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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Whenever translators meet the most 'original' source texts, they might immediately think 'untranslatabilty', since the impossibility of translation is commonly increased by the broad differences or a gap between two languages and cultures. It naturally accompanied with the sense of untranslatability just as the poet Frost talks ""Poetry is what gets lost in translation."
The aim of this paper is to search the ways of overcoming various impossibility in translation, focusing on poetry translation. To achieve this goal, we compare the bipolar attitudes in translation, and summarize fourteen translators' and writers' view on the untranslatability or translatability. Fourteen writers' skeptical and negative or extreme creative attitudes towards the translation or translating poetry can be classified into three groups. First group insist that a perfect equivalence is impossible in translation, second group suggest extreme literal translation, and the third present a creative translation as the alternative.
Ezra Pound translated Chinese poetry into the new English poems in his peculiar method of the creative translation. The Holy Bible, which originally written in verse, has to have always been translated in a literal way. These bipolar methods suggest everything in-between is translatable. Ironically each translator, who complains untranslatability, eventually presents the way out of it. That is, while studying over their sense of impossibility, they simultaneously return to the way out of it.
One Korean poem, 'The Wayfarer', in Korean 'Gil Son', is analyzed and translated into English. Through this job, it was proved that problems in translation arise from mostly culturally different words and expressions, and they can still be translated with some degree of adjustment. As Pym assumes that they need to admit "the principle of necessary sacrifice" and to be ready to lose "less important" elements in the original text to achieve better communication without losing the whole taste. Poetic notion and diction, musicality, repetition, anastrophe, and metaphor of the original poem are main sources of leading translators into the swamp of untranslatability. And the constraint, the very sense of untranslatability, therefore, can be overcome by the translator's creativity as Jose Ortega y Gasset says "The Misery and the Splendor of Translation" coexist in this land.
The aim of this paper is to search the ways of overcoming various impossibility in translation, focusing on poetry translation. To achieve this goal, we compare the bipolar attitudes in translation, and summarize fourteen translators' and writers' view on the untranslatability or translatability. Fourteen writers' skeptical and negative or extreme creative attitudes towards the translation or translating poetry can be classified into three groups. First group insist that a perfect equivalence is impossible in translation, second group suggest extreme literal translation, and the third present a creative translation as the alternative.
Ezra Pound translated Chinese poetry into the new English poems in his peculiar method of the creative translation. The Holy Bible, which originally written in verse, has to have always been translated in a literal way. These bipolar methods suggest everything in-between is translatable. Ironically each translator, who complains untranslatability, eventually presents the way out of it. That is, while studying over their sense of impossibility, they simultaneously return to the way out of it.
One Korean poem, 'The Wayfarer', in Korean 'Gil Son', is analyzed and translated into English. Through this job, it was proved that problems in translation arise from mostly culturally different words and expressions, and they can still be translated with some degree of adjustment. As Pym assumes that they need to admit "the principle of necessary sacrifice" and to be ready to lose "less important" elements in the original text to achieve better communication without losing the whole taste. Poetic notion and diction, musicality, repetition, anastrophe, and metaphor of the original poem are main sources of leading translators into the swamp of untranslatability. And the constraint, the very sense of untranslatability, therefore, can be overcome by the translator's creativity as Jose Ortega y Gasset says "The Misery and the Splendor of Translation" coexist in this land.
목차
1. 번역의 양극과 갈등
2. 번역불가능성
3. 번역가능성 두 극단의 예를 통해서
4. 실천적 번역 가능성 - 장만영의 「길손」 영역
5. 나가며 - 번역가능성과 번역이론
참고문헌
[Abstract]
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UCI(KEPA) : I410-ECN-0101-2012-701-004326726