ฐ€ ๋งŒํ™”๋ฅผ ์‹ฃ์ง€ ์•Š์€ ์ตœ์ดˆ์˜ ์ฃผ์˜€์Šต๋‹ˆ๋‹ค.
15:37
That was a black hole for humor, and correctly so.
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๊ทธ ๊ธฐ๊ฐ„์€ ์œ ๋จธ์˜ ๋ธ”๋ž™ํ™€์ด์—ˆ๊ณ , ๊ทธ๋Ÿฌ๋Š”๊ฒŒ ์˜ณ์•˜์Šต๋‹ˆ๋‹ค.
15:40
It's not always appropriate every time.
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ํ•ญ์ƒ ์–ธ์ œ๋‚˜ ์œ ๋จธ๊ฐ€ ์ ์ ˆํ•œ ๊ฒƒ์€ ์•„๋‹ˆ์ฃ .
15:43
But the next week, this was the first cartoon.
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ํ•˜์ง€๋งŒ ๊ทธ ๋‹ค์Œ ์ฃผ์—, ์ด๊ฒƒ์ด ์ฒซ ๋งŒํ™”์ธ๋ฐ์š”.
15:46
"I thought I'd never laugh again. Then I saw your jacket."
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"๋‹ค์‹œ๋Š” ์›ƒ์ง€ ๋ชปํ•  ๊ฑฐ๋ผ๊ณ  ์ƒ๊ฐํ–ˆ์–ด์š”. ๊ทธ๋Ÿฌ๋‹ค ๋‹น์‹ ์˜ ์ž์ผ“์„ ๋ณด์•˜์ฃ ."
15:51
It basically was about, if we were alive,
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์ด๊ฒƒ์€ ๊ธฐ๋ณธ์ ์œผ๋กœ, ์šฐ๋ฆฌ๊ฐ€ ์‚ด์•„ ์žˆ๋Š”ํ•œ,
15:54
we were going to laugh. We were going to breathe.
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์šฐ๋ฆฌ๋Š” ์›ƒ์„ ์ˆ˜ ๋ฐ–์— ์—†๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค. ์ˆจ์„ ์‰ด ์ˆ˜ ๋ฐ–์— ์—†๊ณ 
15:56
We were going to exist. Here's another one.
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์กด์žฌํ•  ์ˆ˜ ๋ฐ–์— ์—†๋‹ค๋Š” ๊ฒ๋‹ˆ๋‹ค. ์—ฌ๊ธฐ ๋˜๋‹ค๋ฅธ ๋งŒํ™”๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
15:58
"I figure if I don't have that third martini, then the terrorists win."
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"๋‚ด๊ฐ€ ์ € ์„ธ๋ฒˆ์งธ ๋งˆํ‹ฐ๋‹ˆ๋ฅผ ๋งˆ์‹œ์ง€ ์•Š์œผ๋ฉด ํ…Œ๋Ÿฌ๋ฆฌ์ŠคํŠธ๋“ค์ด ์ด๊ธฐ๋Š” ๊ธฐ๋ถ„์ด์•ผ."
16:03
These cartoons are not about them. They're about us.
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์ด ๋งŒํ™”๋Š” ๊ทธ๋“ค์— ๋Œ€ํ•œ ๊ฒƒ์ด ์•„๋‹ˆ๋ผ ์šฐ๋ฆฌ์— ๋Œ€ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
16:07
The humor reflects back on us.
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์œ ๋จธ๋Š” ์šฐ๋ฆฌ๋ฅผ ๋ฐ˜์˜ํ•ฉ๋‹ˆ๋‹ค.
16:09
The easiest thing to do with humor, and it's perfectly legitimate,
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์œ ๋จธ๋ฅผ ๊ฐ€์ง€๊ณ  ํ•  ์ˆ˜ ์žˆ๋Š” ๊ฐ€์žฅ ์‰ฝ๊ณ  ๋˜ ์™„๋ฒฝํ•˜๊ฒŒ ์ ๋ฒ•ํ•œ ๊ฒƒ์€,
16:13
is a friend makes fun of an enemy.
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์นœ๊ตฌ๊ฐ€ ์ ์„ ์กฐ๋กฑํ•˜๋Š” ๊ฒƒ์ด์ฃ .
16:17
It's called dispositional humor.
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์„ฑํ–ฅ์  ์œ ๋จธ๋ผ๊ณ  ๋ถˆ๋ฆฝ๋‹ˆ๋‹ค.
16:19
It's 95 percent of the humor. It's not our humor.
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์œ ๋จธ์˜ 95ํผ์„ผํŠธ์— ํ•ด๋‹นํ•˜๋Š”๋ฐ ์šฐ๋ฆฌ์˜ ์œ ๋จธ๋Š” ์•„๋‹™๋‹ˆ๋‹ค.
16:22
Here's another cartoon.
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์—ฌ๊ธฐ์— ๋˜๋‹ค๋ฅธ ๋งŒํ™”๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
16:25
"I wouldn't mind living in a fundamentalist Islamic state."
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"๋‚˜๋Š” ์ด์Šฌ๋žŒ ๊ทผ๋ณธ์ฃผ์˜ ๊ตญ๊ฐ€์—์„œ ์‚ฌ๋Š” ๊ฒƒ๋„ ๊ดœ์ฐฎ์„ ๊ฑฐ ๊ฐ™์•„."
16:28
(Laughter)
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(์›ƒ์Œ)
16:37
Humor does need a target.
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์œ ๋จธ๋Š” ํ‘œ์ ์ด ํ•„์š”ํ•ฉ๋‹ˆ๋‹ค.
16:42
But interestingly, in The New Yorker, the target is us.
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ํ•˜์ง€๋งŒ ํฅ๋ฏธ๋กญ๊ฒŒ๋„, ๋‰ด์š”์ปค์—์„œ๋Š” ๊ทธ ํ‘œ์ ์ด ์šฐ๋ฆฌ์ž…๋‹ˆ๋‹ค.
16:46
The target is the readership and the people who do it.
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ํ‘œ์ ์€ ๋…์ž์ธต๊ณผ ๋งŒํ™”๊ฐ€์ด์ฃ .
16:48
The humor is self-reflective
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์ด๋Ÿฐ ์œ ๋จธ๋Š” ์ž๊ธฐ ๋ฐ˜์‚ฌ์ ์ด๊ณ 
16:51
and makes us think about our assumptions.
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์šฐ๋ฆฌ์˜ ๊ฐ€์ •์— ๋Œ€ํ•ด ์ƒ๊ฐํ•ด ๋ณด๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
16:53
Look at this cartoon by Roz Chast, the guy reading the obituary.
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๋กœ์ฆˆ ์ฒด์ŠคํŠธ(Roz Chast)๊ฐ€ ๊ทธ๋ฆฐ ์ด ๋งŒํ™”๋ฅผ ๋ณด์ฃ . ํ•œ ๋‚จ์ž๊ฐ€ ๋ถ€๊ณ ๋ฅผ ์ฝ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
16:57
"Two years younger than you, 12 years older than you,
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"๋‹น์‹ ๋ณด๋‹ค 2์‚ด ์–ด๋ฆผ, ๋‹น์‹ ๋ณด๋‹ค 12์‚ด ๋งŽ์Œ,
17:00
three years your junior, your age on the dot,
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3์‚ด ์–ด๋ฆผ, ๋”ฑ ๋‹น์‹  ๋‚˜์ด,
17:03
exactly your age."
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์ •ํ™•ํ•˜๊ฒŒ ๋‹น์‹  ๋‚˜์ด."
17:05
That is a deeply profound cartoon.
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์ด๊ฒƒ์€ ๋งค์šฐ ์‹ฌ์˜คํ•œ ๋งŒํ™”์ž…๋‹ˆ๋‹ค.
17:09
And so The New Yorker is also trying to, in some way,
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๋‰ด์š”์ปค๋Š” ๋˜ํ•œ ์–ด๋–ค ๋ฉด์—์„œ๋Š”
17:13
make cartoons say something besides funny
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๋งŒํ™”๊ฐ€ ์›ƒ์Œ ์ด์ƒ์˜ ๋ฌด์–ธ๊ฐ€์™€
17:17
and something about us. Here's another one.
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์šฐ๋ฆฌ์— ๋Œ€ํ•œ ๋ฌด์–ธ๊ฐ€์— ๋Œ€ํ•ด ๋งํ•˜๋„๋ก ํ•˜๊ธฐ ์œ„ํ•ด ๋…ธ๋ ฅํ•˜๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
17:19
"I started my vegetarianism for health reasons,
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"์ฒ˜์Œ์—๋Š” ๊ฑด๊ฐ•์„ ์œ„ํ•ด์„œ ์ฑ„์‹์„ ์‹œ์ž‘ํ–ˆ๋Š”๋ฐ
17:21
Then it became a moral choice, and now it's just to annoy people."
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๊ทธ๋Ÿฌ๋‹ค ๊ทธ๊ฒŒ ๋„๋•์ ์ธ ์„ ํƒ์ด ๋˜์—ˆ๊ณ  ์ด์ œ๋Š” ๊ทธ๋ƒฅ ๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค ์งœ์ฆ๋‚˜๊ฒŒ ํ•˜๋ ค๊ณ  ํ•˜๋Š”๊ฑฐ์•ผ."
17:25
(Laughter)
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(์›ƒ์Œ)
17:30
"Excuse me โ€” I think there's something wrong with this
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"์‹ค๋ก€ํ•ฉ๋‹ˆ๋‹ค-์ œ ์ƒ๊ฐ์—๋Š” ์—ฌ๊ธฐ ์•„์ฃผ
17:33
in a tiny way that no one other than me would ever be able to pinpoint."
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์ž‘์€ ์ž˜๋ชป์ด ์žˆ๋Š” ๊ฒƒ ๊ฐ™์€๋ฐ์š”. ์ € ๋ง๊ณ  ๋‹ค๋ฅธ ์‚ฌ๋žŒ์€ ์ ˆ๋Œ€ ์ง€์ ํ•  ์ˆ˜๋„ ์—†์„ ๋ฌธ์ œ๋ง์ด์—์š”."
17:39
So it focuses on our obsessions, our narcissism,
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์ด๋Ÿฐ ๋งŒํ™”๋Š” ์šฐ๋ฆฌ์˜ ์ง‘์ฐฉ, ๋‚˜๋ฅด์‹œ์ฆ˜,
17:43
our foils and our foibles, really not someone else's.
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์šฐ๋ฆฌ์˜ ๋‹จ์ ๊ณผ ์•ฝ์ ๋“ค์— ์ด›์ ์„ ๋‘ก๋‹ˆ๋‹ค. ๋‹ค๋ฅธ ์‚ฌ๋žŒ์ด ์•„๋‹Œ ์šฐ๋ฆฌ ์ž์‹ ๋“ค์˜์š”.
17:47
The New Yorker demands
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๋‰ด์š”์ปค๋Š”
17:50
some cognitive work on your part,
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์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ ์ธ์‹์  ์ž‘์—…์„ ์š”๊ตฌํ•˜์ง€์š”.
17:53
and what it demands is what Arthur Koestler,
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๊ทธ ์š”๊ตฌ๋Š” ์•„์„œ ์ผ€์Šฌ๋Ÿฌ(Arthur Koestler)๊ฐ€
17:55
who wrote "The Act of Creation" about the relationship
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"์ฐฝ์กฐ์  ํ–‰์œ„(The Act of Creation)" ๋ผ๋Š” ์ €์„œ์—์„œ
17:58
between humor, art and science,
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์œ ๋จธ, ์˜ˆ์ˆ ๊ณผ ๊ณผํ•™์˜ ๊ด€๊ณ„์— ์žˆ์–ด
18:01
is what's called bisociation.
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์–‘์ž์กฐํ•ฉ(bisociation)์ด๋ผ๊ณ  ์นญํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
18:03
You have to bring together ideas from different frames of reference,
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์ด๋Ÿฐ ๋งŒํ™”๋ฅผ ์ดํ•ดํ•˜๊ธฐ ์œ„ํ•ด์„œ๋Š” ์—ฌ๋Ÿฌ๋ถ„์€ ์„œ๋กœ ๋‹ค๋ฅธ ์ฐธ๊ณ ์˜ ํ‹€์—์„œ ์˜จ
18:06
and you have to do it quickly to understand the cartoon.
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์•„์ด๋””์–ด๋“ค์„ ํ•œ๊ตฐ๋ฐ ๋ชจ์•„์•ผ ํ•˜๊ณ  ๋˜ ๊ทธ๊ฑธ ์žฌ๋น ๋ฅด๊ฒŒ ํ•ด์•ผ ํ•˜์ฃ .
18:09
If the different frames of reference don't come together
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์„œ๋กœ ๋‹ค๋ฅธ ์ฐธ๊ณ ์˜ ํ‹€์ด 0.5์ดˆ ๋‚ด์— ๋ชจ์ด์ง€ ์•Š์œผ๋ฉด
18:12
in about .5 seconds, it's not funny,
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๋งŒํ™”๋Š” ์žฌ๋ฏธ์žˆ์ง€ ์•Š๊ฒ ์ง€๋งŒ
18:14
but I think they will for you here.
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์ œ ์ƒ๊ฐ์— ์—ฌ๊ธฐ ์žˆ๋Š” ์—ฌ๋Ÿฌ๋ถ„๋“ค๊ป˜๋Š” ๊ทธ๊ฒƒ์ด ๊ฐ€๋Šฅํ•  ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
18:16
Different frames of reference.
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์„œ๋กœ ๋‹ค๋ฅธ ์ฐธ๊ณ ์˜ ํ‹€์ž…๋‹ˆ๋‹ค.
18:18
"You slept with her, didn't you?"
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"๋„ˆ ๊ทธ ์• ๋ž‘ ์žค์ง€, ์•„๋‹ˆ์•ผ?"
18:21
(Laughter)
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(์›ƒ์Œ)
18:26
"Lassie! Get help!!"
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"๋ž˜์”จ! ๋„์›€์„ ์š”์ฒญํ•ด!!"
18:28
(Laughter)
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(์›ƒ์Œ)
18:32
It's called French Army Knife.
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์ด๊ฒƒ์€ ํ”„๋ž‘์Šค ๊ตฐ๋Œ€ ์นผ์ด๋ผ๊ณ  ๋ถˆ๋ฆฝ๋‹ˆ๋‹ค.
18:35
(Laughter)
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(์›ƒ์Œ)
18:42
And this is Einstein in bed. "To you it was fast."
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์ด๊ฒƒ์€ ์ž ์ž๋ฆฌ์—์„œ์˜ ์•„์ธ์Šˆํƒ€์ธ์ž…๋‹ˆ๋‹ค. "๋‹น์‹ ์—๊ฒŒ๋Š” ๋น ๋ฅธ ๊ฑฐ๊ฒ ์ง€."
18:44
(Laughter)
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(์›ƒ์Œ)
18:51
Now there are some cartoons that are puzzling.
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์ข€ ํ—ท๊ฐˆ๋ฆฌ๋Š” ๋งŒํ™”๋“ค๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
18:55
Like, this cartoon would puzzle many people.
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์ด ๋งŒํ™”์ฒ˜๋Ÿผ ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์„ ์•„๋ฆฌ์†กํ•˜๊ฒŒ ๋งŒ๋“œ๋Š” ๊ฒƒ๋„ ์žˆ์ฃ .
18:59
How many people know what this cartoon means?
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์ด ๋งŒํ™”๊ฐ€ ์–ด๋–ค ๋œป์ธ์ง€ ์•„์‹œ๋Š” ๋ถ„์€ ๋ช‡์ด๋‚˜ ๊ณ„์‹ญ๋‹ˆ๊นŒ?
19:03
The dog is signaling he wants to go for a walk.
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๊ฐœ๊ฐ€ ์‚ฐ์ฑ…๊ฐ€๊ณ  ์‹ถ๋‹ค๊ณ  ํ‘œ์‹œ๋ฅผ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
19:07
This is the signal for a catcher to walk the dog.
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์ด๊ฒƒ์€ ๊ฐœ๋ฅผ ์‚ฐ์ฑ…์‹œํ‚ค๋ผ๋Š” ํˆฌ์ˆ˜์˜ ํ‘œ์‹œ์ž…๋‹ˆ๋‹ค.
19:13
That's why we run a feature in the cartoon issue every year
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์ด๊ฒƒ์ด ์šฐ๋ฆฌ๊ฐ€ ๋งค๋…„ ๋งŒํ™” ํŠน์ง‘ํ˜ธ์—
19:16
called "I Don't Get It: The New Yorker Cartoon I.Q. Test."
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"๋‚œ ๋ชจ๋ฅด๊ฒ ๋‹ค: ๋‰ด์š”์ปค ๋งŒํ™” I.Q. ํ…Œ์ŠคํŠธ" ๋ผ๋Š” ๋ถ€๋ถ„์„ ์‹ฃ๋Š” ์ด์œ ์ž…๋‹ˆ๋‹ค.
19:19
(Laughter)
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(์›ƒ์Œ)
19:21
The other thing The New Yorker plays around with
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๋‰ด์š”์ปค๊ฐ€ ๋‹ค๋ฃจ๋Š” ๋˜ ํ•˜๋‚˜๋Š”
19:23
is incongruity, and incongruity, I've shown you,
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๋ถ€์กฐํ™”์ธ๋ฐ, ์ œ๊ฐ€ ๋ณด์—ฌ๋“œ๋ ธ๋‹ค์‹œํ”ผ, ๋ถ€์กฐํ™”๋Š”
19:25
is sort of the basis of humor.
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์œ ๋จธ์˜ ๊ธฐ๋ณธ์ž…๋‹ˆ๋‹ค.
19:27
Something that's completely normal or logical isn't going to be funny.
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์™„์ „ํžˆ ์ •์ƒ์ ์ด๊ฑฐ๋‚˜ ๋…ผ๋ฆฌ์ ์ธ ๊ฒƒ์€ ์›ƒ๊ธฐ์ง€ ์•Š์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
19:30
But the way incongruity works is, observational humor
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ํ•˜์ง€๋งŒ ๋ถ€์กฐํ™”๊ฐ€ ์ž‘๋™ํ•˜๋Š” ๋ฐฉ์‹์€, ๊ด€์ฐฐ์  ์œ ๋จธ๋Š”
19:34
is humor within the realm of reality.
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ํ˜„์‹ค์˜ ์˜์—ญ์— ์†ํ•œ ์œ ๋จธ์ž…๋‹ˆ๋‹ค.
19:37
"My boss is always telling me what to do." Okay?
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"์šฐ๋ฆฌ ์ƒ์‚ฌ๋Š” ํ•ญ์ƒ ๋‚ด๊ฐ€ ๋ฌด์—‡์„ ํ•ด์•ผ ํ• ์ง€ ๋งํ•ด์ค˜." ๊ทธ๋ ‡์ฃ ?
19:42
That could happen. It's humor within the realm of reality.
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์ €๋Ÿฐ ๊ฒƒ๋„ ์žˆ์„ ์ˆ˜ ์žˆ์–ด์š”. ํ˜„์‹ค์˜ ์˜์—ญ์•ˆ์˜ ์œ ๋จธ์ž…๋‹ˆ๋‹ค.
19:45
Here, cowboy to a cow:
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์นด์šฐ๋ณด์ด๊ฐ€ ์†Œ์—๊ฒŒ ์ด๋ ‡๊ฒŒ ๋งํ•ฉ๋‹ˆ๋‹ค:
19:47
"Very impressive. I'd like to find 5,000 more like you."
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"๋Œ€๋‹จํ•˜์‹œ๊ตฐ์š”. ๋‹น์‹ ๊ฐ™์€ ๋ถ„์„ 5,000๋ช… ์ฐพ์•˜์œผ๋ฉด ํ•˜๋Š”๋ฐ์š”."
19:52
We understand that. It's absurd. But we're putting the two together.
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์šฐ๋ฆฌ๋Š” ์ €๊ฒƒ์„ ์ดํ•ดํ•ฉ๋‹ˆ๋‹ค. ์ด์ƒํ•˜์ง€๋งŒ, ์šฐ๋ฆฌ ๋จธ๋ฆฟ์†์—์„œ ์กฐํ•ฉํ•  ์ˆ˜๋Š” ์žˆ์ฃ .
19:55
Here, in the nonsense range:
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์ด๊ฑด ๋„Œ์„ผ์Šค ๋ฒ”์œ„์— ๋“ค์–ด๊ฐ‘๋‹ˆ๋‹ค:
19:59
"Damn it, Hopkins, didn't you get yesterday's memo?"
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"์  ์žฅ, ํ™‰ํ‚จ์Šค, ์–ด์ œ ๋‚ด ๋ฉ”๋ชจ ๋ชป ๋ดค์–ด?"
20:04
Now that's a little puzzling, right? It doesn't quite come together.
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์ข€ ์•„๋ฆฌ์†กํ•˜์ฃ ? ์ž˜ ์กฐํ•ฉ๋˜์ง€๊ฐ€ ์•Š์Šต๋‹ˆ๋‹ค.
20:08
In general, people who enjoy more nonsense,
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์ผ๋ฐ˜์ ์œผ๋กœ, ๋„Œ์„ผ์Šค๋ฅผ ๋”์šฑ ์ฆ๊ธฐ๋Š” ์‚ฌ๋žŒ๋“ค์€
20:11
enjoy more abstract art,
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์ถ”์ƒ ์˜ˆ์ˆ ์„ ๋”์šฑ ์ฆ๊ธฐ๋Š” ์‚ฌ๋žŒ๋“ค์ด๊ณ ,
20:13
they tend to be liberal, less conservative, that type of stuff.
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์ž์œ ๋ถ„๋ฐฉํ•˜๊ณ , ๋œ ๋ณด์ˆ˜์ ์ธ ๊ฒฝํ–ฅ์ด ์žˆ์ฃ .
20:16
But for us, and for me, helping design the humor,
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ํ•˜์ง€๋งŒ ์šฐ๋ฆฌ๋กœ์„œ๋Š”, ์ €๋กœ์„œ๋Š”, ์œ ๋จธ๋ฅผ ๋””์ž์ธํ•˜๋Š” ๊ฒƒ์„ ๋•๋Š” ์ž…์žฅ์—์„œ,
20:20
it doesn't make any sense to compare one to the other.
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์ด๋ฅผ ์„œ๋กœ ๋น„๊ตํ•˜๋Š” ๊ฒƒ์€ ๋ง์ด ์•ˆ๋ฉ๋‹ˆ๋‹ค.
20:22
It's sort of a smorgasbord that's made all interesting.
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๋ชจ๋“  ๊ฒƒ์„ ์žฌ๋ฏธ์žˆ๊ฒŒ ํ•˜๋Š” ๋ท”ํŽ˜์‹ ์‹์‚ฌ์™€ ๋งˆ์ฐฌ๊ฐ€์ง€์ด์ฃ .
20:27
So I want to sum all this up with a caption to a cartoon,
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์ด์ œ ๋ชจ๋“  ๊ฒƒ์„ ํ•œ ๋งŒํ™”์— ๋‹ฌ๋ฆฐ ์บก์…˜์œผ๋กœ ์š”์•ฝํ•ด ๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค.
20:31
and I think this sums up the whole thing, really,
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์ œ ์ƒ๊ฐ์—” ์ด๊ฒƒ์ด ์ •๋ง ๋‰ด์š”์ปค ๋งŒํ™”์˜
20:34
about The New Yorker cartoons.
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์ „๋ถ€๋ฅผ ์š”์•ฝํ•˜๋Š” ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
20:36
"It sort of makes you stop and think, doesn't it."
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"๋ฉˆ์ถฐ์„œ ์ƒ๊ฐํ•ด ๋ณด๊ฒŒ ๋งŒ๋“œ๋Š” ๊ฑฐ ๊ฐ™๋„ค, ๊ทธ๋ ‡์ง€ ์•Š์•„?"
20:39
(Laughter)
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(์›ƒ์Œ)
20:43
And now, when you look at New Yorker cartoons,
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์—ฌ๋Ÿฌ๋ถ„์ด ๋‰ด์š”์ปค ๋งŒํ™”๋ฅผ ๋ณด์‹ค ๋•Œ,
20:45
I'd like you to stop and think a little bit more about them.
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๋ฉˆ์ถฐ์„œ ๊ทธ๊ฒƒ์— ๋Œ€ํ•ด ์กฐ๊ธˆ๋งŒ ๋” ์ƒ๊ฐํ•ด ๋ณด์…จ์œผ๋ฉด ํ•ฉ๋‹ˆ๋‹ค.
20:47
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
20:48
(Applause)
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(๋ฐ•์ˆ˜)
20:52
Thank you. (Applause)
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค. (๋ฐ•์ˆ˜)
์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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