김억의 번역론과 시론의 상관성 연구

권유성(Kwon, Yu-sung) 한국근대문학회 2018 한국근대문학연구 Vol.19 No.1

이 글은 김억의 번역론과 시론의 상호관련성을 살펴보기 위한 것이다. 1910년대 후반에서 1920년대에 걸친 김억의 번역론과 시론들은 단순한 이론을 넘어 근대시 건설을 위한 실천으로서의 성격이 강한 것들이었다. ‘창작적 역시론’으로 요약될 수 있는 김억의 번역론은 원문과 역시를 독립적인 위상을 지닌 별개의 작품으로 설정하는 독특한 주장을 담고 있었다. 이것이 가능했던 이유는 그가 시의 이념(시상)이라는 제3항을 설정하고 그 아래 원문과 역시를 나란히 배치한 결과였다. 그런데 그의 ‘창작적 역시론’은 번역의 과정을 창작의 과정과 뒤섞어버림으로써 번역의 필요성을 무화시켜버리는 이율배반을 내포하고 있기도 했다. 그 결과 그의 ‘창작적 역시론’은 번역론과 창작론의 경계를 넘나들 수밖에 없었고, 그것은 그의 실제 시 창작에도 영향을 미치고 있었다. 번역론과 함께 전개된 그의 시론은 번역론이 보여준 삼각구도를 구조적으로 재생산하는 모습을 보여주고 있었다. 그것은 원론적 성격의 시론에서도 창작론이라고 할 수 있는 조선시형론에서도 공통적으로 나타나는 현상이었다. 원론적 성격의 시론에서 김억은 시를 세 종류로 나누어 제1의 시만을 절대적인 시로 설정하고 나머지 제2의 시와 제3의 시를 상대적인 시로 설정하고 있는데, 이런 배치는 그의 ‘창작적 역시론’에서 설정한 구조가 재생산된 결과였다고 할 수 있었다. 그리고 조선시형론에서도 김억은 시의 이념으로 조선혼(심)을 배치하고 그 아래 참조점으로서의 ‘민요’와 조선시형을 나란히 배치하고 있는데, 이런 구조는 그의 ‘창작적 역시론’의 구조에 대응하는 것이었다. 그리고 이 과정에서 김억은 자신이 그 실체를 알 수 없었던 ‘민요’의 자리에 김소월의 ‘민요시’를 배치할 수밖에 없었는데, 그것은 그의 조선시형론이 역사적인 것을 전통적인 것으로, 개인적인 것을 민족적인 것으로 치환한 결과물이었다는 점을 보여준다. 결론적으로 1910년대 후반에서 1920년대에 걸친 김억의 활동은 ‘창작적 역시론’이라는 그의 독특한 번역론의 구도를 벗어나기 어려웠다고 보인다. 이것은 이 시기 김억의 활동이 모방 혹은 이식의 단계를 완전히 벗어나지 못했다는 의미이기도 하다. This paper intends to consider the interrelationship between Kim Eok’s translation theory and poetic theory. Kim Eok’s translation theory and poetic theory were practical things for construction of Korean modern poetry from the late 1910’s to 1920’s. His translation theory as process of composition had particular viewpoint that a translated poem is no different from the original text. He thought that a poem has it’s own ideal emotion. And he believed that a translated poem and the original text have equal value. Because those two hold in common that ideal emotion. By the way, it contained also a dilemma that an act of translation makes no sense. As a result, his translation theory was be no different from composition theory. Kim Eok’s poetic theory reproduced the triangle as his translation theory. This phenomenon appeared also in his theory of Chosun poetic form. In here, he established the soul of Chosun(朝鮮魂) as ideal emotion, and arranged folk song(民謠) and Chosun poetic form below it. This triangle correspond to translation theory as process of composition. Consequently, Kim Eok’s poetic theory was impossible to escape from the triangle of translation theory from the late 1910’s to 1920’s. And it imply that Kim Eok’s work could not escape out of imitation in this period.

접선으로서의 번역 —윤고은 소설 『밤의 여행자들』의 영역본 『The Disaster Tourist』를 중심으로 본 한국문학 번역의 현주소 분석과 미래를 위한 제언

김연경(Elizabeth Yeonkyung Kim) 한국현대문학회 2023 한국현대문학연구 Vol.- No.70

민족어와 국제공통어 사이: 김억을 바라보는 한 관점

신지연 고려대학교 민족문화연구원 2009 民族文化硏究 Vol.51 No.-

김억은 공적 활동을 시작한 1910년대 후반 이래 조선어의 가능성과 조선적 시형(詩形)을 지속적으로 모색한 시인·시론가인 동시에 에스페란토를 소개하고 보급하기 위해 애쓴 언어적 코스모폴리탄이었다. 이 논문은 김억으로 하여금 민족어와 국제공통어에 대해 한결같이 정력적인 관심을 쏟게 한 동력은 무엇인가를 밝히는 데에 목적을 두고, 그의 시론, 번역론, 에스페란토론을 관통하는 논리를 찾아보고자 하였다. 그의 시론과 번역론은 표면적인 강조점이 어디에 놓이든 '독창성'과 '개성', '내면성'을 강조하는 낭만주의 시론의 전제 하에서 전개된다. 민족을 환원불가능한 원자 단위로 파악하는 관점 속에서 그가 조선어 시에 주문한 "조선혼"이란 모방을 넘어서는 독창성을 의미하는 것이었다. 번역론에서 강조된 것 역시 독창성이었다. 후자는 그 자체로 목적적이라기보다는 전자를 위한 방법론적인 성격을 강하게 띤다. 번역은 빗금쳐지기 위해서 존재하며, 독창성으로서의 '조선혼'은 그 빗금 위에서만 가능해진다. 그가 선호하는 의복의 비유는 그의 시론들 역시 '조선혼'의 표상을 실체화하는 작업보다 주로 비조선적 현 상태를 빗금치는 방식으로 전개되고 있음을 선명하게 보여준다. 그러나 모방을 거부하고 번역의 흔적을 지우려는 김억의 '빗금치기'는, 빗금치기를 넘어 흔적의 완벽한 삭제에 도달하지 못함으로써 역설적으로 모방과 번역에 대한 강한 열망을 누설하고 있다. 또한 그 열망조차도 억압하도록 강제하는 독창성이라는 낭만주의적 초자아-감옥을 현시한다. 특정 민족-원자 단위에 귀속되지 않는 에스페란토에 대한 관심과 활동은 이 금지된 욕망을 대리하고 있는 것으로 볼 수 있었다. 그는 에스페란토를 편리하기 그지없는 동시에 창조적 생명력으로 충만한 '최고의 이상적 언어'로 그려냄으로써, 서구 근대문학을 향한 열망을 삭제하지 않으면서도 '자기의 창조'를 가능케 하는 장소로 설정한다. 그러나 이는 에스페란토가 연관된 번역의 현실 역학을 애써 외면함으로써만 가능할 수 있는 것이었다. Kim Eok was not only a nationalistic poet and poem-critic who had saught the new poetic style and rhyme proper to Korean modern language, but also a linguistic cosmopolitan who had introduced Esperanto and tried to popularize it in Korea since the later 1910s. Why did he try to dig out both the possibility of national language and international language with enthusiasm? The purpose of this paper is to solve this question. His essays on poetry and translation were written on the presupposition of European romantic poetics that focused on originality, individuality and interiority. The Soul of Chosun demanded for Korean modern poetry was not different from originality. He has emphasized originality and individuality even in the theory of translation. The european romantic ideology forced him to repress the desire towards european modern literature paradoxically. His passionate activities in relation to Esperanto could be regarded as a substitute for the repressed desire. He described Esperanto as a perfect language that not only was very useful for communication and translation but also was full of spiritual energy. It was possible so far as he tried to ignore the actual mecanics of translation in relation to Esperanto.

김억의 번역론 연구 : 근대문학의 장(場)과 번역자의 과제

김진희(Kim Jin-hee) 한국시학회 2010 한국시학연구 Vol.- No.28

In the beginning of the Korean modern literature since 1910's, Kim Eok played a crucial role as a translator for foreign literature and theory. During the acceptance of foreign literature, Kim realized the importance of translation and he is considered an intellectual who, as opposed to other contemporary translators, performed a bulk of translations from various countries. He was in the lead of balancing content and form, reforming he literary circles of translation in which there was abundance of arbitrary interpretations and content-concentrated translations. However, Kim Eok's translated works have been devalued by reason of erroneous and liberal translation of original works and inapt understanding. Researchers generally examine original and translated texts in tandem, after which they point out problems of the translations and attribute them to the translators' lack of capacity. The study of this paper presupposes that in-depth understanding of translated texts can be carried out only when the theory and practice of translation go in parallel. It argues that the negative evaluation for Kim's translations can be reconsidered through the study of theory. Kim argued for 'creative liberal translation,' and this paper investigates the formation and characteristics of this standpoint. This paper particularly looks into how symbolism, which Kim embraced, influenced Kim's view on translation. The acceptance of symbolism and the theory of translation are discussed in regard to the theory of translation maintained by Bejamin, a German literary critic who lived around the same time, in his book The Task of the Translator. The paper also examines Kim Eok's theory of translation in the sense that the act of translating foreign languages expands and deepens a mother tongue, which provides an opportunity to form and develop the self-identity. Kim's viewpoint on translation, which searches for the nature of poems, found modern poetic language for the Korean poetry, which was possible due to his exploration into language that represents this nature. Translating the western poems in the initial stage of modern literature implies admission and conveyance of heterogeneous culture, beyond simple written text, and creation of new culture. Kim Eok's translated works shows the creativity of cultural translation that is generated at the intersection of internal and external cultures. The literary world after 1920's, via translations, could realize the identity of modern literature by means of dialogue with others, i.e. dialogue between tradition and the West. Furthermore, it could have a foundation in creation of new culture. Along these lines of modern literature, Kim Eok's theory of translation presented ‘creative liberal translation’ and ‘creative translation’ as the task and direction for those who do the translation, including himself. It was an aspect of cultural action that Kim's theory evidently showed through translation.

토월회의 번역극 공연인식과 그 의미

김재석(Kim, Jae-suk) 국어국문학회 2014 국어국문학 Vol.- No.168

The aim of this paper is to clarify the characteristics of the theatrical company, Towolhoe"s translated dramas and its effects on the performance of Towolhoe"s creative dramas. Towolhoe didn"t adapt translated works until the second performance. The five translated dramas Towolhoe performed focused on searching the possibility of forming the modern drama of colonized Joseon. In the founding performance, they performed the foreign dramatists" works for little theater, who contributed to forming the modern drama of their countries including Eugene Pillot"s Hunger. Encouraged its success, as the works of the second performance they challenged Tolstoy"s Resurrection and Wilhelm Meyer-Forster"s Alt Heidelberg. The performance succeeded but they found the distance between the reality of colonized Joseon and the situation in the translated dramas From January in 1924 when they got into action as the professional theatrical company, Towolhoe"s performance of translated drama had two characteristics ; one is that they concentrated their efforts on ‘the creative adaptation’ and the other is that they kept performing a enlightened work and an entertaining work together continuously on the same day. Towol hoe"s ‘the creative adaptation’ is the way that the foreign original dramas were utilized in terms of the subject matters. Because according to the situation of colonized Joseon considerable parts were changed, there were much difference between the works performed and the original works. But the fundamental limits which translated dramas had, that is, alienation from the reality of colonized country were much solved and heightened the effect of performance. The reason they took the way of performing a enlightened work and an entertaining work together was that they responded the social request which thought much of the social role of drama. Because Towolhoe was the professional theatrical company, they could perform the works which passed through Japanese censorship. Despite their effort, they could not but perform only such works as Irish dramas and Yamamoto Yujo"s Kill the Baby which adapted in Japan since the works beyond couldn"t pass the censorship. As the result, entertaining works became relatively outstanding in the performance of translated dramas. In the entertaining translated dramas, songs and dance were made active use of and the original works were often adapted according to the popular songs. Ariranggogae, the creative work performed on the November in 1929 was the summit in which the experience of Towolhoe"s performance of translated dramas was all dissolved. This work began from the folk song Arirang which was prevalent throughout the country after the movie Arirang. This work passed the censorship, representing loving people"s separation in the foreground and connected with the phenomenon of abandoning farming those days. The reason why this work which didn"t have anything new in contents succeeded was that Towolhoe had much experience in performance. Especially Arirang which Seok Kumseong, the actor sang maximized the dramatic effect in the performance. It was evaluated that Towolhoe"s performance of translated dramas had a great contribution to forming and settling the modern drama of colonized Joseon. It may fairly be said that the aim which its modern drama headed forward could be seen for the first time thanks to Towolhoe.

김억의 ‘창작적 번역’ 연구

최라영(Choi Ra-young) 한국어문학회 2012 語文學 Vol.0 No.117

『Lost pearl』is the first direct translation anthology which has apparent source.『Gitanjali』is the first direct translation which is not an anthology but a complete translation of the source. Moreover, compared with nowadays’ expert translation, it is at the same high level. Kim-eok uses special endings of a word, sonant words, such as ‘-eora’ and ‘-seora’ that are appropriate to romantic mood in the romantic amour-poems of『Lost pearl』by Arthur Symons. In addition, he intentionally use the words ‘naenim’ and ‘nim’ which are suitable to the mood as a personal pronoun, rather than use accurate personal pronouns. Compared with these characteristic, he uses ‘-seumnida’, which is helpful to express loftiness in religious poems of the『Gitanjali』by Tagore. He express the names of concrete objects in poems to avoid ambiguity which will appear when translating word for word, the words such as ‘I’, ‘human’, ‘God’ written by pronouns in the source. These shows a contrast that he use an end rime, vibration sound, and elaboration of the word to maximize romantic mood when translating romantic poems of Arthur Symons. He intentionally uses sonant words, end lime, rhythm, and the word order of Korean in translation of the verse poems of『Lost pearl』. This intention has also some aspect that the translated meaning is somewhat far from the original meaning. In comparison, he makes a focus on equivalence of words, the natural Korean which has the same meaning to the original text of prose poems in『Gitanjali』. For all that, both books have the characteristic of ‘creative translation’ in common. It is the creative embodiment in the main theme phrase demanding a phrase pregnant with hidden meaning and translating long adjective phrase into simple native words that set off his translation to advantage.

김억의 『원정』연구

최라영(Choi, Ra-young) 한국어문학회 2013 語文學 Vol.0 No.119

This is an empirical study on Kim-eok’s 『The Gardner』. It examines that his work is a direct translation through comparing his translation and that of japanese(吉田絃二郞). His translation is a direct translation and also expresses delicate emotion of the poetic narrator effectively. Moreover, he expression about the dialogue between the queen and the courtier, and the antiquated style of talk is very adequate in Korean. Which shows most satisfactorily that he has a talent as a highly skilled translater. Concretely, he used elegant royal court language in the poems that have complex image by the longing for a queen, a courtier, and a woman. In addition, he used delicate and natural Korean expressions in such as the personal pronoun, the demonstrative pronoun, and also the honorific form of Korean. Kim-eok’s 『Gitanjali』 is wonderful as the first translated book in Korean and direct translation full of literary implication. 『Crescent』 shows his endeavor and talent to express the unique style of the ‘words of children’. In 『The Gardner』, you can see that he is an expert level translater who expresses effectively the fussy literary style which is hard to translate and full of Western royal court language. Futhermore, his development of the ‘creative translation’ and success of the ‘reinforcement’ as a actualization of the view on creative translation have the meaning in the history of literature and spirit. It’s value is doubled, because he is a pioneer who accept Western culture independently on the basis of direct translation in the Japanese colonial period.