국제 법률문서의 번역전략―UN 장애인 권리협약 비준 동의안을 중심으로

배만호,배소민 한국외국어대학교 통번역연구소 2009 통번역학연구 Vol.12 No.2

This study attempts to examine a plausible translation strategy for legal texts, especially for the “UN Convention on the Rights of Persons with Disabilities.” Although literal translation is the most appropriate translational strategy for legal texts, it does not sufficiently cover legal language which has normative, performative and technical functions. This study has two purposes. First, it attempts to discuss problems in legal translation caused by different legal systems and linguistic and cultural differences. As is often the case, legal translators are liable to face many problems in translating legal documents. Therefore, they should choose some strategies for translating legal texts. Second, this paper examines diverse translation theories in order to find adequate one for legal translation. In the history of translation studies, there have been various theories and researches for adequate translation. Among them, the “Skopos Theory” which argues that the target text is determined by the aim of the document within its culture, would be the most plausible in that it takes into account a legal document’s purpose of carrying the target culture. Applying the rules of the Skopos Theory to the “United Nations Convention on the Rights of Persons with Disabilities,” It is found that legal translators can easily meet the functionality and loyalty requirements of translation and maintain coherence between the source text and the target text with the theory.

『암흑의 핵심』의 다원적 글읽기

배만호 釜山大學校 2000 人文論叢 Vol.56 No.1

Heart of Darkness was published serially in Blackwood's Magazine in 1899. Is Heart of Darkness a political novel, a psychological novel, or a simple adventure story designed to give us a thrill? The debate over these and other questions was intense during the decades that followed the publication of Heart of Darkness. And the various critical positions taken by reviewers in the first half of the twentieth-century still guide us as we ask questions of the novel and arrive at interpretations of it. After all, no work is approached in a vacuum, and the interpretive history of a work is a part of the context in which we read it. Thus since the novel is so complicated, it is notorious in modern criticism for its plurality of meaning. It is impossible to mention everything influential that has been written on a novel like Heart of Darkness. A great deal of value has been published, and some of the most noteworthy contributions do not fit neatly in the novel's evolving interpretive history. In discussing the main currents of Conrad's criticism for criticism in general), their authors branch far out on their own. To follow their arguments in a critical survey such as this one would require looping digressions. In the world of Heart of Darkness, there are no clear answers. Ambiguity, perhaps the main form of "darkness" in the story, prevails. Conrad overlays the political and moral content of his novella with symbolic and mythic patterns that divert attention from Kurtz and the Congo to "misty halos" and "moonshine." The meaning of Heart of Darkness seems to be a confession of defeat, or at least of contradiction. Thus Conrad established as one of his themes the problem of rendering any judgment whatsoever-moral, political, metaphysical, psychological-about Mallow's narrative. It is precisely this complexity-a theme that might be labeled the dislocation of meaning or the disorientation of values in the story-that many critics have treated as its finest feature.

줄리언 반즈의 『영국, 영국』에 나타난 영국성의 구성과 해체

배만호 새한영어영문학회 2009 새한영어영문학 Vol.51 No.3

Many recent British novels show a growing interest in "Englishness," a concept that is believed to demonstrate unique traits of the island of Great Britain. This concept also emerges as a major topic of scholarly concern in contemporary literary criticism and cultural history. This paper aims to examine the construction and parodic deconstruction of Englishness in Julian Barnes's England, England(1998), which was shortlisted for the Booker prize in 1998. In England, England, Barnes juxtaposes a wide array of competing versions of and discourse about Englishness, and provides highly self-conscious thinking about the inventiveness of cultural tradition and the problematics of historical authenticity. Barnes regards Englishness as a cultural construct, and criticizes Tony Blair's policy of selling English culture for its lack of correct understanding of English history. He offers a complete satire of Englishness through Sir Jack Pitman, who tries to make a fortune by building an essence-of-England theme park on the Isle of Wight. In this novel, a variety of (un)favourable symbols of Englishness were constructed. Describing the process of inventing Englishness, Barnes argues that Englishness is an "invented tradition," while at the same time deconstructing the term by revealing negative characteristics of Pitman's Project Co-ordinating Committee-racism, xenophobia, and separatist tendencies. The first part of this paper provides a thematic and formal analysis of Barnes's fictional exploration into that invented tradition. Focusing on the relation between the original and the replica, the second part investigates how the content and form of England, England self-consciously debunk the notion of authenticity. The third part is mainly concerned with the epistemological implications of Barnes's novel. It suggests that the notion of historical authenticity is faked and displays the artificiality of cultural tradition. What is denied here is the notion of an 'authentic' Englishness, one that can be recuperable from the past. The concluding part of this paper offers a brief summary which evaluates Barnes's achievement against current historical, cultural, and literary search for Englishness.

The French Lieutenant's Woman에 나타난 포스트모던 소설기교

裵萬鎬 釜山大學校 1996 人文論叢 Vol.49 No.1

AbstractIn the French Lieutenant's Woman, John Fowles demonstrates his postmodern awareness by means of a formal and thematic parody of the conventions of English novelistic tradition. He also points to the literariness of using the formal parody, presenting two texts: the background Victorian text,, and the foreground modern text. The devices of parody dramatize the old form of the text which stands in the background and against which the new text is measured in the modern text. Therefore, The French Lieutenant's Woman is shown as a historiographic metaficional dramatization of the past, the present, and the future of the novel genre. The reader is made aware of an ironic self-mockery through recontextualizing and reworking of literary conventions, and by comparing the old and the new forms without any priority to either one. As Fowles's persona, the narrator is a synthesis of the 19th-century omniscient narration and the 20th-century detachment. By fashioning a 20th-century narrator who gives his characters autonomy from behind the mask of Victorian omniscience, Fowles rejects both Victorian narrative omniscience and modernist authorial detachment. Instead, he creates a series of postmodernist literaray conventions which acurately depict reality as the existentialist sees it. Like most postmodernist writing, Fowles also demands an active participation from the reader in the process of writing. He himself states that the major characteristic of his fiction is the deliberate demand from the reader to take part in the creative process. Accordingly, the reader's role is of great importance in Fowles's fiction. He mainly favors the idea that the reader is not only a participant in the creation of fiction, but also its coauthor. Consequently, the reader has to rework himself into the many alternatives this narrative emanates. These alternatives always reveal a pattern of choice and make the reader aware of the fiction's own self-generating rules. In conclusion, Fowles consistently attempts to create a new set of narrative possibilities by drawing extensively from the tradition of novel writing, by manipulating the past forms, by seeking forms that correspond to his fictional and thematic concerns, and by questioning the theories and his own practice of them. Fowles also draws upon past literature but changes the direction of the tradition in which he writes. He simultaneously accepts and rejects the literary past, while at the same time he questions avant-grade attempts to redefine the novel genre. He becomes both a traditional writer and an innovative metafictionist.

The Godgame as a Metaphor for Existence in John Fowles's The Magus

배만호 새한영어영문학회 2006 새한영어영문학 Vol.48 No.4

The Magus, John Fowles's the second novel, was published in 1965. Although second in terms of publication date, the novel had been reworked since the early 1950s. Many critics and reviewers were so disturbed by the labyrinthine complexity of The Magus, such as the mazes of the godgame, the multiple identities of its dramatis personae, and the ambiguous nature of each vision of "reality" devised by Maurice Conchis. This paper was to examine the original title of The Godgame as a metaphor for existence as well as a paradigm for the texts of both fiction and life. In Fowles's philosophy, God, like a novelist, disappears once he has created his text (the universe) and leaves his reader (humanity) to work out what is going on, or whether He even exists. In The Magus, Fowles devised a structural metaphor, the "godgame," to illustrate this apparent paradox. He created, in the imposing figure of Conchis, an author who "plays" god but ultimately denies his omniscience. Godgame is also a paradigm for the texts of both fiction and life. At the center of this microcosm is the elusive Conchis-magus, author, and god. Hence every phase of the Godgame is designed to reflect those fictions that have imprisoned Nicholas in the decadent genre his narcissism has appropriated, while preparing him for the genre he has yet to confront, yet to create-that of reality. Each aspect of this meta-drama mirrors and mocks not only Nicholas's foibles, but those of an entire generation as well.

안젤라 카터의 전복적 글쓰기 유혈의 방(“The Bloody Chamber”)을 중심으로

배만호 한국중앙영어영문학회 2006 영어영문학연구 Vol.48 No.3

대학의 교육기부 - '교육기부'를 통해 대학의 사회적 책무를 실천하는 '부산대학교'

배만호,Bae, Man-Ho 한국대학교육협의회 2013 大學敎育 Vol.182 No.-

Dialogism, Heteroglossia, and Chronotope in John Fowles’s A Maggot..

배만호 현대영미어문학회 2006 현대영미어문학 Vol.24 No.3

Mantissa: A Self-Reflexive Fiction in Self-Parody

배만호 현대영미어문학회 2018 현대영미어문학 Vol.36 No.4

Mantissa focuses on the creator himself and the nature of his product, the novel. As a result, there is nothing “real” about this novel, which takes place inside the brain of the author-persona, Miles Green. More like a play or a philosophical treatise than a novel, Mantissa is a contemplative and playful discussion with himself (the counterpart being carried by Erato) about the freedom of the creator in creating fiction. It is also evident that Mantissa includes both praise and blame of metafiction in its formal and thematic construction, since it constitutes its own critical commentary by means of ironic parody, by imitating itself. Also, by offering self-parody, it openly recognizes its own problematic nature. In addition, it offers a reevaluation of metafictional assumptions. Therefore, it playfully thematizes the recent premises and theories of metafiction and invites the reader’s participation in this line of critical thinking.

Daniel Martin: A Quest for “Whole Sight” with Polystylism

배만호 현대영미어문학회 2019 현대영미어문학 Vol.37 No.4

This paper aims to examine John Fowles’s idea of polystylism in Daniel Martin by employing various styles that provide for the different layers of sensibility and artistic freedom. In Daniel Martin, Dan is seeking “whole sight” in order to get his past into perspective and to arrive at an understanding of his generation and himself. Moreover, “whole sight” is the stylistic ideal he wants to achieve in fiction writing. Consequently, fictional whole sight is closely related to social whole sight in the novel. Fowles believes that commitment to one style in the narrative art limits the wholeness of perception, and provides only one vision of reality. In Daniel Martin, Fowles explores the concept of “whole sight” in a variety of ways. Between the novel’s first and last sentences, there is plenty of evidence to suggest that Fowles was both inspired and haunted by the concept of “whole sight.” By raising the question of “whole sight” and leaving it ambiguous, Fowles points to the possibilities and impossibilities of fiction writing.