학술논문
시조 형식과 여백의 미학에 대한 탐구 -시조의 이탈리아어 번역을 위한 시론
An exploration of the form of Sijo and the aesthetics of blank space - To improve the Italian translation of Korean sijo
An exploration of the form of Sijo and the aesthetics of blank space - To improve the Italian translation of Korean sijo
Document Type
Article
Author
Source
한국시가연구 / Korean Classical Poetry Studies. Jan 01, 2023 58:431
Subject
Language
Korean
ISSN
1226-5578
Abstract
본 연구는 이탈리아에서 한국학을 전공하는 학생들과 학자들이 한국의 시조를 번역하는데 도움을 주기 위해 마련되었다. 시조는 정형시이기 때문에 내용뿐만 아니라 고유한 형식을 잘 살려서 번역하는 것이 중요하다. 이를 위해 시조의 형식 미학에 대해 탐구하고, 영어 번역에서 시조의 형식을 주의 깊게 표현한 사례들을 검토하였다. 그리고 직접 시도한 이탈리아어 번역 시조 세 편을 소개하였다. 이 논문은 시조의 중장과 종장 사이에 존재하는 의미상의 ‘여백’이 시조에 긴장감을 부여하고 내용을 더욱 풍부하게 함으로써 시조의 형식을 완성한다는 점에 대해 고찰하였다. 특히 잘 선택된 종장 첫 마디의 어휘가 한 편의 시조에서 얼마나 강력한 역할을 하는지 여러 작품들을 통해서 확인하였다. 표현하지 않으면서 표현하는 것이 ‘여백’의 미학이라고 할 때, 이 부분은 그러한 ‘여백’을 함축하고 있는 매우 중요한 구절이 된다. 그러므로 시조를 다른 언어로 번역할 때, 시조 종장의 첫 마디가 시각적으로 부각되도록 번역하는 방식을 탐색해볼 것을 제안한다. 주목할 만한 사례로 오록(K. O'Rourke)의 5행 번역 방식이 있다. 시적 종결의 표지로 이 부분에 대한 강조가 적절히 표현되지 않으면 번역된 시조가 시적 긴장을 잃고 짧은 산문으로 퇴색될 수 있다. 이 논문이 시조를 이탈리아어로 또 다른 언어로 아름답게 번역하는 데 영감을 줄 수 있기를 희망한다.
This study was prepared to help students and scholars majoring in Korean studies in Italy translate Korean Sijo(時調). Since sijo is a fixed form of poetry, it is important to translate not only the contents but also the unique form well. To this end, the formal aesthetics of Sijo are explored, and examples of English translations that carefully expressed the form of sijo were reviewed. In addition, I introduced three pieces of the Italian translation of Sijo that I tried myself. This paper considers that the semantic 'blank space' between the second and the final line of Sijo completes the form of Sijo by giving it tension and enriching its content. In particular, it was confirmed through various pieces of Sijo how powerful the word of the well-chosen first segment of the final line plays in a Sijo work. When it is said that expressing without expressing is the aesthetics of 'blank space', this very part of Sijo becomes a very important phrase that implies such a 'blank space'. Therefore, when translating sijo into another language, it is suggested to try a translation style in which the first segment of the final line of Sijo visually stands out. A notable style is a five-line translation attempted by K. O'Rourke. As a sign of poetic closer, if this part is not properly emphasized, the translated sijo may lose its poetic tension and degenerate into short prose. I hope this thesis will inspire beautiful translations of Sijo into Italian and into other languages.
This study was prepared to help students and scholars majoring in Korean studies in Italy translate Korean Sijo(時調). Since sijo is a fixed form of poetry, it is important to translate not only the contents but also the unique form well. To this end, the formal aesthetics of Sijo are explored, and examples of English translations that carefully expressed the form of sijo were reviewed. In addition, I introduced three pieces of the Italian translation of Sijo that I tried myself. This paper considers that the semantic 'blank space' between the second and the final line of Sijo completes the form of Sijo by giving it tension and enriching its content. In particular, it was confirmed through various pieces of Sijo how powerful the word of the well-chosen first segment of the final line plays in a Sijo work. When it is said that expressing without expressing is the aesthetics of 'blank space', this very part of Sijo becomes a very important phrase that implies such a 'blank space'. Therefore, when translating sijo into another language, it is suggested to try a translation style in which the first segment of the final line of Sijo visually stands out. A notable style is a five-line translation attempted by K. O'Rourke. As a sign of poetic closer, if this part is not properly emphasized, the translated sijo may lose its poetic tension and degenerate into short prose. I hope this thesis will inspire beautiful translations of Sijo into Italian and into other languages.