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에밀리 디킨슨의 반전통성-헬렌 잭슨과의 비교를 중심으로-
윤미선 ( Yoon Miseon ) 대한영어영문학회 2005 영어영문학연구 Vol.31 No.1
The purpose of this study is to highlight Emily Dickinson's unconventionality by comparing her poetry with that of Helen Hunt Jackson, one of her famous contemporaries then. Most women poets in nineteenth-century America conformed to the poetic convention of the day. Jackson, among others, was responsive to the considerably genteel, imitative, sentimental, feminine poetry as expected of women poets of her time. Conforming to the constraints of the publishing world, she became a very popular poet of her time. On the contrary, Dickinson decided not to have her poems published because she did not want to conform to an editor's directions. Unlike Jackson, she sought a new path of her own technique of poetry. Rather than ignoring the constraints that the publishing world would have placed on her poetry, we should consider how her striking originality responds to cultural pressures. Today, she is more highly esteemed more honorably ranked than the successful Jackson of nineteenth-century America. (Chungnam National University)
시인 김수영의 『올리버 트위스트』 번역 연구: 김수영의 다시쓰기와 출판사의 조작적 다시쓰기
윤미선(Miseon Yoon) 한국동서비교문학학회 2021 동서 비교문학저널 Vol.- No.58
It is difficult to find another poet and translator who aroused as much interest and stirred as much controversy as Kim Soo-young in the history of modern literature of Korea. While he is an inarguably great poet whose works elicit rich interpretations to the readers of today, Kim Soo-young was a translator who left the message that says “The secret of my poem lies in my translation.” One of his translated works is “Oliver Twist” (1959), translated and published for children. Translating for children can be approached as ‘rewriting’ (Lefevere 1992) for different readers in different times, places and culture. According to Lefevere, the text has been rewritten for a certain audience – children in this case – to a certain poetics or a certain ideology, and rewriting is often enforced by the patrons, the people or institution who commission or publish translations. This article attempts to analyze: the ideology or patrons that enforced Kim Soo-young to rewrite Oliver Twist (1837) for children in 1950s; the poetics that induced the publisher to rewrite manipulatively his translation in 1970s.
윤미선 ( Miseon Yoon ) 사단법인 아시아문화학술원 2021 인문사회 21 Vol.12 No.6
영화 「코코」(2017)는 스팽글리시(Spanglish)라는 코드 스위칭 현상이 광범위하게 활용된 작품이다. 본 연구는 영화 「코코」에 나타난 스팽글리시의 한국어 더빙과 자막을 분석함으로써 코드 스위칭이 한국어로 번역된 양상을 살펴보는 것을 첫 번째 연구목적으로 한다. 스팽글리시를 적극적으로 활용하였다는 것은 영화의 이야기 세계, 즉 디제시스(diegesis)를 언어적 접촉 지대(linguistic contact zone)로 상정하였다는 것을 의미한다. 본고에서는 디제시스를 잘 드러내는 지명 및 스팽글리시 중 문화특정항목의 분석을 통해 디제시스의 전달에 있어 영화의 한국어 더빙과 자막에서 변화가 있는지를 고찰한다. 분석 결과, 영화의 영어 더빙본에 나타난 스팽글리시의 코드 스위칭은 자막과 더빙 모두에서 잘 재현되지 않았다. 다만 더빙에서는 코드 스위칭이 단 한 건도 발견되지 않은 반면, 더빙에서 원본의 코드 스위칭을 재현하려는 노력이 발견되었다. 디제시스의 전달의 경우 자막은 스팽글리시의 삭제, 문화특정항목의 삭제를 통해 디제시스의 전달을 약화시킨 반면, 더빙은 ‘멕시코’라는 지명의 추가, ‘el Día de Los Muertos’ 등 문화특정항목의 음차를 통해 디제시스를 고정하는 경향을 보였다. The film Coco keeps the Spanish language close to the script, adhering to Spangish, which is English-Spanish code-switching used by a growing number of the US population. The article aims to analyze the translation of Spanglish in the Korean-dubbed and subtitled version of Coco. The use of Spanglish in the film sets the film in the context of “linguistic contact zone” or a linguistic borderline where both Spanish and English are used in daily life. The article attempts to investigate the anchorage of diegesis of the film in its Korean-dubbed and subtitled version. The result shows that code-switching is not conspicuously reproduced in either of its translation modes; however, the Korean-dubbed version has some code-switching translated. And the diegesis is more anchored in its dubbed version by adding “México” to its dialogue and transliterating more culture-specific items, such as “el Día de Los Muertos.”
윤미선 ( Miseon Yoon ) 이화여자대학교 통역번역연구소 2019 T&I review Vol.9 No.-
Kim Soo-young is a Korean poet and translator whose works have attracted intense scholarly interest after his death. Recent studies on Kim Soo-young tend to take his translation works as a means for him to absorb western literature and establish a link between his reading/translating and his works. However, it can be an easy assumption as translating a text is not synonymous with an avid reading and it is a well known fact that he translated for a living. Few studies have been conducted to look into his translation in translation studies. This study aims to review the literature on Kim Soo-young’s translation works and show how future research can study his translation. (Chung-Ang University, Korea)
윤미선 ( Yoon Miseon ) 대한영어영문학회 2011 영어영문학연구 Vol.37 No.2
This study aims at dealing with Emily Dickinson’s female poetics. The notion of a female poetics emerges from women’s own experience of literature and women’s ways of knowing and focuses on how and what the female writer creates. Understanding female experience comes to be integral to the interpretation of Dickinson’s poetry. Dickinson‘s poetry can be studied in the light of female poetics because she has been regarded as the originator of American poetry by Adrienne Rich and Suzanne Juhasz. Dickinson decided not to have her poems published because she did not want to conform to an editor’s directions. She belittled the value of publication and included her poems in letters to friends and family members, adopting the fascicles as her own form of publication to conserve her poetry in itself. She sought a new path of her own technique of poetry through dashs, ellipsis and “unfinished” last lines. Dickinson scholarship has recently proliferated with the added zest of the feminist movement in literature. This study begins with an overview of several elements of her poetics and attempts to analyze them in the light of female poetic theory. The major purpose of this study deals with certain elements of Dickinson’s female poetics, particularly style and themes. Dickinson strives to be unique among the more feminine and decorative poets of her time. So, one can develop a fuller understanding of how she defined herself as a woman poet. (Hanbat University)