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17-1-89
¥°. Plot Overview
Winston Smith is a low-ranking member of the ruling Party in London, in the nation of Oceania. Everywhere Winston goes, even his own home, the Party watches him through telescreens; everywhere he looks he sees the face of the Party¡¯s seemingly omniscient leader, a figure known only as Big Brother. The Party controls everything in Oceania, even the people¡¯s history and language. Currently, the Party is forcing the implementation of an invented language called Newspeak, which attempts to prevent political rebellion by eliminating all words related to it. Even thinking rebellious thoughts is illegal. Such thoughtcrime is, in fact, the worst of all crimes.
As the novel opens, Winston feels frustrated by the oppression and rigid control of the Party, which prohibits free thought, sex, and any expression of individuality. Winston dislikes the party and has illegally purchased a diary in which to write his criminal thoughts. He has also become fixated on a powerful Party member named O¡¯Brien, whom Winston believes is a secret member of the Brotherhood—the mysterious, legendary group that works to overthrow the Party.
Winston works in the Ministry of Truth, where he alters historical records to fit the needs of the Party. He notices a coworker, a beautiful dark-haired girl, staring at him, and worries that she is an informant who will turn him in for his thoughtcrime. He is troubled by the Party¡¯s control of history: the Party claims that Oceania has always been allied with Eastasia in a war against Eurasia, but Winston seems to recall a time when this was not true. The Party also claims that Emmanuel Goldstein, the alleged leader of the Brotherhood, is the most dangerous man alive, but this does not seem plausible to Winston. Winston spends his evenings wandering through the poorest neighborhoods in London, where the proletarians, or proles, live squalid lives, relatively free of Party monitoring.
¥°. ÁٰŸ® °³¿ä
Winston SmithÀº OceaniaÏÐ(±¹)ÀÇ ·±´ø¿¡ ÀÖ´Â òûÏíÓÚ(Áý±Ç´ç)ÀÇ ÇÏ±Þ ´ç¿øÀÌ´Ù. WinstonÀÌ ¾îµð·Î °¡µç, ½ÉÁö¾î ÀÚ½ÅÀÇ Áý¿¡ °¡´õ¶óµµ ÓÚ(´ç)Àº ÅÚ·¹½ºÅ©¸°À» ÅëÇØ ±×¸¦ °¨½ÃÇÑ´Ù. ±×°¡ ¾îµð¸¦ º¸¾Æµµ Big Brother·Î¸¸ ¾Ë·ÁÁø Àι°ÀÎ, ¿Ü°ß»óÀ¸·Î´Â ÓÚÀÇ îïò±(ÀüÁö)ÀÇ ÁöµµÀÚ·Î ¾Ë·ÁÁø ÁöµµÀÚÀÇ ¾ó±¼À» º¸°Ô µÈ´Ù. Oceania¿¡¼´Â ÓÚÀÌ ¸ðµç °ÍÀ», ½ÉÁö¾î »ç¶÷µéÀÇ °³À請ç¿Í ¾ð¾î±îÁöµµ ÅëÁ¦ÇÑ´Ù. ÇöÀç ÓÚÀº Newspeak¶ó´Â ¹ß¸íµÈ ¾ð¾îÀÇ ½ÇÇàÀ» °ÇàÁßÀε¥, ÀÌ°ÍÀº Á¤Ä¡Àû ¹Ý¿ª°ú °ü·ÃµÈ ¸ðµç ´Ü¾î¸¦ Á¦°ÅÇÔÀ¸·Î½á Á¤Ä¡¹Ý¶õÀ» Á¦°ÅÇÏ·Á´Â ½ÃµµÀÌ´Ù. ½ÉÁö¾î ¹Ý¿ªÀûÀÎ »ý°¢À» ÇÏ´Â °Íµµ ºÒ¹ýÀÌ´Ù. ±×·± »ý°¢¹üÁË´Â »ç½Ç»ó ¸ðµç ¹üÁË Áß¿¡µµ ÃÖ¾ÇÀÇ ¹üÁËÀÌ´Ù.
¼Ò¼³ÀÌ ½ÃÀÛµÇ¸é¼ WinstonÀº ÓÚÀÇ ¾ÐÁ¦¿Í ¾ö°ÝÇÑ ÅëÁ¦ ¶§¹®¿¡ ÁÂÀý°¨À» ´À³¢°í Àִµ¥ ÓÚÀº ÀÚÀ¯·Î¿î »ý°¢°ú »ö½º¿Í °³¼º¿¡ ´ëÇÑ ¾î¶°ÇÑ Ç¥Çöµµ ±ÝÁöÇÏ°í Àֱ⠶§¹®ÀÌ´Ù. WinstonÀº ÓÚÀ» ½È¾îÇÏ°í ÀÚ½ÅÀÇ ¹üÁË»ý°¢À» ±â·ÏÇÒ ÀϱâÀåÀ» ºÒ¹ýÀûÀ¸·Î ±¸ÀÔÇÏ¿´´Ù. ±×´Â BrotherhoodÀÇ ºñ¹Ðȸ¿øÀ̶ó°í ¹Ï°í ÀÖ´Â, O¡¯BrienÀ̶ó´Â À̸§ÀÇ ±Ç¼¼ ÀÖ´Â ´ç¿ø°ú ¹ÐÂøµÇ¾î ÀÖ´Ù—Brotherhood´Â ÓÚÀ» Àüº¹½ÃÅ°±â À§ÇØ È°¾àÇÏ°í ÀÖ´Â ½Åºñ½º·´°í Àü¼³ÀûÀÎ Áý´ÜÀÌ´Ù.
WinstonÀº Áø¸®àý(¼º)¿¡¼ ±Ù¹«ÇÏ°í ÀÖÀ¸¸ç ±×´Â ±×°÷¿¡¼ ÓÚÀÇ ÇÊ¿ä¿¡ ¸ÂÃß±â À§ÇØ ¿ª»çÀû »ç½ÇÀ» º¯°æÇÏ´Â ÀÏÀ» ÇÏ°í ÀÖ´Ù. ±×´Â °ËÀº ¸Ó¸®Ä®ÀÇ ¾Æ¸§´Ù¿î ¿©¼º(girl)ÀÎ µ¿·áÁ÷¿øÀÌ ±×¸¦ ÀÀ½ÃÇÏ°í ÀÖ´Â °ÍÀ» ¸ñ°ÝÇÏ°í ±×³à°¡ ±×ÀÇ »ç»ó¹üÁË¿¡ ´ëÇؼ °æÂû¿¡ ½Å°í(turn in)ÇÒ Á¤º¸¿øÀÏ °ÍÀ̶ó°í °ÆÁ¤ÇÑ´Ù. ±×´Â ÓÚÀÇ ¿ª»çÅëÁ¦ ¶§¹®¿¡ ½É¶õÇÑ »óÅ¿¡ ÀÖ´Ù. ÓÚÀº Oceania´Â Eurasia¿ÍÀÇ ÀüÀï¿¡¼ Ç×»ó Eastasia¿Í µ¿¸ÍÇÏ°í ÀÖ´Ù°í ÁÖÀåÇÏÁö¸¸ WinstonÀº ÀÌ°ÍÀÌ »ç½ÇÀÌ ¾Æ´Ï¾ú´ø ¶§¸¦ ±â¾ïÇÏ°í ÀÖ´Â °Íó·³ º¸ÀδÙ. ÓÚÀº ¶Ç BrotherhoodÀÇ ÁöµµÀÚ¶ó°í ¸»ÇØÁö´Â(alleged) Emmanuel GoldsteinÀÌ ÇöÁ¸ÇÏ´Â(alive) °¡Àå À§ÇèÇÑ Àι°À̶ó°í ÁÖÀåÇÏÁö¸¸ Winston¿¡°Ô´Â ÀÌ°ÍÀÌ Á¤¸» °°Áö°¡ ¾Ê´Ù. WinstonÀº ÇÁ·Ñ·¹Å¸¸®¾Æ(¹«»ê°è±Þ)µéÀÌ ÓÚÀÇ °¨½Ã·ÎºÎÅÍ ºñ±³Àû ÀÚÀ¯·Ó°Ô ´©ÃßÇÑ »îÀ» »ì¾Æ°¡°í ÀÖ´Â ·±´øÀÇ °¡Àå °¡³ÇÑ ÀÌ¿ôµ¿³×µéÀ» µ¹¾Æ´Ù´Ï¸é¼ ¸ÅÀÏ Àú³áÀ» º¸³½´Ù.
17-2-90
One day, Winston receives a note from the dark-haired girl that reads ¡°I love you.¡± She tells him her name, Julia, and they begin a covert affair, always on the lookout for signs of Party monitoring. Eventually they rent a room above the secondhand store in the prole district where Winston bought the diary. This relationship lasts for some time. Winston is sure that they will be caught and punished sooner or later (the fatalistic Winston knows that he has been doomed since he wrote his first diary entry), while Julia is more pragmatic and optimistic. As Winston¡¯s affair with Julia progresses, his hatred for the Party grows more and more intense. At last, he receives the message that he has been waiting for: O¡¯Brien wants to see him.
Winston and Julia travel to O¡¯Brien¡¯s luxurious apartment. As a member of the powerful Inner Party (Winston belongs to the Outer Party), O¡¯Brien leads a life of luxury that Winston can only imagine. O¡¯Brien confirms to Winston and Julia that, like them, he hates the Party, and says that he works against it as a member of the Brotherhood. He indoctrinates Winston and Julia into the Brotherhood, and gives Winston a copy of Emmanuel Goldstein¡¯s book, the manifesto of the Brotherhood. Winston reads the book—an amalgam of several forms of class-based twentieth-century social theory—to Julia in the room above the store. Suddenly, soldiers barge in and seize them. Mr. Charrington, the proprietor of the store, is revealed as having been a member of the Thought Police all along.
¾î´À ³¯ WinstonÀº ¡°I love you.'¶ó°í ÀûÇôÀÖ´Â ÂÊÁö¸¦ °ËÀº¸Ó¸® ¿©¼ºÀ¸·ÎºÎÅÍ ¹Þ´Â´Ù. ±×³à´Â ±×¿¡°Ô ±×³àÀÇ À̸§ÀÌ Julia¶ó°í ¸»ÇÏ°í ±×µéÀº ÓÚÀÇ °¨½Ã¸ÁÀ» °æ°èÇÏ¸é¼ ºñ¹Ð ¿¬¾Ö¸¦ ½ÃÀÛÇÑ´Ù. ¸¶Ä§³» ±×µéÀº WinstonÀÌ ÀϱâÀåÀ» ±¸ÀÔÇÏ¿´´ø ³ëµ¿ÀÚ°ÅÁÖÁö¿ª¿¡ ÀÖ´Â ÇåÃ¥¹æ 2Ãþ¿¡ ¹æÀ» ¼¼³½´Ù. ÀÌ °ü°è´Â ¾ó¸¶µ¿¾È Áö¼ÓµÈ´Ù. Julia´Â º¸´Ù ´õ È°µ¿ÀûÀÌ°í ³«°üÀûÀÎ ¹Ý¸é¿¡ WinstonÀº ±×µéÀº Á¶¸¸°£¿¡ üÆ÷µÇ¾î ó¹úÀ» ¹ÞÀ» °ÍÀ̶ó°í È®½ÅÇÑ´Ù. (¼÷¸í·ÐÀÚÀÎ WinstonÀº ÀϱâÀå¿¡ óÀ½À¸·Î ±âÀÔÇÑ ÀÌÈÄ·Î ±×´Â üÆ÷µÉ ¿î¸íÀ̶ó´Â °ÍÀ» ¾Ë°í ÀÖ´Ù). Julia¿ÍÀÇ ¿¬¾Ö°¡ ÁøÇàµÇ´Â µ¿¾È ÓÚ¿¡ ´ëÇÑ WinstonÀÇ Áõ¿À´Â ´õ¿í ´õ °·ÄÇÏ°Ô Ä¿°¬´Ù. ¸¶Ä§³» ±×´Â ±×°¡ ±â´Ù¸®°í ÀÖ´ø ÆíÁö¸¦ ¹Þ¾Ò´Ù. O¡¯BrienÀÌ ±×¸¦ ¸¸³ª°í ½Í´Ù´Â °ÍÀ̾ú´Ù.
Winston°ú Julia´Â O¡¯BrienÀÇ È£È½º·¯¿î ¾ÆÆÄÆ®·Î ã¾Æ°£´Ù. ±Ç·ÂÀÌ °ÇÑ Áß¾Ó´ç(WinstonÀº ¿Ü°û´ç ¼Ò¼ÓÀÌ´Ù) ¿ä¿øÀÎ O¡¯Brien´Â WinstonÀÌ »ó»ó¿¡¼¸¸ °¡´ÉÇÑ È£È½º·± »ýÈ°À» ÇÏ°í ÀÖ´Ù. O¡¯BrienÀº Winston°ú Julia¿¡°Ô ±×µµ ±×µéó·³ ÓÚÀ» Áõ¿ÀÇÑ´Ù°í È®ÀÎÇÏ°í BrotherhoodÀÇ È¸¿øÀ¸·Î¼ ÚãÓÚ(¹Ý´ç)È°µ¿À» ÇÏ°í ÀÖ´Ù°í ¸»ÇÑ´Ù. ±×´Â Winston°ú Julia¿¡°Ô Brotherhood»ç»óÀ» ÁÖÀÔÇÏ°í BrotherhoodÀÇ ¼±¾ð¼ÀÎ Emmanuel GoldsteinÀÇ Àú¼ ÇѱÇÀ» Winston¿¡°Ô ÁØ´Ù. WinstonÀº ±× Ã¥À» ¡ª°è±Þ¿¡ ¹ÙÅÁÀ» µÐ ¿©·¯ Çü½ÄÀÇ 20¼¼±â »çȸÀ̷РȥÇÕü¡ªÃ¥¹æ 2Ãþ ¹æ¿¡¼ Julia¿¡°Ô Àоî ÁØ´Ù. °©Àڱ⠱ºÀεéÀÌ Ñêìý(³ÀÔ)ÇÏ¿© ±×µéÀ» üÆ÷ÇÑ´Ù. °¡°Ô ¼ÒÀ¯ÀÚÀÎ Mr. CharringtonÀº óÀ½ºÎÅÍ ³»³» »ç»ó°æÂûÀÇ ¿ä¿øÀ̾ú´ø °ÍÀ¸·Î ¹àÇôÁø´Ù.
17-3-91
Torn away from Julia and taken to a place called the Ministry of Love, Winston finds that O¡¯Brien, too, is a Party spy who simply pretended to be a member of the Brotherhood in order to trap Winston into committing an open act of rebellion against the Party. O¡¯Brien spends months torturing and brainwashing Winston, who struggles to resist. At last, O¡¯Brien sends him to the dreaded Room 101, the final destination for anyone who opposes the Party. Here, O¡¯Brien tells Winston that he will be forced to confront his worst fear. Throughout the novel, Winston has had recurring nightmares about rats; O¡¯Brien now straps a cage full of rats onto Winston¡¯s head and prepares to allow the rats to eat his face. Winston snaps, pleading with O¡¯Brien to do it to Julia, not to him.
Giving up Julia is what O¡¯Brien wanted from Winston all along. His spirit broken, Winston is released to the outside world. He meets Julia but no longer feels anything for her. He has accepted the Party entirely and has learned to love Big Brother.
Julia·ÎºÎÅÍ °Á¦·Î ¶³¾îÁ®¼(torn away) äñï×àý(¾ÖÁ¤¼º)À̶ó°í ºÒ¸®´Â °÷À¸·Î ²ø·Á¿Â WinstonÀº O¡¯Brienµµ, WinstonÀ» ÓÚ¿¡ ´ëÇؼ °ø°³Àû ¹Ý¶õÇàÀ§¸¦ ¹üÇϵµ·Ï À¯ÀÎ(trap)Çϱâ À§Çؼ, ´Ü¼øÈ÷ BrotherhoodÀÇ È¸¿øÀ¸·Î °¡ÀåÇÑ ÓÚ½ºÆÄÀ̶ó´Â °ÍÀ» ¾Ë°Ô µÈ´Ù. O¡¯BrienÀº WinstonÀ» °í¹®ÇÏ°í ¼¼³ú½ÃÅ°´Â µ¥ ¼ö°³¿ùÀ» º¸³»Áö¸¸ WinstonÀº ÀúÇ×Çϱâ À§ÇØ ÅõÀïÇÑ´Ù. O¡¯BrienÀº ±×¸¦ ÓÚ¿¡ ¹Ý´ëÇÏ´Â ¸ðµç »ç¶÷¿¡°Ô ¸¶Áö¸· Á¾ÂøÁöÀÎ °øÆ÷ÀÇ 101½Ç·Î º¸³½´Ù. O¡¯BrienÀº ¿©±â¿¡¼ WinstonÀº ÃÖ¾ÇÀÇ °øÆ÷¸¦ Á÷¸éÇØ¾ß ÇÒ °ÍÀ̶ó°í Winston¿¡°Ô ¸»ÇÑ´Ù. ¼Ò¼³ Àüü¸¦ ÅëÇؼ WinstonÀº ¹Ýº¹ÀûÀ¸·Î ³ªÅ¸³ª´Â Áã¿¡ ´ëÇÑ ¾Ç¸ùÀ» °¡Áö°Ô µÈ´Ù. O¡¯BrienÀº ÀÌÁ¦ WinstonÀÇ ¸Ó¸® ¹Ù·Î À§¿¡ Áã°¡ °¡µæ µé¾î ÀÖ´Â ÁãƲÀ» ²öÀ¸·Î ´Þ¾Æ ³õ°í(strap) ÁãµéÀÌ ±×ÀÇ ¾ó±¼À» ¶â¾î¸Ôµµ·Ï ÇÒ Áغñ¸¦ ÇÑ´Ù. WinstonÀº ±×°ÍÀ» Julia¿¡°Ô ½Ç½ÃÇÏ°í Àڱ⿡°Ô´Â ÇÏÁö ¸»¾Æ ´Þ¶ó°íO¡¯Brien¿¡°Ô °£Ã»ÇÏ¸é¼ ºñ¸íÀ» Áö¸¥´Ù.
Julia¸¦ Æ÷±âÇÏ´Â °ÍÀÌ O¡¯BrienÀÌ WinstonÀ¸·ÎºÎÅÍ Ã³À½ºÎÅÍ ³»³» ¹Ù¶ó´Â °ÍÀ̾ú´Ù. Á¤½ÅÀÌ ¸Á°¡Áø WinstonÀº ¹Ù±ù¼¼»óÀ¸·Î ¼®¹æµÈ´Ù. ±×´Â Julia¸¦ ¸¸³ªÁö¸¸ ´õ ÀÌ»ó ±×³à¿¡°Ô ¾î¶² °¨Á¤µµ ´À³¢Áö ¾Ê´Â´Ù. ±×´Â ÓÚÀ» ¿ÏÀüÈ÷ ¹Þ¾ÆµéÀÌ°í Big Brother¸¦ »ç¶ûÇÏ´Â °ÍÀ» ¹è¿ì°Ô µÇ¾ú´Ù.
17-4-92
¥±. Theme
The Dangers of Totalitarianism
1984 is a political novel written with the purpose of warning readers in the West of the dangers of totalitarian government. Having witnessed firsthand the horrific lengths to which totalitarian governments in Spain and Russia would go in order to sustain and increase their power, Orwell designed 1984 to sound the alarm in Western nations still unsure about how to approach the rise of communism. In 1949, the Cold War had not yet escalated, many American intellectuals supported communism, and the state of diplomacy between democratic and communist nations was highly ambiguous. In the American press, the Soviet Union was often portrayed as a great moral experiment. Orwell, however, was deeply disturbed by the widespread cruelties and oppressions he observed in communist countries, and seems to have been particularly concerned by the role of technology in enabling oppressive governments to monitor and control their citizens.
In ¡°1984¡±, Orwell portrays the perfect totalitarian society, the most extreme realization imaginable of a modern-day government with absolute power. The title of the novel was meant to indicate to its readers in 1949 that the story represented a real possibility for the near future: if totalitarianism were not opposed, the title suggested, some variation of the world described in the novel could become a reality in only thirty-five years.
¥±. ÁÖÁ¦
ÀüüÁÖÀÇÀÇ À§Çè
〈1984〉´Â à¤Ï±(¼±¸:the West)ÀÇ µ¶Àڵ鿡°Ô ÀüüÁÖÀǵ¶Àç Á¤ºÎÀÇ À§Ç輺À» °æ°íÇÒ ¸ñÀûÀ¸·Î ¾²¿©Áø Á¤Ä¡¼Ò¼³ÀÌ´Ù. ½ºÆäÀΰú ·¯½Ã¾ÆÀÇ ÀüüÁÖÀÇÁ¤ºÎ°¡ ±Ç·ÂÀ» À¯ÁöÇÏ°í °ÈÇϱâ À§ÇØ ÇâÇؼ °¡°Ô µÇ´Â °øÆ÷ÀÇ Á¤µµ(lengths)¸¦ Á÷Á¢ ¸ñ°ÝÇÑ OrwellÀº °ø»êÁÖÀÇÀÇ ýéÑÃ(Èï±â)¿¡ ¾î¶»°Ô ´ëóÇÒÁö¸¦ ¾ÆÁ÷µµ È®½ÅÇÏÁö ¸øÇÏ°í ÀÖ´Â ¼±¸ ±¹°¡µé¿¡°Ô °æÁ¾À» ¿ï¸®±â À§ÇÏ¿© 〈1984〉¸¦ ¼³°èÇÏ¿´´Ù. 1949³â¿¡´Â Ò²îú(³ÃÀü)Àº ¾ÆÁ÷ È®´ëµÇÁö ¾Ê¾Ò°í ¹Ì±¹ÀÇ ¸¹Àº Áö½ÄÀεéÀÌ °ø»êÁÖÀǸ¦ ÁöÁöÇÏ¿´À¸¸ç ¹ÎÁÖÁÖÀÇ ±¹°¡¿Í °ø»çÁÖÀDZ¹°¡»çÀÌÀÇ ¿Ü±³»óȲÀº ¸Å¿ì ¸ðÈ£ÇÑ »óÅ¿¡ ÀÖ¾ú´Ù. ¹Ì±¹ÀÇ ¾ð·Ð¿¡¼´Â ¼Ò·ÃÀº Á¾Á¾ À§´ëÇÑ µµ´öÀû ½ÇÇèÀ¸·Î ¹¦»çµÇ¾ú¾ú´Ù. ±×·¯³ª OrwellÀº ±×°¡ °ø»êÁÖÀÇ ±¹°¡µé¿¡¼ ¸ñ°ÝÇÑ ±¤¹üÀ§ÀÇ ÀÜȤÇàÀ§¿Í ¾ÐÁ¦ ¶§¹®¿¡ ¸¶À½ÀÌ ¸Å¿ì ºÒ¾ÈÇÏ°Ô µÇ¾ú°í ƯÈ÷ ¾ÐÁ¦Àû Á¤ºÎ°¡ ½Ã¹ÎµéÀ» °¨½ÃÇÏ°í ÅëÁ¦ÇÏ´Â °ÍÀ» °¡´ÉÇÏ°Ô ÇÏ´Â ±â¼úÀÇ ¿ªÇÒ¿¡ Ưº°È÷ °ü½ÉÀ» °¡Á³´ø °Íó·³ º¸ÀδÙ.
〈1984〉¿¡¼ OrwellÀº Àý´ë ±Ç·ÂÀ» °¡Áø Á¤ºÎÀÇ »ó»ó °¡´ÉÇÑ °¡Àå ±Ø´ÜÀûÀÎ ½ÇÇöÀÎ, ¿Ïº®ÇÑ ÀüüÁÖÀÇ »çȸ¸¦ ¹¦»çÇÏ°í ÀÖ´Ù. ¼Ò¼³ÀÇ Á¦¸ñÀº 1949³âÀÇ µ¶Àڵ鿡°Ô ±× Ã¥ÀÇ À̾߱â´Â °¡±î¿î ¹Ì·¡¿¡ ÀÖÀ»(for) ½ÇÁ¦ °¡´É¼ºÀ» ³ªÅ¸³»´Â °ÍÀ̶ó°í °¡¸®ÄÑ ÁÖ´Â °ÍÀ» ÀǹÌÇÏ¿´´Ù. ±× Á¦¸ñÀº ÀüüÁÖÀÇ¿¡ ¹Ý´ëÇÏÁö ¾ÊÀ¸¸é ±× ¼Ò¼³¿¡ ¹¦»çµÇ¾îÀÖ´Â ¼¼°èÀÇ ¾î¶² º¯Á¾ÀÌ °Ü¿ì 35³â À̳»¿¡ Çö½ÇÀÌ µÉ ¼ö ÀÖ´Ù´Â °ÍÀ» ¾Ï½ÃÇÏ¿´´Ù.
17-5-93
Orwell portrays a state in which government monitors and controls every aspect of human life to the extent that even having a disloyal thought is against the law. As the novel progresses, the timidly rebellious Winston Smith sets out to challenge the limits of the Party¡¯s power, only to discover that its ability to control and enslave its subjects dwarfs even his most paranoid conceptions of its reach. As the reader comes to understand through Winston¡¯s eyes, The Party uses a number of techniques to control its citizens, each of which is an important theme of its own in the novel. These include:
Psychological Manipulation
The Party barrages its subjects with psychological stimuli designed to overwhelm the mind¡¯s capacity for independent thought. The giant telescreen in every citizen¡¯s room blasts a constant stream of propaganda designed to make the failures and shortcomings of the Party appear to be triumphant successes. The telescreens also monitor behavior—everywhere they go, citizens are continuously reminded, especially by means of the omnipresent signs reading ¡°BIG BROTHER IS WATCHING YOU,¡± that the authorities are scrutinizing them. The Party undermines family structure by inducting children into an organization called the Junior Spies, which brainwashes and encourages them to spy on their parents and report any instance of disloyalty to the Party.
OrwellÀº Á¤ºÎ°¡ Üôõ÷(ºÒÃæ)ÇÑ »ý°¢±îÁöµµ ºÒ¹ýÀÌ µÇ´Â Á¤µµ±îÁö Àΰ£ÀÇ »îÀÇ ¸ðµç ¸é(aspectÀ» °¨½ÃÇÏ°í ÅëÁ¦ÇÏ´Â ±¹°¡¸¦ ¹¦»çÇÏ°í ÀÖ´Ù. ¼Ò¼³ÀÌ ÁøÇàµÊ¿¡ µû¶ó¼ ¼Ò½ÉÇÏ°Ô ¹Ý¿ªÀûÀÎ Winston Smith°¡ ÓÚÀÇ ±Ç·ÂÀÇ ¹üÀ§(limits)¿¡ µµÀüÀ» ÇÏÁö¸¸(´çÀÌ Á¤ÇØ ³õÀº ¹üÀ§¸¦ ³Ñ¾î¼ ÇൿÇÏÁö¸¸) ¹é¼º(subjects)À» ÅëÁ¦ÇÏ°í ³ë¿¹ÈÇÏ´Â ÓÚÀÇ ´É·ÂÀº ÓÚÀÇ ¿µÇâ·Â(reach)¿¡ ´ëÇÑ ±×ÀÇ °ú´ë¸Á»óÀûÀÎ »ý°¢(conceptions)µµ ÀÛ¾Æ º¸ÀÌ°Ô ÇÑ´Ù.〱±×ÀÇ »ó»óÀ» ÃÊ¿ùÇÒ Á¤µµ·Î ´çÀÇ °¨½Ã´É·Â(reach)Àº ¸·°ÇÏ´Ù.¡µ WinstonÀÇ ½Ã°¢À» ÅëÇؼ µ¶ÀÚµéÀÌ ¾Ë°Ô µÇ´Â ¹Ù¿Í °°ÀÌ ÓÚÀº ±¹¹ÎÀ» ÅëÁ¦Çϱâ À§Çؼ ´Ù¼öÀÇ ±â¼úÀ» »ç¿ëÇÏ¸ç °¢°¢ÀÇ ±â¼úÀº ±× ÀÚü·Î¼ ¼Ò¼³ÀÇ Áß¿äÇÑ ÁÖÁ¦°¡ µÈ´Ù. À̰͵éÀº ¾Æ·¡¿Í °°´Ù:
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ÓÚÀº Àΰ£Á¤½ÅÀÇ µ¶ÀÚÀû »ç°í´É·ÂÀ» ¾ÐµµÇϱâ À§ÇÏ¿© ¼³°èµÈ ½É¸²ÀÚ±ØÁ¦¸¦ ±¹¹Îµé¿¡°Ô ÷¥Ø(ź¸·)ó·³ Æۺ״´Ù(barrage). ¸ðµç ±¹¹ÎÀÇ ¹æ¿¡ ¼³Ä¡µÈ ÅÚ·¹½ºÅ©¸°Àº ÓÚÀÇ ½ÇÆÐ¿Í °áÁ¡À» ½Â¸®ÀÇ ¼º°øÀ¸·Î ¸¸µé±â À§Çؼ ¼³°èµÈ, Áö¼ÓÀûÀ¸·Î Èê·¯³ª¿À´Â(stream) ¼±Àü¹°À» ¿¬¼ÓÀûÀ¸·Î ½î¾Æ´í´Ù. ÅÚ·¹½ºÅ©¸°Àº ÇൿÀ» °¨½ÃÇÑ´Ù¡ª¾îµð·Î °¡µç ½Ã¹ÎµéÀº ´ç±¹ÀÌ ±×µéÀ» öÀúÇÏ°Ô °¨½Ã(scrutinize)ÇÏ°í ÀÖ´Ù´Â °ÍÀ», ƯÈ÷ ¡°BIG BROTHER IS WATCHING YOU,¡±¶ó°í ¾²¿© ÀÖ´Â(reading), ¾îµð¿¡³ª Àִ ǥÁö(signs)¿¡ ÀÇÇؼ ßÌÑÃ(»ó±â)µÈ´Ù. ÓÚÀº ¾î¸°À̵éÀ» the Junior Spies(¾î¸°ÀÌ ½ºÆÄÀÌÓ¥(´Ü)¶ó´Â Á¶Á÷¿¡ ÀԴܽÃÄѼ °¡Á· ±¸Á¶¸¦ ºØ±«½ÃÅ°´Âµ¥ ¾î¸°ÀÌ ½ºÆÄÀÌ´ÜÀº ¾ÆÀ̵éÀ» ¼¼³ú½ÃÄѼ ºÎ¸ð¸¦ °¨½ÃÇÏ°í ÓÚ¿¡ ´ëÇÑ ¸ðµç ºÒÃæ »ç·Ê¸¦ º¸°íÇϵµ·Ï Àå·ÁÇÑ´Ù.
The Party also forces individuals to suppress their sexual desires, treating sex as merely a procreative duty whose end is the creation of new Party members. The Party then channels people¡¯s pent-up frustration and emotion into intense, ferocious displays of hatred against the Party¡¯s political enemies. Many of these enemies have been invented by the Party expressly for this purpose.
Physical Control
In addition to manipulating their minds, the Party also controls the bodies of its subjects. The Party constantly watches for any sign of disloyalty, to the point that, as Winston observes, even a tiny facial twitch could lead to an arrest. A person¡¯s own nervous system becomes his greatest enemy. The Party forces its members to undergo mass morning exercises called the Physical Jerks, and then to work long, grueling days at government agencies, keeping people in a general state of exhaustion. Anyone who does manage to defy the Party is punished and ¡°reeducated¡± through systematic and brutal torture. After being subjected to weeks of this intense treatment, Winston himself comes to the conclusion that nothing is more powerful than physical pain—no emotional loyalty or moral conviction can overcome it. By conditioning the minds of their victims with physical torture, the Party is able to control reality, convincing its subjects that 2 + 2 = 5.
ÓÚÀº ¶ÇÇÑ »õ·Î¿î ´ç¿øÀÇ »ý»êÀÌ ¸ñÀûÀÎ Ãâ»êÀÇ Àǹ«·Î¼¸¸ ¼½½º¸¦ Ãë±ÞÇÏ¸é¼ °³ÀεéÀÇ ¼ºÀû¿å¸ÁÀ» ¾ï¾ÐÇϵµ·Ï °¿äÇÑ´Ù. ±×·¯°í ³ª¼ ÓÚÀº ÀιεéÀÇ ¾ï¾ÐµÈ ÁÂÀý°ú °¨Á¤À» ÓÚÀÇ Á¤Ä¡Àû îØ(Àû)¿¡ ´ëÇÑ °·ÄÇÏ°í ÈäÆ÷ÇÑ Ç¥Ãâ ÂÊÀ¸·Î µ¹¸°´Ù. ÀÌ ¸ñÀûÀ» À§ÇØ ÀÌµé ¸¹Àº ÀûµéÀº ÓÚ¿¡ ÀÇÇؼ ÀǵµÀûÀ¸·Î(expressly) ¸¸µé¾îÁ³´Ù.
½ÅüÀû ÅëÁ¦
ãíÚÅ(½Å¹Î)µéÀÇ ¸¶À½À» Á¶Á¾ÇÏ´Â °Í¿¡ º¸Å¼ ÓÚÀº ½Å¹ÎµéÀÇ ½Åüµµ ÅëÁ¦ÇÑ´Ù. ÓÚÀº, WinstonÀÌ °üÂûÇÑ °Íó·³, ½ÉÁö¾î ¾ó±¼ÀÇ ¾ÆÁÖ ÀÛÀº ¾Á·è°Å¸²(°æ·Ã)µµ üÆ÷·Î À̲ø ¼ö ÀÖ´Â Á¤µµ±îÁö, ºÒÃæÀÇ ¾î¶°ÇÑ Ç¥½Ã(sign)µµ ã¾Æ³»±â À§ÇØ ²÷ÀÓ¾øÀÌ °¨½ÃÇÑ´Ù. »ç¶÷ ÀÚ½ÅÀÇ ½Å°æÁ¶Á÷ÀÌ ÀÚ½ÅÀÇ ÃÖ´ëÀÇ ÀûÀÌ µÈ´Ù. ÓÚÀº ´ç¿øµé¿¡°Ô À°Ã¼Àû ¹Ý»ç¿îµ¿À̶ó´Â Áý´Ü ¾Æħ¿îµ¿À» ÇÏ°í ÀιεéÀ» ÃÑüÀû ±âÁø¸ÆÁø »óÅ·ΠÀ¯ÁöÇÏ¸é¼ Á¤ºÎ±â°ü¿¡¼ ³ìÃÊ µÉ ¸¸Å ±æ°íµµ °íµÈ(grueling) ³¯µéÀ» ÀÏÇϵµ·Ï °¿äÇÑ´Ù. ÓÚ¿¡ ÀúÇ×ÇÏ°Ô µÇ´Â ÀÚ´Â ¸ðµÎ ó¹ú´çÇÏ°í Á¶Á÷ÀûÀÌ°í ÀÜȤÇÑ °í¹®À» ÅëÇؼ ¡°Àç±³À°¡±À» ¹Þ´Â´Ù. ¼öÁÖ °£ÀÇ ÀÌ·± ½ÉÇÑ Çдë(treatment)À» ¹ÞÀº ÈÄ¿¡ Winston ÀÚ½ÅÀÌ À°Ã¼Àû °íÅ뺸´Ù ´õ °ÇÑ °ÍÀº ¾ø´Ù´Â °á·ÐÀ» ³»¸®°Ô µÈ´Ù—¾î¶² °¨Á¤Àû Ã漺½ÉÀ̳ª µµ´öÀû ½Å³äµµ ±×°ÍÀ» ±Øº¹ÇÒ ¼ö ¾ø´Ù(´Â °á·ÐÀ» ³»¸°´Ù). ½ÅüÀû °í¹®À» ÅëÇؼ Èñ»ýÀÚµéÀÇ Á¤½ÅÀ» Á¶°ÇÈÇÔ(´çÀÌ ¿øÇÏ´Â ÇൿÀ̳ª »ý°¢À» ¹Ý»çÀûÀ¸·Î ÇÏ°Ô ÇÏ´Â °Í)À¸·Î½á ÓÚÀº ¹é¼ºµéÀ» 2 + 2 = 5¶ó°í È®½Å½ÃÅ°¸é¼ »ç½ÇÀ» ÅëÁ¦ÇÒ ¼ö ÀÖ´Ù.
17-6-94
Control of Information and History
The Party controls every source of information, managing and rewriting the content of all newspapers and histories for its own ends. The Party does not allow individuals to keep records of their past, such as photographs or documents. As a result, memories become fuzzy and unreliable, and citizens become perfectly willing to believe whatever the Party tells them. By controlling the present, the Party is able to manipulate the past. And in controlling the past, the Party can justify all of its actions in the present.
Technology
By means of telescreens and hidden microphones across the city, the Party is able to monitor its members almost all of the time. Additionally, the Party employs complicated mechanisms (¡°1984¡± was written in the era before computers) to exert large-scale control on economic production and sources of information, and fearsome machinery to inflict torture upon those it deems enemies. ¡°1984¡± reveals that technology, which is generally perceived as working toward moral good, can also facilitate the most diabolical evil.
Doublethink
The idea of ¡°doublethink¡± emerges as an important consequence of the Party¡¯s massive campaign of large-scale psychological manipulation. Simply put, doublethink is the ability to hold two contradictory ideas in one¡¯s mind at the same time.
Á¤º¸¿Í ¿ª»çÀÇ ÅëÁ¦
ÓÚÀº ÀÚüÀÇ ¸ñÀûÀ» À§ÇØ ¸ðµç ½Å¹®°ú ¿ª»çÀÇ ³»¿ëÀ» °ü¸®ÇÏ°í ´Ù½Ã ¾²¸é¼ Á¤º¸ÀÇ ¸ðµç ±Ù¿øÀ» ÅëÁ¦ÇÑ´Ù. ÓÚÀº °³ÀÎÀÌ »çÁøÀ̳ª ¹®¼ °°Àº ÀڽŵéÀÇ °ú°Å ±â·Ï¹°À» º¸Á¸ÇÏ´Â °ÍÀ» Çã¿ëÇÏÁö ¾Ê´Â´Ù. ±× °á°ú ±â¾ïÀº È帴ÇØÁö°í ½Å·ÚÇÒ ¼ö ¾ø°Ô µÇ¾î¼ ½Ã¹ÎµéÀº ÓÚÀÌ ±×µé¿¡°Ô ¸»ÇÏ´Â °ÍÀº ¹«¾ùÀ̵çÁö ¿ÏÀüÈ÷ ÀÚ¹ßÀûÀ¸·Î ¹Ï°Ô µÈ´Ù. ÇöÀ縦 ÅëÁ¦ÇÔ¿¡ ÀÇÇؼ ÓÚÀº °ú°Å¸¦ Á¶ÀÛÇÒ ¼ö ÀÖ´Ù. ±×¸®°í °ú°Å¸¦ ÅëÁ¦ÇÔÀ¸·Î½á ÓÚÀº ÇöÀçÀÇ ÓÚÀÇ ¸ðµç ÇàÀ§¸¦ Á¤´çÈ ÇÒ ¼ö ÀÖ´Ù.
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ÅÚ·¹½ºÅ©¸°°ú µµ½Ã Àüü¿¡ ÀÖ´Â ¸¶ÀÌÅ©·ÎÆù¿¡ ÀÇÇؼ ÓÚÀº °ÅÀÇ ¸ðµç ½Ã°£¿¡ °ÉÃļ ´ç¿øµéÀ» °¨½ÃÇÒ ¼ö ÀÖ´Ù. °Ô´Ù°¡ ÓÚÀº °æÁ¦»ý»ê°ú Á¤º¸ÀÇ ¿øõ¿¡ ´ë±Ô¸ðÀÇ ÅëÁ¦¸¦ ½Ç½ÃÇϱâ À§ÇÏ¿© º¹ÀâÇÑ ±â°è(〈1984〉´Â ÄÄÇ»ÅÍ ÀÌÀüÀÇ ½Ã´ë¿¡ ¾²¿©Á³¾ú´Ù)¸¦ »ç¿ëÇÏ°í ¶Ç ´çÀÌ ÀûÀ¸·Î »ý°¢ÇÏ´Â Àڵ鿡°Ô °í¹®À» ½Ç½Ã(inflict)Çϱâ À§ÇÏ¿© Á¤¹Ð±â°èµµ »ç¿ëÇÑ´Ù. 〈1984〉´Â µµ´öÀû ¼±À» ÇâÇؼ ÀÛ¿ëÇÏ´Â °ÍÀ¸·Î »ý°¢µÇ´Â ±â¼úÀÌ °¡Àå ¾Ç¸¶ÀûÀÎ ¾ÇÀÇ ½ÇÇàÀ» ¿ëÀÌÇÏ°Ô ÇÒ ¼ö ÀÖ´Ù´Â °ÍÀ» ¹àÇô ÁØ´Ù.
17-7-95
¥². Motifs
Doublethink
The idea of ¡°doublethink¡± emerges as an important consequence of the Party¡¯s massive campaign of large-scale psychological manipulation. Simply put, doublethink is the ability to hold two contradictory ideas in one¡¯s mind at the same time.
As the Party¡¯s mind-control techniques break down an individual¡¯s capacity for independent thought, it becomes possible for that individual to believe anything that the Party tells them, even while possessing information that runs counter to what they are being told. At the Hate Week rally, for instance, the Party shifts its diplomatic allegiance, so the nation it has been at war with suddenly becomes its ally, and its former ally becomes its new enemy. When the Party speaker suddenly changes the nation he refers to as an enemy in the middle of his speech, the crowd accepts his words immediately, and is ashamed to find that it has made the wrong signs for the event. In the same way, people are able to accept the Party ministries¡¯ names, though they contradict their functions: the Ministry of Plenty oversees economic shortages, the Ministry of Peace wages war, the Ministry of Truth conducts propaganda and historical revisionism, and the Ministry of Love is the center of the Party¡¯s operations of torture and punishment.
¥². ¸ðƼÇÁ
ì£ñìÞÖÍÅ(ÀÌÁß»ç°í)
ÀÌÁß»ç°íÀÇ °³³äÀº ÓÚÀÇ ´ë±Ô¸ð ½É¸®Á¶ÀÛ ¸ñÀûÀÇ(of) ´ëÁ߿ÀÇ °á°ú·Î¼ ³ªÅ¸³´Ù. °£´ÜÈ÷ ¾ð±ÞÇϸé, ÀÌÁß»ç°í´Â »óÈ£¸ð¼øÀûÀÎ »ý°¢À» ¸¶À½¼Ó¿¡ µ¿½Ã¿¡ À¯ÁöÇÒ ¼ö ÀÖ´Â ´É·ÂÀÌ´Ù.
ÓÚÀÇ ¸¶ÀεåÄÁÆ®·Ñ ±â¼úÀÌ °³ÀÎÀÇ µ¶¸³Àû »ç°í´É·ÂÀ» ºØ±«½ÃÅ´¿¡ µû¶ó °³ÀεéÀÌ ±×µéÀÌ µè°í ÀÖ´Â °Í(´ç¿¡¼ ¸»ÇÏ´Â °Í)°ú ¹Ý´ë°¡ µÇ´Â Á¤º¸(Áö½Ä)¸¦ °¡Áö°í ÀÖ´Â µ¿¾È¿¡µµ ÓÚÀÌ ±×µé¿¡°Ô ¸»ÇÏ´Â °ÍÀº ¹«¾ùÀ̵çÁö ¹Ï´Â °ÍÀÌ °¡´ÉÇÏ°Ô µÈ´Ù. ¿¹¸¦ µé¾î¼ Áõ¿À ÁÖ°£ ´ëȸ¿¡¼ ÓÚÀÌ ¿Ü±³µ¿¸ÍÀ» º¯°æÇÏ¿© ÓÚÀÌ ÀüÀïÇÏ°í ÀÖ´ø ³ª¶ó°¡ °©Àڱ⠵¿¸Í±¹ÀÌ µÇ°í ÀÌÀüÀÇ µ¿¸Í±¹Àº Àû±¹ÀÌ µÈ´Ù. ÓÚÀÇ ´ëº¯ÀÎÀÌ ±×ÀÇ ¹ßÇ¥¹® Áß°£¿¡ ±×°¡ ÀûÀ¸·Î ÁöĪÇÏ´Â ³ª¶ó¸¦ °©Àڱ⠺¯°æ½ÃÅ°¸é ±ºÁßÀº ±×ÀÇ ¸»À» Áï°¢ ¹Þ¾ÆµéÀÌ°í ±×µéÀÌ ´ëȸµ¿¾È¿¡(for the event) À߸øµÈ ¸»(signs)À» Çß´Ù´Â °ÍÀ» ¹ß°ßÇÏ°í´Â ¼öÄ¡½ÉÀ» ´À³¤´Ù. °°Àº ¹æ½ÄÀ¸·Î »ç¶÷µéÀº ÓÚÀÇ Ý»ô¥(ºÎó)µéÀÌ ±×µé ¾÷¹«(functions)¿¡ ¸ð¼øµÇ´Â ÀÏÀ» ÇÏ¿©µµ ºÎóÀÇ À̸§À» ±×´ë·Î ¼ö¿ëÇÒ ¼ö ÀÖ´Ù: ÃæºÐàý(¼º)Àº °æÁ¦Àû ºÎÁ·À» °¨µ¶ÇÏ°í ÆòÈàýÀº ÀüÀïÀ» ¼öÇà(wage)Çϸç Áø¸®àýÀº ¼±Àü°ú ¿ª»ç ¼öÁ¤À» ½ÇÇàÇÏ°í ¾ÖÁ¤ àýÀº ÓÚÀÇ Í¸Ùý(°í¹®)°ú ¡¹úÀÛÀüÀÇ Á߽ɱâ°üÀÌ´Ù.
17-8-96
Urban Decay
Urban decay proves a pervasive motif in ¡°1984¡±. The London that Winston Smith calls home is a dilapidated, rundown city in which buildings are crumbling, conveniences such as elevators never work, and necessities such as electricity and plumbing are extremely unreliable. Though Orwell never discusses the theme openly, it is clear that the shoddy disintegration of London, just like the widespread hunger and poverty of its inhabitants, is due to the Party¡¯s mismanagement and incompetence. One of the themes of ¡°1984¡±, inspired by the history of twentieth-century communism, is that totalitarian regimes are viciously effective at enhancing their own power and miserably incompetent at providing for their citizens. The grimy urban decay in London is an important visual reminder of this idea, and offers insight into the Party¡¯s priorities through its contrast to the immense technology the Party develops to spy on its citizens
µµ½ÃÀÇ ¼èÅð
〈1984〉¿¡¼ µµ½ÃÀÇ ¼èÅð°¡ Áß¿äÇÑ µ¿±âÀÎ °ÍÀ¸·Î ÆǸíµÈ´Ù. Winston SmithÀÇ ÁýÀÌ ÀÖ´Â ·±´øÀº ȲÆóµÇ°í º´µç(rundown) µµ½ÃÀÌ¸ç °Ç¹°µéÀº ºÎ¼Á® ³»¸®°í ÀÖ°í ¿¤·¹º£ÀÌÅÍ °°Àº ÆíÀǽü³µéÀº °áÄÚ ÀÛµ¿ÇÏÁö ¾Ê°í Àü±â³ª ¹è°ü °°Àº ÇʼöÇ°µéÀº Áö±ØÈ÷ ¹ÏÀ» ¼ö°¡ ¾ø´Ù. OrwellÀº ºñ·Ï ±× ÁÖÁ¦¸¦ °áÄÚ °ø°³ÀûÀ¸·Î ³íÀÇÇÏÁö´Â ¾ÊÁö¸¸ ·±´øÀÇ ½Î±¸·Á ºØ±«´Â ¹Ù·Î ÁֹεéÀÇ ¸¸¿¬µÇ¾î ÀÖ´Â ¹è°íÇÄ°ú °¡³Ã³·³ ÓÚÀÇ ºÎ½Ç°ü¸®¿Í ¹«´É ¶§¹®À̶ó´Â °ÍÀº ºÐ¸íÇÏ´Ù. 20¼¼±â °ø»êÁÖÀÇÀÇ ¿µÇâÀ» ¹ÞÀº 〈1984〉ÀÇ ÁÖÁ¦ÁßÀÇ Çϳª´Â ÀüüÁÖÀÇ Á¤±ÇÀº ÀÚ½ÅÀÇ ±Ç·ÂÀ» °È½ÃÅ°´Â µ¥´Â Áöµ¶È÷ À¯´ÉÇÏÁö¸¸ ½Ã¹ÎµéÀ» µ¹º¸´Â µ¥´Â(provide for) ºñÂüÇÒ ¸¸Å ¹«´ÉÇÏ´Ù´Â °ÍÀÌ´Ù. ·±´ø¿¡ ³ªÅ¸³ª´Â ºÒ°áÇÑ µµ½ÃÀÇ ¼èÅð´Â ÀÌ·± »ý°¢[°ø»êÁÖÀÇÀÇ ¹«´É°ú ËÏí(°±Ç)Á¤Ä¡]¿¡ ´ëÇÑ ½Ã°¢Àû »ó±â¹°ÀÌ µÇ°í ±×°Í(it:¼èÅð)°ú ÓÚÀÌ ½Ã¹ÎµéÀ» °¨½ÃÇϱâ À§ÇÏ¿© °³¹ßÇÏ°í ÀÖ´Â °Å´ëÇÑ ±â¼ú°úÀÇ ´ëÁ¶¸¦ ÅëÇؼ ÓÚÀÇ ¿ì¼±Á¤Ã¥¿¡ ´ëÇÑ ÅëÂûÀ» Á¦°øÇÑ´Ù.
17-9-97
¥³. Symbols
Big Brother
Throughout London, Winston sees posters showing a man gazing down over the words ¡°BIG BROTHER IS WATCHING YOU¡± everywhere he goes. Big Brother is the face of the Party. The citizens are told that he is the leader of the nation and the head of the Party, but Winston can never determine whether or not he actually exists. In any case, the face of Big Brother symbolizes the Party in its public manifestation; he is a reassurance to most people (the warmth of his name suggests his ability to protect), but he is also an open threat (one cannot escape his gaze).
Big Brother also symbolizes the vagueness with which the higher ranks of the Party present themselves—it is impossible to know who really rules Oceania, what life is like for the rulers, or why they act as they do. Winston thinks he remembers that Big Brother emerged around 1960, but the Party¡¯s official records date Big Brother¡¯s existence back to 1930, before Winston was even born.
The Glass Paperweight and St. Clement¡¯s Church
By deliberately weakening people¡¯s memories and flooding their minds with propaganda, the Party is able to replace individuals¡¯ memories with its own version of the truth. It becomes nearly impossible for people to question the Party¡¯s power in the present when they accept what the Party tells them about the past—that the Party arose to protect them from bloated, oppressive capitalists, and that the world was far uglier and harsher before the Party came to power. Winston vaguely understands this principle. He struggles to recover his own memories and formulate a larger picture of what has happened to the world. Winston buys a paperweight in an antique store in the prole district that comes to symbolize his attempt to reconnect with the past. Symbolically, when the Thought Police arrest Winston at last, the paperweight shatters on the floor.
¥³. »ó¡
ÓÞúü(´ëÇü)
·±´ø Àüü¸¦ ÅëÇؼ WinstonÀº ±×°¡ ¾îµð·Î °¡µç ¡°BIG BROTHER IS WATCHING YOU¡± ¶ó´Â ´Ü¾îµéÀ» ±Á¾îº¸°í ÀÖ´Â ÇÑ ³²ÀÚ¸¦ º¸¿©ÁÖ´Â ¼±ÀüÆ÷½ºÅ͸¦ º¸°Ô µÈ´Ù. ´ëÇüÀº ÓÚÀÇ ¾ó±¼ÀÌ´Ù. ½Ã¹ÎµéÀº ±×´Â ±¹°¡ÀÇ ÁöµµÀÚÀÌ¸ç ´çÀÇ ¿ìµÎ¸Ó¸®¶ó´Â ¸»À» µèÁö¸¸ WinstonÀº ´ëÇüÀÌ ½ÇÁ¦·Î Á¸ÀçÇÏ´ÂÁö ¾È ÇÏ´ÂÁö¸¦ °áÄÚ °áÁ¤ÇÒ ¼ö°¡ ¾ø´Ù. ¿©ÇÏÆ° ´ëÇüÀÇ ¾ó±¼Àº ÓÚÀÇ °ø½Ä Ç¥¸í¿¡ ÀÖ¾î¼ ÓÚÀ» »ó¡ÇÑ´Ù. ±×´Â ±¹¹Î¿¡°Ô ¾È½ÉÇÔÀ» ÁÖ´Â Àι°(a reassurance)ÀÌÁö¸¸ (±×ÀÇ À̸§ÀÇ µû¶æÇÑ ´À³¦Àº ±×ÀÇ º¸È£´É·ÂÀ» ¾Ï½ÃÇÑ´Ù.) ±×´Â ¶ÇÇÑ °ø°³ÀûÀ¸·Î À§ÇùÀÌ µÇ´Â Àι°ÀÌ´Ù(»ç¶÷µéÀº ±×ÀÇ ÀÀ½Ã¸¦ ¹þ¾î³¯ ¼ö°¡ ¾ø´Ù).
´ëÇüÀº ¶ÇÇÑ ÓÚÀÇ °íÀ§ÃþÀÌ ÀڽŵéÀ» µå·¯³¾ ¶§¿¡ ÀÌ¿ëÇÏ´Â(with) ¸ðÈ£¼ºÀ» »ó¡ÇÑ´Ù—´©°¡ ¿À¼¼¾Æ´Ï¾Æ¸¦ Áö¹èÇÏ´ÂÁö¸¦, ÅëÄ¡Àڵ鿡°Ô »îÀº ¹«¾ù°ú °°ÀºÁö¸¦, ȤÀº ¿Ö ±×µéÀº ±×µéÀÌ Áö±Ý ÇÏ°í ÀÖ´Â °Íó·³ ±×·¸°Ô ÇൿÇÏ´ÂÁö¸¦ ¾Æ´Â °ÍÀº ºÒ°¡´ÉÇÏ´Ù. WinstonÀº ´ëÇüÀÌ 1960³â°æ¿¡ ÃâÇöÇÏ¿´´Ù°í ±â¾ïÇÑ´Ù°í »ý°¢ÇÏÁö¸¸ ÓÚÀÇ °ø½Ä±â·ÏÀº ´ëÇüÀÇ Á¸À縦 WinstonÀÌ Å¾±âµµ ÀüÀÎ 1930³â±îÁö ³¯Â¥¸¦ °Å½½·¯(date back) ¿Ã¶ó°¡°í ÀÖ´Ù.
À¯¸® ßöòå(¼Áø)°ú á¡(¼º) Clement ±³È¸
°íÀÇÀûÀ¸·Î ±¹¹ÎÀÇ ±â¾ïÀ» ¾àȽÃÅ°°í ¼±ÀüÀ¸·Î ±×µéÀÇ Á¤½ÅÀ» ÛñÕ½(¹ü¶÷)½ÃÅ´À¸·Î½á ÓÚÀº ÀÚ½ÅÀÇ Áø¸® Çؼ®(version)À» °¡Áö°í °³ÀÎÀÇ ±â¾ïÀ» ´ëüÇÒ ¼ö ÀÖ°Ô µÈ´Ù. ÓÚÀÌ °ú°Å¿¡ ´ëÇؼ Àιε鿡°Ô ¸»ÇÑ °Í¡ªÓÚÀÌ °Å¸¸ÇÏ°í(bloated) ¾ÐÁ¦ÀûÀÎ ÀÚº»°¡µé·ÎºÎÅÍ ÀιεéÀ» º¸È£Çϱâ À§Çؼ ºÀ±âÇÏ¿´¾ú´Ù´Â °Í, ÓÚÀÌ ±Ç·ÂÀ» Àâ±â Àü¿¡´Â ¼¼»óÀº º¸´Ù ´õ Ãß¾ÇÇÏ°í º¸´Ù ´õ ÀÜÀÎ(harsh)ÇÏ¿´¾ú´Ù´Â °Í¡ªÀ» ÀιεéÀÌ ¹Þ¾ÆµéÀÌ°í ÀÖ´Â ÇöÀç¿¡ ÀιεéÀÌ ÓÚÀÇ ±Ç·Â¿¡ Àǹ®À» Á¦±âÇÏ´Â °ÍÀº °ÅÀÇ ºÒ°¡´ÉÇÏ°Ô µÈ´Ù. WinstonÀº ÀÌ ¿øÄ¢À» ¸·¿¬ÇÏ°Ô ÀÌÇØÇÏ°í ÀÖ´Ù. ±×´Â ÀÚ½ÅÀÇ ±â¾ïÀ» ȸº¹ÇÏ¿© ¼¼»ó¿¡ ÀϾ´ø °Í(¿ª»ç)¿¡ ´ëÇÑ º¸´Ù ´õ Å« ±×¸²À» ¸íÈ®È÷ ³ªÅ¸³»±â À§ÇØ(formulate) °í½ÉÇÏ°í ÀÖ´Ù. WinstonÀº ÇÁ·Ñ·¹Å¸¸®¾Æ Áö¿ª¿¡ ÀÖ´Â °ñµ¿Ç° °¡°Ô¿¡¼ °ú°Å¿Í À翬°áÇÏ·Á´Â ±×ÀÇ ½Ãµµ¸¦ »ó¡ÇÏ´Â ßöòå(¼Áø: Ã¥ÀåÀ̳ª Á¾ÀÌ°¡ ¹Ù¶÷¿¡ ³¯¸®Áö ¾Êµµ·Ï ´©¸£´Â ¹°°Ç) Çϳª¸¦ ±¸ÀÔÇÑ´Ù. »ó¡ÀûÀ¸·Î, »ç»ó°æÂûÀÌ WinstonÀº üÆ÷ÇÏ¿´À» ¶§ ±× ¼ÁøÀº ¹Ù´Ú¿¡ ¶³¾îÁ® ¹Ú»ìÀÌ ³´Ù.
17-10-98
The old picture of St. Clement¡¯s Church in the room that Winston rents above Mr. Charrington¡¯s shop is another representation of the lost past. Winston associates a song with the picture that ends with the words ¡°Here comes the chopper to chop off your head!¡± This is an important foreshadow, as it is the telescreen hidden behind the picture that ultimately leads the Thought Police to Winston, symbolizing the Party¡¯s corrupt control of the past.
The Place Where There Is No Darkness
Throughout the novel Winston imagines meeting O¡¯Brien in ¡°the place where there is no darkness.¡± The words first come to him in a dream, and he ponders them for the rest of the novel. Eventually, Winston does meet O¡¯Brien in the place where there is no darkness; instead of being the paradise Winston imagined, it is merely a prison cell in which the light is never turned off. The idea of ¡°the place where there is no darkness¡± symbolizes Winston¡¯s approach to the future: possibly because of his intense fatalism (he believes that he is doomed no matter what he does), he unwisely allows himself to trust O¡¯Brien, even though inwardly he senses that O¡¯Brien might be a Party operative.
The Telescreens
The omnipresent telescreens are the book¡¯s most visible symbol of the Party¡¯s constant monitoring of its subjects. In their dual capability to blare constant propaganda and observe citizens, the telescreens also symbolize how totalitarian government abuses technology for its own ends instead of exploiting its knowledge to improve civilization.
WinstonÀÌ ¼¼ µé¾î ÀÖ´Â Mr. Charrington °¡°ÔÀÇ 2Ãþ ¹æ¿¡ °É·Á ÀÖ´Â á¡Clement ±³È¸ ¿¾ »çÁøÀº »ó½ÇµÈ °ú°Å¿¡ ´ëÇÑ ¶Ç ÇϳªÀÇ »çÁø(representation)ÀÌ´Ù. WinstonÀº ¡°³ÊÀÇ ¸Ó¸®¸¦ À߶󳻱â À§ÇØ µµ³¢µç »ç¶÷ÀÌ À̸®·Î ¿É´Ï´Ù!¡±¶ó´Â ¸»·Î¼ ³¡³ª´Â ¾î¶² ³ë·¡¿Í ±× »çÁøÀ» °áºÎ½ÃŲ´Ù. °ú°Å¿¡ ´ëÇÑ ÓÚÀÇ »ç¾ÇÇÑ(corrupt) Áö¹è¸¦ »ó¡ÇÏ¸é¼ ±Ã±ØÀûÀ¸·Î »ç»ó°æÂûÀ» WinstonÀ¸·Î À̲ô´Â °ÍÀº ¹Ù·Î ±× »çÁø µÚ¿¡ ¼û°Ü ³õÀº ÅÚ·¹½ºÅ©¸°À̱⠶§¹®¿¡ ÀÌ°ÍÀº ÇϳªÀÇ Áß¿äÇÑ îñð¼(ÀüÁ¶)°¡ µÈ´Ù.
¾îµÎ¿òÀÌ ¾ø´Â °÷
¼Ò¼³ Àüü¸¦ ÅëÇؼ WinstonÀº ¡°¾î¶°ÇÑ ¾îµÎ¿òµµ ¾ø´Â °÷¡±¿¡¼ O¡¯BrienÀ» ¸¸³ª´Â °ÍÀ» »ó»óÇÑ´Ù. ÀÌ ¸»µéÀº óÀ½¿¡ ²Þ¼Ó¿¡¼ ±×¿¡°Ô ´Ù°¡¿À°í ¼Ò¼³ÀÇ ³ª¸ÓÁö µ¿¾È ±×´Â ÀÌ ¸»µéÀ» °õ°õÀÌ »ý°¢ÇÑ´Ù. ¸¶Ä§³» WinstonÀº ¾îµÎ¿òÀÌ ÀüÇô ¾ø´Â °÷¿¡¼ O¡¯BrienÀ» ¸¸³´Ù; ±×°÷Àº WinstonÀÌ »ó»óÇß´ø õ±¹ÀÌ ¾Æ´Ï°í ´ÜÁö ÀüµîÀÌ °áÄÚ ²¨ÁöÁö ¾Ê´Â °¨¿Á °¨¹æÀÌ´Ù. ¡°¾î¶°ÇÑ ¾îµÎ¿òµµ ¾ø´Â °÷¡±ÀÇ »ý°¢(idea)Àº ¹Ì·¡¿¡ ´ëÇÑ WinstonÀÇ Á¢±ÙÀ» »ó¡ÇÑ´Ù: ¾Æ¸¶µµ ±×ÀÇ °·ÄÇÑ ¼÷¸í°ü ¶§¹®¿¡ (±×´Â ±×°¡ ¹«¾ùÀ» ÇÏµç ºÒ¿îÇÏ°Ô µÉ ¿î¸íÀ̶ó°í ¹Ï´Â´Ù), ±×´Â ¸¶À½¼ÓÀ¸·Î´Â O¡¯BrienÀÌ ÓÚÀÇ °øÀÛ¿øÀÏÁöµµ ¸ð¸¥´Ù°í ´À³¢Áö¸¸ Çö¸íÇÏÁö ¸øÇÏ°Ôµµ ±×¸¦ ½Å·ÚÇÑ´Ù.
ÅÚ·¹½ºÅ©¸°
ø¼î¤(ÆíÀç: ¾îµð¿¡³ª ÆÛÁ® ÀÖ´Â)ÇÏ´Â ÅÚ·¹½ºÅ©¸°Àº ¹é¼ºµé¿¡ ´ëÇÑ ÓÚÀÇ ÝÕÓ¨(ºÎ´Ü)ÇÑ °¨½Ã¸¦ °¡Àå °¡½ÃÀûÀ¸·Î »ó¡ÇÏ´Â °ÍÀÌ´Ù. ¼±Àü³»¿ëÀ» ²÷ÀÓ¾øÀÌ Å«¼Ò¸®·Î ¶°µé¾î ´ë°í ½Ã¹ÎµéÀ» °¨½ÃÇÏ´Â ÀÌÁߴɷ¿¡¼ ÅÚ·¹½ºÅ©¸°Àº ÀüüÁÖÀÇ Á¤ºÎ°¡ Áö½ÄÀ» ¹®¸íÀÇ ¹ßÀüÀ» À§Çؼ ÀÌ¿ëÇÏ´Â °Í ´ë½Å ±â¼úÀ» Á¤ºÎ ÀÚ½ÅÀÇ ¸ñÀûÀ» À§Çؼ ³²¿ëÇÏ´Â ¹æ¹ýÀ» »ó¡ÇÏ°í ÀÖ´Ù.
17-11-99
The Red-Armed Prole Woman
The red-armed prole woman whom Winston hears singing through the window represents Winston¡¯s one legitimate hope for the long-term future: the possibility that the proles will eventually come to recognize their plight and rebel against the Party. Winston sees the prole woman as a prime example of reproductive virility; he often imagines her giving birth to the future generations that will finally challenge the Party¡¯s authority.
dystopian Fiction
George Orwell¡¯s ¡°1984¡± is a defining example of dystopian fiction in that it envisions a future where society is in decline, totalitarianism has created vast inequities, and innate weaknesses of human nature keep the characters in a state of conflict and unhappiness. Unlike utopian novels, which hold hope for the perfectibility of man and the possibility of a just society, dystopian novels like 1984 imply that the human race will only get worse if man¡¯s lust for power and capacity for cruelty go uncorrected. In 1984, characters live in fear of wars, government surveillance, and political oppression of free speech. The London of the novel is dirty and crumbling, with food shortages, exploding bombs, and miserable citizens. The government is an all-powerful force of oppression and control, and crushes the characters¡¯ identities and dreams. This dystopian vision of the future, written thirty-five years before the year the novel is set, suggests that man¡¯s inherent nature is corrupt and repressive. Orwell wrote the book in the aftermath of World War II and the rise of fascism in Germany and the Soviet Union, and paints a pessimistic picture of society¡¯s ability to avoid further global disasters.
ºÓÀº»ö ÆÈÀÇ ÇÁ·Ñ·¹Å¸¸®¾Æ ¿©ÀÎ
WinstonÀÌ À¯¸®Ã¢À» ÅëÇؼ µè´Â ºÓÀº»ö ÆÈ(ÆÈÀ» ´Ù µå·¯³½) ÀÇ ÇÁ·Ñ·¹Å¸¸®¾Æ ¿©ÀÎÀÇ ³ë·¡ ¼Ò¸®´Â WinstonÀÇ ¸Õ Àå·¡¿¡ ´ëÇÑ ÇÕ¹ýÀûÀÎ Èñ¸ÁÀ» ³ªÅ¸³½´Ù: °á±¹ ÇÁ·Ñ·¹Å¸¸®¾ÆµéÀÌ ±×µéÀÇ °ï±ÃÀ» ±ú´Ý°Ô µÇ°í ÓÚ¿¡ ¹Ý¿ªÇÏ°Ô µÉ °¡´É¼º¿¡ ´ëÇÑ(Èñ¸ÁÀ» ³ªÅ¸³½´Ù). WinstonÀº ±× ³ëµ¿ÀÚ ¿©ÀÎÀ» °ÀÎÇÑ Àç»ý´É·Â¿¡ ´ëÇÑ ÃÖ°íÀÇ ÀüÇüÀ¸·Î °£ÁÖÇÑ´Ù; ±×´Â °¡²û ±× ¿©ÀÎÀÌ ÓÚÀÇ ±ÇÀ§¿¡ ÃÖÁ¾ÀûÀ¸·Î µµÀüÇÒ ¹Ì·¡¼¼´ë¸¦ Ãâ»êÇÏ°í ÀÖ´Â °ÍÀ» »ó»óÇÑ´Ù.
ÚãÀ¯ÅäÇÇ¾Æ ¼Ò¼³
George OrwellÀÇ 〈1984〉´Â ±×°ÍÀÌ »çȸ°¡ ¼èÅðÇÏ°í ÀÖ°í ÀüüÁÖÀÇ°¡ ±¤¹üÀ§ÇÑ ºÒÆòµîÀ» ¸¸µé¾î ³»°í Àΰ£ º»¼º¿¡ ³»ÀçÇÏ´Â ¾àÁ¡ÀÌ Àι°µéÀ» °¥µî°ú ºÒÇàÀÇ »óÅ¿¡ °¤È÷°Ô ÇÏ´Â ¹Ì·¡(»çȸ)¸¦ »ó»ó(envision)ÇÏ°í ÀÖ´Ù´Â Á¡¿¡¼(in that) ÚãÀ¯ÅäÇǾÆ(°áÇÔ»çȸ) ¼Ò¼³À» ïÒëù(Á¤ÀÇ)ÇØ ÁÖ´Â çÓ(¿¹)°¡ µÈ´Ù°í ÇÏ°Ú´Ù. Àΰ£ÀÇ ¿Ïº®¼º¿¡ ´ëÇÑ Èñ¸Á°ú Á¤ÀÇ·Î¿î »çȸÀÇ °¡´É¼ºÀ» ̱ò¥(°ßÁö:hold)ÇÏ´Â À¯ÅäÇǾƼҼ³°ú´Â ´Þ¸® 〈1984〉°°Àº ÚãÀ¯ÅäÇÇ¾Æ ¼Ò¼³Àº Àΰ£»çȸ´Â ±Ç·Â¿¡ ´ëÇÑ °ÇÑ ¿å¸Á(lust)°ú ÀÜÀμº¿¡ ´ëÇÑ ¼ö¿ë´É·ÂÀÌ ±³Á¤µÇÁö ¾Ê°í Áö¼ÓµÇ´Â ÇÑ Àηù´Â ´õ¿í ´õ ºÒÇàÇØ(worse) Áú °ÍÀ̶ó°í ¾Ï½ÃÇÑ´Ù. 〈1984〉¿¡¼ Àι°µéÀº ÀüÀï°ú Á¤ºÎ°¨½Ã¿Í ¾ð·ÐÀÚÀ¯¿¡ ´ëÇÑ Á¤Ä¡Àû ¾ÐÁ¦¿¡ ´ëÇÑ °øÆ÷ ¼Ó¿¡ »ì°í ÀÖ´Ù. ¼Ò¼³¼ÓÀÇ ·±´øÀº ºÒ°áÇÏ°í ½Ä·®ºÎÁ·°ú Æø¹ßÇÏ´Â Æ÷ź°ú ºñÂüÇÑ ½Ã¹Îµé·Î ÀÎÇØ ºØ±«µÇ°í ÀÖ´Ù. Á¤ºÎ´Â ¾ï¾Ð°ú ÅëÁ¦ÀÇ Àü´ÉÇÑ ÈûÀÌ°í ¼Ò¼³ ¼Ó Àι°µéÀÇ Á¤Ã¼¼º°ú ²ÞÀ» ºÐ¼âÇØ ¹ö¸°´Ù. ¼Ò¼³ÀÌ ¼³Á¤µÈ ¿¬µµ º¸´Ù 35³âÀü¿¡ ¾²¿© Áø ÀÌ ¹Ì·¡¿¡ ´ëÇÑ ÚãÀ¯ÅäÇǾÆÀû ºñÀüÀº Àΰ£ÀÇ Å¸°í³ º»¼ºÀº ºÎÆÐÇÏ°í ¾ï¾ÐÀûÀ̶ó´Â °ÍÀ» ¾Ï½ÃÇÑ´Ù. OrwellÀº 2Â÷ ¼¼°èÀüÀï ÈÄ¿¡ ±×¸®°í µ¶ÀÏ°ú ¼Ò·Ã¿¡¼ ÆĽÃÁòÀÌ ¹ßÈïÇÑ ÈÄ¿¡ ÀÌ Ã¥À» ½è¾ú°í º¸´Ù ´õ ½ÉÇÑ Áö±¸Àû Àç¾ÓÀ» ÇÇÇÏ·Á´Â »çȸÀû ´É·Â¿¡ ´ëÇؼ ºñ°üÀûÀÎ ±×¸²À» ±×¸®°í ÀÖ´Ù.
17-12-100
Dystopian fiction usually works backward from the present to find an explanation for the fictional society¡¯s decline, and thus to provide a commentary on the reader¡¯s society or a warning of how the future could turn out. In ¡°1984¡±, as Winston works to acquire objects from the past, find spaces without telescreens or microphones in them, and recover memories of the time before the Party, Orwell provides the reader with glimpses of how Winston¡¯s society came to be. We learn about a nuclear war, a revolution, mass famines, and a period of consolidation of power by the Party. Dystopian novels explore the effects of oppression and totalitarianism on the individual psyche as well as how the individual functions in a repressive society. Winston¡¯s trouble retrieving and trusting his memories illustrates the way the Party has corrupted his emotional life as well as his daily existence, asking the reader to question the nature of memory and individual consciousness. By suggesting that Winston is initially complacent because he can¡¯t remember whether or not life was better and he was happier before the Revolution, the book examines the importance of memory in creating a sense of self.
ÚãÀ¯ÅäÇÇ¾Æ ¼Ò¼³Àº Ç㱸Àû »çȸÀÇ ¼èÅðÀÇ ÀÌÀ¯¸¦ ¼³¸íÇÏ°í ±×·¡¼ µ¶ÀÚ°¡ ¼ÓÇÑ »çȸ¿¡ ´ëÇÑ ³íÆòÀ̳ª ¹Ì·¡¿¡ ÀϾ ¼ö ÀÖ´Â °á°ú¿¡ ´ëÇÑ °æ°í¸¦ Á¦°øÇϱâ À§ÇÏ¿© ´ëü·Î ÇöÀ縦 ½ÃÁ¡À¸·Î ÇÏ¿© °ú°Å È°µ¿À» ¾²°í ÀÖ´Ù. 〈1984〉¿¡¼ WinstonÀÌ °ú°ÅÀÇ »ç¹°µé(objects)À» ȹµæÇÏ°í ±× »ç¹°µé ¼Ó¿¡¼ ÅÚ·¹½ºÅ©¸°À̳ª ¸¶ÀÌÅ©·ÎÆùÀÌ ¾ø´Â °ø°£À» ã¾Æ³»°í ÓÚÀÌÀüÀÇ ½Ã´ë¿¡ ´ëÇÑ ±â¾ïÀ» µÇ»ì¸²¿¡ µû¶ó OrwellÀº µ¶ÀÚ¿¡°Ô WinstonÀÇ »çȸ°¡ ¾î¶»°Ô Çؼ ÀÌ·¸°Ô µÇ¾ú´ÂÁö¿¡ ´ëÇؼ ìéÜ(ÀϺ°)ÇÒ ¼ö ÀÖ´Â ±âȸ¸¦ Á¦°øÇÑ´Ù. ¿ì¸®´Â ÇÙÀüÀï¿¡ ´ëÇؼ, Çõ¸í¿¡ ´ëÇؼ, ´ë·® ä»ÞÝ(¾Æ»ç)¿¡ ´ëÇؼ, ±×¸®°í ÓÚ¿¡ ÀÇÇÑ ±Ç·Â°È ½Ã±â¿¡ °üÇؼ ¹è¿ì°Ô µÈ´Ù. ÚãÀ¯ÅäÇÇ¾Æ ¼Ò¼³Àº °³ÀÎÀÌ ¾ï¾ÐÀûÀÎ »çȸ¿¡¼ ¾î¶»°Ô ±â´ÉÇÏ´ÂÁö¿¡ ´ëÇؼ´Â ¹°·Ð °³ÀÎÀÇ ½É¸®(Á¤½Å)¿¡ ´ëÇÑ ¾ÐÁ¦¿Í ÀüüÁÖÀÇÀÇ ¿µÇâÀ» Ž»öÇÑ´Ù. ±â¾ïÀ» º¹±¸ÇÏ°í ½Å·ÚÇÏ·Á´Â ³ë·Â¿¡¼ WinstonÀÌ °Þ´Â °íÅë(trouble)Àº ÓÚÀÌ ±×µ¿¾È WinstonÀÇ ÀÏ»ó °æÇèÀº ¹°·Ð Á¤¼»ýÈ°À» ºÎÆнÃÄÑ¿Â ¸ð½ÀÀ» çÓãÆ(¿¹½Ã)ÇØ ÁÖ°í ÀÖÀ¸¸ç ³ª¾Æ°¡ µ¶ÀÚ¿¡°Ô ±â¾ï°ú °³ÀÎÀû ÀǽÄÀÇ º»Áú¿¡ ´ëÇؼ Àǹ®À» Á¦±âÇϵµ·Ï ¿ä±¸ÇÑ´Ù. Çõ¸í(´çÀÇ Áý±Ç)Àü¿¡ »ýÈ°ÀÌ ´õ ÁÁ¾Ò´ÂÁö ³ª»¦´ÂÁö ±×°¡ ´õ ÇູÇÏ¿´´ÂÁö¸¦ ±â¾ïÇÒ ¼ö ¾ø±â ¶§¹®¿¡ WinstonÀÌ Ã³À½¿¡´Â ¸¸Á·ÇÏ°í ÀÖ´Ù´Â °ÍÀ» Á¦½ÃÇÔÀ¸·Î¼ ÀÌ Ã¥Àº Àھư¨ÀÇ Ã¢Á¶¿¡ ÀÖ¾î¼ ±â¾ïÀÇ Á߿伺À» Á¡°ËÇÏ°í ÀÖ´Ù.
17-13-101
¥´. Foreshadowing
Orwell uses foreshadowing in ¡°1984¡± to create a claustrophobic environment and a sense of foreboding, beginning with the poster in Winston¡¯s building reminding everyone that BIG BROTHER IS WATCHING YOU.
Winston¡¯s betrayal of Julia
The popular songs in ¡°1984¡± serve as foreshadowing details, especially the lines ¡°They¡¯ve stolen my heart away¡± and ¡°Under the spreading chestnut tree, I sold you and you sold me.¡± The latter song also relates to the Chestnut Tree Café, where Winston sees Jones, Aaronson, and Rutherford shortly before they become ¡°unpersons.¡± The rhyme ¡°Oranges and Lemons¡± ends in ¡°Here comes a chopper to chop off your head,¡± invoking a past age of public executions. When Winston and Julia meet in the secret room, he worries about being forced to confess. Julia reassures him that the Party may be able to make him confess, but that making him stop loving her is ¡°the one thing they cannot do.¡± This turns out to be false, or ironic foreshadowing, because it is in fact exactly what the Party does.
Winston¡¯s betrayal of the Party
Foreshadowing actions underscore the danger Winston has placed himself in. After writing ¡°Down with Big Brother¡± in his diary, he enters Mrs. Parsons¡¯ apartment, where her two children chase each other around him, shouting ¡°Traitor!¡± and ¡°Thought criminal!¡± in his direction. This foreshadows that Winston will be declared a traitor and thought criminal later in the book and triggers Winston¡¯s paranoia, reminding him that he has broken laws and could be arrested at any time. At the Ministry of Truth, Winston reflects that Syme will be vaporized eventually because he¡¯s too smart and takes risks that the Party generally frowns on. This foreshadows that Winston will be vaporized as well.
¥´. îñð¼(ÀüÁ¶)
OrwellÀº 〈1984〉¿¡¼ ¹Ð½Ç°øÆ÷ÁõÀû ȯ°æ°ú ºÒ±æÇÑ ¿¹°¨(foreboding)À» âÁ¶Çϱâ À§Çؼ îñ𼸦 »ç¿ëÇϸç ÀÌ ÀüÁ¶´Â ¸ðµç »ç¶÷¿¡°Ô BIG BROTHER IS WATCHING YOU.(´ëÇüÀÌ ³Ê¸¦ °¨½ÃÇÏ°í ÀÖ´Ù.)¸¦ »ó±â½ÃÅ°¸é¼ WinstonÀÌ ±Ù¹«ÇÏ´Â °Ç¹°¿¡ ºÙ¾î ÀÖ´Â Æ÷½ºÅÍ·Î ½ÃÀ۵ȴÙ.
WinstonÀÇ Julia ¹è½Å
〈1984〉¿¡¼ Æ˼ÛÀÌ, ƯÈ÷ ¡°±×µéÀÌ ³» ¸¶À½À» ÈÉÃÄ°¬¾î¿ä¡±¿Í ¡°ÆîÃÄ ÀÖ´Â ¹ã³ª¹« ¾Æ·¡¼ ³ª´Â ³Ê¸¦ ÆÈ°í ³Ê´Â ³ª¸¦ ÆȾÒÁö¡± °°Àº ³ë·¡µéÀÌ ÀüÁ¶ÀûÀÎ ÀÛÀº ÀÏ(details)·Î¼ ¿ªÇÒÀ» ÇÑ´Ù. µÚÀÇ ³ë·¡´Â Chestnut Tree Café¿Í °ü·ÃµÇ´Âµ¥ ¿©±â¿¡¼ WinstonÀº ±×µéÀÌ ¡°Á¸ÀçÇÏÁö ¾Ê´Â »ç¶÷¡±ÀÌ µÇ±â Á÷ÀüÀÇ Jones¿Í Aaronson°ú ±×¸®°í Rutherford¸¦ º¸°Ô µÈ´Ù. ¡°Oranges and Lemons¡±³ë·¡´Â °ú°Å °ø°³(public)óÇü½Ã´ë¸¦ »ó±â½ÃÅ°¸é¼ ¡°¿©±â ³ÊÀÇ ¸Ó¸®¸¦ ÀÚ¸£±â À§Çؼ ÀÚ¸£´Â »ç¶÷ÀÌ ¿Â´Ù.¡±·Î ³¡³´Ù.
Winston°ú Julia°¡ ¹Ð½Ç¿¡¼ ¸¸³¯ ¶§ ±×´Â °Á¦·Î ÀÚ¹é´çÇÏ´Â °Í¿¡ ´ëÇØ °ÆÁ¤ÇÑ´Ù. Julia´Â ´çÀÌ ±×¸¦ ÀÚ¹é½Ãų ¼ö ÀÖÀ»Áö¶óµµ ±×°¡ ±×³à¸¦ »ç¶ûÇÏÁö ¸øÇÏ°Ô ¸¸µå´Â °ÍÀº ¡°±×µéÀÌ ÇÒ ¼ö ¾ø´Â ´Ü ÇÑ °¡Áö ÀÏ¡±À̶ó°í ±×¸¦ È®½Å½ÃŲ´Ù. ÀÌ°ÍÀº °ÅÁþÀÎ °ÍÀ¸·Î ¶Ç´Â ³Ã¼ÒÀûÀÎ ÀüÁ¶ÀÎ °ÍÀ¸·Î ÆǸíµÈ´Ù. ¿Ö³ÄÇÏ¸é ±×°ÍÀÌ »ç½Ç ¹Ù·Î ´çÀÌ ÇÏ´Â °ÍÀ̱⠶§¹®ÀÌ´Ù.
WinstonÀÇ ´ç ¹è½Å
ÀüÁ¶¸¦ ³ªÅ¸³»´Â ÇàÀ§´Â WinstonÀÌ ÀÚÃÊÇÏ´Â À§ÇèÀ» ºÐ¸íÈ÷ ³ªÅ¸³½´Ù(underscore). ±×´Â ÀϱâÀå¿¡ ¡°´ëÇüÀ» ŸµµÇÏÀÚ!¡±¸¦ ¾´ ÈÄ¿¡ Mrs. ParsonsÀÇ ¾ÆÆÄÆ®·Î µé¾î°¡´Â µ¥ °Å±â¿¡´Â ParsonsºÎÀÎÀÇ µÎ ¾ÆÀÌ°¡ WinstonÀÇ ÁÖÀ§¿¡¼ ±×°¡ ÀÖ´Â ÂÊÀ¸·Î ¡°¹Ý¿ªÀÚ!¡±¿Í ¡°»ç»ó¹üÁËÀÚ!¡±¶ó°í ¼Ò¸®Ä¡¸é¼ ¼·Î¼·Î ¼ú·¡Àâ±â(chase)¸¦ ÇÑ´Ù. ÀÌ°ÍÀº WinstonÀÌ ¼Ò¼³ÀÇ µÚ¿¡ °¡¼ ¹Ý¿ªÀÚ ¹× »ç»ó¹üÀ¸·Î ¼±°í¸¦ ¹ÞÀ» °ÍÀ̶ó´Â °ÍÀ» ÀüÁ¶ÇÏ°í ±×°¡ ¹ýÀ» À§¹ÝÇßÀ¸¸ç ¾ðÁ¦µçÁö ÀâÇô°¥ ¼ö ÀÖ´Ù´Â °ÍÀ» ±×¿¡°Ô »ó±â½ÃÅ°¸é¼ ±×ÀÇ ÆíÁýÁõÀ» Ã˹߽ÃŲ´Ù. Áø¸®¼º¿¡¼ WinstonÀº Syme´Â ³Ê¹« ¶È¶ÈÇÏ°í ´çÀÌ ÀϹÝÀûÀ¸·Î Âù¼ºÇÏÁö ¾Ê´Â À§ÇèÇÑ ÁþÀ» Çϱ⠶§¹®¿¡ °á±¹ Áõ¹ßµÉ °ÍÀ̶ó°í »ý°¢ÇÑ´Ù(reflect). ÀÌ°ÍÀº ¶ÇÇÑ Winstonµµ Áõ¹ßÇÒ °ÍÀ̶ó´Â °ÍÀ» ÀüÁ¶ÇÑ´Ù.
17-14-102
Winston¡¯s misreading of Julia and O¡¯Brien
Winston keeps seeing Julia, which foreshadows that she will be important to the story. However, in a case of false foreshadowing, he believes she is a spy, and at first is terrified of her. The switch between Winston¡¯s perception and reality foreshadows that he will be proven wrong about othe characters, namely Mr. Charrington and O¡¯Brien. Foreshadowing is also suggested in the scene in which Winston and Julia conspire with O¡¯Brien to join the supposed revolution, the Brotherhood. Beyond the similarity in the names Brotherhood and Big Brother, the Brotherhood asks for unquestioning loyalty to the cause and rigidly controls information, foreshadowing that their purpose is less than democratic. The questions Winston is made to answer, whether he is willing to forfeit his identity and his life, foreshadow that he will be made to do so.
Winston¡¯s beating and torture
When Winston and Julia meet in secret, the rat poking its head out of the wall in their rented room foreshadows that they are being watched, as well as foreshadowing the cage of rats in Room 101 that the Party uses to torture Winston. Orwell also subtly invokes the slang term ¡°to rat [someone] out,¡± foreshadowing betrayal of one another in the Ministry of Love. And Julia says ¡°It¡¯s sure to be full of bugs,¡± referring to the bed, which foreshadows the fact that they are being listened to in the secret room. Winston¡¯s beating and torture by the thought police is also foreshadowed when he first believes the Thought Police are following him, and dreads ¡°the groveling on the floor and screaming for mercy, the crack of broken bones, the smashed teeth and bloody clots of hair.¡± This very closely describes what happens to him later in the book when he is tortured and forced to confess.
Julia¿Í O¡¯Brien¿¡ ´ëÇÑ WinstonÀÇ ¿ÀÆÇ
WinstonÀº Julia¸¦ °è¼Ó ÁÖ½ÃÇϴµ¥ ÀÌ°ÍÀº ±×³à°¡ ¼Ò¼³¿¡¼ Áß¿äÇÏ°Ô µÉ °ÍÀ̶ó´Â °ÍÀ» ÀüÁ¶ÇÑ´Ù. ±×·¯³ª °ÅÁþ ÀüÁ¶ÀÇ °æ¿ì·Î¼ ±×´Â ±×³à°¡ ½ºÆÄÀ̶ó°í ¹Ï°í óÀ½¿¡´Â ±×³à¸¦ µÎ·Á¿öÇÑ´Ù. WinstonÀÇ ò±ÊÆ(Áö°¢)°ú ½ÇÀç »çÀÌÀÇ Âø¿À(switch)´Â ±×´Â Àι°µé, Áï Mr. Charrington¿Í O¡¯Brien¿¡ ´ëÇؼ ÆÇ´Ü Âø¿À¸¦ ÇÏ°Ô µÉ °ÍÀ̶ó´Â °ÍÀ» ÀüÁ¶ÇÑ´Ù. ÀüÁ¶´Â Winston°ú Julia°¡ °¡»ó Çõ¸í´ÜüÀÎ Brotherhood¿¡ °¡´ãÇϱâ·Î O¡¯Brien°ú °ø¸ðÇÏ´Â Àå¸é¿¡¼µµ ¾Ï½ÃµÈ´Ù. Brotherhood¿Í Big Brother »çÀÌ¿¡ ÀÖ´Â À̸§ÀÇ À¯»ç¼º ÀÌ»óÀ¸·Î Brotherhood´Â ±×°ÍÀÇ ¸ñÀû(cause)¿¡ ´ëÇؼ ¹«Á¶°ÇÀû(unquestioning) Ã漺À» ¿ä±¸ÇÏ°í ¾ö°ÝÇÏ°Ô Á¤º¸¸¦ ÅëÁ¦ÇÑ´Ù. ÀÌ°ÍÀº ±×µéÀÇ ¸ñÀûÀÌ ¹ÎÁÖÀûÀÌÁö ¾Ê´Ù´Â °ÍÀ» ÀüÁ¶ÇÑ´Ù. WinstonÀÌ ´äÀ» ÇÏ°Ô µÇ´Â Áú¹® Áï ±×°¡ ±×ÀÇ Á¤Ã¼¼º°ú ¸ñ¼ûÀ» ¡¹ß´çÇÒ ¶æÀÌ ÀÖ´ÂÁö ¾ø´ÂÁöÀÇ Áú¹®Àº ±×µµ ±×·¸°Ô Çϵµ·Ï ¸¸µé¾îÁú °ÍÀ̶ó´Â °ÍÀ» ÀüÁ¶ÇÑ´Ù.
WinstonÀÇ ±¸Å¸¿Í °í¹®
Winston°ú Julia°¡ ºñ¹ÐÈ÷ ¸¸³¯ ¶§, ¼Â¹æ º®À¸·ÎºÎÅÍ ¸Ó¸®¸¦ ³»¹Ì´Â Áã´Â ÓÚ(´ç)ÀÌ WinstonÀ» °í¹®Çϱâ À§ÇÏ¿© »ç¿ëÇÏ´Â Room 101ÀÇ ÁãƲÀ» ÀüÁ¶ÇÒ »Ó ¾Æ´Ï¶ó ±×µéÀÌ °¨½Ã¸¦ ´çÇÏ°í ÀÖ´Ù´Â °ÍÀ» ÀüÁ¶ÇÑ´Ù. OrwellÀº ¶ÇÇÑ áÔåÞ(¼Ó¾î:slang)ÀÎ ¡°to rat [someone] out,¡±(´ç±¹¿¡ Ä£±¸ÀÇ À߸øÀ» ÀÏ·¯¹ÙÃļ Ä£±¸¸¦ ¹è½ÅÇÏ´Ù)¸¦ ±³¹¦ÇÏ°Ô »ó±â½ÃÅ°¸ç ÀÌ´Â Winston°ú Julia°¡ ¾ÖÁ¤àý(¼º)¿¡¼ ¼·Î ¹è½ÅÇÏ°Ô µÇ´Â °ÍÀ» ÀüÁ¶ÇÑ´Ù. ±×¸®°í Julia´Â ħ´ë¸¦ °¡¸®Å°¸é¼ ¡°Æ²¸²¾øÀÌ ºó´ë°¡ ¸¹ÀÌ ÀÖ°Ú¾î¿ä.¡±(bug:ºó´ë, µµÃ»)¶ó°í ¸»ÇÑ´Ù. ÀÌ°ÍÀº ±×µéÀÌ ¹Ð½Ç¿¡¼ µµÃ»µÇ°í ÀÖ´Ù´Â »ç½ÇÀ» ÀüÁ¶ÇÑ´Ù. »ç»ó°æÂû¿¡ ÀÇÇÑ WinstonÀÇ ±¸Å¸¿Í °í¹®Àº ±×°¡ »ç»ó°æÂûÀÌ ±×¸¦ ¹ÌÇàÇÏ°í ÀÖ´Ù´Â °ÍÀ» óÀ½À¸·Î ¹Ï°Ô µÇ°í ¡°¹Ù´Ú¿¡ ¾þµå·Á ¹ú¹ú ±â¸é¼ ÀÚºñ¸¦ º£Ç®¾î ´Þ¶ó°í °íÇÔÀ» Áö¸£´Â °Í, ºÎ¸£Áø »À ¼Ò¸®, ¹Ú»ì³ ÀÌ»¡, ÇÇÅõ¼ºÀÌ ¸Ó¸®Ä«¶ô ¹¶Ä¡¡±ÀÇ »ý°¢À¸·Î °øÆ÷¿¡ ¶³ ¶§¿¡ ÀüÁ¶°¡ µÈ´Ù. ÀÌ°ÍÀº ¼Ò¼³ÀÇ µÚ¿¡ °¡¼ ±×°¡ °í¹®´çÇÏ°í ÀÚ¹éÀ» °¿ä´çÇÒ ¶§ ±×¿¡°Ô ÀϾ´Â °ÍÀ» ÀÚ¼¼ÇÏ°Ô ³ªÅ¸³»°í ÀÖ´Ù.
17-15-103
¥µ. Tone
The tone of ¡°1984¡± is dark, pessimistic, and gloomy, suggesting the book is meant as a warning of how miserable life will be if forces of totalitarianism are allowed to prevail. Even seemingly minor details and images in the novel uphold its gloomy, pessimistic tone. Orwell loads the apartments and workplaces of the novel with foul smells, noise, and a lack of privacy. Food is gray and unappetizing, indulgences like alcohol and cigarettes are unsatisfying and of poor quality. When Winston tries to smoke, ¡°half the tobacco promptly fell out onto his tongue, a bitter dust which was difficult to spit out again.¡± This tone echoes the dystopian mood and themes of the novel. Oceania is tightly controlled by a repressive government with a cult of personality in its leadership. People¡¯s more positive qualities have been channeled into conformism and mob mentality. Against this backdrop, Winston has developed a pessimistic, fatalistic attitude, believing himself to be as good as dead from the moment he begins writing in his diary: ¡°To be killed was what you expected.¡±
A few variations in tone exist, almost all connected to situations that offer the possibility of rebellion. When Winston and Julia meet in the secret rented room, the novel¡¯s pace softens, time slows down, and the tone becomes warmer and more sympathetic to human nature. Julia and Winston enjoy a forbidden picnic with real coffee, real sugar, soft bread, and a pot of jam, recollecting the small pleasures of pre-Party life. These details make the scene in which the police invade the rented room and arrest Winston and Julia feel like a deeper betrayal. The tone here is also cautionary – readers reading the book at the time of publication in 1949 would have remembered similar rationing and deprivation from World War II, when real sugar, butter, and coffee were luxuries. Orwell warns readers that if they aren¡¯t careful, life may go back to the hardships and misery of wartime. For contemporary readers, the tone of caution reminds us that the coffee and bread we take for granted may someday become precious and contraband luxuries.
¥µ. ëåðà(À½Á¶)
〈1984〉ÀÇ À½Á¶´Â ¾îµÓ°í ºñ°üÀûÀ̸ç À½¿ïÇÏ¸ç ¼Ò¼³Àº ÀüüÁÖÀÇ ¼¼·ÂÀÌ Áö¹èÇϵµ·Ï(prevail: ¾ÐµµÇÏ´Ù) Çã¿ëµÇ¸é Àΰ£ÀÇ »îÀÌ ¾ó¸¶³ª ºñÂüÇÏ°Ô µÉ °ÍÀΰ¡¿¡ ´ëÇÑ °æ°í·Î¼ÀÇ Àǹ̰¡ ÀÖ´Ù´Â °ÍÀ» ¾Ï½ÃÇÏ°í ÀÖ´Ù. ½ÉÁö¾î ¼Ò¼³¿¡¼ ¿Ü°ß»óÀ¸·Î´Â ¾ÆÁÖ ÀÛ°í »ç¼ÒÇÑ °Í°ú À̹ÌÁöµµ À½¿ïÇÏ°í ºñ°üÀûÀÎ À½Á¶¸¦ µÞ¹ÞħÇÏ°í ÀÖ´Ù. OrwellÀº ¼Ò¼³ÀÇ ¾ÆÆÄÆ®¿Í ±Ù¹«Ã³¿¡ ´õ·¯¿î ³¿»õ¿Í ¼ÒÀ½°ú ÞçîÜ(»çÀû) ÀÚÀ¯ÀÇ ºÎÁ·À¸·Î °¡µæ ä¿ì°í ÀÖ´Ù(load). À½½ÄÀº ÀíºûÀÌ°í ¸ÀÀÌ ¾øÀ¸¸ç ¼ú°ú ´ã¹è¿Í °°Àº Ðîû¿ù¡(±âȣǰ; indulgencies)Àº ¸¸Á·½º·´Áö ¸øÇÏ°í ºó¾àÇÑ Ç°ÁúÀ̾ú´Ù. WinstonÀÌ ´ã¹è¸¦ ÇÇ¿ì·Á°í ½ÃµµÇÒ ¶§ ¡°´ã¹èÀÇ Àý¹ÝÀÌ ±×ÀÇ Çô À§·Î ¶³¾îÁ³°í ´Ù½Ã ³»¹ñ±âµµ Èûµç ¾´ ´ã¹è°¡·ç(dust)¿´´Ù.¡± ÀÌ·± À½Á¶´Â ¼Ò¼³ÀÇ ÚãÀ¯ÅäÇǾÆÀûÀÎ ºÐÀ§±â¿Í ÁÖÁ¦¸¦ ÚãúÂ(¹ÝÇâ)ÇÏ°í ÀÖ´Ù. Oceania´Â ÁöµµÀÚ¿¡ ´ëÇؼ °³Àμþ¹è¸¦ °¡Áø ¾ï¾ÐÀûÀÎ Á¤ºÎ¿¡ ÀÇÇؼ ¾ö°ÝÇÏ°Ô ÅëÁ¦µÇ°í ÀÖ´Ù. »ç¶÷µéÀÌ °¡Áö°í ÀÖ´Â º¸´Ù ´õ Àû±ØÀûÀÎ ÀÚÁúÀº üÁ¦¼øÀÀÁÖÀÇ¿Í ñëé×(Áß¿ì:mob:¾îÁßÀ̶°ÁßÀÌ, ±ºÁß) Á¤½Å»óÅ·ΠÀüȯµÇ¾î ¹ö·È´Ù. ÀÌ·± ȯ°æ(background)À¸·Î ÀÎÇؼ WinstonÀº ºñ°üÀûÀÌ°í ¼÷¸í·ÐÀûÀΠŵµ¸¦ ¹ßÀü½ÃÄÑ ¿Ô°í ±×ÀÇ ÀϱâÀå¿¡ ¡°Á×ÀÓÀ» ´çÇÏ´Â °ÍÀÌ ³×°¡ ±â´ëÇÏ¿´´ø °Í¡±À̶ó°í ¾²±â ½ÃÀÛÇÏ´Â ¼ø°£ºÎÅÍ ÀÚ½ÅÀº Á×Àº °Å³ª ¸¶Âù°¡Áö¶ó°í ¹Ï´Â´Ù.
À½Á¶¿¡ ÀÖ¾î¼ ¸î °³ÀÇ Ü¨ì¶(º¯ÀÌ)°¡ Á¸ÀçÇÏ¸ç ¸ðµÎ ¹Ý¶õÀÇ °¡´É¼ºÀ» Á¦°øÇÏ´Â »óȲ°ú ¿¬°áµÇ¾î ÀÖ´Ù. Winston°ú Julia°¡ ºñ¹Ð ¼Â¹æ¿¡¼ ¸¸³¯ ¶§ ¼Ò¼³ÀÇ ÜÆðà(º¸Á¶)´Â ºÎµå·¯¿ö Áö°í ½Ã°£Àº ´À¸®°Ô °¡°í À½Á¶´Â ´õ µû¶æÇØÁö°í Àΰ£ÀÇ º»¼º¿¡ º¸´Ù ´õ µ¿Á¤ÀûÀÌ µÈ´Ù. Julia¿Í WinstonÀº ÓÚ(´ç)ÀÌ Áö¹èÇϱâ ÀÌÀüÀÇ »îÀÇ ÀÛÀº Áñ°Å¿î °ÍµéÀ» ȸ»óÇÏ¸é¼ ÁøÂ¥ Ä¿ÇÇ¿Í ÁøÂ¥ ¼³ÅÁ°ú ºÎµå·¯¿î »§°ú ÇÑ º´ÀÇ ÀëÀ» °¡Áö°í ±ÝÁöµÈ ÇÇÅ©´ÐÀ» Áñ±ä´Ù. ÀÌ·± ÀÛÀº °ÍµéÀº °æÂûÀÌ ±×µéÀÇ ¼Â¹æÀ» ħÀÔÇÏ¿© Winston°ú Julia¸¦ üÆ÷ÇÏ´Â Àå¸éÀ» ÇϳªÀÇ ´õ ±íÀº ¹è½Å(ÓÚÀÇ)À¸·Î ´À³¢°Ô ¸¸µç´Ù. ¿©±â¿¡¼ À½Á¶´Â ¶ÇÇÑ Á¶½É½º·´´Ù¡ª1949³â ÃâÆÇ ´ç½Ã¿¡ ÀÌ Ã¥À» Àд µ¶ÀÚµéÀº ¼³ÅÁ°ú ¹öÅÍ¿Í Ä¿ÇÇ°¡ »çÄ¡Ç°À̾ú´ø 2Â÷ ¼¼°èÀüÀï ¶§ÀÇ À¯»çÇÑ ¹è±ÞÁ¦¿Í ±ÃÇÌÀ» ±â¾ïÇÏ¿´À» °ÍÀÌ´Ù. OrwellÀº µ¶Àڵ鿡°Ô ¸¸¾à ±×µéÀÌ ÁÖÀÇÇÏÁö ¾ÊÀ¸¸é »ýÈ°Àº îúãÁ(Àü½Ã)ÀÇ ±ÃÇÌ(hardships)°ú ºñÂüÇÔÀ¸·Î µÇµ¹¾Æ°¥ ¼öµµ ÀÖ´Ù´Â °ÍÀ» °æ°íÇÏ°í ÀÖ´Ù. ¿ì¸®½Ã´ë(contemporary)ÀÇ µ¶Àڵ鿡°Ô´Â ÁÖÀÇ(caution)ÀÇ À½Á¶´Â ¿ì¸®°¡ ´ç¿¬ÇÑ °ÍÀ¸·Î °£ÁÖÇÏ´Â Ä¿ÇÇ¿Í »§Àº ¾ÆÁÖ ¼ÒÁßÇÏ°í ±ÝÁöµÈ »çÄ¡Ç°ÀÌ µÉ ¼öµµ ÀÖ´Ù´Â °ÍÀ» ¿ì¸®¿¡°Ô »ó±â½ÃŲ´Ù.