Earticle

문학 번역 영역에서 역자는 원작의 ‘제일독자’이자 작품의 재창작 주체인 ‘저자’이다. 역자의 이런 이중적인 신분은 원작을 읽고 이해하고 분석한 뒤, 매 하나의 단어, 구절, 심지어는작가의 창작 의도와 감정 세계에 이르기까지 반복적인 사고와 수정을 거쳐 역문을 완성하게된다. 그러나 사람마다 사유가 다르듯이 역자가 아무리 작가의 정신세계와 정서 변화를 분석하고 이해한다 할지라도, 역문의 효과는 원작이 독자들에게 주는 효과와 완벽하게 일치할 수없다. 역자는 ‘제일독자’로서 원작을 깐깐히 읽고 문맥 뒤에 숨겨진 은유적 의미까지 음미하며적절한 언어로 이들을 표현하지만, 역문 ‘저자’의 신분에서 역문의 문화적 환경과 독자의 수용을 염두에 두고 적절한 수사적 수법을 활용하게 되고, 작품과의 교류 및 소통을 진행하면서원작의 의미를 구체화하고 자신의 이해를 드러내 보인다. 그리고 이런 이해는 어떠한 경우에도 원작에 대한 충성을 기반으로 한, ‘제일독자’로서의 원작에 대한 역자의 역동적인 분석, 추측, 의미의 재구성을 수반하게 된다. 독자반응이론은 독자가 독서하고 수용하는 시각에서 문학 작품을 바라보는 문학 비평이론이다. 문학 작품의 역자는 곧 원작의 ‘제일독자’로서 그 자신의 생활체험, 인지능력, 원작에 대한 이해와 분석 등을 기반으로 번역의 의미 재구성에 능동적으로 참여한다. 그리고 주관적인사유에 따라 텍스트와 독자 사이에 존재하는 불확실한 의미의 공백을 메우게 된다. 따라서 독자반응이론을 빌어 문학 번역의 의미 재구성 문제를 논의하는 것은 충분히 일리가 있고, 역자가 ‘제일독자’와 ‘저자’란 이중적 신분으로 의미를 재구성하는 능동적 역할을 과시할 수 있다. 구체적으로 독자반응이론을 활용한 문학 번역의 의미 재구성에서 논자는 아래 몇 가지 점에 주목하여 본다. 첫째, 제일독자(역자)의 개인 생활 체험에서 비롯된 의미의 재구성; 둘째, 제일독자(역자)의 의미 확장에 대한 능동적인 참여; 셋째, 제일독자(역자)의 핵심 이미지에 대한 이해와 다양한 분석; 넷째, 제일독자(역자)의 모순된 의미에 대한 판단과 해석 등이 포함된다. 독자반응 패턴은 서로 다른 시각에서 독자들의 반응을 엿볼 수 있지만, 문학 번역 중에서역자가 ‘제일독자’의 신분으로 번역에 임할 때, 우리는 ‘독자’와 ‘저자’라는 이중적 신분을 지닌역자의 의미 재구성 참여 문제에 주목하지 않을 수 없다. 사실 실제 번역 과정에서 역자는민감한 사유와 창조성을 충분히 발휘하고, 독자의 시각으로 의미의 재구성에 적절하게 참여해야 원작의 의미적 한계를 극복하고 역자의 ‘문풍’을 가미한 이상적인 번역을 선보일 수 있다.

In literary translation, the translator is the “ first reader” of a source text and “author” doing the active re-creation as well. This dual role of the translator entails on the part of the translator careful readings of the source text, pondering over every word and every sentence, and even understanding the motive and emotional rendering of the author of the original literary text. Yet, as everyone has his own distinctive mode of thinking, however hard the translator tries to fully understand the author, the final version of the target text can hardly be identical to the source text. Therefore, the translator as the “first reader” should read carefully the source text, comprehend its connotations and implications and conceive appropriate wordings in the first place. Then he as the “author” should employ such rhetorical devices as simile or metaphor to communicate and interact with the source text, and present concretely and vividly what he understands as embodied in the source text. At all times the translator is involved in his subjective analysis, assumption and meaning reconstruction. Reader-response criticism is a school of literary theory that focuses on the reader and his experience of a literary work. And the translator is the “first reader”, who explores and interprets the meaning of the source text based on his life experience and level of cognition. So in the process of translation, the translator, as an active agent, reconstructs the meaning and bridges the gap between the text and readers through his subjective thinking. Therefore, in light of the theory of reader-response criticism, it is feasible to explore the meaning reconstruction of literary translation, which also demonstrates the active and dual role the translator plays as both the “first reader” and “author” in the reconstruction of meaning in literary translation. To be specific, the following issues are of concern in meaning reconstruction of literary translation based on reader-response criticism: I. Meaning reconstruction based on the first reader’s (translator’s) life experience II. Active involvement of the first reader (translator) in meaning extension III. The first reader’s (translator’s) understanding of core implications and addition of multiple interpretations IV. The first reader’s (translator’s) speculation on and analysis of meanings of controversial nature Reader-response model explores readers’ response from different perspectives. When it comes to literary translation, in which the translator serves as “the first reader” before he works as a translator, we should be fully aware of the dual role of the translator as both reader and author in meaning reconstruction. In practice, the translator should be active in thinking and creative, and reconstruct meaning from a reader’s perspective. Only in this way can the translator produce with his distinctive style ideal work of translation that has overcome the limits of meaning in the source text.

This paper examines how Lady Mary Wroth explores the need for a stable female literary circle between female writers and readers in The First Part of The Countess of Montgomery’s Urania through her construction of female identity in terms of the reciprocal poet-reader relationship between Pamphilia and Antissia. By investigating the ways in which sharing poetry between two female characters, who compete for the same male’s love, underpin their aesthetic similarity, and deepen their mental and physical intimacy based on mutual understanding, this paper argues that Antissia and Pamphilia’s circle helps to expand their own identity from the perspective of an ideal friendship beyond the framework of heterosexual love. By exploring the women’s intimate bond in homoerotic and maternal relationships, Wroth constructs a new image of women who develop their subjectivity based on solidarity, mutual compassion, and understanding, instead of being isolated, self-harming, anxious, and angry.

本文章主要探讨十九世纪前期通俗小说市场状况及该时期小说出版上的某种变化和特点｡ 在这段时间中, 小说出版在数量上有了未曾有的大幅度的增加｡ 在小说的类型上, 通俗性较强的历史小说､ 人情小说和公案小说受到了书坊主人的欢迎｡ 至于出版的中心地, 18世纪后期以来新兴起的广东､ 福建､ 江西等地的书坊取代了江南地区书坊的位置｡ 有些大规模书坊, 除了本店以外, 在全国各地设立分店, 扩大书坊的经营规模｡ 与此相反, 只出版一二种小说的小规模书坊也大大增加了｡ 这种小规模书坊有可能属于由个人担任出版全科程的私人出版｡ 在这时期, 生産小说的作家､ 编者往往透露了他们心目中的‘标的读者’｡ 这些标的读者出现于直接仲介读者和编者的文本以外的敍述空间―副文本(paratext)｡ ‘阅者’､ ‘读者’､ ‘同人’､ ‘愚妇庸夫’甚至‘闺秀’形成了该时期小说中的标的读者群｡ ‘闺秀’是第一次被视为置得尊重的女性群体｡ ‘同人’群体不但是某小说的第一批读者, 往往也会促进､ 激励小说书写乃至直接幇助､ 参与出版的读书群体的成员｡

본 연구는 그림책 『이슬이의 첫 심부름』에 대한 한국과 일본의 온라인 서점의 독자서평을 분석하여 유아와 함께 그림책을 보는 성인 관점의 차이를 살펴보고 시사점을 찾는데 그 목적이 있다. 이를 위하여 한국과 일본의 온라인 서점의『이슬이의 첫 심부름』 에 대한 독자서평 126편을 수집하여 분석하였다. 분석결과 인터넷 독자서평은 한국과 일본 모두 평가적 서술이 가장 많았고, 기술적 서술, 서지학적 정보 순으로 나타났다. 서지학적 정보는 한국과 일본 모두 거의 다루지 않았다. 기술적 서술의 경우 한국과 일본 독자서평 모두 내용 설명이 가장 많았으며, 미술적 요소와 문학적 요소는 적게 나타났다. 평가적 서술의 경우, 한·일 모두 서평자의 개인적 견해가 가장 많았으며 그 다음으로 한국 독자서평은 도서의 교육적 활용가능성을 많이 제시하였다. 이러한 결과는 연구 한국과 일본의 성인 독자의 그림책을 보는 관점의 문화적 보편성과 차이를 파악하고 성인의 독서태도에 대한 이해를 높이며 그림책 읽어주기 상호작용에 대한 교사와 부모교육 기초자료로 활용할 수 있을 것이다.

The purpose of this study is to analyze readers’ reviews in Korean and Japanese online bookstores on the picture book entitled, 『The first errand of Dew』 and examine the perspectives of adults who read picture books with their children and their perspective differences between two countries. For this purpose, 120 readers’ reviews on the book in online bookstores in Korea and Japan were collected and analyzed. As a result of the analysis, most of the online reviews were evaluative descriptions, followed by descriptive descriptions and bibliographic information in both Korea and Japan. Bibliographic information was rarely addressed in both countries. In the case of descriptive descriptions, the story elememt was the most frequently described whereas the artistic and literary elements of the book were less described in both countries. In terms of the evaluation elements, the personal opinions of reviewers were most commonly found in both countries, which was followed by the educational applicability of the book suggested among Korean readers. These results help us understand the cultural universality and differences of adult readers’ perspective in Korea and Japan, increase understanding of adult readers’ attitudes toward children’s books, and can be used as basic data for enhancing teachers and parents’ book-reading interaction skills with young children.

The fiction conveying the story of past by the first person narrator has particular poetics. In this case, an event which is witnessed and experienced by the character in childhood is narrated by the adult narrator’s reflective voice. So the poetics of retrospection would be an important narrative device. That is, there would be re-views and re-experiences inevitably, and this would be interpretation and valuation of the event. Therefore, it towards complete meaning and clearness of interpretation. And the audibility of adult narrator’s voice would be expended. In film, there is no narrator’s intermediation which transmits the event of past and mentions of characters. This is a decided factor which makes different esthetics and theme. Also the viewpoint shot in film is different from the first person narration in fiction. While the first person narrator controls over the whole narrative in fiction, the first person narrator becomes one of characters which is focused by camera in film. The audiences of film is affected by this change. This paper intends to examine an aspect of the variation by analyzing Der Vorleser by Bernhard Schlink and The Reader by Stephen David Daldry. Der Vorleser is composed of a typical retrospective narration and contains a long story time which extends over almost forty years. It tells the story of the Holocaust through the love story between a woman who had been a guard of the Nazis and a boy who was fifteen years old. It is narrated by the first person narrator. So the first person narrator’s monologue reveals scars of the epoch, the Holocaust. The Reader intends to express passage of a long time and emotions of characters without voice over narration. So the relative importance occupying the first person, Michael is reduced but Hannah who was a guard of the Nazis comes up rise on the surface of the narrative in film. As the result, though both Der Vorleser and The Reader have a same story and a same theme, the influences on reader’s receptions become different. While the first person narrator’s linguistic narration requests to be sharing self and pursues the complete meaning, the composition and completion of meanings attribute to the audience’s portion in film.