컴맹탈출과 영어정복

The idea of the Belly Button Rule was initially discovered in a study by W. T. James in the 1930s. Through a series of tests that had respondents identifying almost 350 different meanings for various poses from a series of photographs, James was able to determine that the direction of the torso plays a key role in determining a person's level of interest. James separated belly button directionality into four key groups: approach (interest), withdrawal (disinterest), expansion (heightened interest and confidence), and contraction (nervousness and slightly reduced interest). About thirty years later, Dr. Albert Mehrabian further refined James's studies, noting that belly button direction was the most important aspect of reading a person's intention. Numerous studies have appeared since that time, confirming that the Belly Button Rule is one of the most accurate ways of gauging a person's interest and intent. The direction our belly button faces reflects our attitude and reveals our emotional state. When we suddenly turn our belly button toward a door or  an exit or simply away from someone, we subconsciously send the signal that we want out of the conversation and perhaps even out of the interaction.

The idea of the Belly Button Rule(배꼼 법칙에 관한 생각은) was initially discovered in a study by W. T. James in the 1930s(1930년대  W. T. James가 연구하는 중 처음 발견되었다). Through a series of tests(계속된 실험에) that had respondents identifying almost 350 different meanings for various poses from a series of photographs(피 실험자들에게 연속된 사진으로 부터 다양한 위치를 갖는 거의 350개의 다른 의미 차이점을 확인해 보는), James was able to determine(James는 ~을 확인할 수 있었다) that the direction of the torso plays a key role(몸통의 방향이 결정적 역할을 한다) in determining a person's level of interest(한 사람의 흥미수준을 결정할 때). James separated belly button directionality into four key groups(James는 배꼼법칙 방향성을 4개의 주요 집단으로 분리했다): approach (interest), withdrawal (disinterest), expansion (heightened interest and confidence)(접근(흥미), 움추림(흥미없음), 확장(고조된 응미와 자신감)), and contraction (nervousness and slightly reduced interest)(그리고 수축(긴장감과 약간의 흠미감소)). About thirty years later(약 30년이 지나), Dr. Albert Mehrabian further refined James's studies(Albert Mehrabian박사는 James연구를 더 세밀하게 구분 지었다), noting that belly button direction was the most important aspect of reading a person's intention(belly button의 방향은 사람의 의도를 파악하는데 가장 중요한 요소였다). Numerous studies have appeared since that time(수 많은 연구가 그 이후로 계속 되었다), confirming that the Belly Button Rule is one of(배꼽규칙은 ~라 입증하면서) the most accurate ways of gauging a person's interest and intent(사람의 흥미와 의도를 측정하는데 가장 정교한 방법중 하나라고). The direction our belly button faces reflects our attitude(우리의 배꼼 위치하는 방향은 우리의 태도를 반영하고) and reveals our emotional state(우리의 감정의 상태를 보여준다). When we suddenly turn our belly button toward a door or  an exit or simply away from someone(우리가 갑짜기 우리의 배꼽을 문쪽으로 또는 출구쪽으로 방향을 바꾸거나  누군가와 단순히 떨어질 때), we subconsciously send the signal(우리는 무의식적으로 ~의 신호를 보낸다) that we want out of the conversation and perhaps even out of the interaction(우리는 그 대화에서 벗어나고 싶어하거나 아마 그 반응에서 벗어나고픈).

- ‡initial [iníʃəl] a. ① 처음의 ② 머리글자의 / series [sí-əriːz] n. (pl. ∼) ① 일련, 한 계열, 연속. ② 연속물[프로]; 연속 강의; 연속 시합 / respondent [rispɑ́ndənt] a. 대답[응답]하는; 감응하는 / ‡identify [aidéntəfài] v. ―vt. ① (본인·동일물임을) 확인하다; (사람의 성명·신원, 물건의 명칭·분류·소속 따위를) 인지[판정]하다 ② 『+목+전+명』 (┅와) 동일시하다, 동일한 것으로 간주하다(∼ A with B, ∼ A and B) / torso [tɔ́ːrsou] n.  (pl. ∼s, -si [-siː]) (인체의) 몸통(trunk) / ‡approach [əpróutʃ] n. ① U 가까워짐, 접근(of; to); 가까이함 ② (문제 따위의) 다루는 방법, 접근법, 해결 방법. / †withdrawal [wiðdrɔ́ː-əl, wiɵ-] n. U,C ① 움츠려들임 ② (예금·출자금 등의) 회수. ③ 철수 / ‡expansion [ikspǽnʃən] n. U,C ① 신장 ② 확장 / †contraction [kəntrǽkʃən] n. U ① 수축, 수렴 ② (말이나 글의) 단축 / †refine [rifáin] v. ―vt. ① 세련하다, 품위 있게 하다 / ‡aspect [ǽspekt] n. ① C,U 외관, (사람의) 얼굴 생김새(appearance). ② 정세(phase). [SYN.] ⇨ PHASE / ‡intention [inténʃən] n. ① 목적; 의도(of). [SYN.] ⇨ PURPOSE. / confirm [kənfə́ːrm] vt. ① 확실히 하다, 확증하다. ② 확인하다. / †gauge  vt.  (p., pp. ∼d; gauging) ① 측정하다; 평가[판단]하다. / ‡reflect [riflékt]v. ―vt. ① (빛·소리·열 따위를) 반사하다, 되튀기다. ② (비유) 반영하다, 나타내다. / ‡attitude [ǽtitjùːd] n. ① (사람·물건 등에 대한) 태도, 마음가짐. ② 자세(posture) / subconscious [sʌbkɑ́nʃəs / -kɔ́n-] a., n. U 잠재 의식(의) / interaction [ìntərǽkʃən] n. U,C 상호 작용[영향], 교호(交互) 작용;

In one classic experiment, divers learned lists of words in two environments, on dry land and underwater. They were later asked to recall the words in one of the two environments: either in the original environment in which the words were leaned or in the alternative environment. Lists learned underwater had higher recall underwater, and lists learned on dry land had higher recall on dry land. The experimenters later proved that this effect was one of context-dependent memory and not related to the disruption of moving environments. Some companies have used this effect to their advantage. In The Experience Economy, Pine and Gilmore quote the example of Standard Parking of Chicago, which had a parking garage at O'Hare Airport. To help customers remember on which floor they parked their car, they played a different signature tune at each level of the garage, and decorated the walls with the icons of different local sports franchises, so the Bulls were on one floor and the Blackhawks on another. They quote one local resident saying, 'You never forget where you parked!'

In one classic experiment(한 고전적인 실험에서), divers learned lists of words in two environment(다이버들은 두 서로 다른 환경에서 단어로 된 목록을 배웠다), on dry land and underwater(건조한 땅위에서와 수중에서). They were later asked to recall the words(그들은 그 터득한 단어들을 기억해 보라고 나중에 요청받았다) in one of the two environment(두 다른 환경 중 한 상황에서): either in the original environment(본래의 환경이나) in which the words were learned(단어들을 터득했던) or in the alternative environment(대안이 되는 다른 환경에서). Lists learned underwater(수중에서 터득한 목록들은) had higher recall underwater(수중에서 더 높은 기억을 발휘했다), and lists learned on dry land had higher recall on dry land(그리고 지상에서 터득한 목록들은 지상에서 더 높은 기억력을 발휘했다). The experiments later proved(그 실험은 차후 ~을 증명했다) that this effect was one of context-dependent memory(이런 효과는 배경에 근거한 기억력중 하나였다고) and not related to the disruption of moving environments(변화는 환경의 혼란과 관련이 없는). Some companies(일부 기업들은) have used this effect to their advantage(이런 효과를 자신들의 이점으로 이용하고 있다). In The Experience Economy(경험경제라는 것에서), Pine and Gilmore(파인과 길모어는) Pine and Gilmore(파인과 길모어는), which had a parking garage at O'Hare Airport(오헤어 공항에서 주차장이 있었던). To help customers remember on which floor they parked their car(고객들이 그들이 주차한 차가 몇 층에 있는지를 기억하는데 도움을 주기 위해), they played a different signature tune(그들은 다른 특징의 분위기를 연출했다) at each level of the garage(주차장의 각 층에), and decorated the walls with the icons of different local sports franchises(다른 지역의 스포츠 체인점의 상징마크를 벽에 그려 넣었다), so the Bulls were on one floor(황소는 일 층에) and the Blackhawks on another(블랙호크는 다른 층에 그렸다). They quote one local resident saying(그들은 지역 주민이 ~말하는 것을 인용한다), 'You never forget where you parked(당신의 주차한 곳을 잊을 일 없어요라고)!"

- ‡recall [rikɔ́ːl] vt. ① 『+목+전+명』 (일이 사람에게 의무감 등을) 상기시키다; (마음·주의를 현실 등으로) 되부르다(to) / alternative [ɔːltə́ːrnətiv, æl-] n. ① (보통 the ∼) (둘 중, 때로는 셋 이상에서) 하나를 택할 여지. ② 대안 ③ (pl.) (하나를) 선택해야 할 양자, 양자[삼자] 택일 / †context [kɑ́ntekst / kɔ́n-] n. (글의) 전후 관계, 문맥; (사건 등에 대한) 배경 / †disruption [disrʌ́pʃən] n. U 분열; (특히 국가·제도의) 붕괴, 방해; 환경 파괴(environmental ∼); / ‡effect [ifékt] n. ① C,U 결과(consequence). [SYN.] ⇨ RESULT. / ‡relate [riléit] v. ―vt. ① 관계시키다, 관련시켜서 설명하다(to; with). ② 『+목+전+명』 「수동태」 ┅와 이어져 있다(to).  ③ 이야기하다, 말하다. [SYN.] / ‡signature [sígnətʃəːr] n. ① 서명(하기). ② 징후 / ‡decorate [dékərèit] vt. ① 『∼ +목/ +목+전+명』 꾸미다, 장식하다(with). / ‡quote [kwout] v. ―vt. ① 『∼+목/ +목+전+명』 (남의 말·문장 따위를) 인용하다, 따다 쓰다.

Certain key position in your company may have revolving-door loyalty. Just when you have a treasured employee fully trained, he hits the road. If you see this pattern repeat itself, you may need to redesign the position. UPS found that when they redesigned their drivers' position so that it no longer included the thankless job of loading the trucks, they were able to dramatically increase the length of driver employment. UPS made a strategic decision. They determined that the drivers were the face of the company and that their customers didn't appreciate meeting a new driver every six months. Alternatively, the company figured that the loading jobs were lower-skilled and likely always to be high-turnover jobs. This didn't concern them, because the training period for the loading jobs were much shorter than for the driver jobs and the customer contact was minimal. Sometimes employee retention is just a matter of strategic thinking.

Certain key position in your company may have revolving-door loyalty(당신의 회사에서의 특정한 중요 직책은 자주 바뀌는 충성도를 갖고 있는 것 같다). Just when you have a treasured employee fully trained(당신의 중요한 직원을 완벽히 훈련시켰을 바로 그때), he hits the road(그는 직장을 떠난다). If you see this pattern repeat itself(당신이 이러한 추세가 반복됨을 안다면), you may need to redesign the position(당신은 그 직책에 수정을 가할 필요성을 느낄 것이다). UPS found that(UPS회사는 알아냈다) when they redesigned their drivers' position(그들이 자신들의 운전자들의 직책을 다시 수정했을 때) so that it no longer included the thankless job of loading the trucks(그것(운전 직책)이 더 이상 짐을 실는 달갑지 않은 일을 포함하지 않도록), they were able to dramatically increase the length of driver employment(그들은 운전자의 고용 기간을 상당히 연장할 수 있었다). UPS made a strategic decision(UPS는 전략적 결정을 내렸다). They determined(그들은 결정을 했다) that the drivers were the face of the company(운전자들은 회사의 이미지이고) and that their customers didn't appreciate meeting a new driver every six months(그들 고객들은 6개월 마다 새로운 운전자를 만난는 것을 달갑지 않는다는 것을). Alternatively(대안으로), the company figured(회사는 인식했다) that the loading jobs were lower-skilled(짐을 실는 일은 큰 기술을 요하지 않는다는 것과) and likely always to be high-turnover jobs(늘 이직률이 높다는 것을). This didn't concern them(이것은 큰 관심사는 아니었다), because the training period for the loading jobs were much shorter than for the driver jobs(왜냐하면 짐을 실는 훈련기간은 운전직업 보다 더 짧기 때문이고) and the customer contact was minimal(고객과의 만남의 시간은 길지 않기 때문에). Sometimes employee retention is just a matter of strategic thinking(때때로 직원유지는 단지 전략적인 사고의 문제이다).

- revolving-door loyalty 자주 바뀌는 충성도 / hit the road 직장을 떠난다 / †thankless [ɵǽŋklis] a. ① 감사하지 않는 / turnover [tə́ːrnòuvəːr] n. U,C ① TURN over 회전, 반전, 전복, 재편성. ② 반대쪽으로의 이동, 방향 전환 / retention [riténʃ-ən] n. U ① 보유, 보존; 보류; 유지. ② 기억력 /

Off in the distance General Longstreet picked up a conversation between two men. It was an argument. One man must have found out that the other had some sort of sympathy for the Union Army across the way. He became very angry and very violent, and he said bad things about the Union Army. The other man responded to his friend's comments by explaining that he was not siding with them, and that he would never side with them. He was only making a point that he had three cousins across the field, and he hoped that they were still alive and well. The angry man settled down, apologized, and told his friend that, after all, he and his cousins had chosen their sides of that fight, and that it would be God's way to decide which of them would be able to go home. The Union "sympathizer" held his head low. The other man came over to him, rubbed his head, and told the man, "I sure hope that you are the one going home."

Off in the distance(멀리 떨어져) General Longstreet picked up a conversation between two men(롱스트리트 장군은 두 남자의 얘기를 엿들었다.). It was an argument(그것은 말다툼이었다). One(한 남자는) man must have found out(알아차린게 분명했다) that the other had some sort of sympathy for the Union Army across the way(다른 남자는 길 건너편에 있는 연방(북부)군에게 약간의 동정심을 갖았다). He became very angry(그는 아주 화를 내며) and very violent(아주 폭력적이었다), and he said bad things about the Union Army(그리고 그는 연방군에 관해 험담을 했다). The other man responded to his friend's comments(다른 남자는 그의 친구의 말에 응수했다) by explaining that he was not siding with them(자신은 그들 편은 아니라 설명하면서), and that he would never side with them(그리고 그들 편이 되지도 않을 거라면서). He was only making a point(그는 단지 한가지의 요점을 말하고 있었다) that he had three cousins across the field(그는 전장에 세명의 조카가 있다), and he hoped that they were still alive and well(그는 그들이 아직 살아있고 무사하기를 바랬다). The angry man settled down, apologized(그 화를 낸 남자는 진정하며 사과했다), and told his friend(그리고 친구에게 말했다) that, after all(결국), he and his cousins had chosen their sides of that fight(그와 조카들은 그 전쟁하는 쪽을 선택했다고), and that it would be God's way(신만이 안다고) to decide which of them would be able to go home(그들중 누가 살아서 집으로 갈 것인지는). The Union "sympathizer" held his head low(연방군 동조자는 머리를 떨구었다). The other man came over to him(그 다른 남자는 그의 마음이 이해가되), rubbed his head, and told the man(그의 머리를 쓰다듬으로(미안해 하면서) 말하기를), "I sure hope that you are the one going home(너희들 모두가 살아서 집으로 갈길 바랄께)."

- ‡argument [ɑ́ːrgjəmənt] n. C ① U,C 논의, 논증; 논거; 논법(against; for; in favor of; with; on; over). ② (각본·소설 따위의) 줄거리. / ‡sympathy [símpəɵi] n. U ① U,C 동정, 헤아림; (종종 pl.) 조위(弔慰), [opp] antipathy. / ‡violent [váiələnt] a. ① (자연 현상·사람의 행동·감정 따위가) 격렬한, 맹렬한. [SYN.] ⇨ WILD. ② 극단적인, 비상한, 폭력적인. / ‡apologize [əpɑ́lədʒàiz] vi. ① 『∼/ +전+명』 사죄하다, 사과하다. ② 변명[해명]하다. / ‡rub [rʌb] v. (-bb-)  ―vt. ① 『∼+목/ +목+부/ +목+전+명』 문지르다, 비비다; 마찰하다.

Our delusion that happiness comes from the things that we desire, and that therefore by desiring and acquiring more things we will become more happy, is a vicious circle. Because we desire something, we feel happy when we obtain it, and because we feel happy when we obtain it, we desire more of it. In this way our desires are always continuously increasing and multiplying. The raging fire of our desires can never be extinguished by the objects of our desire. The more we acquire those objects, the more intensely our desire for them and for other such objects will rage. Trying to extinguish the fire of our desires by fulfilling them is like trying to extinguish a fire by pouring petrol upon it. The objects of our desire are the fuel that keeps the fire of our desires burning. The only way we can extinguish this fire of our desires is by knowing the truth that all the happiness that we seem to derive from the objects of our desire do not actually come from those objects but only from within ourself.

Our delusion that happiness comes from the things that we desire(행복은 우리가 바라는 것으로 부터 온다는 것과 ~ 라는 망상은), and that therefore by desiring and acquiring more things(그리하여 더 많은 것을 바라고 얻는 것으로) we will become more happy(우리는 더욱 행복해질 것이다), is a vicious circle(잘못되게 반복된다). Because we desire something(우리는 무언가를 바라기 때문에), we feel happy when we obtain it(우리가 그것을 얻을 때 우린 행복을 느낀다), and because we feel happy when we obtain it(우리가 그것을 얻을 때 행복하기 때문에), we desire more of it(우린 더 많은 그것을 얻기를 바란다). In this way(이와같이) our desires are always continuously increasing and multiplying(우리의 욕망은 늘 계속 증가하며 배가 되고있다). The raging fire of our desires(우리의 욕망의 맹렬한 불꽃은) can never be extinguished by the objects of our desire(결코 우리의 욕망 목적에 의해 꺼질 수가 없다). The more we acquire those objects(우리가 더 많은 그러한 목적을 얻으면 얻을수록), the more intensely our desire for them and for other such objects will rage(그것들과 다른 그러한 것들을 위한 우리의 욕망은 더더욱 맹렬히 타오를 것이다). Trying to extinguish the fire of our desires by fulfilling them(그것들은 채우기 위해 우리의 욕망의 불꾳을 끄고자 노력하는 것은) is like trying to extinguish a fire by pouring petrol upon it(기름을 그 위에 붓고 불을 끄고자하는 것과 다를 봐 없다). The objects of our desire(우리의 욕망의 목표는) are the fuel that keeps the fire of our desires burning(우리의 욕망의 불꽃을 타오르게 하는 연료이다). The only way we can extinguish this fire of our desires(우리가 우리의 욕망의 이런 불꽃을 끌 수 있는 유일한 길은) is by knowing the truth that all the happiness that we seem to derive from the objects of our desire(우리가 우리의 욕망의 목표로 부터 오는 것 같다고 느끼는 모든 행복은  ~라는 진실을 아는 것 이다.) do not actually come from those objects (실제로 그러한 목표에서 오는 것이 아닌) but only from within ourself(단지 우리들 내면에서 온다는 것이).

- †delusion [dilúːʒən] n. ① U 미혹, 기만. ② U,C 망상. / ‡vicious [víʃəs] a. ① 사악한, 악덕한; 타락한. ② 악의 있는, 심술궂은. / raging [réidʒiŋ] a. 격노한; 거칠어지는, 쑤시고 아픈; 터무니없는. / ‡extinguish [ikstíŋgwiʃ] vt. ① (빛·불 따위를) 끄다; (화재를) 소화시키다, 진화하다. ② (희망·정열 따위를) 소멸시키다, 잃게 하다. / ‡object [ɑ́bdʒikt] n. ① 물건, 물체, 사물.  ② (동작·감정 등의) 대상.  ③ 목적, 목표(goal); 동기. [SYN.] ⇨ PURPOSE. /

If we attempt to specify the ways in which human beings are unique and different from other animal species, we must quickly conclude that most, if not all, differences are in degree, not in kind. That is, other animals may possess a particular trait similar to humans, but not to the same extent. For example, if we say that a distinctive characteristic of humankind is language, it is possible to point to communication among dolphins or the sign language learned by apes in certain experiments as simple and basic forms of the same behavior. Or, if we say that social organizations are a human trait, a parallel might be found in the behaviors of bees or ants. We have elaborate rituals connected with death, but elephants have been observed engaging in what might be called a burial ceremony. Music may even have its animal counterpart in whalesong or birdsong - to a degree. However, it is the degree of human involvement in such behaviors as language, social organizations, rituals, and music that separate us from other animals.

If we attempt to specify the ways(만일 우리가 그 방법들을 상세히 기술하고자 한다면) in which human beings are unique and different from other animal species(인간은 유일하고 다른 동물들과 다르다는 점에서), we must quickly conclude that most(우린 빨리 ~결론을 내야만 한다), if not all(전부는 아닐지 몰라도), differences are in degree, not in kind(대부분의 차이점은 본질적인 것이 아닌 정도의 차이이다). That is(다시 말해), other animals may possess a particular trait similar to humans(다른 동물들은 인간과 유사한 특별한 특징을 소유하고 있다), but not to the same extent(그러나 같은 정도는 아닌). For example(예를 들어), if we say that a distinctive characteristic of humankind is language(만일 우리가 인간의 뚜렷한 특징은 언어라 말한다면), it is possible to point to(~지적하는 것은 가능하다) communication among dolphins or the sign language learned by apes in certain experiments(특정한 실험에서 돌고래나 원숭이들이 터득한 신호언어들 사이세 의사소통하는 것을) as simple and basic forms of the same behavior(같은 행동의 단순하고 기본적인 형태로서). Or, if we say that social organizations are a human trait(만일 사회적 조직체는 인간의 특성이다라고 우리가 말한다면), a parallel might be found in the behaviors of bees or ants(꿀벌이나 개미의 행동에서도 동일한 것을 찾을 수 있다). We have elaborate rituals connected with death(우리는 죽음과 정교한 의식을 갖고 있다), but elephants have been observed engaging in what might be called a burial ceremony(그러나 코끼리들은 매장의식이라 불리는 것과 연관되어 관찰되어 왔다). Music may even have its animal counterpart in whalesong or birdsong(음악도 고래나 새들의 노래에서 동물의 같은 점을 갖게 된다) - to a degree(어느 정도). However, it is the degree of human involvement in such behaviors(그러나 ~과 같은 행동은 인간과 관련된 정도이다) as language, social organizations, rituals, and music that separate us from other animals(우리를 다른 동물 구별시키는 언어, 사회적인 조직체, 의식들 그리고 음악).

- †specify [spésəfài] vt. ① 일일이 이름을 들어 말하다 ② 상술하다 ③ 명세서에 기입하다. / in degree 정도의 / in kind 본질적인 / to the same extent 같은 정도 / ‡parallel [pǽrəlèl] n. ① 평행선[면], 평행물. ② 필적하는 것[사람] ③ 비교(comparison). / ‡elaborate [ilǽbərit] a. 공들인, 정교한. / †counterpart [káuntərpɑ̀ːrt] n. ① 짝의 한 쪽. 상대물[인], 대응물[자] / †involvement [invɑ́lvmənt / -vɔ́lv-] n. ① U 연루, 연좌(in). ② 포함. ③ C  어려움; (재정) 곤란.

It is sometimes (A)easy/difficult to get knocked off your target by the other party during a negotiation. It therefore pays to carry your goals with you and, if you feel yourself getting swept away, take a break and review them before going forward. The point is not to lose sight of your goals in the confusion of a actual negotiation. Barry Diller, the successful television executive and entrepreneur, learned his lesson the hard way when he got caught up in bidding for the rights to the first television showing of the movie The Poseidon Adventure in the early 1970s. Representing ABC, Diller ended up bidding $3.3 million - by far the highest amount ever paid for such a property at the time - and (B)losing/making money for his network. The reason Diller paid so much? He agreed to participate in the first open-bid auction for TV rights to a movie. In the frantic bidding that followed. he (C)forgot/remembered about his primary goal - making a profit - and got caught up in what one CBS executive who bid against him called the "fever" of winning a competition.

It is sometimes (A)easy/difficult(때때로 쉽다/어렵다) to get knocked off your target(당신의 목표가 중단되는 것은) by the other party during a negotiation(협상 중에 상대에 의해). It therefore pays to carry your goals with you(그러므로 그것이 당신의 목표를 진행하는데 어려움을 준다) and, if you feel yourself getting swept away(만일 당신이 이끌려 간다고 느낀다면), take a break and review them(잠시 멈춰서 그것(목표)들을 검토하라) before going forward(진척시키기 전에). The point is not to lose sight of your goals(그 핵심은 당신의 목표 잃는 것은 아니다) in the confusion of a actual negotiation(실제 협상의 혼돈 속에서). Barry Diller, the successful television executive and entrepreneur(성공한 텔레비젼 방송국의 중역이자 사업가인 바리 딜러는), learned his lesson the hard way(힘들게 자신의 교훈을 터득했다) when he got caught up in bidding for the rights(그가 ~권리 입찰에서 몰두했을 때) to the first television showing of the movie The Poseidon Adventure in the early 1970s(1970년대 초에 첫 텔레비젼에 방영될 영화인 'The Poseidon Adventure'). Representing ABC, Diller ended up bidding $3.3 million(ABC방송국을 대표하는 딜러는 결국 33억 달러 입찰로 끝을 냈다) - by far the highest amount ever paid for such a property at the time(지금까지 당시로서는 그러한 자산에 투자된 적이 없는 가장 높은 액수) - and (B)losing/making money for his network(자신의 방송국의 돈을 잃게 되는/벌게 되는). The reason Diller paid so much?(딜러가 그러한 천문학적인 돈을 투자한 이유는?) He agreed to participate in the first open-bid auction for TV rights to a movie(그는 영화방영권을 위한 첫번째 공개 경매에 참여하기로 했다). In the frantic bidding that followed(뒤따르는 광적인 입찰 속에서). he (C)forgot/remembered about his primary goal(그는 자신의 일차적인 목표를 잃었다/기억했다) - making a profit(수익을 내는 것) - and got caught up(몰두했다) in what one CBS executive who bid against him called the "fever" of winning a competition(자신과 경쟁하는 한 CBS 방송국 임원이 경재에서 이기고자하는 열병이라 칭한).

- ♣knock off (―vt.) (1) 두드려 떨어버리다. (2) (구어) (일을) 그만하다, 중단하다. / pay to carry 수행하는 어려움을 격다. / ♣sweep away ⑴ 일소하다, 휩쓸어 가다. ⑵ 멀리 퍼지다. get swept away 이끌려 가다 / †frantic [frǽntik] a. 미친 듯 날뛰는, 광란의; 필사적인; / †bidding [bídiŋ] n. U 명령; 입찰; 입후보; 초대. / ‡primary [práimeri, -məri] a. ① 첫째의, 제1의, 수위의, 주요한. [cf.] secondary. ② 최초의, 처음의, 본래의. /

A basis of influence with special relevance to personal relationships and groups is referent power. This exists when we admire or identify with a person or group and want to be like them. In such cases, we may ①voluntarily copy their behavior or do what they ask because we want to become similar to them. In everyday life we may not think of ②identification as a type of influence, but it can be very effective. A young child who looks up to an older brother, tries to ③avoid his mannerisms, and adopts his interest is one illusion. A young man who drinks a particular brand of beer because he identifies with the "macho" image of the sportsmen promoting the product in TV commercials is also being ④influenced by referent power. Recently, Raven has discussed the possibility of "negative referent power," which occurs when we want to ⑤separate ourselves from a disliked or unappealing person or group. To avoid being identified with the unattractive other, we may deliberately avoid copying their behavior.                             * referent power 준거적 권력 ** macho남성적

A basis of influence(~영향력의 기본을) with special relevance to personal relationships and groups(개인적 관계와 집단과의 특별환 관계를 갖는) is referent power(준거적 권력이라 한다). This exists(이것은 발생한다) when we admire or identify with a person or group(우리가 어떠 사람이나 집단에 감동하거나 동일시하고) and want to be like them(그들과 같이 되고 싶어할 때). In such cases(그러한 경우에), we may ①voluntarily copy their behavior(우리는 그들의 행동을 자발적을 흉내 내거나) or do what they ask(그들이 요구하는 것을 할 것 같다) because we want to become similar to them(우리는 그들과 비슷하게 되기를 원하기 때문이다). In everyday life(일상에서) we may not think of ②identification(우리는 동일한 것을 생각지 않는다) as a type of influence(영향을 끼치는 형태로서), but it can be very effective(그러나 그것은 아주 효과를 끼친다). A young child who looks up to an older brother(자기의 형을 우러러보는 어린 동생은), tries to ③avoid his mannerisms(그의 버릇을 피하려고 한다), and adopts his interest is one illusion(그리하여 그의 관심은 한 환상이라는 것을 받아들인다). A young man who drinks a particular brand of beer(특별한 맥주 제품을 마시는 한 젊은이는) because he identifies with the "macho" image of the sportsmen(그가 ~ 운동선수의 강인한 이미지와 동일시하기 때문에) promoting the product in TV commercials(TV광고의 제품을 홍보하고 있는) is also being ④influenced by referent power(또한 준거적 권력에 의해 영향을 받고 있는 것이다). Recently(최근에), Raven has discussed the possibility of "negative referent power,"(레이번은 부정적인 준거적 권력의 가능성을 주장했다) which occurs(발생하는) when we want to ⑤separate ourselves from a disliked or unappealing person or group(우리가 우리 자신을 싫어하거나 협오하는 사람이나 집단으로 분리시키고 싶어할 때). To avoid being identified with the unattractive other(매력적이지 않은 다른 사람과의 동일시되는 것을 피하기 위해), we may deliberately avoid copying their behavior(우리는 그들의 행동을 모방하는 것을 고의적으로 피하는 것 같다).

* referent power 준거적 권력 ** macho남성적

- relevance, ─cy [réləvəns], [-si] n. U ① 관련; 적당, 적절(성). / ‡admire [ædmáiər, əd-] v. ① ┅에 감복[찬탄]하다, 칭찬하다, 사모하다. [SYN.] ⇨ REGARD. / ‡identify [aidéntəfài] v. ―vt. ① 『∼+목 / +목+as 보』 (본인·동일물임을) 확인하다; (사람의 성명·신원, 물건의 명칭·분류·소속 따위를) 인지[판정]하다; 동일한 것으로 간주하다(∼ A with B, ∼ A and B); (┅와) 제휴시키다; (┅에) 관계[공명]하게 하다(with); / mannerism [mǽnərìz-əm] n. 매너리즘(특히 문학·예술의 표현 수단이 틀에 박힌 것); 버릇(태도·언행 따위의). / ‡adopt [ədɑ́p] vt. ① 『∼+목 / +목+as 보 / +목+전+명』 양자[양녀]로 삼다 ② (의견·방침·조처 따위를) 채용[채택]하다, 골라잡다. / ‡illusion [ilúːʒən] U,C ① 환영(幻影), 환각. ② 〖심리학〗 착각; C 환상, 망상

Before developing invention designs, inventors likely first identify the intended function of the invention. When the inventor then generates initial invention designs, he often (A)constrains/disregards the form of the invention through implicit analogies to components of nature or existing products whose function matches or approximates that of the intended invention. For example, early airplane inventors frequently (B)imitated/eliminated the form of animals capable of flight, modeling their flying craft after albatrosses, bats, and various insects such as beetles. Similarly, architects have made structural innovations through analogies to our actions toward objects and to the forces, tensions, and interactions within our skeletomuscular system. Such analogies seem a (C)plausible/groundless basis for invention in the mechanical realm as well. For example, joysticks, such as those found on many video games, may well have evolved through an analogy to human ball-and-socket joints, such as the shoulder joint.                                    * skeletomuscular system 근․골격계 ** ball-and-socket joint 구관절

Before developing invention designs(발명 디자인을 개발하기 전), inventors likely first identify the intended function of the invention(발명가들은 그 발명품의 의도된 기능을 우선 확인하는 것 같다). When the inventor then generates initial invention designs(그리고 나서 그 발명가가 초기 발명 디자인을 만들 때), he often (A)constrains/disregards the form of the invention(그는 그 발명품의 형태를 종종 고집을 부린다/무시한다) through implicit analogies to components of nature or existing products(자연의 요소나 존재하는 제품의 ~ 암시적 유사성을 통해) whose function matches or approximates that of the intended invention(그 기능이 의도된 발명품의 것과 어울리거나 근접하는). For example(예를 들어), early airplane inventors frequently (B)imitated/eliminated the form of animals capable of flight(초기 비행기 발명가들은 비행 능력이 있는 동물의 형태를 종종 모방하였다/줄였다), modeling their flying craft after albatrosses, bats, and various insects such as beetles(신천옹, 박쥐 그리고 풍뎅이와 같은 다양한 곤충들을 닮은 그들의 비행체 설계했다). Similarly(이와 유사하게), architects have made structural innovations(건축가들은 구조적인 혁신을 이루웠다) through analogies to our actions toward objects(물체에 대한 우리의 행동과 유사하고) and to the forces, tensions, and interactions within our skeletomuscular system(우리의 근골격계 내에서 힘, 긴장 그리고 상호반응과 유한 것을 통하여). Such analogies seem a (C)plausible/groundless basis for invention(그러한 유사성은 발명을 위한 그럴듯한/근거없는 기초인 것 같다) in the mechanical realm as well(또한 기계적인 분야에서). For example(예를 들어), joysticks, such as those found on many video games(많은 비디오 게임에서 발견되어진 것과 같은 조이스틱은), may well have evolved(발전되어지고 있는 것 같다) through an analogy to human ball-and-socket joints, such as the shoulder joint(어깨관절과 같은 인간의 구관절과 유사한 것으로).

* skeletomuscular system 근․골격계 ** ball-and-socket joint구관절 

- ‡identify [aidéntəfài] v. ―vt. ① 『∼+목 / +목+as 보』 (본인·동일물임을) 확인하다; (사람의 성명·신원, 물건의 명칭·분류·소속 따위를) 인지[판정]하다; ┅의 신원을 밝히다; 감정하다. / ‡constrain [kənstréin] vt. ① 『∼ +목/ +목+to do』 강제하다, 강요하다, 무리하게 ┅시키다(to). / †implicit [implísit] a. ① 은연중의, 함축적인, 암시적인, 암묵의. [opp.] explicit. 내재[잠재]하는(potential)(in).  / ‡analogy [ənǽlədʒi] n. ① C,U 유사, 비슷함, 닮음(between; to; with). / †approximate [əprɑ́ksəmèit / -rɔ́k-] v. ―vi. 『+전+명』 (위치·성질·수량 등이) ┅에 가까워지다. ―vt. ① (수량 따위가) ┅에 가까워지다[가깝다]; ┅와 비슷하다. / ⁂model [mɑ́d]v. ―vt. ① 『∼+목/ +목+전+명』 ┅의 모양[모형]을 만들다; ② 설계하다. ③ ┅의 모형을 만들다. ④ (┅을) 따라 만들다, 본뜨다(after; on, upon)./ ‡imitate [ímitèit] vt. ① 모방하다, 흉내내다; 따르다, 본받다. ② 모조[위조]하다. / albatross [ǽlbətrɔ̀(ː)s / -trɑ̀s] n. 골칫거리, 걱정거리, 제약. / †tension [ténʃ-ən] n. U ① 팽팽함; 켕김, 긴장; 신장(伸長). ② (정신적인) 긴장, 흥분; 노력. / †plausible [plɔ́ːzəbəl] a. ① (이유·구실 따위가) 그럴듯한, 정말 같은. ② 그럴 듯한 말을 하는, 말 재주가 좋은. / ‡realm [relm] n. ① 범위, 영역; (학문의) 부문. / †evolve [ivɑ́lv / ivɔ́lv] v. ―vt. ① 발전시키다; 전개하다; 진화[발달]시키다.

The Massachusetts-based company Advanced Cell Technology is planning to clone certain dead creatures to bring them back to life. There's talk of trying to bring back the Tasmanian tiger, a wolflike animal that lost its last grip on survival in the 1930s. Even the prehistoric mammoth is being considered for a possible comeback. It's a fascinating scientific gimmick, a perfect example of doing something because we can. We should leave it at that. But we won't. There's excited talk of cloning and genetic engineering offering a marvelous boost to wildlife conservation, a high-tech solution to our tendency to drive plant and animal species to extinction. This is nonsense, for the cloning of endangered species completely contradicts the spirit and practice of conservation. Conservation isn't just about saving a particular species; it's about reducing our destructive impact on natural systems that are in increasing danger of being unable to sustain themselves.

The Massachusetts-based company Advanced Cell Technology(매사츄세츠에 본사를 둔 Advanced Cell Technology는 ) is planning to clone certain dead creatures(어떤 죽은 생명체를 복제할 계획이다) to bring them back to life(그들을 다시 살려내는). There's talk of trying to bring back the Tasmanian tiger, a wolflike animal(늑대와 같은 동물인 태스매니언 호랑이를 되 살리고자하는 노력의 이야기가 있다) that lost its last grip on survival in the 1930s(1930년대애 마지막 생존력을 잃어 버린(사라진)). Even the prehistoric mammoth is being considered for a possible comeback(선사시대 매머드 조차도 가능성 있는 복귀로 고려되어지고 있다). It's a fascinating scientific gimmick(그것은 호기심을 자극하는 과학적 비법이다), a perfect example of doing something because we can(우리가 할 수 있는 무언가를 하는 완벽한 예). We should leave it at that(우리른 그것을 지켜보아야만 한다). But we won't(그렇지는 않다). There's excited talk(과열된 이야기가 있다) of cloning and genetic engineering offering a marvelous boost to wildlife conservation(야생동물 보존 엄청안 후원을 하는 유전자복제와 유전자 공학에 관한), a high-tech solution to our tendency to drive plant and animal species to extinction(식물과 동물종들을 멸종으로 몰아 넣는 우리의 경향에 대한 고도의 기술). This is nonsense(이것은 쓸모없는 일이다), for the cloning of endangered species(왜냐하면 멸종위기의 종의 복제는) completely contradicts(완전한 모순이다) the spirit and practice of conservation(보존 정신과 관행에). Conservation isn't just about saving a particular species(보존이란 특별한 종을 단지 보존하는 것은 아니다); it's about reducing our destructive impact on natural systems(그것은 자연적 체계에 대한 우리의 파괴적인 충격을 줄이는 것이다) that are in increasing danger of being unable to sustain themselves(그들 스스로 유지할 수 없는 증가하는 위험에 처했을 때).

- clon(e) [kloun] vt., vi. 〖생물〗 무성 생식을 하다[시키다]; 꼭 닮게 만들다.♣lose one's grip 능력이[열의가] 없어지다, 통제력을 잃다. / gimmick [gímik] n. 「일반적」 장치, 고안; 새 고안물; 마약 주사를 위한 기구. ㉺gimmicky ―a. (구어) 속임수가 있는; 겉만 번드르르한. / ‡marvelous [mɑ́ːrv-ələs] a. ① 불가사의한, 이상한, 놀라운. [SYN.] ⇨ WONDER. ② 기적적인, 믿기 어려운(improbable). / offer A to B : A에게 B를 제공하다 / ‡tendency [téndənsi] n. ① 경향, 풍조, 추세(to; towards; to do). ② 성향(to; toward; to do). / †contradict [kɑ̀ntrədíkt / kɔ̀n-] v. ―vt. ① (진술·보도 따위를) 부정[부인]하다, 반박하다; ② ┅와 모순되다. / conservation [kɑ̀nsəːrvéiʃən / kɔ̀n-] n. U (자연·자원의) 보호, 관리; 보존, 유지. / impact [ímpækt] n. U,C 충돌(collusion); 충격, 영향(력)(on, upon; against). / sustain [səstéin] vt. ① (아래서) 떠받치다. ② 유지하다, 계속하다. ③ 부양하다, 양육하다, 기르다. ④ (손해 따위를) 받다, 입다.

At the Christmas season I'd expected a modest office party, dinners with Jack's clients, maybe a simple reception at Matt and Claire's, but none of those happened. Instead Jack brought home extravagantly wrapped presents and a tree that had to be topped in order to fit under the high ceiling of our living room. When I asked what he wanted me to fix for our holiday dinner, he said he'd arranged to have it catered - hors d'oeuvres, standing-rib roast, horseradish sauce, Yorkshire pudding, assorted vegetables, everything down to the plum pudding, which I had never imagined. And champagne and expensive wines, of course. He'd invited Matt and Claire, and selected appropriate presents for them. A design firm was coming to trim the tree. Meanwhile, I found myself rather discouraged by his preparation and mourning the loss of our previous simple Christmas in Los Angeles.

At the Christmas season(크리스마스 휴가 동안) I'd expected a modest office party(나는 검소한 사무실 파티를 기대했었다), dinners with Jack's clients(잭의 고개들과 저녁식사를 ), maybe a simple reception at Matt and Claire's(아마 Matt and Claire's에서의 간단한 만찬), but none of those happened(그러나 그러한 아무일도 일어나지 않았다). Instead Jack brought home extravagantly wrapped presents(대신 잭은 값비싼게 포장된 선물들 ~ 을 집으로 가져왔다) and a tree that had to be topped in order to fit under the high ceiling of our living room(우리의 거실에 높은 천장에 맞도록 가지를 쳐야만하는 나무와). When I asked what he wanted me to fix for our holiday dinner(내가 그에게 우리의 휴가 저녁 메뉴를 무엇으로 할까 물어봤을 때), he said he'd arranged to have it catered(그는 음식제공업체에 주문했다고 말했다) - hors d'oeuvres, standing-rib roast, horseradish sauce(hors d'oeuvres와 늘 나오는 갈비구이, 양고추냉이 소스), Yorkshire pudding(Yorkshire 푸딩), assorted vegetables(다채로운 야채들), everything down to the plum pudding(모든 것이 자두 푸팅에 아래 놓여), which I had never imagined(내가 상상해 본적이 없는). And champagne and expensive wines, of course(그리고 샴페인과 비싼 포도주도 물론). He'd invited Matt and Claire(그는 Matt와 Claire도 초대했었다), and selected appropriate presents for them(그리고 그들을 위한 적당한 선물도 선택했다). A design firm was coming to trim the tree(한 디자인 회사가 나무가지를 치기위해 올 예정이었다). Meanwhile(그러는 동안에), I found myself rather discouraged by his preparation(나는 그의 (거창한)준비에 오히려 낙심했다) and mourning the loss of our previous simple Christmas in Los Angeles(로스앤젤레스에서의 우리의 이전 소박한 크리스마스가 아닌것이 슬펐다).

- ‡modest [mɑ́dist / mɔ́d-]a. ① 겸손한, 얌전한, 온당한. / †extravagant [ikstrǽvəgənt] a. 돈을 함부로 쓰는, 낭비벽이 있는. / top (식물 따위의) 꼭대기를 자르다, 순을 치다. / cater [kéitər] v. ―vi. 『+전+명』 ① 음식물을 조달[장만]하다(for). ② 영합하다(to; for). / standing 고정된, 일시적이 아닌, 정해진(주문 따위); 일정한, 늘 나오는(요리) / ‡mourn [mɔːrn] v. ―vi. 『+전+명』 ① 슬퍼하다, 한탄하다(for; over). / horseradish [-́ræ̀diʃ] n. 식물〗 양고추냉이. / †assorted [əsɔ́ːrtid] a. 유별한, 여러 종류로 된, 다채로운, 조화를 이룬.

“The greatest room for music and opera in the world - bar none" was Frank Lloyd Wright's assessment of the Auditorium Theatre of Roosevelt University. Designed by Louis Sullivan and Dankmar Adler in 1886, the Auditorium remains one of the most acoustically perfect theatres of the era. Located inside the Auditorium Building with a hotel and restaurant, the Auditorium Theatre survived the decades partly because it would have been too expensive to demolish. A move to destroy it failed in 1923, but another setback came in 1929 when the Chicago Opera Company found a newer home. The theatre closed in 1941, then reopened as a recreation center for soldiers during World War II, with a bowling alley installed on the stage. Roosevelt College (later Roosevelt University) acquired the Auditorium Building in 1946 and used the hotel floors for classes and offices while the theatre stood empty. In the 1960s, Beatrice T. Spachner led a drive to restore the Auditorium Theatre. It reopened in 1967, yet restoration work continued for two decades.                * bar none : 단연코, 예외 없이

“The greatest room for music and opera in the world - bar none(단연코, 세계에서 음악과 오페라 공연을 위한 가장 큰 곳은)" was Frank Lloyd Wright's assessment of the Auditorium Theatre of Roosevelt University(프랭크 로이드 라이트가 평가한 루즈벨트 대학의 대강당이다). Designed by Louis Sullivan and Dankmar Adler in 1886(1886년에 루이스 설리번과 댄크마르 아드러에의해 설계된), the Auditorium remains one of the most acoustically perfect theatres of the era(그 시대의 가장 음향적으로 완벽한 공연장 중 하나로 남아 있다.). Located inside the Auditorium Building with a hotel and restaurant(그 공연장 내부에 호텔과 식당을 갖춘 ), the Auditorium Theatre survived the decades(그 공연장은 수 십변을 버텨왔다) partly because it would have been too expensive to demolish(철거하는데 드는 엄청한 비용 부분적인 이유인 것 같다). A move to destroy it failed in 1923(1923년에 철거할 움직임이 중단되었다), but another setback came in 1929(그러나 1929년 또다른 차질이 빗어졌다) when the Chicago Opera Company found a newer home(시카고 오페라 회사가 더욱 새로운 공연장을 찾았을 때). The theatre closed in 1941(그 공연장은 1941년에 폐쇄되었다), then reopened as a recreation center for soldiers during World War II(그리고 나서 2차 세계대전 당시 군인들을 위한 오락장소로 다시 문을 열었다), with a bowling alley installed on the stage(무대 위헤 설치대 볼링대를 포함하여). Roosevelt College (later Roosevelt University) acquired the Auditorium Building in 1946(루즈벨트 전문대학이(이후 루즈벨트 대학) 1946년에 그 공연장을 인수했고) and used the hotel floors for classes and offices(교실과 사무실로 그 호텔층을 사용했다) while the theatre stood empty(공연장은 여전히 비워둔 채로). In the 1960s, Beatrice T. Spachner led a drive to restore the Auditorium Theatre(1960년대에 비트리스  T. 스패츠너는 그 공연장을 복원하는 운동을 벌였다). It reopened in 1967(1967년에 다시 문을 열었다), yet restoration work continued for two decades(그러나 복원공사는 20년 동안 지속되었다).

* bar none : 단연코, 예외 없이

- †assessment [əsésmənt] n. U ① (과세를 위한) 사정, 평가; 부과; C 세액, 평가액, 사정액 / acoustic, -tical [əkúːstik], [-əl] a. 음향(학)상의. / †demolish [dimɑ́liʃ / -mɔ́l-] vt. ① 부수다, 폭파[분쇄]하다; (계획·제도·지론 따위를) 뒤엎다. / setback [sétbæ̀k] n. ① 방해; 좌절, 차질. ② 역류, 역수(逆水). / alley [ǽli] n. ① 【미국】 뒷골목(back-lane); (정원·숲 속 등의) 오솔길(shady walk) ⇨ ROAD

The Katsura Palace is located near the Katsura River, to the southwest of the imperial city of Kyoto in Japan. The palace and gardens provided a place for the Imperial family in the cultural ear of the late 16th century. The main palace is an open, timber-framed construction with simple tatami (rice-straw) matted rooms and elevated verandas from which to contemplate the changing seasons. The garden arbors and pavilions surrounding the main palace are approached from a sequence of carefully staged routes. The buildings have an understated simplicity, and the landscape has been subtly manipulated to blur the distinction between artificial and natural environments. Artificial objects, such as fences and paving stones, have been subjected to the forces of nature, such as weathering, while natural features have been clipped, aligned and polished to emphasize their eccentricity and "unnaturalness." The effect is discreet and fascinating, contributing to a heightened aesthetic awareness of the architecture and the landscape.                                                 * arbor 정자

The Katsura Palace is located near the Katsura River(카트수마 궁전은 카트수마 강 근처에 위치해 있다), to the southwest of the imperial city of Kyoto in Japan(일본 교토의 군국도시의 남서쪽 방향에). The palace and gardens provided a place for the Imperial family(그 궁전과 정원들은 제국 황실의 거쳐를 제공했다) in the cultural ear of the late 16th century(16세기 후반 문화시대에). The main palace is an open, timber-framed construction(그 궁전의 중심부는 개방된 통나무틀의 구조이다) with simple tatami (rice-straw) matted rooms(소박한 타태미(짚)으로 역은 돗자리가 있는 방과) and elevated verandas(그리고 베란다를 갖춘) from which to contemplate the changing seasons(그곳으로 부터 계절을 변화를 느낄 수 있도록). The garden arbors and pavilions surrounding the main palace(궁전 중시부를 둘러쌓고 있는 정원 정자와 누각은) are approached from a sequence of carefully staged routes(연속된 세심하게 계획된 오솔길로 부터 접근 가능하다). The buildings have an understated simplicity(그 건물은 겸손한 단숨함을 갖고 있고), and the landscape has been subtly manipulated(배경은 섬세하고 처리되었다) to blur the distinction between artificial and natural environments(인공적이고 자연적인 환경 차이를 줄이고자). Artificial objects, such as fences and paving stones(울타리와 보도와 같은 인위적인 물체들은), have been subjected to the forces of nature, such as weathering(풍화작용), while natural features have been clipped, aligned and polished(반면 자연적 특징은 다듬어지고 정렬되고 윤기가 흐리게 되어졌다) to emphasize their eccentricity and "unnaturalness."(그것들의 괴상함과 비자연적인 것을 강조하기 위해서) The effect is discreet and fascinating(그 효과는 은근하고 환상적이어서), contributing to a heightened aesthetic awareness of the architecture and the landscape(그 건축물과 배경의 고조된 심미안적인 인식에 기여하고 있다). * arbor 정자

- ‡imperial [impíəriəl] a. ① 제국(帝國)의 ② 황제(皇帝)[황후]의, 제위(帝位)의(sovereign), 지상(至上)의 (supreme). / ‡contemplate [kɑ́ntəmplèit] v. ―vt. ① 관찰하다. ② 심사 숙고하다 / ‡pavilion [pəvíljən] n. (공원·정원의) 누각, 정자; (본관에서 내단) 별관 / ‡stage [steidʒ] v. ―vt. ① 무대에 올리다, 상연하다. ③ (파업·정치 운동·군사 작전 등을) 계획하다, 해내다, 행하다. / ‡sequence [síːkwəns] n. ① U 연달아 일어남, 속발. ② U 연속, 계속. [SYN.] ⇨ SERIES. ③ U 전후 관련. / understate [ʌ̀ndərstéit] vt. 삼가서 말하다, (수 따위를) 적게 말하다. / †manipulate [mənípjəlèit]v. ―vt. ① (사람·여론 등을) (부정하게) 조종하다. ② (문제를) 솜씨있게 처리하다. / subtly 은은하게, 섬세하게 / †blur [bləːr] v.  (-rr-) ―vi. ① (눈·시력·시야·경치가) 희미해지다, 부예지다. / ⁂subject [səbdʒékt] vt. 『+목+전+명』 ① 복종[종속]시키다 (to). ② (좋지 않은 일을) 당하게[받게] 하다, 입히다(to) / ⁂weather [wéðəːr] v. ―vt. ① 비바람에 맞히다;. ② 「과거분사」 (외기에 쐬어) 풍화[탈색]시키다. / †eccentricity [èksentrísəti] n. U ① (복장·행동 따위의) 엉뚱함; C 기행(奇行), 기이한 버릇. / †discreet [diskríːt] a. 생각이 깊은; 신중한 [SYN.] ⇨ CAREFUL. /

The use of motion in movie composition can be positive. For example, movement along a definite line can tend to carry the audience's eye with it or even ahead of it, acting as a sort of _____________. Imagine a New England landscape nicely framed in foreground foliage, with a white ribbon of road curving across the picture and leading toward a village. Ordinarily, the white line of the road itself would probably be the strongest factor in the composition. But suppose we have a car driver along the road in the direction of the village. The movement will tend strongly to send the audience's eyes racing along the road ahead of the car to focus on the village, logically setting the mental stage for following scenes made in the village itself. This, by the way is true even if you only show the car moving along the road., without taking the time to have it completely cross the frame and reach the village in that one shot.

The use of motion in movie composition can be positive(영화구성에서 움직임 활용은 긍정적인 것 같다). For example(예들 들어), movement along a definite line(분명한 직선을 따른 이동은) can tend to carry the audience's eye with it(시청자의 눈이 그것에 따라가게 하거나) or even ahead of it(그것에 미리 앞서 가게 할 수있다), acting as a sort of(일종의 ~로서 ) _____________. Imagine a New England landscape nicely framed in foreground foliage(나뭇잎 전경의 멋진 영상의 뉴잉글랜드 풍경을 상상해 보아라), with a white ribbon of road(~ 도로의 흰색 리본 같은 길이 있는) curving across the picture and leading toward a village(그림을 가로지는 굴곡지고 마을로 뻗어 있는). Ordinarily(보통), the white line of the road itself(도로 그 자체의 흰색선은) would probably be the strongest factor in the composition(아마도 그 구성에서 가장 강력한 요소일 것이다). But suppose we have a car driver along the road in the direction of the village(그러나 우리가 마을 방향으로 나있는 도로를 따를 운전하는 운전자를 보고 있다고 가정해 보자). The movement will tend strongly to send the audience's eyes(그 움직임은 시청자의 시선을 ~하도록 강렬하게 보낼 것이다) racing along the road ahead of the car to focus on the village(마을에 초점을 맞추기 위해 그 자동차에 앞서 도로를 달리게), logically setting the mental stage for following scenes made in the village itself(마을 그 자체에 만들어진 다음 장면을 위한 정신적 무대를 논리적으로 설정한다). This, by the way is true(어쨋든 이것는 사실이다) even if you only show the car moving along the road(비록 당신이 도로를 따라 이동하는 자동차만 볼지라도), without taking the time(시간적 여유도 없이도) to have it completely cross the frame(그 자동차가 완전히 그 영상을 가로질러 가게 할 ) and reach the village in that one shot(그리고 그 한 화면에서의 마을에 도달할).

- ‡definite [défənit] a. ① (윤곽·한계가) 뚜렷한. ② (태도 따위가) 명확한. [opp] indefinite. / †foliage [fóuliidʒ] n. ① 「집합적」 잎; 잎의 무성함, 군엽(群葉). / ‡composition [kɑ̀mpəzíʃən / kɔ̀m-] n. ① U 구성, 성분. ② U (타고난) 기질, 성질, 배합(arrangement). / ⁂suppose [səpóuz] v. ―vt. ① 『∼+목/ +(that)절』 가정하다(assume), 상상하다. 생각하다. [SYN.] ⇨ THINK. / †logical [lɑ́dʒikəl / lɔ́dʒ-] a. 논리적인; (논리상) 필연의; 논리(학)상의; 분석적인 / ‡complete [kəmplíːt] a. ① 완전한, 완벽한; 흠잡을 데 없는, 완비된. ② 전부의, 전부 갖춘(with)

Physicians are too rarely aware of their patients' need for _____________, so they often don't know how to account for dramatic improvements in their patients' conditions. Recently, I received a letter from a doctor telling me that a woman with extensive breast cancer, whom we had both cared for, had returned to his office five months after he had sent her to a nursing home - and that he had "never seen her looking so well!" No further comment by the doctor was made. I told the medical student who was walking with me to call the woman and find out her story, because I was sure there would be one. The woman told the student that when she got to the nursing home, she found conditions there so unbearable and depressing that she led a revolution among the other "inmates" to insist that they receive better treatment. She spent time talking with the staff about the tenderness and love the patients needed, and she transformed the place. Then she felt so good that she went home and bought herself a new car!

Physicians are too rarely aware of their patients' need for _____________(내과의사들은 ~한 그들 환자의 필요성을 거의 인식하지 못하고 있다), so they often don't know how to account(그래서 그들은 ~관해 설명할 방법을 종종 모른다) for dramatic improvements in their patients' conditions(그들 환자들의 상태가 아주 호전되는 것). Recently(최근에), I received a letter from a doctor telling me(나는 나에게 ~것에 관한 얘기를 하는 한통의 편지를 받았다) that a woman with extensive breast cancer(몸전체로 전이된 유방암 여성 환자), whom we had both cared for(우리 둘다 치료한적 있는), had returned to his office(그의 사무실로 찾아온적이 있었다는) five months after he had sent her to a nursing home(그가 그녀를 요양원으로 보낸 후 5개월이 지나) - and that he had "never seen her looking so well!"(그리고 그는 그녀가 그렇게 회복되리라고는 기대한적이 없었다는) No further comment by the doctor was made(그 의사에 의한 더 이상의 자세한 설명은 없었다). I told the medical student who was walking with me(나는 나와 함께 걷고 있었던 의과학생에게 ~하라고 말했다) to call the woman and find out her story(그녀에게 전화를 해서 그녀의 상황을 알아보라고), because I was sure there would be one(나는 분명 무언가가 있을 것이라 확신했기 때문이다). The woman told the student(그 여자는 그 학생에게 ~라 말했다) that when she got to the nursing home(그녀가 요양원에 도착했을 때), she found conditions there so unbearable and depressing(그녀는 자사의 상태가 너무가 참을 수 없고 우울해서) that she led a revolution among the other "inmates" to insist(그녀는 다른 입원자들 사이에 ~을 주장하는 혁명을 이끌었다) that they receive better treatment(그들은 더 좋은 치료를 받아야만 한다는 것). She spent time talking with the staff about the tenderness and love the patients needed(그녀는 환자들이 필요한 애정과 사랑에 관해 직원들과 얘기를 나누며 시간을 보냈다), and she transformed the place(그리하여 그녀는 그곳을 바꾸워 놓았다). Then she felt so good that she went home and bought herself a new car(그리고 나서 그녀는 너무 호전이 된 기분이 들어 집으로 가 새차를 구입했다고)!

- too rarely 너무나 ~ 않는 / account for ~설명하다 / so unbearable and depressing that ..... : 너무 ~해서 .....한 / ‡improvement [imprúːvmənt] n. ① U,C 개량, 개선(in). ② C 개량한 곳, 개선점; 개량[개선]한 것. /  †unbearable [ʌnbɛ́ərəbəl] a. 참을 수 없는, 견딜 수 없는. / depressing [diprésiŋ] a. 침울한. / ‡revolution [rèvəlúːʃ-ən] n. ① C 혁명; 변혁; ② U,C 회전(운동), 1회전. / ‡insist [insíst] vi., vt. ∼+전+명 / +that절』 ① 우기다 (maintain), 단언하다; 역설[강조]하다(on, upon). ② 강요하다; 조르다(on, upon). / †inmate [ínmèit] n. ① (병원·교도소 따위의) 입원자, 재감자(在監者), 피수용자. / ‡transform [trænsfɔ́ːrm] vt. ―vt. 『∼+목/ +목+전+명』 ① (외형) 변형시키다(into).

As video became part of the day-to-day production and promotion of popular music during the 1980s, the initial response of many performers, fans and commentators was to argue that it was trivializing music. The construction of an image had become more important than the production of sound and the ability of the listener to imagine their own images had been colonized and replaced by the promotional mechanism of the industry. Many writers were quick to take issue with such an argument by pointing out that for centuries music ________________. Sean Cubitt and Jody Berland both argued that the sounds and visuals of musical performance had actually become temporarily separated with the introduction of the technologies of the gramophone, radio, photography and silent film. But even then the visual had not disappeared completely. As Andrew Goodwin has pointed out, the 'image' was signified in the surrounding texts of popular music, such as album sleeves, newspapers and magazine articles, publicity photographs and descriptions of performers given on radio and even by the stereo 'positioning' of instruments.

As video became part of the day-to-day production and promotion of popular music during the 1980s(비디오가 1980년대 동안 대중음악의 일상적 작곡과 홍보의 일부가 됨에 따라), the initial response of many performers, fans and commentators(많은 음악가들과 팬들 그리고 비평가들의 초기 반응은) was to argue that it was trivializing music(그것은 음악의 가치를 떨어 떨어트리고 있다고 주장하는 것이었다). The construction of an image(이미지의 제작이) had become more important than the production of sound and the ability of the listener(음악작곡과 청취자의 능력 보다 더 중요하게 되었다) to imagine(가정하면서) their own images had been colonized and replaced by the promotional mechanism of the industry(그들 자신들의 이미지는 기업의 홍보도구로 식민지가 되고 대체되었다고). Many writers were quick to take issue(많은 비평가들은 빠른게 문제를 이슈화했다) with such an argument by pointing out(~라 지적하는 그러한 논쟁으로) that for centuries music ________________(수 세기동안 음악은 ~이다). Sean Cubitt and Jody Berland both argued(신 큐비트와 죠디 버랜드는 둘다 ~을 주장했다) that the sounds and visuals of musical performance(음악적 연주의 소리와  영상은) had actually become temporarily separated(일시적인 단절이 실제로 되었다고) with the introduction of the technologies of the gramophone, radio, photography and silent film(축음기, 라디오, 사진 그리고 무성영화의 기술 도입과 더불어). But even then(그러나 그때 이후 조차도) the visual had not disappeared completely(그 음악적 시각적 효과(영상)은 완전히 사라진 적은 없었다). As Andrew Goodwin has pointed out(앤드류 구드윈이 지적한 봐와 같이), the 'image' was signified in the surrounding texts of popular music(그 음악적 이미지는 ~ 대중음악의 배경 가사들 속에서 나타났다), such as album sleeves, newspapers and magazine articles, publicity photographs and descriptions of performers(앨범 케이스, 신문 그리고 잡지기사, 음악가들의 광고 사진들과 설명과 같은) given on radio(라디오에서 제공되는) and even by the stereo 'positioning' of instruments(그리고 심지어 입체음양의 도구에 의해).

- trivialize [tríviəlàiz] vt. 하찮게 하다, 평범화하다. / colonize [kɑ́lənàiz] vt., vi. 식민지로 만들다; 식민시키다; 입식(入植)하다; 이식하다; / ‡gramophone [grǽməfòun] n. 축음기 / †signify [sígnəfài]v. ―vt. ① 의미하다,(mean). ② 『∼+목/ +that절』 표시하다; 나타내다(represent). ③ 알리다. / album sleeve 앨범 케이스 / ‡publicity [pʌblísəti] n. U ① 널리 알려짐. [opp.] privacy. ② 명성, 평판. /

For two reasons, there will be a modest return towards making goods which ______________. First, environmental considerations will put pressure on manufacturers to take back products at the end of their life. It is - and will continue to be - expensive to take a car, or a washing machine, to bits, and there will therefore be a market for products which have a long service life. Second, a combination of a relatively affluent population and concern about waste will create a market for products which are durable. This trend will be reinforced by the combination of low inflation and low interest rates, for that will remove the need to get the most rapid payback possible. Not only will there be a greater demand for quality, rather than quantity, but it will be economic to meet that demand - rather in the way that the best-built homes in Europe were built at the end of the nineteenth century, after a long period of stable prices.

For two reasons(두가지 이유로 인해), there will be a modest return(온건한 복귀가 있을 것이다) towards making goods which ______________(~한 제품을 생산하는 것에). First(첫째로), environmental considerations will put pressure on manufacturers(환경적인 고려는 제조업자들로 하여금 ~하도록 압력을 가할 것이다) to take back products at the end of their life(제품 수명이 다할 때 제품을 수거). It is - and will continue to be - expensive to take a car, or a washing machine, to bits(자동차나 세탁기를 분해하는 것은 비용이 많이 들고 계속해서 비용이 많이 들 것이다), and there will therefore be a market(그러므로 ~ 시장이 생겨날 것이다) for products which have a long service life(장기적인 서비스 수명을 갖는 제품을 위한). Second(두번째로), a combination of a relatively affluent population and concern about waste(쓰레기에 관한 비교적 풍부한 인구와 걱정의 결합은) will create a market for products which are durable(내구성이 강한 제품을 위한 시장을 만들 것이다). This trend will be reinforced by the combination of low inflation and low interest rates(이러한 경향은 낮은 물가와 낮은 이자율의 결합의해 강화될 것이다), for that will remove the need to get the most rapid payback possible(왜냐하면 그것은 가장 빠른 원금회수를 가능케하는 필요성을 제거할 것이기 때문이다). Not only will there be a greater demand for quality, rather than quantity(양보다는 질적인 더 큰 수요가 있을 뿐만 아니라), but it will be economic to meet that demand(그 수요를 충적시키는 것이 경제적이 될 것이다) - rather in the way(오히려 ~한 방식에서) that the best-built homes in Europe were built at the end of the nineteenth century(유럽에서 최고의 주택들이 19세기 말에 지어졌다), after a long period of stable prices(안정된 가격의 오랜 기간 후에).

- ‡modest [mɑ́dist / mɔ́d-]a. ① 겸손한, 조심성 있는, 삼가는. ② 정숙한 ③ 알맞은 ④ 간소한 / take A to bits : A를 분해하다 / payback [péibæ̀k] n., a. 환불(의); 원금 회수(의); 보복(의).

The mind sees its job as _________________ in order to bring about a better future. Its logic is that if we are happy now, we won't do anything to make things better. So it looks for what's wrong with the way things are so that it can figure out what to do to fix or improve things. This keeps the mind very busy and leaves us with an ongoing sense of incompleteness and lack. Because there is always something going on that could be labeled bad, there is always something to fix or improve upon. As a result, we have an ever-expanding to-do list in our minds. We may feel the need to improve our diet, our appearance, our finances, our health, our relationships, and our career. More immediately, we may feel the need to change how we feel wherever a strong feeling or sensation occurs.

The mind sees its job as _________________(마음은 직장을 ~로서 본다) in order to bring about a better future(너 좋은 미래을 가져오기 위해). Its logic is(이런 논리는 ~이다) that if we are happy now(만일 우리가 지금 행복하다면), we won't do anything to make things better(우린 무언가를 더 좋게 만들려 어떤 것도 하지 않을 것이다). So it looks for what's wrong with the way things are(그것은 어떤 것들이 있는 방식에 잘못이 무언지를 찾는 것이다) so that it can figure out what to do to fix or improve things(그것은 어떤 것들을 고치거나 개선하기 위해 무엇을 이해할 수 있는지를 위해). This keeps the mind very busy(이것은 마음을 아주 분주하게 하며) and leaves us with an ongoing sense of incompleteness and lack(우리에게 불완전함과 부족한 계속적인 느낌을 남겨 놓는다). Because there is always something going on that could be labeled bad(나쁘다고 명명될 수 있는 계속되는 뭔가가 늘 있기 때문에), there is always something to fix or improve upon(고치거나 개선할 무언가가 늘 있다). As a result(결과적으로), we have an ever-expanding to-do list in our minds(우리는 마음 속에 계속 확장되는 해야할 명단을 가지고 있다). We may feel the need to improve(우리는 ~을 개선할 필요성을 느끼는 것 같다) our diet, our appearance, our finances, our health, our relationships, and our career(우리이 식생활, 외모, 재정, 건강, 관계 또는 직업). More immediately(더욱 더), we may feel the need(우리는 ~ 필요성을 느끼는 것 같다) to change how we feel(우리가 느끼는 방법을 변화할) wherever a strong feeling or sensation occurs(강한 느낌이나 동요가 일어날 땐 늘).

- figure out 이해하다 / ‡label [léibəl] vt.  (-l-, 【영국】 -ll-) ① ┅에 레테르[딱지]를 붙이다. ② ┅에 명칭을 붙이다, 분류하다. / ‡sensation [senséiʃən] n. ① U 감각, 지각(知覺). [SYN.] ⇨ SENSE. ② U,C 감동, 흥분. ③ C 대사건.

On the screen, seeing an action and hearing its accompanying sounds adds little but a characteristic "realism" to the import of a scene. When the sound is easily recognizable, we do not have to see the action or object to know what produced the noise. The viewer mentally supplies the thing or kind of action associated with it. If, for example, a person hears a bell toll, he will associate its sound with a church, even though the church is not seen. If a barking dog is heard while a child is seen looking down at the ground, the viewer assumes that the child is starting down at the animal. Paul Rotha, the British film director and historian, noted this fact when he wrote that sound separated from its source "will not only become a symbol of that source, but also a symbol of what that source represents." This association of ideas has been used by filmmakers to good advantage to _________________. *import 의지, 취미

On the screen(화면상에서), seeing an action and hearing its accompanying sounds(행위를 보고 그 행위에 따르는 소리를 듣는 것은)  adds little but a characteristic "realism" to the import of a scene(단지 특징적 사실감을 한 장면 부가할 뿐이다). When the sound is easily recognizable(소리가 쉽게 인식될 때), we do not have to see the action or object(우리는 그 행위와 물체를 볼 필요가 없다) to know what produced the noise(그 소리를 만들어 낸 것을 알기 위해). The viewer mentally supplies the thing or kind of action associated with it(시청자는 그것(소음)과 연관된 행위의 물체나 종류를 정신적으로 제공한다(마음속에 상상한다)). If, for example, a person hears a bell toll(예를 들어, 만일 사람이 벨이 울리는 소리를 듣는다면), he will associate its sound with a church(그는 그 소리를 교회와 연관시킬 것이다), even though the church is not seen(비록 교회가 보이질 않터라도). If a barking dog is heard(개짖는 소리를 들은다면) while a child is seen looking down at the ground(한 아이가 땅을 내려다 보는 것으로 보이는 동안), the viewer assumes(시청자는 ~ 추측한다) that the child is starting down at the animal(그 아이가 그 동물이 있는 곳으로 내려가고 있다고). Paul Rotha, the British film director and historian, noted this fact(영국의 영화감독이자 역사학자인 폴 로타는 이런 사실을 직감했다) when he wrote(그가 대본을 썼을 때) that sound separated from its source(그 음원으로 부터 분리된 소리는) "will not only become a symbol of that source(그 음원의 상징일 뿐 아니라), but also a symbol of what that source represents(그 음원을 대표하는 상징이라고)." This association of ideas has been used(사고의 연상의 ~ 사용되어지고 있다) by filmmakers to good advantage to _________________(~의 좋은 잇점을 이용하기 위해서 영화제작자들에 의해). *import 의지, 취미

- accompanying [əkʌ́mpəniiŋ] a. 수반하는(징후 따위); 동봉[첨부]한 (편지 따위). / add A to B : A를 B에 더하다 / little but ~이외엔 거의 ... 않는 / ‡characteristic [kæ̀riktərístik] a. 특색을 이루는, 특질의, 독자적인. / realism [ríːəlìz-əm] n. ① 현실주의. / not have to ~할 필요가 없다 / †toll [toul] v. ―vt. ① (만종·조종 등을) 울리다(천천히 규칙적으로). ② (시계·종 따위를) 울려서 알리다[불러모으다]. ―vi. 종을 울리다; (종이) 느린 가락으로 울리다. / ‡association [əsòusiéiʃən, -ʃi-] n. U ① 연합, 관련,  제휴(with). ② 교제, 친밀(한 관계). ③ C 협회, 조합, ┅회. ④ (종종 pl.) 연상(聯想). /

It is much easier and much more effective to switch the standards of comparison. Win by comparing apples to orange and the _________________. If you are in a selling situation where there is head-on competition, even competitive bidding, this technique can still be used. Recently I was consulting with a manufacturing company in direct competitive bid warfare with a lower-price opponent. My client was losing bid after bid. I said, "Something has to change here." They said, "If we can't come in with the lower bid, we might as well come in with an even higher bid - but let's change the rules of the game when we do it." They began changing the specifications for the bids, adding value, bundling goods and services together, extending warranties, and including delivery and completion guarantees. Then we built a "How to Compare Our Bid with Others Checklist." When it was all said and done, my client started getting projects the company had been losing to low bidders before. * specifications 설명서

It is much easier and much more effective(더욱 더 쉽고 더욱 효과적이다) to switch the standards of comparison(비교표준을 바꾸는 것은). Win by comparing apples to orange and the _________________(사과를 오랜지로 바꾸는 것으로 이겨라). If you are in a selling situation(만일 당신이 판매상황에 놓여 있다면) where there is head-on competition, even competitive bidding(정면 대결, 심지어 경쟁입찰 상황에 있다면), this technique can still be used(이 기술은 여전히 사용될 수 있다). Recently I was consulting with a manufacturing company(최근에 나는 한 제조회사에 고문 역활을 하고 있었다) in direct competitive bid warfare with a lower-price opponent(저가 경쟁업체와의 직접적인 경쟁입찰에 대해). My client was losing bid after bid(나의 고객은 계속해서 입찰에 떨어지고 있었다). I said, "Something has to change here."(이 시점에서 무언가를 바꿔야한다고 말했다) They said, "If we can't come in with the lower bid(만일 우리가 더 낮은 입찰을 제시할 수 없다면), we might as well come in with an even higher bid(우리는 더욱 더 높은 입찰가를 제시하는 것이 당연하다라고 그들은 말했다) - but let's change the rules of the game(그러나 그 경쟁 입찰 규칙을 바꿔보자) when we do it(우리가 입찰을 할 때)." They began changing the specifications for the bids(그들은 입찰을 위한 설명서를 바꾸기 시작했다), adding value, bundling goods and services together(가격과 끼워주는 상품과 서비스를 함께 추가 시키며), extending warranties, and including delivery and completion guarantees(품질보증기간을 늘리고 배송과 완제품 보증서을 포함시켰다). Then we built a "How to Compare Our Bid with Others Checklist."(그때 우리는 우리의 입찰을 다른 대조표와 비교하는 방법을 만들었다) When it was all said and done(모든 것이 협의되어 끝났을 때), my client started getting projects(나의 고객은 프로젝트을 따내기 시작했다) the company had been losing to low bidders before(그 회사가 전에 너 낮은 입찰자들에게 지고 있었다는).

* specifications 설명서

- ‡switch [switʃ] n.  『+목+전+명』 (생각·화제 따위를) 바꾸다, 전환하다. / head-on [hédɑ́n / -ɔ́n] a. 정면의. / †bidding [bídiŋ] n. U 명령; 입찰, 초대. / ‡consult [kənsʌ́lt] v. ―vt. ① ┅의 의견을 듣다, ┅의 충고를 구하다; ┅의 진찰을 받다. ② (사전·서적 등을) 참고하다, 찾다, 보다. ―vi. ① 의논하다, 협의하다; (변호사 등에게) 조언을 구하다(with a person about a matter). ② (회사 등의) 고문[컨설턴트] 노릇을 하다(for). / ‡warfare [wɔ́ːrfɛ̀əːr] n. U 전투(행위), 교전(상태); 전쟁(war); 싸움. / come in with ~제안[제시]하다 / might[may] as well ~ 하는 것은 당연하다 / ‡extend [iksténd] v. ―vt. ① (손·발 따위를) 뻗다, 펴다. ② (선·거리·기간 따위를) 연장하다, 늘이다; 연기하다. / warranty [wɔ́(ː)rənti, wɑ́r-] n. C 〖법률〗 담보; 보증(서); 영장, 명령서; / completion guarantees 완제품 보증서 / chéck lìst 【미국】 대조표, 점검표; 선거인 명부. /

The idea of the Belly Button Rule was initially discovered in a study by ⒶW. T. James in the 1930s. Through a series of tests that had respondents identifying almost 350 different meanings for various poses from a series of photographs, James was able to determine that the direction of the torso plays a key role in determining a person's level of interest. James separated belly button directionality into four key groups: approach (interest), withdrawal (disinterest), expansion (heightened interest and confidence), and contraction (nervousness and slightly reduced interest). About thirty years later, ⒷDr. Albert Mehrabian further refined James's studies, noting that belly button direction was                          . Numerous studies have appeared since that time, confirming that the Belly Button Rule is one of the most accurate ways of gauging a person's interest and intent. The direction our belly button faces reflects our attitude and reveals our emotional state. When we suddenly turn our belly button toward a door or  an exit or simply away from someone, we subconsciously send the signal that we want out of the conversation and perhaps even out of the interaction.

The Belly Button Rule is     Ⓐ     to       Ⓑ       .

In one classic experiment, divers learned lists of words in two environments, on dry land and underwater. They were later asked to recall the words in one of the two environments: either in the ①original environment in which the words were leaned or in the ②alternative environment. Lists learned underwater had higher recall underwater, and lists learned on dry land had higher recall on dry land. The experimenters later proved that this effect was                                     and not related to the ③disruption of moving environments. Some companies have used this effect to their advantage. In The Experience Economy, Pine and Gilmore quote the example of Standard Parking of Chicago, which had a parking garage at O'Hare Airport. To help customers remember on which floor they parked their car, they played a ④same signature tune at each level of the garage, and decorated the walls with the icons of different local sports franchises, so the Bulls were on one floor and the Blackhawks on ⑤another. They quote one local resident saying, 'You never forget where you parked!'

The marks people have been    Ⓐ   with is one of the     Ⓑ    to improve their memory.

Certain key position in your company may have Ⓐrevolving-door loyalty. Just when you have a treasured employee fully trained, he hits the road. If you see this pattern repeat itself, you may need to redesign the position. UPS found that when they redesigned their drivers' position so that it no longer included the thankless job of loading the trucks, they were able to dramatically increase the length of driver employment. UPS made a strategic decision. They determined that the drivers were the face of the company and that their customers didn't appreciate meeting a new driver every six months.     Ⓑ       , the company figured that the loading jobs were lower-skilled and likely always to be high-turnover jobs. This didn't concern them, because the training period for the loading jobs were much shorter than for the driver jobs and the customer contact was minimal. Sometimes                           Ⓒ                             .

Off in the distance General Longstreet picked up a conversation between two men. It was an argument. One man must find/have found out that Ⓐthe other had some sort of sympathy for the Union Army across the way. He became very angry and very violent, and he said bad things about the Union Army. The other man responded/responded to his friend's comments by explaining that he was not siding with them, and that he would never side with them. He was only making a point that he had three cousins across the field, and he hoped that they were still alive and well. The angry man                     Ⓑ                 and told his friend that, after all, he and his cousins had chosen their sides of that fight, and that it would be God's way to decide which/whom of them would be able to go home. The Union "sympathizer" held his head low. The other man came over to him, rubbed his head, and told the man, "I sure hope that you are the one going home."

ⒶOur delusion that happiness comes from the things that we desire, and ①that therefore by desiring and acquiring more things we will become more happy, is a vicious circle. Because we desire something, we feel happy when we obtain it, and because we feel happy when we obtain it, we desire more of it. In this way our desires are always ②continuously increasing and multiplying. The raging fire of our desires can never be extinguished by the objects of our desire. The more we acquire those objects, the more intensely our desire for them and for other such objects will rage. ③Trying to extinguish the fire of our desires by fulfilling them is like trying to extinguish a fire by pouring petrol upon it. The objects of our desire are the fuel that keeps the fire of our desires ④burning. The only way we can extinguish this fire of our desires is by knowing the truth that all the happiness that we seem to derive from the objects of our desire ⑤do not actually come from those objects              Ⓑ              .

If we attempt to specify the ways ①in which human beings are unique and different from other animal species, we must quickly conclude that most, if not all, differences are           Ⓐ           . That is, other animals may possess a particular trait similar to humans, but not to the same extent.      Ⓑ     , if we say that a distinctive characteristic of humankind is language, it is possible to point to communication among dolphins or the sign language ②learned by apes in certain experiments as simple and basic forms of the same behavior. Or, if we say ③that social organizations are a human trait, a parallel might be found in the behaviors of bees or ants. We have elaborate rituals connected with death, but elephants have been ④observed engaging in what might be called a burial ceremony. Music may even have its animal counterpart in whalesong or birdsong - to a degree.     Ⓒ    , it is the degree of human involvement in such behaviors as language, social organizations, rituals, and music that ⑤separate us from other animals.

It is sometimes (A)easy/difficult to get knocked off your target by the ①other party during a negotiation. It therefore pays to carry your goals with you and,                                  , take a break and review them before going forward. The point is not to lose sight of your goals in the confusion of a actual negotiation. Barry Diller, the successful television executive and entrepreneur, learned his lesson the hard way when he got ②caught up in bidding for the rights to the first television showing of the movie The Poseidon Adventure in the early 1970s. Representing ABC, Diller ended up bidding $3.3 million - by far the highest amount ever ③payment for such a property at the time - and (B)losing/making money for his network. The reason Diller paid so much? He agreed to participate in the first open-bid auction for TV rights to a movie. In the frantic bidding that ④followed. he (C)forgot/remembered about his primary goal - making a profit - and got caught up in ⑤what one CBS executive who bid against him called the "fever" of winning a competition.

A basis of influence with special relevance to personal relationships and groups is Ⓐreferent power. This exists when we admire or identify with a person or group and want to be like them. In such cases, we may ①voluntarily copy their behavior or do what they ask                                                      . In everyday life we may not think of ②identification as a type of influence, but it can be very effective. A young child who looks up to an older brother, tries to ③avoid his mannerisms, and adopts his interest is one illusion. A young man who drinks a particular brand of beer because he identifies with the "macho" image of the sportsmen promoting the product in TV commercials is also being ④influenced by referent power. Recently, Raven has discussed the possibility of "negative referent power," which occurs when we want to ⑤separate ourselves from a disliked or unappealing person or group. To avoid being identified with the unattractive other, we may deliberately avoid copying their behavior.

Before developing invention designs, Ⓐinventors likely first identify the intended function of the invention. When the inventor then generates initial invention designs, he often (A)constrains/disregards the form of the invention through implicit analogies to components of nature or existing products whose function matches or approximates that of the intended invention. For example, early airplane inventors frequently (B)imitated/eliminated the form of animals capable of flight, modeling their flying craft after albatrosses, bats, and various insects such as beetles.   Ⓑ     , architects have made structural innovations through analogies to our actions toward objects and to the forces, tensions, and interactions within our skeletomuscular system. Such analogies seem a (C)plausible/groundless basis for invention in the mechanical realm as well.    Ⓒ     , joysticks, such as those found on many video games, may well have evolved through an analogy to human ball-and-socket joints, such as the shoulder joint.

* skeletomuscular system 근․골격계 ** ball-and-socket joint 구관절

The Massachusetts-based company Advanced Cell Technology is planning to clone certain dead creatures to bring them back to life. There's talk of trying to bring back the Tasmanian tiger, a wolflike animal that Ⓐlost its last grip on survival in the 1930s. Even the prehistoric mammoth is being considered for a possible comeback. It's a fascinating scientific gimmick, a perfect example of doing something because we can. We should leave it at that. But we won't. There's excited talk of cloning and genetic engineering offering a marvelous boost to wildlife conservation, a high-tech solution to our tendency to drive plant and animal species to extinction.                               Ⓑ               , for the cloning of endangered species completely contradicts the spirit and practice of conservation. Conservation isn't just about saving a particular species; it's about reducing our destructive impact on natural systems that are in increasing danger of being unable to sustain themselves.

At the Christmas season I'd expected a modest office party, dinners with Jack's clients, maybe a simple reception at Matt and Claire's, but none of those happened. Instead ⒶJack brought home extravagantly wrapped presents and a tree that had to be topped in order to fit under the high ceiling of our living room. When I asked what he wanted me to fix for our holiday dinner, he said he'd arranged to have it cater/catered - hors d'oeuvres, standing-rib roast, horseradish sauce, Yorkshire pudding, assorted/assorting vegetables, everything down to the plum pudding, which I had never imagined. And champagne and expensive wines, of course. He'd invited Matt and Claire, and selected appropriate presents for them. A design firm was coming to trim the tree. Meanwhile, I found myself rather discouraged/discouraging by his preparation and mourning the loss of our previous simple Christmas in Los Angeles.

“The greatest room for music and opera in the world - bar none" was Frank Lloyd Wright's assessment of the Auditorium Theatre of Roosevelt University. Designed by Louis Sullivan and Dankmar Adler in 1886, the Auditorium remains one of the most acoustical/acoustically ①perfect theatres of the era. Located/Locating inside the Auditorium Building with a hotel and restaurant, the Auditorium Theatre survived the decades ②partly because it have been /would have been too expensive to demolish. A move to destroy it failed in 1923, but                    in 1929 when the Chicago Opera Company found a ③newer home. The theatre closed in 1941, then reopened as a recreation center for soldiers during World War II, with a bowling alley installed on the stage. Roosevelt College (later Roosevelt University) ④sold the Auditorium Building in 1946 and used the hotel floors for classes and offices while the theatre stood empty. In the 1960s, Beatrice T. Spachner led a drive to restore the Auditorium Theatre. It reopened in 1967, yet restoration work ⑤continued for two decades.

* bar none : 단연코, 예외 없이

The Katsura Palace is located near the Katsura River, to the southwest of the imperial city of Kyoto in Japan. The palace and gardens provided a place for the Imperial family in the cultural ear of the late 16th century. The main palace is an open, timber-framed construction with simple tatami (rice-straw) matted rooms and elevated/elevates verandas from which/of which to contemplate the changing seasons. The garden arbors and pavilions surrounding the main palace are approached from a sequence of carefully staged routes. The buildings have an understated simplicity, and the landscape has been subtly manipulated to blur the distinction between artificial and natural environments. Artificial objects, such as fences and paving stones, have been subjected to the forces of nature, such as weathering, while natural features have been clipped, aligned and polished to emphasize their eccentricity and "unnaturalness." The effect is discreet and fascinating, contributed/contributing to a heightened aesthetic awareness of the architecture and the landscape.

* arbor 정자

The use of motion in movie composition can be positive. For example, movement along a ①definite line can tend to carry the audience's eye with it or even ②ahead of it, acting as a sort of ________________. Imagine a New England landscape nicely framed in foreground foliage, with a white ribbon of road curving across the picture and leading toward a village. Ordinarily, the white line of the road itself would probably be the ③strongest factor in the composition. But suppose we have a car driver along the road in the direction of the village. The movement will tend strongly to send the audience's eyes racing along the road ahead of the car to focus on the village, logically setting the ④practical stage for following scenes made in the village itself. ⒶThis, by the way is true even if you only show the car moving along the road., ⑤without taking the time to have it completely cross the frame and reach the village in that one shot.

Physicians are too quite/rarely aware of their patients' need for _____________, so they often don't know how to account for dramatic improvements in their patients' conditions. Recently, I received a letter from a doctor telling me that Ⓐa woman with extensive breast cancer, whom we had ①both cared for, had returned to his office five months after he had sent her to a nursing home - and that he had "never seen her ②looking so well!" No further comment by the doctor was made. I told the medical student who was walking with me to call the woman and find out her story, because I was sure there ③would be one/ones. The woman told the student that when she got to the nursing home, she found conditions there so unbearable and depressing/unbearably and depressingly that she led a revolution among the other "inmates" to insist that they ④received better treatment. She spent time talking with the staff about the tenderness and love the patients needed, and she transformed the place. Then she felt so ⑤good that she went home and bought herself a new car!

As video became part of the day-to-day production and promotion of popular music during the 1980s, the initial response of many performers, fans and commentators was to argue that it was trivializing music. ① The construction of an image had become more important than the production of sound and the ability of the listener to imagine their own images had been colonized and replaced by the promotional mechanism of the industry. ② Many writers were quick to take issue with such an argument by pointing out that for centuries music ________________. ③ Sean Cubitt and Jody Berland both argued that the sounds and visuals of musical performance had actually become temporarily separated with the introduction of the technologies of the gramophone, radio, photography and silent film. ④ As Andrew Goodwin has pointed out, the 'image' was signified in the surrounding texts of popular music, such as album sleeves, newspapers and magazine articles, publicity photographs and descriptions of performers given on radio and even by the stereo 'positioning' of instruments. ⑤

But even then the visual had not disappeared completely.

For two reasons, there will be a ①modest return towards making goods which ______________. First, environmental considerations will put pressure on manufacturers to take back products at the end of their life. It is - and will continue to be - ②inexpensive to take a car, or a washing machine, to bits, and there will therefore be a market for products which have a ③long service life. Second, a combination of a relatively affluent population and concern about waste will create a market for products which are ④durable. This trend will be reinforced by the combination of low inflation and low interest rates, for that will remove the need to get the most ⑤rapid payback possible. Not only will there be a greater demand for quality, rather than quantity, but it will be economic to meet that demand - rather in the way that the best-built homes in Europe were built at the end of the nineteenth century, after a long period of stable prices.

Manufacturers and consumers are all concerned about the __________.

The mind sees its job as _________________ in order to bring about a better future. Its logic is that if we are ①happy now, we won't do anything to make things better. So it looks for what's ②wrong with the way things are so that it can figure out what to do to fix or improve things. This keeps the mind very ③busy and leaves us with an ongoing sense of incompleteness and lack. Because there is always something going on that could be labeled ④good, there is always something to fix or improve upon.     Ⓐ    , we have an ever-expanding to-do list in our minds. We may feel the need to improve our diet, our appearance, our finances, our health, our relationships, and our career.      Ⓑ    , we may feel the need to change how we feel wherever a ⑤strong feeling or sensation occurs.

On the screen, seeing an action and hearing its accompanied/accompanying sounds adds little but a characteristic "realism" to the import of a scene. When the sound is easily recognizable, we do not have to see the action or object to know what produced the noise. The viewer mentally supplies the thing or kind of action associated/associating with it. If, for example, a person hears a bell toll, he will associate its sound with a church, even though the church is not seen. If a barked/barking dog is heard while a child is seen looking down at the ground, the viewer assumes that the child is starting down at the animal. ⒶPaul Rotha, the British film director and historian, noted this fact when he wrote that sound separated from its source "will not only become a symbol of that source, but also a symbol of what that source represents." This association of ideas has been used by filmmakers to good advantage to _________________.

*import 의지, 취미

It is much easier and much more effective to switch the standards of comparison. Win by comparing apples to orange and the _________________. If you are in a selling situation where there is head-on competition, even competitive bidding, this technique can still be used. Recently ⒶI was consulting with ①a manufacturing company in direct competitive bid warfare with a lower-price opponent. ②My client was losing bid after bid. I said, "Something has to change here." ③They said, "If we can't come in with the lower bid, we might as well come in with an even higher bid - but let's change the rules of the game when we do it." ④They began changing the specifications for the bids, adding value, bundling goods and services together, extending warranties, and including delivery and completion guarantees. Then we built a "How to Compare Our Bid with Others Checklist." When it was all said and done, my client started getting projects the company had been losing to ⑤low bidders before. * specifications 설명서