중국 도굴소설에 나타난 문화소 번역 전략 연구 : <도묘필기(盜墓筆記)>를 중심으로

이의정 韓國外國語大學校 大學院 2020 국내석사

This research is designed to present a strategy of translation that can be referenced in future translation of cultural elements by focusing on cultural factors, cultural characteristics, or cultural elements we can say in the translation of Chinese and Korean literature. Translation work began from a long time ago with the purpose of overcoming human language barriers and engaging in mutual exchange. However, the development of translation into knowledge began in the late 21st century, and the discussion about translation and culture formed a hot trend in the 1990s. As Bassett & Lefeverek mentioned the relationship between translation and culture officially and inherently in Translation, History and Culture published in 1990, where they have developed a newera of cultural turn of translation by defining the subject of translation as a linguistic text within the organization of literary and literary external symbols between the two cultures of source language and target language. From the perspective of the translation theory related to culture, translation is defined as a special case of communication between cultures and the purpose of translation is to overcome the barriers between cultures. Translation is not simply a translation of language symbols, but the spirit of the nation, world view, or we can say dynamic and unique content of a culture in a broad meaning is concentrated in the form of letters. Translation work is to present these by translating them into other forms. The concept of cultural elements was also applied to translatology because of the newly established relationship between translation and culture. If translation is a kind of acculturation, cultural element is a key factor in translation. And the difficulty of translation lies in the fact that it is not easy to grasp the concept of cultural elements in other cultural area. In addition, China and Korea have traditionally been neighbors separated by sea and share many similar cultures as they belong to the Chinese character culture. However, if you look at the details, there are many differences in culture between the two countries. As a result, when translating Chinese text into Korean, cultural elements that are not in the target language-Korean's culture area become a factor which makes translation difficult, especially when translating literary works with a lot of cultural elements. In this context this study uses the translated text of Chinesetomb-robbery novel The Craver Robbers' Chronicles as a research object to conduct research on the cultural elements and inspects the translation strategy of cultural elements. The ongoing research on cultural elements under a specific theme of Chinese tomb-robbery novel through the translation of The Craver Robbers' Chronicles is meaningful in that it can show this particular culture to Korean readers. Through this study, a translation strategy for future cultural element translations will be also outlined and presented .

A Translation Analysis of Cultural Items in the Film Elparvar

Shoira Maksud Kizi Jumaniyazova 전남대학교일반대학원 2021 국내석사

(Abstract) This study looks at how cultural concepts are translated in the film Elparvar . The goal of the research is to determine the types of cultural terminology and the tactics used by the translator to translate them. After extracting the cultural keywords from the video, categories for each cultural items are idendified, procedures for translating the Cultural Specific Items are extracted (CSI). Finallly, the percentage of the cultural items in each category is computed, so that the same methodology can be used to translate cultural things as effectively as possible. The study is descriptive-qualitative in nature, and it employs the descriptive approach. As a result, the paper's design is based on a single embedded-case study. The researcher used a purposive sample strategy to acquire the data, which was then analyzed using content analysis. The data was collected for examination by the researcher by picking CSIs from the subtitle. Gulibonu Khupariya and Gulyora Shermatova of the UZBEKKINO NATIONAL AGENCY translated the film's subtitle from Uzbek to English. There are a total of 3,981 words and 16,908 characters (without spaces) throughout the film, and this study solely looks at the sentences that contain CSIs. After reviewing the video, a total of 88 CSIs have been discovered. The film's original language is Uzbek (SL), and the target language is English. It can be difficult to translate some cultural expressions due to the differences in languages and cultures. There are many cultural terminology linked to numerous spheres of life in the film Elparvar, such as food, clothing, customs, traditions, organizations, and history, and the contrast between the SL and TL cultures is so evident that it requires serious research. One example is the difference in child upbringing between Eastern and Western cultures, which might make it difficult for a translator to establish cultural word equivalences in the target language culture. Even for Uzbek people, the film's war-related ancient Uzbek phrases are difficult to understand because they are nearly obsolete nowadays. This necessitates the use of proper procedures by the translator. Due to the presence of historical terms in the film Elparvar, the majority of cultural terms are related to the categories of organizations, customs, activities, procedures, and conceptions, according to the analysis. In the film Elparvar, phrases linked to Uzbekistan's historical traditions, customs, and culture are plentiful. The translation of unique concepts found only in Eastern culture, in particular, has presented some difficulties for the translator due to a lack of resources. There are some constraints to audiovisual translation, such as space and time constraints. A considerable number of data points have been taken up by cultural concepts from the area of material culture. The most common method used in translation is to use its equivalent in the target language. To sum up, the translator has chosen an appropriate approach by successfully employing culture item translation procedures in order to provide a seamless and natural translation by following the subtitle translation norm. Before categorizing the techniques, the researcher consulted a variety of sources as well as translation works completed by professional translators who can provide accurate material for the translation. The literature review looked at theories on the translation of cultural words (Aixel, 1966; Nida, 1964; Tomaszkiewicz, 1993). Each CSI is translated with extreme care by the translator. Other translators, teachers of translation, translation students, and new freelancer translators should find the research useful in dealing with CSI efficiently through thorough study. Furthermore, the translation methodologies presented in this work can help to advance the field of CSI translation.   영화 <엘파르바>의 문화소 번역 분석 주마니야조바 쇼이라 막수드 키지 전남대학교 영어학과 (지도교수: 유한내) (국문초록) 본 연구는 영화 <엘파르바>의 문화적 개념이 어떻게 번역되었는지 살펴본다. 본 연구의 목적은 문화소의 유형을 분류하고 각 문화소가 어떤 번역전략으로 번역되었는지를 분석하는 것이다. 이를 위해 영화에서 문화소를 추출한 후, 각 문화소를 분류기준에 따라 분류하고, 각 문화소가 어떻게 번역되었는지를 분석했다. 또한 카테고리별 문화소 비율 및 번역전략 비율을 확인하여, 추후 문화소 번역시 가장 효율적인 번역전략을 채택하는데 참고할 수 있도록 하였다. 본 연구의 연구방법은 정량적 연구방법으로, 기술적 접근법을 활용했다. 본 연구는 영화 <엘파르바>라는 단일 사례에 기반한 사례 분석 연구이다. 본 연구는 객관적인 샘플링 방법을 사용해 영화 <엘파르바>에서 문화소 데이터를 수집했다. 영화 <엘파르바>의 자막은 우즈베키노 국립 에이전시(Uzbekkino National Agency)의 번역사 굴리보누 쿠파리야(Gulibonu Khupariya)와 굴료라 스마토바(Gulyora Shermatova)가 우즈벡어에서 영어로 번역한 것이다. 자막은 총 3,981 단어(공백 제외 16,908자)로 이루어져있으며, 본 연구에서는 그 중 문화소를 포함한 문장만을 분석 대상으로 삼았다. 영화 <엘파르바>에 나타난 문화소는 총 88개로 분석되었다. 문화소는 언어 및 문화적 차이로 인해 번역하기 까다로울 수 있다. 영화 <엘파르바>에는 음식, 의복, 관습, 전통, 조직, 역사 등 삶의 다양한 영역에 걸쳐 문화소가 등장하며, 출발언어인 우즈벡어와 목표언어인 영어 간의 언어 및 문화적 차이가 분명해 문화소 번역이 쉽지 않다. 출발문화와 목표문화의 자녀 양육 방식이 다르기 때문에 특정 문화소를 목표언어로 번역할 때 등가어가 없는 경우가 그 예이다. 영화 <엘파르바>에는 전쟁과 관련된 우즈벡 고어가 등장하기 때문에 우즈베키스탄 관객조차 이해하기 어려울 정도다. 영화 <엘파르바>에 역사적인 용어가 많이 등장하기 때문에 분석 결과 문화소의 대부분은 조직, 관습, 활동, 절차, 개념 등으로 분류되었다. 우즈벡 문화에만 존재하는 독특한 개념은 특히 영어로 번역함에 있어 어려움이 있었을 것으로 예상되었다. 게다가 영상번역은 시간과 공간의 제약이라는 어려움까지 중첩된다. 분석 결과 가장 많이 사용된 번역 전략은 등가어였다. 번역사들은 자연스러운 번역을 위해 영상번역 규범에 따라 다양한 번역 전략을 사용한 것으로 확인되었다. 이제까지 우즈벡어와 영어의 영상번역에 관한 연구는 활발히 이루어지지 않았다. 특히 우즈벡 문화소 번역에 대한 연구는 더욱 희귀하다. 따라서 본 연구의 문화소 분류와 번역전략 분석 결과는 추후 우즈벡어와 영어의 문화소 번역과 관련해 효과적인 번역 전략을 제시해주고, 더욱 다양한 연구가 이루어지는데 도움이 될 것으로 기대된다.

중한 문학 번역에서의 문화소 번역 전략 연구 : 장편소설 『잠중록(簪中录)』을 중심으로

강낙영 한국외국어대학교 대학원 2023 국내석사

In the translation of Chinese literary works, the translation of cultural centers is a key factor that determines the quality of translation. It is important to properly classify various cultural centers appearing in literary works and present appropriate translation strategies according to the overall content and situation of literary works. This study classified cultural centers that appeared in Chinese literature,Jamjungrok, examined cultural center translation strategies according to types, and also examined whether these cultural centers maintain four translation ratings in translation. First of all, through a theoretical review of the concept, classification, and translation strategy of cultural centers, previous studies examined how to concept, classify, and what are the translation strategies of cultural centers. As a result, cultural disturbance was organized into everything related to the culture in which a society or community was the same. In addition, cultural centers were divided into ecological cultural centers, material cultural centers, institutional cultural centers, custom cultural centers, conceptual cultural centers, and language cultural centers, referring to previous studies. As a result of analyzing the translation strategy of cultural centers in the next literary work Jamjungrok, it seems that ecological, material, and institutional cultural centers used a lot of phonetic, axial translation, and non-textual explanations as strategies to preserve ST's culture, while ideological, custom, and language centers used a lot of alternative translation strategies to improve TT's readability. In the analysis of the four violations of the translation classification, it does not seem to have a significant effect in terms of meaning if it violates the positive classification and the method's defect, but if it violates the query classification, the translation will be misinterpreted. There is no absolute standard for cultural translation, and the translator must use appropriate translation saving according to the content and context of the literary work.

중한 자막 번역에서의 부등성에 따른 문화소 번역 전략 연구 : 다큐멘터리 『빈곤 탈출의 길(無窮之路)』을 중심으로

장이 한국외국어대학교 대학원 2024 국내석사

This paper is to present Chinese-Korean Subtitle translation strategies of the culture translation theory with cultural element's asymmetry. Translation is a cross-cultural work, and there are many difficulties in understanding and conveying the meaning of culture in the translation process. Korean Cultual and Chinese Cultual show cultural similarities in many aspects, but there are still cultural differences during actual translation work. A deep understanding of the source culture and target culture is required, and it is the translator's responsibility to judge and deal with cultural differences. The key issue is to analyze and translate cultural differences well in the translation process, which is called communication between cultures. The handling of cultural elements can be said to be the most difficult part. In this process, identity issues resulting from the asymmetry between two cultures can be well addressed and the translator's mediation role can be played to bridge the asymmetry. While acknowledging the asymmetry, this paper aims to suggest an translation strategies with cultural element's asymmetry in Chinese-Korean translation. To achieve the above purposes, the purpose of this thesis research is revealed, the importance of cultural element and asymmetry in translation, research subjects, and research methods are presented. In Chapter 2, the theoretical knowledge mentioned in this study will be summarized and presented. In 2.1, the culture and translation, cultural anthropologists and social psychologists introduce a framework for classifying cultural types according to the degrees of observability, consciousness, and concreteness. In 2.2, cultural element theory are summarized. In section 2.3, the ateristics of documentary subtitle translation in the OTT era will be presented. Chapter 3 will introduce the cultural element model and research subject of this thesis. In Chapter 4, the cultural elements will be divided into 6 types and we will analyze the cultural element's asymmetry and translation strategies appearing in selected translations. Based on a clearer understanding of cultural elements and the consequences of their asymmetry, this paper seeks to find out how to balance various factors during the translation and how the translator bridge the asymmetry. And Chapter 5 will be accompanied by a translation of Episode 6 of the documentary. In conclusion, in Chapter 6, the contents mentioned in Chapter 1 to 4 are summarized and concluded, as well as the significance and limitations of this study are also presented. The closer the cultural element is to the surface culture, the weaker the asymmetry is or the efforts to bridge for it are relatively is small. On the other hand, the closer it is to deep culture, the more semantic asymmetry tends to appear, the more efforts are made to deal with asymmetry to explain or convey the inherent meaning, and the translator's mediating role becomes more prominent.

중한 자막 번역에서의 자국화 이국화 전략 사용 양상 : 드라마 <경여년(慶余年)>의 문화소를 중심으로

양군 韓國外國語大學校 大學院 2022 국내석사

This study examined the method of translating cultural centers from the perspective of domestication and foreignization, using cultural elements shown in the Chinese drama ‘Joy of life’. Translation is not only a conversion of language, but also a communication between different cultures. Movies and TV dramas have rich cultural content as a way of spreading culture and are also important means of cultural exchange between Korea and China. Unlike literary translation, subtitle translation includes not only verbal symbols, but also various types of non-verbal symbols such as speech, text, sound, and video at the same time. Only when the subtitle translation is properly performed can the mental ideology and specific cultures that you want to show in the work be delivered to viewers. In subtitle translation, in particular, cultural elements are part of culture and consistently exist in a specific culture of a people, and it can be seen as a cultural characteristic that is difficult to translate due to differences in language and culture. In this study, according to previous scholars, defined the cultural elements as vocabulary or expression related to a specific culture derived from a social community, and extracted the cultural elements shown in the drama ‘Joy of life’ as proper nouns, idiomatic expressions, and social cultural elements. When translating a cultural element, it is necessary to consider whether to choose a strategy that preserves its heterogeneity to reveal exotic cultural characteristics or a strategy that audiences of translation text can accept well. domestication and foreignization are two conflicting translation strategies, but they do not reject each other, but complement each other. Both excessive domestication and complete foreignization can greatly reduce the effectiveness of information delivery of translation texts, so the choice of these two translation strategies should be made by analyzing specific problems and situations. This study examines how domestication and foreignization translation strategies are applied in cultural translation and suggests specific domestication and foreignization strategies. In the future, it is expected to provide reference value for translation related to cultural contents between Korea and China and help research on cultural exchanges and translation between Korea and China.

번역 출판의 문화정치와 사회적 상상 : 1950년대 후반-1970년대 번역서의 미디어 사회문화사

채웅준 연세대학교 커뮤니케이션대학원 2024 국내박사

This thesis aims to investigate the social imaginaries and the cultural politics surrounding ransnational cultural exchange by analyzing the practices and institutions of translation publishing from the late 1950s to the 1970s. This study describes the media socio-cultural history of translated books regarding the translation as a socio-cultural practice and product beyond the textual and the intellectual. It focuses on two goals. One is to explore how the national imaginaries were related to cultural practices, cultural legitimacy, and cultural politics. The other is to identify how worldhood affected the process of cultural modernization of translation publishing. This study uses social imaginaries as a theoretical framework. Social imaginaries are vague understandings, connotations, and expectations of things interior and exterior of a society, shared among members of it. It constitutes a sense of cultural legitimacy and the repertory for legitimate collective actions. Translation has a mutually constitutive relationship with social imaginaries in that it is a con-figuring of the other and the self, and the work of imagining and bounding the world in which a society exists in specific ways. The development of translation publishing from the late 1950s onward was driven by its imagined contribution to modernizing national cultures. In this sense, the yang-seo, the books given cultural legitimacy, became a drive for cultural practices. In particular, the World Literature Anthologies crystallized the vague imaginaries of the yang-seo. As competition for yang-seo intensified, the translation publishing field attempted to institutionalize translation publishing in the mid-1960s. The Korean government provided legal and institutional support for the rationalized rules of the field to ensure that the yang-seo was aligned with the practices of reading public. In the national imaginaries, the yang-seo was not only a stake for which the translation publishing field struggled to earn, but also a cultural political object for the government to mobilize the people and a subject that constituted the discourse of the elite group. Accordingly, the center of the translation publishing field, the government, and the intellectuals formed a conspiratorial relationship for the cultural project of the yang-seo. The ak-seo were referred to the books stripped of their cultural legitimacy, that fell outside the standards of the time. These included books with popular genre novels, books published and distributed in unethical ways, and translations of Japanese novels. The ak-seo survived in the face of the institutionalization of the yang-seo and illegalization of the ak-seo, because the foundation and logic of the yang-seo were too unstable. The promoters of yang-seo experienced discord on cultural legitimacy. In addition, as the symbolic authority and economic expectations from the government’s institutional recognition of yang-seo grew, the producers of yang-seo also made books for the struggle using the methods of ak-seo. These results reveal the limits of the dichotomous logic of the cultural project of yang-seo that separates the cultural from the economic. Meanwhile, the production and reception of popular ak-seo deprived of cultural legitimacy opened up the possibility of cultures outside the national imaginaries and a view of cultural pluralism. The process of cultural modernization was not just a domestic phenomenon but accompanied by a relationship with the world. The world was imagined as a competitive field for symbolic struggle. The yang-seo was a symptom of this imaginative geography and a weapon used by the Korean government and the translation publishing field in the unequally structured world system of translation publishing. This process of internationalization, or participation in the world system of translation publishing, was inextricably linked to the globalization of geopolitical power. Korea, a peripheral country, endorsing the international standards set by the West, sutured some critical opinions into the logic of modernization. In Korea, the connotations of translation were obsessively reduced to developing and promoting national culture. As a result, the internationalization strategy was narrowed down to adopt the Western order and obtain cultural leadership worldwide. Nevertheless, some translation practices emerged on the periphery of the domestic translation publishing field to reflect on global boundaries and power relations appropriating texts across regional differences. Through a media socio-cultural history of translation publishing from the late 1950s to the 1970s, this study discusses the effects of the social imaginaries on the legitimacy of cultural practices and products, as well as the limits and fissures of it, and the unintended political implications of those deviated from it. This thesis shows that translation fulfills an ideological function as an effect of global power relations but also has the power to make us reflect on those power relations. 이 연구의 목적은 1950년대 후반부터 1970년대 번역서와 번역 출판 실천, 담론, 제도를 분석함으로써, 사회적 상상의 작동 양상과 초국적 문화 교류를 둘러싼 문화정치를 밝히는 것이다. 이 연구는 기존의 텍스트주의적·지성사적 접근에서 벗어나 번역서의 미디어 사회문화사를 기술하고자 한다. 분석의 주요 목표는 두 가지다. 하나는 사회적 상상이 문화적 실천, 문화적 정당성, 문화정치와 어떤 관계를 맺고 있었는지 탐구하는 것이다. 다른 하나는 번역 출판 장의 문화적 근대화 과정에서 ‘세계적인 것’이 가져온 효과를 규명하는 것이다. 이 글은 사회적 상상을 이론적 틀로 삼아 논의를 전개한다. 사회적 상상이란 사회 구성원 사이에서 공유되는, 사회 그리고 사회 내외부의 존재에 대한 막연한 이해, 의미 부여, 기대를 가리킨다. 그것은 집단적 실천의 틀과 문화적 정당성에 대한 감각을 제공한다. 사회적 상상은 사회 구성원에게 일반적으로 공유되지만, 균질적인 강도와 형태로 공유되지는 않는다. 한편 번역은 타자와 자기 자신에 대한 쌍형상화로서, 타자와 자기 자신, 그리고 둘이 공존하는 세계를 일정한 방식으로 상상하고 경계 지으려는 작업이자 그 결과물이라는 점에서 사회적 상상과 상호 구성적 관계를 맺는다. 1950년대 후반부터 국내 번역 출판 분야가 급격한 성장을 이룰 수 있었던 것은 그것에 부여된 상상적 의미 작용 덕분이었다. 민족 문화에 기여할 수 있다는 상상에 따라 문화적 정당성을 부여받은 책은 ‘양서’로 불렸고, 그것은 번역 출판 장 내외부의 실천을 이끄는 동력이 되었다. 당대 제작된 세계문학전집은 모호했던 ‘양서’에 대한 상상을 구체화했다. ‘양서’를 둘러싼 경쟁이 심화되자 번역 출판 장에서는 1960년대 중반 제도화를 시도했다. 정부는 ‘양서’가 대중 독자의 실천과 연계될 수 있도록 장의 합리화된 규칙을 법적·제도적으로 뒷받침했다. 민족적 상상에 의거한 ‘양서’는 번역 출판 장에서 상징 투쟁의 내기물이었을 뿐만 아니라, 정부가 국민을 동원하기 위한 문화정치적 대상이었고, 또 문인과 지식인의 담론을 구성하는 주제였다. 이에 따라 번역 출판 장의 중심부, 정권, 그리고 문인과 지식인은 ‘양서’라는 문화적 기획을 중심으로 한 공모 관계를 형성했다. 문화적 정당성을 박탈당한 책들을 가리키던 ‘악서’는 몇 가지 정당성 기준을 벗어나 있었다. 통속적인 내용을 담은 책, 비윤리적인 방법으로 출간 및 유통된 책, 일본 번역 도서가 그것이다. 제도화 단계 이후로도 ‘악서’가 살아남을 수 있었던 것은 그만큼 ‘양서’의 토대가 불안정했기 때문이었다. ‘양서’가 무엇인지 합의되지 않은 채 진행된 제도화는 정부와 번역 출판 장의 불화를 야기했고, 정부의 제도적 인정이 주는 상징적 권위와 그에 따른 경제적 기대 효과가 커지자 ‘양서’의 생산을 위해 ‘악서’의 방법을 사용하는 부조리가 벌어졌다. 이는 문화적인 것에서 경제적인 것을 분리하려던 ‘양서’라는 문화적 기획의 이분법적 논리의 한계를 드러낸다. 그런 가운데 문화적 정당성을 박탈당했던 대중적인 번역물의 생산과 수용은 민족적 상상을 벗어난 문화의 가능성과 문화적 다원성에 대한 시야를 열어두고 있었다. 국내 번역 출판의 문화적 근대화 과정은 대내적인 것을 넘어서 세계와의 관계 속에서 이루어진 것이었다. ‘양서’는 국제화와 전 지구화가 얽히며 빚어낸 효과였다. 즉 그것은 국내 번역 출판 장과 정부가 불평등하게 구조화된 번역 출판의 세계 체제에서 국제적 상징 투쟁을 위해 내세운 무기이면서, 전 지구적 정치경제적 권력 작용을 승인한 결과였다. 이데올로기적 상상 지리가 강화되면서 국내에서 번역이 지닌 내포도 민족 문화의 창달과 세계로의 진출로 축소되었다. 그러나 국내 번역 출판 장의 주변부에서는 제3세계론의 번역을 통해, 지역적인 차이를 넘어서 텍스트를 전유하고 세계의 경계와 권력관계를 성찰하기 위한 시도가 이루어지고 있었다. 번역의 정치성은 이처럼 ‘초국적인 것’에 대한 지향에서 발아하고 있었다. 이 연구는 1950년대 후반에서 1970년대 번역서에 대한 미디어 사회문화사를 통해 사회적 상상이 문화적 실천과 생산물의 정당성에 미치는 효과, 그리고 사회적 상상의 한계, 즉 사회적 상상으로부터 벗어나는 실천이 지닌 의도치 않은 문화정치적 의미를 논의한다는 점에서 의의를 지닌다. 더불어 번역이 전 지구적 권력 작용의 효과로서 이데올로기적 기능을 수행하지만, 동시에 그러한 권력관계를 성찰하게 하는 힘을 지니고 있음을 발견할 수 있을 것이다.

소설과 드라마 자막의 문화소 중한 번역 전략 양상 비교 : <보보경심>을 대상으로

친이 한국외국어대학교 대학원 2024 국내석사

본 연구는 드라마 자막과 소설의 문화소 번역 전략을 비교 분석하는 데 목적이 있다. 중국 작가 동화(桐华)의 소설 <보보경심(步步惊心)>과 이를 각색한 드라마 <보보경심(步步惊心)>을 연구 대상으로 드라마와 소설에서 나타난 문화소를 발췌하고, 동일한 문화소의 번역 양상을 비교 분석하여 드라마와 소설의 문화소 번역 전략을 비교하고자 한다. In recent years, the number of TV series adapted from novels has been increasing. With the increase of Chinese cultural exports, Chinese movies and TV series are also exported together with novels. Therefore, the purpose of this paper is to distinguish the cultural elements translation strategies of novels and TV dramas. Therefore, this paper chooses the classic novel "Every Step of the Heart", which is very popular in South Korea, and the adapted TV series as the research object, and compares the common cultural elements translation strategies of the two. This thesis is a comparative study of cultural translation strategies between novels and television sets. The purpose of this study is to explore the reasons through a comparative analysis of cultural translation strategies. This paper discusses the classification of cultural elements and translation strategies. Both are summarized by comparing subtitles and cultural translation of the novel This paper consists of four parts. The first chapter is the introduction, including the research purpose and the necessity, preliminary study and introduction of this study the object of study. The second chapter is the theoretical background of this paper.It is mainly divided into two parts: the theoretical background of translation theoretical background of textual descriptions and cultural elements. The third chapter is the analysis part of the thesis, which analyzes the full text the cultural elements in translation strategies are analyzed through concrete examples. The last chapter is the conclusion of the thesis, which summarizes the whole thesis analyze the results and the usefulness of the results for the future Translation.

중한 자막번역에서의 문화소 번역 전략 연구 : 드라마 『녹비홍수(知否知否应是绿肥红瘦)』를 중심으로

석우기 韓國外國語大學校 大學院 2022 국내석사

In recent years, as the export of Chinese culture has increased, Chinese film and television dramas have been well received in Korea.This was followed by an increase in popular demand for translation of captions.The purpose of this paper is to analyze the translation strategy of cultural elements in caption translation.Therefore, this paper chose the popular and well-received Song Dynasty drama 『The Story Of MingLan』 as his research object and analyzed the translation strategy of cultural elements. This paper is a study that explores the translation strategy of the cultural center of subtitle translation among dramas. The purpose of this study is to study the translation strategy of the cultural center by analyzing the strategy of translating subtitles of Chinese Song Dynasty background dramas that are easy to understand and rich in cultural centers in Korea. In this paper, the classification and translation strategy of cultural elements are summarized by comparing the translation of subtitles and cultural elements. In addition, a large number of cultural elements present in the study were classified and aggregated to produce data on the translation strategy of cultural elements by category. This paper consists of four parts. The first chapter is the introduction, which includes the purpose and necessity of the research, the prior research and the introduction of the research object. The second chapter is the theoretical background part of this paper.It is divided into two main parts: the theoretical background of translation of captions and the theoretical background of cultural elements. The third chapter is the analysis of the paper, which analyzes the translation strategy through specific examples of cultural elements. The final chapter is the conclusion section of the paper, summarizing the analysis results and the usefulness that the results can provide for future translation.

중한 자막번역에서의 문화소 번역 전략 연구 : 중국 고장극 드라마 「장가행(长歌行)」을 중심으로

왕옥한 한국외국어대학교 대학원 2023 국내석사

과거의 번역은 주로 문학작품에서 이루어졌으며 OTT가 발전함에 따라 번역에도 새로운 양상을 나타내고 있다. 중국 최신 인기 드라마가 중국에서 방영되고 곧바로 한국에서 방영하는 추세를 보인다. 이로 인해 중국 영상매체를 한국어로 번역하는 작업에 대한 수요도 함께 증가하고 있다. 또한, 번역은 출발어로 쓰인 출발텍스트를 도착어로 쓰인 도착텍스트로 옮기며 출발텍스트에 담고 있는 문화까지 포함하여 옮기는 작업이다. 본 연구는 총 5장으로 구성되어 있으며 각 장의 내용은 다음과 같다. 제1장 서론 부분에서는 중국 영상매체의 한국 수출량이 증가함에 따라 중한 자막 번역의 중요성을 강조한다. 중한 자막 번역에서 고장극 장르를 중심으로 한 문화소에 관한 선행연구를 정리하며, 본 연구의 연구 대상인 드라마 <장가행(长歌行)>을 소개하고 연구 방법을 제시한다. 제2장은 자막 번역의 특징과 원칙, 문화소의 분류 기준과 문화소의 번역 전략에 관한 이론적 배경을 정리하고자 한다. Nida(1964)에서 제시한 문화소 분류 기준을 기반으로 하며 이석철(2022)의 분류 기준을 참조해 문화소를 언어문화소, 물질문화소, 관습문화소, 제도문화소, 종교문화소, 생태문화소 등 크게 6가지로 분류한다. 번역 전략은 차용, 직역, 의역, 일반화, 대체(문화적 대체, 상황적 대체), 생략(부분 생략, 전부 생략) 등 8가지를 선택하여 사용한다. 제3장에서는 <장가행(长歌行)>에 나타난 문화소를 분류 기준으로 나누어 항목별로 사례를 제시하고자 한다. 자막 번역의 여러 가지 제약을 고려하는 동시에 중국 고장극 드라마에 나타난 문화소를 두 가지의 TT가 각각 어떤 번역 전략이 사용되었는지를 대조 분석하고자 한다. 제4장에서는 문화소에 따라 TT1과 TT2가 사용된 번역 전략의 비율을 통계하고 사용 빈도의 순을 제시하며 문화소에 따른 번역 전략의 장점과 단점도 함께 정리하고자 한다. 제5장 결론 부분에서는 본 연구의 연구 내용을 총괄하며 본 연구의 의의 및 한계점을 정리하고자 한다. In the past, translations were mainly made of literary works, and as OTT develops, new aspects are emerging in translation. The latest popular Chinese dramas to be aired in Korea immediately. The demand for translating Chinese video media into Korean is increasing. Translation is not simply moving from one language to another. It is the work of transferring including the culture contained in the language. This paper consists of five chapters. In the introduction part of Chapter 1, the importance of Chinese-Korean subtitle translation is emphasized as exports of Chinese video media to Korea increase. Summarizing previous studies on cultural elements centering on the genre of Costume Drama in Chinese-Korean subtitle translation. Chapter 2 aims to organize the theoretical background of the characteristics and principles of subtitle translation, the classification criteria of cultural elements, and the translation strategies of cultural elements. Based on the classification of cultural elements propsed by Nida, cultural elements are divided into lingustic, material, customs, institutional, religious, and ecology culture. In Chapter 3, the cultural elements shown in Chinese Costume Drama <The Long Ballad> are divided into classification standards and presented examples for each item. While considering various limitations of subtitle translation, We will compare and analyze which translation strategies were used for each of the two Korean language in the cultures that appeared. In Chapter 4, the ratio of TT1 and TT2 translation strategies used according to culture elements is statistically presented, and the advantages and disadvantages of translation strategies according to culture elements are also summarized. The final chapter is the conclusion section of the paper, summarizes the research contents of this paper and the significance and limitations of this study are summarized.

중국 만화 《一条狗》의 한국어 번역 연구

곡소열 韓國外國語大學校 大學院 2020 국내석사

This study is aimed at studying the problems faced when translating the Chinese humor cartoon 《一条狗》 how to deal with and translate the differences between the characteristics and other cultures of the genre of cartoons, and how to present the translation methods and refer to them in other translation works. The progress of this study is as follows. Chapter 1 discusses the purpose and necessity of the study and the prior study. The preceding study will be divided into translation studies for literary works, especially those on cartoon translations and those on cultural center translations, which result from differences between different cultures. In the theoretical background section of Chapter 2, we first look at the definition, features and methods of translating comics. Then, I would like to consider what a cultural center is and how it is classified. The most important of them is how the translation methods for the cultural center are arranged. In Chapter 3, we did translations of the entire language text of the comic book 《一条狗》. In Chapter 4, based on the content of the cartoon translation and the classification of the cultural center in Chapter 2, we will consider the corresponding translation methods through specific cases. First of all, language text elements are divided into the central and secondary elements, and the central elements are again classified as metabolism and narration, and the auxiliary elements are specifically classified as effective words, descriptors, and side-texts. Therefore, the cartoon translation section of this study looks at the translation method through specific examples according to this framework. Then, on the issue of translation arising from cultural differences existing between the two countries, namely how to deal with the translation of a cultural center, the study divides the cultural centers into six different types of vocabulary, referring to the classification criteria for the cultural center as stated in Lee Keun-hee (2015). Specifically, it is a cultural center by type, such as a unique noun, vocabulary related to a particular culture, Internet terminology, foreign languages, idioms, and units of metrology. And the method of translating these types of cultural centers is also to be explored through specific cases using the method of translating the cultural center presented by Lee Keun-hee (2015). Finally, in Chapter 5, I want to conclude.