<설인귀전>의 소설사적 존재 의미

양승민 우리어문학회 2011 우리어문연구 Vol.41 No.-

First of all, <Seolingwijeon(薛仁貴傳)> has been argued back and forth between translated novel and creative novel amid what the discussion of surrounding the text problem forms the mainstream in the meantime. As a result of review, it is the best plan of understanding the reality itself as saying that the Joseon version <Seolingwijeon> is a kind of 'group of works,which had advanced even to the point of being changed nearly into the recreation level with starting from the translated version. It can be largely divided into two categories such as the translated version, which was established amid the relationship of translation with the original work in Chinese version, and the adapted version of passing through the stage of 'Joseon translated version' without being directly succeeded through the relationship of translation. Especially, these copies in the group of adapted versions are the universal outcome that diverse text movements had produced in the process of distributing novels in Joseon period such as translation,transcription, and re-translation. Next, <Seolingwijeon> is one of works that are high in novel-history significance and application value, which the 'existence' itself has without stopping in a research of text with being basically 'translated novel'. As <Seolingwijeon> is the translated novel in a word that was changed into 'Korean-styled hero novel', it is important just in the point that was produced according to creative tradition and typological style in our country's novel history. Accordingly, it is natural to necessarily address all of the translated novels in Joseon period like <Seolingwijeon> in the category of 'Korean literature'. There is a need of re-establishing a sight on a problem of nationality with escaping from 'originalism' and of changing recognition as saying that even translated novel is definitely Korean literature. Meanwhile,when seeing from the data-based realities of translated novels in Joseon version, those things have stature as a leading role that developed the history of classic novel together with creative novel. Thus, they should be naturally addressed with the same weight as the creative novel. We can criticize superiority in each of novel works. However, a sight of treating the translated novels as the one of frontier compared to creative novel cannot help exposing a big loophole in analyzing history of novel. 우선 <설인귀전>은 그동안 텍스트 문제를 둘러싼 논의가 주류를 이루는 가운데 번역소설과 창작소설 사이에서 설왕설래가 많았다. 재검토 결과, 조선본 <설인귀전>은 번역본으로부터 출발해 거의 재창작 수준으로 변모하는 지점에로까지 나아간 일종의 '작품군'이라는 실상 그 자체를 이해하는 것이 상책이다. 크게 보아, 중국본 원작과의 번역관계 속에서 성립된 번역본과, 번역관계를 통해 직접 계승되지 않고 '조선 번역본'단계를 거쳐서 나온 개작본, 두 부류로 나눌 수 있다. 특별히 개작본 그룹의 이본들은 번역, 필사, 재번역 등 조선시대 소설 유통과정에서의 다양한 텍스트 운동이 빚어낸 보편적인 소산이다. 다음, <설인귀전>은 기본적으로 '번역소설'이되 텍스트 연구에 그치지 않고 그 '존재' 자체가 갖는 소설사적 의미와 활용가치가 높은 작품 가운데 하나이다. <설인귀전>은 한 마디로 '한국형 영웅소설'로 탈바꿈한 번역소설로, 우리나라 소설사의 창작 전통과 유형적 스타일에 따라 빚어졌다는 바로 그 점이 중요하다. 따라서 <설인귀전>과 같은 조선시대 번역소설류는 다 '국문학'의 범주에서 다루어야 마땅하다. '원작주의'에서 벗어나 국적 문제에 대한 시각을 재정립 할 필요가 있으며, 번역소설도 분명 국문학이라는 인식의 전환이 필요한 것이 다. 그런가 하면 조선본 번역소설의 자료적 실태로 보아 그것들은 창작소설과 함께 고전소설사를 발전시킨 주역으로서의 위상을 갖기 때문에, 응당 창작소설과 동일한 무게로 다루어야 한다. 우리가 각 소설작품의 우열을 비평할 수는 있어도, 번역소설류를 창작소설에 비해 변방의 것으로 취급하는 시각은 소설사 해석에 있어 큰 허점을 노출할 수밖에 없다.

<설인귀전>의 소설사적 존재 의미

양승민 ( Seung Min Yang ) 우리어문학회 2011 우리어문연구 Vol.41 No.-

First of all, <Seolingwijeon(薛仁貴傳)> has been argued back and forth between translated novel and creative novel amid what the discussion of surrounding the text problem forms the mainstream in the meantime. As a result of review, it is the best plan of understanding the reality itself as saying that the Joseon version <Seolingwijeon> is a kind of ``group of works, which had advanced even to the point of being changed nearly into the recreation level with starting from the translated version. It can be largely divided into two categories such as the translated version, which was established amid the relationship of translation with the original work in Chinese version, and the adapted version of passing through the stage of ``Joseon translated version`` without being directly succeeded through the relationship of translation. Especially, these copies in the group of adapted versions are the universal outcome that diverse text movements had produced in the process of distributing novels in Joseon period such as translation, transcription, and re-translation. Next, <Seolingwijeon> is one of works that are high in novel-history significance and application value, which the ``existence`` itself has without stopping in a research of text with being basically ``translated novel``. As <Seolingwijeon> is the translated novel in a word that was changed into ``Korean-styled hero novel``, it is important just in the point that was produced according to creative tradition and typological style in our country`s novel history. Accordingly, it is natural to necessarily address all of the translated novels in Joseon period like <Seolingwijeon> in the category of ``Korean literature``. There is a need of re-establishing a sight on a problem of nationality with escaping from ``originalism`` and of changing recognition as saying that even translated novel is definitely Korean literature. Meanwhile, when seeing from the data-based realities of translated novels in Joseon version, those things have stature as a leading role that developed the history of classic novel together with creative novel. Thus, they should be naturally addressed with the same weight as the creative novel. We can criticize superiority in each of novel works. However, a sight of treating the translated novels as the one of frontier compared to creative novel cannot help exposing a big loophole in analyzing history of novel.

중한번역문헌연구소 소장 한글 필사본『남송연의』에 대하여

金瑛 한국중국소설학회 2007 中國小說論叢 Vol.25 No.-

The study of Korean manuscript Nan-song-yon-yi(7volumes) stored at the Institute for Translation of Chinese classical Literature was translated from the "Nan-song-zhi-zhuan(The Romance of the Southern Song Dynasty)南宋志?(10 volumes 50 chapters)" out of Nan-bei-Liang-song-zhi-zhuan(The Romance of the Northern Song and Southern Song Dynasties)南北兩宋志?(20 volumes) the historical novel written by Xiong-zhong-gu(熊?谷) in the Jiajing(嘉靖) period〔title of the reign(1522-1566) of Zhu Houcong〕in Ming Dynasty. The study of Korean manuscript Nan-song-yon-yi is presumed to be the only existing version in Korea. Even though it is difficult to know the specific period of this book, it is certain that it might had been distributed and read after 18th century at latest. Comparing with the original version, the Korean manuscript Nan-song-yon-yi has some errors in spellings of Chinese pronunciation of the names of characters, places, and chapter subtitles. Judging from this points, we can consider that this book is supposed to be translated from another Korean version. The translation attitude of this book took the same style with Shi-de-tang(世德堂) version on the expression of proper nouns and verses in letters and sentences. It had been taken the faithful translation style with the original version and contracted and omitted the unrelated poems and dialogues at once to focus on the story itself. This translation style would be the better impact on the story developed rapidly and the volumes shortened also. Moreover, the translator adopted the liberal translation attitude and used different translation method for the poor parts to deliver the original meanings adding his own ideas. Generally old translation novels are good sources in the Korean philological study because it is abundant of word sources and easy to select the adequate Korean words for translation. We can guess this novel copied in 1776 due to the archaic words and expression styles. The study of the old translation novels such as "Nan-song-yon-yi" will be very helpful not only to understand the introduction and translation style of Chinese novels of those days, but also excavate Korean archaic words. Since it had great influence on the development and growth of the Korean old novels, it will be a good materials to understand the distinctive of Korean old novels.

현대역 된 고소설 출판물과 출판 유통 및 독서 환경의 변화 -도서 구독 플랫폼 ‘밀리의 서재’를 중심으로

최수현 한국고전연구학회 2023 한국고전연구 Vol.- No.63

이 논문은 도서 구독 플랫폼 속 고소설 현대역 출판물의 양상 및 유통 현황을 실증적으로 살펴보고, 향후 도서 구독 플랫폼에서 고소설 현대역 출판물의 현대역 및 유통 활성화 방안을 모색해 본 것이다. 이는 전반적인 독서율이 점차 감소하는 가운데서도 전자책을 통해 도서를 향유하는 현대 독자들이 증가하고 있는 현실에서, 현대 독자들과 고소설을 현재 그리고 앞으로 조금이라도 더 만나게 할 유의미한 방법 중 하나이기 때문이다. 또한 도서 구독 플랫폼의 특성상 일정 비용을 지불하면 플랫폼에서 제공하는 도서를 어플리케이션을 통해 무제한 이용할 수 있다는 점에서 현대 독자들에게 고소설 현대역 출판물에 대한 접근을 경제적인 측면이나 편의성 측면에서 좀 더 쉽게 느끼게 할 수 있다고 여겨진다. 이를 위해 우선 주된 분석 대상으로는 국내에서 최초로 월정액 서비스 제공을 시작했으며, 소설을 비롯한 일반 도서를 많이 제공하고 있는 ‘밀리의 서재’를 택했다. 앞으로의 방향 탐색을 모색하기에 앞서, 현재 도서 구독 플랫폼인 ‘밀리의 서재’에서 유통되는 고소설 현대역 출판물의 실태를 알아보았다. 2023년 8월 ‘밀리의 서재’에서 유통되고 있는 고소설 현대역 출판물은 81종의 작품이 현대역 된 329편이었다. 다양한 종류의 고소설 하위유형의 작품이 현대역 되고 있으며, 2020년 이후 출간된 전자책들이 상당히 많이 유통되고 있음이 확인되었다. 한편 고소설 전자책 뷰어 기능을 사용할 수 있는 전자책이 그렇지 않은 것에 비해 많이 유통되고 있다는 점, 편역자에 대한 정보가 기재되지 않은 경우가 상당수임을 알 수 있었다. 이를 토대로 도서 구독 플랫폼과 연계해 고소설 현대역 출판물의 현대역 및 유통 활성화 방안에 대해 생각해 보았다. 현대역 출판 방안은 다음과 같다. 첫째, 양질의 현대역 전자책 유통 확대가 필요하다는 점에서 번역자, 편역자, 해제, 저본 정보 등의 기재가 필요하다. 둘째, 구독 서비스 내에서 유통되는 전자책의 형태 및 기능을 가독성 측면에서 생각한 고려가 필요하다. 셋째, 챗북과 같은 숏콘텐츠나 도슨트북 등과 같이 현대역 출판물의 범주 및 출간 매체를 확장해 보는 것이 필요하다. 다음으로 유통 활성화 방안은 다음과 같다. 첫째, 지속적인 양질의 콘텐츠 확보 및 플랫폼 내 소비자를 통한 콘텐츠의 질 검증과 공유의 확대가 필요하다. 둘째, 플랫폼 내에서 웹소설이나 플랫폼 내 자체 인문서 등과의 큐레이션과 같이 큐레이션 방식에 대한 고민이 보다 적극적으로 필요하다. This paper is to examine empirically the pattern and distribution status of modern translations of classic novels in book subscription platforms, and to explore the revitalization plans of modern translation and distribution of modern translations of classical novels in the future book subscription platforms. This is considered one of the significant ways to increase even slightly the frequency of encounters between modern readers and classical novels now and in the future in a reality where the number of modern readers enjoying books through e-books is increasing among the gradual decline in overall reading rates. In addition, as a characteristic of book subscription platform, in the fact that the readers can use the books provided on the platform unlimitedly through the application by the payment of a certain fee, I think it could make the readers feel more at ease in terms of economics or convenience for their accessibility to the modern translations of classical novels. For this, the ‘Millie’s Library’, which begun to provide a monthly subscription service for the first time in Korea and provides a wealth of general books including novels, was first chosen as the main object of analysis. Prior to explore the future directions, I looked into the current state of modern translations of classical novels, which are currently distributed through ‘Millie’s Library’, a book subscription platform. As of August 2023, there were 329 modern translations of classical novels of 81 works which are distributed in ‘Millie’s Library’. It has been confirmed that various types of subtypes of classical novels are being translated into modern times, and a significant number of e-books published after 2020 are being distributed. Meanwhile, it was found that classical novel e-books with an e-book viewer function are being distributed compared to those without that, and there are many cases in which information about the translator is not recorded. Based on this, I considered about ways to revitalize modern translation and distribution of modern e-books of classical novels in conjunction with a book subscription platform. The plan for publication of the modern version is as follows: First, it is necessary to provide information on the translator, authorized translator, catalogue raisonne, and original script in the fact there is a need to expand the distribution of qualified modern e-books. Second, it is necessary to consider the form and function of being distributed e-books in terms of readability within the subscription service. Third, it is necessary to expand the categories and publishing media of modern translation publications like short contents such as Chatbook or Docent book. Next, the activation plan for distribution is as follows: First, it is necessary to verify the content quality and to expand the sharing through continuously securing qualified contents and consumers within the platform. Second, it is more actively necessary about curation methods like a curation of web novels or own humanities books within the platform.

托爾斯泰經典的重構改編 : 陳春生《五更?》的本土化?述策略硏究

左維剛,吳淳邦 한국중국소설학회 2014 中國小說論叢 Vol.44 No.-

《五更鐘》은 중국인 작가의 주도하에 공개적으로 출판된 첫 번째 기독교 중문소설이다. 또한 20세기에 출판된 최초의 기독교 중문소설이자 번역소설이기도 하다. 원작은 러시아 작가 레프 니콜라예비치 톨스토이의 중편소설 Ходите в свете пока есть свет. Беседы язычника и христианина이다. 원작의 편폭은 6,70쪽에 불과하며 모두 10장으로 구성되어 있다. 1902년부터 미국 감리회 여선교사 라우라 화이트와 중국인 작가 陳春生이 합작하여 《五更鐘》이란 장편의 章回體小說로 번역하였다. 中譯本《五更鐘》은 편폭이 대대적으로 증가하여 상하 두 권 24回으로 구성되었으며 글자 수가 십 만자에 이른다. 이 작품이 중국인에게 전문적으로 기독교를 전도하기 위해 출간했다는 번역취지를 이루기 위해 “작품 전편에 걸쳐 중국인을 위해 개편 서술한” 소설이 될 수 있도록 번역가 陳春生은 대폭적인 각색 작업을 하였다. 이로 인해 中譯本《五更鐘》은 원작에 비해 譯述者의 “創造性勞動”이 충만한 작품이 되었다. 우선, 원작의 구상에 대한 조정이다. 톨스토이의 원작은 한 편의 순수한 종교소설이다. 그러나 《五更?》은 선교의 목적을 이루는 것 이외에, 소설에 새로운 내용을 가미하였으니, 그것은 바로 청말 여성들에 가해진 “纏足”이란 악습과 “男尊女卑” 등의 사회적 폐습에 대해 기독교인의 입을 빌어 이런 불량한 사회기풍을 비판 공격하여 이 작품의 “社會改良小說” 경향을 표현해 내었다. 이런 작품 경향은 원작을 능가한다는 호평을 받았다. 또한 톨스토이의 원작 제목 Ходите в свете пока есть свет 를 번역하면 “주를 따라 光明으로 나아간다.”는 의미이다. 하지만 中文題目《五更鐘》은 直譯된 영문제목 “FIVE CALLS”에 비해 명확하고 이해하기가 쉬웠으며, 주제를 전달하는데 있어 중국 독자들이 더 쉽게 받아들일 수 있었다. 그 밖에, 《五更鐘》은 章回體소설양식을 서사매체로 삼아 소설의 인물, 이야기의 시공 배경, 이야기의 전개와 구조 측면에 있어 원작과의 일치성을 유지하는 동시에 대대적인 재구성과 개편 및 改作作業을 진행하여 작품을 완전히 중국화시킨 토착화 번역책략을 구현시켰다. The novel FIVE CALLS 《五更鍾》 was the first Chinese christian novel published in the initiative of a Chinese author. Also it is the first Chinese translated novel published in the 20th century. The original is a short novel Ходите в свете пока есть свет. Беседы язычника и христианина, written by a Russian author, Lev Nikolayevich Tolstoy, Comprising about 70 pages with 10 chapters. Later on Laura White(1867-1937), an American Methodist Missionary collaborated with Chen Chun Sheng(陳春生), a Chinese author, translated it into a long Zhanghui style(章回體) novel FIVE CALLS. The Chinese original novel of FIVE CALLS amplified extensively so it divided into two volumes, comprising 24 chapters. Even the number of letters runs into a hundred thousand. The translator Chen Chun Sheng sharply did an adaption work to advance a theory for all directions of the Chinese and FIVE CALLS fully propagated to the Chinese to be a written novel. Therefore the Chinese original of FIVE CALLS is more full of “creativity of labour” of the translator’s masterpiece than the original. First of all, it is a mediate about the original of plan. Tolstoy’s work is a piece of a pure religious novel. Nevertheless FIVE CALLS imparted a new meaning in novel, besides the purpose of propagation. It then denounced about the poor social environment over the roar of the christians against social vices such as women’s “foot-binding”, “men over women”, etc. Further it is deployment tendency of “social reform fiction”. These things surpassed the original is a such a deserved reputation. In addition to the title of the novel, Tolstoy’s original work was translated literally to “advanced to light depending on God”. The Chinese title FIVE CALLS was easy to understand and concise than the one literally translated, and the Chinese readers also emerged as a theme that was much clearer to accommodate. Besides, FIVE CALLS advances the story of a person, the occurrence of background story, the plot of the story and also one at the same time preserving the consistency of the original mass of the reconstruction for the original and the modified work as a massive epical style in the system of Zhanghui style(章回體) novel and showed the characteristics of China Domesticating Translation.

유럽에 전해진 중국 소설(1735-1840) ― 프랑스와 영국을 중심으로

崔亨燮 ( Choi Hyoungseob ) 중국어문연구회 2020 中國語文論叢 Vol.0 No.102

The purpose of this study is to examine an overview of the situations that classic Chinese novels were translated and spread in Europe. I researched the situations in which Chinese novels were introduced to Europe for about 100 years from 1735 to 1840, especially focusing on France and the United Kingdom. I discussed it in two separate periods, the 18th and the first half of the 19th century. First, the situations of the 18th century were summarized as follows. Du Halde (1674-1743), a France Jesuit, published Description Geographique, Historique, Chronologique, Politique, Et Physique de l’Empire de la Chine Et de la Tartarie Chinoise(1735) in Paris. It contained three works of Jinguqiguan(今古奇觀) translated in French. These were the first Chinese novels ever published in Europe. The translator was a Chinese missionary, Francois Xavier d’Entrecolles (1664-1741), who belonged to the French Jesuits. The translator was the French Jesuit Chinese missionary Francois Xavier d’Entrecolles (1664-1741). The first full-length Chinese novel translated in Europe was Haoqiuzhuan(好逑傳). This book was published in London in 1761 by Thomas Percy (1729-1811). But it was James Wilkinson, not him, who originally translated this work in Chinese. James Wilkinson, who worked as an employee of the East India company in Guangzhou(廣州), translated this work in 1719 for the purpose of studying Chinese. In the 18th century, Chinese missionary and employee of the East India company participated in the translation of Chinese novels. When a work was translated into one language of Europe, it was subsequently retranslated into another language, and spread in different countries. Second, in the first half of the 19th century, there were about thirty works of Chinese novel introduced to Europe. In France, short stories of Li Yu(李漁) and Feng Menglong(馮夢龍) were mainly translated, and Scholar and Beauty novels such as Yujiaoli(玉嬌梨) and Pingshanlengyan(平山冷燕) were published. Among the works of ‘Sidaqishu(四大奇書)’, Sanguoyanyi(三國演義) was introduced first. By the first half of the 19th century, Sinology were opened at French universities, and Chinese experts began to be trained. Translation of Chinese novels was also gradually replaced by those from missionaries. The journal specializing in Asian Studies was also established. By the late 19th century, France became the leading country in Chinese studies in Europe. In the first half of the nineteenth century, the United Kingdom fell short of France in the translation of Chinese novels. Short works were mainly translated rather than long ones, and there were more direct translations of original Chinese books than in previous periods. Short stories, like France, were mainly translated from the collection of Li Yu and Feng Menglong. Full-length novels, such as The Fortunate Union, A Romance(好逑傳), Chinese Courtship in Verse(花箋記) etc, were published in complete translation. At this time, the translators of Chinese novels were still centered on Chinese missionaries and diplomats. It is also characteristic that the East India company played important roles in the development of Sinology. In the United Kingdom, Sinology was opened at universities by the late 19th century, where professors were largely retired Chinese missionaries or diplomats.

현대문학: 김유정의 「잃어진 보석(寶石)」과 반 다인 소설 번역의 맥락

권채린 ( Chae Rin Kwon ) 한국문학언어학회(구 경북어문학회) 2011 어문론총 Vol.55 No.-

Up to now, the original work of Kim Yujung`s 「Lost Jewel」 has not been clearly mentioned, furthermore, the original version of the translation has not been known. Only the point that its original work is S.S.Van Dine is known to the world, and there has been no concrete studies on it. However, in the process of discussion of detective novels after 1930`s, the novels of S.S.Van Dine are never neglected. S.S.Van Dine attracted the attention by detective novels lovers together with great masters of authentic mysteries such as ``Cornan Doyle``, ``Edgar Allen Poe``, ``Agatha Christie`` etc, and S.S.Van Dine`s novels were recognized as works having plenty of intellectual attraction in the tradition of authentic detective novels. This study is intended to discuss about the context and meaning of the translated S.S.Van Dine`s novels under the influence of Joseon`s detective novels in 1930`s. As a result, it was disclosed that the original work of 「Lost Jewel」 was S.S.Van Dine`s 『The Benson Murder case, and 「Lost Jewel」 was the book that again translated the 1930`s Japanese version translated by 平林初之輔, 『ベンソン家の慘劇』(探偵小說全集, 春陽堂) [Tragedy of Benson`s family(Collected detective novels, Chunyangdang]. In the world of the 1930`s detective novels where novels are largely divided into two types - ``regular detective novels`` and ``irregular detective novels`` -, S.S.Van Dine`s novels clearly incline toward the former. Under the atmosphere of detective novels in 1930`s that were familiar with the general public, with ``mystery``, ``adventure``, and ``fantasy`` are mixed with each other, S.S.Van Dine`s novels was naturally unfamiliar with the general public. It can be said what An Hoinam recommended Kim Yujung to S.S.Van Dine`s novels was the result that his own maniacal senses rather than hobbies of the populace were more strongly reflected. However, the thing on which emphasis is most placed was interest of the populace in translation·adaptation of detective novels, so that the tastes of the populace were strongly considered in Kim Yujung`s ``Reorganization``. As a result, the topic of the novel changed into ``mysterious`` feeling named ``Lost Jewel``, most of tremendous amount of explanations of ``art`` and ``psychological knowledge`` were omitted. Kim Yujung`s 『Lost Jewel』 was in harmony between the attraction of the original work and popular interest, resulting in failure to bear good results from both sides.

특집 : 한국 근대소설사의 전개와 번역 -1920년대까지의 양상을 중심으로

손성준 ( Sung Jun Son ) 민족문학사학회·민족문학사연구소 2014 민족문학사연구 Vol.56 No.-

이 연구는 1920년대까지의 소설 번역의 추이를 통해 초기 근대소설사의 한국적맥락과 그것이 형성된 조건을 추출하고, 이분화 되어 있던 창작문학·번역문학 연구의 풍토를 재고해보고자 씌어졌다. 주로 1910년대에 일본 유학을 경험한 일군의 한국 지식인들은, 창작과 번역이라는 두 가지 채널을 통해 소설을 ‘순문예’의 영역 속에 안착시키려는 노력을 본격화하였다. 특히 그들은 질과 양의 측면에서 모두 수준 이하라고 인식한 조선문단의 발전을 앞당기기 위해 세계문학 번역의 필요성을 주창하고 직접 실천하였다. 이 같은 번역 실천은 1910년대를 중심으로 하는 번역소설의 1차 중흥기와 1920년대의 2차 중흥기를 형성하는 가시적 성과를 낳는다. 이 과정에서의 성격 변화는 순문예 소설 번역의 강세로 압축되는데, 그중 러시아 및 프랑스소설의 번역이 두드러졌다. 그러나 1920년대를 순문예 번역의 질적·양적 팽창으로 전대와 구획하는 종래의 이해 방식은 비판적으로 재검토되어야 한다. 우선, 번역량은 격증했으나 문예 지면의 확대 수준을 감안하면 이를 진정한 의미의 격증이라 보기는 힘들다. 게다가 그 양적 상승세 자체도 1920년대 중반부터는 둔화된다. 이는 번역량이 팽창일로에 있던 동시기 일본과 중국의 번역 상황과도 상반되는 독특한 현상이다. 또한 번역이 순문예물로 집중되는 경향이 뚜렷해지기는 했지만, 압도적이라 할 만큼의 비중은 아니었다. 오히려 필독서라 할 만한 정전(正典) 급의 장편소설의 번역도, 비교적 수월하게 결과물을 낼 수 있는 단편소설의 번역도 설 자리를 잃어갔다. 신문은 주로 통속적인 장편 연재소설을 역재(譯載)했고, 잡지의 소설 지면은 대부분 창작 단편의 공간으로 소진되었기 때문이다. 1920년대 번역문학의 내적 맥락 속에서 간취되는 순문예 번역의 저조는, 다음과 같은 한국근대소설사의 두 가지 한계와 인과관계를 형성하게 된다. 첫째는 순문예물 독자층의 저변확대에 실패한 것으로서, 이는 다시 작가의 경제적 상황 및 창작 여건의 불안정을 수반하는 악순환의 고리로 작용했다. 둘째는 끝내 식민지기의 문단이 ‘대장편’ 문예물의 창작과는 친화하지 못한 것으로서, 이는 결국 한국 근대소설사에서 고착화 된 장편= 통속/ 단편= 예술이라는 양식적 감각과 연동되어 있는 문제다. 순문예 번역의 저조와 그에 반비례하는 창작과잉의 배경을 설명하기 위해서는, 식민지의 이중 언어 환경 및 출판시장의 문제뿐 아니라, 일본문단이라는 대타항을 끊임없이 의식하며 문학사의 시차(時差)를 조급히 상쇄하고 싶어 했던 식민지 문인들의 욕망 또한 고려되어야 한다. This study intended to extract the Korean context and its forming conditions in the early history of modern Korean novels from transition in the translation of novels up to the1920s, and to reconsider the climate of research that has been dichotomized into creative literature and translation literature. A group of Korean intellectuals, who mostly shared experience of studying in Japan in the 1910s, tried in earnest to have the novel settled down in the domain of ‘pure literature’ through the two channel of creation andtranslation. Particularly, they advocated necessity for the translation of world literatureand practiced translation in person so as to further the development of the Korean literary world, which was then subpar both in quality and quantity. Their practice of translation produced tangible results of forming the 1st period of prosperity in translated novels in the 1910s and the 2nd period of prosperity in the 1920s. Changes in the nature of the process may be condensed into the strengthening of the translation of pure literature novels, among which Russian and French novels were conspicuous and in terms of style. However, the existing way of understanding that distinguishes the 1920s from the previous periods in terms of the qualitative and quantitative expansion of the pure literature translation requires critical review. First, although the amount of translations increased sharply, it is difficult to regard it as a sharp increase in the true sense of the term, considering the level of increase in literary magazines. Further, the tendency of quantitative rise itself began to slow down from the middle of the 1920s. This is a unique phenomenon that contrasts with the situations of ever-increasing translations in Japan and China during the same period. In addition, there was a pronounced tendency towards a concentration of translation in works of pure literature, which, however, did not represent a overwhelming proportion in the overall literature. Rather, both the translation of canon-level novels, which deserve to be classified as must-reads, and that of short stories, production of which is relatively easy, were losing ground. Newspapers serialized translated popular novel, and the novel sections of magazines were mostly occupied by creative short stories. The sluggishness in the translation of pure literature perceived within the internal context of translation literature in the 1920s forms the causal relationship with two limitations in the history of Korean modern novel. The first is failure in the expansion of the reader base for pure literature, which acted as a link of a vicious circle that was accompanied by unstable economic circumstances and creation conditions for writers. The second is the failure of the literary world in the colonial period to be friendly with the creation of “long” literary works, which ultimately represents a problem linked to the stylish sense of ‘full-length = popular / short = artistic’ that became permanent in the history of Korean modern novel. To explain the background behind sluggishness in the translation of pure literature and excessive creation in inverse proportion to it, the desire of literary people in the colonial period who were continuously aware of the antithesis, i.e., the Japanese literary world and were impatient to overcome the time gap in literary history, as well as the problems of bilingual environment and the publishing market in the colonial period should be considered.

번역이라는 고투(苦鬪)의 시간 : 염상섭의 번역과 초기 소설의 문체 변화

손성준(Son Sung Jun) 한국문학회 2014 韓國文學論叢 Vol.67 No.-

This research examines the original works and translations of Western novels by Korean writer Yom Sang-seop(廉想涉, 1897–1963) to show how the change of style in his novels in the 1920s was deeply influenced by his experience as a translator. As seen in the trilogy written in his early days, Yom's sentences in his earlier novels featured heavy usage of words written in Chinese characters, even compared to other up-and-coming writers at that time, among whom the use of such words was prevalent. However, his style went through a drastic change. The novel Sunflower, which was his first novel written solely in native Korean without any Chinese characters, seems to have emerged due to the media condition as a series in the Dong-A Ilbo. However, we also need to understand the author's concurrent effort to pioneer his own novel language in order to understand this stylistic change. Before writing Sunflower, Yom had expanded the boundaries of the Joseon (Korean) language by translating three Western novels. These translations used significantly fewer words in Chinese characters than original novels written in Korea at that time, which likely influenced Yom's own original style. As this study shows, he moved from the use of the gender-neutral third-person pronoun “彼(he)” to the use of “그(he)”, a change which represents a break from the stylistic influence of Japanese novels and which appeared first in his translation of the novel Four days(四日間) instead of Teacher E(E先生), as has previously been understood. Furthermore, Yom learned the present-tense first-person narrative technique used in the process of adapting Graveyard(墓地) to Mansejeon(萬歲前) through his experience translating Meeting(密會). From the perspective of bringing novelty to the vocabulary of one's mother language, translation is located at the extreme opposite position from censorship, which blocks the same act. However, from the perspective of language, translation is an endless task of self-censorship. Translation forces the translator to distance himself from his own language under the demands of an external criterion, namely the original text. Thus, when Yom Sang-seop found impure elements in Joseon-language novels, he parted from them without hesitation. Obviously, this may not have been an easy process, and for Yom, in fact, translation was a process of struggle. However, it was this struggle that allowed him to rediscover the Joseon language and establish the style of his novel. 본 연구는 염상섭의 케이스를 중심으로 1920년대 소설의 문체 선회 현상에 작가들의 번역 체험이 핵심 변수로 놓여있었다는 것을 밝히고자 했다. 초기 3부작이 보여주듯, 염상섭의 초기 소설 문장은 당대의 신진 문인 중에서도 극단적이라 할만큼 한자어 비중이 높았다. 하지만 그의 소설 문체는 급격히 변화해간다. 염상섭이 최초로 선보인 순국문체 소설 는 일견『동아일보』연재라는 매체적 조건으로 인해 출현한 듯 보이지만, 이러한 판단에는 스스로의 소설어를 개척했던 개인의 노력에 대한 이해가 더해져야한다. 염상섭은 이전에 이미 세 차례에 걸친 서양소설의 번역 체험 속에서 자신이 구사하던 조선어의 경계를 확장시켜나가고 있었다. 그가 발표한 번역소설의 한자어 비중이 동시기의 창작 소설보다 현격히 낮았다는 것이 이를 반증한다. 아울러, 본 연구는 일본소설의 문체적 영향으로부터의 탈피를 대변하는 3인칭 대명사'彼'에서'그'로의 변화가 종래의 이해처럼 이 아니라 번역소설 에서 먼저 나타난 것이며, 에서 으로의 개작 과정에서 확인되는 1인칭 서술에서의 현재시제 활용이 의 번역 체험 속에서 획득되었다는 것을 제시했다. 자국어 언어장 속에 새로운 것을 가져온다는 측면에서,'번역'이란 그것을 차단하는'검열'과는 대척점에 있다. 하지만 언어적 측면에서'번역'은 끊임없이 자기를 '검열'하는 작업 그 자체이도 하다. 번역은 역자로 하여금 저본이라는 외적 준거를 통해 자기 언어와의 거리를 강제한다. 그렇게 자기 언어에서 조선어소설로서의 불순물을 발견한 염상섭은, 과감히 그것들과 결별했다. 이 과정에 쉬웠을리 만무하다. 염상섭에게 번역은'고투의 시간'이었다. 그러나 이 시간을 거치며 그는 조선어를 재발견하고 자신의 소설 문체를 확립할 수 있었다.

고소설 역주의 역사적 실상과 의의

조희웅 택민국학연구원 2018 국학연구론총 Vol.0 No.22

이 글에서는 우선 고소설 역주의 필요성에 대해 강조했다. 이어 우리나라 서사문학 나아가 고소설의 번역과 주석의 실상을 시대별로 개관했다. 고려 때의 주석의 예로는 이규보의 <동명왕편>을 살폈다. 조선조의 본격적인 번역의 출발은 한글창제와 함께 시작된 각종 언해를 들 수 있겠는데, 그 중 서사문학 작품의 예로는 『석보상절』을 들 수 있겠고, 외국작품의 번역은 『太平廣記諺解』를 들 수 있겠다. 한편 이 무렵의 국내소설 번역은 <王郞返魂傳>이 있다. 이후 16~18세기 경에는 중국으로부터 각종 장단편 소설들이 유입 번역되어 일반 민중 간에서 널리 읽혔다. 아울러 국내작품인 <사씨남정기>, <구운몽>, <숙향전> 같은 작품의 번역도 국내외에서 이루어졌다. 소설 문학의 첫 번째 주석서로는 『剪燈新話句解』(목활자본 1549, 목판본 1559)를 들 수 있다. 조선조 후기 내지 근대에 이르러서는 『금오신화』가 일본에서 4차에 걸쳐 번역되기도 하였고, 소설 속의 어휘들만을 뽑아 만든 『(小說) 語錄解』(1919)도 나왔다. 명나라 말 중국에서 대유행했던 三言二拍[San Yan Er Pai]은 우리나라에 유입되어 많은 영향을 미쳤다. 그 중 풍몽룡(1574~1646)이 지은 단편작품을 번안한 것으로 알려진 <왕경룡전>의 최고본은 愼獨齋 金集(1574-1656)이 쓴 것으로 알려진 작품이다. 이 작품은 한문으로 된 것으로 후대에도 많은 번역본 내지 轉寫本들이 나왔다. 하지만 전사의 과정에서 많은 誤記 내지는 誤讀이 생겨났다. 이 글에서는 이러한 예들을 통하여 오기, 오독의 원인을 분석하여 역주의 과정에서 발생되는 갖가지 문제점들을 살폈다. 이어서 소설의 역주 작업이 본격화한 근현대의 역주 작업을 개관하였다. 19세기 말의 <구운몽>의 영역을 비롯하여 20세기에 들어서는 일본어역이 활발히 전개되었고, 아울러 한문 원문에 吐를 단 이른바 ‘諺文懸吐本들도 출판되었다. 1945년 광복 이후에는 역주 작업이 활발히 전개되어 다수의 문고본, 선집본, 총서본의 형태로 속속 간행되었다. 그 중 최근의 가장 대표적인 성과를 하나 꼽는다면 『김광순 소장 필사본 고소설 100선』 약 40여 책을 들 수 있겠는데, 그 중에는 이 땅에서 주석이 처음 이루어진 여러 작품들이 포함되어 있다. 끝으로 고소설의 주석 작업의 성과가 어느 정도 축적됨을 전제로, ‘讀解辭典’ 편찬의 필요성을 제기했다. 이를 위해 ‘모꼬지’란 난해어의 문헌적 실례를 들었다. ‘모꼬지“란 말은 1658년에 간행된 개간본 『경민편언해』와 1761년 간행된 『어제 경세문답』에 보인다. 이 말은 신재효(1812∼1884)의 단가 중 <虛頭歌>의 일절에도 나타나고, 고소설에서는 <(경판) 심청전>(1회), <구운몽>(서울대본, 4회), <계우사>(4회), <제환공>(10회), <도원결의록>(1회), <두껍전>(1회)에도 보인다. 요컨대 역주작업의 성과가 쌓인다면 자연적으로 특정 단어나 어구들의 인용례 및 확실한 의미, 나아가서는 어휘사까지도 알 수 있는 독해사전의 편찬이 이루어질 수 있을 것이다. Foremost, this paper emphasizes the need for translation and annotation of classic Korean novels. Subsequently, not only does it make a general survey of the true state of translation and annotation in classic Korean novels according to each time period, but it also covers the narrative literature in Korea. In considering the annotations of novels from the Koryo Dynasty, the annotation of Lee Gyu-bo’s <Dongmyeongwangpyeon> will be discussed. In the Chosun Dynasty, a full-scale translation of novels began with various “Unhae,” which came around the same time as the creation of Hangul. Among those, a good example of Korean narrative literature is ‘Seokbosangjeol’; with ‘Taepyeonggwanggieonhae’ being an example of the translation of a foreign novel. Around this time, “Wangnangbanhonjeon,” a Sino-Korean novel was translated into Korean. From then, during the 16th to 18th centuries, various kinds of novels and short stories from China came into the country, translated and widely enjoyed by the general public. In addition, Korean novels like ‘Sassinamjeonggi 謝氏南征記’, ‘Guunmong 九雲夢’, ‘Sukyangjeon 淑香傳’ were translated and released both domestically and internationally. The first annotated literary novel was ‘Jeondeungsinhwaguhae 剪燈新話句解’(wood type edition, 1549 / block book 1559). During the late Chosun Dynasty and into modern times, ‘Geumosinhwa 金鰲新話’ was translated four times in Japan, and ‘(Sosul) Eorokae (小說) 語錄解,’ comprised of selected vocabularies from novels, was published in 1919. ‘Sameonibak 三言二拍,’ a series of short stories written by Feng Menglong, was widely popular at the end of Ming Dynasty in China, and was brought into Korea and influenced Korean novels. The oldest version of ‘Wanggyeongnyongjeon 王慶龍傳’ is known to have had a good translation written by Sindokjae(愼獨齋), the pen name of Gimjip(金集, 1574-1656). The novel was originally written in Sino-Korean, and many Korean translations and transcripts were produced in later years. However those books contained many incorrect descriptions, and had many misinterpretations during the process of translation. This paper looks into the various problems incurred in the process of translations or transcripts by analyzing the causes of many of the incorrect descriptions and misinterpretations. Subsequently, this paper will look into the translations or transcripts in the Modern and Contemporary age, which is the era when translation of novels has accelerated. At the end of the 19th Century, ‘Guunmong 九雲夢’ was translated into English, and at the beginning of the 20thCentury, many Korean novels were translated into Japanese, along with this, ‘Eonmunhyeontobon 諺文懸吐本’(Chinese-Korean ending version)’ was printed, which adds ‘To 吐(Korean Ending)’ to classical Chinese phrases. After the Liberation of Korea in 1945, translation and transcription work became active, so a great number of Korean classic novels were published in the form of paperback, anthology or series edition. Among those, the most representative work was ‘Gimgwangsun sojang pilsabon gososeol baeksun 金光淳 所藏 筆寫本 古小說 100選 (100 Classic Novels Manuscripts Collection by Kim Gwang Sun),” which is composed of about 40 books. The series contains several novels with annotations that were originally added in Korea. Finally, under the premise that the resulting translation and transcript work has accumulated to such a degree, that the necessity of a Dictionary of Compiled Translations is evident. As an example of this necessity we use an obscure word from literature, ‘Mokkoji.’ which means ‘feast, banquet.’ This word, “mokoji” appears in ‘Gyeongminpyeoneonhae 警民編諺解’(1658, reclamation edition) and ‘Eoje gyeongsemundap 御製 警世問答’(1761). This word, also appearing in the ‘Heoduga 虛頭歌’ of Sh...