이양지 문학과 모국어

이한정(Lee Han-jung) 한국비평문학회 2008 批評文學 Vol.- No.28

Unlike other Korean-Japanese writers, Yangji Lee actually stayed in Korea for numbers of years in order to learn the language of his mother country. Her master piece works, Koku and Yuhi are the stories of Korean-Japanese students living in Korea in order to learn the language of their mother country. For Yangji Lee, Japanese is the 'mother tongue', while Korean is the 'language of mother country(national language)'. When he had tried to learn the language of mother country after becoming an adult, the 'mother tongue' only presented itself as an obstacle for learning the language of mother country. At the same time, the language of mother country could not be just treated as another 'foreign language'. He had to be confronted by a difficult situation in which his self identity was disintegrated by the mother tongue and the language of mother country. With that said, let's examine how he has portrayed the language of mother country in his writings? In each of Koku and Yuhi, Lee presents the life of Korean-Japanese who learns Korean from the people of mother country, in the 'ocean of the language of mother country'. To Korean-Japanese who are accustomed with Japanese being their mother rongue, the language of mother country could not become 'our language' which they could share with Koreans. In the end, Yuhi, the main character of Yuhi, returns to Japan after giving up the study for the language of mother country as she calls herself a hypocrite for easily using a word 'we or us'. In Yuhi, Yuhi lives a life of a bilinguist who also speaks the mother tongue while living in the mother country. When a Korean language teacher scolds the Korean-Japanese students for recite Korean with 'Japanese like accents' in Koku, Soony speaks against the teacher in an adverse tone of voice by saying that it is only natural for them to do so as Korean-Japanese. Also in Yuhi, Yuhi's roommate 'Na' reproaches her for writing Korean correct spacing of words just as in 'japanese'. Yuhi feels very resentful about this. Lee's literature reveals the anguishes of Korean Japanese learning the language of mother country in disadvantageous situations compared to Koreans. Korean Japanese must meet Koreans as their first step in learning the language of mother country and often receives condemnation for not knowing the language well enough. Lee depicts such struggles in her novels without filtration. Yuhi is different from Koku in its narrative point of view by designating Yuhi's roommate 'Na' as the storyteller. 'Na' was told from Yuhi that there are hardly any 'passive expression' in Korean language. As 'Na' teaches Korean to Yuhi, she finds that it is possible to have the language of mother country, Korean in her case, presented as if it were a language of strange person, not as a self evident language of her own. Ishi no Koe, Lee's posthumous work, is the story of a Korean Japanese poet Jooil Lim. Lim must fight a battle against the language of mother country while writing poems in Japanese. He expresses the ironical situations in which he must struggle while studying the ideas of Korean but intentionally suppressing the language of mother country as he writes poetries in Japanese. Thus, the character makes an attempt to take a view of the language of mother country from a standpoint which transcend the political notions of 'nation'. We can notice how the character of Ishi no Koe attempts to explore the language of mother country as same as the mother tongue which is the language naturally inherited from parents and does not contain any political ideas of 'nation'. Yangji Lee has consistently depicted the lives of Korean-Japanese who makes attempts to find self identity through the language of mother country. However, these characters explore the language of mother country as their personal language by eliminating political significances within after experiencing self disintegration from the incompatible conflicts between the mother tong

특집논문 : 일본문학의 번역과 한국문학

이한정 ( Han Jung Lee ) 한국문학연구학회 2015 현대문학의 연구 Vol.0 No.55

이 논문은 1960년대에 한국에서 번역된 일본문학의 양상과 번역 배경을 살피고 있다. 어느 외국문학보다도 이 시기에 일본문학은 전집 및 선집류로 발간되면서 대량으로 유입되었다. 작품은 순수문학과 대중문학가릴 것이 당시 일본의 주요 문학상 수상작 및 베스트셀러를 중심으로 번역되었는데, 이 번역에 참여한 번역자 대다수는 일제 강점기에 일본문학을 체득한 문인들이었다. 1960년대에 일본문학이 국내에 대대적으로 소개된 배경에는 일본문학을 통하여 한국문학의 확장성을 꾀하려는 태도가 엿보인다. 1960년의 4.19와 1965년의 한일협정이 일본에 관한관심을 고조시킨 원인이었으나, 일본문학 작품의 번역은 독자의 호응, 출판사의 마켓팅 전략과 더불어 서구문학에 대응하는 한국문학이 일본문학을 ‘동류’로 끌어들인 점에서 비롯되었다. 또한 아쿠타가와상 수상작이 집중적으로 번역된 이유는 일본에서 인정받은 양질의 작품을 소개함으로써 한국의 신진작가에게 새로운 자극을 부여하려는 자세에서였다. 1968년의 가와바타 야스나리의 노벨문학상 수상은 ‘일본적인 것’의 세계성이라는 측면에서 한국의 ‘전통’ 계승에 관심을 갖던 문인들을 자극시켰고, 이에 따라 국내 최초로 일본작가의 개인 전집에 해당하는 「川端康成全集」전6권이 간행되기에 이르렀다. 그러나 일제 강점기가 끝난지 불과 15년 만에 번역을 통해 일본문학이 국내에 대량 유입된 상황은 식민지시대에 일본문학의 세례를 받은 일본어세대의 일본문학에 대한 과도한 의존과 기대 현상에 기인한 점이라고도 지적할 수 있다. This article examines the tendency of Japanese literature translated in 1960s in Korea and the background of translation. In this period, Japanese literature have poured in to Korea in the form of complete collection or anthology much more than the other foreign literatures. Irrespective of whether it is pure or popular one, Japanese literature at that time have been translated focusing on the ones with literature award or best sellers. The majority of the translators have been writers those who have learnt about Japanese literature during Japanese colonial era. The introduction of Japanese literature in 1960s to the public of Korea has been for expansion of the literatures of Korea. The April 19th revolution of 1960 and treaty between Korea and Japan in 1965 have raised interests in Japan. However, the reasons for translation of Japanese literature have been that the Korean literature have taken the Japanese ones into the ``same class`` to cope with the Western literature along with response of readers and marketing strategy of publication companies. Further, the majority of translated literature have been the ones with Akutagawa prize for motivating the new writers of Korea by introducing high-quality Japanese literature which have been acknowledged in Japan. In 1968, Kawabata Yasunari has won the Nobel Prize in Literature and this has stimulated writers of Korea those who have been interested in succession of the ``tradition`` of Korea through the universality of Japanese literature. As a result, six editions of 『Kawabata Yasunari Collection』 have been published in Korea as the first personal complete collection of Japanese writer. However, we can point out that the inflow of vast amount Japanese literatures into Korea through translation fifteen years after the end of Japanese colonial era has resulted from high dependency and expectation on Japanese literature of Japanese-generation which have been occupied by Japanese literature during the colonial era.

일본소설의 한국어 번역 현황과 특성

이한정(李漢正, Lee, Han-Jung) 일본어문학회 2010 일본어문학 Vol.51 No.-

本稿は、2006年以降韓国において翻訳された日本の小説の現況と特性について考察した。先行研究では2005年まで韓国の日本文学の翻訳目録と分析が行われている。本稿は2006年から2010年8月までの翻訳状況に焦点を当てた。主にベストセラーを中心に作家と作品の翻訳様相を捉えた。また、日本の小説が大量に翻訳される現象について韓国の新聞.雑誌の反応を分析した。その結果、村上春樹と吉本ばなな、直木賞受賞作家である江國香織と奥田英朗、東野圭吾、推理小説の作家である宮部みゆきなどが特に韓国でよく読まれている作家であることがわかった。村上春樹の場合は2009年に書いた1Q84の翻訳・紹介と伴いそれが直ちにベストセラーになり、それと並んで改めて1989年に訳されたノルウェイの森もベストセラーの順位に入る現象が起った。なお、2006年以降ライトノベルが日本とほぼ同時に紹介され、翻訳も急増している。新聞・雑誌の分析 によると日本の小説は若い世代のもの軽いもの素材の多様さ、オタク文化のような日本文化を描いたものとして特徴される。特に日本小説の翻訳のブームをめぐる反応に注目されるのは、韓国の小説の危機意識あるいは変貌の模索についての問い直しが行われている点である。

일본문학(日本文學),일본학(日本學) 편(篇) : 춘계국제심포지엄 ; 인간과 자연의 공생: 환경,언어,지역으로 본 일본문화 : 박제화되는 일본문화 -다니자키 준이치로의 「음예예찬」론-

이한정 ( Han Jung Lee ) 한국일어일문학회 2011 日語日文學硏究 Vol.78 No.2

本稿は、1933年12月と1934年1月の2回にわたって發表された谷崎潤一郞の「陰예禮讚」を取り上げ、同時代の日本文化に關する日本の知識人の言說と照らし合わせて、その特徵を探ってみることを目的としている。この時期の「日本的なるもの」をめぐる日本文化論とは「陰예禮讚」の日本文化に關する論說は相違があった。西洋對日本の構圖に傾いているわけではなくて「東洋」を取り入れて日本文化の實生活の側面を强調していることだ。それはイデオロギ―としての日本文化論ではない。「陰예禮讚」は作家の實生活の體驗に基づいている。このように實生活においての文化が語られている点は、1942年に書かれた坂口安吾の「日本文化私觀」に似ている。しかしながら、谷崎のものはついに實生活から離れて、日本の生活環境から生まれた「陰예」の美意識が强調される。その美意識とは「祖先」の虛構意識から齎されたものだ。だから、實生活とは掛け離れた「陰예」の文化は文學と芸術の領域において保存されるものとして語られる。文學の「殿堂」に剝製されるものとして「陰예禮讚」において日本文化は認識されているのである。

일본어학,일본어교육학 : 交錯する文體 - 谷崎潤一郞『春琴抄』の日本語 -

이한정 ( Han Jung Lee ) 한국일어일문학회 2006 日語日文學硏究 Vol.58 No.1

근대화와 모방 -『치인의 사랑』에 나타난 서양풍조 -

이한정 ( Han Jung Lee ) 한국일어일문학회 2007 日語日文學硏究 Vol.62 No.1

本稿は、1924年から書かれた谷崎潤一郞『痴人の愛』を取り上げ、日本の近代化と伴い西洋文化を受容する際に行われた「模倣」の樣相とそれによってもたらされた文化受容の問題を考えてみた。日本の近代化は所謂「西洋化」と言われるが、それは日本の文化を西洋化することで達成しようとした近代化の方針から生まれた言葉である。このような日本人の西洋化は鹿鳴館の「猿眞似」として比喩されたが、それが『痴人の愛』にまで投影されている。ナオミはダンスス·ホ-ルに來ている日本の女性の洋裝を「猿眞似」という言葉を使って嘲弄する。しかし、それは「讀者」から眺めると彼女自身にもあたる比喩である。1920年代に入ると大正デモクラシ-の展開やメディアの發達などによって人人の生活も急速に洋風化していく。『痴人の愛』はそれらの同時代の歐化の風潮を描いており、特に「模倣」の樣相だけを通してみるかぎり、西洋文化を受容する態度が近代初期の西洋人の眼に映った日本人の樣子と變わっていないことを仄めかしている。また、それを日本人同士の眼差しとして交差させて、日本の近代化における「模倣」の本質を問い直すものとして書いたのである。そして皮相的な眞似による西洋文化の受容が日本人の正體性の混亂を招くことを示唆するものとして表れているのである。

일반논문 : 일본어로 번역된 황석영의 『손님』

이한정 ( Han Jung Lee ) 국제비교한국학회 2013 비교한국학 Comparative Korean Studies Vol.21 No.3

본고는 2004년에 일본어로 번역된 황석영의 『손님』을 대상으로 한국어와 일본어의 유사한 언어 구조를 염두에 두고, 수용자 쪽과 관련된 ‘일본’이라는 사항이 어떻게 번역되고 있는지를 살폈다. 『손님』은 한국전쟁 중에 일어난 황해도 신천의 학살사건을 재조명한 작품인데 여기에는 일제 강점기의 그림자도 짙게 배어 있다. 따라서 일본과 관련된 사항이 곳곳에 등장 한다. 특히 ‘봉선화’라는 가곡은 일제 강점기에 지어져 일본에 대한 한국인의 정서를 반영하는 노래이다. 이 노래가 『손님』에는 세 차례 언급되고 노랫말까지 삽입되고 있으며 그 일본어 번역의 실태는 일본 고유시 와카풍의 음수율에 따라 옮겨지고 있다. 이로써 ‘일본’과 관련된 사항이 변용되고 있다. 또한 일본인을 폄하하는 ‘일본놈’이나 ‘쪽바리’ 등과 관련된 용어, 한국 사람에게 붙여진 일본식 이름의 별명 등도 그 번역 과정에서 수용자 쪽의 독자를 고려한 탓인지 ‘일본놈’이나 ‘쪽바리’는 ‘일본인(日本人)’으로 조정된 어휘로 옮겨지고 있다. 동네 사람의 일본식 이름도 한국어판에 나타나 있는 대로 대응되어 번역되지 않았다. 이는 수용자 쪽에 대한 배려이면서 번역에 투영된 ‘대화적 관계’ 욕망이 반영된 것이다. 그 양상은 역자 후기의 색다른 성격까지도 포함해서 굴절된 현상으로 나타나 있다. This study investigated how the matters related to ``Japan``, the consumer side, were translated based on the similar language structures between Korean and Japanese for The Guest, Hwang Sok-Yong`s novel translated in Japanese in 2004. The Guest is a novel which sheds new light on the Sincheon Massacre which took place in Hwanghaedo during the Korean War. The dark shadow of the Japanese colonial rule is cast over this novel. Many matters related to Japan appear here and there in the novel. In particular, Korean sentiment against Japan is reflected in ``Bongseonhwa (garden balsams)``, a song composed during the Japanese colonial rule. This song has been mentioned three times and its lyrics is inserted in The Guest. This song is translated according to the rhythm of Waka, an indigenous Japanese poetry, in the Japanese translation of The Guest. The matters related to ``Japan`` are modulated in the Japanese translation of The Guest. The terms disparaging Japanese such as ``Jap`` or ``Pigs`` Feet` and Japanese nicknames given to Korean people are translated as controlled vocabularies in the translation process, considering Japanese readers. The Japanese names of village people are not translated as shown in the Korean version of The Guest. It is a kind of consideration for receptor and reflects the desire for the ``dialogic relationship`` projected in the translation. The aspect appears as a refraction phenomenon including the unusual nature shown in translator`s postscript.

고바야시 히데오 (小林秀雄)의 사회시평

이한정(Han Jung Lee) 한국일본어문학회 1998 日本語文學 Vol.4 No.-

N/A N/A

小林秀雄の戰爭認識

이한정 ( Han Jung Lee ) 한국일어일문학회 2013 日語日文學硏究 Vol.87 No.2

本稿は戰時期の小林秀雄の批評に書かれている戰爭觀について考察したものである。1937年日中戰爭の勃發直後小林は「戰爭について」などの社會時評の文章において眼前の戰爭を嚴然たる現實として認め、「國民」の一人の身分で應戰すると決意を表明した。國家總動員の體制である戰爭を政治的ではなく國民として受け入れる態度は、戰爭が他國への「暴力行爲」である認識と掛け離れたところから生まれている。そこで、中國の戰線で戰爭を實際に目擊してからも、そこで捉えられるのは兵隊の戰爭を日常の平常心で生きている樣子である。つまり、戰爭という異常な非常時を平常時と同一視することで小林秀雄の戰爭についての態度には、戰爭と自己の距離がなくなってきて、その自己認識に無力であったことがうかがえられる。 In this study, the view of war depicted in the sentences of Kobayashi Hideo a literary critic written in the war period before and after 1940 were examined. Immediately after the Sino-Japanese War broke out in 1937, Kobayashi admitted as a grim reality the war breaking out in his eyes through social editorial writing like 「About War(戰爭について)」, and expressed his resolution that he was fighting as one of the ‘nationals(國民)’. Such a view is because he forgot the point that war which mobilizes the all-out potential of the nation is an act of violence on other nation, and rather recognized it only as one of the nationals instead of in political perspective. As a result, he saw only the everyday life of the solders in the bustle of war rather than the violence of war even though he encountered the war in practice while serving as war correspondent in the Chinese front line. In other words, Kobayashi could not maintain an attitude to see the war in some distance by keeping a way of thinking in the same perspective as in usual period. Kobayashi after all could not maintain an attitude to recognize the violent act of war properly under the pretext “Japanese people(日本國民)” while assuming critical attitude toward the military authorities the executors of war and politicians.

근대 일본 문학자와 "국어"

이한정 ( Han Jung Lee ) 한국일본어교육학회 2012 日本語敎育 Vol.59 No.-