A Translation of Korean Literary Works and Acceptance of Foreign Literary Works in Korea

Abstract

The main theme of this article is divided into ‘translating’ and ‘acceptance’ of literary works. First of all, in the second chapter, I examined the main points of the translation of Korean literary works into other languages ​​across examples of translated works in Serbian and Croatian. Specifically, the first is how we overcome differences in idioms and metaphors. Second, how do we translate dialects and loan words. Third, how do we take cultural differences into the translated literary works. These difficult problems arise not only in translating Korean literary works in Serbian or Croatian. Languages are the core ​​in which are filled with wisdom of life and the world of spirit of peoples’. Therefore, it is not easy to convert these cores into the other cores. In Korea, only Milorad Pavić’s two translated works (‘Hazarski rečnik’ and ‘Unutrašnja strana vetra – Roman o Heri i Leandru’) were published in 1998 and 2008 respectively. In the third chapter of this article, I wanted to show readers the literary world of Milorad Pavić, Serbian writer who is relatively unknown in Korea. According to Milorad Pavić, art is divided into ‘reversible art’ and ‘irreversible art’. The former (architecture, sculpture or drawing) allows readers to approach a work in various ways, changing angle and position, as he or she pleases. And the latter (music or literature) has incidents proceed linearly from the beginning to the end and from birth to death. Milorad Pavić began to carry out experiments when Yugoslavia, a multinational country, drove its people to immeasurable sorrow, entangled in the dissolution of the federation and the recession of economy. Milorad Pavić’s literature leaves meaning and plot with readers, so it symbolizes ‘an image scene of the confused fin de siecle’ on the one hand, but is, on the other hand, ‘a magnificent aesthetics of labyrinths’ that teaches readers how to find their dreams for themselves.