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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
이 논문의 연구 히스토리 (7)
2014
2013
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초록· 키워드
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『Lost pearl』is the first direct translation anthology which has apparent source.『Gitanjali』is the first direct translation which is not an anthology but a complete translation of the source. Moreover, compared with nowadays’ expert translation, it is at the same high level. Kim-eok uses special endings of a word, sonant words, such as ‘-eora’ and ‘-seora’ that are appropriate to romantic mood in the romantic amour-poems of『Lost pearl』by Arthur Symons. In addition, he intentionally use the words ‘naenim’ and ‘nim’ which are suitable to the mood as a personal pronoun, rather than use accurate personal pronouns. Compared with these characteristic, he uses ‘-seumnida’, which is helpful to express loftiness in religious poems of the『Gitanjali』by Tagore. He express the names of concrete objects in poems to avoid ambiguity which will appear when translating word for word, the words such as ‘I’, ‘human’, ‘God’ written by pronouns in the source. These shows a contrast that he use an end rime, vibration sound, and elaboration of the word to maximize romantic mood when translating romantic poems of Arthur Symons.
He intentionally uses sonant words, end lime, rhythm, and the word order of Korean in translation of the verse poems of『Lost pearl』. This intention has also some aspect that the translated meaning is somewhat far from the original meaning. In comparison, he makes a focus on equivalence of words, the natural Korean which has the same meaning to the original text of prose poems in『Gitanjali』. For all that, both books have the characteristic of ‘creative translation’ in common. It is the creative embodiment in the main theme phrase demanding a phrase pregnant with hidden meaning and translating long adjective phrase into simple native words that set off his translation to advantage.
He intentionally uses sonant words, end lime, rhythm, and the word order of Korean in translation of the verse poems of『Lost pearl』. This intention has also some aspect that the translated meaning is somewhat far from the original meaning. In comparison, he makes a focus on equivalence of words, the natural Korean which has the same meaning to the original text of prose poems in『Gitanjali』. For all that, both books have the characteristic of ‘creative translation’ in common. It is the creative embodiment in the main theme phrase demanding a phrase pregnant with hidden meaning and translating long adjective phrase into simple native words that set off his translation to advantage.
목차
1. 서론
2. 낭만적 운문시의 ‘-어라체’와 종교적 산문시의 ‘-습니다체’
3. ‘우리말어법’을 고려한 ‘주제어구’의 ‘창작적 번역’
4. 결론
참고문헌
[Abstract]
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UCI(KEPA) : I410-ECN-0101-2014-810-001376288