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일한 『불여귀(不如歸)』의 비교언어학적 연구 ― 역어, 문체, 표기를 중심으로 ―

A Study of the comparative linguistics of Japan-Korea 『hototogisu』 -Focusing on translated expressions, literary style, and notation-

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This study is a comparative linguistics approach to Bulyeoghi (『不如歸』), a Japanese novel written by Roka Tokutomi in the Meiji Era, and two Korean versions: Bulyeoghi (『不如歸』), a Korean translation by Jung󰠏whan Jo and Dugyeon󰠏seonng (『杜鵑聲』), a Korean adaptation at the hands of Il Sunwoo. By comparing the vocabulary, style, and phonetic notation of the three versions of the story, this study explored the characteristics of modern languages of Korea and Japan and shed light on some aspects of translation and adaptation. The vocabulary of the Japanese original is mostly omitted in two Korean versions. 『不如歸』, the liberal translation into Korean, has an expository style while 『杜鵑聲』, the Korean adaptation, follows the conventional style of Chinese texts. The Japanese original shows eclecticism (雅俗折衷) that combines the formal and refined with the informal and vulgar style. The use of vulgarisms in the Korean translation which follows pure Hangul (Korean alphabet) style confirms that the translation made attempts to reproduce the ‘vulgarism’ (‘俗’) of the original. It was difficult to find the stylistic characteristics of the Japanese original in 『杜鵑聲』, whose style is a mixture of Korean and Chinese. In the two Korean versions, the notation shown in the original version was restricted to foreign words such as ‘Getdo / Getdow / Gets’.

Abstract

This study is a comparative linguistics approach to Bulyeoghi (『不如歸』), a Japanese novel written by Roka Tokutomi in the Meiji Era, and two Korean versions: Bulyeoghi (『不如歸』), a Korean translation by Jung󰠏whan Jo and Dugyeon-seonng (『杜鵑聲』), a Korean adaptation at the hands of Il Sunwoo. By comparing the vocabulary, style, and phonetic notation of the three versions of the story, this study explored the characteristics of modern languages of Korea and Japan and shed light on some aspects of translation and adaptation. The vocabulary of the Japanese original is mostly omitted in two Korean versions. 『不如歸』, the liberal translation into Korean, has an expository style while 『杜鵑聲』, the Korean adaptation, follows the conventional style of Chinese texts. The Japanese original shows eclecticism (雅俗折衷) that combines the formal and refined with the informal and vulgar style. The use of vulgarisms in the Korean translation which follows pure Hangul (Korean alphabet) style confirms that the translation made attempts to reproduce the ‘vulgarism’ (‘俗’) of the original. It was difficult to find the stylistic characteristics of the Japanese original in 『杜鵑聲』, whose style is a mixture of Korean and Chinese. In the two Korean versions, the notation shown in the original version was restricted to foreign words such as ‘Getdo / Getdow / Gets’.

참고문헌 (13)

  1. 徳富廬花, "不如帰" (1903), 民友社
  2. 趙重桓, "불여귀(不如歸)" (1912), 警醒社
  3. 鮮于日, "두견성(杜鵑聲)" (1912), 普及書院
  4. 권보드래, "한국ㆍ중국ㆍ일본의 근대적 문학개념 및 문학어 형성(1)-소설 『不如歸』의 창작 및 번역ㆍ번안 양상을 중심으로-", 大東文化硏究, 42, pp.373~402 (2000)
  5. 권정희, "도쿠토미 로카 『호토토키스』의 번역과 번안 조중환의 『불여귀』", 민족문학사연구, 22, pp.223~253 (2003), 민족문학사연구소
  6. 권정희, "언어의 전환과 서사의 분기 ―『두견성』과 『불여귀』", 대동문화연구, (64), pp.383~414 (2008), 대동문화연구원[DOI]
  7. 신근재, "「不如歸」의 飜案樣相—「杜鵑聲」과 「榴花雨」를 中心으로—", 일어일문학연구, 15, pp.55~83 (1989)
  8. 윤민주, "『불여귀』에 대한 비교문학적 연구", 석사, pp.2007
  9. 洪善英, "?富蘆花?不如??と韓?の?案小?との比較考察 -家庭小?とナショナリズムを中心に-", 일어일문학연구, 43, pp.65~82 (2002), 한국일어일문학회
  10. 神立春樹, "徳富廬花『不如帰』における時代描写", 岡山大学経済学会雑誌, 23(1), pp.27~53 (1991)
  11. 中村忠行, "『不如帰』の中国に於ける評価", 明治大政文学研究, 23, pp.26~32 (1957), 東京党
  12. 服部嘉香, "文章から見た徳富蘆花の作品", 国文学研究, 6, pp.105~116 (1970)
  13. 竇新光, "近代中韓両国における明治小説『不如帰』の受容様相について-文学体制の視点から-", 海港都市研究, 9, pp.127~145 (2014)

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