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Translating metaphors across languages and cultures has been one of the common research interests in Translation Studies. However, little attention has been given to the translation of metaphors within a national identity. This paper examines translation phenomena of metaphors for beauty in particular where different ethnicities with different indigenous languages and local cultures constituting a national language, including an international language, are involved. Translational tasks that go through the three languages (i.e., indigenous/local-to-national-to-international) become much more challenging, as opposed to translation mostly between two languages (i.e., SL- TL translation), since the tasks completion starts from rendering metaphorical expressions of certain categories of metaphor from those indigenous languages and cultures into a national language belonged to a national entity and then into English as an international language. More importantly, what strategies does the translator adopt to cope with metaphor-oriented translation problems? In terms of methodology, the study adopted an interdisciplinary approach ─ a linguistic approach, a corpus-based approach, a cognitive approach. Several techniques of data collection were also used (i.e., Focus Group Discussion, documents study of various literature/literary works both written and oral texts belong to those local languages and cultures, in-depth interviews with key informants/tribal figures who speak those indigenous languages. This paper concludes that translation of metaphor for beuaty across ethnicities within a single national identity would be able to raise both the ethnic and national identities to the international level of discourse, and thus at the same time contribute to the development of research methods in Translation Studies, theories of translation, as well as metaphor theories.

본 연구의 목적은 저우싱츠의 1991년 개봉작 <도학위룡>과 2016년 개봉작 <미인어>의유머와 그 번역 특성을 고찰하는 것이다. 코미디 영화의 유머를 영상 요소, 언어 요소, 문화요소 차원에서 분석하였다. 그 결과 영상 요소에서는 無里頭(Mo lei tau)의 극대화를 통해일탈적인 상황의 이미지로 웃음을 주고 있다. 언어 요소에서는 비속어, 유행어, 동음이의어 등을 활용한 말장난이 번역 과정에서 축소, 삭제되는 번역 전략이 발견되었다. 그러나 최근에는중국 문화 수용도가 증대되어 그대로 번역하거나 괄호를 통한 주석을 달고 있다. 코미디 영화에서의 유머는 그 배경 문화와 해당 문화권 관객의 가치관, 사회 등을 기반으로 영화 내 다른요소들과 결합되어 전달되는 것으로써, 그 번역과 전달에 있어서도 전략적 접근이 필요하다. 효과적인 전달과 번역을 위해서는 해당 매체의 특성에 대한 인식이 필요하다. 향후 불필요한오역 논란과 문화적 오해를 줄이기 위해서, 영화 자막 번역에서의 적확하고 효과적인 문화 및언어 번역 전략이 논의되어야 한다.

The purpose of this study is to examine the humor and translation characteristics of <Fight Back To School>, <The Mermaid>. The humor of comedy movies was analyzed in terms of image elements, language elements, and cultural elements. As a result, in the image elements, Mo lei tau maximizes the image and gives laughter with the image of the deviant situation. In the element of language, a translation strategy was found in which the puns using the words such as profanity, buzzword, and homonym are reduced or deleted in the translation process. In recent years, however, the acceptance of Chinese culture has increased and has been literally translated or annotated in parentheses. Humor in a comedy movie is combined with other elements in the film based on the background culture, the values of the culture audience, society, etc., and a strategic approach is also needed for its translation and transmission. For effective delivery and translation, awareness of the characteristics of the applicable media is needed. In order to reduce unnecessary misunderstandings and cultural misunderstandings in the future, accurate and effective culture and language translation strategies should be discussed in film subtitle translation.

The purpose of this study is to investigate punctuation translation strategy of the Korean-Russian machine translation and categorize the types of its errors. This study is also aims to seek practical implications for improving product quality of machine translation by establishment of pre-editing rules and its application. For this goals, corpus of articles in KBS World Radio were established, and quantitative and qualitative analyses were carried out. The analysis results showed that both the punctuation translation strategy of machine and of human were almost same. However, the punctuation error rate by machine translation was 24.19% while the error rate by human translation was only 2.4%. To determine the cause of this, only the errors about punctuation by machine translation were classified, and the translation strategy was addition > shift > literal translation > omission. The type of punctuation marks causing errors in the source texts by machine translation was revealed. Then, the errors by machine were categorized by punctuation marks, and Pre-editing rules were created based on this. In addition, to verify the rules’ utility, the source texts and the texts translated by machine, the pre-edited source texts and the newly-produced texts by machine were comparatively analyzed. The analysis result showed that only the pre-editing rules applied to punctuation marks considerably improved sentence structure, grammar, omission, mistranslation and non-sentence.

본 연구의 목적은 2016년 개봉된 영화 <데드풀>의 유머 중 풍자유머의 번역특성을 분석, 고찰하는 것이다. 풍자유머 는 말하고자 하는 무엇을 다른 것에 빗대어 재치 있는 웃음을 유발하는 문학적 기교이므로 이를 번역한다는 것은 번역가에 게 큰 난관이 아닐 수 없다. 이에 본고는 영화 속 유머번역을 확인, 검토하고 각각의 유머범주에서 풍자유머를 분리하여 분석방법에서 제시한 4가지 기본전략을 바탕으로 풍자유머의 빈도수와 그에 따른 양상을 배경으로 현대 풍자유머의 번역 트렌드를 고찰해 보았다. 연구 결과 대부분의 풍자유머는 대부분 글자그대로 (Literal Translation) 번역되었으며, 이와 다른 전략을 사용했다하더라도 출발텍스트(ST)를 보존하고자 하는 경향이 두드러진 것으로 나타났다. 본 연구의 결과는 향후 사회, 문화 , 정치 등의 융합적 관점에서 효과적인 풍자번역 전략을 도출해내는데 있어 기본 자료가 될 것으로 기대된다.

The aim of this study is to examine how satires in the English movie, <Dead Pool> are translated into Korean. Satire is a literary technique in which the writer expresses sarcasm or criticism by using humor or irony. As satire induces laughter by criticising someone or something in the form of humor, it is not easy to convey the same effect to audiences with different social, cultural and political backgrounds. Naturally, satire translation poses great challenge to translators. This study analyzed satirical humors in <Dead pool>, based on 4 basic strategies discussed commonly in the previous studies on humor translation, which found out Source Text(ST) preservation prevails, that is to say literal translation. This analysis result is expected to be worth in drawing an effective strategy for satire translation in the convergence perspective of society, culture or politics in other countries.

The purpose of this paper is to examine how the expressions of 'love' metaphor are conceptualized and translated in literary texts from Korean into Chinese. To this end, this study builds a specific Korean-Chinese comparative parallel corpus from five Korean novels since 1990. This paper finds/confirms/provides/discovers two major features in conceptualized process and translation method. First, the abstract concept of 'love' in source texts is conceptualized through the source domains of 'a fluid in a container', 'opponent/war', 'object', 'food', 'plant' and 'river'. The 'love' metaphors were translated in three different ways: mapping onto the same source domain as the source text; mapping onto different source domain; omitting the source domain. Second, a comparison between the source texts and the target texts shows the six translation methods of the metaphorical expression of 'love', including 'replacement', 'addition', 'deletion', 'literal translation', 'simplification' and 'four-character structure'. The Chinese ‘four-character structure’ is the unique feature of the Chinese language. This study is meaningful in that it has expanded the classification of Korean to Chinese translation methods by adding the ‘four-character structure’.

여러 분야 학자들의 문제제기와 노력에도 불구하고 광복 후 70여년이 지난 지금도 우리의 도깨비로 둔갑한 일본의 oni 이미지를 털어내지 못하고 있는 이유가 일제강점기에 덧씌워진 oni 이미지 때문만이 아닌, oni의 번역어 선택에도 있는 것은 아닐까하는 의구심에서 본 연구는 시작되었다. 이에 연구자들은 한국 도깨비와 일본 oni 사용의 혼돈을 최소화할 수 있는 어휘는 무엇인지를 고찰하는 것을 본 연구의 목적으로 삼아, 논문의 2장에서 우리의 역사 속에서 도깨비라는 어휘가 등장하게 되기까지와 일제강점기 妖怪(鬼)가 도깨비라는 번역어로 등장하게 되기까지를 살펴보았고, 3장에서는 문화소 번역의 관점에서 인터넷 웹 사이트에서는 oni의 번역어로 어떤 어휘들이 사용되고 있고, 번역가들은 일본 동화 속 oni의 번역어로 어떤 어휘를 선택하여 사용하고 있는지에 대해 사례를 통해 살펴보았다. 그 결과 우리의 인터넷 웹 사이트와 일본 동화 번역서에는 권정생 선생이 우려했던 바와 같이 oni의 번역어로 도깨비나 귀신을 혼용하고 있는 경우가 많았고, 그 선택에 있어도 일관성이 없었으며, 글 쓰는 이나 번역하는 이의 의지나 식견에 따라 어휘 선택을 하고 있음을 알 수 있었다. 일본어를 음차번역하여 그대로 사용하는 것을 매우 꺼리는 것이 우리의 현실이지만, 우리의 도깨비와 일본어 oni의 혼용이 일어나는 것을 막기 위해서는 음차번역을 통한 이국화 전략을 활용하여 일본어 oni를 한글 ‘오니’로 표기할 것을 제안한다.

Despite the presentation of a problem and efforts of many scholars, even after 70 years since the liberation, the reason why we have not been able to rid the public of the notion that the hobgoblin is Japanese is not only due to the oni image superimposed on the Japanese colonial period, this study suggests that it may be in the choice of oni’s translated words. The purpose of this study is to investigate the vocabulary that minimizes the confusion of the Korean hobgoblin and the Japanese oni use. In Chapter 2, we looked at usage of the word hobgoblin in our history until the appearance of hobgoblin at the Japanese colonial period as a translation of hobgoblin. In Chapter 3, we examined the prevalence of the Japanese translation ‘oni’ compared to the original Korean hobgoblin of the online, and the translators used the oni as a translation of Japanese fairy tale. As a result, on the websites and Japanese fairy tale translations, Kwon Jung󰠏sang teacher was worried about the translating oni as hobgoblin and ghost, and there were many inconsistencies in his choice. The choice of oni or hobgoblin changes according to the will or insight of the translator. It is our reality that we are reluctant to use Japanese translation as it is. However, in order to prevent confusing our hobgoblin and Japanese oni, we propose to use Japanese translation method to translate Japanese oni into Hangul ‘oni’.

Translation is a complicated interlingual and intercultural process, in which the translator’s role includes narrowing cultural gaps between the source and target texts. As a strategy to translate cultures, this paper puts forward the concept of chunking, which enables translators to alter the size of semantic units. Largely, it can be divided into three types: (i) chunking up, (ii) chunking down, and (iii) chunking sideways. The first moves the source text meaning up to the general surface in the target text; the second, on the contrary, moves the meaning down to the specific level; the third seeks equivalent units in the target text without altering cultural values. For each step of chunking, the translator is asked to create chunking questions in the cultural frame. Based on a clearer notion of the concept, this paper applies chunking to the process of translation, followed by a detailed analysis of the strategies employed in the translation of Tuesdays with Morrie.

The purpose of this study is to explore the strategies for translating degrading and vulgar expressions. To this end, four Korean movie scripts with German subtitles were analyzed in terms of the linguistic choices of the translators in their translation assignments of degrading expressions and vulgarisms. The four main strategies discovered are avoidance, maintenance. mitigation, and intensification. Contrary to our expectations, the strategy of maintenance was used in only one third of the cases. Meanwhile, the rate of intensification was relatively low. As for the reasons behind the translators' choice of such strategies, we can point out various factors such as consideration of contextual surroundings, norm consciousness of tabooedness in the target language, film ratings or age limits according to the movie type, and priority given to brevity as a linguistic style which is typical of movie script translations, etc. The correlation between translation variables and characteristics of tabooedness is to be explored in future studies.

This study aims to explore the types of strategies used in translating titles, and to determine if there is any difference in the choice of strategies depending on the directionality of translation. The initial foundation of the study finds its theoretical background in Newmark’s (1988) V-diagram of translation methods. The initial findings of the study revealed that communicative translation and transliteration methods were used more frequently for English into Korean translations while source text oriented methods were used more often in Korean into English translations. In order to determine the decisions behind the differences in the use of translation strategies, interviews with subject-matter specialists were conducted. In-depth face-to-face and e-mail interview results indicated that the teams involved in the process of translating titles from Korean into English and from English into Korean were often comprised quite differently. In the case of Korean novels translated into English, a translator, an author, and the editor of an overseas publisher are involved in the translation of titles. Of these, the original author generally has the biggest voice in the decision. Meanwhile, in the case of English novels translated into Korean, more diverse parties such as translators, authors, editors of domestic publishers, marketers, and management can be involved.

Audiovisual translation, or subtitling can never result in a complete and detailed rendering of source text. Because of the spatial and temporal constraints, quantitative reductions in text and content are inevitable. This paper analyzes a variety of reduction translation strategies of Korean-English subtitling with a focus on a Korean movie, Miracle in Cell No.7 (2013). The results of the analysis show that partial reduction at the word/phrase level is achieved through generalization and substitution. Changing the mode of sentences, turning direct speech into indirect speech, and changing negations are observed at the clause/sentence level. Total reduction is achieved through omission of overlapped or redundant information. Partial and total reduction strategies are often combined, leading to a rewriting of source text. Subtitling translators need to find out what is not relevant for message comprehension and reformulate it into a message in as concise a form as possible by utilizing various strategies. In conclusion, the aim of audiovisual translation is to enable the target audiences to get the similar feelings and impressions as the source audiences do. Therefore, it is emphasized that the translators must understand the polysemiotic features of the subtitles and adopt the appropriate reduction strategies while minimizing the loss of essential information.

This study intends to closely read and compare translations of the poetry of Kim Sakkat, based mainly on pieces edited and translated by Kevin O’Rourke in Selected Poems of Kim Sakkat(2012). Where necessary, translated pieces from The Poet(1995) and an article by Richard Rutt, appeared in Humour in Korean Literature(1982), ‘Kim Sakkat the Popular Humorist’ were referred to. Kim Sakkat was a traveling poet of much local renown, who in fact became one of those literary figures to whom credit is given for many unattributed clever rhymes. The study will briefly detail the linguistic changes that have made Sakkat’s type of poetry virtually impossible in the modern era, and attempt to identify what strategies were utilized by translators to fill the gap between the source text and the target text readers.

Les enfants, qui sont les prmctpaux lecteurs de Ia litterature pour Ia jeunesse, sont immatures sur le plan cognitive et emotionnel par rapport aux adultes. Cette particularite oblige une prise en compte de nombreux facteurs lors de Ia traduction litteraire pour les enfants. Les traducteurs n' ayant pas de connaissance appropriee des caracteristiques de Ia litterature enfantine risquent d'echouer a creer des textes appropries pour les jeunes lecteurs. Puisque les enfants apprennent et perfectionnent Ia langue matemelle grace a Ia lecture des livres pour Ia jeunesse, Ia qualite de traduction de Ia litterature pour Ia jeunesse est d'une question d'importance cruciale. L'objectif de cette etude est d'identifier Ia tendance generale de Ia publication des traductions litteraires pour les enfants en Coree. Apres avoir insiste sur Ia necessite des etudes sur Ia traduction litteraire pour Ia jeunesse, cette etude vise a detinir Ia notion de Ia fidelite comme fidelite envers les lecteurs et a analyser les strategies de traduction sur le plan macroscopique et microscopique. Quelques ret1exions sur l'explicitation seront egalement proposees, afin d'harmoniser )'emotion Iitteraire et Ia stimulation culturelle lors de Ia traduction des termes culturels.

This paper analyzes the translation strategies of non-speech elements,such as background lyrics or visual signs, taking a different approach fromsubtitle translation research that focuses on the verbal speech text and itstranslation features. The audiovisual text chosen for the analysis is AugustRush (2007) and its Korean subtitles, which is a combination of translatedspeech, lyrics and visual signs of the original text. The implications of thestrategic decisions made by the translator are discussed based on thecontrastive analysis. The paper concludes that the aim of a subtitlertranslator should be to create a holistic multimodal target text taking into consideration the dynamic interaction of the variety of modes thatcontribute to the delivery of a coherent narration.

Cultural elements can be entirely unfamiliar to target readers; therefore, translators should consider the difference of cultures and try to utilize a dynamic equivalence when translating such cultural elements. This is the first thing to be considered translating cultural elements. Researchers talk about utilizing an interpretive theory of translation when translating cultural elements, employing a complicated process of “deverbalization”, “sense” and “reformulation” This is a difficult process to accomplish, requiring a great deal of intellectual labor. Nevertheless, there is high possibility that the resultant translation could be criticized because of its loose translation. Literal translations can be very convenient in these cases, but it is not easy for target readers to understand the meaning of the cultural elements. However, literal translation is very useful when target readers indirectly through the context can guess the meaning of the cultural elements. So sometimes the translation strategy of cultural elements depends on the context, making context the second element to be considered when translating cultural elements. Finally, the medium or genre of what is being translated should be considered when translating cultural elements. Newspapers don’t always need to deliver an exact meaning to readers so omission can be a useful strategy when translating cultural elements. Ultimately, then, the third element to be considered when translating cultural elements is the genre or medium where the translation occurs. In conclusion, recognizing cultural differences between the source and target languages, paying attention to the context and considering the genre or medium for the translation are important factors when translating cultural elements.

Building upon the author's previous researches on punctuation, this paper aims to expand the current literature by exploring the functional concept of punctuation. It is of notable interest that the concept suffers a wide range of disagreements, which calls for the need to “revisit” the very basics of the “points.” Although punctuation allows for and must guarantee a certain degree of subjectivity, even arbitrariness in certain cases, it would still be useful to rebuild the concept of punctuation by exploring and accommodating the diverse perspectives and by reflecting the current tendency. Based on a clearer notion, this paper then seeks to answer two research questions. First, what are the functions of hyphen and butimpyo (form-equivalent punctuation mark in Korean) and how do they differ? Second, what strategies can be used to translate hyphen in English-Korean translation? As for the first question, this paper illustrates how the punctuation marks take on the functional role as unique linguistic entities. Following the analysis, this research compares the two punctuation marks, so as to find the implications for translation. As for the second question, this paper classifies strategies to translate hyphen and discusses how such strategies can be deployed and what attentions should be paid. It is of notable interest that punctuation marks in English-Korean translation often invite 'headaches' and that the issue has been neglected in the academic discipline of translation studies.

This paper purports to study Vladimir Nabokov’s approach to Translation in Lectures on Russian Literature, which consists of written-out notes for delivery as classroom lectures and several essays on literature and translation. Vladimir Nabokov is one of the great writers and translators, who represents Russian and English literature in the 20th century. His translation of Pushkin’s Eugene Onegin is known to be an representative example of a foreignization translation strategy. Domestication is the translation strategy in which transparent style is adopted in order to minimize the strangeness of the foreign text for target text readers. Foreignization is a term used to describe the type of translation in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. Analysis of Nabokov’s approach to translation implied in Lectures on Russian Literature would reveal the reasons why he thought the foreignization strategy to be a right choice in translation of Russian literature into English.

This paper examines culture and tourism-related texts translated from Korean into Japanese in the Japanese version of the official website of Busan Metropolitan City, as of May 2011. Even though websites provided in foreign languages are expected to attract more and more visitors, further strengthening their status as important vehicles through which to provide local cultural information, not enough attention has been paid to the monitoring of the quality of these translations. Against this backdrop, this paper focuses mainly on culture-specific items translated from Korean into Japanese in culture and tourism-related texts from the website, in order to determine which translation strategies were adopted by the translators by classifying the translations as foreignizating or domesticating translations. Through study of the major characteristics of these translated texts, based on the Skopos theory which places greatest emphasis on the intended purpose of a translation, this paper also discusses which translation strategy might be most efficient in maximizing readability for the target readers. The research has found a total of 60 culture-specific items in the translations, of which 34 words were translated with a domestication strategy, 17 words adopted a foreignization strategy and 9 words were translated using both strategies. These statistics clearly show that domesticating translation was the dominant approach taken in Korean-Japanese translations posted on Busan Metropolitan City's official website. Each translation strategy has its merits and demerits, but given that the underlying purpose of this website is to convey information clearly, the best translation would be the one that takes into consideration readability for the target audience, while preserving the unique characteristics of the source culture. Translation strategies that implement both a domestication and foreignization strategy at the same time, therefore, are likely to be those best suited to the translation of culture-specific texts.

Poil de Carotte (Hongdangmou in Korean) is generally recognized as a children’s story, but it is in fact an autobiographical novel of the writer, Jules Renard, based on his childhood memories of being unloved by his mother. This novel includes several episodes inappropriate for child readers, as it features a boy hero who suffers abuse from his mother and who turns to abusing small animals. Therefore, the adaptation of this novel into a children’s story requires translation strategies aimed at reducing the cruelty and violence of the original text. This study examines the appropriateness of translation strategies adopted to protect the emotions of child readers while teaching proper language. Such translation strategies include the purification or the simplification of meaning and the omission of syntax. This study also suggests improvements for the translation of a children’s version of Poil de Carotte by focusing on the tone of characters and the literary styles of this novel, including the use of euphemism and repetition. Comparisons are made between child-reader and adult-reader translations published in the 2000s.

This paper starts from a question: do women translators work in female language? Several studies have shown gender differences by comparing translations by men and women from the same original text. Also there are studies which suggest different writing styles between men and women. However the tendency is not always the case; men translators use female language in their translations, when women don't; half of the interviewed college lecturers answered that gender difference is not found in their writing classes. Whether women translators' language exists or not remains not answered until now. A lot of questions remain: gender difference or personal difference?; spoken language alone or as well as written language?; female language as a chosen translation strategy or a given, automatized trait? Translators and translation trainers need to be conscious of the possible existence of gender-differenced language and its influence on translation.

When a message leaves the culture in which it was encoded, it carries the content intended by its producer, but when the message reaches the culture where it is to be interpreted, it undergoes a transformation because the culture in which the message is decoded influences the message interpretation and hence its meaning. As such, culture is in the center of translation, as one of the greatest sources of miscomprehension caused in the process of and post-translation is the mismatch between the source and target text cultures. Hence, the translator, as a knowledge and culture broker, is required to offer compensation that enables source and target text readers to have shared knowledge and culture. This paper first reestablishes the concept of culture-specific item by putting together several different definitions of culture-related terms. Then, it examines what role culture-specific items play in understanding a text and how important they are in the process of translation. Based on a clearer understanding of culture-specific items and in recognition of the role and the importance of the item, this research presents five translation strategies and discusses how such strategies can be deployed and what attentions should be paid in the process of translation. Each strategy exhibits its unique features and has strengths and weaknesses when applied. The translations that serve as the bases for the explanation of translation strategies are taken from The Cry of the Cuckoo, a well-known Korean literature, which contains a number of cultural-specific items.