The idea of progress ¨î

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Nor does economic progress broadly defined correspond to human progress any more precisely than does scientific progress. GDP does not measure welfare and wealth does not equal happiness. Rich countries are, by and large, happier than poor ones but among developed-world countries, there is only a weak correlation between happiness and GDP. And, although wealth has been soaring over the past half a century, happiness, measured by national surveys, has hardly budged.
That is probably largely because of status-consciousness. It is good to go up in the world, but much less so if everyone around you is going up in it too. Once they have filled their bellies and put a roof over their heads, people want more of what Fred Hirsch, an economist who worked on this newspaper in the 1950s and 1960s, called "positional goods". Only one person can be the richest tycoon. Not everyone can own a Matisse or a flat in Mayfair. As wealth grows, the competition for such status symbols only becomes more intense.
And it is not just that material progress does not seem to be delivering the emotional goods. People also fear that mankind is failing to manage it properly-with the result that, in important ways, their children may not be better off than they are. The forests are disappearing the ice is melting social bonds are crumbling privacy is eroding life is becoming a dismal slog in an ugly world.

A. ¾îÈÖ
broadly ³Ð°Ô, ÃæºÐÈ÷, ±¤¹üÀ§ÇϰÔ. define ïÒì¡(Á¤ÀÇ)ÇÏ´Ù.
correspond to °°´Ù, ÇØ´çÇÏ´Ù, ´ëÀÀÇÏ´Ù. precisely Á¤È®ÇϰÔ.
measure ÃøÁ¤ÇÏ´Ù. equal µ¿µîÇÏ´Ù. correlation »ó°ü°ü°è.
soar Ä¡¼Ú´Ù, ³¯¾Æ¿À¸£´Ù. budge Á¶±Ý ¿òÁ÷ÀÌ´Ù.
status-consciousness ò¢êÈëòãÛ(ÁöÀ§ÀǽÄ). belly ¹è, ÜÙÝ»(º¹ºÎ).
tycoon °Å¹°, ÓÞÏÖ(´ë±º). Mayfair ¿µ±¹ ·±´øÀÇ °í±ÞÁÖÅÃÁö.
deliver ¹è´ÞÇÏ´Ù, ÀüÇÏ´Ù. bond ëªÓá(À¯´ë). crumble »ê»ê Á¶°¢³ª´Ù.
erode ħ½ÄÇÏ´Ù, Á»¸Ô´Ù, ¼­¼­È÷ ÆÄ±«µÇ´Ù. dismal À½»êÇÑ, ¾µ¾µÇÑ, ¹«¼­¿î.
slog ÍÈ÷ã(°íÅõ), ³­Å¸, ¾Ë¶ãÈ÷ Èû°ã°Ô ÇÏ´Â ÀÏ, Å͹÷Å͹÷ °È±â.

B. ±¸¹®
a Matisse : ¸¶Æ¼½ºÀÇ ÀÛǰ
cf. ºÎÁ¤°ü»ç + °íÀ¯¸í»ç¡æ°íÀ¯¸í»çÀÇ º¸Åë¸í»çÈ­
ex. a Ford Æ÷µå ÀÚµ¿Â÷, a Shakespeare ¼ÎÀͽºÇǾî ÀÛǰ.

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±×°ÍÀº ¾Æ¸¶µµ ò¢êÈëòãÛ¶§¹®ÀÏ °ÍÀÌ´Ù. »çȸÀû ÁöÀ§°¡ »ó½ÂÇÏ´Â °ÍÀº ±âºÐ ÁÁÀº °ÍÀÌÁö¸¸ ÀÚ±â ÁÖº¯ÀÇ ¸ðµç »ç¶÷µéÀÌ ´Ù °°ÀÌ »ó½ÂÇÏ¸é ±âºÐÀÌ ÈξÀ ´ú ±âºÐ ÁÁ°Ô µÈ´Ù. »ç¶÷À̶õ ÀÏ´Ü ¹è¸¦ ä¿ì°í ÁýÀ» °¡Áö°Ô µÇ¸é 1950³â´ë¿Í 1960³â´ë¿¡ Üâòµ(º»Áö)¿¡¼­ ±Ù¹«ÇÑ ÀûÀÌ ÀÖ´Â °æÁ¦Àü¹®°¡ Fred Hirsch°¡ ¸»ÇÑ ¡°À§Ä¡Àû »óǰ¡±À» ´õ ¿øÇÏ°Ô µÈ´Ù. ÇÑ »ç¶÷¸¸ÀÌ ÃÖ°íÀÇ ËÝÝ£(°ÅºÎ)°¡ µÉ ¼ö ÀÖ´Ù. ¸ðµç »ç¶÷ÀÌ MatisseÀÇ ±×¸²À̳ª MayfairÀÇ ¾ÆÆÄÆ®¸¦ ¼ÒÀ¯ÇÒ ¼ö´Â ¾ø´Ù. »ç¶÷µéÀÇ Àç»êÀÌ Áõ°¡ÇÔ¿¡ µû¶ó ÁöÀ§¸¦ »ó¡ÇÏ´Â »óǰ¿¡ ´ëÇÑ °æÀïÀº ´õ¿í´õ Ä¡¿­ÇÏ°Ô µÈ´Ù.
±×¸®°í ¹°ÁúÀû ¹ßÀüÀÌ °¨Á¤Àû »óǰ(ÁöÀ§¸¦ »ó¡ÇÏ´Â »óǰ)À» Àü´ÞÇØ ÁÖÁö ¾Ê´Â °Íó·³ º¸ÀϻӸ¸ ¾Æ´Ï¶ó »ç¶÷µéÀº ¶ÇÇÑ Àηù°¡ ¹°ÁúÀû ¹ßÀüÀ» Á¦´ë·Î °ü¸®ÇÏÁö ¸øÇؼ­ ±× °á°ú ±×µéÀÇ ÀڽĵéÀÌ ±×µéº¸´Ù ´õ Àß»ìÁö ¸øÇÏ°Ô µÉ °ÍÀ̶ó°í °ÆÁ¤ÇÑ´Ù. »ï¸²ÀÌ »ç¶óÁö°í ÀÖÀ¸¸ç, ºùÇÏ(¾óÀ½)´Â ³ì°í ÀÖ°í, »çȸÀû À¯´ë´Â »ê»ê Á¶°¢ÀÌ ³ª°í ÀÖÀ¸¸ç, ÇÁ¶óÀ̹ö½Ã´Â ħ½Ä´çÇϰí ÀÖ°í, »îÀº Ãß¾ÇÇÑ ¼¼°è¿¡¼­ ÇϳªÀÇ À½»êÇÑ ÍÈ÷ã(°íÅõ)°¡ µÇ°í Àֱ⠶§¹®ÀÌ´Ù.
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