쉐도잉 연습: The day you died (and didn't notice) - 영상으로 영어 말하기 배우기
레슨 만드는 중...
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I died when I was 22 years old.
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That was when I moved to Oxford and when I think back to my childhood, my upbringing and my family, I think that that was the moment that I died.
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Sometimes I even grieve the younger Johnny.
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I miss my house, my school and my dog called Lily.
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I miss my parents even though they are both still alive because that life is gone.
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That Johnny is dead.
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This is a view known as episodism and it goes back to the philosopher Galen Strawson and his work against narrativity.
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Episodism is when you have no sense
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that who you were in the past is the same as who you are right now.
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It is not saying that there is no self but rather that life is divided into a series of different selves.
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There is no connecting fibre between these selves and any narrative
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or story that we build that tries to do so will always be insufficient and artificial.
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Who you are now is a detailed, coherent and individual personality.
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Sure there will be bits and bobs that overlap such as your music preferences
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or even people who might be here today who were once there in the past.
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But the sense of now is defined by these essential and all-consuming elements or pillars.
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and when these pillars change your sense of self will change as well it will essentially cease to be
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and so then you are reincarnated as a new person for many the idea
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that they are a perpetually written story is a kind of comfort we're told by psychologists like oliver sacks
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that each of us constructs and lives a narrative and
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that narrative is then our identity but for the episodic person and that doesn't make any sense.
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The episodic sees their life in terms of these discrete blocks that overlap a bit, but they have no meaning overall.
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Strawson makes a distinction between a human being and a self.
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I know that I am the same biological entity that went skateboarding with Sam Leatt when I was nine years old.
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But as a self, the person talking to you now and having these thoughts in my head, I know I wasn't there.
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The writer Henry James once remarked that he thought his earlier masterpieces were written by somebody else entirely.
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And Marcel Proust wrote that we are a series of cells which die one after the other.
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I feel like a completely different person today as the person who went skateboarding with Sam Liat.
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So are you an episodic person or are you a narrative kind of thinker?
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Well, episodism is defined by three feelings or beliefs.
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Let's go through them and see if they relate to you.
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First, there is this lack of persistence.
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The episodic does not see themselves as something that was there in the past or will be there even in the future.
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For example, I'm well aware that I will one day be old, Greg, and I'll find it hard to get out of a chair.
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I'll look back at now and think, wow, so much has changed.
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Life has changed completely.
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And there are past episodes which feel the same.
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I feel completely disconnected to who I once was.
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Second, there is temporal displacement.
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While an episodic will possess certain factual from the inside memories, they do not feel that those memories apply to who you are now.
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So for example, I remember my grandparents' house.
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I remember playing an open presence and eating creamed corn.
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But that happened to a different person.
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That happened to childhood Johnny.
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When I think back to some of my best friends at school and university, I remember them fondly, but that wasn't me.
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It's not the same person who does mini philosophy right now.
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And then third, there is the present focus.
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The episodic is by definition more located in the now, and they identify more with their current values, their current thoughts, and their current environment.
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For example, I am defined by my children, I'm defined by my family, I'm defined by the village I live in now and the projects I'm doing right here.
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If none of this resonates at all then you are probably not an episodic person and according to Strawson the opposite kind,
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the narrative kind, is somebody called the diachronic.
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They will see their lives as a long-term continuous stretch and will often view the episodic life as chilling or even empty.
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They'll wonder how How can you have any sense of loyalty?
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How can you have any identity at all if you are just this collection of disconnected blobs?
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Strawson argues that in a lot of academia, in psychology and even medicine, the diachronic or the narrative view is the dominant one.
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It says that to be a full person you have to be narrative
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and this is what Strawson calls the psychological narrativity thesis, that we do live our lives as stories.
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But the problem is
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that this can then spill out into an ethical narrativity thesis where we say
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that we ought to live our lives as stories, and the episodic person is somehow a half person.
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Philosophers like Charles Taylor have argued
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that making sense of ourselves requires us to understand our lives as a kind of unfolding story.
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Some people go further and suggest that you only have a true identity by forming an autobiographical narrative.
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Without it you aren't developing fully as a person because they see a good life in terms of a quest.
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If anybody has ever sat through a self-help lecture talking about your journey
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or if you ever heard a friend talking about growth you will appreciate how dominant the diachronic narrative view really is.
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But is this actually how everybody works?
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Strawson argues that this narrative outlook is often a product of an intellectual fashion,
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and the misplaced confidence of people who generalise their own experience as being the recipe for the entire human race.
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But the diachronic view is not necessarily the case, nor has it always been the case.
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For example, the French philosopher Michel de Montaigne claimed
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that his memory was so poor that he could hardly find a trace of himself in the past, something that I can relate to as well.
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The Earl of Shaftesbury once said that he lived only for the now
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and he didn't care if he became 20 successive selves.
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Writers like Virginia Woolf felt their life existed in his brilliant and disjointed flashes rather than as a linear plot.
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For these people, the idea of a quest or a single unified narrative isn't a requirement for a good life.
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In fact, it's a gross hindrance to self-understanding at all.
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Strawson argues that this dominant narrativity thesis is a problem.
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It might even be dangerous.
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Because Strawson thinks that the more you try to turn your life into a good story, the more you are forced to engage in what he calls revision.
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Narrative people often become virtuoso novelists.
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They unconsciously delete, edit, and reorder their past to make it cohere.
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And as Nietzsche famously put it, I have done that, says my memory, but I cannot have done that, says my pride.
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Eventually memory surrenders to what you want it to say, you stop caring or focusing on the facts,
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and you spend your time engaging in a kind of cognitive bias that constructs a perfect and moral saintly self.
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For Strawson, revision takes two forms.
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First is the charged form, and this is when it is motivated by pride, by shame, or the need for self-love.
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is a kind of ego protection.
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And second there is the uncharged form, which is simply a kind of form-finding tendency that tries to fill in the gaps of an often faulty memory.
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In other words, we make up stories and even memories to bridge the part of ourselves that we cannot remember.
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Every time we retell our past, we shift further and further away from the facts.
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Recent neurophysiological research shows that the very act of conscious recall brings an alteration of the memory itself.
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The narrative person in their ham-fisted breaking
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and making reconstruction of their daily experiences is often drifting further and further away from the truth of their actual being.
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The episodic by contrast doesn't need a story to be moral or responsible or even necessarily coherent.
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Montaigne was famous for his deep loyalty and friendship despite claiming to have no memory of the past shared experiences.
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Friendship for the episodic is shown in how one is in the present.
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It's how you and I relate right now.
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So do you think your life is defined by episodes
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or do you think there is one long overarching narrative which connects who you are?
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Is the luxury or the habit of a life story actually a trap
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that keeps you from the beauty of being in the moment.
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이 레슨의 어휘와 말하기 포인트
이 C1 수준 말하기 레슨은 영상 “The day you died”을(를) 바탕으로 합니다. 가장 자주 반복되는 단어는 다음과 같습니다: narrative, episodic, Strawson, self, defined. 이 영상에는 섀도잉할 문장 102개와 단어 1508개가 있습니다. 말하는 구간의 길이는 8:42입니다. 화자는 분당 약 173단어로, 일상 대화에 가까운 자연스러운 속도로 말합니다. 영어에서 가장 많이 쓰이는 3,000단어에 속하는 단어가 80%뿐이라 어휘가 어려운 편입니다.
이 영상의 핵심 어휘
영상에서 가장 어려운 단어 15개를 발음, 뜻과 함께 정리했습니다.
| 단어 | 발음 | 뜻 |
|---|---|---|
| philosopher 명사 | /fəˈlɑsəfɚ/ | 철학자 |
| thesis 명사 | /ˈθisɪs/ | 테제, 논제 |
| skateboard 명사 | /ˈskeɪt.bɔɹd/ | 스케이트보드 |
| pillar 명사 | /ˈpɪlɚ/ | 기둥 |
| revision 명사 | /ɹəˈvɪʒ.ən/ | 복습 |
| grandparent 명사 | /ˈɡɹæn(d)pɛəɹənt/ | 조부모 |
| hindrance 명사 | /ˈhɪndɹəns/ | 방해 |
| thinker 명사 | /ˈθɪŋ.kɚ/ | 사상가 |
| unfold 동사 | /ʌnˈfoʊld/ | 펴다 |
| upbringing 명사 | /ˈʌpˌbrɪŋɪŋ/ | 교양 |
| virtuoso 명사 | /ˌvɝ.t͡ʃuˈoʊ.soʊ/ | 미술품 감정가 |
| academia 명사 | /ˌæk.əˈdi.mi.ə/ | 학계 |
| motivate 동사 | /ˈmoʊ.tɪ.veɪt/ | ...에 동기를 주다 |
| novelist 명사 | /ˈnɑvəlɪst/ | 소설가 |
| factual 형용사 | /ˈfæk.tʃ(u)əl/ | 사실(事實)의 |
이 영상의 문법
화자가 가장 많이 쓰는 문형을 영상 속 실제 표현과 함께 정리했습니다.
| 문형 | 영상 속 표현 |
|---|---|
| 수동태 be + 과거분사 — 누가 하는지보다 무슨 일이 일어나는지에 초점 | is divided · is defined · are reincarnated |
| 현재완료 have/has + 과거분사 — 과거의 일이 지금도 관련이 있을 때 | has changed · have argued · has ever sat |
| 관계절 who / which + 절 — 사람이나 사물에 대한 추가 정보 | people who might · person who went · person who does |
주의할 발음
화자는 I'm, doesn't, I'll 같은 축약형과 약화된 형태를 15번 사용합니다. 들리는 대로 짧게 발음하세요.
- “th” 소리: thesis /ˈθisɪs/, thinker /ˈθɪŋ.kɚ/, ethical /ˈɛθɪkəl/
- “sh”와 “zh” 소리: revision /ɹəˈvɪʒ.ən/, alteration /ɔl.tɚˈeɪ.ʃən/, unconsciously /ˌʌnˈkɑnʃəsli/, insufficient /ɪnsəˈfɪʃənt/, reconstruction /ˌɹiːkənˈstɹʌkʃən/
- 긴 단어 — 강세 위치에 주의: episodic /ˌɛp.ɪˈsɒd.ɪk/, diachronic /daɪ.əˈkɹɑnɪk/, philosopher /fəˈlɑsəfɚ/, alteration /ɔl.tɚˈeɪ.ʃən/, autobiographical /ˌɑtoʊˌbaɪəˈɡɹæfəkəl/
이 영상으로 연습하는 방법
- 먼저 말하지 않고 영상을 끝까지 듣고 모르는 단어를 적어 둡니다.
- 0.75배속으로 한 문장씩 섀도잉을 시작하고, 익숙해지면 보통 속도로 돌아갑니다.
- 자신의 목소리를 녹음해 원본과 비교하고, philosopher, thesis, skateboard 같은 단어에 특히 주의합니다.
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.