타니 조지(谷譲次)의 〈安重根〉 번역에 대한 연구

다국어 초록 (Multilingual Abstract)

Haeolbin yeokduui chongseong, the play published in 1931 is the translation of An Junggeun by Tani Jouji. This paper is aimed at analyzing the meaning of ‘intentional omission’ appearing in the translation of this play.
Tani Jouji took An Junggeun as the object of play but he did not intend the play for An Junggeun. In the play, An Junggeun’s agony and doubt is mainly highlighted before his assassinating Ito Hirobumi but his heroic features which the Korean people of colonized Chosun expected was never shown. To effectively reveal his anguish, Tani Jouji made good use of the time and space of play from the scene 6 to 9 like the parallel cutting of movie. As the result An Junggeun is portrayed as the character who had not really wanted to assassinate Ito Hirobumi but came to do it as things turned out, which showed Tani Jouji’s nihilistic perception of history. That is, he grasped both An Junggeun and Ito Hirobumi as the characters like puppets which was drawn into the vortex of history in this play.
Since this play reflected by Tani Jouji’s perception of history like this was not regarded as the unacceptable work for the atmosphere of colonized Chosun, it could be translated and published even under the Japanese censorship. Japanese thought that An Junggeun, the character full of anguish and doubt was not dangerous. However the translator made the new plot of play by means of ‘intentional ommission’, discomfiting the authority of censorship ; he stroked off the scene 1 and 13 completely and he left out the parts in some scenes. He recreated Haeolbin yeokduui chongseong as the play where An Junggeun experienced great hardships until he assassinated Ito Hirobumi. In this translated play An Junggeun’s weak images portrayed in the original play was made to think of as the trick to deceive the Japanese spies.
The translator’s strategy not to translate some parts of original works and omit them intentionally had the effect almost like an adaptation and had the great significance in the movement of modern drama in colonized Chosun. Because of Japanese censorship the modern dramas in colonized Chosun was accustomed to being expressed, hiding the political and social issues and the audience of high spontaneity responded, finding the scarce parts of works and filling them for themselves. Since the translator knew the presence of audience of high spontaneity in colonized Chosun, he could translate An Junggeun through ‘intentional omission’. Therefore Haeolbin yeokduui chongseong can be evaluated to have great value as the translated play which reflected the aspect that the modern dramas in colonized Chosun confronted the Japanese censorship and kept improving.

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