베누티의 이국화로 본 김지영의 번역 텍스트 Please Look After Mom : 문화특정어를 중심으로

조숙희 ( Cho¸ Sookhee ) 동국대학교 영어권문화연구소 2015 영어권문화연구 Vol.8 No.3

Shin Kyoung-Sook's Please Look After Mom translated by Kim Chi-Young has been well received in the Western countries for its fluency in English translation as well as its universal theme, being a mother for ‘the inequitable relationship between a mother and her children.’ In addition, the story also has been well reviewed for retaining “a strong Korean feel, filled with beguiling pariculars of a culture alien to most Western readers” (Weibezahl 2011). For its fluency in English, the translated text has been analyzed as if it was translated by domestication translation strategy (김영신 2012, 박철 우 2014). However, in this paper, it will be shown that the English translated text has many foreignizing aspects which are cultural pressures on the Western readers, being dérive of Western discourse. The translated text contains Korean archaic forms such as ‘ri’ and culture specific items like ‘makgoli,’ ‘pyoung’ and ‘panchan.’ According to Venuti (1995), if marginal literary works are translated into English, being translated to resemble the Western canonical discourse forms, it is taken to be a foreignization translation strategy. The Korean original 『엄마를 부탁해』 is not a canon from the Western perspective; it is marginal to the Western literary world. But it has been known its being fluent in English. It is concluded that being fluent in English translation does not entail that the translated text is a result of domestication. The transated text Please Look After Mom by Kim Chi-Young is a hybrid of domestication and foreignization.

『끝이 좋으면 모두 좋다』에 나타나는 민담의 요소 연구

조숙희(Sookhee Cho) 한국셰익스피어학회 2010 셰익스피어 비평 Vol.46 No.3

All’s Well That Ends Well has been classified as one of the problem plays written by William Shakespeare. A problem play generally deals with moral dilemmas and problematic social issues without satisfactory denouement; its seemingly happy ending does not satisfy the audience because the wrapping-up process is rather artificial and often far-fetched. While All’s Well That Ends Well has not often been performed on the stage, Helena, the heroine of the play has collected hottest attentions from the critics so far in that she is a revolting woman character who defies the conventions of the Renaissance Age. She decides to be a desiring subject instead of a desired object; moreover, she does not hesitate to overcome the almost impossible barriers laid by the patriarchal system. Still, Helena’s problem alone cannot explain the problematic quality of the play. If one categorizes the play as a folklore and analyzes the play into the narratemes defined by Vladimir Propp, he or she can easily discover the fact that the play lacks some important narratemes related with the villain, along with the mission incomplete. Paroles or Bertram do not perform a traditional role of villain and Helena fails to perform the task; thereby, the play fails to satisfy the audience’s ultimate need of poetic justice. Therefore, when the play is analyzed within the paradigm of Propp’s narratemes, one can better understand the mysterious features of the problematic play, All’s Well That Ends Well.

포스트모던 역사 담론과 The Death of the Last Black Man in the Whole Entire World

조숙희(Cho Sookhee) 한국현대영미드라마학회 2010 현대영미드라마 Vol.23 No.2

This essay examines Suzan Lori Parks's The Death of the Last Black Man in the Whole Entire World through the theory of post-modernism in history. It is well known that the majority of Parks's drama deals with history. She usually takes a historical event and then tries to deconstruct it on the premise that the historical event was distorted by the powerful entity, especially that the history and narrative of black slaves in the past were subsided, erased, eliminated, and distorted so much by the whites. Parks's skeptical and even negative attitude toward the written history of the blacks is similar to that of some historians who advocate the postmodern view for the history as a whole. The scholars argue that written records of history do not reflect "history proper" but reveal the "metahistory" which is nothing but a fiction made by the historians who were heavily influenced by their time and situation. When one investigates Parks's play, The Death of the Last Black Man in the Whole Entire World, with postmodern point of view, one can better understand Parks's intention to display a chaotic and amorphous field on the stage, to deconstruct and rewrite the established version of history out of it, and to make the audience engaged in the process of rewriting the history of human beings--especially of the black people.

Measure for Measure 의 Justice : W. Shakespeare와 H. Brenton의 작품 비교연구

조숙희(Sookhee Cho) 한국셰익스피어학회 1997 셰익스피어 비평 Vol.30 No.-

「리어왕」에 나타나는 노인문제

조숙희(Sookhee Cho) 한국셰익스피어학회 2012 셰익스피어 비평 Vol.48 No.3

The majority of King Lear criticism has focused on the religious message of the play, considering King Lear as a scapegoat in a religiously depraved society. On the other hand, many others pointed out that the play describes the conflict between the decaying aristocracy and the rising bourgeois, or the strife between the traditional feudalism and the upcoming individualism. The main purpose of this essay is to return to the basic story line of the play, to trace the relationship between King Lear and the two daughters within the paradigm of the elderly and the caregiver, and finally to add another perspective in understanding the play. The number of elderly people has been rapidly increased throughout the world, due to the improvement of living condition including medical technology and sciences. Naturally, the phenomenon has been connected to the issue of elder care because more often than not elderly people should get support from their families and relatives. On the contrary, the caregivers’ sense of responsibility to the elderly has been sharply diminished, due to the tough living conditions and radical change of culture and tradition. As a result, the issue of inadequate care of the elderly becomes a critical social issue of modern society. It is interesting that the world of King Lear exactly delineates the issue in the Renaissance version. If one reads King Lear within the issue of elder care, King Lear is considered as an elder person who needs help from his daughters, and the daughters as caregivers who abuse and neglect their father out of the heavy stress of caregiving. In the process, the theory of social exchange helps understanding the problematic relationship in King Lear’s family.

『피로 쓴 주홍글씨』: 역사 다시 쓰기

조숙희 ( Cho Sookhee ) 대한영어영문학회 2007 영어영문학연구 Vol.33 No.2

Suzan Lori Parks is one of the most outstanding black dramatists of this age. Her major concern is the reinterpretation and representation of black people’s past and present which have been ignored and silenced by the whites’ dominant ideology. Among many of her plays, In the Blood is unique because the play is a parodic revision and reversion of The Scarlet Letter―a representative canon of American literature. Through the black, poor, ignorant and desperate black woman named Hester, La Negrita, Parks tries to describe the bitter situation of the blacks in modern harlem. The main purpose of this writing is to investigate sex, love, violence, history and ritual which are the characteristics of Parks’ plays and thereby to understand Parks’ unique sense of history and meaning of the play. (Chung-Ang University)

글자번역 형식과 문화특정어 용례분석

조숙희(Cho, Sookhee),조의연(Cho, Euiyon) 한국번역학회 2013 번역학연구 Vol.14 No.5

The Orestes Myth and the Double in Eugene O’Neill’s The Iceman Cometh

Cho, Sookhee(조숙희) 한국현대영미드라마학회 2003 현대영미드라마 Vol.16 No.1

Korean EFL Learners' Judgments of Countability of English Nouns in Isolation and Context

Sookhee Cho(조숙희) 한국영어학회 2006 영어학 Vol.6 No.4

Water by the Spoonful: 불협화음이 만들어내는 변주곡

조숙희(Sookhee Cho) 한국아메리카학회 2017 美國學論集 Vol.49 No.2

Water by the Spoonful (2011) is the second play in the trilogy written by Quiara Alegría Hudes, along with Elliot, a Soldier’s Fugue (2007) and The Happiest Song Plays Last (2013). The playwright explains the play as “an imaginative play about the search for meaning by a returning Iraq war veteran.” For the purpose, Hudes divides the stage into the two different worlds: reality and online space. The world of reality is centered on Elliott, an Iraq war veteran who suffers from trauma caused not only by the war experience but also by his unhappy early childhood. Likewise, the online space administered by Odessa is filled with social outcasts who try to escape from drug addiction. Still, the two different worlds of this play are common by the fact that they pursue the goal of healing by achieving harmony through dissonance, as John Coltrane’s song, A Love Supreme suggests.