Earticle

본 연구는 한일 양국의 외래어의 수용 방식을 코로나19 관련 용어를 중심으로 고찰 한 것이다. 외래어는 외국어에서 비롯된 말이기 때문에 수용되는 과정이 필요한데 이는 외국어를 자국어로 옮기는 번역의 과정과도 비슷하다. 여기에 착안하여 한일 양국에서 사용하는 코로나19 관련 용어가 양국에 어떻게 수용되었는지 번역 방법론을 이용하여 검토하였다. 연구 대상인 코로나19 관련 용어는 한일 양국의 기관에서 쓰인 코로나19 관련 용어 중 공통적으로 많이 쓰인 용어를 정리한 후 원어를 확정할 수 있는 용어로 선정하였다. 연구 방법은 번역 전략을 자국화와 이국화, 기타 전략으로 구분하여 자국화 전략의 번 역 방법으로는 의역과 대응역을, 이국화 전략의 번역 방법으로 음역을, 기타 전략의 번 역 방법으로는 혼역을 제시한 후 양국의 코로나19 관련 용어를 원어와 비교하여 각 용 어가 어떤 전략에 따라 어떤 번역 방법으로 수용되었는지 검토하였다. 그 결과 양국의 코로나19 관련 용어의 수용 방식은 서로 다른 양상을 보였다. 한국어 의 코로나19 관련 용어는 자국화 전략에 속하는 의역의 번역 유형으로, 즉, 한국어의 기존 어휘를 활용하여 조어한 용어로 수용되었다. 반면 일본어의 코로나19 관련 용어는 기타 전략에 속하는 혼역의 번역 유형으로, 즉, 외국어를 차용한 어휘와 일본어의 기존 어휘를 조어한 용어로 수용되었다. 이번 결과는 코로나19 관련 용어가 들어온 지 2년이 지난 현시점에서의 결과로 앞으로 시간이 지남에 따라 어떻게 변화할 것인지 지속적인 연구가 필요하다.

This paper examines the acceptance of loan words i n Korean and Japanese focusing on terms related to COVID-19. Since loan words are derived from foreign languages, it is necessary to investigate the how they have been accepted into the native language. This process of acceptance is similar to the process of translation from a foreign language to the native language and therefore, in this study, the acceptance process was examined using the translation methodology. For the COVID-19 terms, which is the subject of the study, the most commonly used terms by government agencies in both Korea and Japan were collected. Furthermore, the COVID-19 terms selected can also be identified in English COVID-19 terms. As research methodology, translation strategies and translation methodology have been presented and the accepted COVID-19 terms in Korea and Japanese were compared with the COVID-19 terms used in English. Results showed that majority of the terms were accepted in Korean as translation of paraphrase, which belong to the domesticating strategy. On the other hand, in Japanese, most of the terms were accepted as mixed translation, which neither belong to domesticating nor foreignizing strategies. The finding of this study reveal the adaptation of COVID-19 terms during the first two years of the pandemic. Thus, further research is needed so as to explore a series of changes in the COVID-19 neologisms over time.

본고에서는 중국 화장품 시장의 80%를 차지하는 외국 유명 화장품 브랜드를 텍스트로 삼아 이들이 중국어로 어떻게 새롭게 네이밍(Naming) 되는지 그 유형과 기법을 고찰하고 나아가 그 음성적, 형태적, 의미적, 문화적 특징도 분석하고자 한다. 본고에서 다룬 화장품 브랜드는 중국에서 현재 판매되고 있고 보편적 인지도가 있는 168개의 브랜드를 분석 대상으로 삼았다. 브랜드 네임은 소비자로부터 브랜드 연상 및 이미지를 이끌어 낼 수 있을 뿐만 아니라 궁극적으로는 시장 성 과로 연결될 수 있기 때문에 매우 중요한 고려사항이다. 특히 고배경(High context) 문화의 중국시장에 진출 하는 기업의 경우에는 브랜드 네이밍 전략이 전체 브랜드 전략의 가장 기본적이며 핵심적인 요건이기 때문이 다. 연구결과를 요약하면 다음과 같다. 첫째, 번역 기법 중 음역이 107개(63.6%)로 가장 많았다. 이는 외국 화장품 브랜드 네임 자체가 주로 창시자의 이름과 지역명이 대부분이고 이를대부분 음역하는 언어습관 때문이다. 둘 째, 2, 3, 4개의 글자 수 브랜드가 152개(94%)로 절대다수를 차지하였다. 이는 원 브랜드 네임이 대부분 명사 형으로 되어 있고 발음을 중국어로 음역하면 2-4 글자로 되기 때문이다. 셋째, 여성을 상징하는 단어들이 주 로 쓰였고 서구 여성과달리 동양 여성을 상징하는 문화 요소가 반영되어 있다. 넷째, 브랜드 네이밍을 하면서 중국의시장 요건과 중국인의 기호에 맞추어 네이밍을 하는 자국화 기법(Domestication)과 이국적이고 생소한 것을 그대로 받아들이라는 이국화 기법(Foreignization)을 적절하게 사용하고 있음을 알 수 있었다. 본 연구는 향후 중국 ‘화장품 시장’에 진출하는 한국의 화장품 기업과 뷰티관련 기업에 좋은 참고 자료가 될 것이다.

This research aims to examine thetechniques of re-naming brand names offoreign cosmetic products in the Chinese language by looking at non-Chinesebrand names of well-known cosmetic products, which account for approximately80% of the Chinese cosmetics market. In addition, this research seeks tofurther analyze the phonetic, morphologic, semantic and cultural aspects of thenaming process. One hundred sixty eight cosmetic brand names wereinvestigated in this study, which are currently put on the market in China andare gaining nationwide recognition. Generally, brand names can not only drawbrand association and images from consumers but, more importantly, arerelated to market performance. In this sense, brand names are a highlysignificant factor . Particularly for enterprises entering the Chinese marketwith the cultural characteristic of high context, brand naming is one of the mostessential and fundamental strategies for the whole brand lines. This research found the followings. First, among the translation techniques,phonetic translation was found in 107 cases (63.6%), accounting for the largestpart. This is because most of the foreign-branded cosmetics in China have theircreator or region names and they have been frequently transcribed based onsound. Second, 152 cases (94%), the absolute majority, had 2, 3 and 4 lettersin the brand names. This is because most of the original brand names are inthe noun form and if their pronunciation is transcribed in Chinese, it makes2-4 letters. Third, female-symbolizing words are often used and unlike thewest, the country reflected cultural elements symbolizing oriental females. Forth, in the brand naming, it was found that the country was appropriatelyutilizing both the domestication method, which renames products consideringChinese market factors and preferences of the Chinese people and theforeignization method, which accepts exotic and unfamiliar things as they are. The current study is expected to serve as a reliable reference for Koreancosmetic enterprises and beauty-related companies which are planning toadvance into the Chinese cosmetics market in the future.

Current translation theories are based on the concept of mutual reliance of cultures and languages. Namely, the external factors of language play a bigger role in translation than internal factors thereof. For translation research dealing with a diversity of areas, it is necessary to be free from factors immanent in texts and to think that translation is related to society. Then, in macro-perspectives, cultures and social phenomena should be reflected. Having been influenced by post-structuralism, translation researchers start to regard translation not as simple language conversion or information transition in texts, but as the action of power that surfaces in the process of translation between languages of different cultures. Against this backdrop, the best representative scholar is Foucault M., who has had significant effects on the current translation research. Presenting the power discourse theory, he argues that power refers to all the elements in control and rule, forming a type of network in all areas in a human society. Under the restraints of power discourse, from which, translators can not be free, the representative methodologies that can be chosen in the process of translation between languages of different cultures are foreignization and domestication. It is also implied that the process is differently applied by genre, depending upon whether ST and TT are a strong or weak culture.

Recent progress in artificial intelligence has significantly reshaped the field of translation, prompting renewed discussion about the role of human translators. Yet, AI tools continue to struggle with the translation of literary texts, particularly with cultural nuance. This study therefore aims to evaluate how effectively AI tools translate cultural terms in a literary text in comparison with a human translator. To this end, two AI-generated translations by ChatGPT and DeepL of Choi Eunyoung’s short story A Song from Afar are compared with its human translation. The primary focus of the analysis lies on cultural elements, with particular attention given to forms of address, which reflect Korean social hierarchy and shape the characters’ power dynamics. The results show that although both AI translations tend to preserve many cultural terms, giving their translations an apparently foreignizing orientation, this tendency appears to result less from a deliberate strategy than from limited creativity and insufficient contextual and cultural awareness.

With <Winter Sonata> being the start of the Korean wave boom in Japan, the status of, and the intimacy with, Korean culture have soared. Such changes have brought about explosive increase in demand for translation of Korean dramas and novels, and actually there have been many such translations. There search in this paper starts on the assumption that such quantitative increases in demand for translations will also cause changes in one form or an other in translations trategies or translation norms. The characteristics of translation in to Japanese of the novel version of <My Name is Kim SamSoon> on which this paper focuses on are that the ‘appellation’ was all translated in ‘foreignization strategies.’ In the case of ‘immediate family appellation’, there is hardly any cultural difference between Korea and Japan but the ‘immediate family appellation converted into intimacy appellation’ (e.g. Eonni, Nuna, Opba, Hyeong) shows the usage that is peculiar to Korea. In other words, one uses the appellation such as ‘Eonni’, ‘Opba’, for the persons with whom he or she is in the intimate senior-junior relationships with in certain social groups even if they are not one’s own brothers and sisters. In the translation in to Japanese of <My Name Is Kim Sam Soon>, such appellations are translated in foreignizations trategies(corresponding Japanese+tuning fork pleonasm). The purpose of this paper is to analyze and describe the relations between the translations in these foreignizations trategies and the changes in the status of Korean culture through the Korean wave, and the correlations between the foreignization translation and the equivalence of coherence with the implicature that Baker mentioned.

『마이너리그』중역본인 『汉城兄弟』는 유머러스하고 비판적인 분위기로 한류 (韩流)가 한창 유행하던 시기, 독자들에게 많은 사랑을 받은 매력적인 작품이다. 이 책을 번역한 두 역자는 출발어가 가진 이질적인 요소들을 추가 번역, 대체 번 역, 모방 번역과 같은 번역 방법을 활용하여 번역하였다. 본 연구는 자국화와 이 국화 번역 전략의 바탕인 “차이(异)”와 “거리”에 착안하여 『汉城兄弟』을 분석하 였다. 본 연구는 원본과 번역본을 대조하여 논지의 전형성을 띠는 양상들을 제시 하고 나아가 그것들을 분석하는 방식으로 진행하였다. 이를 통해 『汉城兄弟』의 번역 방법과 전략을 분석하고 나아가 『汉城兄弟』에 채택된 번역 전략의 형성 원 인까지 탐색하고자 한다.

The Chinese translation of “Minor League“ has a critical spirit of humor and satire, which is unique in the period of “Korean wave“.In translation, the translator adopts the main translation methods of addition, metonymy and imitation to deal with the translation problems related to the heterogeneous factors in the source language. According to the definition and essence of domestication and foreignization, this paper studies the typical translation phenomena, translation methods and translation effects of the Chinese translation of “Minor League“ by means of quantitative analysis and qualitative analysis. Finally, the paper also explores the reasons for the influence of translation strategies.

Domestication is the translation strategy in which a transparent style is adopted in order to minimize the strangeness of the foreign text for target text readers. Foreignization is a term used to designate 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. This article purports to analyze the differences found in translation of the same source text into Russian and Korean from the perspective of domestication and foreignization, which is related to such issues like literal vs. semantic translation, fidelity vs. readability, source text vs. target text oriented approaches. The source text is Lectures on Russian literature, which is written by Vladimir Nabokov and translated into Russian and Korean. Domestication and foreignization is not merely a matter of preserving or changing of the original text, but a way to adopt or resist dominant values in the receiving culture. Concrete routes by which domestication and foreignization theories in late 20th century are evolved, the meaning of this evolvement in translational act would be studied in detail. Further, the differences between Russian and Korean translation would be examined from domestication vs. foreignization point of view.

본 연구는 첫째, 베누티가 주장하는 좋은 번역의 의미와 이국화로 더 잘 알려진 소수화번역을 베누티 자신의 번역사례를 통해 고찰한다. 둘째, 몇 가지 문학번역 사례들을 비교 분석하여 베누티의 소수화 번역이 한국문학번역 상황에 적용가능한가를 논하고자 한다. 이를 위하여 이국성을 드러낼 수 있는 장치의 기능을 담당하는 잔여태인 비속어, 관용구, 문학적 수사인 비유, 그리고 사회적 통념을 기준으로 해당 텍스트를 분류하여 분석하였다. 원전 텍스트의 선택 기준은 출발 문학계의 정전체계 안에서 주변적 위치를 차지하고 있는지의 여부와 혼질적 담화를 생성할 수 있는 가능성이다. 혼질적 담화 생성을 통하여 가독성은 높지만 텍스트가 낯설게 보이는 효과를 베누티는 높이 평가하고 있으며 이것이 바로 이국화 즉 소수화번역인 것이다. 그러나 문학번역 텍스트 분석 결과 베누티의 소수화번역 이론은 한영 번역의 사례를 제외하고 영한 번역의 사례에서는 설득력이 없어 보인다.

Agreeing with Antoine Berman’s idea that a bad translation disclaims the foreignness of the text, Lawrence Venuti contends that the real function of translation is to demystify the foreignness of the foreign text in its own language. He opposes to the concept of assimilation that translating a text is to inscribe a foreign text with domestic intelligibilities and interests. The purpose of this paper is largely twofold: one is to speculate on what a good translation is, based on Venuti’s minoritizing, or, widely known, foreignizing, translation strategies; the other is to see how to apply Venuti’s minoritizing strategies to some of real-life translations. Lastly this paper considers if the strategies of the minoritizing translation might be helpful to the future of Korean literature which is trying to open doors to the global communities that one would think are unreachable.

이 글은 이국화(Foreignization)와 자국화(Domestication) 이론을 분석의 틀로 삼아 중국 고전 명작 󰡔홍루몽(紅樓夢)󰡕에 나타난 음식 문화 관련 어휘의 한국어 번역 전략을 심층적으로 고찰한 것이다. 음료, 과자, 요리 등 핵심 범주에 속하는 어휘 번역을 비교 분석한 결과, 두 한국어 번역본 모두 자국화 중심, 이국화 보조의 경향을 보이며, ‘자국화+이국화’ 혼합 전략을 유연하게 활용하고 있음이 드러났다. 자국화 전략의 빈번한 사용은 한국어 독자의 문화적 인식에 부합하고 번역문의 가독성을 높이기 위한 목적에 기인한다. 반면, 이국화 전략은 심층적인 문화적 함의를 지닌 어휘에 적용되어 원문의 언어적 특성과 문화적 이질성을 유지하는 데 기여한다. 혼합 전략은 문화의 충실한 재현과 독자 수용성 사이의 균형을 도모하는 역할을 수행한다. 또한 본 연구는 문화적 공백 등 현실적 요인이 번역 전략 선택에 미치는 영향을 밝혀내고, 시대적 맥락과 번역자의 주체적 해석이 번역 텍스트의 재창조에 어떻게 작용하는지를 조명하였다. 이러한 고찰은 동아시아 고전 문학의 한국어 번역 실천을 촉진함과 동시에, 한ㆍ중 간 문화용어의 연구에 방법론적 시사점을 제공한다.

This study employs the theories of foreignization and domestication as an analytical framework to examine in depth the Korean translation strategies for food culture-related vocabulary found in the Chinese classical masterpiece Hongloumeng (The Dream of the Red Chamber). A comparative analysis of key lexical categories-including beverages, confectionery, and dishes-reveals that both Korean translations predominantly adopt a domestication-centered approach supplemented by foreignization, flexibly applying a combined “domestication+ foreignization” strategy. The frequent use of domestication strategies stems from the aim of aligning with Korean readers’ cultural perceptions and enhancing the readability of the translations. Conversely, foreignization strategies are applied to terms with deeper cultural connotations, helping preserve the linguistic features and cultural distinctiveness of the source text. The combined strategy serves to balance faithful cultural representation with reader acceptance. Furthermore, this study elucidates how practical factors such as cultural gaps influence the choice of translation strategies, and highlights how historical context and the translator’s subjective interpretation contribute to the recreation of the translated text. These reflections not only promote the practice of translating East Asian classical literature into Korean but also offer methodological insights into the study of cultural terms across Korean and Chinese.

이 글은 번역을 ‘자국화 작업이자 결과’로 간주하는 베누티(Lawrence Venuti)의시각 하에, ‘이국화(foreignization)’를 자국의 동화주의적 윤리에 저항하기 위해타문화의 낯섦을 드러내는 번역 전략으로 보고, 중한번역에 적용해 보는 것을목적으로 한다. 이를 위해 티베트계 중국 소설가 아라이(阿来)의 작품 『格拉长 大』에서 소수민족의 인명을,『格拉长大』와 『尘挨落定』 에서 티베트 ‘문화 어휘’인 ‘火塘’과 ‘寨’를 사례로 발췌하였다. 중국의 소수민족 3세대 작가군에 속하는 아라이의 작품은 들뢰즈(Deleuze)와 가타리(Guattari)가 ‘소수문학’이라 규정한 ‘소수가 다수 언어 속에서 만들어 낸 문학 텍스트’에 속한다. 이에 ‘혼질적담화(heterogeneous discourses)’를 양성할 수 있는, 이국화 번역에 적합한 텍스트라 할 것이다. 이를 통해 주류(한족) 문화 속 ‘소수 문학(티베트)’이 또 다른세계인 한국어 독자들과 만날 때, 도착어 독자들에게 ‘문화적 낯섦’ 드러낼 수있는 이국화의 전략적 방식을 제안하겠다.

This study explores the possibility of applying foreignization on Gwon Jeong-Saeng’s Mongsil Eonni. Many scholars of literary translation encourage domestication over foreignization, so there exists insufficient finding on the process of foreignized translation of children’s book and the responses of child and adult readers of such translation. Distancing or alienating the target readers from the Source Text (ST) is considered as undesirable by the supporters of domestication. However, despite the widespread notion of domesticating literary texts, Lawrence Venuti offers ways of applying foreignization when translating literary texts of marginalized culture. He argues that alienation is necessary rather than assimilation when reading texts that contain elements of the marginalized culture. Foreign textual elements found in the foreignized text allow the target readers to acknowledge the cultural differences that are easily overlooked when the ST is domesticated. Translation is known to be a medium or tool in exchanging two cultures but the translation fails to play this role when domestication is used. By applying foreignizing translation strategy on Mongsil, the translation delivers the message that Gwon wishes to tell his readers. The confusion and sorrow felt by Koreans of the North and the South due to sudden division and war are key sentiments that the ST author emphasizes throughout his work. Hence, by preserving the foreignness of the political, ideological and cultural terms and notions from the ST, the translation enables a bidirectional interaction between the target readers and the unfamiliar.

At the beginning of the 1980s, some western scholars, like Itamar Even-Zohar, Susan Bassnett, Andre Lefevere and Lawrence Venuti gradually realized cultural elements in translation studies, such as rewriting, ideology, poetics and patronage, etc. The first Chinese translation was not published until 1994. So far, Jin Di’s edition (1994 and 1996), Xiao Qian/Wen Jieruo’s edition (1994) and Liu Xiangyu’s edition (2021) have been three mainstream translations in China. With the guidance of foreignization and domestication, Jin mainly adopted foreignization, similar to the “Theory of Equivalent Translation” that he has coined. Xiao and Wen claimed that translators should spare no effort to make the translation fluent and colloquial. Liu was devoted to find out the similarity of forms between source language and target language and make detailed interpretation on Irish history and culture. On the premise of respecting the original logic and main ideas, it is the best way to use both foreignization and domestication flexibly if needed. Throughout the centennial journey of “Odysseus” in China, Ulysses and its three Chinese translations have not only embarked on the cross-cultural communication and cooperation between China and Ireland, but also provided a magnificent example to overseas communication of modern Chinese literature in an era of globalization.

《紅樓夢》作為中國四大名著之一，對中國文學乃至世界文學產生了深遠影響。目前，《紅樓夢》存在兩個影響較大的英譯版本。一個是英國翻譯家大衛霍克斯的The Story of the Stone，另一個是中國翻譯家楊憲益的A Dream of Red Mansions。本論文以勞倫斯韋努蒂提出的歸化和異化理論為理論依據，通過列舉兩個譯本中的一些譯例，識別兩個譯本对中藥方劑的翻譯所採用的翻譯策略,比較分析兩個譯本對中藥方劑翻譯的亮點和不足，試圖對《紅樓夢》中藥方劑的英譯提出嘗試性建議，進而促進中醫藥文化更好地對外傳播。

A Dream of Red Mansions is deemed as one of the four great works in China, which has a far-reaching influence on Chinese literature and the literature of the world. At present, we can find that A Dream of Red Mansions exists in two versions which have great influences. The first version is British translator David Hawkes’ The Story of the Stone. The second one is Chinese translator Yang Xianyi and Gladys Yang’s A Dream of Red Mansions. In this paper, we took the theory of Lawrence Venuti on domestication and foreignization as a theoretical basis, via listing some translation examples in two English versions, identified the translation strategies of the Chinese prescription as well as compared and analyzed the strengths and shortages of the translation on the Chinese prescription in two versions. And, we tried to put forward some tentative suggestions on the English translation of the Chinese prescription in A Dream of Red Mansions as well as promote the spread of traditional Chinese culture to the world in this paper.

This paper explores two different aspects of “foreignization” in translation with respect to the translator’s role and the concepts of translation discourse. Foreignization is a notion that dates back to the well-known German theologian Friedrich Schleiermacher, and it has been discussed by many translation theorists with regard to its binary opposite, “domestication”. Lawrence Venuti, one of the most active post-colonial theorists in translation studies, tries to reveal the asymmetrical relations inherent in any translation project, intending to subvert the hegemonic language and culture by revealing the inequalities present in translation. Venuti starts his argument in a very controversial work based on the post colonial perspective, “The Scandals of Translation: Towards an ethics of difference,” by agreeing with Berman’s suspicions of “any literary translation that mystifies the inevitable domestication as an untroubled communicative act”. Berman suggests examining the deforming tendencies in translation “to receive the Foreign as Foreign,” which he calls “the analytic”. What makes the distinction between the ideas of Venuti and Berman is the translator’s status they define. Venuti claims that the translator should never be invisible and the translator’s “heterogeneous discourse” is critical in foreignizing translation. In contrast, Berman says the analytic in translation focuses on “the universals of deformation inherent in translating as such.” He maintains that the “negative analytic” should be extended by a “positive analytic”, an analysis of operations which have always limit the deformation, and it should be practiced in literary translation by a manipulation of signifiers.

The paper addresses frequently-appeared yet confusing concepts, ostranenie and foreignization, in literary (translation) criticism. The confusion arises mainly due to lack of interdisciplinary approach based on in-depth research on a different field from that of a researcher concerned and in turn Korean equivalent's application of borrowed English terms to different contexts. Shklovskij introduced a concept of ostranenie in Russian, defamiliarization in English for a fundamental technique as all sorts of arts. Defamiliarization means impeding a habitual concept and slowing our perception, that is, removing our 'automated perception.' For example, a cinderella story, which is one of the most famous fairy tales, originated from a French children literature, was reinterpreted and even distorted to be reborn as a new face of the age-old story in Hollywood style films such as Ever After(1998) and A Cinderella Story(2004). While defamiliarization makes familiar things fresh in terms of perception, foreignization leaves unfamiliar factors intact as they are in text interpretation, especially, between source text and translation target text. On the contrary, domestication refers to adapting them to text receptors with local flavors. Bride and Prejudice(2004) is a Bollywood film version of Jane Austen's Pride and Prejudice(1813), one of all-time favorite English novels. The Indian musical is not just a film version of the novel but also, more importantly, a totally new look with indian spices--Indian characters and one American man, cultural conflicts surrounding the romance between an Indian lady and the American guy. In this sense, this can be also viewed as localization.

A translator negotiates two strategies of translation, domestication and foreignization. Domesticated translation and foreignized translation seem mutually hostile; however, they can coexist in the practice of translation such as Kawabata Yasunari’s novel The Old Capital, cited and lauded by the Nobel Literature Committee in 1968. Kawabata self-orientalizes Kyoto throughout the text, and the English and Korean translators are likely to domesticate such oriental atmosphere in some parts and foreignize Japanese tradition in other parts. In this paper, I explore how the English and Korean translators resist or comply with the original. I realize that the English translator attempts to tone down the author’s criticism of the US afflicting Postwar Japan. I also find that the Korean translator deliberately revises the source text when it evokes memories of the Japanese colonial rule in Korea. As America, Japan, and Korea have influenced each other throughout the twentieth century, domesticated translation reflects the hegemonic struggle between these societies. Nonetheless, the English and Korean translators attempt to preserve the foreign identity of the source at the same time. A translator compromises two strategies of translation based on his or her reading and understanding. When we look into how a translator coaxes the Japanese language into English and Korean, the cultural difference across the Pacific and Korean Strait emerges self-evidently. Understanding cultural difference and respecting diverse local color will be the first step to motivate transcultural and transnational exchange between American, Japanese, and Korean society.

In order for the overall landscape of Korean classical literature to be introduced to overseas readers and scholars, Korean classical works should be translated evenly across various fields. High-quality English translations of Korean classical literature must be published, and for this purpose, discussions on diverse levels of translation and specific methodologies need to take place. The fundamental task of translation is to achieve a balance between 'foreignization' and 'domestication/vernacularization,' which is deeply related to issues of literary quality and readability. For the harmonious coexistence of 'literary quality' and 'readability,' collaboration between "inbound translators" (foreign translators with an understanding of Korea or its classics, especially native speakers) and "outbound translators" (translators who are native Koreans and have studied classical literature) is ideal. Through their collaboration, uncertainties between the original text and the translated text can be minimized, allowing for the integration of two translation strategies. In this paper, specific methods obtained through collaborative processes in the field of '孰遂念' are presented. Firstly, an effort is made to convey the literary style that reveals the genre characteristics and features of the literary work. Secondly, a method of translation is proposed, where cultural implied information is conveyed to the target culture by expanding the original text rather than finding alternative or higher-level words. It is crucial to remain faithful to the original text while minimizing errors that may arise from transliteration. Thirdly, a method is suggested where the expressions and vocabulary of classical literature in the target language are utilized. This involves considering the target language in the translation while maintaining the characteristics of classical literature to preserve its literary quality. These challenging and concrete examples need to be accumulated and shared continuously and discussed collaboratively.