Earticle

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.

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.

Translation is not just linguistic transfer, but also a process of political writing; there is often an unequal power relationship between two languages, dominant and marginal. From this political perspective, I examine Deborah Smith’s English translation of the Korean novel Human Acts by Han Kang. I argue that her translation challenges the perceived universality of Western knowledge and acknowledges the multiplicity of experience, culture, and knowledge of the Korean people in a decolonizing translation. The translator’s work, in what Lawrence Venuti calls foreignization,1 rejects the hierarchy between two cultures and the supremacy of English in a variety of ways. She respects Korean language, culture, and history as significant elements in her translation by retaining and explaining culture-specific terms, and by adding Korean history to the paratextual material and the actual text of the translation. Smith attempts to resist the oppression of cultural imperialism, not allowing Korean cultural otherness to be appropriated by Anglo- American culture.

This study aims to validate the existing research on TED translation strategies which have mainly been conducted using a content analysis method. Two surveys were conducted, one in 2014, and the other in 2019. The survey results show that TED translators also consider audiovisual information when subtitling, and consciously omit repeated information, discourse markers, and pronouns while intentionally keeping transitional words. They also answered that they prefer domestication strategies for sayings, and literal translation for currencies and measurement units. Compared to the 2014 survey, TED translators in 2019 were more actively following experts’ practice of subtitling that are found on TV or in movies: they attempt to follow professional subtitling rules on domestication, punctuation, and subtitle lengths. The respondents described that their translation strategies are mainly centered around the audience’s easy understanding of the messages and information provided by TED talks. The results of the surveys are found to support the presumptions offered in the existing studies: omissions/additions of certain information in accordance with video, differentiated translation strategies for culture-specific terms, omissions of repeated information, discourse markers, and pronouns, and retainment of transitional words were all intentionally done.

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.

As translation studies has been performed based on texts, the historicity and the politicity of translating activity remain unnoticed. Meanwhile, the post-colonialism ‘cultural translation’ theory considers cultural contacts and negotiations to be translation and recognizes such translating activity as a practice of political discussion. The ‘cultural translation’ theory by Bhabha who was inspired by Benjamin assuming that language is constitutive, rather than communicative, in the course of representing thoughts and reality has emerged noticeably in the translation studies by virtue of Venuti who emphasizes the ‘minoritization’ translation. This study aims to look at how the ‘cultural translation’ of Bhabha has been deployed as discursive practices and how it has been succeeded ・developed as a translation theory as well as to analyze・describe Yu Miri’s ‘The End of August’, introduced as a specific example of practices of ‘cultural translation’, from the cultural translation’s perspective. Specifically, it studies the flow of a theory so called ‘translation without translating’ represented through ‘Walter Benjamin → Homi Bhabha → Lawrence Venuti and then discusses how the hybridity of ‘the End of August’, unveiled by ‘foreginization’, is disappearing through the process of ‘domestication’ in the Korean translation of ‘The Other Side of August’.

既存の翻訳研究がテキストを中心に行われ、翻訳行為の歴史性や政治性にあまり注目していなかったのに対し、ポストコロニアル‘文化翻訳’理論は、文化間の接触と交渉を翻訳としてみなし,　このような翻訳行為を政治的言説の実践として認識する。　言語が思想と現実を表象する上で、　コミュニケーションの性格よりは構成的な性格を帯びると推定するベンヤミンの影響を受けたバーバーの‘文化翻訳’理論は、‘少数化’翻訳を強調するベヌティにより,　翻訳学内でも大きく浮上することになる。本稿は、バーバーの‘文化翻訳’理論が言説的な実践行為としてどのように展開され、翻訳理論として継承・発展していくかを考察し、‘文化翻訳’の具体的な実践として柳美里の󰡔8월の果て󰡕を紹介し、これを‘文化翻訳’の観点で分析・記述することを研究目的とする。具体的に‘ベンヤミン’→‘バーバー’→‘ベヌティ’につながるいわゆる‘翻訳不在の翻訳’理論の流れを検討し、これをもとに‘異質化’を通じ、柳美里の『8월の果て』に現れた‘雑種性’が韓国語の翻訳『8월の저편』では、‘受容化’によりどのように消えてしまうかについて議論しようとする。

This paper explores how culture-bound terms are translated in fansubs in comparison with conventional audio-visual translations. To do this, translations of TED talks performed by TED Open Translation Project participants were compared with those by professional translators of EBS, a state-owned broadcasting company in Korea. The two translation agencies –namely TED translators and professional EBS translators- used different strategies for different types of culture-bound terms. For units of measurement, EBS translators domesticated all the words while TED translators used combination strategies. Borrowing, literal translation, and borrowing+explanation were common for proper nouns, but EBS used chunking sideways while TED used the 'borrowing+(explanation)' strategy. Regarding general cultural terms, TED translators preferred literal translation while EBS used the free translation strategy more often. However, when it came to metaphors, surprisingly, TED translators used the free translation strategy more often than EBS did. This presents a stark contrast to the known features of fan subtitling ― literal translation and foreignization. This indicates that netizens are differentiating their strategies according to the skopos of their translation.

This paper is a research of translator's 'rewriting', and comparative study forEnglish and Korean translations of Haruki Murakami's novels as well. Thisresearch had compared three texts in English, Korean, and the original(Japanese),and analyzed the difference of Korean and English versions. Japanese to Englishtranslations had shown unique aspects, for instance, recurring miss-translations,intentional omissions and alteration, changes of sentence, and a point of view. The most unique thing of English version is, transform of original texts. English translator changed sentences a lot, for english readers' understanding. As a result, English version became really simple sentences, and parts aboutJapanese culture what English readers do not know are definitely eliminated. It - this 'domestication' of translation - means, translation is a kind ofsituational output, and it can be changed.

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.

La relation qui existe entre le Texte Source (TS) et le Texte Cible (TC) en traduction retient depuis longtemps l’attention des théoriciens de la traduction. Certains spécialistes, comme Nida (1964), Catford (1965), Newmark (1988), et De Waard et Nida (1986), perçoivent le TS comme un “original sacré” dans sa forme, dans sa fonction, ou dans les deux. D’autres théoriciens, tels que Vermeer (1989), Venuti (1995), Behl (2002), et Muhawi (2007), soutiennent, au contraire, que le traducteur doit devenir un participant actif dans la communication interlinguale s’il vise à offrir un TC naturel. Le présent article montre qu’il est essentiel de maîtriser le TC aux niveaux pragmatiques et culturels lorsque l’on traduit entre l’arabe et l’anglais. Il est proposé que le traducteur doit être sensible aux différences de force illocutoire, de normes de politesse, et des implicatures conversationnelles entre les deux langues. Cet article documente certains difficultés provenant des domaines sociaux, politiques ou religieux. L’authenticité des exemples cités est assurée par une sélection faîte, dans la plupart des cas, à partir de traductions publiées.

This paper aims to suggest the way of translation by discussing the actual process of translating Toni Morrison's Sula. The process of translation is that of compromise in which the translator is obliged to modify the original intentionality in order to solve translation problems. My goal of translation is to fully retrieve ‘the Foreign’ of Sula and to do so is the strategy of foreignization considered the best way. However, the intentionality has been often limited by two kinds of translation problems; untranslatability and receptiveness. Untranslatability is categorized of three levels; cultural, semantic, and linguistic and stylistic. As the three levels show, untranslatability is mainly due to the absence in the target text for the source text or differences of the two texts. My decision to find a solution is the change of intentionality from foreignization to domestication, which sometimes leads to deformation of the source text with interpolation and footnote. Although such solutions vary, it is clearly that they involve the principle, the receptiveness and readiness of the target audience. What I recognize through a painful experience of translating Sula is that the process of compromise is to deepen understanding of black literature. In addition, it is a way to discover how to get into what Berman calls ‘a good translation’ which is to receive ‘the Foreign as Foreign.’

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.

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.

신경숙의 『엄마를 부탁해』는 ‘어머니’라는, 자칫 진부할 수 있는 주제를 가지고 경이로울 수준의 독자 반응을 얻어내며 연구자들과 언론의 관심을 집중시켰다. 그 번역본 Please Look After Mom은 원본과 마찬가지 로 해외에서도 해당 작품의 2인칭 서술 방법의 특이성과 효과, 그리고 ‘엄마에 대한 그리움’이라는 흔한 주제를 새로운 관점으로 풀어간 부분으로 관심을 받았다. 연구자들은 한국적인 감성을 바탕으로 한국어로 쓰인 문학 작품이 번역을 통해 세계시장에서 소정의 공감을 얻기 위해서는 도착어(到着語)를 사용하는 이들과 우리가 사용하는 공통적인 문법, 또는 대체될 수 있는 문법이 무엇인지 파악해야 하며, 원서(原書)가 가진 문화적인 의미를 분석하고 그에 따른 전략적인 번역을 해야 한다고 주장한 다. 김지영의 번역서는 이러한 전략의 하나인 ‘자국화(domesticating)’에 성공한 대표적인 사례라고 볼 수 있다. 본 연구는 해당 번역서에서 (1) 어떤 ‘변형-첨가-누락’이 나타나고, (2) 번역가의 의도는 무엇이며, (3) 이러한 편집이 어떤 효과를 가지는지 분석하고 이를 토대로 우리 문학이 세계인에게 더욱 큰 공감을 얻을 수 있는 방안을 고찰하는 데 그 목적이 있다. 분석 결과 시제 변형, 단락과 단어 변형, 도시명 첨가, 사투리 누락의 4가지 패턴이 나타났다. 끝으로 분석결과의 의미와 실질적 함의가 논의되었다.

The present study attempts to clarify the success factors of Shin, Kyung-sook’s novel, Please Look After Mom, in the international market by focusing on Kim, Chi-young’s translation. After its publication in 2011, the novel has achieved a great success in the international market and were favorably reviewed by both readers and critics. One of the most popular comments of the translated version of the book is regarding the fluency and readability. Just like Kim, Chi-young intended, the book was read as if it was originally written in English. The success of the book has received a significant amount of attention in the domestic market, and the book was praised for brightening the future of Korean literacy in the overseas market. The present paper suggests that one of the key success factors of the book is the use of well-planned translation strategy, and by analyzing it we can give much implications to translators of Korean literature. To that end, the current paper analyzed the book by comparing Korean and English version. Examples were given in the paper to help understand various strategies used in the translated version of the book. As a result, key strategies of domestication were found including: replacing initials with actual names of cities; changing tenses; dividing paragraphs; omitting/adding words; ignoring the use of dialect. Meanings and implications are also discussed.

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.