韩国白话诗翻译中的若干问题——以《南勋·泰普'yŏng-ga选集》的俄文翻译为例

IF 0.2 4区 社会学 0 ASIAN STUDIES
A. Guryeva
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引用次数: 1

摘要

摘要:本文旨在从俄罗斯110年的韩文研究传统出发,探讨韩文诗歌翻译工作中需要考虑的几个问题。例子将取自Namhun t 'aep 'yŏng-ga(南风大和平之歌)诗集(1863年),作者不详。借用中国文言意象:韩国白话诗中充满了借用中国文言文学的意象,其中一些是按照文言语法规则组织的短语。它们作为文学表达的符号在文本中起着重要的作用,需要在翻译中传递一些特定的文本特征。对于一种与中国文学传统没有直接关系的语言(如俄语等西方语言)来说,这是一项艰巨的任务。问题是:a)文本的双重语言特征:韩文和文言文;b)由于汉语表达简洁而产生的度量特征。2 .构成与文学模式:a)倒装;B)并行性等。这些语态大多基于与西方语言不同的朝鲜语句法,因此提出了一种表达这些语态的方法。注释的必要性:在翻译中有许多方法可以显示原文的美和独特的构成品质,但在许多情况下,额外的注释是必要的:a)符号;b)典故;C)传统图像;翻译白话诗时要考虑的一些特点是与当代韩国诗歌相关联的。例如:a)借用西方形象;b)写作和文学模式。这将通过Chŏng Hyŏn-jong的诗歌示例来展示。本文总结了在翻译这两个时期的诗歌时需要考虑的问题的相似性,特别是在古典诗歌和当代诗歌中出现的借用意象功能的相似趋势。前者以中国文学传统为源泉,丰富诗歌的表达世界,并参与到这一传统中来;后者则诉诸西方和世界文化传统,融入其中,增强其表现力。在古典和当代诗歌文本中,都可以找到类似的需要在翻译中体现的构成模式和诗歌模式,但它们的目的可能不同,而且在当代诗歌中,它们的多样性增加了。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Issues in Translating Korean Vernacular Poetry: Based on Translating the Namhun T’aep’yŏng-ga Anthology into Russian

Abstract:

This article aims at examining some issues to consider while working on Korean vernacular poetry translation in relation to the 110-year tradition of Korean studies in Russia. Examples will be taken from the Namhun t’aep’yŏng-ga 南薰太平歌 (Songs of the Great Peace at South Wind) poetry anthology (1863) by an unknown compiler.

Borrowed Classical Chinese Images: Korean vernacular poetry is full of images borrowed from classical Chinese literature, some of them being phrases organized according to the grammatical rules of classical Chinese. They play an important role in a text as symbols of literary expression requiring a number of specific textual features to be transmitted in a translation. This presents a difficult task in the case of a language, which is not related to the Chinese literary tradition directly (e.g. a western language such as Russian). The issues are: a) The dual-language character of the text: Korean and classical Chinese; and b) metric features as a result of laconic Chinese expressions.

Compositional and literary modes: a) inversion; b) parallelism etc. Most of the modes are based on Korean syntax which differs from that of western languages, therefore, a way of conveying these modes is suggested.

The necessity for commentary: There are numerous methods for showing the beauty and particular compositional quality of the original in translation, but in many cases extra comments are necessary: a) symbols; b) allusions; c) traditional images; d) geographical and historical names or terms etc.

Some of the features to be considered when translating vernacular poetry correlate with those of contemporary Korean poetry. For instance: a) borrowed Western images; and b) compositional and literary modes. This will be shown through the example of poems by Chŏng Hyŏn-jong.

A conclusion is drawn concerning the similarity of issues to consider when translating poetry from both periods, especially a similar tendency in the functioning of borrowed images which occurs in both classical and contemporary poetry. The former was based on the Chinese literary tradition as a source to enrich the poem’s expressive world and to participate in this tradition, the latter appeals to the western and the world cultural tradition in order to become a part of it as well as to enhance its expressiveness. Similar compositional and Eterary modes which need to be reflected in translation may be found in classical and contemporary poetical texts, but their purposes may differ, and they increase in variety in the case of contemporary poems.

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Acta Koreana
Acta Koreana ASIAN STUDIES-
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