김훈의 『칼의 노래』 일본어 번역본 고찰

이한정 한국일본어교육학회 2019 日本語敎育 Vol.0 No.90

This study compared and contrasted “칼의 노래The Song of the Sword” published by Hoon Kim in 2001 and its Japanese translated version “孤将Kosho” to focus on the dislocation and connection of the different languages and cultures. The analysis result could be summarized into the following. First, the Korean and the Japanese versions are different in paragraph structure and the use of conjunction words. While the Korean version changes paragraphs according to the ‘imagery’ of the main character, the Japanese version focuses on the transition of storyline and logical development and increased legibility through the logicality and causality of narration by constantly using conjunction words. Second, in the Korean version, the pronoun ‘I’ occurs frequently since the firstperson narrator ‘I’ leads the narration, while the Japanese version omits it in many parts and adds more situational explanations surrounding the ‘I.’ The Japanese version also did not translate onomatopoeias, the keywords in the Korean version, and it did not show only am ambiguous part of the onomatopoeias even if it did translate them, and gave the regular object descriptions for any personifications. Third, to translate culture, a translator’s footnotes, additional explanations, and deletions were employed. By adding Korean cultural aspects that did not exist in the Japanese culture, the Japanese version attempted at a cultural communication, but some of the cultural elements were misunderstood due to partial deletion. A translation of any language does not end as the modification of language. Translation meets with the translator’s intention during its journey from the source language to the target language and it also meets with the language, culture and the climate of the target language. A translated literary work is unique and original in its own way because it is born into a portmanteau from the source language.

갈라진 귓볼과 동반된 양측성 선천성 누낭 피부누공의 경험례

이한정,최환준,최창용 대한성형외과학회 2008 Archives of Plastic Surgery Vol.35 No.2

Purpose: A congenital lacrimal sac fistula is unusual and consists of a dimple opening below the medial canthal tendon that leads to the lacrimal sac. This anlage ducts occur when the lacrimal anlage cells proliferate and canalize rather than involute. And, the anomaly is usually not associated with any systemic abnormalities. Also congenital cleft of the earlobes is rarely seen among congenital ear anomalies. Therefore, we report rare case with symptomatic bilateral lacrimal fistula with the ear cleft.Methods: A 4-year-old boy was admitted with aggravated chronic maxillary sinusitis, recurrent chronic dacryocystitis, and epiphora. He had two minor anomalies including bilateral lacrimal fistula originated in lacrimal tear sac and unilateral transverse ear cleft. The patient had been operated with fistulectomy and perioperative antibiotics. A small vertical ellipse is made around the opening with sharp dissection. The tract is excised using the probe as the guide. Another probe is placed through the lower canaliculus to prevent the damage. A suture ligature of 6-0 Maxon is placed around the deepest point of the tract, which is then excised. Additional sutures are placed in the tissues to form a tight closure to prevent reestablishment of the fistula. The skin is closed with 6-0 Black Silk.Results: The patient recovered well without any complications such as infection, epiphora, and obstruction of lacrimal sac.Conclusion: Our case illustrates bilateral lacrimal anlage ducts in a patient with unilateral congenital ear cleft. We recommend careful evaluation of lacrimal system in these patients, especially bilateral case and other congenital anomalies. Finally, we recommend excision of the ducts when epiphora, infection, or chronic skin irritation occur.

Effects of Focus and Markedness Hierarchies on Object Case Ellipsis in Korean

이한정 담화·인지언어학회 2006 담화와 인지 Vol.13 No.2

미우라 아야코 『빙점』의 한국어 번역과 ‘재번역’

이한정 한국비교문학회 2012 比較文學 Vol.0 No.58

三浦綾子の『氷点』の韓国語訳は1965年に翻訳された以降、凡そ30種にのぼる。それは「再翻訳」により量産されたものである。ほとんどのものは翻訳の基準を儲てはいないため、再翻訳の際に先行翻訳本との関係はどのようなものであったか分かりにくい。さて、「再翻訳」と言えばターゲット語の言語環境の変化により要求される傾向があるが、2004年に刊行された『氷点』の最も新しい訳本は1965年最初の翻訳本に比べても、現代の言語規範や既存の訳本の誤訳などの改善が図られたものではない。むしろ、ソーステクストとの関わりにおいて登場人物の人物像が変更されたものとして生まれている。このような現象をソーステクストへの忠実性、ターゲットテクストの可読性という翻訳ルールで選別することは、再翻訳のもつターゲットテクストとしてのユニークな「翻訳空間」を狭くすることになると思われる。

외상 후 반흔에 생긴 안면부 대상포진의 경험

이한정,최환준,최창용,김미선 대한성형외과학회 2008 Archives of Plastic Surgery Vol.35 No.3

Purpose: Herpes zoster is a common dermatologic disease characterized by unilateral pain and vesicular lesions over the unilateral sensory dermatomes being caused by the reactivation of Varicella zoster virus and its incidence seems to be increasing recently. In case of involving the ganglion of the fifth cranial nerve(trigeminal nerve), it can descend down the affected nerve into skin, then producing an eruption in the dermatome. Among the patients, about 40-50% had associated conditions such as diabetes mellitus, hypertension, pulmonary tuberculosis, liver diseases, peptic ulcer, hypothyroidism, pharyngitis but rare facial trauma.Methods: Retrospective study was done for 3 cases of Herpes zoster from May 2000 to May 2007, which had been treated with acyclovir and steroid.Results: The clinical course was uneventful. Follow- up length was about 3 months. After treatment, the patients became stable and there was no complications. Conclusion: Herpes zoster was commonly associated with systemic disorders and the treatment duration was prolonged in associated diseases. But herpes zoster occurring specifically at the site of previously traumatized facial skin has not yet been reported. We experienced the treatment of herpes zoster developing within recent operative facial scar and three cases are presented with the review of literatures. Finally, facial trauma might be a risk factor for herpes zoster in traumatized patients.

1970년대 일본의 한국문학 번역 연구 -현대한국문학선집 (전5권) 출간을 중심으로

이한정 경희대학교(국제캠퍼스) 비교문화연구소 2023 비교문화연구 Vol.68 No.-

This paper summarized the cases in which Korean literature was translated and published in Japan in the 1970s, and it examined the significance of translation and publication of Korean literature in Japan, with a focus on an anthology of modern Korean literature published in all five volumes from 1973 to 1976. Unlike ordinary translations, publication of this collection was organized and edited by the Korean publishing capital and writers, who wrote the starting words, and then it was sent to Japan, where the arrival words were written. It is considered to be the first case of introducing works published after the 1950s on a large scale under the title of “Korean Literature”, and not “Chosun Literature”, which was the commonly used title in Japan in the 1970s. The political color of Kim Ji-ha's literature, which was spotlighted in Japan in the 1970s, was not strongly revealed in this collection. Unlike the Korea-Japan Solidarity through literature, the publication of an anthology of modern Korean literature originated from an attitude to unilaterally inform Japan about the Korean sentiment. The significance of publication of this anthology is related to the fact that Japanese literature welcomes the minds and emotions of modern Koreans through translation and publication, and not through a literary "solidarity" method. Japanese literary circles and readers did not respond significantly to the purpose of the Korean publishing capital and writers to inform Japan about the "literary output" of Korea. However, the Japanese side welcomed the practice of translation that allows modern Koreans to understand not only the political situation but also the reality caused by the Korean history and modernization. After publication of the collection, translations and publications of modern works began to increase in Japan under the title of “Korean Literature” and not "Chosun Literature." It can be said that publication of an anthology of modern Korean literature was the basis for the popularity of “Korean literature” in Japan today. 본고는 1970년대 일본에서 한국문학이 선집 형태로 번역 출판된 사례를 정리하고, 그 가운데 1973년부터 1976년까지 전 5권으로 간행된 현대한국문학선집 을 중심으로 일본의 한국문학 번역 출판과 수용의 의의를 고찰했다. 이 선집의 간행은 보통의 번역 행위와 달리 출발어 쪽인 한국의 출판자본과 문인들이 기획하고 편집하여 도착어 쪽인 일본으로 내보내진 형태로 이루어졌다. 1970년대 당시 일본에서 일반적으로 통용되던 ‘조선문학’이 아닌 ‘한국문학’이란 타이틀로 ‘1950년대 이후’에 발표된 작품들을 대규모로 소개한 첫 사례로 꼽힌다. 1970년대 당시 일본에서 조명받고 있던 김지하 문학의 정치적 색감도 이 선집에서는 강하게 드러나지 않고 있었다. 현대한국문학선집 의 간행은 문학을 통한 한일 ‘연대’와는 달리 일본에 한국인 정서를 일방적으로 알리려는 태도에서 비롯되었다. 일본의 문단은 문학적 ‘연대’ 방식이 아닌 현대 한국인의 마음과 정서를 번역 출판을 통해 맞이했다는 점에서 이 선집의 간행 의의를 찾을 수 있다. 한국의 출판자본과 문인들이 일본에 한국의 ‘문학적 소산’을 알리려는 목적에 대해 일본 문단과 독자의 반응은 상당하지 않았다. 하지만 현대 한국인의 마음을 정치적 상황만이 아닌 한국의 역사와 근대화가 초래한 현실에서 이해하도록 하는 번역 실천을 일본 쪽에서는 맞아들였다. 선집 간행 이후 일본에서는 ‘조선문학’이 아닌 ‘한국문학’의 이름으로 현대 작품의 번역 출판이 점차 늘어나기 시작했다. 현대한국문학선집 의 간행은 오늘날 일본에서 일어나는 ‘K문학’ 성행의 기반이었다라고 할 수 있다.

1900년대 초기 일본인이 바라본 한국인의 삶 -재한일본인 잡지 『한반도』의 「한국풍속인정기」에서-

이한정 한국일본어문학회 2018 日本語文學 Vol.78 No.-

本稿は1900年代初頭在朝日本人の發行した雜誌『韓半島』(1903~1906)に五回連載されていた「韓國風俗人情記」に見られる韓國人の生活風俗を考察することを目的としている。この時期の韓國人の生活は韓國を訪れた外國人の眼差しで描かれていた。それらにはオリエンタリズムによる他者への眼差しが現われている。それに對して「韓國風俗人情記」には韓國の古文書などを參考にして韓國で生きていかねばならぬ韓國移住の生活者の視線で韓國人の生活を記錄している。記事の主な內容は冠婚喪祭、慶祝祈禱、品行事局、政體、士農工商、職業、地域社會、民心、交際、敎育などである。特に、冠婚喪祭や士農工商の職分などは詳細に書かれている。韓國人の生活像は印象的でも斷片的でもなくて當時の生活記錄に近く描寫されている。當時の日本人の韓國認識に現れた「文明」と「野蠻」構圖の植民經營の眼差しは目立ったない。韓國人の生活像が「以前」と「今日」の對比で現實的に述べられ記錄性を持っている。 The purpose of this study is to explore the life of Koreans in the early 1990s that appears in the “Records of Korean Customs and Humanity” run five times in Hanbando, a magazine published by a Japanese expatriate in Korea from 1903 to 1906. Most records on the life of Koreans at the time were written from a viewpoint of foreigners who had visited Korea, so they hold the others’ gaze imbued with Orientalism. In contrast, the Records of Korean Customs and Humanity describe the life of Koreans from a perspective of those living in Korea, referring to earlier documents. The articles covered ceremonial occasions, religion, shamanism, traditional classes of society, inn scenery, political system, local communities, sentiments of local people, fellowship, and so on. Especially, ceremonial occasions were described in great detail. Therefore, they relate the life of Koreans in a way of life records rather than depict it with impressive descriptions. In the records, the life of Koreans in those days assumes a realistic form through the comparisons of ‘old’ and ‘now.’

『계간 잔소리』와 재일코리안 2세의 자기의식- 잡지 앙케이트란과 독자투고란을 중심으로 -

이한정 동국대학교 일본학연구소 2019 일본학 Vol.48 No.-

This paper discusses how second generation Koreans in Japan started to regard themselves through Kikan Jansori(Quarterly Nagging), a Japanese magazine published by second generation Koreans in Japan from 1979 until 1981. The questionnaire section and reader submission section of the magazine show how ‘ordinary’ second generation Koreans living in different places of Japan gain new awareness of their ‘ethnic group’ and ‘homeland’ through their real life experience in Japan. The number of second generation Koreans who were born and raised in Japan increased in the mid1970s. Unlike the first generation of Koreans who came to Japan, the second generation began to think differently about the ‘ethnic group’ and ‘homeland’ from the first generation. Kikan Jansori is a space that presented such generation gap by solely expressing voices of the second generation. In this magazine, ‘ordinary’ second generation Koreans reveal the awareness that ‘Japan,’ their birthplace and habitat, is another ‘root’ of their life as important as the ‘ethnic group’ and ‘homeland.’ Furthermore, Japan is a place that provides the ‘choice of life’ and ‘route of life’ to them. To second generation Koreans, ‘Joseon’ is a legacy that leads from the present to the future. This is why the two roots are shown in the lifestyle of the second generation. 본고는 1979년에 창간되어 1981년까지 재일코리안 2세들에 의해 일본어로 발행된 『계간 잔소리』를 통해 재일코리안 2세들이 자기 자신을 어떤 존재로 여기기 시작했는지를 고찰했다. 잡지의 앙케이트 조사란과 독자투고란은 일본 각지에 살고 있는 ‘보통’의 재일코리안 2세들이 자신의 ‘민족’과 ‘조국’을 일본의 실생활 경험 속에서 새롭게 의식하는 양상을 보여준다. 1970년대 중반이 되면 일본에서 태어나 자란 재일코리안 2세들이 증가한다. 조국에서 일본으로 건너온 1세와 달리 2세는 ‘민족’이나 ‘조국’에 대해 1세와 다르게 생각하기 시작한다. 『계간 잔소리』는 이러한 세대 차이가 온전히 2세들만의 목소리로서 분출되고 있었던 공간이었다. 이 잡지에서 ‘보통’의 2세들은 ‘일본’이라는 공간이 ‘민족’이나 ‘조국’에 못지않게 자신들의 출생지, 삶의 터전으로서 ‘뿌리(root)’라는 의식을 나타낸다. 나아가 일본은 ‘삶의 선택’과 ‘삶의 길(route)’을 열어주는 곳이었다. 또한 그들에게 ‘조선’은 현재에서 미래로 이어지는 유산이다. 그렇기에 두 개의 뿌리는 모두 2세들의 생활 의식 속에서 삶의 여정을 이끌어 주는 것이다.

재일조선인 잡지 『계간 삼천리』와 코리안 디아스포라

이한정 한국일본어문학회 2021 日本語文學 Vol.89 No.-

『季刊三千里』は日韓相互の理解と連帯をはかる主旨で1975年に在日朝鮮人によって創刊された雑誌である。この雑誌には祖国統一の実現を願うその一方で、在日朝鮮人の社会が変っていく時期に、「在日」であることの現実への強く意識していることが現れている。本稿が注目する「海外在住朝鮮人」関連の記事には中央アジアの朝鮮人、中国の朝鮮族、在米の同胞などに対する在日朝鮮人の関心が示されている。「海外在住朝鮮人」、すなわち「コリアンディアスポラ」は在日朝鮮人にとって自分自身を映す鏡のような存在であった。彼らの歴史と生活感覚は同じ「民族」という点において在日朝鮮人と共通するものである。しかしながら、コリアンディアスポラはそれぞれの生きていく環境の差からくる違いは少なくない。海外に在住する若いコリアンディアスポラにとって祖国とは帰還の場所よりも「認知の空間」であると言えよう。つまり、イメージ化された民族意識と民族文化であり、「在日朝鮮人」の日常性に存在している「場所のない空間」であると言えるだろう。 The first issue of “Kikan Sanzenri” was published in 1975 as a magazine that contained the desire of Japanese Koreans to play the role of a bridge between Korea and Japan for mutual understanding and solidarity. The magazine also made Japanese Koreans living in Japan become more conscious about their identity. This paper pays attention to an article in “Kikan Sanzenri” related to ‘Korean Diaspora,’ which was like a mirror reflecting the lives of Korean Japanese in the lives of overseas Koreans. The article describing the history, local coverage, and talks, and interviews of ‘Koreans who reside in the Soviet Union’,’ ‘Korean Chinese,’ and ‘Korean Americans’ shows that whereas the Korean diaspora is based on the homogeneity of the ‘Korean race,’ there are differences in the culture and awareness surrounding the ‘ethnic group’ and ‘homeland’ according to the living environment and ethnic minority policy. On the one hand, young generations of the Korean diaspora do not think of ‘ethnic group’ and ‘homeland’ as a place of return. Overseas Koreans accept them as the basis of their lives by regarding the place as a space of ‘recognition’ instead of a place of ‘return.’

나쓰메 소세키 문학의 한국어 번역과수용 양상

이한정 한국일어일문학회 2017 日語日文學硏究 Vol.103 No.1

This paper examine the acceptance of Natsume Soseki’s literature in Korea in terms of the publication status of translated versions. The first Korean translation version of Natsume Soseki’s work is “Botchan”, translated by Jong-yeol Lee and published in 1960. Since then, most works of Natsume Soseki such as novels, critiques, essays, letters, etc. except for “Literary Theory”, “Literary Criticism”, Haiku, and Chinese poetry have been translated into Korean. Also, “Botchan”, “I am a Cat”, and “Kokoro” have been translated multiple times by different translators. In addition to these three works, “Sorekara”, “Michikusa”, “Yume Juya”, etc. have been included in the “Complete Series of World Literature” in Korea. Korean translations of Natsume Soseki’s works have increased after the 2000s. It was influenced by the fact that “Botchan” was evaluated as a so-called “classic” in the 1990s and was included as a book for youths’ preparation for discourse; it is also because Natsume Soseki was introduced in Korea as ‘Shakespeare’ of Japan, ‘nation’s author’, and ‘Obverse of a 1984 series 1000 Japanese yen banknote’, widely spreading the awareness among Korean readers that he is the most representative author in Japan. Going along with this atmosphere, all 14 books were translated into the Korean version of “Natsume Soseki’s Novel Collection” for 3 years from 2013 to 2016. It is clear that the publication of these completed works was achieved not because study on Natsume Soseki made progress in Korea but rather due to the expansion of Korean readers of Natsume Soseki’s literature. Natsume Soseki’s literature has secured awareness as must-read works in this era. Presently, Natsume Soseki’s literature has become ‘goods’ and ‘classics’ in Korea. 本稿の目的は1945年から2016年までの夏目漱石文学の韓国語翻訳の出版現況についてと、その受容の様相を考察することである。韓国において最初に翻訳出版された夏目漱石の作品は『坊っちゃん』であり、その出版年は1960年である。そして2016年まで『文学論』『文学評論』、俳句、漢詩など一部を除いて夏目漱石の作品のほとんどは韓国語に翻訳されている。また、『坊っちゃん』『吾輩は猫である』『こころ』は数十回にわたって再度訳されており、この三作を含めて『それから』『道草』「夢十夜」は韓国で出版されている各出版社「世界文学全集」にも収められている。夏目漱石の作品の韓国語訳が増加したのは2000年代以降である。1990年代に『坊っちゃん』が青少年向けの必読書の一つになった影響もあるだろう。さらに夏目漱石は日本の「国民作家」「シェイクスピア」などとメディアによって紹介され日本の代表作家として読者層にその認知が広がったこともある。このような流れで2013年から2016年まで韓国語版『夏目漱石小説全集』全14巻(短篇集は別巻)が刊行された。全集は好調な売れ行きを見せた。夏目漱石の韓国語の作品は現在「古典」とある種「商品」のように受け入れられていると言えよう。