[오늘의 한문장] 돈의 속성

돈의 다섯 가지 속성으로, ‘돈은 인격체다, 규칙적인 수입의 힘, 돈의 각기 다른 성품, 돈의 중력성, 남의 돈에 대한 태도’를 말한다. 부자가 되기 위해 필요한 네 가지 능력으로는 ‘돈을 버는 능력, 모으는 능력, 유지하는 능력, 쓰는 능력’을 다룬다. - <돈의 속성(개정증보판)>, 김승호 - 밀리의 서재
https://www.millie.co.kr/v3/bookDetail/5ba62f6f03774060 - P7

˝Smart bugger, aren’t you? We...

"Smart bugger, aren’t you? Well, all I got to say to you is better watch out." - P16

But the way he behaved didn’t always depend on how drunk he was. - P16

BUD SALTER had two older sisters who never did anything useful unless his mother made them. - P17

"Stop swearing. Stop tattle-telling. Grow up." - P19

And, unlike Cece Ferns’s father, he didn’t change his tune when he came into his own house. - P19

This was a family who accepted burdens of one kind or another with even less fuss than they accepted the weather. In fact, nobody in that house would have spoken of Jimmy’s father’s condition or Aunt Mary’s eyesight as burdens or problems, any more than they would of Fred’s shyness. Drawbacks and adversity were not to be noticed, not to be distinguished from their opposites. - P20

But nobody complained. Everybody praised. Complaints were as rare as lightning balls in that house. - P20

Did this explain why Jimmy kept his mouth shut that Saturday at dinnertime? They all kept their mouths shut, all three of them. - P21

It was just that their houses seemed too full. Too much was going on already. This was true in Cece’s house just as much as in the others, because even in his father’s absence there was the threat and memory all the time of his haywire presence. - P21

[100자평] 스피노자로 영국 소설 읽기

스피노자로 영국 소설 읽기 - 신·정서·픽션 ㅣ 다시 만난 문학이라는 세계 2
이혜수 지음 / 그린비 / 2024년 10월

“들뢰즈식으로 말하자면, 스피노자 사유와 문학작품들을 ‘형용사‘로 규정하는 대신 생성하고 변화하는 ‘동사‘(원형)로 포착하면서 주름 잡힌 사건의 중요한 순간들을 펼쳐내려는/설명하려는(explicate) 시도가 이 책을 이룬다.” 이혜수 작가와 함께 ‘스피노자 프리즘’으로 18~19c 고전 영국소설을 새롭게 읽어보는 Becoming의 순간을 기대하며 여정을 떠나 봅니다.

스피노자 사유의 중요한 세 지점, 즉 1) 존재의 일...

스피노자 사유의 중요한 세 지점, 즉 1) 존재의 일의성(univocity of being) 2) 욕망과 정서의 윤리 (ethics of desire and affects) 그리고 3) 상상역량의 덕(훌륭함) (virtue of imagination)은 이 책에서 스피노자 철학과영국 소설을 연결해 읽는 주요 연결 고리다.
스피노자 사유에서 두드러지는 일의적이고 평등한 존재론, 발본적이고 실천적인 윤리학, 그리고 배움과 되기의 미학은 문학의 이해에서 핵심적인 질문 혹은문학 자체의 물음이기도 하다. - P11

들뢰즈식으로 말하자면, 스피노자 사유와 문학작품들을 ‘형용사‘로 규정하는 대신 생성하고 변화하는 ‘동사‘(원형)로 포착하면서 주름 잡힌 사건의 중요한 순간들을 펼쳐내려는/설명하려는(explicate) 시도가 이 책을 이룬다.
책의 부제인 ‘신, 정서, 픽션‘은 이러한 세 가지 문제의식,
즉 일의적 존재론, 욕망과 정서의 윤리, 상상 및 픽션의 역량의 약호이며, 각기 1부, 2부, 3부로 나눠 다뤄진다. - P11

ON THE eighth year, December ...

ON THE eighth year, December 31, 1987, Jacob picked me up at my house. He came around three-thirty, a half hour late, with his dog and his friend Lou in his truck. They’d been ice fishing together, their chief activity in the winter, and we had to drop Lou off on the other side of Ashenville before proceeding to the cemetery.

He was a short, balding man, forty-five years old, just beginning to put on weight in the gut. His blond hair was thin, wispy, so that you could see his scalp beneath it, pink and chapped looking. He had crooked teeth, and they gave him a slightly comical quality, a mock toughness, making him look like some two-dimensional disreputable character out of a boy’s adventure book—an old boxer, a street thug, an ex-con.