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초록· 키워드
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This paper examined how the novel Yujeong was recontextualized and also focused on the reconstruction process of Yi Kwang-su’s representation. This paper traced back the process of a text produced with colonial designs getting postcolonial potential through the agent of production, rather than being merely consumed as a colonial text.
The publisher Modern Nihon was successful in presenting Yujeong as a multi-layered novel to the Japanese readers. Modern Nihon’s publication was against the framework of “Joseon literature as local literature,” and therefore had the potential to break from the standard practices of reading Joseon literature. The introduction to the Modern Nihon edition, however, displayed the limits of the period as it failed to provide a full account of Yi’s practice and thoughts in detail.
While Kim Dalsoo had plans to reprint Yujeong in 1955, his plans were not realized in during Cold War period just after the division of South and North Korea. he attempted to reintroduce his message and literary accomplishments by departing from the ideological divide between nationalism and socialism and recontextualizing Yi’s works as Joseon modern literature.The meetings in 1983 between Chi Myungkwan and the Association of Seven on translating Yi’s work were collaborative attempts to reconstruct the representation of Yi, which was long forgotten in postwar Japan, and to provide the readers with a general perspective of the author.
The Modern Nihon edition and the Goryeo Seorim edition also differed in their translation styles. The Modern Nihon edition simplified a considerable number of expressions, and the translation was not precise in exposing the boundaries between the Japanese and Korean languages. The Goryeo Seorim edition, on the other hand, was faithful in its translation of Yi’s original expressions into Japanese and also included footnotes that expand on the historical and context. The fact that Joseon literature was considered to be a branch of local Japanese literature during wartime attests to the existing differences in the translations. Unlike the Modern Nihon edition, the Goryeo Seorim edition presented the untranslatable Korean, culture, and history. Only through the Goryeo Seorim editioncould Yujeong meet its Japanese readers as a foreign literary work. Translators of Yujeong broke away from the imperialistic context to present a strategy of reading a text after the war in a postcolonial context.
The publisher Modern Nihon was successful in presenting Yujeong as a multi-layered novel to the Japanese readers. Modern Nihon’s publication was against the framework of “Joseon literature as local literature,” and therefore had the potential to break from the standard practices of reading Joseon literature. The introduction to the Modern Nihon edition, however, displayed the limits of the period as it failed to provide a full account of Yi’s practice and thoughts in detail.
While Kim Dalsoo had plans to reprint Yujeong in 1955, his plans were not realized in during Cold War period just after the division of South and North Korea. he attempted to reintroduce his message and literary accomplishments by departing from the ideological divide between nationalism and socialism and recontextualizing Yi’s works as Joseon modern literature.The meetings in 1983 between Chi Myungkwan and the Association of Seven on translating Yi’s work were collaborative attempts to reconstruct the representation of Yi, which was long forgotten in postwar Japan, and to provide the readers with a general perspective of the author.
The Modern Nihon edition and the Goryeo Seorim edition also differed in their translation styles. The Modern Nihon edition simplified a considerable number of expressions, and the translation was not precise in exposing the boundaries between the Japanese and Korean languages. The Goryeo Seorim edition, on the other hand, was faithful in its translation of Yi’s original expressions into Japanese and also included footnotes that expand on the historical and context. The fact that Joseon literature was considered to be a branch of local Japanese literature during wartime attests to the existing differences in the translations. Unlike the Modern Nihon edition, the Goryeo Seorim edition presented the untranslatable Korean, culture, and history. Only through the Goryeo Seorim editioncould Yujeong meet its Japanese readers as a foreign literary work. Translators of Yujeong broke away from the imperialistic context to present a strategy of reading a text after the war in a postcolonial context.
목차
〈국문초록〉
1. 반복되는 번역과 『유정』의 재맥락화
2. 유동하는 이광수 표상과 다시 읽기로서의 번역
3. 전시/전후 번역 방식의 차이와 다시 쓰기로서의 번역
4. 민족이라는 독법과 이광수 문학의 현재화
〈참고문헌〉
영문초록
참고문헌 (28)
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