세계문학으로서 한국문학: 번역과 번역공정의 문제에 대한 고찰

한지희 한국비교문학회 2011 比較文學 Vol.0 No.54

As is easily guessed, translated Korean literature has virtually little presence in the world literary market. Among many reasons to analyze this paucity of world interest in translated Korean literary works, the difficulty of English translation itself has been mostly blamed. However, given the fact that the difficulty is not applied only to Korean literature but to all non-English works, the precarious nature of the success of translated works needs to be probed in another light. Hence, I propose to examine the possibility that what domestic scholars provide as the essence of Korean literature might taste different from what foreign readers expect from reading world literatures. This means that domestic scholars need to form another approach to ‘Koreanness’ of Korean literature in order to suit the taste of non-Korean world readers. As a trial attempt, I review the research papers on modern Korean poetry and how domestic scholars have forged the nature of Korean poetry as “literature of grief.” Then using two translated texts of Ko Un’s poems, I try to show that in most cases culturally specific sentiments cannot be materialized in the educated English in the process of translation and that only a writer’s humanist gaze at and compassion for human suffering can survive the atrocity of translation and come to attain any kind of poetic achievement.

시의 유용성: 기억행위로서의 시

한지희 현대영미어문학회 2009 현대영미어문학회 추계학술대회 발표논문집 Vol.2009 No.-

The Purloined Letter of “友”: A Critique of Ezra Pound’s Poetics of Translation

한지희 한국영어영문학회 2019 영어 영문학 Vol.65 No.4

Taking note of Pound’s “programmatically cosmopolitan” comparative criticism in The Spirit of Romance, this paper challenges Hugh Kenner’s argument that Cathay’s achievement lies in Pound’s serious “effort to rethink the nature of an English poem.” In the discursive contexts of Foucault’s critique of truth and power and Martin Heiddeger’s notion of ‘being in the world,’ this paper suggests that Pound’s translated text does not constitute a second-order representation or a derivative, fake, potentially false copy of Li Bai’s original poetic texts, but rather a specimen of ‘another original’ created by a translator. For this purpose, this paper selects “Seeing Off Meng Haoran Leaving for Guanglin at Yellow Crane Pavilion,” “Seeing Off a Friend,” and “Seeing Off a Friend Heading for Shu Country.” For these three translated texts share a cryptic presence of “a friend” (“故人” or “友” in classical Chinese written characters), which may facilitate a novel understanding of Pound’s capability in the convergence of Eastern and Western poetic traditions that he had known of. Given the new approach, this paper attempts to reassess the real achievement of Cathay in the frontier of comparative poetics and makes an estimation of how Pound discloses Li’s world for readers to meditate on their ‘being in the world’ with his full-fledged vision of Vorticism. Ultimately, this paper aims to demonstrate that Pound’s editorial judgment, fashioned in the process of translating these three poems, constituted a critical preparatory stage for the refinement of his Vorticist vision.

두께 및 건조방법을 달리하여 제조한 감귤차의 품질특성 분석

한지희,김두리,천지연 한국식품영양과학회 2022 한국식품영양과학회지 Vol.51 No.3

The purpose of this study was to optimize the dried tangerine production process for manufacturing dried tangerine tea with minimal by-products using both flesh (pulp) and peel of the citrus fruit. To arrive at the optimum production process, we evaluated the physicochemical properties and antioxidant quality characteristics of dried tangerine and optimized the drying conditions at 60°C for 30 hours. As the thickness of the dried tangerines decreased, the leaching components grew significantly higher. The thickness of dried tangerine with the best leaching ability was 2 mm. As a result of comparing hot-air dried tangerine at 60°C for 30 hours with combined (infrared and hot air drying) dried tangerine at 60°C for 3 hours, it was observed that the sugar content of the combined dried tangerine tea was 1.03±0.06°Brix and the content of reducing sugar was 0.446±0.022 g GE/100 mL, which were higher than those of hot air-dried tangerine tea. However, there was no significant difference in the antioxidant properties between the two drying methods. Combined dried tangerine had less appearance shrinkage due to fast drying and, considering efficiency and economic feasibility, the combined dried tangerine was more suitable for the manufacture of dried tangerine tea. Sugar content, reducing sugar content, and total phenolic content increased with a decrease in particle size. Taken together, our results indicate that the optimal thickness of dried tangerine was 2 mm. Also, combined drying is more effective, and smaller particle sizes enhanced the quality of dried tangerine tea.

하수처리장 방류수의 UV 처리시 유기물질, 잔류염소 및 소독부산물 생성 거동

한지희,손진식 대한상하수도학회 2014 상하수도학회지 Vol.28 No.1

Study on effluent organic matter (EfOM) characteristic and removal efficiency is required, because EfOM is important in regard to the stability of effluents reuse, quality issues of artificial recharge and water conservation of aqueous system. UV technology is widely used in wastewater treatment. Many reports have been conducted on microbial disinfection and micro pollutant reduction with UV treatment. However, the study on EfOM with UV has limited because low/medium pressure UV lamp is not sufficient to affect refractory organics. The high intensity of pulsed UV would mineralize EfOM itself as well as change the characteristics of EfOM. Chlorine demand and DBPs formation is affected on the changed amounts and properties of EfOM. The objective of this study is to investigate the effect on EfOM, chlorine residual, and chlorinated DBPs formation with low pressure and pulsed UV treatment. The removal of organic matter through low pressure UV treatment is insignificant effect. Pulsed UV treatment effectively removes/transforms EfOM. As a result, the chlorine consumption is changed and chlorine DBPs formation is decreased. However, excessive UV treatment caused problems of increasing chlorine consumption and generating unknown by-products.

자본주의 세계경제체제와 세계문학의 신화

한지희 국제언어인문학회 2010 인문언어 Vol.12 No.2

Capitalist World Economy System and the Myth of World Literature Jihee Han (Gyeongsang National University) Even though Said criticized Orientalism inherent in the gaze of Westerners about thirty years ago, his notion provides a still relevant critical viewpoint in examining the discourses of world literature. Western scholars continue to imagine the “world” in world literature consists of Western countries and ‘Oriental’ countries. They select, appropriate, and reduce non-Western literary works when they represent the images of the Other in the Western mind and when they are palatable to the sophisticated tastes of European readers. Given this persistent Orientalism and cultural imperialism, it is now high time to look into the nature of the current discursive rise of world literature. Considering the present academic situation in which the gale-force winds so-called ineffective, low-yielding humanities departments in the universities all around the world, it is difficult to understand the revival of world literature discourses separate from the globalization of English and the capitalist world economy system. In particular, the debate over the original of world literature among the comparativists in American academia suggest the naked truth of the ideal World Republic of Letters which has been turned into a battle ground of capitalist desires. In exploring the ways to introduce Korean literature as a world literature, therefore, it is all the more necessary to be aware of the cold reality of current world literary market and prepared to engage in the discursive war with the myth of world literature.

역사적 트라우마와 시 ―아드리안 리치의 공동언어를 향한 소망

한지희 한국현대영미시학회 2020 현대영미시연구 Vol.26 No.1

Going through a historical trauma, it is more than necessary for us, poetry specialists, to think about what poetry can do in difficult times. For it has been an age-old argument that poetry is useless since it cannot do anything about global warfares, economic collapses, or growing nationalist agendas. Yet interestingly enough, people are turning to poetry as they collectively face difficult and challenging times. Probably it is because the emotional stability is just as significant as the physical settlement in a quasi-state of war when the world is chaotic and uncertain due to the global competitions for the necessities of life. Given, this paper reads Adrienne Rich’s An Atlas of the Difficult World and re-examines Rich’s idea of a poet’s integrity to take a responsibility for his/her poetry when engaging in the difficult world. Then, this paper reads the school among the ruins and Telephone Ringing in the Labyrinth and illuminates her tenacious dream of a common language. After all, it is a poet, instead of politicians, who have a human eye to connect an individual’s emotions to those of global others and awaken us to the common language of humanity and thus help us restore human eyes to survive difficult and challenging times through the global solidarity of engaged citizens.

“어떤 전쟁이든 죽은 이들에겐 소용없잖아요”― 에이드리언 리치, 베트남 전쟁 그리고 페미니즘

한지희 한국현대영미시학회 2010 현대영미시연구 Vol.16 No.1

The Vietnam War has rarely been remembered by literary critics of modern American poetry. It is mainly because of the persistent assumption that too much engagement in politics will inevitably sacrifice aesthetics of poetry. However, Adrienne Rich has never stood outside history, and her poetry of social engagement has never been outside artistic merits. Thus recasting three of her Vietnam war poems in the discursive frame of feminism, this paper tries to illuminate Rich’s feminist gaze that maintains lyrical aesthetics while reflecting the tensions between patriotism and civil right and between humanism and individualism in the times of war. In the process it emphasizes that she has made earnest efforts to match her feminist desire with her strong sense of civic duty and that she has realized her wish to become a tool that captures the other frames of war and translates the pulses of the nation. Truly, she has created a poetic space that invites readers to remember their country’s cultural amnesia and to meditate on the unavoidable reality that being a citizen involves being responsible for the history and politics of his/her motherland. Finally, this essay tries to point it out as her poetic achievement that by transforming art into an artifact that bears the specific history it was produced, she has fulfilled her political as well as artistic vision of ‘poetry in life.’

로버트 프로스트의 실용주의적 모더니즘과「가족묘」

한지희 한국현대영미시학회 2006 현대영미시연구 Vol.12 No.2

Jihee HanGenerally, Robert Frost is known as a nature poet who described rural landscapes of New England province, a folk poet who represented lives of ordinary American people with a simple, vernacular language, and a popular poet who offered readers the message of hope and courage, sugar-coated with simple folk wisdom. Nonetheless, the popularity of Frost has also drawn some negative critical responses from literary scholars. Comparing him with other modernist poets such as Ezra Pound, W. B. Yeats, T. S. Eliot, and Wallace Stevens, they have indicated that Frost lacked a serious philosophical and religious meditation of life. Therefore, in this essay I will discuss Frost’s “Sound of Sense” poetics in terms of Henry Bergson and William James and try to examine his discrete poetic search to reflect the human consciousness that is constantly in flux. Then, reading “Home Burial,” I will look into how realistically Frost controls the ‘sound’ of the simple, ordinary dialogue in order for readers to engage the ‘sense,’ that is, the deeper and more dynamic psychological realities of modern Americans. Re-examining Frost’s “Sound of Sense” poetics by way of discussing the very tricky issue of ‘when and how to talk about death,’ I hope to illuminate Frost as a serious modernist poet, who maintained a mature critique of the deep chasm between the appearance of the way the people exist and the real nature of their existence.

월트 휘트만과 랭스턴 휴즈의 상호텍스트성 연구

한지희 한국현대영미시학회 2005 현대영미시연구 Vol.11 No.1

In studying the literary relationship between Langston Hughes and Walt Whitman, Julia Kristeva's concept of intertextuality provides us with a new way to appreciate Hughes's creative originality. Without resorting to Harold Bloom's influence theory and depreciating Hughes's poetic originality, it allows us to analyze how he succeeds to Whitman actively reading his democratic vision of America and at the same time creating a new signifying process in which black people can recognize themselves as subjects. Mostly, Hughes's dialogical relationship with Whitman is materialized in justifying and supplementing Whitman's poetic vision of American Self and democratic ensemble. He accepts Whitman's linguistic experiment of the collective poetic subject and yet enhances it to the level of socio-linguistic activism by pointing out the ideological aspect inherent in the dominant white-male-centered language. By way of Whitman, he basically indicates the irony of black intelligentsia's “New Negro” cultural movement. For Hughes, such efforts to create a new image of black personality and promote black middle class values add nothing to positive self-consciousness of black people because it is impossible to construct a consistently positive black self on the symbolic system of white-centered culture in which black people exist as a lack. Ultimately, he moves beyond Whitman's language experiment by opening the boundary of his poetic text and encouraging readers to occupy freely the space of poetic subject. Readers, by performing Hughes's poems, bring in semiotic pulsion to refuse ideological social apparatuses including race, class, and gender, and become reborn as a new subject-in-process. In this respect Hughes clearly manifests what Mikhail Bakhtin calls “polyphony” in his poetic text and becomes the direct descendent of Whitman among other poets.