쉐도잉 연습: In 'The Emperor of Gladness,' Ocean Vuong explores chosen family and acts of kindness - YouTube로 영어 말하기 배우기

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He's a writer who draws deeply from personal experience to explore the wider story of working class life in America.
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He's a writer who draws deeply from personal experience to explore the wider story of working class life in America.
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In his latest novel, just released, Ushun Vuong blends grief, healing, and resilience into a powerful and poetic narrative.
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Senior arts correspondent Jeffrey Brown sits down with him for our arts and culture series, Canvas.
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There's just something connected to the brain with the way the hand moves.
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He writes by hand.
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OCEAN VONG, When you're writing by hand, every sentence takes about 10, 15 seconds longer.
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JEFFREY BROWN, Author, The Emperor of Gladness, Types drafts on a vintage typewriter.
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In an age of instant output, poet and novelist Ocean Vuong takes the long way in.
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His latest novel, The Emperor of Gladness, is a meditation on pain, unexpected acts of kindness, and a reckoning with the history that shaped him personally.
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OCEAN VONG, I have always been fixated on kindness without power.
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There's so many people in America who don't have the means to alter each other's lives,
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the communities that I grew up with, working-class, poor folks, who don't have money or positions or means to rescue each other.
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And yet I have watched people still commit themselves to kindness, even though they know it won't change anything.
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JEFFREY BROWN, An immigrant from Vietnam, Vuong, now 36, spent most of his childhood in a working-class community in Hartford, Connecticut,
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much like the one where he set his novel, a fictional New England town called Gladness, where his young protagonist, like Vuong himself, is shaped by a post-industrial landscape after the 2008 financial meltdown and the ongoing opioid crisis.
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VONG, I saw the opioid epidemic before it was this convenient term used by politicians.
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I saw lunch ladies overdose overnight, teachers, your friend's mom,
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everyday Americans who lost themselves to this drug so quickly as kind of this pharmaceutical slaughter, wherein they were so ashamed of it.
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JEFFREY BROWN, Ph.D.: Vuong also tapped into another aspect of Americana he himself experienced working in fast-food restaurants, for him part of the illusion of the American dream, one offering a different kind of family.
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MARGARET WARNER, The fast-food restaurant is all about deception.
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We truly didn't cook anything.
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We were one giant microwave.
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But we presented our food as if it was home-cooked.
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It was made by some grandmother in the back, like, you know.
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And so there was...
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JEFFREY BROWN, The myth of it.
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MARGARET WARNER, The fast food, but it was made by grandma in the back.
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MARGARET WARNER, It's like impossible, right?
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A lot of this country is founded on the nuclear family.
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And one alternative to that, you can say, is the found family, chosen family.
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But there's a huge sector I think I wanted to tap into, which is the circumstantial family, the family at work, the family cobbled arbitrarily together during a shift.
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And there's an intimacy and bond and kinship there that actually corrodes ideology.
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We all had different politics.
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We came from different parts of life.
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JEFFREY BROWN, The New York Times, The New York Times, The New York Times, The New York Times, Where we all come from and how we got here is a longtime obsession of Wong's, a subject of his poetry in two volumes, Night Sky with Exit Wounds and Time as a Mother, and an earlier novel On Earth We're Briefly Gorgeous.
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He's often tackling the feeling of being an outsider, queer, an immigrant, and, as he puts it, caught in tragic history, descended from an American grandfather who served in the Vietnam War and a Vietnamese
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BROWN, How much of that past history still lives on and kind of finds itself even into a story of your, of a young man living in Hartford, Connecticut?
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DR. HENRY HENRY, History doesn't leave us.
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I think history is something that we pass through.
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through, and it's almost like this web you pass through, like a spider's web.
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You pass through a spider's web, and it clings to you.
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I have been caught by history.
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I have also been made by history.
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I joke, and I say suffering is diverse in this one, many lineages of trouble.
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JEFFREY BROWN, But sometimes you bring it to the surface in different ways, right?
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Yes, because I think we don't get to choose how we get a life.
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And we don't get to choose whether we're victims or not.
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But we do get to choose whether we live in victimhood.
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And I think, for me, being a writer, creating stories is my way of saying I'm not marked by my history.
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But also, there is no solution to my history.
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There's no easy way to say that the Vietnam War cost millions of Vietnamese lives, thousands of American soldiers who did not want to fight in this war, drafted against their will.
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And yet I owe my life to such a black page in history.
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JEFFREY BROWN, A rich history and a literary voice that has resonated with students.
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He's a professor at NYU and with many readers, especially in this moment.
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While Vong didn't set out to become a public voice, he finds himself settling into that role.
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You are representing people, and you are speaking for people, whether you like it or not.
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VONG VONG, You are representing people, and you are speaking for people, whether you like it or not.
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VONG VONG, You are representing people, and you are speaking for people, whether you like it or not.
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VONG VONG VONG, You have to now put more care and concern into the words.
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And then I thought, oh, but that's what I've been doing anyway as a writer, care and concern.
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I mean, who wakes up and decides to maneuver one of the smallest, fragile mediums in our species as letters around the smallest, fragile forms of a poem?
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Who does that without care?
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is an act of care.
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JEFFREY BROWN, The desire underneath all this that brings everything together is a central question in my life,
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trying to understand why there is so much suffering in our life as people.
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And yet, why is there so much beauty?
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Why do we suffer so much?
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yet have the capacity to recognize with absolute mystery and wonder the beauty of the world, I don't know the answer, but I'm always writing towards that and figuring that out.
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JEFFREY BROWN, For the PBS NewsHour, I'm Jeffrey Brown in New York.
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Thank you.

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이 비디오로 말하기 연습을 해야 하는 이유는?

오션 부옹의 The Emperor of Gladness는 미국의 노동 계급 생활을 깊이 탐구한 작품으로, 개인적인 경험에서 우러나온 감정이 풍부하게 담겨 있습니다. 이 비디오는 그가 겪은 슬픔과 치유의 과정을 통해 인간의 본성과 친절의 의미에 대해 성찰하는 기회를 제공합니다. 비디오 속 인터뷰를 통해 영어 발음 교정 및 shadowspeak 기술을 연습함으로써 자연스러운 영어 말하기 실력을 향상시킬 수 있습니다. 말하기 연습을 할 때 실제 사람의 음성을 듣고 따라 하는 것은 자신감을 높이고 발음을 교정하는 데 매우 유용합니다.

문맥 속 문법 및 표현

  • “I have always been fixated on kindness without power.” - 이 문장은 'always'와 'without'의 사용이 중요한데, 지속성과 조건을 강조하는 역할을 합니다. 이러한 표현을 통해 고유한 생각을 정리하는 방법을 배울 수 있습니다.
  • “We don't get to choose how we get a life.” - 조건절을 활용하여 자신의 삶에 대한 수동적인 태도를 표현합니다. 'how'라는 연결어가 삶에 대한 깊은 통찰을 제공합니다.
  • “There is no solution to my history.” - 역사와 정체성을 반영하는 표현으로, 'there is no' 구문을 통해 소유하지 않음을 나타내는 기법을 배울 수 있습니다.

일반적인 발음 함정

비디오에서 오션 부옹의 억양과 발음은 독특합니다. 특히 'kindness', 'power', 'history'와 같은 단어는 모음이 길게 발음되므로 주의가 필요합니다. 이러한 단어들은 영어 발음 교정에서 자주 놓치는 부분이기 때문에, shadow speech 기법을 활용하여 반복 연습하면 도움이 됩니다. 특정 단어의 강세가 약해지는 경우도 있는데, 이때는 더 강하게 발음해 보세요. 사람들이 쉽고 빠르게 알아차릴 수 있도록 발음을 세심하게 조정하는 것이 중요합니다.

비디오를 보며 shadowspeaks 기법을 적용하고, 나만의 목소리를 찾아가는 과정에서 실력을 더욱 높일 수 있습니다.

쉐도잉이란? 영어 실력을 빠르게 키우는 과학적 방법

쉐도잉(Shadowing)은 원래 전문 통역사 훈련을 위해 개발된 언어 학습 기법으로, 다언어 학자인 Dr. Alexander Arguelles에 의해 대중화된 방법입니다. 핵심 원리는 간단하지만 매우 강력합니다: 원어민의 영어를 들으면서 1~2초의 짧은 지연으로 즉시 소리 내어 따라 말하는 것——마치 '그림자(shadow)'처럼 화자를 따라가는 것입니다. 문법 공부나 수동적인 청취와 달리, 쉐도잉은 뇌와 입 근육이 동시에 실시간으로 영어를 처리하고 재현하도록 훈련합니다. 연구에 따르면 이 방법은 발음 정확도, 억양, 리듬, 연음, 청취력, 말하기 유창성을 크게 향상시킵니다. IELTS 스피킹 준비와 자연스러운 영어 소통을 원하는 분들에게 특히 효과적입니다.

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