Earticle

본 연구의 목적은 한국 드라마 <쓸쓸하고 찬란하神 도깨비>의 자막 텍스트에 나타 난 문화소를 중국어로 어떻게 번역해야 하는지 그 번역 방법에 대한 사례분석을 통해 자국화⋅이국화 번역 양상을 연구하는 데 있다. 드라마 <도깨비> 자막의 한국어와 중 국어 번역본 텍스트를 연구대상으로 선정하여 실제적 부등성이 존재하는 문화소 번역 에 사용된 자국화⋅이국화 번역전략을 비교 분석한 결과, 언어문화의 호칭어 번역에서 는 출발어에 포함된 시대적 배경, 신분 등 문화소가 훼손되지 않도록 이국화 번역전략 을 사용하는 것이 효과적이었으며 관용어 번역에서는 도착어 문화권에서 사용하는 언 어문화소로 대체하는 자국화 번역전략이 효과적인 것으로 나타났다. 언어유희에서는 자막에 주석을 달아 구체화시키는 번역전략을 활용하는 방안과 자국화와 이국화 전략 을 적절하게 결합시키는 방안이 문화소의 보존과 전달에 합리적인 것으로 나타났다. 물질문화에서는 문화공백이 존재하는 경우에는 자국화 전략을 사용하여 낯선 사물에 대한 이해도를 높이고 두 문화권에 동일하게 존재하지만 서로 다른 속성과 특성을 보 유하고 있는 명칭에 관해서는 이국화 전략을 사용하여 출발어 문화권 사물과의 부등성 을 나타내며 의미의 표층적 구조에서 대응되지만 심층적 구조에서 등가가 이루어지지 않는 경우에는 함축적인 의미를 명시적으로 드러내는 번역전략이 경제적이라는 결론 을 도출하였다.

The purpose of this study is to study the translation patterns of localization and foreignization through a case analysis of how to translate cultural elements shown in the subtitle text of the Korean drama “Lone and Brilliant God Goblin” into Chinese. After selecting the Korean and Chinese translated texts of the Korean and Chinese subtitles of the drama “Goblin” and comparing and analyzing the translation strategies of localization and foreignization used in the translation of cultural elements with actual problems, it was found that it was effective to use an exoticization translation strategy to prevent damage to cultural places such as the background and status of the times included in the ST in translating the titles of language culture, and to replace them with language and culture elements used in TL culture in idiom translation. In language play, it was found that the use of a translation strategy that specifies subtitles with annotations and the appropriate combination of localization and exoticization strategies were reasonable for the preservation and delivery of cultural elements. In material culture, when cultural gaps exist, localization strategies are used to enhance understanding of unfamiliar objects, and for names that exist equally in both cultures but have different properties and characteristics, exoticization strategies are used to show incompatibility with ST culture objects and respond in a superficial structure of meaning, but it is concluded that translation strategies that explicitly reveal implications are economical if there is no equivalence in a deep structure.

The purpose of the study is to explore Korean college students’ beliefs about translation in English learning and to investigate whether translation strategy has a significantly positive effect on business English learning. The data from survey questionnaire suggested that most participants hold the belief that translation plays a positive role in their English learning process and that they frequently use translation as a learning strategy. The three experiments found that (1) translation learning was more effective than context learning in learning new business English words; (2) translation benefited participants’ business English reading in terms of enhancing their reading comprehension and translation during reading helped improve their ability to comprehend sentence structures appearing in the text, and (3) the translation task was more effective in helping participants acquire the ability to produce English sentences with a target structure than the direct writing task, so translation could be a useful tool in helping improve writing accuracy.

As cultural exchange between China and Korea continues to grow, Chinese food culture is becoming more popular in Korea. Academic research on Chinese food culture is also increasing. However, the existing analyses of the Korean translation strategy for adopting Chinese food names are mostly based on data from published books, and there are few studies or documentaries that explain this strategy. There are two research questions included in this paper: 1) What is the Korean translation strategy for Chinese food names in documentaries? 2) Is there any difference in the translation strategies used in documentaries and books? In order to analyze the translation strategies used in documentaries to translate Chinese food names, "Once Upon a Bite 2" was selected as the main data, and two other documentaries and three books were selected as secondary data to answer these questions. The conclusion of this study is summarized as follows: documentaries tend to adopt foreignization translation strategies when translating Chinese food names into Korean, while books tend to adopt domestication translation strategies.

Han Kang’s novel Human Acts adopts seven different points of view from seven persons who know Dong-ho, the protagonist, or ‘the boy’ in the novel. Each chapter is narrated by one of these seven persons, and the novel does not readily reveal their identities. This particular type of narration requires the Korean reader to actively engage in ‘motivation search’ to downgrade the ‘informativity’ of the characters. This novel deals with a historical event that is at the fore of the Korean people's consciousness, and that is the Gwangju Uprising. This event is far less well known to English readers. This unique narrative style and the knowledge gap about the Gwangju Uprising between Korean and English readers make the translator’s role even more important. This paper explores the strategies used by the English translator, Deborah Smith, to reduce the informativity for English readers. It reveals that the translator actively attempted to facilitate the reader’s forward downgrading of the informativity by changing chapter titles, inserting subtitles, and presenting information in advance. In order to relieve the reader’s outward search effort, the translator provided an introduction, added detailed information, and domesticated some information that is key to conveying the theme of the novel. She even eliminated the need for motivation search by deleting some information on minor characters, plots, and background information, and in the process, the translator lowered the overall informativity of the novel enough for the English reader to easily understand and enjoy the novel.

This study analyzes the Japanese translation of Han Kang’s Human Acts, focusing not on shifts in grammatical person per se but on the narrative voice constructed through person choice and its ethical effects. While analytically distinguishing narrator and focalization, the study adopts voice as its central concept and examines how person choices in each chapter position the reader. The analysis shows that the novel consistently employs narrator invisibility while carefully modulating narrative voice through choices of person. In Chapters 1 and 5, second-person pronouns refer to specific characters, yet the narrating subject remains unresolved, suspending reader identification and maintaining ethical distance. After the explicit appearance of Jeongdae’s spirit as a first-person narrator in Chapter 2, these configurations invite retroactive interpretation, but the text deliberately resists fixing the narrator. The Japanese translation renders this structure visible through socially and pragmatically marked pronouns such as kimi, boku, watashi, anata, kāchan, and omae. This study argues that translation here functions as an ethical mode of communication, positioning the reader as a reflective subject engaged with memory and responsibility rather than emotional identification.

본 논문은 프랑스의 대표적인 그림책 작가 클로드 퐁티의 󰡔조르주의 마법 공원󰡕을 분석대상으로 삼고, 작품 속에 나오는 100여개의 고유명사 들의 한국어 번역을 분석하였다. 주요 독자층인 “아동”에 맞추어진 텍스트 라는 특수성을 지니는 아동문학의 번역은 다른 어떤 장르보다도 도착언 어 문화권의 독자를 고려하여 “다시 쓰는” 작업이 요구될 것이다. 본 논문 에서 분석한 그림책의 펼침면마다 새롭게 등장하는 인물들을 명명하기 위해 창조된 고유명사들은 동요가사와 같이 재미있는 언어놀이인 동시에 새로운 어휘들을 습득할 수 있는 ‘즐거운 학습’ 기회이다. 한편 이 책에서 고안된 고유명사들은 아동독자를 겨냥한 ‘재미와 학습’이라는 전략 외에 도, 아이들에게 그림책을 읽어주는 어른독자를 위한 다른 차원의 수용가 능성을 내포하고 있다. 하나의 고유명사가 홀로그램과 같이 그 안에 역사 적, 문화적, 사회적 요소들을 담고 있어 어른독자에게는 “상호텍스트”를 환기시키는 ‘다층적 읽기’를 가능하게 할 것이다. 따라서 단순히 언어를 옮기는 것이 아니라 아동독자를 중점적으로 겨냥할 것이냐, 어른독자까지 고려할 것인가에 따라 도착텍스트의 수용자에 맞는 번역전략이 필요하다. 프랑스어 출발텍스트에서 의도했던 수용자와는 다르게 다시 쓰인 한국어 도착텍스트를 통해 번역전략을 살펴보기 위해, 본 논문에서는 어휘적 차 원의 번역 외에, 형태소의 변형이나 통사적 변형을 통한 번역으로 나누어 살펴보았다.

This article chose renowned French children’s book writer Claude Ponti’s Georges Lebanc as a subject of research and analyzed more than 100 proper nouns in its Korean translation. Considering the fact that children’s literature is made up of text ‘aimed at target readers,’ translation is a task to ‘rewrite’ the target text for readers in the target culture. In Georges Lebanc, Ponti coined neologisms to name characters, which serve not only as pun or wordplay for children, but also make linguistic learning fun. Meanwhile, proper nouns that contain historical, cultural, and social factors make ‘intertextuality’ possible for adult readers, ultimately enabling multi-layered reading. In this context, translation strategies may vary depending on whether the target receivers are children or adults. Translation is not only a simple labor of changing the language, but also requires strategy based on understanding of the target readers’ expectations. In the Korean translation of Georges Lebanc, the translation strategy sought to take into account readers of the target text as differently pre-defined from the readers originally intended by the source text. As a result, changes or shifts are identified at the lexical level, morpheme level, and syntactical level.

This paper examines how power distance affects the translation of movie posters. Deriving from Hofstede’s cultural dimension theory, power distance is the extent to which people accept unequally distributed power. I assume that power distance is closely related to collectivism and uncertainty avoidance, affecting the translation of movie posters in certain ways. For this study, 90 pairs of American movie posters and their Korean-translated movie poster counterparts are selected for data analysis. This analysis is divided into three categories: translation of the headline, the number of text elements, and appeal of the headline. The results suggest the movie poster translation reflects Korean culture through high power distance, collectivism, and high uncertainty avoidance. In addition, the translation of posters not only serves as the consideration of power distance, but also simultaneously constitutes power distance through the posters.

In order to improve the quality of Korean literature's translation into Chinese and further guide Korean literature's entry into China in a more desirable direction, it is very important to evaluate the translation text in various ways and find a proper translation strategy. This paper examines the application patterns of the two translation strategies (foreignization and domestication), which are mainly reflected in the Chinese translation of Korean literature through a concrete translation text. When reviewing translation of literature, if you compare different versions of the same text and find the pros and cons of the translation strategy applied to each translation, you will be able to present useful information for future translation work. By comparing the three versions, we can draw the following conclusion: Although it is an era of cultural translation, the traditional free (or localized) translation method can not simply be regarded as an "outdated translation method". Of course, excessive localization of translation is certainly wrong. In short, foreignization and domestication are two complementary rather than contradictory strategies in translation. A satisfactory translation can be achieved by flexibly applying the two translation strategies according to the style and characteristics of the work, making full use of their strengths and avoiding their weaknesses, and coordinating with each other.

The purpose of this paper was to examine the naturalizing of translation that appears in Park Wan‐suhʹs work, and to discuss what translation should ultimately be oriented toward. Park Wan‐suh, a renowned Korean female novelist, has been introduced in Chinese since the establishment of diplomatic relations between Korea and China, with five novels, two books of short stories, one book of fairy tales and 10 novels of intermission. Park Wan‐suhʹs novel was very detailed in the language used, and the subjects covered were also very extensive. This artistic feature of Park Wan‐suhʹs novel is also the hardship that translators have to face, and we looked at how these artistic sensibilities were translated through the Chinese translation of Parkʹs work. In particular, we have noted the patterns of naturalizing that take place during the translation of Park Wan‐suhʹs novel, in which we can add content or replace words that are unfamiliar to readers with familiar concepts or words, and translate the meaning of the original text as explained. While this naturalizing translation strategy worked in that it could enhance readability, it was able to identify cases in which the meaning of the original text was compromised or covered up in the process. Therefore, to revive this aesthetics of translation, the process of the translation word will be necessary, taking into account cultural and linguistic features, and this is a task that must be constantly contemplated and implemented in the translation process.

朴婉绪是韩国著名的女作家｡ 中韩建交26年以来, 两国的译者共将她的5部 长篇小说, 2部短篇小说集, 1部童话集以及10篇中短篇小说翻译成了汉语, 在 中国大陆出版｡ 本文针对朴婉绪小说汉译中的体现出的“归化策略”进行分析, 对如何更好地实现佳译进行探讨｡

Generally, translators utilize various tools to help readers better understand the message, and aim to convey and ultimately make their translation more coherent and more appropriate and relevant in the cultural context of the target language. Indeed, in an intercultural literary translation, figurativeness, comparison and metaphor, all of which build the intertextuality of a source text, present a major challenge to the translators. This study examines strategies used by the translator to rebuild the intertextuality and to ensure coherence and relevance of the target text, culture of which differs almost completely from that of the source text.

Simultaneous interpreting is carried out under severe time constraints as the interpreter is forced to work at Source Language speech delivery speed to process incoming oral messages into Target Language reexpression. While such mode of communication place interpreters liable to errors, it is very difficult to not only correct or repair errors when they occur, but also detect errors when they occur. The aim of this study is to analyze errors during simultaneous interpreting in order to first, find out what types of errors are most frequent during simultaneous interpreting; second, analyze how interpreters repair errors to accomplish communication; and third, analyze the implications of errors in order to propose strategies to deal with errors. For the study, authentic data was collected from an international conference hosted in Seoul. The data analysis showed omission is the most frequent type of errors during simultaneous interpreting followed by shifts in meaning and expressions. While interpreters repaired approximately ten percentage of errors, the analysis of errors showed that some omissions and shifts worked to facilitate effectiveness of communication, which was achieved by means of time saving strategies utilized by the interpreter. Although some of the time saving strategies used by interpreters seemed to violate the principle of faithfulness in interpreting, the strategies helped interpreters overcome time constraints and ease cognitive load as well as enhance the communicative relevance of Target Language expression.

This paper investigates readability strategies used in subtitle translations and, in particular, focuses on analyzing condensing and information structure alteration. Subtitling is governed by various constraints. In the audio-visual medium translation, especially movie, character’s dialogue or utterance is the main part in addressing story and plot development. And synchronizing between subtitle’s appearance on screen and the onset of speech is needed timely. Therefore, readability is the most essential factor in subtitling translation with time and space constraint. Under the temporal and spatial restrictions of subtitling, these restrictions cause target text to reduce the length of utterances. In addition, readability of subtitling could be achieved through the condensing with colloquial style, liberal translation. Alteration of information structure has three processes: the focus of new information, simplicity of meaning, the reduction of politeness. These information alteration is a kind of high readability strategy and choice of subtitling translators, including the balance between movie genre, audience level, foreignization and domestication and so on. This study concludes that readability strategy combined with condensing and information structure alteration is considered as an effective method in subtitling translation.

This paper examines strategies and techniques of sentence segmentationby professional interpreters and translators when processing boundaryof sentences through cases shown in the “Major Speeches & LiteratureCollection Marking the 20th Anniversary of the Establishment ofKorea-China Diplomatic Ties”. The result of research has shown thattranslators of the “Major Speech Collection” complied with sentenceboundaries and markers of ST as far as possible, but minimized theirsegmentations when inevitable. Since the structure of Chinese complexsentences is longer and different from that of Korean, sentencesegmentation was more generally utilized in Chinese-Korean translation. In Chinese, sentences were segmented where the meaning of a sentencewas altered, such as topics, comments and relations rather than tangiblemarkers. In Korean, however, it was confirmed that sentences weresegmented at connective endings or adnominal endings. These featurescan be used as references for other translators or future translators. Nonetheless, in terms of the use of connective markers in betweensegmented sentences, readability is somewhat lessened as a result offollowing the ST, therefore supplementation of connective markers isrequired after altering boundaries. Furthermore, the technique of alteringsentence boundary is to be expanded as a more universal translatingstrategy in the future by contrasting it with other languages.

本稿では『銀河鉄道の夜』の韓国語の翻訳本『ウンハチョルドウイバ厶(은하철도의밤)』を対象に、文学作品の日韓翻訳に現れる固有名詞の翻訳様相を探り、翻訳家の介入(intervention)範囲がどの程度かを考察している。その結果、日韓翻訳の場合、人名は音訳(transliteration)を、地名と星の名前と曲名は、韓国の読者に親しみのある名前が使われている。特に、地名と星の名前と曲名は、対象読者が子供である場合、翻訳家の介入現象がより顕著に現れているが、これは読者である子供たちのテキストの理解を深めるための翻訳家の戦略であると見られる。また、読者層が大人の場合、すなわちイソンヒ(2000，2001)とシムジョンスク(2004)に見られる介入現象は多少相反する様相を見せている。すなわち、イソンヒは訳注を用いた翻訳家の介入現象が殆んど現れていないが、シムジョンスクは訳注を通じて『銀河鉄道の夜』の作品世界を深く扱う傾向が見られる。これは読者層が大人であることは同じであるが、テキスト上の目的におけるイソンヒ訳は一般読者向けの翻訳、シムジョンスク訳は従来の絵本や文庫類にはかけていた部分を補うとともに『銀河鉄道の夜』の作品世界まで深く扱っていることは、読者層を一般の人々を含め、『銀河鉄道の夜』を研究する人々も対象にした翻訳家の介入であるといえる。実際の世界と暗示的な関係を持ち、言語遊戯を通じて具現化された名前の場合は、対象読者が子供の場合は、訳注を用いて具体的な情報を簡単に提供しようとする翻訳家の介入が現れている。これは読者である子供たちの好奇心を刺激するための翻訳家の戦略であると見られる。また、対象読者が大人である場合は、イソンヒは訳注を用いた翻訳家の介入現象が殆んど現れていないが、シムジョンスクは訳注を通じて『銀河鉄道の夜』の作品世界を深く扱う傾向が見られる。

これまでのアスペクト研究により、日本語の「-ている」文型は基本的な意味として「繼續進行」や「結果残存」の意味を持っているのは周知の事実である。又、派生的な意味として「状態」、「反復/習慣」、「過去・経験」、「完了」、「能力」等のさまざまな意味に分かれていることが明らかになっている。本論で考察したように自動詞でありながらも「継続進行」の意味を表すときもあれば、他動詞でありながらも「結果残存」を表すときもある。それに継続動詞、瞬間動詞と言っても必ずしも韓国語では「-하고 있다」, 「-어 있다」のように「継続」、「結果」の意味に翻訳されないケースも用例から確認できる。したがって、日韓飜譯をする上での ｢-ている｣構文は単純に「継続進行」は 「-고 있다」 「結果残存」は「-어 있다」と理解すればくい違いが出てくるので、これに対する適切な翻訳戦略を駆使する必要がある。これを簡単にまとめると下記のようにまとめることができる。 (1) 日本語の「-ている」構文の機能的な意味を理解しなければならない。 (2) アスペクトにとらわれずに個別動詞の語彙的な性質に注意を払わなければならない。 (3) 前後文脈からよく省略されやすいテンスを蘇らせ、意味分析を行わなければならない。 (4) 文中の主語と目的語の意味関係を読み取り、意味を補わなければならない。

本研究では、サービス敬語行動としての挨拶行動をホテルを中心に考察し、サービスを提供する場での挨拶行動としての動作、言語表現、挨拶頻度の三つの側面から比較した結果、挨拶動作においてはお客様が高齢の場合、日韓両国とも丁寧な動作をしていることが分かったが日本の方は良く聞こえないかも知れないのでゆっくりはなすという意味での仕事上の配慮が丁寧な動作の理由である反面、韓国の方は高齢の方に対する敬意または尊敬の気持があることがわかった。挨拶頻度の場合、日本の方が韓国に比べて遥かに高いことが分かった。また、言語表現としては同じ場面でも両国の表現仕方や語彙の選び方などが両国の文化によってかなり違う形で使われていることが明らかになった。特にお客様に対する呼び方として韓国の方は社会的な地位の高い呼び方が多く用いられているが日本の場合は主にお客様のお名前が呼ばれていることがわかった。このような結果は、日本のサービス敬語はマニユアル化されていて、ほとんどの話し手はマニュアル通りの挨拶行動が用いられているが韓国の場合はマニュアルはあるが教育の問題やマニュアル活用の問題などの原因でマニュアル通りでなく、話し手の意思や経験によっていろんな形での挨拶行動が現場で行われていることが分かった。したがって、このような研究は現在韓国への世界各国からの観光客のなかで日本の観光客が50%を越えている現象から考えると両国の文化の違いによる日本語観光サービス敬語教育の基礎資料としても意味深い、また逆に日本のホテルでは韓国人観光客が多いため韓国人スターフの雇用が増える見込みである、そのための教育資料としても研究を進めていくべきであると思われる。

本稿は「Domesticating Translation & Foreignizing Translation」翻訳戦略を異文化関連用語とカタカナで表記された外来語の用語に注目し、日․韓翻訳文を中心に考察したものである。「Foreignizing Translation」翻訳戦略は韓国語にはない語彙や文体を補完し、韓国語を豊かにすることができ、原文に存在するエキゾチック要素を翻訳文にそのまま残し、意図的に翻訳文の読者に馴染みのない経験をさせるような戦略としても使うことができる。日韓翻訳で異文化関連用語の他、カタカナ表記の外来語用語の翻訳にも翻訳者の細心な戦略が必要である。本来日本語でない韓国語の読者にも親しみのある西洋の固有名詞や地名を表記したカタカナ用語に「日本語の仮名に対するハングルの表記法」をそのまま適用すればむしろ読者の可読性を低めてしまう恐れもある。したがって、翻訳者は韓国語の読者が理解しやすい用語や原語に近い外来語の表記法によって訳さなければならないのである。 日本語の原文にある独特な文化関連用語や外来語の表記を翻訳する場合、翻訳者は翻訳文の読者にとって奇妙で親しみのない「Foreignizing Translation」で翻訳するか、翻訳文の語文構造と翻訳文読者の文化に親しみのある「Domesticating Translation」で翻訳するかという翻訳戦略を選択しなければならないのである。翻訳者の「Domesticating Translation」と「Foreignizing Translation」翻訳戦略は原文の内容と形式に対する忠実性と翻訳文の読者の可読性を同時に満たす「正しい訳」をするための翻訳者の慎重な選択が前提にならなければならないのであろう。

싼마오는 대만의 저명한 여성 문학가이다. 그녀는 일찍이 해외 유학 경험을 통해 경험하고 공부한 것을 바탕으 로 독특한 문체의 작품을 많이 창작하였다. 그 중에서 『허수아비 일기』는 해외 생활의 에피소드를 기록한 산문이 다. 이 작품의 한국어 번역본은 2종이 있다. 번역자에 따라 각기 다른 번역전략을 활용하였다. TT1은 의미 중심 번 역을 많이 활용하여 이국적인 느낌을 많이 강조하여 번역하였다. 반면에 TT2는 소통 중심의 번역 전략을 활용하여 자연스러운 번역을 추구하였다. 또한 특이한 점은 두 번역 모두 ‘창조적인 번역’을 시도하여 의도적으로 ‘변형’하여 번 역하였다. 이러한 창조적 번역은 독자가 작품에 몰입하고 이해하는데 도움을 준다. 본 연구를 계기로 싼마오 번역 작 품에 대한 다양한 후속연구가 진행되길 기대한다.

San Mao is a prominent Taiwanese female writer. She created many works in a unique style based on what she experienced and studied through her experience of studying abroad. Among them, 『Daocaoren Shouj i』 is a prose that records episodes of overseas life. There are two Korean translations of this work. Different translators used different translation strategies. TT1 used a lot of semantic translation to emphasize and translate a lot of exotic feelings. On the other hand, TT2 pursued natural translation by using a communicative translation strategy. In addition, the peculiarity is that both translations attempted 'creative translation' and intentionally 'transformed' and translated. This creative translation helps the reader to immerse and understand the work. With this study as an opportunity, we hope that various follow-up studies on San Mao's translation will be conducted.

《牧羊哀話, 목양애화》는 중국현대문학사상 최초의 한인제재 소설로 알려져 있으며, 저자가 직접 한국을 방문 하고 영감을 얻어 창작한 소설로 유명하다. 《牧羊哀話》의 번역본은 꾸준히 재번역(4종)되고 있다. 이러한 번역본은 시기별 특성도 반영하고 있으며, 활용한 번역 전략도 각기의 특징을 가지고 있다. 본 연구를 통해 4종의 번역본을 비 교 분석한 결과는 다음과 같다. A역은 일제시기 출판된 작품으로 검열을 피하기 위해서 역자의 의도에 따라 일정 부분이 축소, 생략되었으며 이국화 번역 전략을 사용하였다. B역, C역, D역은 많은 부분 자국화 번역 전략을 활용하 여 내용적 등가를 구현해 내었으며, 독자의 이해를 돕기 위해서 부분적으로 보충설명을 덧붙여 놓았다. 번역은 의사 소통의 과정이므로 단순히 원천 텍스트를 목표 텍스트로의 전환하는 것이 아니라, 작품에 대한 목표어 독자들의 반응 이 출발어 독자들의 반응과 같아야만 한다. 때문에 번역은 시대 환경과 독자층을 감안해야만하며, 가능한 모든 방법 을 동원하여 독자로 하여금 원문을 읽은 것과 같은 감동과 공감을 이끌어내야 한다. 그러므로 번역자는 목표어와 도 착어 국가의 정치, 경제, 역사, 문화 등에 대한 이해를 바탕으로 자(이)국화 전략은 동시에 적절히 활용할 필요가 있다.

《Mu Yang Ai Hua, 牧羊哀話》 is known as the first Korean-sanctioned novel in the history of modern Chinese literature, and is famous for a novel created by the author himself visiting Korea and being inspired. The translation of 《牧羊哀話》 is constantly being re-translated (4 types). These translations also reflect the characteristics of each period, and the translation strategies used have their own characteristics. The results of the comparative analysis of the four types of translations in this study are as follows. The role A was published during the Japanese colonial period, and some parts were reduced and omitted according to the intent of the translator, and a foreignization translation strategy was used. B, C, and D have implemented content equivalence by utilizing many of the localization translation strategies, and added supplementary explanations in part to help readers understand. Since translation is a process of communication, it should not just convert the source text to the target text, but the target reader's response to the work should be the same as that of the reader. Therefore, translation must be able to understand the environment of the times and the readership, and it must use all possible methods to elicit the same emotion and empathy as the reader has read the original text. Therefore, translators need to use their nationalization and foreignization strategies at the same time based on their understanding of the target language and the politics, economy, history, culture, etc. of the destination country.

The three translations studied in this paper have the following characteristics. The translation A was published during the Japanese Colonial Period and did not omit or translate certain words to avoid censorship. In addition, there are many translations of Chinese characters, so if the target readers do not know Chinese characters, it is difficult to realize the equivalent of content. B and C translations were generally translated so that readers could understand them easily, using fewer Chinese characters. Overall, the translation of A used an exoticized translation strategy using a lot of Chinese characters, and certain parts were reduced and omitted according to the intention of the translator. B translation and C translation have implemented contents equivalent by utilizing a lot of localized translation strategies.