한국현대 여성시의 젠더 번역
Translating Gender in Modern Korean Women's Poetry
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This study first analyzed two English translation anthologies of Korean women's poetry—Anxiety of Words and Against Healing—from a gender perspective, focusing on the approaches of their respective female translators. The findings reveal that Don Mee Choi, translator of Anxiety of Words, selected poems characterized by strong linguistic experimentation. Her translations tend to be somewhat indirect and softened, reflecting elements of feminist writing styles. In contrast, Emily Jungmin Yoon, who translated Against Healing, chose poems that are experimental in thematic content rather than in linguistic form. Her translation strategy often involved amplifying feminist expressions, resulting in a more direct and assertive tone. Secondly, Woman on the Terrace and I Must Be the Wind, and their Korean original texts were compared with a focus on third personal pronouns. The translators translated the Korean pronoun ‘그 (he)’ into ‘she’, demonstrating an intentional intervention to heighten gender awareness. However, in instances where inanimate entities such as ‘sky,’ ‘soil,’ and ‘shrimp’ were personified into ‘그 (he)’ in the original texts, the translations opted for the neutral pronoun ‘it,’ thereby losing some of the original personification.
Abstract
This study first analyzed two English translation anthologies of Korean women's poetry—Anxiety of Words and Against Healing—from a gender perspective, focusing on the approaches of their respective female translators. The findings reveal that Don Mee Choi, translator of Anxiety of Words, selected poems characterized by strong linguistic experimentation. Her translations tend to be somewhat indirect and softened, reflecting elements of feminist writing styles. In contrast, Emily Jungmin Yoon, who translated Against Healing, chose poems that are experimental in thematic content rather than in linguistic form. Her translation strategy often involved amplifying feminist expressions, resulting in a more direct and assertive tone. Secondly, Woman on the Terrace and I Must Be the Wind, and their Korean original texts were compared with a focus on third personal pronouns. The translators translated the Korean pronoun ‘그 (he)’ into ‘she’, demonstrating an intentional intervention to heighten gender awareness. However, in instances where inanimate entities such as ‘sky,’ ‘soil,’ and ‘shrimp’ were personified into ‘그 (he)’ in the original texts, the translations opted for the neutral pronoun ‘it,’ thereby losing some of the original personification.