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This article examines how James Scarth Gale (1863–1937), one of the most influential Presbyterian missionary translators in early-modern Korea, Christianized The Story of Sim Chung [Sim Ch’ŏng chŏn] (1919). To do this, it compares his translation with the first English translation, produced in 1889 by Horace Newton Allen (1858–1932), the first American Presbyterian missionary in Korea. The paper argues that Gale adopted a Christian-oriented concept and ideology, often eliding the Buddhist and Taoist references in the source text. It further posits that the Christian notions in his translation are typical of Gale, but that the more sophisticated translation choices in The Story of Sim Chung represent the evolving character of his translation stylistics and differ from his previous translations, such as The Life of the Buddha (1915).

This study explores the social aspect of translation from the perspective of a sociology of translation. A sociology of translation shifts the focus from texts to the sociocultural contexts, the reasons conditioning a translation process, social networks and agents. This study traces the social aspect of retranslation of a ‘screenseller’ in the production of the novel Pachinko by analyzing transformation of the field of publishing. In Korea, the retranslated version of Pachinko was produced in 2022, based on the pursuit of economic capital of a publishing company. While Pachinko enjoyed a status of ‘screenseller’ which relied on video production, many publishing companies competed with each other to own the copyright for the book which would lead it to retranslation. To investigate the social aspect of retranslation implied in the production of the cultural product, this study applies Pierre Bourdieu’s field theory of cultural production and analyzes newspaper articles. The retranslation of Pachinko was conducted by the publishing company, Influential which won the competition in the indirect contexts of the emergence of ‘New generation’, born in 1970s and the cultural phenomenon of ‘transmedia storytelling’. Influential produced a retranslated version of Pachinko with detection of public reader’s dispositions, while using proper marketing strategy as retranslation. This study reasons out the economic and sociocultural practice of retranslation from the production of the retranslated version of the ‘screenseller’.

“ノルウェイの森”(Norwegian forest: 講談社, 1987) is Murakami Haruki's（村上春樹） representative work that brought about the Haruki syndrome across the world. As The translated version “Sangsirui Sidae”(translated by Yujeong, Yu), which was published in Literary History in 1989 and sold over 3.5 million books in the first year of publication, gave to aHaruki boom rose Korea. With the tremendous popularity of “Sangsirui Sidae”, Murakami Haruki become one of the best-selling authors in Korea, showing a distinct presence in the Korean publication market, creating new coinages such as the Haruki phenomena and, Harukiist (Haruki mania). Since the publication of “Sangsirui Sidae” four translated versions were published, However, the versions other then “Norwegian forest”(Mineumsa, 2013) translated by Eokgwan Yang were discontinued. This research regards “Sangsirui Sidae” as the translation text of primary position in the poly-system, then verifies the following two hypothesis. First, it investigates of whether the hypothesis of active retranslation of Pym (retranslation performed in the condition of sufficient cognition of the existing translation, which differentiates the translation strategy of the existing translation version) coincides with the three major retranslations (translated by Nanju, Kim, Hongbin, Yim, Eokgwan Yang), which were performed since “Sangsirui Sidae.” Second, It analyses and descnbes whether the general retranslation hypothesis (which Suggests thar retranslation gets closer to the ST style) applies to “Sangsirui Sidae” and the other three translatied versions. This research intends to compare the ST and the above plural TT in the above lexical words, and based on this, eventually describe how the transition of style occurred.

This paper aims to classify diverse aspects of retranslation and examine its motives and causes. To this end, this study analyzes Pearl Buck’s The Good Earth and 19 Korean translations. In general, a number of factors trigger retranslation: changes in the society, culture, language, copyright, censorship, and so forth. Some oppose to retranslation on grounds that translations which are temporally close to the original work better reflect the language and spirit of the source text. In most cases, however, the need for retranslation increases with the lapse of time, as most target text readers face difficulty in filling the temporal gap. Due to such reasons, retranslation is naturally carried out in almost every country. In Korea, western literary works were translated and retranslated into Korean with exceptional frequency not only because of such general causes and motives: retranslation in Korea is primarily attributable to the changes in the Korean Language Regulations and to the movement towards using pure Korean words after a long-standing tradition of using Chinese characters and Sino-Korean words. Of course, general agents of retranslation, such as changes in word preference and book size also gave rise to retranslation. The author hopes this research will contribute to the debates on retranslation and trigger the retranslation of existing works.

This study aims to review the theoretical assumptions of the Retranslation Hypothesis (Berman, 1990), and to test some of these assumptions by reviewing two translations of ‘Harry Potter and the Philosopher's Stone’ in Korea. The Korean retranslation of the first Harry Potter series was completed due to various factors and is reflected in various aspects within the text. The second Korean translation of the book, which was published with a difference of 20 years from the first version, could be classified as a “passive retranslation” according to Pym's classification (1998:82). However, upon analysis, the study finds that the retranslation was performed not simply for supplementation or improvement of the first text. Other factors that were determined are as follows: a better appreciation and understanding of the author and the work, meeting the expectations of the publisher and reader, the translator's personal affection for the original text, and a massive influx of new target readers. The retranslated version is an “active translation” (1998:82) in that it has a dynamic character in which various factors are intertwined. According to the Retranslation Hypothesis, retranslations tend to be more source culture oriented than the first versions. However, this study shows that the hypothesis is not a consistent phenomenon, and many cases of the opposite were also observed.

This study examines two Korean (re)translations ofKorea and Her Neighbours (1898) by Isabella Bird Bishop, a travelogue recounting her experiences in Korea during the late 19th century. It investigates how translators with differing professional backgrounds, academic interests, and ideological orientations intervene in the translation process to reframe the source text. Through a comparative textual analysis of the two translations−published in 1994 and 1999−alongside an examination of the translators’ profiles, this study reveals that both translators actively (re)framed the source text and its author through their use of paratextual elements, such as translator’s notes and footnotes, in addition to their interventions in the text proper. The 1999 retranslation, in particular, exhibits a pronounced degree of intervention, especially in sections that feature the author’s imperialist and orientalist perspectives on Korea or portray Japan’s colonization of Korea as justified.

In this article, we discuss some facets of the translator’s self-revision of their translation. We compare Bruce and Ju-Chan Fulton’s 1982 translation of Hwang Sŏgyŏng’s “Twaeji kkum” (A Dream of Good Fortune) with their 1993/2007 revision thereof to articulate what aspects of their revision could inform our understanding of literary translation. Our findings show that the translators improved their own translation in seven categories. They (1) normalized slang words and colloquial forms of language to make dialog sound natural, (2) made cultural subtext clearer to the reader, (3) particularized culture-bound terms to clarify contextual meanings, (4) changed punctuation marks to express subtle nuances of meaning, (5) inserted a sentence-level cue to maintain conversational flow, (6) adjusted the opening of conversation, and (7) enriched the poetic qualities of an inserted poem. Drawing on these findings, we briefly discuss the wider significance of Bruce and Ju-Chan Fulton’s revision.

본 논문은 각종 번역서에서 원작의 어휘를 <외래어>로 옮긴 실례를 들어 그 번역양상을 유형화하고 어휘 선택의 배경이나 원리 등에 관해 고찰한 것이다. 일한 번역뿐만 아니라, 동 일한 원작에 대한 한국어와 일본어 양쪽 모두의 번역서가 존재하는 경우에 주목하여, 특정 어휘가 한국어와 일본어로 번역되는 과정에서 양 언어 사이에 <외래어> 도입 양상에 차이가 있는지, 또 거기에 특정한 경향성이 인정되는지 살펴보았다. 먼저 일한 번역에서 일본어의 어휘를 <외래어>로 인식하는 경우 독자의 이해를 돕기 위 해 풀어서 번역하는 쪽이 우세한 가운데, 한편으로 일본어를 발음 그대로 옮긴 후에 주석을 붙이는 등과 같은 부연 방식이 다양하게 시도되고 채용된다는 점을 확인했다. 다음으로 일한 번역에서 일본어 원문이 가타카나로 표기된 <外来語>인 경우, 번역자에게 는 당대 사전류에 의지하여 그대로 <외래어>로 옮기는 것과 한자어를 포함한 다른 한국어로 풀어서 번역하는 선택지가 있는데, 후자 쪽이 우세하다는 사실을 확인했다. 이는 한 세기를 거슬러 올라가도 일관된 경향성이 보인다. 마지막으로 영한・영일 번역에서 <외래어>가 채택되는 경우를 비교 대조했는데, 21세기 현재나 20세기 초의 번역서에서 모두 <외래어> 사용을 최소화하려는 번역자의 노력이 확인 됐다. 다만 동일 어휘에 대한 <외래어>와 <外来語>의 사용을 비교해보면 영한 번역 쪽에 그 용례가 적다는 사실도 확인했다. 해당 어휘 총량에 대한 계량적인 분석에 기반하지 않으므로 경향성에 대한 지적에 그치지만, 이를 <중역> 문헌과 대비할 때 유의미한 차이가 확인되며, 이는 향후 번역서의 성격을 규정하는 하나의 잣대로 활용할 수도 있을 것이다.

This paper is an attempt to discover translation tendencies and study the background or principles of word choices looking into the examples where particular words in original texts are translated into ‘loanwords’. The focus of this study was not only on Japanese-Korean translation but also on the cases in which both Korean and Japanese translations exist on the same original text. In Japanese-Korean translation, a stronger tendency was shown to elaborate the meaning of the word when a Japanese word is perceived as a ‘loanword’. When the Japanese text wrote the ‘LOANWORDS’ in katakana, a stronger tendency was to elaborate the words using Korean and Sino-Korean words over to write ‘loanwords’ as they appear in the dictionaries available in the time. In the comparison of English-Korean and English-Japanese translations, when the adoption of ‘loanwords’ and ‘LOANWORDS’ for the same word was compared, less cases were there in EnglishKorean translations. This finding can be used as a defining principle of translated texts, even when it was not based on a total investigation, for a meaningful difference is shown when a comparison is made to ‘retranslated’ texts.

Marshall R. Pihl’s “The Tale of Hong Kiltong” is known as the first annotated English translation of Hŏ Kyun’s “Hong Kiltong chŏn” (Kyŏngp’an 24). It was published in Korea Journal in July 1968 and slightly revised and reproduced in Peter H. Lee’s Anthology of Korean Literature (1981). Pihl’s initial translation is divided into three sections: (1) the introduction of the original author and the translator (a short expository prologue), (2) the translated text (main story), and (3) the “Translator’s Notes to the Text” (seven endnotes). All these divisions are discussed in this article, with an emphasis on Pihl’s translation decisions. Specifically, extracts from the initial translation are examined in several thematic categories, including cultural references (e.g. kisaeng, li, yang), vague terms (e.g. mowol 某月, such-and-such month), Chinese transliterations (e.g. Lotao-kuo, yuldo 栗島), stock expressions (e.g., gaksŏl 却說, the story goes on), italicized paragraphs, and archaic words (e.g. yore, sire, forthwith). The extracts are then compared with the corresponding segments of the revised version in Lee’s anthology. This article concludes with brief discussion of Pihl’s views of literary translation and potential implications of his translations.

Yi Ch'ŏngjun (1939-2008) occupies an important place in contemporary Korean literature. He has been canonized in his native country, with his complete works already made available by two different publishers. He is also one of the most translated Korean authors in France. The present study analyzes the French translations of Yi’s oeuvre in order to help map the introduction of Korean literature in France and to explore its “horizon of expectations.” It was found that 31 works by Yi were translated into French between 1966 and 2014 (three novels, two novellas, and 26 short stories). A shift analysis of the translations reveals a large number of interventions by translators and editors, including changes in paragraphing, spaces added or removed between paragraphs, inversion of phrases and paragraphs, changes of discourse, and deletion of cultural elements. The problem with such mediation is that it can modify the aesthetic effect of a work. Rather than labelling these translations as being unethical, it is advised that they be placed in the history of Korean literature’s reception in France. Nevertheless, because “the experience of the foreign” can evolve according to social, cultural, and historical contexts, retranslation of Yi’s works is necessary.

As a variety of movements of feminist ideology develop in Korea, the ramifications have spilled over to the social, political, and economic fields. Politically, as Gender Equality Act came into effect, other relevant policies have also been established and changed for gender equality. Socially, a series of social events including #MeToo movements have contributed to creating and strengthening the bond of feminist groups, mainly those in their 20s and 30s who are equipped with purchasing power. Economically, these young feminists have surfaced as a new consumer group, who produce and consume feminist books and items. The literary field is not immune to such movements; as a result, rewriting and retranslating classic novels from the feminist perspective have emerged. As part of such systemic movements, Little Women by Louisa May Alcott has recently been retranslated from the feminist perspective. The analysis outcome of the translation shows that the translator has used more gender neutral words and phrases, described female characters in further detail with specific identities, and made female characters more independent.

대한민국 국립중앙도서관에는 게일(Gale)과 이원모가 공동으로 번역한 『쇼영웅(小英雄)』(1925)이 전자책의 형태로 공개되어 있다. 이 책은 버넷(Frances Burnett)의 『LITTLE LORD FAUNTLEROY』(1886)를 한국어로 번역 소개한 최초의 문헌으로 보인다. 그런데 이보다 앞선 1890년에 일본의 와카마쓰 시즈코(若松賤子)는 버넷의 작품을 『小公子』라는 제목으로 일본어로 번역하여 세상에 선보인 바가 있다. 본 논문은 『쇼영웅』이 간행된 당시의 시대상황, 즉 한국에 소개되는 서구 서적들은 일본어로 일차 번역된 것을 바탕으로 다시 한국어로 옮기는 경우가 적지 않았다는 사실 등을 고려하여, 『쇼영웅』과 『小公子』가 <중역>의 관계로 맺어져있지 않은가 하는 문제를 중심으로 고찰한 것이다. 그 결과, 書名 선정 및 번역 단계에서의 게일과 와카마쓰 양자의 관점이나 태도의 차이에 비춰볼 때 <중역>과는 거리가 먼 각각 독립적이고 독창적인 문헌들로 이해하는 편이 타당하다는 점을 밝혔다. 또한 『쇼영웅』을 언어연구 자료로서 활용하고자 할 때의 향후의 논점 및 과제를 명확히 할 수 있었다.

In the National Library of Korea, a book called 『Shoyoungwoong(小英雄)』(1925) is displayed as an e-book which Gale and Won-Mo Lee translated in cooperation. This book is deemed the first copy of 『LITTLE LORD FAUNTLEROY』(1886), written by Frances Burnett translated into Korean. On the other hand, there is a preceding translation of the Burnet’s work into Japanese titled 『Shoukoushi(小公子)』 which had been presented to public by Wakamatsu Shizuko(若松賤子). This study is a contemplation of the question whether 『Shoyoungwoong』 and 『Shoukoushi』 are in a relationship of retranslation, considering several factors including the state of period 『Shoyoungwoong』 was published. Consequently, reflecting the selection of title and the process of translation, we discovered it more reasonable to interpret those two books as mutually independent and creative literatures distant from <retranslation>. Henceforth, turning these discoveries into a departure, we will reorganize 『Shoyoungwoong』 with respect to 『Shoukoushi』 and 『LITTLE LORD FAUNTLEROY』 corresponding in their contents in order to overcome the limit of this study which is merely discussing a number of restricted matters.

Retranslation is a rather complex issue that has become an interesting subject of research in recent years. Topics such as motives of retranslation, retranslation hypothesis, and approaches to analyzing retranslations are generating controversial debates among scholars. Current studies on retranslation, though insightful and fruitful, is still limited within isolated cases, fragmentary and far from satisfactory. This study aims to investigate the theoretical issues of Retranslation Hypothesis (RH), an argument formulated first by Berman (1990), Bensimon (1990) and later expanded by Gambier (1994) and Chesterman (2000). The main argument of RH is that initial translations are always lacking, flawed and targetoriented, while later retranslations are more accurate and closer to the original, and source- oriented. RH has been proven by some scholars, but challenged by others. Consequently, the existing RH seems unsuccessful in generalizing the driving force behind the diverse activities behind retranslations. The RH initiated by Berman (1990) and the subsequent discussions about retranslation focuses on the lacking, deficiency or flaw of the initial translation. In my opinion, however, a new perspective to examine the universal assumption about retranslation can be rewarding. We need a turn to the merit, goodness and the value of retranslation, which may generate a new version of RH. The new RH proposed draws on the value analysis or value engineering in economics. In further details, a framework is suggested to explain the motives and functions of retranslations by drawing on theories and concepts from disciplines of linguistics, sociology and economics. This study address retranslation of classics with specific reference to English and Chinese military texts. A set of corpora will be established consisting of source texts, initial translations and retranslations of Sun Tzu’s The Art of War, Alfred Mahan’s sea power series, and Mao Tsetung’s On Guerrilla Warfare. The study is expected to reveal how retranslations contribute to the worldwide canonization of local or national military classics. It is hoped to shed some new light on the role of (re)translations in the communication between eastern and western strategic culture.

The purpose of this study is to investigate how Appraisal words were changed in the initial translation (TT1) and re-translation (TT2) of the songs of the movie Once. As a result of the analysis, the Attitude evaluation words were almost similar in ST, TT1, and TT2, whereas the Graduation evaluation words appeared more in TT2 than in TT1. This can be analyzed because the translator tried to better convey the expression or situation of the characters to the audience in TT2 lyrics translation and to express the emotions of the protagonist effectively. Through audience reviews, we investigated how the audience perceived the difference between the two subtitles. TT1 mainly had a lot of reviews about movie music, but TT2 had a lot of reviews on translation as well as music. For example, a review of the TT2 is as follows; there were many positive reviews about the translation of lyrics in that the translator translated the lyrics as if the audience were reading a poem, helping the audience to be more immersed in the emotions of the characters and better appreciate the movie. Therefore, it is expected that this study can be used as a reference material for the translation of lyrics.

본고에서는 베트남 소설 『전쟁의 슬픔(Nỗi buồn chiến tranh)』이 한국 어로 어떻게 번역, 재번역되었는지 고찰해 보았다. 『전쟁의 슬픔』은 한- 베 문학 번역 교류의 역사 속에서 서로 다른 번역자에 의해 다양한 방식으로 재번역된 대표적인 사례다. 영어 번역본을 통한 중역인 최초 번역본 『정글』은 양국의 공식적인 문화 교류가 막 시작되던 시기에 번역되어 미 처 독자들의 관심을 끌지 못한 채 사라져 버렸고, 프랑스어 번역본을 통한 중역본인 첫 번째 재번역본 『전쟁의 슬픔』(1999)이 최초 번역본으로 알 려지게 되었다. 『전쟁의 슬픔』(1999)은 중역의 한계를 극복하기 위해 몇 가지 보조적인 방법을 사용했으나 번역자의 선입견과 가독성을 중시하는 번역 전략의 간섭을 피할 수 없었다. 이후 등장한 직접–부분 번역 「전쟁의 슬픔 – 서장」(2009)과 직접–전체 번역 『전쟁의 슬픔』(2012)은 원작의 언 어적 형태를 유지하면서도 독자들에게 정확한 의미를 전달하기 위해 각주 를 삽입하는 등 앞선 중역 번역본에 비해 원작에 대한 충실성을 획득하고 자 했다. 해당 작품의 예를 통해서도 볼 수 있듯이, 일반적으로 재번역은 선 행 번역의 미흡한 점을 개선하기 위해 행해진다고 여기기 쉽다. 하지만 재 번역은 ‘질적으로 향상’된 결과물이 아니라 원작을 해석하고 다시쓰는 다 양한 방식이라고 이해할 필요가 있다. 그러한 인식의 기반 위에서 가치 있 는 문학 작품들이 비로소 생명력을 연장할 수 있게 될 것이다.

This paper examined how the Vietnamese novel, The Sorrow of War, was translated and retranslated into Korean. The Sorrow of War is a representative example of retranslation in various ways by several translators in the history of Korean-Vietnamese literary translation exchanges. The first translation, Jungle, as indirect translation through an English version, disappeared without being known to readers for various reasons. Since then, the Korean translation has gone through several retranslation processes, reducing not only the distance from the original work but also the distance from the reader. It is necessary to understand that retranslation is not a result of improved quality, but a variety of ways to interpret and rewrite the original. On the basis of such recognition, valuable literary works will finally be able to extend their vitality.

원문은 유일무이한 존재이고, 번역은 그 하위 개념으로 여겨지는 비판적 속성에 따라 번역은 계속해서 이루어진다. 이렇게 지속적으로 등장하는 번역은 아무런 저항 없이 ‘최초의 번역’과 ‘재번역(들)’으로 구분되어 진다. 그러나 문학번역 연구에 있어 재번역은 간단치 않은 주제이다. 또한 ‘차후의 번역들이 원문에 더 가까워지는 경향이 있다’는 이른바 ‘재번역 가설(retranslation hypothesis)’을 입증하려는 연구로 편중되어 있는 것이 현실이다. 이에 대해 본 논문은 보다 기초적인 정의(definition) 차원으로 돌아가 최초의 번역과 그 이후의 번역들을 재번역으로 구분하는 기존 학계의 무조건적인 이분법적 전제에 문제를 제기하고 논의하는데 그 목적이 있다. 이를 위해 재번역 및 재번역 관련 선행연구를 살펴보고, 가다머의 철학적 해석학(hermeneutics)을 이론으로 희곡텍스트인 『세일즈맨의 죽음』 번역에 적용하여, 재번역으로 분류 가능한 번역의 요건에 대해 논의한다. 또한 원문이 가지고 있는 아우라(aura)의 힘과 관련한 벤야민의 주장을 바탕으로 해석자로서의 번역자가 가지는 책무(task)에 대해서도 생각하는 기회를 제공한다.

According to Walter Benjamin, a translation is more than the transmission of a message and it should not cover the original’s content “with the broad folds of a royal mantle(i.e. language).” Bearing in mind the negative view on translation, the study discusses some aspects about retranslation by analyzing some translated passages from Arthur Miller’s Death of a Salesman. Translations published after the first translation in a literary system are generally viewed as retranslations. In this regard, the study aims to define what truly ‘retranslation’ is and why retranslation is or should be carried out. Gadamer's hermeneutics is examined first, and then with this as a theory some texts from Miller’s drama and its three Korean translations are analyzed. Finally, the requirements that retranslation should have are discussed. Unlike Benjamin’s observation, the translation or retranslation of a literary text can be better understood by specific contexts and conditions in the target culture than by the original’s claim.

This paper is concerned with whether the second and third Korean translations of the novel The Martyred by the Korean American writer Richard Kim are retranslation or not based on Chesterman’s (2000) retranslation hypotheses. We look at the difference between retranslation and revision and discuss the validity of a descriptive hypothesis, in which retranslations tend to be closer to the source text. The second translated text is claimed to be a retranslation while the third is a revision of the second. There seems a mutual dependency between the second and the third translated text since the third revises only a small part of the second and contains a large portion of the same interpretations found in the second. We also show that Chesterman’s descriptive hypothesis is not valid for some retranslation phenomena. It is shown that revisions tend to be rather closer to the source text and to improve the quality of the earlier translations in terms of a semantic and stylistic equivalence.

본 연구는 번역 실천의 사례 분석을 통해 번역의 사회적 특성을 번역사회학의 관점에서 규명하고자 했다. 이를 위해 문학정전 『위대한 개츠비』의 능동적 재번역 사례를 부르디외의 장 이론에 기반하여, 번역 실천을 가능케 하는 장 내 사회적 조건과 사회적 행위자 간의 상호작용 및 장 밖의 사회문화적 맥락 측면에서 분석하였다. 이 연구는 장 이론의 핵심개념을 바탕으로 문헌조사와 번역텍스트 고찰을 통해 다음 세 가지의 번역의 사회적 성격을 도출할 수 있었다. 첫째, 『위대한 개츠비』의 능동적 재번역 실천은 장기 불황에 시달리고 있는 출판 장에서 문학정전의 생산과정에 얽힌 ‘홍보 전략’의 하나로서 배태되었다. 둘째, 『위대한 개츠비』의 능동적 재번역을 실천한 번역가들은 이 문학정전의 ‘번역 공인’을 둘러싸고 상징투쟁을 벌였다. 셋째, 『위대한 개츠비』의 능동적 재번역 실천이 가능했던 다른 큰 요인으로 이 소설의 영상화로 인한 ‘스크린셀러를 향한 열망’도 간과할 수 없다. 번역은 텍스트 안에서 발생하는 ‘비사회적 활동’에 그치지 않는다. ‘능동적 주체’가 텍스트 밖의 거대한 사회공간에서 수행하는, 경제적, 경쟁적, 문화적 실천의 특성을 지닌다.

This study explores the social aspect of translation from the perspective of a sociology of translation. A sociology of translation shifts the focus from texts to the sociocultural contexts, the reasons conditioning a translation process, social networks and agents underlying the translation activity. This study traces the social aspects of retranslation of a literary canon in the production of the popular canonical literature book The Great Gatsby by analysing transformation of the field of publishing and how the active translators have engaged in retranslating the book. To investigate the social aspects of retranslation intertwined with the production of the cultural product, this study applies Pierre Bourdieu’s field theory of cultural production. The Korean translators of The Great Gatsby ‘actively’ retranslated the book, based on the pursuit of simbolic capital. They strived for ‘authorized translation’ of The Great Gatsby as the state of becoming aware of their competitors. They were also inclined to use as their common strategy of being different their cultural capitals and translational habitus to outmatch the competition. During the economic downturn in the field of publishing, many publishing companies tended to produce the literary canons which have generated consistent and sustainable profits over an extended period, resulting in retranslating them. While The Great Gatsby was likely to become a ‘screenseller’ which relied on video production in year 2013, the publishing companies also produced the literary texts ‘redundantly’, which would lead it to retranslation. The active retranslation of The Great Gatsby was conducted by the self-directed individual translators in the indirect context of the cultural phenomenon of ‘screenseller’, and in the direct social condition of ‘profitable literary canon’ in the field of publishing, whereby many literary book publishers have used proper marketing strategy as retranslation. This study reasons out the economic, competitive and cultural practice of translation from the active retranslation of The Great Gatsby and the production of the retranslated version of the book.