문학번역론 탐색: 중국 고전소설에 등장하는 시가 번역 사례를 중심으로

Abstract

The author of this article, in the course of studying on the Korean translation of the poem of “the Moon of West River” in Sixty Stories or Qingping shantang huaben’s first story “Liu Yong” and the poem of “Sneeze” in Feng Menglong’s the Collection of the Guazhir Songs, examined the concept of preunderstanding, understanding, hermeneutical circle, interpretation and translation. Then, the author of this article also reviewed “Won-Done Song” in The Story of the Stone or The Dream of the Red Chamber’s first chapter and the poem of “the Moon” in Stories to Caution the World’s nineteenth story “With a White Falcon, Young Master Cui Brings an Evil Sprit upon Himself” as an example, discussed the literal translation and free translation, the styles of translation, the criticism of the translation. The conclusion reached by the author through this discussion is as follows. First, translation is not merely a process that translates what is done in the starting language into the target language. It is a new literary class of translators and a new literary experience for readers. Second, in order for translation to take place, the work of interpretation and understanding must be preceded. Translation is not just about replacing text in one language with another. Through the surface of the language of the text, the process of capturing what the author intends to do must be done first. This process is a step in which the general principles of language operate rather than the differentiation of languages ​​such as foreign languages ​​and native languages, and emphasis is placed on the facilitation and position of translators that enable this process. Third, translation is a concept that refers to the whole process of interpreting and understanding the text in the source language and then translating it into the target language by the translator. However, it can also be used as a concept that specially emphasizes the process of expressing it into the target language. The use of such a translation concept is both conventional and customary, but this concept of translation is so narrow. Fourth, all translations should start with an aim of meaning transferring. If you can not transfer the intention of the author, even if you have transferred a genre or work that places importance on the formality of the language, there is nothing that the reader can get from that kind of the translation. Fifth, discourse on translation should now move from translation evaluation to translation criticism, from correct or mistranslation to stylistic criticism. How did the translator interpret the original author’s intentions? How to translate the author’s intention and poetic form in harmony is ultimately governed by the translator’s literary and language viewpoints. Sixth, translation can not have eternal life. It must be endlessly re-translated. The original text is eternal, a creature that can not be created again, and a creature that is transformed into another creature when it is created again. Therefore, the text exists beyond time and space. However, translation is a new interpretation of the original text at every moment in time and space. The life of translation exists only in the moment. Translation is the interpretation of a work in the light of the present moment of attempting to translate it. All interpretations contemplate how to accept and apply it to the present, which is the object of interpretation. Translation, especially the translation of classical literature, should be a work of reviving the present meaning of the classics. All translations must be translated into the current language at the time of translation.