Earticle

The purpose of this study is to examine strategies used in translations of fable noble, Johnathan Livingston Seagull (1970), drawing upon the five translation strategies of children’s literature discussed in Sung (2010). The five strategies are simplicity of sentence structure, the use of foreign expressions, explicitation, the use of Chinese characters and loanwords, and the use of onomatopoeic and mimetic words. Novels based on fables and children’s literature are similar in that they both employ simple plots and provide instructive stories. Based on these similarities, this study assumed that the strategies used in translating children’s literature could be applied in translating fable novels. According to the resulting analysis, of the five strategies, the use of foreign expressions and the use of Chinese characters and loanwords differ in the translations of fable novels and children’s literature. Unlike in translations of children’s literature foreign expressions and Chinese characters and loanwords were used more often in the fable. The study concluded that the difference can be attributed to unspecific nature of target audience in the case of fable novels.

Gender translation in Korea is known to be relatively passive or conservative compared to that in western countries, especiallyCanada. The claim about gender translation in Korea, however, has not yet been substantiated with specific grounds; therefore, this paper first introduces previous cases of feminist translation and strategies employed in feminist translations mostly in Canada and compares them with the detailed expressions and strategies applied in the case of gender translation in Korea. The texts selected for the analysis and comparison are the translations of The Awakening by Kate Chopin, an American feminist writer. A translation carried out under the intention of emphasizing a woman character's challenging spirit or resistance and the other translation that intended to be faithful to the source text are compared thoroughly to shed light on the specific strategies and adjustments in the gender translation. The analysis results substantiate the previous claim that the gender translation in Korea is relatively passive or conservative, which is mostly author-centered rather than translator-centered. Finally this paper seeks to unravel the reasons behind the rather passive and author-centered translation, which are associated with the insufficient pool of readers who are willing to accept radical or aggressive feminist translations and the status of translators in translation for publishing.

This study aims to identify how regulatives(terms of address) in Russian play are being translated into Korean, what kind of problems in translation strategies and find useful translation strategies. This study conducted qualitative discourse analysis on style in pragmatics aspect. The subject of analysis is nine Korean translation of the Cherry Orchard, which is the representative play of Anton Chehov. The analysis result showed that there are used a lot of useful translation strategies such as literal and substitution translation strategy of terms of address, choice of suitable honorifics at sentence level, addition of discourse marker, shift of speech level to hearer, use of innormative speech level to hearer, omitting end of sentence, use of indirect speech and so on to convey various stylistic effects of regulatives. But there are two problems. 1) Although relatives have not ‘addressing function’, in many of caserelatives translated in level of terms of address. 2) Because of using same translation strategies, there is no difference in style between regulatives and other terms of address, which is the cause of losing the function, purpose, nuance and color of russian regulatives.

The Chinese translation program in the Faculty of Chinese has grown in size since the mid 2000s. However, many problems remain in terms of the quality of the education being provided. In particular, there exists the phenomenon that proficiency in foreign languages is considered in accord with the translation competence. In order to overcome the problem in this study, the conceptualization of translation competence, which is distinguished from foreign language capability through existing researches, has been suggested. At the beginning of the discussion of this issue, it was found that translation competence was regarded as bilingual proficiency. Later, competence was gradually perceived to be an interaction among the complicated sub-components that are distinguished from linguistic proficiency. Also, through interviews with instructors, this study explored the availability for applicationof perceived translation competence to the education of Chinese translation at the undergraduate level.

In this article, we analyse Antoine Berman’s reflection on literary translation criticism throughout his most important works. Emphasis is lain upon the concept of criticism of the translation that Berman excellently illustrated in his latest work Pour une critique des traductions (1994). In his previous work La traduction et la lettre ou l’auberge du lointain (1985/1999), Berman presents a methodology which enables researchers to analyze translations’ defect and deficiency. But in Pour une critique des traductions, Berman suggests a critical method of translation that is not a model, but a possible analytical process. In the area of translation criticism, Berman believes that every translator will develop his/her own translation project which cannot constitute the obligatory framework for textual analysis. His work in translation studies established this area as a legitimate and essential area of critical thought and intellectual engagement.

This research describes the translation of advertisement based on the Semiotics Approach, adopting the Actantial Model of Greimas. Specifically, this research uses a Japanese-to-Korean translation of an advertisement of SK-II to perform an analysis of the six actants in the Actantial Model of Greimas. It shows how the meaning of both the Source and the Target text’s narrative structures are contained, or shifted. Further, Korean competing brand’s advertisement was adopted as a Parallel Text and its narrative structure was analysed, to compare it with the Target Text. The current research aims to show an insight into how translation of advertisement should encompass visual images tounderstand the meaning of the narrative structure of the Source and Target texts, rather than simply replacing textual material in one language with equivalent textual material of another.

The aim of this study is to address issues in French translations of Legenda aurea, compilation of medieval hagiographies by Jacobus de Voragine. Legenda aurea was a medieval bestseller of which more than a thousand manuscripts have survived. In addition, it overtook and eclipsed the earlier compilations of Jean de Mailly and Bartholomew of Trent. Jacobus de Voragine, also called Giacomo da Varazze or Jacopo da Varazze, intended to cumulate the hagiographic knowledge of his time in his works, especially the facts officially recognized by the ecclesiastical authorities, and his objective was to provide priests with an instrument that can facilitate their task of preparing sermons. With a recent achievement in the research and translation of Legenda aurea, we got the essential materials to this research, for we have now a modern and complete French translation and two modern latin critical editions elaborated with meticulous philological method. As to the medieval French translations of Jaobus' compilation, the focus so far has been set on Jean de Vignay's translation and the revised edition by Jean Batallier. It should be considered the main theme in the future, I think, that a comparative analysis between the translation of Jean de Vignay and that of Jean Belet that should have received attention. Also, it will be a very interesting subject of inquiry in translation studies to research the relation between Legenda aurea and the 15th century mystery plays.

Target utterances in interpretation are produced in a spoken language. One of the resources used to convey the formality of the honorific target language is the final ending of sentences ― seup-ni-da/p-ni-da in Korean and desu/masu in Japanese. The source language, on the other hand, can be written as well as spoken. When the source language is uttered orally, the honorific endings, eup-ni-da/p-ni-da and desu/masu, are used, since the interpretation usually takes place in official settings such as international conferences. In case of a source speech based on a written script or interpreter training situations where selected written texts are used, however, the source language can be non-honorific (the sentence ending -ida in Korean). Texts used in interpretation classroom, such as news articles, often employ non-honorific sentence endings, and these endings are often replaced with honorific ones in reading out loud, interpreting and sight-translating the source text. Simple switching into eup-ni-da/p-ni-da or desu/masu, however, often creates awkwardness. Japanese adjectives, in particular, can be made honorific, in grammatical terms, by affixing desu, and yet, this 'adjective+desu' form, which has been allowed for use only recently, is not fully received as natural. Although it seems to sound normal in informal oral conversations, it is rarely used in formal contexts with sizable audiences, such as speeches, lectures and news briefings. Nevertheless, interpreter trainees are often observed to rely on simple switching into the 'adjective+desu' form when carrying out in-class activities. This paper examines how adjectives are expressed as honorific in speeches, lectures, news articles and essays, and discusses their implications to interpreter training.

The rapid influx of new digital media technologies and platforms has made it possible for fans of various cultural texts to easily create and distribute their own secondary cultural works. A group of tech-savvy, Korean language proficient fans from different backgrounds have converged to form a "transnational fan community"(Blakley and Kaplan, 2009: 37) for the Korean webtoon Tower of God. These fans have generated timely, efficient and emotionally appealing translations that have been circulated among members of the community. This study will examine the Korean-English fan translations to understand what functions the translations serves for fans and what is at stake in fan interactions for these communities. In particular, the study will compare the established translations offered by Line Webtoon, the official distributor of Tower of God, with the amateur fan translations. The research into various message board posts within the fan community suggest that the fans overwhelmingly prefer the fan translations to the official ones. The study will focus on the interpretative power of fans in generating fan translations with relevant meanings to the individual fan and the community in which the texts circulate.