타자의 환대로서의 번역
Translation as Hospitality to the Other
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The act of translation has long been practiced to connect many, diverse types of separated situations: separation by locus, culture, people, language, etc. If the separation is here characterized by difference, we can understand translation as a connection of differences. That in turn leads us to take the concept of context into consideration. If we consider that our thoughts and activities are generally conditioned by the context of particular spaces and times, we can acknowledge that connection of difference is possible when we are faithful to each of the different contexts. For instance, a present-day Korean translation of the Divine Comedy, which was created by Dante about 700 years ago, can more properly be achieved if we consider the cultural, linguistic and sociohistorical contexts of historic Italy and contemporary Korea. In this respect, we can say that translation can be realized as a context-bound process, and that this kind of translation can best fulfil its true sense through hospitality to the Other. Here we need to re-conceptualize the Other on the strategically ethical dimension, in which the Other is no longer an isolated and excluded being, as in the traditional meaning, but a platform for overcoming that isolated and excluded situation and, furthermore, for leading us to initiate open thought. On these presuppositions, this paper aims to discuss what kind of role translation can play in helping us to imagine a more democratic and universal development of literary values in the face of the rebirth of ‘world literature’. I start by examining critically T.S.Eliot’s “What Is a Classic?” in which he offers crucial yet improvable observations on the translation and literary value of Dante’s Comedy. I emphasize the context-boundness of translation, which leads us to shed light on what can be called a ‘provincialism of space’ in comparison with what Eliot calls a ‘provincialism of time’. Indeed we can observe that the Comedy has become world literature by virtue of dynamic translations of its vernacular Italian across national borderlines. While Eliot holds that no modern languages can share the universality of Latin, Dante’s literature has in fact achieved its ‘classical’ position by relying on its vernacular language and its destiny to be translated into other modern languages. Here we can say that the perfection of a classic can be maintained through its ‘creative betrayal’ of itself, which is precisely what the act of translation promotes in its positive aspect. Now we must be able to answer the question of what translation can do by circulating in our world rather than the question of which translation is more correct and whether the act of translation itself is possible or not. Here hospitality to the Other, which derives basically from our sensibility to others’ languages and ways of life, is indispensable for us to build up a more democratic, ethical and universal geography of world literature.
Abstract
The act of translation has long been practiced to connect many, diverse types of separated situations: separation by locus, culture, people, language, etc. If the separation is here characterized by difference, we can understand translation as a connection of differences. That in turn leads us to take the concept of context into consideration. If we consider that our thoughts and activities are generally conditioned by the context of particular spaces and times, we can acknowledge that connection of difference is possible when we are faithful to each of the different contexts. For instance, a present-day Korean translation of the Divine Comedy, which was created by Dante about 700 years ago, can more properly be achieved if we consider the cultural, linguistic and sociohistorical contexts of historic Italy and contemporary Korea. In this respect, we can say that translation can be realized as a context-bound process, and that this kind of translation can best fulfil its true sense through hospitality to the Other. Here we need to re-conceptualize the Other on the strategically ethical dimension, in which the Other is no longer an isolated and excluded being, as in the traditional meaning, but a platform for overcoming that isolated and excluded situation and, furthermore, for leading us to initiate open thought. On these presuppositions, this paper aims to discuss what kind of role translation can play in helping us to imagine a more democratic and universal development of literary values in the face of the rebirth of ‘world literature’. I start by examining critically T.S.Eliot’s “What Is a Classic?” in which he offers crucial yet improvable observations on the translation and literary value of Dante’s Comedy. I emphasize the context-boundness of translation, which leads us to shed light on what can be called a ‘provincialism of space’ in comparison with what Eliot calls a ‘provincialism of time’. Indeed we can observe that the Comedy has become world literature by virtue of dynamic translations of its vernacular Italian across national borderlines. While Eliot holds that no modern languages can share the universality of Latin, Dante’s literature has in fact achieved its ‘classical’ position by relying on its vernacular language and its destiny to be translated into other modern languages. Here we can say that the perfection of a classic can be maintained through its ‘creative betrayal’ of itself, which is precisely what the act of translation promotes in its positive aspect. Now we must be able to answer the question of what translation can do by circulating in our world rather than the question of which translation is more correct and whether the act of translation itself is possible or not. Here hospitality to the Other, which derives basically from our sensibility to others’ languages and ways of life, is indispensable for us to build up a more democratic, ethical and universal geography of world literature.
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