영국소설의 한국어 번역 실태 연구 : 1719년부터1950년까지

손영도(Sohn, Young-do) 고려대학교 한국학연구소 2015 한국학연구 Vol.54 No.-

이 논문은 영국 소설의 효시라고 할 수 있는『로빈슨 크루소』가 발간된 1719년부터 1950년까지 영국 고전 소설들의 한국어 번역 실태를 조사 연구한다. 우선적으로 그 시기 동안의 영국소설의 역사를 시대별로 나누어 각 시대를 대표하는 작가들과 대표작품을 간략하게 살펴보고, 이어서 어느 작가의 어떤 작품들이 한국어로 번역되었는지를 조사하고 그 번역된 작품들 중에는 어떤 작품들이 번역본이 많은지를 살펴보았다. 이 조사를 바탕으로 영국소설이 우리말로 번역된 일반적인 원인과 경향, 우리말로 번역된 작품들이 번역된 특별한 이유와 번역된 작품의 번역본 다소의 이유 등을 알아보고, 향후 영국소설의 우리말 번역의 방향에 대해 생각해 보았다. This essay aims at studying the actual state of Korean translation of the British novels from 1719 that saw the publication of Daniel Defoe’s Robinson Crusoe to 1950. Firstly, a short history of the British novel is surveyed respectively in the eighteenth century, the Romantic period, the Victorian period, and the first half of the twentieth century. It contains major as well as minor novelists and their important novels. Secondly, it is surveyed whether the novels of the authors in each period have been translated into Korean, in other words, whose novels have been translated and which novels have been translated. And surveyed is how many translations certain novels have. Lastly, based on the former survey, this essay considers the reasons why British novels are translated into Korean, why certain novels of certain writers are translated, and why certain novels have many translations. It also considers what has been in need in Korean translation of the British novel and which course the Korean translation of British novels will take in the future.

문학과 사회 : 18세기 영국소설의 사회적 조명 A Social Perspective on the 18th-Century English Novel

김재풍 세계문학비교학회 2002 世界文學比較硏究 Vol.6 No.-

In the eighteenth-century England, journalism was developed along with the development of printing technology and an increase in the reading public, and also the reading public was very much interested in articles in journals. Therefore, writers of the age had to pay attention to the readers and also the readers were apt to be influenced easily by the literary works written in the journals. Also the literature of the age was even considered as the source of materials for social-historians to study the criminals and crimes in the age. Especially the novels written by Daniel Defoe and Henry Fielding are regarded as the works in which crimes are described most vividly. Likewise the rhetoric and the reality were formed in the category under a mutually close influence. However, ideologies were not based on realities but on perceptions. These perceptions were informed and reinforced by literature, for eighteenth-century writers were well aware of the prejudices of their readers. If we think it desirable to approach in the rational way the solutions to the social problems in the modern society of uncertainty and confusion, the social phenomenon of the eighteenth century can be thought of as a model for our modern society. The English literature in the eighteenth century was helpful for the men of the time who wanted to adjust well to the society or who were seeking happiness, which modern people are satisfied with in society.

『로빈슨 크루소』와 마귀의 딜레마

배경진 ( Kyung Jin Bae ) 한국근대영미소설학회 2015 근대 영미소설 Vol.22 No.1

In Robinson Crusoe, the eponymous hero mentions the devil several times, but the discovery of a footprint on the shore as well as his propagation of the religion to Friday forces him to consider seriously the nature of devil. He does not dare to deny the existence of apparitions, nor does he hold that the evil spirit directly intervenes in the life of human beings. Yet he is less concerned to explore the religious significance of the evil spirit; instead, his aim is to exploit the notion of the devil. While his statistical analysis of the devil hypothesis in the episode on the foot print helps him manage anxiety and fear, his assumption that the devil corrupted natives in America allows him to confirm the religious authority of the Bible and his religious belief in the divine will. Except for the episode of a grotto in which, Crusoe believes briefly, the devil lives, he does not have any occasion to think over the evil spirit until the end of the novel. More precisely, he does not feel the need to raise the question on the nature of evil spirits because the devil in the novel serves merely to be a psychological and rhetorical device for his survival on the island.

Speculating in the Eighteenth-Century English Novel: The Locations of Value in Early Capitalism

Ju He Choi 근대 영미소설 학회 2003 근대 영미소설 Vol.10 No.1

In this paper, I speculate about speculating in the cultural form and commodity we call the eighteenth-century English novel within the dual discourses of value-the economic and the cultural. The opposition between the two discourses develops within a society experiencing radically new forms and tokens of value based on commerce, exchange and speculation in new financial markets. This paper seeks to locate the eighteenth-century English novel within these disjunctive yet colluding spaces of material and spiritual cultures I link the loss of traditional structures of value consequent to the rise of money as universal equivalent with the rise of the novel form. The formal realism of the novel is read as a version of Baudrillard`s hyperreal, a simulation of a no longer accessible real. Through this exploration, we discover illuminating points of interface between the vexing yet fruitful contradictions of early and late capitalism that defy a strictly linear model of development through time.

Henry Fielding`s Journal of a Voyage to Lisbon: A Study of His Rhetorical Strategy

Moon Soon Kang 근대 영미소설 학회 2004 근대 영미소설 Vol.11 No.1

Henry Flelding`s posthumously published Journal of a Voyage to Lisbon ments close study because it provides a valuable crystallization of the novelist`s most heartfelt philosophies and it contains further elucidation of how Fielding constructed his narratives, methods which helped make the novel one of the major modern literary forms. While travelogues were a popular literary form during the eighteenth century, the Journal is rather unique. Flelding never planned to write a travel diary when he set off for Portugal and the fact that the Preface and Introduction in the Journal, containing his criticism of the conventional travel-narrative form and his statement of purpose, were written after he had arrived in Lisbon, forces consideration both of Fielding`s creation of a narrative persona, and of his ability to instruct while delighting. Flelding consistently referred to his novels as histories, he continually undercuts the need for accurate chronology or detailed presentation. Thus, while trivial incidences are omitted to avoid alienating his audience, Flelding allowed himself to record impressions and observahons as a form of history. Although Fielding, overtly historicizes, there is the sense that for him history is always subjective representation. On the other hand, the Journal forces the reader to experience the frustration of human effort to arrive safely at a meaningful end. So, the Journal may be read as allegory in that the travelogue gives an overall sense of stasis in life, broken up now and again by moderate progress and irritating rejection, but Fielding the man, deathly in but comic nonetheless, keeps emerging in the course of the Journal to give a sense of reality. In spite of the chaos surrounding him, Fielding provides order, frames things in such a manner that by the time we arrive at the end of the Journal, we recognize that Fielding is at the end of his life. Therefore, what began as an exercise in fighting off ennui eventually became a unified exposition, replete with all the narrative strategies typically employed by Flelding.

사무엘 존슨과 여성: 존슨과 18세기 여류 문인들의 모임인 “The Bluestockings”와의 관계 연구

강문순 ( Moon Soon Kang ) 근대 영미소설 학회 2007 근대 영미소설 Vol.14 No.1

This article studies the relationship of Samuel Johnson with the group of literary women known as the Bluestockings, most of whom had achieved some works of literature and gathered to discuss and criticize various subjects, mostly in a literary vein. Johnson developed close relationships with many of these women. In chauvinistic English society their efforts were not only ignored by many, but severely criticized by those who felt that the Bluestockings were overstepping their bounds as women. Despite these obstacles, these women survived, and some important male allies joined their cause, one of whom is Samuel Johnson. The support of these men carried considerable weight. Among the two women selected, Lennox would not be included in the Bluestockings without Johnson`s affection for her and admiration for her literary talents and her great courage in the face of hardships in her life. Through all his years, Johnson had been Charlotte`s friend, support, and her adviser in almost all of her works. Johnson helped her in every way, including writing her several prefaces for her works. Burney`s importance rests on her own accounts of her relationship with Johnson, which was closer and much more intimate than that with any other of the Bluestocking women. Her accounts are provides a most accurate picture of Johnson in the circle of women. Without Burney`s accounts, a lot of information concerning not only her relationship with Johnson, but also his relationships with the other Bluestocking women would have been missed.

Functions of Frontispieces and Title Pages in Novels for Readers’ Reading Experiences

( Seula Lee ) 한국근대영미소설학회 2020 근대 영미소설 Vol.27 No.2

In the process of bookmaking in the British book industry from the 17th to 18th century, authors were not the only ones that played crucial roles. Booksellers, editors, binders, and publishers were needed to publish books. In books, beyond the main text, paratextual elements exist to compose a single volume. Gérard Genette asserts in Paratexts that these elements are in an “undefined zone” and they work as “a threshold” to the text. Of the many different paratextual elements, this essay’s focus is on the roles of frontispieces and title pages, which are located in the very first pages of the books, Oroonoko, Roxana, Pamela, and The Pilgrim’s Progress, on readers’ reading experiences. Publishers or booksellers strategically constructed these elements, which were beyond authorial intervention to boost sales of books. Authors’ portraits or pictures that described a scene in the main plot were often employed as frontispieces, giving more authenticity to their books. In title pages, more information could be delivered, including the plot, through a lengthy title, author information, and publisher information, to name a few. Thus, frontispieces and title pages contributed to making novels more readable and accessible, helping readers with the process of buying or reading books.