시적 노인, 번역된 노년과 낭만적 노화-tvN 미니시리즈 <디어 마이 프렌즈>를 중심으로- = Poetic Elderly, Translated Old Age and Romantic Aging : Based on the tvN Mini-series of < Dear My Friends >

다국어 초록 (Multilingual Abstract)

< Dear My Friends > calls out the Korean, contemporary and society`s elderly citizens who are facing the aged society. The microscopic daily routines of the elderly in their 60s to 80s naturally gets associated with the personal histories of the viewers, forming a bond of sympathy in between. Through `them` at now/here and emotional appearances by the elderly citizens that `we` are experiencing and will experience at then/there create their consent and our understanding at the same time. Especially within the elderly community, pointing out the discrimination and hatred that have been adhered to Korean society`s patriarchy for a long time through gender separation of female and male elderly citizens is highly regarded. However, the drama consistently remained silent with discrimination and hatred created by the discrepancies between youth and aging, poverty and prosperity, etc. It seemed to demand depoliticization and dehistoricization as preconditions of `Dear` for the elderly. This made the drama to stay in the ideal elderly fairy tale that nonelderly people desire.
< Dear My Friends > is a junior`s translation on seniors. Thus, the elderly characters in the drama are translated. The drama takes on the character of pseudo-documentary that recorded the writing process of the drama`s narrator, Wan Park`s autobiographical novel of Dear My Friends. The presence of such narrator, or a (young) translator, has resulted in considerable refraction and degradation of the elderly. In the process of enlightened translation, the political and historical merits/demerits, and beauty/ugliness inherent in the on-the-spot `elderly` as a social entity are boldly neglected while only an individual entity of `elderly` was emphasized. As a result, dialectical sympathy and consolation surrounding the Korean, contemporary and society`s elderly could not be achieved. The drama did not fully reveal the reality of the elderly but internalized the ideal habitus; it ended only with half-hearted sympathy and consolation. With a dramatic illusion of an isolated and estranged reality, the elderly has been distorted as a `poetic elderly`, which `we` desire to become `them` someday eventually.

참고문헌 (Reference)

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