텍스트의 시차와 공간적 재맥락화

손성준(Son, Sung Jun) 동악어문학회 2014 동악어문학 Vol.62 No.-

본 연구는 염상섭의 초기 번역 활동에 주목하여 텍스트 선택의 경위와 그 의미를 궁구하고, 이와 염상섭 소설들의 관련 양상을 고찰한 것이다. 염상섭은 메이지 일본의 문인 후타바테이 시메이를 경유하여 러시아 소설에 접속했다. 시메이의 번역문은 그 문체적 혁신으로 말미암아 일본 문단에서 큰 권위를 확보하고 있었다. 염상섭의 선택에는 그 권위에 대한 고려가 반영되어 있었으며, 번역태도 역시 저본을 꼼꼼하게 옮겨내는 방식이었다. 하지만 내용적 측면에서는 전혀 다른 방점을 찍으며 번역소설 자체가 자신의 문제의식을 대변하게 했다. 염상섭은 가르쉰의 ?四日間?을 통해서는 조선의 전쟁 체험, 즉 3?1운동의 죽음을 재현했고, 투르게네프의 ?密會?를 통해서는 여성해방이라는 화두를 던졌다. 이는 동시기의 소설 ?萬歲前?이나 ?除夜? 등에도 삽입된 메시지들이었다. 본격적 의미에서 처음으로 세계문학과 조우하며 나온 식민지 조선의 번역들은, 염상섭의 사례와 같이 저본과는 차별화 된 시공간적 조건의 차이와 번역자 개인의 문제의식이 빚어내는 각각의 맥락을 지니고 있었을 것이다. 따라서 본 연구는 향후 다른 대상에게도 적용 가능한 방법론의 한 사례로서 일정한 의의를 획득할 수 있다. This study noticed in the early translation activity of Yeom Sang-seop, examined his choice of translation text and the meaning it contains. Also, determined the aspects of his novels as an extension of translation activity. Yeom Sang-seop accessed Russian novel through Meiji Japan"s writer, Hutabatei Simei. Simei"s translation was renowned for it"s innovative style of writing in Japan"s literary circles. Yeom Sang-seop"s choice of texts reflected this authorities, and his translation attitude was also very simple and meticulous. But on the side of novel"s content, he tried very different way, and let translated novel represents his critical consciousness by itself. Yeom Sang-seop reenacted the horror of 3?1 independence movements, Chosun"s war experience through V. Garshin"s novel, Four days(四日間), and brought up women"s liberation issue through Turgenev"s Meeting(密會). These messages were also implied in other novels of the same period, such as Mansejeon(萬歲前) and Jeya(除夜). Colony Chosun was in the beginning stage of encountering international literatures in earnest, at that time of the Chosun"s translated literatures would have their own stories consisted of difference of time-space concept condition and translator"s personal concept of history, just like the Yeom Sang-seop"s case. So this study has significance as a example of translation study methodology which is applicable to other objects hereafter.

한국 근대소설과 번역·창작의 복합주체

손성준(Son, Sung-Jun) 한국현대문학회 2015 한국현대문학연구 Vol.0 No.47

이 연구는 염상섭과 현진건의 통속소설 번역에 주목하여 그들의 창작세계 형성과 소설관의 유동을 새롭게 해석해보고자 한것이다. 두 인물은 활동 초기부터 통속소설의 번역을 병행했지만 번역의 태도는 다르게 나타난다. 염상섭은 번역을 통해 통속소설에 대한 적극적 평가에 이르게 되는 반면, 현진건은 통속적 신문연재소설을 번역하는 경우에는 일회성 필명만을 내세우며 거리두기로 일관하였다. 이후 두 작가의 행보는 엇갈린다. 염상섭은 소설의 통속성을 자신의 문예주의 노선에 결합시킴으로써, 당대의 대표적인 장편작가이자 다작(多作)의 문인으로서 자리매김한다. 한편 현진건의 경우 일찌감치 기교와 묘사 방면에 강점을 지닌 작가의 위상을 얻었지만, 갈수록 침묵의 문인으로서 기억되었으며 특히 장편의 생산에 많은 난관을 겪게 된다. 두 문인이 보여주는 이러한 엇갈림의 이면에는 소설의 통속성에 대한 그들의 관점 차이가 놓여 있었으며, 통속소설의 번역은 그러한 관점을 지닌 주체를 형성하는 데 중요한 계기를 제공했다. 훗날 염상섭과 현진건은 각기 자신의 문학적 도정에 결핍되어 있던 것들을 비판적으로 성찰하며 새로운 변화를 꾀한다. This study intends to newly interpret the formation of Yeom Sang-seop"s and Hyun Jin-geon"s creative worlds and the transition of their perspectives on fiction, paying attention to their translation of Tongsok Soseol (popular fiction,). Although the two figures were involved in the translation of foreign popular fiction from their early literary activities, they showed different attitudes in relation to the translation. While Yeom Sang-seop came to make a positive evaluation of popular fiction in the course of translating it, Hyun Jin-geon consistently kept his distance from it, using a temporary pen name whenever translating a low-brow novel serially in a newspaper. Afterwards, the two writers trod different paths. Yeom Sang-seop established himself as a representative novelist and prolific writer of the time by integrating the popular nature of fiction into his own literary tendency. On the other hand, in the case of Hyun Jin-geon, although he early gained status as a writer having strengths in techniques and portrayal, he was increasingly remembered as a literary man of silence, and in particular, he had much difficulty in producing long novels. Behind such a discrepancy between the two writers lie differences in their viewpoints on the popular nature of fiction. The translation of popular fiction provided important momentum in the formation of their such subjective viewpoints. Later on, Yeom Sang-seop and Hyun Jin-geon attempted new changes, reflecting critically on what were lacking in their respective literary journey.

번역이라는 고투(苦鬪)의 시간 : 염상섭의 번역과 초기 소설의 문체 변화

손성준(Son Sung Jun) 한국문학회 2014 韓國文學論叢 Vol.67 No.-

This research examines the original works and translations of Western novels by Korean writer Yom Sang-seop(廉想涉, 1897–1963) to show how the change of style in his novels in the 1920s was deeply influenced by his experience as a translator. As seen in the trilogy written in his early days, Yom's sentences in his earlier novels featured heavy usage of words written in Chinese characters, even compared to other up-and-coming writers at that time, among whom the use of such words was prevalent. However, his style went through a drastic change. The novel Sunflower, which was his first novel written solely in native Korean without any Chinese characters, seems to have emerged due to the media condition as a series in the Dong-A Ilbo. However, we also need to understand the author's concurrent effort to pioneer his own novel language in order to understand this stylistic change. Before writing Sunflower, Yom had expanded the boundaries of the Joseon (Korean) language by translating three Western novels. These translations used significantly fewer words in Chinese characters than original novels written in Korea at that time, which likely influenced Yom's own original style. As this study shows, he moved from the use of the gender-neutral third-person pronoun “彼(he)” to the use of “그(he)”, a change which represents a break from the stylistic influence of Japanese novels and which appeared first in his translation of the novel Four days(四日間) instead of Teacher E(E先生), as has previously been understood. Furthermore, Yom learned the present-tense first-person narrative technique used in the process of adapting Graveyard(墓地) to Mansejeon(萬歲前) through his experience translating Meeting(密會). From the perspective of bringing novelty to the vocabulary of one's mother language, translation is located at the extreme opposite position from censorship, which blocks the same act. However, from the perspective of language, translation is an endless task of self-censorship. Translation forces the translator to distance himself from his own language under the demands of an external criterion, namely the original text. Thus, when Yom Sang-seop found impure elements in Joseon-language novels, he parted from them without hesitation. Obviously, this may not have been an easy process, and for Yom, in fact, translation was a process of struggle. However, it was this struggle that allowed him to rediscover the Joseon language and establish the style of his novel. 본 연구는 염상섭의 케이스를 중심으로 1920년대 소설의 문체 선회 현상에 작가들의 번역 체험이 핵심 변수로 놓여있었다는 것을 밝히고자 했다. 초기 3부작이 보여주듯, 염상섭의 초기 소설 문장은 당대의 신진 문인 중에서도 극단적이라 할만큼 한자어 비중이 높았다. 하지만 그의 소설 문체는 급격히 변화해간다. 염상섭이 최초로 선보인 순국문체 소설 는 일견『동아일보』연재라는 매체적 조건으로 인해 출현한 듯 보이지만, 이러한 판단에는 스스로의 소설어를 개척했던 개인의 노력에 대한 이해가 더해져야한다. 염상섭은 이전에 이미 세 차례에 걸친 서양소설의 번역 체험 속에서 자신이 구사하던 조선어의 경계를 확장시켜나가고 있었다. 그가 발표한 번역소설의 한자어 비중이 동시기의 창작 소설보다 현격히 낮았다는 것이 이를 반증한다. 아울러, 본 연구는 일본소설의 문체적 영향으로부터의 탈피를 대변하는 3인칭 대명사'彼'에서'그'로의 변화가 종래의 이해처럼 이 아니라 번역소설 에서 먼저 나타난 것이며, 에서 으로의 개작 과정에서 확인되는 1인칭 서술에서의 현재시제 활용이 의 번역 체험 속에서 획득되었다는 것을 제시했다. 자국어 언어장 속에 새로운 것을 가져온다는 측면에서,'번역'이란 그것을 차단하는'검열'과는 대척점에 있다. 하지만 언어적 측면에서'번역'은 끊임없이 자기를 '검열'하는 작업 그 자체이도 하다. 번역은 역자로 하여금 저본이라는 외적 준거를 통해 자기 언어와의 거리를 강제한다. 그렇게 자기 언어에서 조선어소설로서의 불순물을 발견한 염상섭은, 과감히 그것들과 결별했다. 이 과정에 쉬웠을리 만무하다. 염상섭에게 번역은'고투의 시간'이었다. 그러나 이 시간을 거치며 그는 조선어를 재발견하고 자신의 소설 문체를 확립할 수 있었다.

도구로서의 제국 영웅 -20세기 초 한국의 비스마르크 전기 번역-

손성준 ( Sung Jun Son ) 한국문학연구학회 2012 현대문학의 연구 Vol.0 No.47

19세기 말 20세기 초 한국의 신문·잡지에서는 독일제국의 영웅 비스 마르크에 대한 기사가 빈번히 출현한다. 그에 대한 본격적인 전기물도 연 재 및 단행본의 형태로 반복하여 등장하였다. 본 연구의 목적은 비스마르 크 전기 중 박용희朴容喜의 <비스마ㄱ 傳>, 황윤덕黃潤德의 <比斯麥傳>에 포커스를 맞추어 비스마르크의 한국적 변용 양상을 드러내는 것이 다. 박용희와 황윤덕의 텍스트는 둘 다 사사카와 기요시(笹川潔)의 <ビスマルック>(博文館, 1899)를 저본 삼아 역술한 것이었다. 사사카와는 비스 마르크를 변론하는 방식의 화법을 구사했다. 군대를 앞세운 대외정책 비 판에 대해서는 비스마르크가 우승열패의 시대의 최적자임을 들어 옹호하 였고, 민권 축소 비판에 대해서는 君權主義者로서의 신념 및 존왕심 강조 를 통하여 정면으로 맞서며 오히려 그러한 영웅이 등장할만한 국가적 토 양을 염원했다. 사사카와의 텍스트를 참조한 박용희와 황윤덕은 각기 다른 방식으로 번역에 임했다. 박용희의 경우 비스마르크의 이름을 내걸었음에도 글의 전개 과정에서는 자신의 목소리를 전면화시켜 다른 맥락으로 이야기를 풀어나가는 전략을 취한다. 복잡해 보이기까지 하는 다채로운 구성의 <비스마ㄱ 傳>은 결국에 폭력의 시대를 고발하고 약소국의 사람들로 하여금 경계심을 갖게 한다는 점에서 나름의 일관성을 확보하고 있다. 국 민정신에 대한 강조는 이러한 일관된 의도 속에서 타진되는 박용희식 대 안의 일환이었다. 한편 황윤덕이 번역한 <比斯麥傳>은 보성관의 계몽 기획 속에서 등장했다. 황윤덕은 저본의 변론적 색채를 걷어내고 첨삭을 통하여 사사카와의 비스마르크를 자신이 생각하는 완전무결한 영웅의 형 상에 가깝게 만들었다. 또한 그는 철혈정책의 의미를 극대화 하여 약소국 한국의 정치 현실 속에 드리워진 절망을 벗겨낼 수 있는 대안으로 삼고자 했다. 박용희가 실천적 대안을 비스마르크 서사의 외부에서 찾았다면, 황 윤덕은 내부에서 찾은 것이다. 비스마르크는 아시아 침략을 강행하고 있던 독일제국의 국부였으나 그 의 행적은 식민지 신세로 전락하고 있던 한국에까지 버젓이 번역되었다. 그러나 이는 단순히 제국주의에 대한 동경이 아니라 비스마르크라는 도 구를 발화의 원점으로 취하는 것이었다. 사사카와의 집필에서는 사사카 와의 판단과 성향에 따라 비스마르크의 상이 결정되었지만 박용희와 황윤덕이 원한 것은 사사카와의 메시지와는 거리가 있었다. 이에 박용희· 황윤덕은 사사카와의 매듭지점을 자신들의 시작지점으로 삼고, 각기 다 른 기준으로 역술 작업을 수행한다. 비스마르크라는 고정된 실체는 이렇 게 번역 과정에서 재차 변형되어갔다. The Newspapers and Magazines published in Korea from the late 19th century to the early 20th century very often carried articles about Bismarck, a hero of the German Empire. Full-scale biographies on him appeared over and over again in the form of serials or books. The purpose of this study is to show the Korean transformation of Bismarck focusing on <비스마ㄱ 傳> by Park Yong-hee(朴容喜) and <比斯麥傳> by Hwang Yoonduk( 黃潤德). Both of the texts by Park and Hwang were translations of <ビスマルック> by Sasakawa Kiyoshi(笹川潔). Sasagawa`s style of speech in this book was the one arguing in favor of Bismarck. He defended his foreign policy headed by the military against critics saying that he was an optimal person in the age of the survival of the fittest. He faced criticism of reducing civil rights squarely asserting militaristic belief and respect for the Japanese emperor emphatically and rather longed for national soil in which such a hero could appear. Both of Park and Hwang referred to Sasagawa`s text, but they translated it differently. Park chose tactics of telling a story according to the different context keeping his own voice in the front line, although the name of Bismarck was the title of his work. <비스마ㄱ 傳> which has a varied constitution to such an extant as to look tangled eventually gets consistency of its own in the sense of reporting the times of violence and making the people of a small country have a feeling of wariness. Emphasis on the national spirit was one of Park`s style of alternatives floated as such a consistent intent. On the other hand, <比斯麥傳> translated by Hwang appeared as one of enlightenment plans by Bo Sung Gwan. Hwang got rid of the defensive color of the original one and transformed Sasagawa`s Bismarck into the hero which he considered to be ultimate through editing of it. In addition, he maximized the meaning of Blut und Eisen Politik and made it an alternative to eliminate the ashes of despair in reality. It can be said that Park found a practical alternative on the outside of the story of Bismarck, but Hwang found it inside of it. Bismarck was the national father of German Empire which pushed ahead with invasion of Asian countries, but his whereabouts was overtly translated in Korean nevertheless. This was, however, to take the tool of Bismark as a starting point of speech. In Sasagawa`s writing, the image of Bismark was determined depending on Sasagawa`s decision and disposition, but the thing that Park and Hwang intended was different from it. Park and Hwang, therefore, made Sasagawa`s Knotting point their starting point, and carried out translating it. The fixed substance of Bismarck was transformed again in the process of translation on this wise.

번역문학의 재생(再生)과 반(反)검열의 앤솔로지 - 『태서명작단편집(泰西名作短篇集)』(1924) 연구

손성준 ( Son Sung-jun ) 한국문학연구학회 2018 현대문학의 연구 Vol.0 No.66

『태서명작단편집』(1924)은 서양[泰西]의 여러 단편소설을 번역하여 엮은 책으로서, 한국 최초의 서양 단편 앤솔로지로 알려져 있다. 『태서명작단편집』의 근간은 홍명희, 진학문, 염상섭, 변영로 등 4인의 번역자가 과거 『동명』, 『개벽』, 『학지광』, 『신생활』에 역재(譯載)했던 단편소설 15편이었다. 번역자들은 주로 일역본을 경유한 중역(重譯)의 방식으로 서양 단편을 소개했지만, 변영로의 번역작 3편은 모두 영역본의 중역이었다. 기획 및 편집을 맡은 변영로는 우선 번역진을 구성한 후, 각자의 과거번역을 추적하여 모으는 단계를 밟았다. 그 결과 15편 중 9편이 러시아 소설로 편중되는 구성의 불균형이 나타났다. 이는 『태서명작단편집』이 철저히 발신자 중심의 기획이라는 것을 방증한다. 변영로와 동료들은 이미 각자의 기준에서 조선의 독서계에 필요하다고 판단한 서양 소설들을 선보였고, 현재는 그것을 한 데 엮여 재차 선보이고자 할 따름이었다. 최초 발표된 원고의 형태와 『태서명작단편집』으로 재편집된 판본을 비교해보면, 일부 표기를 제외하고는 큰 차이를 확인할 수 없다. 기점이 된 4개의 잡지는 합법적 영역에서는 최고 수준의 ‘불온함’을 장착하여 검열체제와의 갈등이 일상화되어 있던 잡지였다. 검열의 강도가 격화되고 있던 시기적 특수성을 감안하면, 『태서명작단편집』은 과거의 문제적 번역들을 ‘태서명작’의 이름으로 ‘재생’시킨다는 의미를 지니고 있었다. 사전검열의 결과 비록 최남선이 번역한 「마지막 課程」(알퐁스 도데 원작)은 삭제되었지만 활자화된 15편의 소설 역시 상당수가 식민지 조선의 억압된 상황에 대한 은유, 애국심과 독립정신의 고취, 계급투쟁의 당위성 등 검열의 기준에 저촉될 만한 여러 가지 요인을 내재하고 있었다. 나아가, 『태서명작단편집』의 수록작 가운데 10여 편은 공통적으로 ‘타자와의 관계 속에서 오는 깨달음’의 문제를 다루었다. 이러한 일관된 메시지는 이 앤솔로지가 1923년 9월 1일에 발생한 관동대지진로부터 얼마 지나지 않아 기획되었다는 점에서 더욱 문제적이다. ‘타자’였던 탓에 죽임당해야 했던 조선의 비참한 역사 직후에, 공교롭게도 『태서명작단편집』은 ‘타자가 틀린 것이 아니다’라는 목소리를 집결시킨 형태로 등장했던 셈이다. 『태서명작단편집』은 결국 식민지 조선에 대한 발화였다. The Taeseo Myeongjak Danpyeonjip (Anthology of Occidental Short Story Masterpieces)(1924) is a compilation of translated Western short stories, and is known as the first anthology of Western short stories in Korea. The Taeseo Myeongjak Danpyeonjip is based on 15 short stories previously translated and published in Dongmyeong, Gaebyeok, Hakjigwang, and Sinsaenghwal by four translators of Hong Myeong Hui, Jin Hak Mun, Yeom Sang Seop, and Byeon Yeong Ro. While the translators mostly introduced Western short stories by second-hand translation via Japanese, Byeon Yeong Ro’s three translations were all translated from English versions. Byeon Yeong Ro, the planner and editor of the compilation, selected the translators, and then tracked and collected their past translations. As a result, the compilation showed such an imbalance of composition that Russian short stories were predominant with 9 of the 15 short stories. This corroborates that the Taeseo Myeongjak Danpyeonjip was planned on an entirely sender-centered basis. Byeon Yeong Ro and his colleagues had already introduced Western stories judged by them as necessary for the reading public of Joseon according to their own criteria, and then only intended to publish them again in the form of a compilation. The comparison between the texts of the manuscripts initially published and their re-edited versions in the Taeseo Myeongjak Danpyeonjip shows no great difference except for some expressions. The four magazines that originally had published the works were routinely in conflict with the censorship system due to their top-level ‘rebelliousness’ within the legal limits. Given the distinct characteristics of the period when the intensity of censorship was increased, the Taeseo Myeongjak Danpyeonjip had the significance that it ‘regenerated’ problematic translations of the past under the title of ‘Occidental masterpieces.’ Although only The Last Lesson (originally written by Alphonse Daudet) translated by Choi Nam Seon was removed as a result of the censorship, most of the 15 stories put into print also included factors that might be in conflict with the criteria of censorship, such as a metaphor for the situation of oppressed colony Joseon, the infusion of patriotism and the spirit of independence, and the justification for class struggle. Further, 10 works in the the Taeseo Myeongjak Danpyeonjip commonly dealt with the issue of ‘realization from relationship with the other.’ Such a consistent message was more problematic in that the anthology was planned shortly after the Great Kanto earthquake in September 1, 1923. For the appearance of the Taeseo Myeongjak Danpyeonjip as much as gave voice to ‘The other is not wrong’ just after the miserable history of Joseon where Joseon people had to be killed because they were the others. The Taeseo Myeongjak Danpyeonjip was utterances about the colonial Joseon after all.

지식의 기획과 번역 주체로서의 동아시아 미디어 ― 『조양보(朝陽報)』를 중심으로

손성준 ( Son Sung-jun ) 성균관대학교 대동문화연구원 2018 大東文化硏究 Vol.104 No.-

『조양보』는 한국 최초로 상업적 종합잡지를 지향한 비기관지였다. 본 연구는 한국잡지 중 <실업>, <담총>, <소설> 항목을 처음으로 도입한 『조양보』의 지면 구성이 일본의 대표적 종합잡지인 『태양』을 참조한 결과로 보았다. 그러나 동일한 틀을 사용한다 하더라도, 그 내용을 채우는 것은 전적으로 매체의 선택이었다. 이 글은 『조양보』의 편집진이 특정 중국어와 일본어 단행본들을 재료를 선별하고 다른 방식으로 배치하는 사례를 종합하여, 『조양보』가 단순히 번역의 매개였을 뿐 아니라 ‘번역의 주체’이기도 했다는 것을 밝혔다. 매체의 출현과 지식의 유통이라는 근대전환기의 현상 이면에는 ‘번역’이라는 실천이 놓여 있었다. 『조양보』의 <논설>란 기사에서 70% 이상, <소설>란의 100%가 번역에 기댄 결과물이라는 사실이 증명하듯, 정기간행물을 통한 1900년대 후반의 계몽운동에 있어서 번역은 필수불가결했다. 이것이 당대의 미디어 자체를 ‘飜譯場’의 관점에서 재고해야 할 이유다. ‘번역’의 문제는 보통 ‘자생적 발전’의 대척점에서 사유되었고, 따라서 연구사의 주변부에 놓이는 경우가 대부분이었다. 하지만 대한제국기 잡지들의 존재 양상을 고려할 때 이는 주객이 전도된 것에 가깝다. 잡지의 간행 주체들이 중시한 것은 ‘번역’을 통한 지식의 재편이었다. 그들이 절실히 보급하고자 한 각종 학문과 담론은 기본적으로 자가생산이 불가한 영역에 있었다. 그렇기에 ‘자생적 발전’을 새로운 차원에서 이끌어내기 위해서는 知識場의 재구성이 선행되어야 했다. 이것이 당대 번역의 본질이자 지향이었다. 번역된 것들이 의미하는 바를 보다 적극적으로 고구해야 하는 이유는, 결국 번역 자체가 ‘자생적 선택’에서 비롯된 산물이기 때문이다. Joyangbo(朝陽報) was a non-official publication that pursued a commercial general-interest magazine for the first time in Korea. This study judges that the layout of Joyangbo, which introduced the sections of < Business(實業) >, < Story Collection(談叢) >, and < Fiction(小說) > for the first time among Korean magazines, was the result of referring to The Sun(太陽), Japan's representative general-interest magazine. However, although the same framework was used, what it was filled with was entirely up to the media's choice. This paper reveals that Joyangbo was not only the media of translation, but also was 'the subject of translation', by putting together cases where the editorial staff of Joyangbo selected materials from specific Chinese and Japanese books and arranged them in different ways. Behind the appearance of media and the distribution of knowledge, which were phenomena in a period of transition to the modern era, there was the practice of 'translation'. As shown by the facts that more than 70% of leading articles in the < Editorial(論說) > section of Joyangbo and 100% of stories in its < Fiction > section depended on translation, translation was indispensable for the Enlightenment Movement through periodicals in the late 1990s. This is the very reason that media of the time itself should be reconsidered in terms of 'the field of translation(飜譯場)'. The problem of 'translation' has generally been reasoned at the antipode of 'spontaneous development', and thus has always been at the periphery of the history of study. However, given the existence aspects of magazines during the period of the Great Korean Empire, this is almost like putting the cart before the horse. It is the reorganization of knowledge that the subjects of magazine publication regarded as important. Basically, various knowledge and discourses they desperately tried to disseminate were not within the domain of self-production. Therefore, to elicit 'spontaneous development' from a new dimension, the reconstruction of knowledge-field had to precede. This is the nature and orientation of the translation of the time. The reason that what translations mean should be more actively investigated is that the translation itself is ultimately the product of 'spontaneous choice'.

번역과 원본성의 창출: 롤랑부인 전기의 동아시아 수용 양상과 그 성격

손성준 ( Sung Jun Son ) 한국비교문학회 2011 비교문학 Vol.0 No.53

This study analyzes how the biography of Madame Roland, a lady from the period of French Revolution, was changed through the space of translation of Japan-China-Korea connection. Among the biographies of Madam Roland, The Queens of Society(1860), co-authored by Grace Wharton and Philip Wharton of England, shows clearly the translation route to East Asia. In The Queens of Society, she was described as a deficient person in religious and personality though she was a great woman. In Japanese edition, she was introduced as a model of modern woman without negative factor(The Model of Lady, The Queen of Relationship, by Tsubouchi Shoyo, 1887 and The Flower of French Revolution, by Tokutomi Roka, 1893). Whereas, this model woman was recreated as the origin of revolution by Liang Qichao(A Life of Madame Roland, The Bravest Modern Woman, 1902). His translation allowed the new image of Madame Roland to be introduced in Korea(A Life of Madame Roland, The Best Modern Heroine, 1907). Shoyo, Roka and Liang Qichao viewed the radicalism of French Revolution from a same standpoint, after Wharton defined that they had to take precautions against it by conservative ideas of revolution. Particularly, Liang Qichao described Madame Roland as a mother of revolution as well as a victim of revolution to show his double recognition of French Revolution. Whereas, in Korea, the conservative ideas of Liang Qichao was deleted(in the newspaper form) or the message of expectation for radical change of society was added(in the book from). To translate Western literatures into China was to receive authoritative information even though it was double translation. For this reason, a translation became the activity to create a new origin, not a relation of an origin and a copy. The texts of Whartons and Shoyo were an origin and a translation but they were not the same story. So were the biographies of Madame Roland by Liang Qichao and Korean translator. Texts of three East Asian countries functioned as independent text with originality in each place. The significance of study in translation of East Asia in modern transition is not to investigate whether it is literal or liberal translation or research into the level of influence, but to find how intervention of translator create a new originality in the extraordinary nature of the translating place.

「각본 격야(隔夜)」 번역의 시공간적 맥락

손성준 ( Son Sung-jun ),한지형 ( Han Ji-hyoung ) 국제어문학회 2015 국제어문 Vol.0 No.67

Turgenev is a writer a ssessed as a political moderate who was opposed to revolutionary changes, though he had sensitivity to the situation of times and the current of its changes. In the case of On the Eve(Накануне, 1860) among his novels, it featured as its main character a young Bulgarian man who dreams of revolution, and even such a situation was created that even the radical group of the then Russia came to evaluate the work positively. Actually, Turgenev himself was adamant in rejecting the position of considering On the Eve as `the eve of a revolution`; however, its text contained inter-textuality for political interpretation. In 1920, Hyun Cheol, who was a New Drama Movement promoter and the Chief of Department of Art & Science for Gaebyeok, published Scenario Gyeogya, serials of a translated work, in the first issue of the magazine through its ninth issue. The Scenario Gyeogya was On the Eve adapted for the stage, and its original script was Kyakuhon Sono Zenya(脚本 その前夜) by Kusuyama Masao(楠山正雄), who was working as a dramatizer for Geizyutsuza(藝術座). Kyakuhon Sono Zenya (脚本 その前夜) itself was a text that emphasized more the aspects of awakening colony people to the reality and their struggle than the original work. In the translator`s forward, Hyuncheol introduced the original work as a work that explained `today`s Russia,` that is, Russia where a socialist revolutionary state was established; and made it known that the reason for translating the scenario was that it had the most points in common with Joseon of those days. Behind Hyun Cheol`s selection of the scenario was his intention to tell about the political reality of Joseon through the revolutionary Russia. On the other hand, he attempted progress in the culture of Joseon by emphasizing in the translation `the collision of ideas` between characters of old and new generations revolving around the necessity for women`s liberation. Under Hyun Cheol`s planning, Gyeogya was actually performed at Danseongsa theater, and a sensation created by Gyeogya among Joseon people is indirectly witnessed by Overnight Fog (Jisaeneun angae), a novella written by Hyun Jin-geon. At the time when the first publication of Gaebyeok was imminent, Hyun Cheol picked the scenario of On the Eve, placing the first priority in his translation to the work over A Doll`s House (Et dukkehjem) or Hamlet. For after encountering Kyakuhon Sono Zenya(脚本 その前夜) during his study in Japan, he had a hunch about the status to be retained by it in case that it would be placed into the specific time and space of colony Joseon.

조명희 소설의 외래적 원천과 그 변용 : 투르게네프와 고리키를 중심으로

손성준 ( Son Sung-jun ) 국제어문학회 2014 국제어문 Vol.62 No.-

This writing helps to make public the existence of Cho Myeong-Hee`s reference novels, which was not discussed before regarding his works, and find how the creation process was variated. Thus, this effort would lead to clarify what was intended in them. This writing aims at providing a new turning point in working on Cho Myeong-Hee`s novel and then have an overall review on the creation methodology about Korean writers in the 1920s. Two sources here in the novel of Cho Myeong-Hee are originated from Ivan Turgenev and Maxim Gorky. As shown in recollections or translations, these two writers` position is noteworthy in the process of forming his literary view. He adopted the virtues featured in their novels, selectively. For this reason, their novels could coexist as main reference for him even though these distinguished writers had a clearly different styles. Cho`s Into the Ground and One Summer Night were written from the motif of Gorky`s The Coachman and The Lower Depths, To Mr. R and Nakdonggang(낙동강) from the motif of Turgenev`s Faust and On the Eve in terms of descriptive style or composition. In the case of Faust or On the Eve based on Turgenev`s novels, commonality was found in relation to Gorky`s The Mother. Therefore, it could be safely said that the influenced portion by Gorky is rather large, and from which Cho`s attitude is sensed that he accepted Gorky`s life and literature as a mental prop. With all the existence of other reference novels, Cho Myeong-Hee`s novel showed his own differentiation. Elements in other novels were taken in but he filled his writings with such different elements as miserable reality under colonial period, analytic dissection of it, and justification of class release. In this course, the initially related setups were also repositioned in the optimized form. What is said about in his novel has been already analyzed from the diverse facades. However, this article would look into among the novels he referenced himself and make comparison among them. As a result, the multi-level analysis could be obtained about his consciously differentiated point. Cho Myeong-Hee proceeded to his self-identity as a proletarian writer via messages in novel. A variety of other materials beyond the referenced proletarian literature were added as part of novel identity in his process of writing. Non-typical proletarian literary elements discussed in studies about him such as lyrical and romantic characteristics need to be taken into consideration in this context. Methodologies in this article would provide a new implication in approaching to overall research on novels, not to mention the examination about Cho Myeong-Hee`s novel, in the 1920s when emulations and practices about western literature were full-fledged in Korea.

특집 : 한국 근대소설사의 전개와 번역 -1920년대까지의 양상을 중심으로

손성준 ( Sung Jun Son ) 민족문학사학회·민족문학사연구소 2014 민족문학사연구 Vol.56 No.-

이 연구는 1920년대까지의 소설 번역의 추이를 통해 초기 근대소설사의 한국적맥락과 그것이 형성된 조건을 추출하고, 이분화 되어 있던 창작문학·번역문학 연구의 풍토를 재고해보고자 씌어졌다. 주로 1910년대에 일본 유학을 경험한 일군의 한국 지식인들은, 창작과 번역이라는 두 가지 채널을 통해 소설을 ‘순문예’의 영역 속에 안착시키려는 노력을 본격화하였다. 특히 그들은 질과 양의 측면에서 모두 수준 이하라고 인식한 조선문단의 발전을 앞당기기 위해 세계문학 번역의 필요성을 주창하고 직접 실천하였다. 이 같은 번역 실천은 1910년대를 중심으로 하는 번역소설의 1차 중흥기와 1920년대의 2차 중흥기를 형성하는 가시적 성과를 낳는다. 이 과정에서의 성격 변화는 순문예 소설 번역의 강세로 압축되는데, 그중 러시아 및 프랑스소설의 번역이 두드러졌다. 그러나 1920년대를 순문예 번역의 질적·양적 팽창으로 전대와 구획하는 종래의 이해 방식은 비판적으로 재검토되어야 한다. 우선, 번역량은 격증했으나 문예 지면의 확대 수준을 감안하면 이를 진정한 의미의 격증이라 보기는 힘들다. 게다가 그 양적 상승세 자체도 1920년대 중반부터는 둔화된다. 이는 번역량이 팽창일로에 있던 동시기 일본과 중국의 번역 상황과도 상반되는 독특한 현상이다. 또한 번역이 순문예물로 집중되는 경향이 뚜렷해지기는 했지만, 압도적이라 할 만큼의 비중은 아니었다. 오히려 필독서라 할 만한 정전(正典) 급의 장편소설의 번역도, 비교적 수월하게 결과물을 낼 수 있는 단편소설의 번역도 설 자리를 잃어갔다. 신문은 주로 통속적인 장편 연재소설을 역재(譯載)했고, 잡지의 소설 지면은 대부분 창작 단편의 공간으로 소진되었기 때문이다. 1920년대 번역문학의 내적 맥락 속에서 간취되는 순문예 번역의 저조는, 다음과 같은 한국근대소설사의 두 가지 한계와 인과관계를 형성하게 된다. 첫째는 순문예물 독자층의 저변확대에 실패한 것으로서, 이는 다시 작가의 경제적 상황 및 창작 여건의 불안정을 수반하는 악순환의 고리로 작용했다. 둘째는 끝내 식민지기의 문단이 ‘대장편’ 문예물의 창작과는 친화하지 못한 것으로서, 이는 결국 한국 근대소설사에서 고착화 된 장편= 통속/ 단편= 예술이라는 양식적 감각과 연동되어 있는 문제다. 순문예 번역의 저조와 그에 반비례하는 창작과잉의 배경을 설명하기 위해서는, 식민지의 이중 언어 환경 및 출판시장의 문제뿐 아니라, 일본문단이라는 대타항을 끊임없이 의식하며 문학사의 시차(時差)를 조급히 상쇄하고 싶어 했던 식민지 문인들의 욕망 또한 고려되어야 한다. This study intended to extract the Korean context and its forming conditions in the early history of modern Korean novels from transition in the translation of novels up to the1920s, and to reconsider the climate of research that has been dichotomized into creative literature and translation literature. A group of Korean intellectuals, who mostly shared experience of studying in Japan in the 1910s, tried in earnest to have the novel settled down in the domain of ‘pure literature’ through the two channel of creation andtranslation. Particularly, they advocated necessity for the translation of world literatureand practiced translation in person so as to further the development of the Korean literary world, which was then subpar both in quality and quantity. Their practice of translation produced tangible results of forming the 1st period of prosperity in translated novels in the 1910s and the 2nd period of prosperity in the 1920s. Changes in the nature of the process may be condensed into the strengthening of the translation of pure literature novels, among which Russian and French novels were conspicuous and in terms of style. However, the existing way of understanding that distinguishes the 1920s from the previous periods in terms of the qualitative and quantitative expansion of the pure literature translation requires critical review. First, although the amount of translations increased sharply, it is difficult to regard it as a sharp increase in the true sense of the term, considering the level of increase in literary magazines. Further, the tendency of quantitative rise itself began to slow down from the middle of the 1920s. This is a unique phenomenon that contrasts with the situations of ever-increasing translations in Japan and China during the same period. In addition, there was a pronounced tendency towards a concentration of translation in works of pure literature, which, however, did not represent a overwhelming proportion in the overall literature. Rather, both the translation of canon-level novels, which deserve to be classified as must-reads, and that of short stories, production of which is relatively easy, were losing ground. Newspapers serialized translated popular novel, and the novel sections of magazines were mostly occupied by creative short stories. The sluggishness in the translation of pure literature perceived within the internal context of translation literature in the 1920s forms the causal relationship with two limitations in the history of Korean modern novel. The first is failure in the expansion of the reader base for pure literature, which acted as a link of a vicious circle that was accompanied by unstable economic circumstances and creation conditions for writers. The second is the failure of the literary world in the colonial period to be friendly with the creation of “long” literary works, which ultimately represents a problem linked to the stylish sense of ‘full-length = popular / short = artistic’ that became permanent in the history of Korean modern novel. To explain the background behind sluggishness in the translation of pure literature and excessive creation in inverse proportion to it, the desire of literary people in the colonial period who were continuously aware of the antithesis, i.e., the Japanese literary world and were impatient to overcome the time gap in literary history, as well as the problems of bilingual environment and the publishing market in the colonial period should be considered.