문학작품의 개인방언 번역 전략 연구―『피그말리온』을 중심으로
English-to-Korean Translation of Idiolect in Literary Texts: Focusing on Bernard Shaw’s Pygmalion
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This paper explores English-Korean translation strategies on idiolect in literary texts, with primary focus on Bernard Shaw’s Pygmalion. Cockney, which the main character Liza uses, is a working-class dialect of Londoners. But her cockney is more akin to an idiolect rather than a social dialect. When Liza speaks in cockney accent in the text, her language arouses a unique image of her. Her use of tagging, repetition of the certain phrases, and exclamations forms her idiolect, which exposes her weakness, vulnerability and insecurity in the hierarchical society. Furthermore, her cockney changes to a posh accent dramatically in the middle of the text, and this change gives the reader great pleasure, which plays an essential role in the drama’s development. Therefore, the cockney she makes use of has to be reproduced to the target language from an idiolectal point of view. This paper suggests that the most important part of idiolect translation is consistency of the translated dialog to recreate Liza’s character. Whether Liza’s cockney is translated into a geographical, or social dialect of the target language is irrelevant in developing an effective idiolect translation strategy.
Abstract
This paper explores English-Korean translation strategies on idiolect in literary texts, with primary focus on Bernard Shaw’s Pygmalion. Cockney, which the main character Liza uses, is a working-class dialect of Londoners. But her cockney is more akin to an idiolect rather than a social dialect. When Liza speaks in cockney accent in the text, her language arouses a unique image of her. Her use of tagging, repetition of the certain phrases, and exclamations forms her idiolect, which exposes her weakness, vulnerability and insecurity in the hierarchical society. Furthermore, her cockney changes to a posh accent dramatically in the middle of the text, and this change gives the reader great pleasure, which plays an essential role in the drama’s development. Therefore, the cockney she makes use of has to be reproduced to the target language from an idiolectal point of view. This paper suggests that the most important part of idiolect translation is consistency of the translated dialog to recreate Liza’s character. Whether Liza’s cockney is translated into a geographical, or social dialect of the target language is irrelevant in developing an effective idiolect translation strategy.
참고문헌 (25)
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