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Les Cahiers de Corée Numéro 7

Les Cahiers de Corée Numéro 7

  • 저자

  • 번역가

  • 출판사

    Atelier des Cahiers
  • 출판 년도

    2006년
  • 유형

    문학 > 한국문학
  • ISBN

    NOT EXIST
  • 페이지

    239 p.
  • 번역언어

    프랑스어

홈페이지

2908건

  • 한국학중앙연구원 한국학대학원 2021년도 전기 특별전형 안내

    한국학중앙연구원 한국학대학원에서 2021년도 전기 특별전형 신입생을 다음과 같이 모집합니다. 한국학 분야 석사 및 박사과정에 관심있는 외국인 및 재외국민 학생들의 많은 지원 바랍니다. ○ 특별전형 관련 자세한 사항은 첨부 모집요강을 참고하시기 바랍니다.○ 궁금한 사항은 교학실(031-730-8183, admission_intl@aks.ac.kr)로 문의하시기 바랍니다.

    알림광장 > 공지게시 > 공지사항

  • 유형별 장애 대응 방법 안내

    1. 화면에 "Forbidden You don't have permission to access / on this server." 만 보이는 경우2. 첨부파일이 등록되지 않는 경우3. 제출버튼을 눌렀는데 제출이 되지 않는 경우4. 임시저장버튼을 눌렀는데 저장이 되지 않는 경우조치 방법 보기

    기관소개 > 고객센터 > 자주 묻는 질문

  • 코로나 시대, 문학의 역할을 논한다 - ‘내일을 쓰다’ 2020 서울국제작가축제 개막

    알림광장 > 공지게시 > 보도자료

  • 한국문학번역원 뉴스레터 No.148

    자료광장 > 소식지

  • 창립 25주년 기념 전시 행사 운영 대행 용역 입찰 우선협상대상자 발표

    알림광장 > 공지게시 > 입찰공고

  • 김이듬 『히스테리아』美 번역상 최초 2관왕 수상

    알림광장 > 공지게시 > 보도자료

  • Verso snares Hwang Sok-Yong's imprisonment memoir

    ​Verso Books is to publish the memoir of Korean novelist Hwang Sok-Yong, which details the years he spent in a Seoul Detention Centre. 

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 10 EERIE BOOKS FOR AUTUMN

    The Hole is a masterpiece of Korean Literature. After a car accident leaves him a widower and paralyzed, Ogi wakes from a coma to discover that his elderly mother-in-law is caring for him.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 세계에서 인정받는 한국문학의 저력

    알림광장 > 공지게시 > 보도자료

  • Washington state writers on National Book Award longlists share insights into their creativity

    ​Choi is the author and translator of several books, chapbooks and essays across genres. Born in Seoul, South Korea, Choi works as an advisory editor for Action Books’ Korean Literature Series, translates for International Women’s Network Against Militarism, and teaches adult basic education at Renton Technical College’s community partnership site in downtown Seattle.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 문화콘텐츠 번역의 발전방향을 모색하는 전문가 심포지엄 개최

    알림광장 > 공지게시 > 보도자료

  • 대상 작품 선정 기준에 관해 문의드립니다.

    기관소개 > 고객센터 > 1:1 문의

  • 기관장업무추진비(2020.9.)

    기관장업무추진비(2020.9.)

    정보공개 > 사전정보공표 > 행정감시정보

  • Vol.49 (English)

    자료광장 > 발간자료 > Korean Literature Now

  • 2020년 한국문학번역원 대표 웹사이트 이용자 만족도 설문조사 당첨자 발표

    ​​2020년 한국문학번역원 대표 웹사이트 이용자 만족도 설문조사에 참여해주신 모든 분들께 진심으로 감사드립니다.당첨되신 총 23분은 아래와 같으며, 당첨되신 분들께는 9월 30일(수)부터 상품 기프티콘을 보내드리도록 하겠습니다.앞으로도 한국문학번역원에 많은 관심 부탁드립니다.개인정보 수집 동의를 거부하신 분들, 해외 연락처 표기자 분들은 당첨에서 제외되었음을 알려드립니다.해외 연락처 표기자 분들 중 국내 연락처가 있으신 분들은 아래 메일로 연락주시면 발송을 도와드리겠습니다.(전산관리팀 infoteam@klti.or.kr)■ 지급방법- 2020.09.30(수)부터 SMS를 통해 일괄 발송 예정※ 문화상품권은 3일 뒤 예약 발송 예정이므로 양해 부탁드립니다. (2020.10.03(토) 발송 예정)※ 내부 사정에 따라 1~2일 늦어질 수 있으니 양해 부탁드립니다.■ 당첨자 명단 (이름 앞자리, 휴대전화번호 뒷자리)[1등]윤** (8522)[2등]​이** (3489)[3등]안** (9671)​[4등]김​** (4126​)채​** (7991​)정​** (9551​)안​** (1706​)정​** (7957​)이​** (3966​)강​** (1128​)김​** (5821​)조​** (9170​)장​** (2720​)박​** (5369​)이​** (9736​)이​** (9109​)김​** (1573​)최​** (3252​)문​** (1325​)조​** (1874​)한​** (5734​)안​** (3413​)김​** (8653​)■ 기타문의- 한국문학번역원 전산관리팀- infoteam@klti.or.kr- 02.6919.7783

    알림광장 > 공지게시 > 이벤트 게시판

  • Reading Yeong-Shin Ma’s ‘Moms’ to understand why the Korean Wave has swept through parts of India

    Similar motivations underlie yet another superb South Korean cultural export, Yeoung-Shin Ma’s graphic novel Moms (Drawn & Quarterly), which was recently released in a deft, impactful English translation by Janet Hong. It illuminates subjects twice overlooked: the urban precariat that every country tends to ignore, and more specifically the interior lives of middle-aged working women trying to navigate the margins of late capitalism.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2020 한국문학번역상 신인상 수상자 발표 일정 연기 공고

    2020 한국문학번역상 신인상 부문에 많은 관심을 가져주셔서 감사합니다. 공고문 상의 수상자 발표일이 추석연휴인 관계로 심사 일정이 조정되어수상자 발표가 10월 6일(화)에 있을 예정이오니 참가자 여러분의 많은 양해 바랍니다. 2020 한국문학번역상 신인상 수상자 발표 일자-2020년 10월 6일(화) ㅇ 문의: 국내교육팀 임인수( newtranslators@klti.or.kr)

    알림광장 > 공지게시 > 공지사항

  • 한국문화예술위원회 문학주간 2020

    알림광장 > 공지게시 > 공지사항

  • 2020년 한국문학번역원 대표 웹사이트 이용자 만족도 설문조사 당첨자 발표 일정 변경 안내

    2020년 한국문학번역원 대표 웹사이트 이용자 만족도 설문조사 당첨자 발표 일정 변경 안내​안녕하십니까. 한국문학번역원입니다.설문조사에 많은 참여를 해주셔서 감사드립니다.많은 분들께서 참여해주셔서 ​심사 소요 시간이 연장됨에 따라 부득이하게 ​발표 일정을 연기하게 되었습니다.이에 따라 ​당첨자 발표 일정이 2020.09.24(목)에서 2020.09.30(수)로 변경되었음을 알려드립니다.이점 양해 말씀드립니다.감사합니다.[문의]한국문학번역원 전산관리팀 02.6919.7783

    알림광장 > 공지게시 > 이벤트 게시판

  • 영어권 출판시장에서 약진하는 한국문학

    영어권 출판시장에서 약진하는 한국문학 ▶ 영역 황석영 『해질 무렵』 美‘전미번역상’ 후보 ▶ 영역 김이듬 『히스테리아』 美 ‘전미번역상’, ‘루시엔 스트릭 번역상’ 2개 문학상 후보 ▶ 영역 윤고은 『밤의 여행자들』가디언지, 타임지 등 주요 외신 보도​​​○ 영어권 국가에서 출간된 한국문학에 대한 현지 문학계의 관심이 잇따르며 한류 확산에 힘을 보태고 있다. 황석영 소설 『해질 무렵』(문학동네(2015)/ 영역본: 김소라 역, Scribe Publications, 2019)이 전미번역상 수상 후보에 올랐고, 김이듬 시집 『히스테리아』(문학과지성사(2014)/ 영역본: 제이크 레빈, 서소은, 최혜지 역, Action Books, 2019)는 전미번역상과 루시엔 스트릭 번역상까지 2개 문학번역상 후보로 선정되었다. 더불어 윤고은 소설 『밤의 여행자들』(민음사(2013)/ 영역본: 리지 뷸러 역, Serpent’s Tail, 2020)은 올여름 출간 이후 영국 가디언지, 미국 타임지를 포함한 현지 언론의 주목을 받고 있다. 최근 조남주 소설 『82년생 김지영』 (민음사(2016)/ 영역본: 장해니 역, Liveright, 2020)이 전미도서상(National Book Awards) 번역문학 부문 수상후보에 오른 데 이은 한국문학의 약진이다. ​ 황석영 『해질 무렵』 미국 문학번역가협회 주관 전미번역상 후보에 올라​ ○ ​문화체육관광부(장관 박양우) 산하 한국문학번역원(원장 김사인)의 지원을 받아 출간된 황석영 소설가의 『해질 무렵』이 올해 ‘전미번역상(ALTA National Translation Awards)’수상 후보에 올랐다. 전미번역상은 미국 문학번역가협회(ALTA)에서 매년 시상하는 번역문학 전문 문학상으로 올해 22년차를 맞이했다. 전년도에 미국에서 출간된 번역 작품을 대상으로 시 부문과 산문 부문으로 나누어 시상하며, 황석영 소설 『해질 무렵』은 산문 부문 수상 후보 12종 중 한 작품으로 선정되었다. ○ 황석영 『해질 무렵』의 번역은 전작 『바리데기』와 『낯익은 세상』을 번역해 영어권에 소개한 김소라(Sora Kim-Russell) 번역가가 맡았다. 김소라 번역가는 뛰어난 번역 실력을 인정받아 동 작품으로 2019년 맨부커상 국제 부문 후보에 올랐고, 김언수, 편혜영 소설가 등 여러 한국 작가의 작품을 영어로 번역하기도 했다. 『해질 무렵』을 출간한 스크라이브 퍼블리케이션스(Scribe Publications)는 1976년에 설립된 호주의 유력 독립 출판사로 2015년부터 황석영 소설가의 작품을 지속적으로 영어권에 소개하고 있다. ○ 전미번역상의 최종후보는 9월 말 발표 예정이며 수상자 발표와 시상식은 오는 10월 15일 미국 문학번역가협회 온라인 컨퍼런스에서 진행한다. 부문별 수상 번역가에게는 각 $2,500의 상금을 수여한다. ​​ 김이듬 『히스테리아』 미국 문학번역가협회 주관 ‘전미번역상’, ‘루시엔 스트릭 번역상’후보에 올라​ ○ 김이듬 『히스테리아』는 전미번역상과 루시엔 스트릭 번역상(ALTA Lucien Stryk Asian Translation Prize) 수상 후보에 나란히 올라 눈길을 끈다. 『히스테리아』는 전미번역상 시 부문 10종의 후보작품 중 하나인 동시에 루시엔 스트릭 번역상 3종의 최종 후보작품 중 하나로 선정되었다. 루시엔 스트릭 번역상은 미국 시인이자 불교문학 번역가로 활동한 루시엔 스트릭의 이름을 따 2010년 제정한 문학상으로 영어로 번역된 뛰어난 아시아 문학 작품의 번역가에게 시상한다. ○ 김이듬 『히스테리아』는 한국문학번역원의 지원을 받아 영어권에서 출간된 시인의 세 번째 시집이다. 작품을 출간한 액션 북스(Action Books)는 미국 노트르담대 산하 시 전문 출판사로 2016년에 출간된 김이듬 시인의 『명랑하라 팜 파탈』 외에도 김혜순 시인의 시집 3종을 출간한 바 있다. ○ 한국문학이 루시엔 스트릭 번역상을 수상하거나 후보에 오른 인연은 이번이 처음은 아니다. 그동안 김이듬을 비롯하여 진은영, 오세영 시집 등의 번역가들이 최종 후보에 올랐고, 2019년 김혜순 『죽음의 자서전』(New Direction, 2019) 번역으로 캐나다 그리핀 시 문학상(Griffin Poetry Prize)을 수상한 최돈미(Don Mee Choi) 번역가가 동 작품으로 수상, 2012년에는 김혜순 시집 『전 세계의 쓰레기여, 단결하라!(원제: 당신의 첫)』(Action Books, 2011)의 번역으로 수상하여 올해 선정 결과에도 기대를 모으고 있다. ○ 루시엔 스트릭 상 수상자는 전미번역상과 같이 10월 15일 미국 문학번역가협회 온라인 컨퍼런스에서 발표될 예정이다. ​​윤고은 『밤의 여행자들』가디언지, 타임지 등 주요 언론 보도​ ○ 한편 올해 여름 미국과 영국에서 동시에 출간된 윤고은 소설 『밤의 여행자들』은 영국 가디언(The Guardian)지와 더타임즈(The Times UK), 주간지 스펙테이터(The Spectator), 미국 주간지 타임(TIME), 월간지 디애틀랜틱(The Atlantic) 등 영어권 주요 언론의 주목을 받고 있다. 7월 영국에서 출간된 이후 미국, 영국, 호주, 아시아 지역 언론에서의 서평 및 추천 기사 보도 건수는 약 30건 이상으로 집계된다. ○ 영국 가디언지는 『밤의 여행자들』이 ‘기후 변화와 세계 자본주의의 압력이 얼마나 긴밀하게 연결되어 있는지 조명하는 흥미로운 에코-스릴러(eco-thriller)’라고 평했고, 미국 디애틀랜틱지는 작품이 ‘자본주의에 대한 암울한 풍자 소설로 필수 업무를 재단하는 팬데믹 시대에 울림을 준다’고 밝혔다. 윤고은 『밤의 여행자들』은 한국문학번역원의 번역 및 출판 지원을 받아 영국 유력 문학 전문 출판사인 서펀츠 테일(Serpent’s Tail)에서 출간되었으며, 리지 뷸러(Lizzie Buhler) 번역가가 번역을 맡았다.※ 영국 가디언지 기사 링크: https://www.theguardian.com/books/2020/jul/09/the-disaster-tourist-by-yun-ko-eun-review-life-under-late-capitalism※ 미국 디애틀랜틱지 기사 링크: https://www.theatlantic.com/culture/archive/2020/08/disaster-tourist-yun-ko-eun-capitalist-satire-pandemic-work/615151/ 이 보도자료와 관련하여 보다 자세한 내용이나 취재를 원하시면 한국문학번역원 정책기획팀 유영선(☎02-6919-7763)에게 연락주시기 바랍니다.

    알림광장 > 공지게시 > 보도자료

  • First South Korean 'comfort women' novel released in English

    An English translation of Kim Soom’s 2016 novel “Han Myong” (one person), the first South Korean novel centered on so-called “comfort women” — those who suffered under Japan’s military brothel system before and during World War II — has been released this month as the issue continues to cast a shadow on bilateral relations.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 창립 25주년 기념 전시 행사 운영 대행 용역사 선정 입찰 공고

    알림광장 > 공지게시 > 입찰공고

  • Q&A with Frances Cha ’07, author of ‘If I Had Your Face’

    Frances Cha ’07’s debut novel “If I Had Your Face” has been making waves in the literary world. The Guardian praised the novel — a story about four young women navigating the rigid cultural hierarchies, impossible beauty standards and plastic surgery craze of contemporary Korean culture — as a “fizzing, grisly debut.” The Washington Post even likened the book to Bong Joon-Ho’s Academy Award-winning “Parasite.” 

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 한국문학번역원 뉴스레터 No.147

    자료광장 > 소식지

  • SOUTH KOREA: THE ACCIDENTAL TRANSLATOR

    ANDREA PLATE WRITES — Lizzie Buehler, 25, raised in Texas, is the translator of The Disaster Tourist, South Korean author Yun Ko-eun’s first novel to be translated into English and published in the US recently.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2020년 한국문학번역원 대표 웹사이트 이용자 만족도 설문조사

    ​"2020년 한국문학번역원 대표 웹사이트 이용자 만족도 설문조사"​​​■ 조사대상본원 웹사이트 이용자​■ 조사목적대표 웹사이트에 대한 이용자의 만족도 조사를 통해 이용자의 요구사항을 파악하여 개선 사항을 도출하고 향후 개선방안 마련에 활용함으로써 이용자 중심의 향상된 서비스를 제공​​■ 조사기간2020.09.15.(화) ~ 2020.09.22.(화) 8일간​​■ 조사방법아래 URL을 클릭하여 구글 설문조사(https://docs.google.com/forms/d/1mF70HAVMeLVmhNLZGigVEsC32Ks99Jn8lovo8ttUhWI)​​​■ 설문문항총 14개 문항 (객관식 10개 문항, 서술식 4개 문항)■ 설문조사 상품온라인 콘텐츠를 활성화할 수 있는 신규 사업 아이디어를 제안해주신 참여자분 중 ​​아이디어가 채택되신 총 23분에게 아래와 같은 소정의 상품을 드립니다.1등 : 해피머니 온라인 문화상품권 5만원권 (1명)2등 : 해피머니 온라인 문화상품권 3만원권 (1명)3등 : 해피머니 온라인 문화상품권 2만원권 (1명)​4등 : 해피머니 온라인 문화상품권 5천원권 (20명)※ 모바일 기프티콘으로 전송■ 당첨자 발표2020.09.24(목) ▶ 2020.09.30(수) 한국문학번역원 이벤트 게시판(설문조사에 많은 참여를 해주셔서 감사드립니다. 많은 분들께서 참여해주셔서 ​심사 소요 시간이 연장됨에 따라 부득이하게 ​발표 일정을 연기하게 되었습니다. 이점 양해 말씀드립니다. 감사합니다.)※ 주의 사항 ※본 이벤트는 중복 참여가 불가합니다.당첨자 발표일로부터 3일 이내에 개인정보가 확인되지 않을 경우, 당첨이 취소됨을 알려드립니다.개인정보 기입 오류로 인한 당첨 취소 및 상품 발송 오류 시 책임지지 않습니다.

    알림광장 > 공지게시 > 이벤트 게시판

  • 기관장업무추진비(2020.8.)

    정보공개 > 사전정보공표 > 행정감시정보

  • 2020년 한국문학번역원과 함께하는 8월의 이벤트 당첨자 발표

    ​2020년 한국문학번역원과 함께하는 8월의 이벤트에 참여해주신 모든 분들께 진심으로 감사드립니다.당첨되신 총 10분은 아래와 같으며, 당첨되신 분들께는 8월 28일(금)부터 상품 기프티콘을 보내드리도록 하겠습니다.앞으로도 한국문학번역원에 많은 관심 부탁드립니다.개인정보 수집 동의를 거부하신 분들, 해외 연락처 표기자 분들은 당첨에서 제외되었음을 알려드립니다.해외 연락처 표기자 분들 중 국내 연락처가 있으신 분들은 아래 메일로 연락주시면 발송을 도와드리겠습니다.(전산관리팀 infoteam@klti.or.kr)■ 지급방법- 2020.08.28(금)부터 SMS를 통해 일괄 발송 예정※ 1, 2등 상품인 '문화상품권'의 경우 3일 뒤 예약 발송 예정이므로 양해 부탁드립니다. (2020.08.31(월) 발송 예정)※ 내부 사정에 따라 1~2일 늦어질 수 있으니 양해 부탁드립니다.■ 당첨자 명단 (이름 앞자리, 휴대전화번호 뒷자리)[1등]이** (3966)[2등]​김** (9183)김​** (2841​)김​** (3104​)정​** (5847​)최​** (0038​)임​** (8231​)한​** (2977​)김​** (2375​)이​** (5454​)[3등]없음■ 기타문의- 한국문학번역원 전산관리팀- infoteam@klti.or.kr- 02.6919.7783

    알림광장 > 공지게시 > 이벤트 게시판

  • Crimes that history cannot absolve

    Korean literature has been enjoying a literary renaissance for quite some time through translation, from the likes of Hang Kang's beguiling yet gruesome novel, The Vegetarian (2007) to Yeonmi Park's heart wrenching memoir, In Order to Live (2015).

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2021 호암상 후보자 추천

    2021 호암상 후보자 추천1. 시상분야​● 과 학 상 (물리 · 수학부문) : 물리 및 수학, 관련 융합과학 분야에서 탁월한 업적을 이룩한 인사​● 과 학 상 (화학 · 생명과학부문) : 화학 및 생명과학, 관련 융합과학 분야에서 탁월한 업적을 이룩한 인사​● 공 학 상 : 공학 및 응용기술 분야에서 탁월한 업적을 이룩한 인사​● 의 학 상 : 의학 및 약학 분야에서 탁월한 업적을 이룩한 인사​● 예 술 상 : 창작, 발표 등을 통해 예술 분야에 현저한 기여를 한 인사​● 사회봉사상 : 사회복지 증진 및 사회봉사에 현저한 공헌을 한 인사* 2021년부터 과학상은 물리 · 수학부문과 화학 · 생명과학부문으로 나누어 시상함* 각 부문별 1인 수상이 원칙이나, 동일한 평가를 받은 우수한 후보자들에 대해서는 공동수상이 가능하며, 특별한 경우 단체를 수상 대상으로 할 수 있음* 각 수상자에게는 상장과 메달, 상금 3억원을 수여2. 후보자 자격● 한국인 및 한국계 인사 (단, 사회봉사상은 국내외에서 한국을 위해 업적을 이룩한 외국인 포함)● 추천마감일 현재 생존 인사3. 업적기준● 성취 또는 축적한 업적들이 사회의 귀감이 되고 해당분야 및 사회적으로 높은 평가를 받은 업적● 공공의 이익에 현저하게 공헌한 업적4. 구비서류● 추천서(본 위원회 소정양식) 1부, 후보자 이력(CV) 1부※ 추천서 다운로드:호암재단 홈페이지(www.hoamprize.org)● 업적 증빙 자료※ 접수된 자료는 반환하지 않음 (중요 서류는 사본으로 제출 요망)- 대표논문 1편 및 관련논문 5편 이내 (과학상 물리 · 수학부문, 과학상 화학 · 생명과학부문, 공학상, 의학상)- 주요업적 증빙자료 (예술상, 사회봉사상)5. 추천서 접수● 접수기한:2020년 10월 31일(토)● 접수방법온라인) 호암재단 홈페이지 이메일) hoam.foundation@samsung.com 우 편) 서울시 서초구 서초대로 74길 4, 삼성생명 서초타워 6층 (우) 066206. 수상자 발표 및 시상● 발 표:2021년 4월 일간지 발표 ● 시 상:2021년 6월7. 기 타​●업적을 허위 기재하거나 심각한 연구윤리 위반 또는 사회 통념상 비도덕적 행위로 사회적 물의를 일으킨 후보자의 경우 수상 자격이 제한될 수 있음​● 문의사항 : Tel) 02-2255-0453~7 Fax) 02-2255-0461​호 암 상 위 원 회THE HO-AM PRIZE COMMITTEE

    알림광장 > 공지게시 > 공지사항

  • Eerie Detachment and The Domestic Surreal: A Review of Ha Seong-Nan’s Bluebeard’s First Wife

    “Bluebeard’s First Wife,” originally published in 2002, is a collection of short stories from South Korean author Ha Seong-Nan.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • ‘방구석 영화보기’ 온라인 상영회 개최

    알림광장 > 공지게시 > 보도자료

  • 번역전문도서관 휴관 안내(8. 20. ~ 9. 4.)

    8월 18일자 정부의 수도권 지역 방역조치 강화 방안에 따라8월 20일부터 9월 4일까지 약 2주간 임시 휴관하오니, 이용에 참고하여 주시길 바랍니다. ※ 휴관기간: 8. 20.(목) ~ 9. 4.(금) *상황에 따라 변동이 있을 수 있음※ 이용제한대상: 도서관 전체 이용자※ 휴관내용 - 도서관 서비스 운영 중단(대출, 반납, 열람 등) - 휴관중 이용 가능 서비스: 디지털 도서관 전자책 서비스, 반납함을 통한 자료 반납 - 자료 반납예정일 연기: 반납예정일이 휴관기간에 속하는 도서는 자동 2주 연장 처리 (단, 8. 19. 기준 연체 도서는 연장 불가) 이용자 여러분의 건강한 일상을 염원합니다.

    알림광장 > 공지게시 > 공지사항

  • 한국문학번역원 뉴스레터 No.146

    자료광장 > 소식지

  • 2020년 한국문학번역원과 함께하는 8월의 이벤트

      "이효석 작가 단편소설 <하얼빈> 읽기"8.15 광복절을 맞이하여 일제 강점기의 한국문학 작품인 이효석 작가의 단편소설 <하얼빈>을 읽고,<하얼빈> 영문판에서 인상 깊은 영어 구절을 하나 선택하여,해당 영어 구절의 한글 번역과 선택 이유를 구글 이벤트 채널을 통해 남겨주세요.※ <하얼빈> 영문판 : 크롬 > 대표 웹사이트 > 자료광장 > 영어로 읽는 한국문학 > 20세기 한국문학(근대) > 이효석 - 하얼빈(브라우저는 반드시 크롬만을 사용해주세요.)[예시](영문) The double-decker ferry carrying people, crossing over to the island in the sunset looks distant, as if it belongs to another world faraway.(한글) 사람을 싣고 섬으로 건너가는 이층의 유람선이 저무는 속에서는 먼 세상의 것같이 아득하게 보인다.(이유) 소설이 이야기하고자 하는 가족과 나라를 잃은 실의와 앞날에 대한 회의의 정서를 함축하고 있어서추첨을 통해 총 52분께 상품을 드립니다!!■ 이벤트 참여 방법Step 1. <2020년 한국문학번역원과 함께하는 8월의 이벤트> 내용 확인하기Step 2. 게시글에 안내된 구글 이벤트 채널 접속하기 (​2020.08.14(금) 오전 중 오픈)(https://docs.google.com/forms/d/1ih863ayAWnz1tTWKrfp_2dzGDHeaVqAnQNBRKZxPBaY)Step 3. 개인정보 수집·이용 동의서에 동의 후, 이름과 휴대전화번호 입력하기Step 4. 이벤트 참여 글 등록하기Step 5. 본원 대표 웹사이트에 필요한 컨텐츠 작성하기Step 6. 제출 버튼을 클릭하면 이벤트 자동 응모 완료!■ 이벤트 기간2020.08.14(금) ~ 08.21(금)■ 이벤트 상품1등 : 해피머니 온라인 문화상품권 3만원권 (1명)2등 : 해피머니 온라인 문화상품권 2만원권 (1명)3등 : CU 모바일상품권 3천원권 (50명)※ 모바일 기프티콘으로 전송■ 당첨자 발표2020.08.28(금) 한국문학번역원 이벤트 게시판※ 주의 사항 ※본 이벤트는 중복 참여가 불가합니다.당첨자 발표일로부터 3일 이내에 개인정보가 확인되지 않을 경우, 당첨이 취소됨을 알려드립니다.개인정보 기입 오류로 인한 당첨 취소 및 상품 발송 오류 시 책임지지 않습니다.

    알림광장 > 공지게시 > 이벤트 게시판

  • The Expectations That Travelers Carried: The Disaster Tourist by Yun Ko-eun (trans. Lizzie Buehler)

    The Disaster Tourist is a trim near-future speculative novel from Yun Ko-eun, the first of her novels to be translated and published in English.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 한국문학번역원, <제4회 한민족 이산문학 독후감대회> 공모

    한국문학번역원, <제4회 한민족 이산문학 독후감대회> 공모▶해외한인작가 작품 총 26종 대상 10월 4일(일)까지 접수○ 문화체육관광부(장관 박양우) 산하 한국문학번역원(원장 김사인)은 오는 8월 17일(월)부터 10월 4일(일)까지 <제4회 한민족 이산문학 독후감대회>를 개최한다. 2018년도에 처음 시작되어 4회째를 맞이한 본 대회는 한국문학의 시공간적 범위를 확장하고 세계 각지의 소중한 한인문학을 국내 독자들에게 널리 소개하기 위해 기획되었다. 본 대회를 통해 국내 독자들은 한민족 이산의 역사와 삶의 여정을 이해하고 공감하는 소중한 경험을 하게 될 것이다.​​ ​​○ 공모 대상작품은 총 26종으로 미국, 일본, 유럽, 중앙아시아, 북한 등지에서 활동한 해외한인작가들의 소설, 시, 에세이, 희곡으로 구성되어 있다. 이미 세계적 수준의 작가로 평가받는 김은국의 『순교자』, 한국의 ‘제인 오스틴’으로 불리며 미국 문단의 주목을 받고 있는 이민진의 『파친코』, 저명한 재일조선인작가이자 언론인으로 활발하게 활동하고 있는 서경식의 『디아스포라 기행』 등이 포함되어있다. ​○ 대회는 예년과 같이 성인부와 청소년부 2개 부문으로 나뉘어 진행되며, 한국어를 사용하는 국내외 독자 누구나 참여할 수 있다. 응모자는 총 26종의 대상작품 가운데 한 종을 골라 독후감을 작성하여 공식 웹사이트(www.diasporabook.or.kr)의 독후감 응모 페이지에서 제출하면 된다. 성인부는 원고지 30매(6,000자) 내외, 청소년부는 원고지 20매(4,000자) 내외로 작성해야 하며, 자세한 내용은 응모 페이지에서 확인할 수 있다. ​○ 대회 심사 결과는 오는 11월 9일(월) 공식 웹사이트를 통해 확인할 수 있으며, 시상 규모와 상금 내역은 예년과 같다. 성인부 대상 수상자 1인에게는 300만원, 우수상 수상자 3인과 장려상 수상자 10인에게는 각각 100만원과 50만원이 상금으로 지급된다. 또, 청소년부 대상 수상자 1인에게는 200만원, 우수상 수상자 3인과 장려상 수상자 20인에게는 각각 70만원과 30만원이 지급된다. 시상식은 11월 중 개최 예정이며, 코로나19 확산 상황을 고려하여 개최 방식과 구체적인 일정은 추후 웹사이트를 통해 공지할 예정이다. ​ ○ 한편, 이번 대회부터 공식 웹사이트가 ‘소통과 평화의 플랫폼’이라는 이름의 한민족 이산문학 전용 공간으로 새롭게 확대 개편된다. 독자들은 해당 사이트를 통해 독후감대회 정보뿐만 아니라, 해외한인동포의 삶을 다룬 영화·연극 상영회, 해외한인문학 심포지엄 발제자료 등 이산문학을 더 깊이 이해할 수 있는 다양한 콘텐츠를 만날 수 있다. 아직까지 국내 독자들에게 널리 알려지지 않은 한민족의 이주와 정착 뒷이야기는 연말까지 웹사이트를 통해 순차 공개할 예정이다.​​이 보도자료와 관련하여 보다 자세한 내용이나 취재를 원하시면 한국문학번역원 정책기획팀 유영선(☎02-6919-7763)에게 연락주시기 바랍니다.

    알림광장 > 공지게시 > 보도자료

  • KOREAN FEMINISTS IN TRANSLATION: GENIUS DISASTER TOURIST GUIDE

    ANDREA PLATE WRITES – Who could possibly find humor in severed heads, natural disasters and mass graves? South Korean author Yun Ko Eun does, as will any reader of the English language version of her novel, The Disaster Tourist (Counterpoint), published just this month in the US.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 기관장업무추진비(2020.7.)

    정보공개 > 사전정보공표 > 행정감시정보

  • ‘장벽을 넘어’ 한국 영화·웹툰 신진 번역가 발굴한다

    알림광장 > 공지게시 > 보도자료

  • 2020년도 3분기 해외교류 공모사업 선정 결과

    2020년도 3분기 해외교류 공모사업 선정 결과​한국문학번역원은 2020년도 3분기 해외교류 공모사업 지원대상으로 총 6개 언어권 9건을 선정하였다. ​2020년 4월 1일(수)부터 6월 30일(화)까지 총 6개 언어권 9건이 접수되었다. 이번 심사 회의는 코로나 바이러스 확산 예방을 위한 사회적 거리두기 지침에 따라 서면으로 진행했다. 7월 13일(월)부터 24일(목) 까지 진행된 심사를 통해 사업계획의 구체성, 예산의 적절성, 한국문학 홍보기여도 등의 기준에 따라 전체 6개 언어권 9건(영어권, 독일어권, 우크라이나어권, 일본어권, 리투아니아어권, 아랍어권)에 대한 지원을 결정하였다. ​한국문학번역원은 앞으로 보다 다양한 지역에서 한국문학 교류행사가 개최되어 세계 독자가 한국문학을 만나는 일이 많아지기를 기대한다.​​​별첨. 2020년도 3분기 해외교류 공모사업 심사총평 1부.

    알림광장 > 공지게시 > 공지사항

  • 문화콘텐츠 번역아카데미 제2기(연수지원) 서류전형 합격자 및 필기전형 일정 안내

    ​한국문학번역원 문화콘텐츠 번역아카데미제2기(연수지원) 서류전형 합격자 및 필기전형 일정 안내 2020년도 한국문학번역원 문화콘텐츠 번역아카데미 제2기 연수지원 수강생 모집에 관심을 가져주신 분들께 감사드리며, 다음과 같이 서류전형 합격자 및 필기전형 일정을 안내드립니다.​□ 서류전형 합격자(필기시험 대상자)​언어성명(생년월일)영어대상자 없음스페인어대상자 없음베트남어하 * 흐* 장(0907), 응* 짠 * 안(0710), 다* 티 * 아*(0604) 총 3인□ 필기전형 안내 ○ 일시: 2020. 7. 30.(목) 19:00~20:00 (한국시간 기준) ○ 방식: 제시된 영화 및 웹툰 텍스트 일부를 해당 외국어로 번역하여 온라인으로 제출 (※ 필기시험에 대한 상세 안내는 개별 연락 예정) ○ 합격자발표: 2020. 8. 7.(금) ※ 추가 시험은 실시하지 않습니다.※ 시험 및 선발에 대한 문의는 이메일로만 받습니다. □ 문의: 콘텐츠번역TF팀 이현진 (mediatranslation@klti.or.kr)

    알림광장 > 공지게시 > 공지사항

  • ‘Chiếc thang cao màu xanh’ - hoài niệm tuổi trẻ buồn bã và mất mát

    Thời gian có thật hàn gắn vết thương hay nó chỉ càng làm thêm nhức nhối ở nơi sâu thẳm của tâm hồn?

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Ian Mond Reviews Kim Jiyoung, Born 1982 by Cho Nam-Joo

    Since its publication in 2016, Cho Nam-Joo’s Kim Jiyoung, Born 1982 has sold over a million copies in South Korea, been touted as one of the country’s most important feminist novels, and sparked vicious attacks from anti-feminists, which were reignited when the book was adapted into a film in 2019.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 한국문학 콘텐츠 글로벌 플랫폼 구축 용역사 선정 입찰 공고

    붙임과 같은 내용으로 「한국문학 콘텐츠 글로벌 플랫폼 구축 용역사 선정 입찰 공고 」를 게시합니다.(조달청 URL: http://www.g2b.go.kr:8081/ep/invitation/publish/bidInfoDtl.do?bidno=20200720057&bidseq=00&releaseYn=Y&taskClCd=5)

    알림광장 > 공지게시 > 입찰공고

  • 한국문학, 유럽 문학상 후보에 연이어 올라

    한국문학, 유럽 문학상 후보에 연이어 올라​ ▶ 프랑스어역 조남주 『82년생 김지영』, 프랑스 ‘에밀 기메 아시아문학상’후보 ▶ 독일어역 정유정 『종의 기원』 및 편혜영『홀』, 독일 ‘리베라투르상’ 후보​​○ 문화체육관광부(장관 박양우) 산하 한국문학번역원(원장 김사인)의 지원으로 출간된 한국문학 작품이 최근 유럽지역 문학상 후보에 연이어 오르며 현지 문학시장과 독자들로 하여금 주목받고 있다. 조남주 작가의 소설『82년생 김지영』은 프랑스 에밀 기메 아시아문학상(Le prix Émile Guimet de Littérature asiatique) 후보에 올랐고, 정유정 소설『종의 기원』과 편혜영 소설『홀』이 독일 리베라투르상(Liberaturpreis) 후보에 올랐다. ​​ 조남주 『82년생 김지영』 프랑스 에밀 기메 아시아문학상 1차 후보 선정 ○ 조남주 작가의『82년생 김지영』(국문본: 민음사(2016)/ 프랑스어역:『Kim JiYoung, née en 1982』, 닐(NiL), 2020)이 프랑스 기메 아시아문학상 10편의 롱리스트(1차 후보)중 한 작품으로 선정되었다.​ ○ 에밀 기메 아시아문학상은 프랑스 파리 소재 국립동양미술관인 기메 박물관(Musée guimet)에서 수여하는 문학상으로, 2017년 프랑스 내 아시아문학 활성화를 위해 처음 제정된 이후, 최근 1년간 프랑스어로 번역·출간된 현대 아시아 문학 작품을 대상으로 매년 수상작을 선정하고 있다. 한국문학으로는 2018년 황석영 작가의『해질 무렵(Au Soleil Couchant)』이 수상의 영예를 안았으며, 2019년에는 은희경 작가의 『소년을 위로해줘(Encouragez donc les garçons !)』가 최종후보에 선정된 바 있다. ​ ○ 올해 후보에 오른 프랑스어역 『82년생 김지영』은 로베르 라퐁(Robert Laffont) 출판사의 임프린트인 닐(NiL) 출판사에서 2020년 1월 출간되어 프랑스 현지 언론과 독자의 큰 호응을 얻고 있다. 프랑스 유력 문학 전문지인 리르(Lire)는“한국여성이 겪은 사회 차별을 다룬 이 소설은 한국의 프리즘을 넘어 전 세계에 보편적인 메시지를 전하고 있다”고 소개하였으며, 프랑스 서점 관계자가 추천하는 서평지인 파쥬(Page)에서는“이 소설이 지닌 주제의 보편성에 주목할 필요가 있다. 소설에 실린 통계의 수치는 다르지만, 여성들은 같은 고통과 차별, 어려움을 겪고 있고 곧 이 소설에 공감하게 된다”는 서평을 수록하였다. 한편 작품의 번역은 김영하 『오직 두 사람』, 김언수 『설계자들』 등 다수의 한국문학을 프랑스어로 번역해온 최경란, 피에르 비지유(Pierre Bisiou)의 공동번역으로 이루어졌다. ​ ○ 한편, 에밀 기메 아시아문학상 주관사인 기메 박물관은 1800년대 우리나라 최초의 프랑스 유학생인 홍종우가 근무하며 『춘향전』(프랑스어역: 『Printemps Parfumé』, Dentu, 1892), 『고목생화』(프랑스어역: 『Le Bois Sec Refleurie』, Ernest Leroux, 1895) 등을 번역·출간한 곳으로도 우리에게 잘 알려져 있다. 올해 아시아문학상은 프랑스 전직 문화통신부 장관인 오렐리 필리페티(Aurélie Filippetti)가 심사위원장을 맡았으며, 오는 9월 총 5편의 최종후보를 선정한 후 11월에 최종 수상작을 발표할 예정이다. ​ ​※ 프랑스 에밀 기메 아시아 문학상 관련 링크: https://www.guimet.fr/prix-litteraire/ ​​ 정유정 『종의 기원』, 편혜영 『홀』 독일 리트프롬 주관 리베라투르상 후보 선정​     ○ 정유정 『종의 기원』(국문본: 은행나무(2016)/ 독역: 『Der gute Sohn』, 조경혜 역, 우니온스(Unions), 2019)과 편혜영 『홀』(국문본: 문학과지성사(2016)/ 독역: 『Der Riss』, 이기향 역, 비티비(btb), 2019)이 독일의 ‘리베라투르상(Liberaturpreis)’ 후보에 나란히 올랐다. 리베라투르상은 아시아, 아프리카, 라틴 아메리카 등의 문학을 독일 독자에게 알리기 위해 이들 지역 여성 작가들 가운데 한 명을 선정해 수여하는 상이다. ​ ○ 후보작은 독일 프랑크푸르트 도서전 산하 기관인 리트프롬(Litprom)에서 분기마다 선정하는 추천도서(Bestenliste) 목록에 오른 여성 작가들 가운데 정해진다. 올해 후보로 선정된 정유정의 『종의 기원』과 편혜영의『홀』을 포함해 금년에는 총 12명의 작가들이 후보에 올라 경쟁한다. 수상자는 전 세계 독자들의 온라인 투표로 결정된다. ​ ○ 한편 한국문학은 2003년에 오정희 작가가 『새』로 리베라투르 상을, 이듬해인 2004년에 이혜경 작가가 『길 위의 집』으로 리베라투르 상 장려상을 받았으며, 2018년에는 한강『소년이 온다』, 김애란 『두근두근 내 인생』이 후보에 오른 바 있다. ​ ○ 리트프롬은 매해 수상 작가에게 3,000유로의 상금과 프랑크푸르트 도서전 초청 비용을 지원하였으나, 올해는 코로나19 여파로 도서전이 취소됨에 따라 별도의 시상식을 진행할 예정으로 선정 결과는 오는 10월 중 발표된다.​ ※ 독일 리베라투르상 관련 링크: https://www.litprom.de/beste-buecher/liberaturpreis/kandidatinnen-2020/​​​이 보도자료와 관련하여 보다 자세한 내용이나 취재를 원하시면 한국문학번역원 정책기획팀 유영선(☎02-6919-7763)에게 연락주시기 바랍니다.

    알림광장 > 공지게시 > 보도자료

  • 한국문학번역원 뉴스레터 No.145

    자료광장 > 소식지

  • SOUTH KOREA: THE LAW OF LINES – THEY’RE MADE TO BE CROSSED

    The Law of Lines (Arcade Publishing), by Pyun Hye-yung, may be the most fiercely feminist novel of the South Korean #MeToo literary wave to make a splash in America this year.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 기관장업무추진비(2020.6.)

    정보공개 > 사전정보공표 > 행정감시정보

  • Eine verhängnisvolle Reise

    Am ehesten erinnert uns ihr Schreiben an die Bestsellerautorin Han Kang (Die Vegtarierin). Statt einer Reise gelähmt und allein. Halb verzweifelt fühlt sich Ogi

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2020년 한국문학번역원과 함께하는 6월의 이벤트 당첨자 발표

    2020년 한국문학번역원과 함께하는 6월의 이벤트에 참여해주신 모든 분들께 진심으로 감사드립니다.당첨되신 총 52분은 아래와 같으며, 당첨되신 분들께는 7월 6일(월)부터 상품 기프티콘을 보내드리도록 하겠습니다.앞으로도 한국문학번역원에 많은 관심 부탁드립니다.개인정보 수집 동의를 거부하신 분들, 해외 연락처 표기자 분들은 당첨에서 제외되었음을 알려드립니다. 해외 연락처 표기자 분들 중 국내 연락처가 있으신 분들은 아래 메일로 연락주시면 발송을 도와드리겠습니다.(전산관리팀 infoteam@klti.or.kr)■ 지급방법- 2020.07.06(월)부터 SMS를 통해 일괄 발송 예정※ 1, 2등 상품인 '문화상품권'의 경우 3일 뒤 예약 발송 예정이므로 양해 부탁드립니다. (2020.07.09(목) 발송 예정)※ 내부 사정에 따라 1~2일 늦어질 수 있으니 양해 부탁드립니다.■ 당첨자 명단 (이름 앞자리, 휴대전화번호 뒷자리)[1등]전** (1224)[2등]한** (2163)[3등]정** (0917)조** (4634)장** (9156)정** (3564)권** (3605)김** (7135)김** (6664)김** (1567)남** (5225)이** (7011)이** (8436)임** (2438)장** (3258)강** (0537)김** (1272)김** (0211)김** (0872)김** (0736)김** (4314)김** (0092)김** (0324)김** (5628)김** (9707)문** (6664)박** (1917)배** (1900)신** (7242)안** (0515)오** (6212)윤** (3960)이** (0143)이** (2012)이** (7805)이** (0311)이** (4382)이** (9102)이** (5814)이** (8630)이** (3966)임** (0177)정** (7957)조** (1917)조** (4706)최** (9983)최** (7747)최** (8014)최** (6059)홍** (4923)황** (3232)임** (3940)■ 기타문의- 한국문학번역원 전산관리팀- infoteam@klti.or.kr- 02.6919.7783

    알림광장 > 공지게시 > 이벤트 게시판

  • 2020년 한국문학 교차언어 낭독회 역:시(譯:詩), 역:설(譯:說) 개최

    알림광장 > 공지게시 > 보도자료

  • Mord der Erzählung

    In der Tat ist, was Kim Young-Ha zu erzählen hat, smart und vielschichtig, was man nach dem Anriss der Handlung noch gar nicht glauben will: Der ehemalige

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • #MulherBacanaLê:

    Escrito por Han Kang, com tradução de Jae Hyung Woo, o pequeno e intenso título é, por certo, uma das leituras mais mexeu comigo e marcou a minha vida.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Dear Kutu Buku, 4 Buku Best Seller Korea Ini Diterjemahkan ...

    Buku ini ditulis oleh Haemin Sunim, seorang guru meditasi asal Korea Selatan yang juga menempuh pendidikannya di Amerika. Isinya lebih banyak membahas

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 한국문학 해외 인지도 및 해외소개 중장기 전략 연구 입찰 우선협상대상자 발표

    한국문학 해외 인지도 및 해외소개 중장기 전략 연구사 업체 선정을 위해 2020년 6월 30일 개최하였던 제안서 평가회의 결과삼일회계법인(대표 윤훈수, 사업자등록번호 106-81-19621)이 우선협상대상자로 선정되었음을 알려드립니다.

    알림광장 > 공지게시 > 입찰공고

  • 5 Buku Best Seller Korea Ini Diterjemahkan ke Indonesia ...

    Buku dengan sampul yang didominasi warna hijau dari rerumputan ini adalah buku yang ditulis oleh Haemin Sunim, seorang guru meditasi asal Korea Selatan

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 한류연계지역 온라인 출판인 교류 대행 용역 입찰 우선협상대상자 발표

    한류연계지역 온라인 출판인 교류 대행사 업체 선정을 위해 2020년 6월 25일 개최하였던 제안서 평가회의 결과(주)헤럴드아트데이(대표 김아미, 사업자등록번호 101-86-86950)가 우선협상대상자로 선정되었음을 알려드립니다.

    알림광장 > 공지게시 > 입찰공고

  • 한국문학 해외 인지도 및 해외소개 중장기 전략 연구사 선정 입찰 공고

    붙임과 같은 내용으로 「한국문학 해외 인지도 및 해외소개 중장기 전략 연구사 선정 입찰 공고」를 게시합니다.(조달청 URL: http://www.g2b.go.kr:8081/ep/invitation/publish/bidInfoDtl.do?bidno=20200625702&bidseq=00&releaseYn=Y&taskClCd=5 )

    알림광장 > 공지게시 > 입찰공고

  • 한국문학번역원-들꽃영화상 업무협약 체결

    한국문학번역원, 독립영화에서도‘제2의 달시 파켓’양성한다​▶ 한국문학번역원 – 들꽃영화상 업무협약 체결▶ 문화콘텐츠 번역인력 양성 활성화로 독립영화 한류를 이끌 마중물 역할​○ 문화체육관광부(장관 박양우) 산하 한국문학번역원(원장 김사인)과 들꽃영화상(집행위원장 달시 파켓, 운영위원장 오동진)은 6월 23일(화) 영화, 웹툰, 웹소설 등의 한국 문화콘텐츠 외국어 번역 인력양성 활성화를 위한 업무 협약을 체결했다.​​▲ 한국문학번역원(좌, 원장 김사인)-들꽃영화상(우, 집행위원장 달시 파켓) 업무 협약식​○ 이번 업무협약은 양 기관의 상호협력을 통한 한국 문화콘텐츠의 외국어 번역 인력양성 사업 확대 및 발전을 목표로 추진되었다. 양 기관은 한국문학번역원 <문화콘텐츠 번역아카데미>의 교육용 콘텐츠 제공, 교육 특강 및 강사 파견, 교육 수료생 인턴십 연계 제공 등을 함께 추진한다. 또한, 향후 들꽃영화상 수상작의 번역 콘테스트, 영화 번역 관련 심포지엄 등을 공동으로 주관하여, 이를 통해 한국 독립영화의 해외소개 확대를 위한 마중물 역할을 수행할 계획이다. ​○ 올해 한국문학번역원은 체계적인 한국 문화콘텐츠 번역 인력양성을 목표로 <문화콘텐츠 번역아카데미>를 처음 개설하였다. 지난 6월 15일 개강한 제1기 문화콘텐츠 번역아카데미는 영어, 스페인어, 베트남어까지 3개 언어권에서 영화자막 번역 및 웹툰 번역 실습 과정을 진행한다. 한국문학번역원 곽현주 번역교육본부장은 “향후 아카데미 언어권 확대·우수 수료생 인턴십 기회 제공 등을 통해 콘텐츠 전문 번역인력 양성에 기관의 역량을 집중할 것”이라 강조했다. ​ ○ 한편, 들꽃영화상은 한국 독립 저예산 영화의 업적을 기리기 위해 2014년 시작된 국내 유일의 독립영화상이다. 혹독한 환경에서 뿌리내리고 자라는 들꽃처럼 독립영화의 다양성도 꽃피우길 바라는 마음으로 매년 조금씩 가치를 진전시키며 키워왔다. ‘기생충’ 번역가로 이름을 알린 번역가 달시 파켓과 영화평론가 오동진이 추진한 영화상으로, 현재 각각 집행위원장과 운영위원장을 맡고 있다. ​○ 한국문학번역원 김사인 원장은 “영화, 공연, 예술 등 문화콘텐츠 분야에서 섬세한 자막 번역의 필요성은 오래 전부터 제기되어 왔으나, 그간 국가의 역량과 지원이 부족했던 만큼 올해 처음 개설한 <문화콘텐츠 번역아카데미>를 통해 긴 호흡으로 양 기관이 상호협력하기를 소망한다”고 말했다. 달시 파켓 집행위원장도 “한국 영화가 세계에서 성공하기 위해서 좋은 번역은 필수적”이라 강조하며, “양 기관이 업무협약을 통해 양질의 번역가 육성에 힘을 모으게 되어 기쁘다”고 화답했다. 오동진 운영위원장 또한 “올해를 기점으로 자막 번역 협업을 통해 들꽃의 독립영화들을 해외에 내보내는 일이 가능해져 숙원사업을 달성하는 기분”이라며 “들꽃영화상이 질적으로 다른 차원으로 넘어가게 되는 것이라 감회가 새롭다”고 기대감을 나타냈다.​​​이 보도자료와 관련하여 보다 자세한 내용이나 취재를 원하시면 한국문학번역원 정책기획팀 유영선(☎02-6919-7763)에게 연락주시기 바랍니다.

    알림광장 > 공지게시 > 보도자료

  • 한국문학번역원 뉴스레터 No.144

    자료광장 > 소식지

  • 2020년 한국문학번역원과 함께하는 6월의 이벤트

    한국문학번역원과 함께하는 6월의 이벤트~!#‘한국문학’으로 4행시 짓기“한국문학 한국문학 한국문학 한국문학”한국문학 4글자로 글의 흐름이 이어지는 문장을 완성해주세요.(예시) 한과 해학이 담긴 국악을 듣고 있자니 문득 풍물놀이 동아리 시절이 떠올라 학창시절 사진들을 꺼내 보았다.추첨을 통해 총 52분께 상품을 드립니다!!■ 이벤트 참여 방법Step 1. <2020년 한국문학번역원과 함께하는 6월의 이벤트> 내용 확인하기Step 2. 게시글에 안내된 구글 이벤트 채널 접속하기https://docs.google.com/forms/d/1RZSMmVCXjSmGmII6DToFALmtCIpbDjVs6LvaiBkwZlgStep 3. 개인정보 수집·이용 동의서에 동의 후, 이름과 휴대전화번호 입력하기Step 4. ‘한국문학’으로 4행시 작성하기Step 5. 제출 버튼을 클릭하면 이벤트 자동 응모 완료!Step 6. 한국문학번역원 SNS에 응원 메시지가 담긴 댓글을 작성하시면 이벤트 당첨 확률이 높아집니다.■ 이벤트 기간2020.06.22(월) ~ 2020.06.30(화)■ 이벤트 상품1등 : 해피머니 온라인 문화상품권 3만원권 (1명) 2등 : 해피머니 온라인 문화상품권 2만원권 (1명)3등 : CU 모바일상품권 3천원권 (50명)※ 모바일 기프티콘으로 전송■ 당첨자 발표2020.07.06(월) 한국문학번역원 이벤트 게시판※ 주의 사항 ※본 이벤트는 중복 참여가 불가합니다.당첨자 발표일로부터 3일 이내에 개인정보가 확인되지 않을 경우, 당첨이 취소됨을 알려드립니다.개인정보 기입 오류로 인한 당첨 취소 및 상품 발송 오류 시 책임지지 않습니다.

    알림광장 > 공지게시 > 이벤트 게시판

  • Vol.48(English)

    자료광장 > 발간자료 > Korean Literature Now

  • Писатель из Южной Кореи номинирован на премию Айснера

    Об этом сообщает KBS со ссылкой на представителей Корейского института литературных переводов (LTI Korea). По их словам, автор и работа

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 한류연계지역 온라인 출판인 교류 대행사 선정 입찰 공고

    붙임과 같은 내용으로 「한류연계지역 온라인 출판인 교류 대행사 선정 입찰 공고」를 게시합니다.(조달청 URL: http://www.g2b.go.kr:8081/ep/invitation/publish/bidInfoDtl.do?bidno=20200625047&bidseq=01&releaseYn=Y&taskClCd=5)

    알림광장 > 공지게시 > 입찰공고

  • 한국 그래픽 노블, 세계 주요 만화상 수상 후보 올라

    한국 그래픽 노블, 세계 주요 만화상 수상 후보 올라▶ 영역 김금숙 『풀』, 미국 아이스너 어워즈 3개 부문 후보 ▶ 프랑스어역 김홍모 『좁은 방』, 프랑스만화비평가협회(ACBD) ‘아시아만화상’최종 후보 ○ 문화체육관광부(장관 박양우) 산하 한국문학번역원(원장 김사인)의 지원을 받아 출간된 한국 그래픽 노블 2종이 미국과 프랑스의 주요 만화상 수상 후보에 올라 신한류를 이끌 동력이 될 것으로 기대된다. 김금숙 작가의 『풀』은 ‘만화계의 아카데미상’으로 알려진 아이스너 어워즈(Will Eisner Comic Industry Awards)에서 3개 부문 후보에 올랐고, 김홍모 작가의 『좁은 방』은 프랑스 ‘2020 ACBD 아시아 만화상(Prix Asie de la Critique)’최종 후보에 올랐다. 김금숙 『풀』 미국 ‘아이스너 어워즈(Will Eisner Comic Industry Awards)’3개 부문 후보에 올라○ 아이스너 어워즈(Will Eisner Comic Industry Awards)는 그래픽 노블 장르의 선구자인 만화가 윌 아이스너의 업적을 기리기 위해 1988년에 제정된 상으로 미국 만화계에서 가장 권위 있는 상으로 꼽힌다. 후보 도서는 만화가, 학자, 비평가, 사서 등으로 구성된 심사위원단의 심사를 통해 선정되며 전년도에 미국에서 출간된 만화책, 그래픽 노블 도서를 대상으로 한다. 김금숙 작가의 『풀』(국문본: 보리출판사(2017) /영역본: 『Grass』, 드론 앤드 쿼털리(Drawn and Quarterly, 2019))은 2020년 ‘아이스너 어워즈’에서 시상하는 31개 부문 중 ‘작가상(Best Writer/Artist)’, ‘현실기반작품상(Best Reality-Based Work)’, ‘아시아작품상(Best U.S. Edition of International Material—Asia)’, 총 3개 부문의 최우수상 후보로 선정되었다. ○ 김금숙 작가의 『풀』은 일본군 위안부 피해자였던 이옥선 할머니와의 인터뷰를 바탕으로 위안부 피해자들의 삶을 그림 작품으로, 2019년 프랑스 일간지 휴머니티가 선정하는 휴머니티 만화상을 수상한 바 있다. 영어로는 2019년 캐나다의 그래픽 노블 전문 출판사인 드론 앤드 쿼털리(Drawn & Quarterly)를 통해 출간된 이후 미국 LA 타임스 도서상 그래픽 노블·만화 부문 수상자 후보로 올랐고, 미국 뉴욕 타임스 지와 영국 가디언 지에서 뽑은 2019년 최고의 그래픽 노블 작품 목록에 포함되는 등 현지 독자와 언론의 호평을 얻고 있다. 번역은 한유주 『불가능한 동화』, 하성란 『하성란 단편집』, 앙꼬 『나쁜 친구들』등 다수의 한국문학을 영어로 번역한 자넷 홍(Janet Hong) 번역가가 맡았다. ○ 아이스너 어워즈 수상작은 6월 4일부터 18일까지 만화산업 종사자를 대상으로 진행된 온라인 투표를 통해 결정되며 수상 결과는 7월 중에 발표될 예정이다. 김홍모 『좁은 방』 프랑스 만화 비평가 협회(ACBD) 주관 ‘아시아 만화상(Prix Asie de la Critique)’ 최종 후보에 올라○ 김홍모 작가의 『좁은 방』(국문본: 보리출판사, 2018/ 프랑스어역본: 『Ma Vie en Prison』, 카나 출판사(KANA, 2020)) 역시 프랑스의 비평가와 저널리스트가 선정하는‘2020 ACBD 아시아 만화상(Prix Asie de la Critique)’최종 후보에 올랐다. ACBD 아시아만화상은 프랑스 만화비평가협회(ACBD)가 매년 엄격한 심사기준을 거쳐 최근 1년간 프랑스어로 출간된 아시아권 만화 작품 중 내용과 그림에 있어 가장 작품성이 뛰어난 작품에 수여하는 상이다. 2007년 상을 제정한 이후, 나카자와 케이지(Nakazawa Keiji), 우라사와 나오키(Urasawa Naoki) 등 해외 작가 외에 2008년에는 한국의 오영진 작가가 『남쪽 손님』으로 제2회 수상의 영예를 얻었으며, 2019년에는 김금숙 작가의 『풀』이 최종 후보로 선정된 바 있다. 올해에는 김홍모 작가를 비롯해 신조 케이고, 츠게 요시하루, 이시즈카 신이치 작가의 작품 등 총 5개 작품을 후보작으로 발표했으며, 『좁은 방』을 제외하고 후보에 오른 작품은 모두 일본 작가의 작품이다. ○ 김홍모 작가의 『좁은 방』은 민주화 운동과 학생운동을 다룬 작가의 자전적인 그래픽 노블로, 벨기에 최대 만화 출판사인 카나(KANA)의 메이드인(MADEIN) 그래픽 노블 컬렉션을 통해 2020년 5월 출간 되었다. 또한 김홍모 작가의 작품 『소년탐구생활』(La vie des gosses, 2008), 『항쟁군 평행우주』(L’armée de la résistance, 2009) 등도 동 컬렉션에서 출간되어 프랑스 현지의 좋은 반응을 얻은 바 있으며, 작품의 번역은 한국문학 전문 번역가로 활발하게 활동 중인 임영희, 멜라니 바즈넬의(Mélanie Basnel)의 공역으로 이뤄졌다. ○ 한편 ACBD 협회는 매년 7월 파리에서 개최되는 재팬 엑스포 현장에서 토론을 거쳐 아시아 만화상 최종 수상작을 선정해 왔으나, 올해에는 코로나19 여파로 엑스포 개최가 취소됨에 따라 오는 7월 6일 ACBD 홈페이지를 통해 최종 수상작을 발표할 예정이다. 이 보도자료와 관련하여 보다 자세한 내용이나 취재를 원하시면 한국문학번역원 정책기획팀 유영선(☎02-6919-7763)에게 연락주시기 바랍니다.

    알림광장 > 공지게시 > 보도자료

  • 2020년도 번역아카데미 정규과정 제13기 최종합격자 발표

    ​한국문학번역원 번역아카데미 정규과정 제13기 최종합격자 공고2020년도 한국문학번역원 번역아카데미 정규과정 제13기 수강생 모집에 관심을 가져주신 분들께 감사드리며, 다음과 같이 최종합격자를 명단을 안내드립니다. □ 최종합격자언어인원성명(생일)연수지원자일반지원자영어6라* *리아(0324), 방*(0403), 샌*스** *릭(0414)테*러 **디(0226)박*우(0925), 황*연(0928)불어5티* 줄*(0609), 나*랑 레*라(0920), 사* 다*드(0227),나탈** 레**나(0829), 자** 케*(0717) 독어4멜*나 *제(0602), 라** 메*치(0706), 크** 알**(0925), 게***트 카*** 크***(0625) 서어5까** 베***스 ** 차*스(0512), 이** 안*** 레**(0924), 고*나(0405), 소* 리** 카*** 페**(0311)최*영(1018)노어6야*** 마**(0209), 담**바 예***아(1204), 알*** 슈*닉(0210), 페*** 크**아(0717), 보**치 다**(0424)홍*지(0612)중어3주*(0928), 송*천(0313)감*문(0101)일어3야**타 치*루(0314)유*원(0208), 육*희(0803) ​□ 일반지원자 등록 안내 ○ 등록비: 10만원 (반드시 수강생 본인 이름으로 입금) ○ 등록비 계좌: 신한은행 100-032-624933 (예금주: 한국문학번역원) ○ 등록기간: 2020. 6. 15. (월) ~ 2020. 6. 19. (금) 17:00까지 ※ 등록기간 내에 등록비를 입금하지 않으면 합격이 취소됩니다. ​ □ 연수지원자 등록 안내 ○ 이메일로 필요 서류 및 입국 안내 발송 예정​ □ 개강일: 2020. 9. 1. (화) ※COVID-19 팬데믹으로 인해 위 학사일정이 변동될 경우 별도공지 예정​ □ 문의: 번역교육본부 국내교육팀 박현선 (전화: 02-6919-7754, 이메일: academy@klti.or.kr)

    알림광장 > 공지게시 > 공지사항

  • Bluebeard's First Wife by Ha Seong-nan, review: pertinent ...

    Bluebeard's First Wife by Ha Seong-nan, review: pertinent short story collection from celebrated Korean author. Published 18 years ago but now translated into

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • BOOK REVIEW: A SOUTH KOREAN AUTHOR TELLS A ...

    So says Kim Sagwa, author of four acclaimed novels and two short story collections, who knows something about adolescent angst. This pre-eminent South

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2020년 서울국제작가축제 운영 대행 용역 입찰 우선협상대상자 발표

    2020년 서울국제작가축제 운영 대행 업체 선정을 위해 2020년 6월 10일 개최하였던 제안서 평가회의 결과(주)헤럴드아트데이(대표 김아미, 사업자등록번호 101-86-86950)가 우선협상대상자로 선정되었음을 알려드립니다.

    알림광장 > 공지게시 > 입찰공고

  • A literatura e o outro

    Nele, Park Min-gyu fala de algumas cenas e seres que o levam a escrever, coisas vistas no dia a dia ou mesmo em imagens da mídia. Se tiver que resumir

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Biram knjigu: 'Molim te, pazi na mamu'

    Kyung-sook Shin (1963, Jeongeup, Južna Koreja) cijenjena je i nagrađivana autorica, kako u vlastitoj zemlji tako i izvan nje. Njezin književni prvijenac 'Winter

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  • 기관장업무추진비(2020.5.)

    정보공개 > 사전정보공표 > 행정감시정보

  • Best-selling authors, veteran actors jump to filmmaking

    An adaptation of novelist Kim Un-su's 2016 novel of the same name, "The Boiling Blood" revolves around a gang member who tries to cut ties with gang life and

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Novelist Hwang Sok-yong explores topic of industrial labor in ...

    SEOUL, June 2 (Yonhap) -- Hwang Sok-yong, considered one of South Korea's most important and influential modern day novelists, said Tuesday that he

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  • SOUTH KOREA: IS WORLD-FAMOUS AUTHOR BAE SUAH ...

    Like her other groundbreaking novels, Untold Night and Day is akin to neither old-school, mainstream Korean literature (with its themes of patriarchy, family,

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Az élőknek sem könnyű

    Han Kang már az első magyarul is megjelent regényével, a 2016-ban Nemzetközi Man Booker-díjat nyert A növényevővel is bizonyította, milyen finoman képes

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • A new generation of female Korean novelists are dismantling ...

    The popularity of Han Kang's award-winning The Vegetarian, a chilling critique of gendered expectations, is often pointed to as when this boom began.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2020년도 2분기 한국문학 번역지원 공모사업 심사 총평

    알림광장 > 공지게시 > 공지사항

  • 2020년도 2분기 한국문학 번역지원 공모사업 지원대상자 선정

    알림광장 > 공지게시 > 공지사항

  • Je třeba cítit bolest druhých, říká korejská spisovatelka Han ...

    Han Kang (1970) je jednou z nejznámějších jihokorejských autorek. Česky jí zatím vyšly tři knihy: Vegetariánka (2017), Kde kvete tráva (2018) a Bílá kniha

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  • 번역전문도서관 단계별 운영 재개

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    알림광장 > 공지게시 > 공지사항

  • The Korean novel that champions the value of ordinary women

    Han Kang's The Vegetarian, about a frustrated housewife who starves herself and believes she is turning into a tree, became a global bestseller and won the

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2020년 서울국제작가축제 운영 대행 용역사 선정 입찰 공고

    붙임과 같은 내용으로 「2020년 서울국제작가축제 운영대행 용역사 선정 입찰공고」를 게시합니다.(조달청 URL: http://www.g2b.go.kr:8081/ep/invitation/publish/bidInfoDtl.do?bidno=20200533957&bidseq=00&releaseYn=Y&taskClCd=5)

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    알림광장 > 공지게시 > 외신에서 본 한국문학

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    La autora, Han Kang, cuenta la historia de Yeonghye, una mujer que decide dejar de comer carne y cómo esta decisión tendrá consecuencias en su vida

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 'A coldness that masks a burning rage': South Korea's female ...

    Beauty and brutality have long been entangled in South Korean literature. But while violence was previously explored in literature through the masculine world

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 해외 한인문학 창작현황 자료집 제작 대행사 선정 입찰공고

    붙임과 같은 내용으로 「해외 한인문학 창작현황 자료집 제작 대행사 선정 입찰공고」를 게시합니다.(조달청 URL: http://www.g2b.go.kr:8081/ep/invitation/publish/bidInfoDtl.do?bidno=20200439828&bidseq=00&releaseYn=Y&taskClCd=5)

    알림광장 > 공지게시 > 입찰공고

  • Fever dream: Pip Adam on Bae Suah and the art of translation

    Sora Kim-Russell has been my gateway to Korean literature for a few years now. Basically, if she's translated it, I'll read it. I'm in no position to judge the

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Το σώμα της έγινε η κραυγή της

    Το λέει η 50χρονη σήμερα Χαν Γκανγκ (Han Kang), η σπουδαιότερη συγγραφέας της γενιάς της στη Νότια Κορέα, και εννοεί κάτι πολύ ευρύτερο και πολύ

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2020년도 2분기 해외교류 공모사업 선정 결과

    알림광장 > 공지게시 > 공지사항

  • 2019 Annual Report

    자료광장 > 발간자료 > 사업연감

  • Evde ne okunur? 21.04.2020

    Han Kang bizleri şiddeti, ilişkilerimizi ve saplantılarımızı sorgulayacağımız rahatsız edici bir yolculuğa çıkarıyor. "Kang, insan beyninin ve bedeninin

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • [Herald Interview] US literary agency founder says US, UK ...

    The first work of Korean literature to be translated into English was “The Cloud Dream of the Nine” in 1922, translated by Canadian missionary James S. Gale.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2020년도 「강원 작가의 방(Gangwon Story House)」 사업 공고(수정)

    ​※ 기타 자세한 사항은 강원문화재단 (www.gwcf.or.kr) 사이트를 참조하여 주시기 바랍니다.

    알림광장 > 공지게시 > 공지사항

  • Hep Aynı Listeleri Görmekten İflahı Kesilenlerin Karantina ...

    Han Kang, ölülerle, geride bıraktıkları yaşayan ölüler arasındaki ince çizgiden yazıyor. Alacakaranlık kuşağına korkusuzca dalıyor, adalet ve demokrasi tarihinin

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Korean coming-of-age novel wins Japanese literary award

    Award-winning author Kim Young-ha's best-seller "A Murderer's Guide to Memorization" was translated into German and topped the best thriller and suspense

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • The Heroine of This Korean Best Seller Is Extremely Ordinary ...

    “There is no Korean literature without women or feminism right now,” said So J. Lee, who has translated contemporary Korean poetry and fiction by women.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • [Interview] A passion for informing the world about Korea

    ... and Korea -- translated by Brother Anthony of Taize, a British-born translator of Korean literature who has become a naturalized South Korean citizen -- as well

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 한국문학번역원 뉴스레터 No.142

    자료광장 > 소식지

  • 문화콘텐츠 번역아카데미 제1기 수강생 모집

    알림광장 > 공지게시 > 보도자료

  • TAZ관련 마지막

    기관소개 > 고객센터 > 1:1 문의

  • 코로나 19에 닫힌 세계의 문, 한국문학이 열다(김혜순, 김영하, 손원평 작가)

    코로나 19에 닫힌 세계의 문, 한국문학이 열다​▶ 김혜순 『한 잔의 붉은 거울』 미국 ‘최우수 번역도서상’후보 ▶ 김영하 『살인자의 기억법』 독일 ‘4월의 추리소설’1위 선정 ▶ 손원평 『아몬드』 일본 서점대상 번역소설 부문 수상​○ 최근 전 세계적인 코로나 바이러스 확산세로 인해 각국이 빗장을 걸어 잠그는 상황에서도, 한국문학은 미국, 독일, 일본 등에서 잇따라 새롭게 주목받으면서 해외 독자에게 더 가까이 다가서고 있다. 문화체육관광부(장관 박양우) 산하 한국문학번역원(원장 김사인)의 지원을 받아 출간된 김혜순 시집『한 잔의 붉은 거울』은 미국에서 최우수 번역도서상 후보에 올랐고, 김영하 소설『살인자의 기억법』은 독일 언론이 선정한 ‘4월의 베스트 추리소설’에 선정됐으며, 손원평의 소설 『아몬드』는 일본 서점대상 번역소설 부문을 수상했다.​​ 김혜순 『한 잔의 붉은 거울』 미국 쓰리 퍼센트(Three Percent) 주관 ‘최우수 번역도서상(Best Translated Book Award)’ 후보에 올라​​ ○ 김혜순 시집『한 잔의 붉은 거울』(영역본『A Drink of Red Mirror』, 액션북스(Action Books), 2019)이 미국의‘최우수 번역도서상(Best Translated Book Award)’후보에 올랐다. 미국의 로체스터 대학(Univ. of Rochester)이 운영하는 번역문학 전문 웹사이트‘쓰리 퍼센트(Three Percent)’는 2007년 동 문학상을 제정한 이래 2011년부터 아마존 출판사의 후원을 받아 매해 최고의 소설 1종, 시집 1종을 가려왔다. 전년도에 미국에서 출간된 번역 작품을 대상으로 하며, 올해에는 2018년 노벨문학상 수상자인 올가 토카르축(폴란드)을 포함해, 오가와 요코, 가와카미 히로미(일본) 등 20개국의 작품 35종(소설 25종, 시10종)을 후보작으로 발표했다. ​ ○ 김혜순 시인의 작품은 지금까지 최돈미의 번역으로 미국에 소개되어왔으나,『한 잔의 붉은 거울』의 영어 번역은 애리조나 주립대 한국문학 교수인 신지원과 제자인 로렌 알빈(Lauren Albin), 배수현의 3자 공동 번역이다. 공동번역 작업은 한국문학번역원이 지난 2015년 애리조나 주립대에‘한국문학 번역실습 워크숍’강좌를 개설하면서 본격화되었다. 신지원 교수는 한 학기동안 10명의 수강생을 대상으로 동 작품 번역 강좌를 운영했고, 이 중 탁월한 번역 실력을 보인 학생 2인을 공동 번역가로 선발했다. 시집을 출간한 액션북스(Action Books) 또한 편집자 조엘 맥스위니(Joyelle McSweeney)가 동 워크숍 강좌에 패널로 참여한 것을 계기로 출간 결정을 내렸다. ​ ○ 김혜순 시인은 2019년『죽음의 자서전』(영역본 『Autobiography of Death』, 2018)으로 아시아 작가 최초로 캐나다 그리핀 시 문학상(Griffin Poetry Prize)을 수상했고, 작품을 번역한 최돈미 번역가는 미국 문학번역가협회(ALTA) 주관 루시엔 스트뤽 번역상(Lucien Stryk Asian Translation Prize)을 수상한 바 있다. ‘최우수 번역도서상(BTBA)’의 수상작은 오는 5월 27일 발표될 예정이며, 수상 작가와 번역가에게는 각각 $5,000의 상금이 주어진다. ​ 김영하 『살인자의 기억법』 독일 프랑크푸르터 알게마이네 차이퉁(FAZ)지 선정 ‘4월의 추리소설 1위’​​ ○ 김영하 『살인자의 기억법』(독역본『Aufzeichnungen eines Serienmörders』, 카스(Cass), 2020)은 독일에서‘4월 베스트 추리소설 리스트(Krimibestenliste)’1위에 선정되었다. 이는 독일의 대표적인 추리소설 추천 리스트로, 2015년에 주간지 차이트(Zeit)에서 단독 발표한 이래, 2017년부터는 일간지 프랑크푸르터 알게마이네 차이퉁(FAZ)과 시사 라디오 채널 도이칠란트풍크 쿨투어(Deutschlandfunk Kultur)가 공동으로 발표하고 있다. 선정위원은 독일, 오스트리아, 스위스의 평론가 및 추리 소설 전문가 19명으로 구성되며, 선정위원들이 매달 선정한 4종의 우수 추리 소설을 합산하여 최다 득표순으로 리스트를 정한다. 한국 작품이 이 리스트에 포함된 것은 2015년 정유정의 『7년의 밤』(독역본『Sieben Jahre Nacht』)이 8위 작품으로 선정된 이래 두 번째이다. ​ ○ 『살인자의 기억법』은 스위스의 유력 일간지 노이에 취르허 차이퉁(Neue Zürcher Zeitung)으로부터 “기괴함과 익살스러움, 피투성이와 도덕성, 교활함과 서투름, 부조리와 심오함이 뒤섞인 순수문학으로 김영하 작가 자신의 문학적 재능에 불을 붙인 불꽃같은 작품”으로 소개된 이래, 현지 언론의 호평을 잇달아 얻고 있다. ※ 독일 FAZ ‘4월의 추리소설’ 관련 기사 링크: https://www.faz.net/aktuell/feuilleton/buecher/krimi/serienmoerder-mit-alzheimer-krimibestenliste-im-april-16696341.html 손원평 『아몬드』 2020 일본 서점대상 번역소설 부문 수상작으로 선정​ ○ 손원평 작가의 소설 『아몬드』(일역본 『アーモンド』, 쇼덴샤(祥伝社), 2019)가 일본 ‘2020년 서점대상(2020年本屋大賞)’ 번역소설 부문 수상작으로 선정되었다. 일본 서점대상은 책과 독자 사이를 가장 가까이서 연결하는 서점 직원들에 의해 2004년에 설립된 상으로, 서점 직원들의 추천과 투표를 통해 과거 1년간 간행된 작품 가운데 서점대상(일본소설), 발굴 부문(장르 불문), 번역소설 부문, 논픽션 부문 등 4개 부문의 수상작을 결정한다. 번역소설 부문에 한국문학이 노미네이트되어 1위를 차지한 것은 이번이 처음이며, 아시아권의 작품으로서도 처음이다. ​ ○ 『아몬드』는 2018년 한국문학번역원 번역지원공모사업의 번역지원 대상작품으로 선정되어, 일본의 중견 출판사인 쇼덴샤(祥伝社)를 통해 소개되었다. 쇼덴샤는 1970년에 설립되어 출간작품 중 다수가 영화화될 정도로 대중에게 사랑받는 작품을 여럿 출간해 왔으며, 한국문학 출간은 『아몬드』가 처음이다. 번역은 『눈먼 자들의 국가』(김애란 외, 일역본 『目の眩んだ者たちの国家』, 신센샤(新泉社), 2018)를 번역한 야지마 아키코(矢島暁子) 번역가가 맡았다. ​ ○ 이번 번역대상 선정에서 『아몬드』는‘아시아를 넘은 세계문학의 명작’,‘모든 세대에게 사랑받을 작품’이라는 격찬을 받았다. 일본 서점대상은 ‘전국 서점 직원이 고른 제일! 팔고 싶은 책’이라는 캐치 프레이즈에 걸맞게 이제는 나오키상, 아쿠타가와상과 같은 유명 문학상 수상만큼이나 일본 독자들의 작품 선택에 영향을 미치고 있다. 이에 힘입어 앞으로 온오프라인 서점의 특설 코너 등 더욱 다양한 루트로 일본 독자들과 만나게 될 것으로 기대된다. ​※ ​이 보도자료와 관련하여 보다 자세한 내용이나 취재를 원하시면 한국문학번역원 정책기획팀 유영선(☎02-6919-7763)에게 연락주시기 바랍니다.

    알림광장 > 공지게시 > 보도자료

  • '독일 일간지 TAZ에 실린 한국문학 특집에 관해'의 답변에 관해

    기관소개 > 고객센터 > 1:1 문의

  • Korean author wins 2020 Astrid Lindgren Award

    South Korean author and illustrator Baek Heena has won the 2020 Astrid Lindgren Memorial Award, the world's largest children's book award. "With exquisite

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Baek Heena Wins 2020 Astrid Lindgren Award

    ... together to celebrate a major accolade: South Korean author-illustrator Baek Heena has been named the winner of the 2020 Astrid Lindgren Memorial Award,

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 독일 일간지 TAZ에 실린 한국문학 특집에 관해.

    기관소개 > 고객센터 > 1:1 문의

  • Knižní výběr Salonu: Vrba, Han Kang, Šimáček a Beran

    V dnešním knižním výběru Salonu najdete povídky Michala Vrby, nominované na Magnesii Literu za prózu, knihu jihokorejské spisovatelky Han Kang

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Book Club: Han Kang's The Vegetarian and The White Book

    Book Club: Han Kang's The Vegetarian and The White Book. Living in translation: from South Korea to the rest of the world. By Sana Mohsin. on March 29, 2020.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Stellar March Books Out in the UK

    As a fan of Korean literature, this epic has been on my radar for a while. Three friends are caught between the warring states of North and South Korea in this

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Four notable Korean authors to be published in foreign ...

    According to the Literature Translation Institute of Korea, a state-run institute that promotes Korean literature abroad, at least 91 Korean books are being

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • The 35 Best Books You've Now Got Time To Read

    Human Acts by Han Kang. In Human Acts, the victims and survivors of the 1980 Gwangju uprising in South Korea have their stories told. The narrative fragments

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2020-018 한류 연계지역 한국문학 콘텐츠 진출사업

    2020-018 한류 연계지역 한국문학 콘텐츠 진출사업

    정보공개 > 사업실명제

  • 2020-017 한국문학번역전문도서관 운영

    2020-017 한국문학번역전문도서관 운영

    정보공개 > 사업실명제

  • 2020-016 한국문학번역상 및 한국문학번역신인상 운영

    2020-016 한국문학번역상 및 한국문학번역신인상 운영

    정보공개 > 사업실명제

  • 2020-015 소수 언어권 단기 번역실습 워크숍

    2020-015 소수 언어권 단기 번역실습 워크숍

    정보공개 > 사업실명제

  • 2020-014 한국문학 번역가 연수지원 사업

    2020-014 한국문학 번역가 연수지원 사업

    정보공개 > 사업실명제

  • 2020-013 해외 한국학대학 및 유관기관 연계 번역실습 워크숍 개최

    2020-013 해외 한국학대학 및 유관기관 연계 번역실습 워크숍 개최

    정보공개 > 사업실명제

  • 2020-012 한국문학 전문번역가 양성을 위한 번역아카데미 운영

    2020-012 한국문학 전문번역가 양성을 위한 번역아카데미 운영

    정보공개 > 사업실명제

  • 2020-011 해외 한국문화원 번역원 전문인력 파견

    2020-011 해외 한국문화원 번역원 전문인력 파견

    정보공개 > 사업실명제

  • 2020-010 한국문학 해외소개를 위한 외국어 정기간행물 제작 사업

    2020-010 한국문학 해외소개를 위한 외국어 정기간행물 제작 사업

    정보공개 > 사업실명제

  • 2020-009 한국문학 해외소개자료 제작

    2020-009 한국문학 해외소개자료 제작

    정보공개 > 사업실명제

  • 2020-008 한국문학 쇼케이스

    2020-008 한국문학 쇼케이스

    정보공개 > 사업실명제

  • 2020-007 해외독자 대상 독후감대회

    2020-007 해외독자 대상 독후감대회

    정보공개 > 사업실명제

  • 2020-006 문학작품 교차출간

    2020-006 문학작품 교차출간

    정보공개 > 사업실명제

  • 2020-005 한국문학 교차언어 낭독회

    2020-005 한국문학 교차언어 낭독회

    정보공개 > 사업실명제

  • 2020-004 2020 서울국제작가축제

    2020-004 2020 서울국제작가축제

    정보공개 > 사업실명제

  • 2020-003 한국문학 해외교류 공모사업

    2020-003 한국문학 해외교류 공모사업

    정보공개 > 사업실명제

  • 2020-002 한국문학 해외교류 기획사업

    2020-002 한국문학 해외교류 기획사업

    정보공개 > 사업실명제

  • 2020-001 한국문학 번역 및 해외출판 지원 사업

    2020-001 한국문학 번역 및 해외출판 지원 사업

    정보공개 > 사업실명제

  • 2020년도 사업실명제 대상사업 선정 현황

    2020년도 사업실명제 대상사업 선정 현황- 2020년도 사업실명​제 대상사업 목록 , 사업내역서 (18건)

    정보공개 > 사업실명제

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    2019-016 한국문학 해외소개 콘텐츠 확충

    정보공개 > 사업실명제

  • Miłość do rzeczy niedoskonałych

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    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Korean author publishes memoir on growing up in Queens ...

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    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 한국문학번역원 뉴스레터 No.141

    자료광장 > 소식지

  • 한국문학번역원 뉴스레터 No.140

    자료광장 > 소식지

  • Namdžu, Čo Kim Čijong – ročník 82

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    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Untold Night and Day by Bae Suah review – surrealism in Seoul

    Untold Night and Day by Bae Suah review – surrealism in Seoul. A haunting and dreamlike wander through the intricacies of Korean society by a radical and

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Murder is more cumbersome than you think

    So far, everything is plausible in the "records of a serial killer," the South Korean author Young-ha Kim seems to be. But the old man, remembers as first-person

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 30 UK Literary Highlights for the First Half of 2020

    A remarkable novel by a South Korean sensation that has already garnered praise from talents like Han Kang and Sayaka Murata. A cultural sensation in its

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Dari Buku Ini, Mahasiswi Psikologi Ini Belajar Banyak Tentang ...

    Haemin Sunim menekankan pentingnya menjalin hubungan yang lebih dalam dengan orang lain dan berbelas kasih serta memaafkan terhadap diri sendiri.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Capturing the gender inequality through Asian writers' eyes

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    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2020년 한국문학번역원과 함께하는 3월의 이벤트 당첨자 발표

    2020년 한국문학번역원과 함께하는 3월의 이벤트에 참여해주신 모든 분들께 진심으로 감사드립니다.​당첨되신 총 43명의 분은 아래와 같으며, 당첨되신 분들께는 3.25 (수)부터 상품 기프티콘을 보내드리도록 하겠습니다.앞으로도 한국문학번역원에 많은 관심 부탁드립니다.​※ 개인정보 수집 동의를 거부하신 분들, 해외 연락처 표기자 분들은 당첨에서 제외되었음을 알려드립니다. 해외 연락처 표기자 분들 중 국내 연락처가 있으신 분들은 아래 메일로 연락주시면 발송을 도와드리겠습니다.(전산관리팀 infoteam@klti.or.kr)■ 지급방법: 2020.03.25 (수)부터 SMS를 통해 일괄 발송 예정※ 1, 2등 상품인 '문화상품권'의 경우 3일 뒤 예약 발송 예정이므로 양해 부탁드립니다. (2020.03.28 (토) 발송 예정)※ 내부 사정에 따라 1~2일 늦어질 수 있으니 양해 부탁드립니다.​■ 당첨자 명단 (이름 앞자리, 핸드폰 뒷자리 4개)1등: 김** (5747)2등: 나** (0694)3등: 김** (5466)허** (1865)김** (9512)박** (6429)이** (3346)장** (0335)김** (1205)김** (3245)문** (5004)전** (8728)최** (1969)노** (1061)이** (8408)조** (9567)최** (9624)이** (4680)브** (9328)이** (4372)샤** (6834)이** (7500)서** (7471)최** (7279)공** (0611)최** (0608)박** (4372)최** (9981)김** (2108)정** (9347)한** (1789)크** (7202)박** (6743)전** (9679)박** (4372)윤** (8016)김** (1471)김** (7221)이** (5747)박** (1284)류** (1740)조** (8803)■ 기타문의: 한국문학번역원 전산관리팀 (infoteam@klti.or.kr/ 02-6919-7784)

    알림광장 > 공지게시 > 이벤트 게시판

  • Exceptional January Books Out in the UK

    Untold Day and Night By Bae Suah (Jonathan Cape). Unfolding over a sultry day and night in Seoul, this is a dreamlike tale of a woman walking the streets of

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Existential crises and the search for identity

    Bae Suah, who has published more than a dozen novels and short stories since 1993, is one of South Korea's most inventive experimental writers. She stays true

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 한국학중앙연구원 한국학대학원 2020년도 후기 외국인 및 재외국민 입학전형 안내

    한국학중앙연구원 한국학대학원에서는 2020년도 후기 외국인 및 재외국민 신입생을 다음과 같이 모집합니다. 한국학 분야 석사 및 박사과정에 관심있는 학생들의 많은 지원 바랍니다.​입학전형 관련 자세한 사항은아래 링크를 참고해주시기 바랍니다.- 한글 안내문 :http://grad.aks.ac.kr/cop/bbs/selectBoardArticle.do?nttId=314417&bbsId=BBSMSTR_000000000110&menuNo=2010112000- 영어 안내문 :http://intl.aks.ac.kr/english/viewtopic.php?t=561 - AKS Facebook page :https://www.facebook.com/aks.news

    알림광장 > 공지게시 > 공지사항

  • Göksel Türközü: Dünya genelinde Kore Akımı kavramı var

    Şu anda Kore'nin genç erkek yazarlarından Kim Yeonsu'nun Mucize Çocuk adlı romanını çeviriyorum. Bu yıl içinde Doğan Kitap yayınlayacak. Ayrıca Han Kang'ın

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Indie Press Round-Up: February New Releases and More

    Kim Sagwa writes unsparingly about their isolation and unhappiness, and the world she evokes is mysterious but unwelcoming, with its dangerous ocean,

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • K-literatura: algunos libros para adentrarse en Corea, el país ...

    Tal vez La plaza, de Choi In-Hun una de las novelas clásicas surcoreanas que se estudia en sus centros educativos, nos ayude a entender la mentalidad de

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Kiley Reid's debut novel is a brilliant dissection of race and class

    Untold Night and Day by Bae Suah, one of South Korea's most acclaimed contemporary writers, could not be called a page-turner. In fact, the plot is so gentle it

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Vol.47 (English)

    자료광장 > 발간자료 > Korean Literature Now

  • Kim Sagwa's novel takes a scathing look at South Korean ...

    Kim Sagwa's novel takes a scathing look at South Korean conformist society through the eyes of middle school girls. By. Jennifer Lee. -. February 25, 2020. 356.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Kim Young-ha's first novel in 7 yrs released exclusively via e ...

    20 (Yonhap) -- Best-selling novelist Kim Young-ha chose Millie's Library, a subscription-based e-book service provider, to release his new work of fiction,

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2019년도 연간 기부금 모금액 및 활용실적 명세서 공개

    법인세법 시행령 제38조제8항에 따라 2019년 연간 기부금 모금액 및 활용실적을 다음과 같이 공개합니다.​ ◦기부금단체 지정일: 2019.03.29.◦2019년 기부금 수입·지출 내역 -전기이월: 0원 -수입: 0원 -지출: 0원 -차기이월: 0원 <붙임> 2019년도 연간 기부금 모금액 및 활용실적 명세서 1부.

    알림광장 > 공지게시 > 공지사항

  • Master Second Look: Vijay looks terrific in a black suit ...

    Talking about Silenced, it is a South Korean drama movie based on the novel The Crucible by Gong Ji-young. The story of Silenced revolves around events that

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Międzynarodowy Booker 2020: ogłoszono długą listę ...

    ... i Ottilie Mulzet w roku 2015, a także Han Kang za „Wegetariankę” w przekładzie Deborah Smith (2016) i David Grossman za „A Horse Walks Into a Bar” (tł.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Một giải phẫu về bản chất bạo lực tồn tại trong con người

    Han Kang đã viết những gì? Ký ức đã phải tỉnh thức bao lần, nỗi đau phải bám trụ ra sao, để tái dựng nên những đau thương dẫu chết đi cũng còn khắc

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Quién sabe si mañana seguiremos aquí

    Kim Young-Ha nos escribió la historia con empatía, expresando lo que en verdad se siente ante la desaparición de un ser querido mientras el otro se pierde a

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Regresa Han Kang, la autora de

    A partir de la redacción aparentemente banal de una lista de cosas blancas, Han Kang hace un conmovedor ejercicio de introspección, buscando el epicentro de

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Review: 'The Only Child' arrives as Korean thrillers come of age

    For me, the first harbinger of Korean lit as a global phenomenon was Kyung-Sook Shin's “Please Look after Mom,” a bestselling South Korean literary novel

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Sexism, mental health, hypocrisy ... Cho Nam-joo's novel 'will ...

    Riveting, original and uncompromising, this is the most important book to have emerged from South Korea since Han Kang's The Vegetarian. “This is a book

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Untold Night and Day by Bae Suah review – a dreamlike quest

    Untold Night and Day was first published in Korea in 2013 and is the fourth of Bae Suah's novels – which number more than a dozen – to be translated into

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Vedere l'amore

    Prenditi cura di lei (di Kyung-Sook Shin, Neri Pozza, Vicenza 2011) è la storia di un amore fatto così. È la vita di una madre, che si chiama Park So-nyo.

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • When students rise in protest, in the pages of novels: Six ...

    The South Korean novelist Han Kang's second novel to be translated into English by Deborah Smith, Human Acts, begins with the uprisings that take place at

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • [Book면 톱] Popular Seoul National University lectures comes ...

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    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2020년 국내독자 대상 교차언어 낭독회 '역시(譯詩)' 행사 대행 용역 입찰 우선협상대상자 발표

    2020년 국내독자 대상 교차언어 낭독회 '역시(譯詩)' 행사 대행 업체 선정을 위해 2020년 3월 10일 개최하였던 제안서 평가회의 결과다랑어스토리(대표 이근욱, 사업자등록번호 528-17-00073)가 우선협상대상자로 선정되었음을 알려드립니다.

    알림광장 > 공지게시 > 입찰공고

  • 2020년 한국문학번역원과 함께하는 3월의 이벤트

    한국문학번역원과 함께하는 3월의 이벤트~!#한국문학번역원을 한 마디로 정의 내린다면?​“번역원은 OOO(이)다.”​한국문학번역원의 홈페이지에서 역할과 사업내용 등을 살펴보고,여러분이 생각하시기에 <번역원을 잘 나타내는> 단어를 넣어 문장을 완성하고 그 이유와 응원 메세지를 보내주세요~ex. 번역원은 [한국알리미] 이다.​추첨을 통해 총 52분께 상품을 드립니다!!​■ 이벤트 참여 방법 Step 1. 한국문화번역원 홈페이지 살펴보기 Step 2. 아래 Google 설문조사 링크 클릭하여 접속하기 https://forms.gle/scwukyuu28WVhy6g9 Step 3. ‘OOO’에 들어갈 짧은 문구 (1~5자)와 선정 이유 및 응원 메시지 작성하기 Step 4. 당첨자 발표를 위한 개인정보(이름, 휴대폰 번호) 입력하기 Step 5. 설문조사를 제출 완료하면 이벤트 자동 응모 완료!​■ 이벤트 기간 : 2020.03.11 (수) ~ 2020.03.20 (금)​■ 이벤트 상품 1등: 해피머니 온라인 문화상품권 3만원권 (1명) 2등: 해피머니 온라인 문화상품권 2만원권 (1명) 3등: CU 모바일상품권 3천원권 (50명) *모바일 기프티콘으로 전송■ 당첨자 발표 : 2020년 3월 25일 (수) 한국문학번역원 이벤트 게시판​​※ 주의 사항 ※- 본 이벤트는 중복참여가 불가합니다.- 당첨자 발표일로부터 3일 이내에 개인정보가 확인되지 않을 경우 당첨이 취소됨을 알려드립니다.- 개인정보 기입 오류로 인한 당첨 취소 및 상품 발송 오류 시 책임지지 않습니다.- 빈칸에 들어갈 단어 및 문구는 1~5자만 인정됩니다.​

    알림광장 > 공지게시 > 이벤트 게시판

  • Представители Южной Кореи примут участие в книжной ...

    ... также участие представители министерства культуры, спорта и туризма Южной Кореи и Корейского института литературных переводов (LTI Korea).

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Necessary or True Happenstances: An Introduction to the Work of Hye Young-Pyun

    “O. Cuniculi” is featured in Hye Young-Pyun’s third collection of short stories, Evening Courtship, for which she was awarded the prestigious Dong-in Literature Prize last year. The story begins one night in a park when a man on temporary assignment out in the country is captivated by the red eyes of a rabbit “whose white fur had turned filthy.” The man brings the rabbit home inside his shirt. But he will soon regret it, and in the end he will not know how to get rid of it. At the conclusion of his temporary assignment the man must return to the city where he is from. Will he, like so many other city people, secretly abandon his rabbit in the middle of the night? After seeing the rabbit’s red eyes, this becomes more and more difficult for the man to contemplate. At one point the narrator notes that raising pet rabbits had been a huge fad for city children, but now it was the parents’ unpleasant duty to secretly dispose of these unwanted pets. Who are the parents of those children? From the time they get up to go to work, throughout the work day, through the hurried lunch hour, people endure the endless sameness and repetition of their urban existence. When they return home at the end of the work day there is another redundant cycle of evening meals, night, sleep, the same dreams, and once again, another day dawns the same as yesterday.  Just like the rabbit’s cage and its tomb—one and the same space.Hye Young-Pyun’s  literary debut was in the 2000 Seoul Shinmun spring literary contest with the short story, “Shaking off the Dew.” The theme Pyun confronts repeatedly throughout her work is that of the contemporary urban condition characterized by the horror of daily repetition and sameness. She dramatizes the current irony of our lives, in which the civilized is savage and the savage civilized. But Pyun’s world is not as gloomy as the dark nighttime parks, garbage dumps, construction sites, or sewers that serve as the backdrops of her stories. She reveals to us the value of confronting the abyss. When you read her work there are profoundly uncomfortable moments, but, ultimately, after you close the book, you experience that “Ah” moment when something has been illuminated.  Pyun’s stories allow us to consider stepping forward to endure the depths.Pyun was born in Seoul in 1972. She received her undergraduate degree in creative writing and a graduate degree in Korean Literature from Hanyang University. For the next decade, she worked at a range of office jobs—the frequent appearance of office workers in her stories comes from her experiences during that period. The “office worker” who repeats the same action is a unique feature in Pyun’s work, a new archetypal character in contemporary South Korean literature. A prominent Korean literary critic once said of Pyun that her stories presented “a risky path” in Korean literature. Now we can safely say that, in her stories, she has taken a giant step on this risky path. She takes us into a unique and concrete world, which resembles nothing else, while she maintains a keen interest in the “necessary or true happenstances” that characterize our lives.Pyun’s works include the short-story collections AOI Garden, To the Kennels, Evening Courtship,” and the novel, Ashes and Red.  She is the winner of the 40th Korea Times Literary Award (2007), the Yi Hyo-seok Literature Prize (2009), the Today’s Young Writer Award (2010) and the Dong-in Literature Prize (2011).  —Jo Kyung RanRead more from the February 2012 issueFurther ReadingO. CuniculiIt was a November of bitter rain and snow blackened by useGod, the mother claimed, is behind every tree in the forest

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2016 Man Booker International Q&A: Deborah Smith

    By Eric M. B. BeckerDeborah Smith's translations from the Korean include two novels by Han Kang, The Vegetarian (shortlisted for the 2016 Man Booker International Prize) and Human Acts, and two by Bae Suah, A Greater Music and Recitation. In 2015 Deborah completed a PhD at SOAS on contemporary Korean literature and founded Tilted Axis, a not-for-profit press focusing on contemporary fiction from Asia. In 2016 she won the Arts Foundation Award for Literary Translation. She tweets as @londonkoreanist. Words Without Borders (WWB): What drew you to Han Kang's work?​Deborah Smith (DS): The way she probes some of the darkest, most violent aspects of humanity with perfectly calibrated stylistic restraint; the way her prose style is influenced by her work as a poet, inflecting it with both lyricism and jaggedness; that each of her books show the influence of the South Korean model, where writers officially “debut” with short stories and continue to switch back and forth throughout their career, resulting in hybrid forms which often privilege tone and atmosphere over character or plot. And the way she deliberately repurposes certain features of Korean literary history—so-called “passive protagonists”—and of the Korean language itself—ambiguity, what we might call redundancy—to startling effect. WWB: What was unique about this translation compared to others you'd done?DS: It got published! It was my first one. So, my Korean was uniquely bad. I had to consult a dictionary uniquely often.WWB: What are you reading now, or which writers from the language and literary tradition you translate do you think readers ought to pay attention to as potential future MBI winners?DS: I just finished Mend the Living, which means I’ve now read seven from the long list! For me, Han Kang and Bae Suah are South Korea’s greatest contemporary writers—they’re the two I’ve chosen to translate, and I’m currently on my third book by each. The Bae Suah translations will be out in the US soon, so when I find a UK publisher, she could be a contender, though she’s far more experimental than Han Kang. Hwang Jungeun is my (and Han’s) hot tip from the younger generation—my company, Tilted Axis, publishes her prize-winning novel One Hundred Shadows this September, translated by Jung Yewon. Of our other writers, Hamid Ismailov is definitely one to watch—his Russian novels have already received rave reviews, and we’re now bringing out the books he wrote in Uzbek, translated by Donald Rayfield, who taught himself the language specifically for this project. YOU MAY ALSO LIKE: An excerpt from Han Kang's novel "The Vegetarian," translated by Deborah Smith (WWB's April 2014 Issue)More interviews with 2016 Man Booker International Prize-nominated writers and translatorsPublished Apr 12, 2016   Copyright 2016 Eric M. B. BeckerReturn to WWB DailyLeave Your Comment /* * * CONFIGURATION VARIABLES: EDIT BEFORE PASTING INTO YOUR WEBPAGE * * */ var disqus_shortname = 'wwborders'; // required: replace example with your forum shortname /* * * DON'T EDIT BELOW THIS LINE * * */ (function() { var dsq = document.createElement('script'); dsq.type = 'text/javascript'; dsq.async = true; dsq.src = '//' + disqus_shortname + '.disqus.com/embed.js'; (document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0]).appendChild(dsq); })(); Please enable JavaScript to view the comments powered by Disqus.comments powered by Disqus

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • A Language Is a Window: An Interview with Krys Lee

    By Jessie ChaffeeImage: Krys Lee. Photograph by Matt Douma.Words Without Borders caught up with writer and translator Krys Lee. Her novel How I Became a North Korean was just published by Viking/Penguin Random House.Words Without Borders (WWB): You write in English and translate from Korean. What inspired you to begin working as a translator, and does your work as a translator influence your fiction and how you think about language?Krys Lee (KL): Years ago over brunch, Young-ha Kim, a Korean writer I respect, asked me if I was interested in translating. I had translated short stories and poems before whenever the opportunity arose, as I was always interested in Korean literature. I also have a strong interest in languages and literature from around the world in general, so whether it is Korean or Italian, what originally drives me is a desire to read the national literature in the original language. This led me to work on longer novel projects. I ended up translating Young-ha Kim’s novel, and it will be published next year.WWB: In thinking about your personal relationship with language, do English and Korean (and now Italian) play different roles in your life? And have you ever considered writing fiction in a language other than English?KL: All three languages—English, Korean, and now, Italian—seem to mark phases of my life. I also become a slightly different person in each language, particularly in Korean, as the culture is, literally and metaphorically, another world, which is reflected in every sentence and inflection of the language. A language is a window, a different way of seeing, and my hunger for the languages and literatures of the world has much to do with a desire to see and understand as much of the world as possible. As well, I suspect, each language feeds a hunger in me to also become a different person. I’m also hoping to start Japanese classes in the next year or two, with no clear goal except that I have a passion for learning, and learning a language opens worlds.A language is a window, a different way of seeing.If I ever wrote in another language, it would be in Korean since I’ve lived over half my life so far in Seoul and I am engaged to a Korean man who speaks no English. I’m part of a generation that immigrated in reverse back to the country of their parents’ origins, and I have made my home here. It still feels like an audacious thing to say, however, as I’m not even satisfied with the way I write in English yet. A language is a journey, and each journey is a rich, endless quest with no point and no end. I do have one Korean language project that I’ll start next summer with my partner, however, which is a screenplay. I hadn’t planned for it, but while we were travelling, an idea that seemed right for a screenplay came to me fully formed. I wait for and trust those moments—when an idea comes to me in the form of a short story, novel, poem, or screenplay. Since my partner works in the Korean TV industry and understands the screenplay form far better than I do, my next project will be in the Korean language.WWB: Your first book, Drifting House, was a collection of short stories that focused primarily on the experiences of South Koreans and Korean immigrants in the United States. Your novel, How I Became a North Korean, is about North Korean defectors in China. How did the experience of writing in these two mediums—short form and long form—differ? With regard to the content, was there a specific reason that you decided to explore the experience of North Korean refugees at this moment in history and in your own life?KL: Each genre feels so distinct from the other. Stephen King once said that a short story is a love affair, and a novel is a marriage. The intensity of each short story was thrilling and emotionally taxing, but the promise of completion was always there. A novel is a test of willpower and faith, and a humbling experience. One fails and fails again. The rhythm oscillates between fear and occasional delight and happiness—like life, at least the way that I experience life.The years before I began How I Became a North Korean all led to the novel. I had been friends with North Korean activists and North Korean refugees before I began writing fiction, and when I first began a second book, I had deliberately tried not to write about the North Korean issues because I felt it was their story, not mine, and I didn’t want to appropriate stories. But as I struggled to write a novel based in Los Angeles’s Koreatown, and a few North Korean friends urged me to write their story for them because someone had to tell it right, I realized that the novel I was writing wasn’t working since the material felt distant from me. In contrast, the North Korean refugee issue was one I was intimately involved in and passionate about. And once I was asked to help in the border area of China and later, became disillusioned with what I saw, my anger and sadness grew, and watered the seed that became my novel How I Became a North Korean.WWB: Both of your books are filled with vibrant characters. Though some of them are wrestling with similar conflicts, each one is unique and absolutely real with a distinctive voice and perspective. Where do you find your characters? How do they come to you?KL: Each of my characters has a different part of me inside them, and certainly a lot of what I learned and who I knew informed my characters, but in the end the journey of writing a novel is learning who your characters are. As you also know, being a writer yourself, you learn your characters better than you do most “real” people you know your entire life. That kind of intimacy doesn’t come quickly, or easily.You learn your characters better than you do most “real” people you know your entire life. That kind of intimacy doesn’t come quickly, or easily.WWB: One of the most prominent themes in How I Became a North Korean is the many selves that are contained with us—the people we are in different contexts, cultures, languages, etc.—as well as the selves that get left behind. This is, of course, even more apparent when people are living in exile. “It is as though we were shedding our very selves to become someone else,” Jangmi thinks as she crosses the Tumen River to China. Is this something that you relate to as a writer or in your own life? And in your work as a translator—bringing narratives from one language to another—are there things that you have found to be untranslatable, that get lost in the crossing? KL: You picked up on this! There are many sentences that haunt me in this book because they are so close to my life, and this is one of them. I had a pretty dramatic and difficult early life that I’m not going to get into here, but part of it required me to move homes every few years. Later in college an academic scholarship allowed me to transport myself to England, and then I began life again in Korea. My “self” was dramatically different at home, at church as the pastor’s daughter, in different languages and cultures, and each time I longed for a new life and new beginning—most likely because I didn’t like being me. I romanticized Virginia Woolf’s Orlando. Each book was a different self. So when I became friends with North Koreans, I recognized the impulse in many of them to create a new self equally out of a desire for a new start and out of a longing to escape. But of course, an entirely new self is a fiction.One translates out of a faith in and love for a language, then realizes that the gaps between two languages will betray each time.Translation is a strange art. One translates out of a faith in and love for a language, then realizes that the gaps between two languages will betray each time. Many translators tend to translate books that are more “translatable” as a result. Books that do not seem as accessible in terms of language and culture, despite their merit, tend to be neglected. I’m guilty of the same tendencies. I read the poems of Kim Hye Soon years ago, and had a sudden desire to translate the fierce, original poems. The elaborate repetition and rhythmic line were impossible to replicate, however, and without the unique music of the line, I didn’t feel satisfied. Essentially, I lost courage.WWB: In your recent interview with Han Kang, you asked whether there are ideas and obsessions that she returns to—that haunt her. Are there themes that you find yourself returning to again and again in your writing?KL: There are so many themes I return to, some of which overlap with Han Kang’s, which was why we were delighted to read one another’s work and recognize our shared preoccupations. I return to the subjects of violence, religion, and issues of identity and the self—or, more accurately, they return to me. The struggle to survive and the need for control also figure largely, as do loneliness and love, the one frail possibility to escape the human condition of solitude.Krys Lee is the author of the short story collection Drifting House and the novel How I Became a North Korean, both published by Viking, Penguin Random House. Her translation of Young-ha Kim’s novel I Hear Your Voice is forthcoming from Houghton Mifflin Harcourt. She is a recipient of the Rome Prize and the Story Prize Spotlight Award, the Honor Title in Adult Fiction Literature from the Asian/Pacific American Libraries Association, and a finalist for the BBC International Story Prize. Her fiction, journalism, and literary translations have appeared in Granta, The Kenyon Review, Narrative, the San Francisco Chronicle, Corriere della Sera, and The Guardian, among others. She is an assistant professor of creative writing and literature at Yonsei University, Underwood International College, in South Korea.Further Reading:Young-ha Kim’s story “The Man Who Sold His Shadow” in the November 2005 issue: “Seoul Searching”An excerpt from Han Kang’s “The Vegetarian” in the April 2014 issue: “Writing from South Korea”The September 2003 issue: “Writing From North Korea.”Published Aug 3, 2016   Copyright 2016 Jessie ChaffeeReturn to WWB DailyLeave Your Comment /* * * CONFIGURATION VARIABLES: EDIT BEFORE PASTING INTO YOUR WEBPAGE * * */ var disqus_shortname = 'wwborders'; // required: replace example with your forum shortname /* * * DON'T EDIT BELOW THIS LINE * * */ (function() { var dsq = document.createElement('script'); dsq.type = 'text/javascript'; dsq.async = true; dsq.src = '//' + disqus_shortname + '.disqus.com/embed.js'; (document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0]).appendChild(dsq); })(); Please enable JavaScript to view the comments powered by Disqus.comments powered by Disqus

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Literary Translation Centre: The Makers of World Literature at the London Book Fair

    By Jennifer AdcockWith a full program of seminars over three days, each packed with dozens of extremely enthusiastic translators, to say that the buzz was palpable at Literary Translation Centre would be an understatement. From what I hear, this has been the biggest space allocated to the LTC yet, which has been growing steadily over the past five years. Sponsored by AmazonCrossing, funded by Arts Council England and the Foyle Foundation, and with partners such as the BCLT, English PEN, British Council, Free Word, Translators Association, Literature Across Fronteirs, Wales Literature Exchange, and Words Without Borders, the LTC provides a hub for translators. It is almost a mini-fair in itself, taking center stage in the making of world literature at the London Book Fair, which is second only to Frankfurt as a mecca for publishers, international rights sales, and current trends in the industry. Within this context, the LTC gives translators a tremendous boost; it offers fresh ideas to discuss, and an invaluable opportunity to meet and chat with other translators, as well as with publishers, agents, and editors, at the very handy area with tables and chairs provided for people to mingle. With Korea as this year’s LBF Market Focus, we learned that Korean literature is surprisingly underrepresented in the UK publishing world in comparison to other East Asian literature. This only reinforced the importance of passionate translators who will bridge world literatures together and act as champions of their favorite authors and books.The seminars covered everything from Back to Basics Q // required: replace example with your forum shortname /* * * DON'T EDIT BELOW THIS LINE * * */ (function() { var dsq = document.createElement('script'); dsq.type = 'text/javascript'; dsq.async = true; dsq.src = '//' + disqus_shortname + '.disqus.com/embed.js'; (document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0]).appendChild(dsq); })(); Please enable JavaScript to view the comments powered by Disqus.comments powered by Disqus

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Marilyn Monroe and Lady Gaga’s Korea, and Korean Literature

    Marilyn Monroe came to South Korea in February of 1954. While honeymooning in Tokyo with Joe DiMaggio, she had boarded a military plane and was en route to Seoul even before the marriage was fully consummated. At the airport, she was swarmed by hundreds of GIs who had been awaiting her arrival. When she came down the gangway, Monroe was dressed in a flight suit. Reporters noted that “half of the buttons on the top were undone, offering tantalizing glimpses of her chest, which got the troops even more riled up.” According to Korean news reports from the time, the GIs were disappointed to see her immediately board a helicopter bound for the frontlines and asked her when she would return, to which she “turned on the charm like a mother comforting a child” and replied, “I’ll be right back.” By February of 1954, the Korean War, which had lasted for three years, had already been brought to an end under the pretext of a ceasefire, but tens of thousands of American soldiers were still stationed in South Korea. Monroe gave dozens of performances, visited wounded soldiers in field hospitals, and posed on top of tanks. In archival photos, the soldiers’ excitement as they greet her is palpable. In colorless, dirt-covered barracks, Monroe alone stands out in color, as if someone had come along later and photoshopped her into the pictures. Before thousands of soldiers seated on a low hill devoid of even a single tree, she spreads her arms wide and sings in time with a piano. The images look like they could have come from a 1960s rock festival.Yeouido Island, where Monroe alighted from the plane that brought her from Tokyo, is now the center of Seoul. It is crowded with high-rise buildings that house television stations and finance companies. The spot where the airport once stood has been turned into a park. Monroe died never having said anything special about Korea. Which is how it had to be. Because the Korea that she saw in 1954 would have been nothing more than scorched earth, razed to the ground by bombs and cheering GIs.About half a century after Monroe visited Korea, Lady Gaga came to call. She was giving a concert sponsored by the Korean credit card company Hyundai Card. While Monroe had worn a flight suit, Gaga wore a mask. Where she did resemble Monroe was in her deeply low-cut dress that offered tantalizing glimpses of her chest. The concert was held in April of this year. Though the Korean War has long been over, the scale of U.S. troops stationed in Korea has not lessened much. But Lady Gaga was not here to “comfort” the troops. Instead, she gave what was for her a very modest performance for the tens of thousands of fans, as well as board members of Hyundai Card and their VIP customers, who attended the concert. Also in attendance outside of the concert arena were protestors. You might think they were all old-timers who cling to Confucian tradition, but in fact the protests were led by conservative Christian groups who are influenced by evangelical Christianity in the United States. The close connection between Korean Christianity and American evangelical tradition likewise dates back to the Korean War. After the atomic bombs were dropped on Hiroshima and Nagasaki, and Japan surrendered, the U.S. military entered the Korean peninsula and established a military government. Then the Korean War took place, followed by a succession of pro-American dictatorships in South Korea. To the eyes of Koreans, who had suffered through Japanese colonialism and civil war, the United States was the strongest country in the world, and therefore the God that Americans believed in must also be all-powerful. Korean Christianity grew and grew, and they opposed Lady Gaga just as conservative American Christians did.Lady Gaga spent three days and two nights in Korea. Of the news reports detailing her movements, the one that caught my attention was a story that took place in a Korean restaurant, where she had gone to eat with her entourage. According to the report, she ate the banchan, the small dishes that accompany a Korean meal, with her hands instead of the chopsticks that had been set out. The January 2012 issue of Vanity Fair describes her wearing Chanel and skillfully making whole-wheat pasta at her parents’ house on the Upper West Side of Manhattan. Somehow I doubt she ate that pasta with her fingers. If she had, the reporter would have been sure to include such an amusing detail. Yet three months after that interview took place, Lady Gaga was eating with her hands in a hotel restaurant in Seoul. Perhaps someone had given her the wrong information. Koreans consider it impolite to eat with one’s hands. Nevertheless, Gaga was not criticized for it. It was merely seen as amusing. Perhaps that is because she is not only famous for her eccentric behavior but was also a guest from a faraway place. But if eating with her fingers was not part of her unique style of eccentricity, then it’s interesting. Throughout her stay in Korea, she barely did anything provocative that would make her audience uncomfortable. Instead, it was her excessively well-behaved and courteous behavior that drew attention. Given the way she behaved during her trip to Korea, eating banchan with her fingers may have even been a kind of gesture of respect. For Koreans, the difference between eating with chopsticks and eating with your hands is like night and day, but for Lady Gaga, there may have been little difference at all. Perhaps in her mind, there is the culture of forks and knives and the “other” culture of everything else.The Korea that Marilyn Monroe saw was a battleground. The Koreans that Lady Gaga imagined were people who eat with their fingers. Sixty years have passed since Marilyn Monroe boarded a propeller plane and flew here to visit American GIs, but it is possible that views of Korea from the outside have not changed very much. Korea still brings to mind words like war, division, nuclear North Korea, and the Great Leader Kim Jong-il. In literature, as well, the first works to be translated were those that included such themes. Of course, Gaga’s generation is a bit different from Monroe’s. They are more interested in Korean culture than politics (which isn’t very cool), and probably give little thought to an old war that broke out in the 1950s or in a Stalinist state where students march in lockstep down city streets. They probably see Korea as a country of exotic foods and strange living habits. To them, Korea seems to be symbolized by bulgogi and bibimbap, boy groups wearing makeup who command legions of girl fans, and art films rife with cruelty and violence. I encountered both stereotypes frequently while living in New York for two years. The real Korea lies somewhere between, or perhaps somewhere beyond, Monroe’s Korea and Gaga’s Korea. And as is the case with any country’s serious literature, Korean writers are fighting these stereotypes and working to create their own world. In particular, after the 1990s, when Korea’s economic development accelerated, Korean literature broke free of nationalistic narcissism, the struggle against dictatorship, and the epic narratives of national division and the trauma of war, and began to focus on conspicuously individual issues. Writers who had devoted themselves to social issues began to look inward and question what they could do through language and through fiction. The result was the astonishing diversification of Korean literature. Now, in 2012, I can say that it is all but impossible to briefly summarize current trends in Korean literature.For this special issue, I selected two short stories. I had hoped to include Park Mingyu’s “Is That So? I’m a Giraffe,” but the story has already appeared in the Asia Literary Review. The stories are all departures from the kinds of stereotypes that readily come to mind when one speaks of Korea or of Korean literature, but at the same time, they show what Korean literature is like at present.Sim Sangdae’s “Beauty,” written in a mythic style, takes place in a run-down coal mining town. The town, which was once prosperous but is now in ruins, is probably similar to the image of Korea that Monroe would have seen from the airplane: denuded mountains, scorched earth, colorless beings scraping out a living. But even back then, there were those who went to extremes in search of beauty. And that ill-matched aesthetic impulse ends tragically.Yun Ko-eun is the youngest of the three writers. Her story, "The Chef's Nail," which was written in 2011, also takes place on the subway. But it is different from Park’s subway of ten years ago. Park’s pushers are left behind on the platform when the train leaves, but Yun’s characters ride the “Circle Line” around the city all day. For these people, whose job is to advertise books by pretending to read them, the subway is an inescapable reality, a Mobius strip. Their only way out is to become the books that they are selling, and in the end, that is what happens. They are easily replaced and disposed of. In 2011, South Korea was economically more affluent, and yet the prospects for young people in this country have never been bleaker and less stable.Several months after Hyundai Card invited Lady Gaga to Korea, they also invited Eminem. In the middle of his concert, Eminem raised his arms to form a heart and perplexed the audience, who had been expecting bad manners and crude gestures. Both Lady Gaga and Eminem were so polite and well-behaved. They probably meant no ill intent whatsoever when they ate with their fingers and made hearts with their arms. We all live with misunderstandings about others. And sometimes that’s the more comfortable path. But isn’t literature an art that struggles to overcome stereotypes and easy misunderstandings? I hope that the readers of this special edition will enjoy these three unfamiliar stories from South Korea sent to them from afar. © Kim Young-ha. By arrangement with the author. Translation © 2012 by Sora Kim-Russell. All rights reserved.Read more from the December 2012 issueFurther ReadingBeautyThe Chef’s Nailfrom “Nanga”

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Notes on Writing and Translating in Korea Today

    By Jennifer AdcockWith Korea being this year’s Market Focus at the London Book Fair, there was a multitude of events exploring the publishing potential around this country, revealing a whole universe of literature to be read, and of course, translated. The “Writing and Translating in Korea Today” seminar at the Literary Translation Centre gave a succinct overview of the Korean literary landscape. The panelists were all translators as well as authors. Krys Lee, author of Drifting House, was born in South Korea, grew up in the United States, studied in both the US and the UK, and is a professor of Creative Writing at Yonsei University’s Underwood International College. Author Shirley Lee was born in South Korea, received an English education while growing up in China, and has been widely published; her focus is translating North Korean literature. Brother Anthony of Taize, a scholar specializing in Korean poetry, lives in Seoul, became a naturalized citizen of Korea in 1994, and has translated some thirty books of Korean literature. The discussion was chaired by Cortina Butler, Director of Literature at the British Council.The event kicked off with a discussion about whether Korean literature in translation offered a fair sampling of what is being published in the original language. Contemporary long -form fiction is the most represented, while short fiction—a form with a strong tradition in Korea—as well as poetry, are not as widely published in translation. Older classics, as well as fiction written in Korea’s regional dialects, are also underrepresented, perhaps due to the huge challenges presented in translating these texts. Thankfully, Dalkey Archive Press and the Literature Translation Institute of Korea are helping to rectify this situation with the Library of Korean Literature Project—an unprecedented effort to bring Korean literature into the English language. In a single year, from 2013-2014, 25 novels and short-story collections were published thanks to this collaboration.It was interesting to note that although the more established, canonical writers who are well-known in Korea are the ones who tend to get translated, the younger writers might be more in tune with the tastes of the contemporary world. This new generation is reading more foreign literature than their own, and is also receiving an education in creative writing, often choosing to write in English in order to reach a wider audience. It was mentioned that younger writers tend to have a lighter and more humorous style in comparison to their more established counterparts.Along with Korea’s painful political separation came the separation of the Korean language. The South Korean language is changing a lot more rapidly from the influence of English and German, which infiltrate through street signs, textbooks, and commercials. North Koreans thus have the experience of walking around as if in a foreign language when they travel to South Korea for the first time. This is not only due to the influence from abroad, but also to the whole culture in which the language lives. Shirley Lee described, for example, how a North Korean was surprised to see that adjectives like “respected” or “dear,” which are normally reserved for the leader of North Korea, Kim Jong-un, can also be used to refer to other people or things. Additionally, many Korean writers are choosing to write in English. This could be due to the fact that they are living in the diaspora, or because they are schooled in English and therefore feel more comfortable with their writing skills in the language, or because they are making the conscious decision to write in English in order to reach a broader audience.Another fascinating piece of the Korean literary puzzle is the odd fact that until the 20th century, Korean literature was written in classical Chinese. Then, from 1910 to 1945, with the annexation by Japan, people were taught to read or write in Japanese instead of Korean. Therefore, between 1945 and 1950, there was an explosion of creativity, where writers were reinventing their own language afresh. This outburst was cut short, in 1950, though, when these writers went to war or were kidnapped, so there is not much history of the literature written in Korean before 1953.The panelists went on to discuss the particular challenges of bringing Korea’s literature to an English-speaking audience. The obvious issue, of course, is making it understandable outside of its cultural context, with things such as the hierarchy of titles, and the different ranks indicated in dialogue being quite difficult to convey in English. Krys Lee mentioned that one way around this would be to really work with the register to try and signal the levels of formality versus informality. Another challenge is the fact that Korean literature gets edited a lot less, creating situations where the English translation of a novel was cut by a third, to tighten up the pacing and secondary stories.Brother Anthony of Taize rounded off the discussion on a beautiful note, by reading from his translation of Some Advice by Ko Un:Poemsblock the path for better poems.Poemsblock the path for subsequent poems.Poems, poems, my blue poems!Escape somehow from the history of poetry,from fashions of poetry,from a hundred years of poetic authority.Be born trembling, wild and alone.Published Apr 16, 2014   Copyright 2014 Jennifer AdcockReturn to WWB DailyLeave Your Comment /* * * CONFIGURATION VARIABLES: EDIT BEFORE PASTING INTO YOUR WEBPAGE * * */ var disqus_shortname = 'wwborders'; // required: replace example with your forum shortname /* * * DON'T EDIT BELOW THIS LINE * * */ (function() { var dsq = document.createElement('script'); dsq.type = 'text/javascript'; dsq.async = true; dsq.src = '//' + disqus_shortname + '.disqus.com/embed.js'; (document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0]).appendChild(dsq); })(); Please enable JavaScript to view the comments powered by Disqus.comments powered by Disqus

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • From the Translator: Totalitarian Capitalism in a Windowless Room

    By Jamie ChangIn the winter of 2007, I ditched my plans to go to medical school and chose Mouthwatering by Kim Aeran as my first translation project. Like all derailing decisions I’ve made in my life that in time proved sound, a woman was behind it.Her name was Saein. She wanted to be a poet. Before I met her, the Korean section of my personal library consisted of just two names: Wan-suh Park (author of Who Ate Up All the Shinga?) and Lee Yeongdo (a big name in Korean fantasy fiction; my life revolved around Dragon Raja when I was in the ninth grade). Not long after we started going out, Saein took me to a bookstore and pointed out Kim Aeran’s first short story collection, Run, Daddy! She explained to me why the eponymous “Daddy” was running (to have sex), and giggled to herself. At the time, I was an insufferable undergrad who only read “serious” literature, so I didn’t bother to check out the book. It wasn’t until nearly two years after Saein and I broke up that I happened upon Mouthwatering in the new books section of a bookstore and actually read a Kim Aeran story.Most stories in Mouthwatering, the short-story collection that includes “Ascending Scales,” are about young Koreans, many of them students, inhabiting uninhabitable spaces—gosiwon (a boardinghouse of sorts with small, often windowless rooms intended for people studying for civil service exams), basement apartments that flood every summer, chicken coop dorm rooms, shady love motels, rooftop rooms—and the absurd physical discomfort that shape and characterize the experience of youth there. Even though the stories were often laugh-out-loud funny, I noticed that they simultaneously incited an uneasy, visceral reaction. I felt very tense and anxious even as I translated them at a spacious library in Western Massachusetts. The familiar dread, I realized, was coming from my own familiarity with those spaces. Like so many Koreans who came of age around the turn of the century and thereafter, I had first-hand experience with those uncomfortable rooms. I shared a nine-square-meter dorm room with three other girls (“Crossing the Meridian”), visited my wife in her gosiwon room the size of a pantry (“Prayer”), and spent many nights in unsavory love motels with Saein (“Christmas Specials”). These places were widely accepted as the norm, a rite of passage of sorts that were romanticized as a necessary, dehumanizing part of becoming a “grown up”—a spatial embodiment of gojingamnae, or “after pain comes sweet reward.”All of us who lived and studied in these places agreed that there was something unethical and unjust about the way we lived and the way we competed with one another. Mouthwatering tackles a rather large problem that contributes to the unhappiness that plagues Korean youth: the peculiarities inspired by the combination of education, capitalism, and totalitarianism. Whether it is outsourcing grading papers (“Mouthwatering”), or standing in line all night to sign up for classes at a test-prep center:One kid brought a picnic blanket, another napped squatting. Kids left their bags with their friends to go to the bathroom. More than ten hours remained until registration time. Dawn came, and the crowd grew even larger. The line waxed from single file to three to four people across. [. . .] Approximately a thousand people had gathered. [. . .] I heard cries and screams. The girl in front of me broke into sobs, “Don’t push me. Don’t push me. Please . . .” (“Crossing the Meridian.” Mouthwatering, p138).But at the same time, we espoused “after pain comes sweet reward” as our religion, as South Korea raced headlong toward the extreme end of capitalism. When we complained, the answer that came back was the same answer the protagonist of “Ascending Scales” gets from the landlord when mold grows on her walls: That’s just how it is.Uncannily, just like the protagonist of “Ascending Scales,” Saein shared a small place with her older sister and their tiny terrier. Their landlady lived one floor above them and often peeked in. The winter I was visiting, she asked how long I was staying and charged extra rent. Saein, too, headed down to the boiler room with a basin and some rags and scooped water out of the boiler room when the pipe froze and burst down there. Saein’s older sister gave up her studies to provide for the family when their unemployed father passed away. Now that Saein had finished college, it was her turn to bear the financial burden as her sister resumed her studies. Each bound by family obligations and with no help from the government, so many young people gave up their savings, time, and youth to support other family members and slowly dig them out of financial predicaments. The stories in Mouthwatering are not about people under extraordinarily unfortunate circumstances, but familiar personal narratives of so many young Koreans who sought to better their circumstances through education in the post-IMF Korea.Many young Korean writers today write about the disillusionment with the future they were promised—the promise of social justice, the promise that hard work would be rewarded.  As Kim Young-ha said in an interview with BBC, the previous generation of writers who lived through the horrors of the Korean War and the Democracy Movements often dismisses the disappointment of the younger generation as trivial. But I think the true horror is the possibility that the previous generation’s economic and political achievements, based on tremendous sacrifices, are in danger of coming apart in every sense of the expression.Saein didn’t become a poet after all, but instead chose a career in the Korean test-prep empire to support her sister, who’s been studying for the law exam for the last five years. They still live in the same place with the flooding boiler room. But the tiny terrier is still alive.     Published Apr 28, 2014   Copyright 2014 Jamie ChangReturn to WWB DailyLeave Your Comment /* * * CONFIGURATION VARIABLES: EDIT BEFORE PASTING INTO YOUR WEBPAGE * * */ var disqus_shortname = 'wwborders'; // required: replace example with your forum shortname /* * * DON'T EDIT BELOW THIS LINE * * */ (function() { var dsq = document.createElement('script'); dsq.type = 'text/javascript'; dsq.async = true; dsq.src = '//' + disqus_shortname + '.disqus.com/embed.js'; (document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0]).appendChild(dsq); })(); Please enable JavaScript to view the comments powered by Disqus.comments powered by Disqus

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Before Han Kang: Three Korean Modernists You Should Know

    By Esther KimIm Hwa (left), Yi Sang (right, seated), and Pak Taewon (right, standing). Wikipedia. Before K-pop or K-beauty, there was Korean literature. Before the vivid, strange writing in translation of contemporary South Korean writers (including Han Kang, Hwang Jungeun, and Bae Suah) and writers of the Korean-American diaspora (such as Min Jin Lee, Patty Park, and Alexander Chee), there was literature being produced in the the city of Keijō—or Gyeongseong—where Seoul now stands. Under the rule of Imperial Japan, Keijo/Gyeongseong developed into a capital. Urbanization and colonization shaped modern Korean writers until the end of the Second World War, when Japan retreated. Seoul’s painful history has been razed and the city does not readily divulge its previous incarnation.   With the outbreak of the Sino-Japanese War in 1894, Japan launched a policy of territorial expansion that claimed Taiwan and Korea, among other countries. This policy indelibly marked the Korean peninsula, which was under Japanese rule from 1910–45. During this period, a generation of writers established successful careers. As in Taiwan, these Koreans were educated, spoke and wrote in Japanese, and had little or no memory of precolonial life. Later generations caught in the tumult of twentieth-century politics would judge them mercilessly. Many of the young men attended university in Tokyo, an epicenter of the arts, and returned to Keijo/Gyeongseong to contribute to the budding literary scene. They wrote under increasingly fraught political circumstances, which came to a head in 1940 when the Imperial State cracked down, banning the use of Korean entirely and even rounding up and torturing the creators of a Korean-language dictionary.Colonized artists struggled to imagine a future—nationalist or communist—and record it in their mother tongue, a language on the verge of extinction.Despite the darkness of the period, or perhaps because of it, those who lived and wrote under colonial rule slyly thumbed their noses at Japanese officials and censors. During this period of hope, grief, and rage, extraordinary forms of writing under pressure began to emerge in Keijo/Gyeongseong—fragmented, cyclical, and episodic. As Imperial Japan introduced avant-garde literature and fiery political ideologies to the peninsula, colonized artists struggled to imagine a future—nationalist or communist—and record it in their mother tongue, a language on the verge of extinction.The entrance of European ideas to the peninsula, which had been relatively untouched by foreign influence as compared to China or Japan, meant interplay in the literature, especially in the 1920s. The March 1, 1919 Uprising against Imperial Japan, famously led by young female students, allowed for a lively albeit short publishing boom. New literary magazines, such as Changjo and Sonyun, as well as newspapers like Chosun Ilbo and Dong A Ilbo, were founded during this period. European Dadaism, surrealism, and modernism in translation mingled with Korean pastoral, Japanese realism, and classical Chinese foundations. Imperial Japan also ironically brought Esperanto, the language of a more egalitarian utopia, to the peninsula, and the socialist cultural society Korea Artista Proletaria Federacio (KAPF) was founded in 1925. From Tagore to Baudelaire, Yeats to Tolstoy, new literatures influenced Korean writers living in the Japanese-appointed capital, and they, like many of their avant-garde European counterparts, questioned the ability of a mind to apprehend violence and the ability of language to represent that reality.The following modernist, urban writers created a daring new literature that was an important influence on contemporary Korean writing. 1.     Yi Sang (1910–37)Fans of Borges will admire the Dada-inflected and elliptical work of avant-garde poet and writer Yi Sang (born Kim Haekyong). Start with short story Wings from the anthology Modern Korean Fiction, edited by Bruce Fulton and Youngmin Kwon. Translated by Walter K. Lew and Youngju Ryu, Wings is an absurd, stream-of-consciousness short story on urban alienation.Yi Sang’s life itself begs a literary biography and collected works. Before his untimely death at the age of twenty-six, he worked as an architect and the geometrical constructions of his poems and stories reveal this training. He was a member of the notable “Circle of Nine”—or Guinhoe—a literary group devoted to “pure” aesthetics and introspection over pushing politics. He was best friends with modernist painter Gu Bonwoong. He lived with a young gisaeng (gisaengs were typically girls whose status lay somewhere between artist, courtesan, entertainer, and slave) in a house he constructed, which still stands today in the Seochon district of Keijo/Gyeongseong. He wrote mainly in Japanese. Today one of the most coveted literary prizes in South Korea is named after him. 2.     Pak Taewon (1909–86)A close friend of Yi Sang and fellow member of the Circle of Nine, writer Pak Taewon was educated in Tokyo and he translated short stories by Ernest Hemingway and Katherine Mansfield. Pak’s semiautobiographical novella, A Day in the Life of Kubo, the Novelist, sketches urban life in Gyeongseong, including its new department stores, Japanese- and Western-style architecture, and cafes, as the writer strolls through the colonial city. It owes much to James Joyce, who Pak read in Japanese translation, and the flaneur tradition. The novella was serialized in the newspaper Chosun Joongang Ilbo from August 1–September 19, 1934. Sensitive to the plight of the urban poor and women, Pak Taewon sought to depict life on the margins. After Korea became independent of colonial rule, he became a “Wolbuk writer,” meaning one who “crossed North,” in 1950 and worked there as a literary critic. 3.     Im Hwa (1908–53)The oldest of the three writers, Im Hwa had a clear influence on Yi Sang and Pak Taewon. He wrote poetry “of didactic intent” in the 1920s as one of the leaders of the socialist KAPF movement. Educated in Tokyo, he first fashioned himself as a Dadaist avant-garde poet and cineaste after Japanese poet Takahashi Shinkichi. Like Pak Taewon, he fled to the North in 1947, fearing the repressive military regime in the South and the dissolution of the Communist Party. He was later executed in the North on charges that he was a spy for both Imperial Japan and America.Read his poems “Storm Cloud—1927” and “Maps,” translated by Kevin Michael Smith, in Volume 10 of Azalea: Journal of Korean Literature and Culture. In “Maps,” Im Hwa writes with great poignancy, reflecting on the peninsula’s past and future:Even if the beautiful name of the youth will be buried in the earthwithout ever once having been called clearly,now henceforth we will becomeyoung painters of this new map—Isn’t it a joyous thing?The reception of these writers in South Korea is still colored by their politics. Up until 1988, two of the three—Pak Taewon and Im Hwa—were personae non gratae in South Korea, their works banned for their proletarian content. While some of Pak Taewon, Im Hwa, and Yi Sang’s most famous short stories and poems are available in academic anthologies and journals, I believe they deserve to be published by translation-focused presses such as NYRB Classics or New Directions. That they still don’t have literary biographies or collected works in English is practically a crime. But perhaps they will soon receive the recognition that they deserve.Published May 4, 2018   Copyright 2018 Esther KimReturn to WWB DailyLeave Your Comment /* * * CONFIGURATION VARIABLES: EDIT BEFORE PASTING INTO YOUR WEBPAGE * * */ var disqus_shortname = 'wwborders'; // required: replace example with your forum shortname /* * * DON'T EDIT BELOW THIS LINE * * */ (function() { var dsq = document.createElement('script'); dsq.type = 'text/javascript'; dsq.async = true; dsq.src = '//' + disqus_shortname + '.disqus.com/embed.js'; (document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0]).appendChild(dsq); })(); Please enable JavaScript to view the comments powered by Disqus.comments powered by Disqus

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Korean Literature Is Stepping Out

    Translator Anton Hur on the increased visibility of queer Korean writers​. Am I proud of this mini-feature of Korean queer literature in translation courtesy of Words Without Borders? Hell yeah! We have Lee Jong San, the second out queer Korean writer to publish a book of fiction, and an excerpt from that very book in question: Customer! We have Kim Bong-gon, the third out queer Korean writer to publish a book of fiction, and an excerpt from that very book in question: “College Folk” from Speed, Summer! (The only reason WWB hasn’t published the fourth out queer Korean writer to publish a book of fiction is because a fourth book doesn’t exist yet. And yes, WWB has published the first out queer Korean writer to publish a book of fiction as well, thanks for asking.)Korean literature has always had an embarrassment of riches when it comes to queer literature, but having out queer writers—as opposed to closeted queer writers or writers who were out to their translators and friends but not to the public, etc.—was somewhat elusive. But it’s history waiting to happen, and boy is it happening. Last year, I went to a panel for queer literature hosted by Seoul National University where Lee Jong San and Kim Bong-gon sat next to each other and I thought, Damn! We can fill an entire panel now! Kim Bi and Kim Hyun don’t have to be alone anymore!You don’t have to be an out queer writer to produce unmistakably gorgeous queer Korean literature. I mean, have you seen how gay Korean literature has always been??? But in case you needed a reminder, we have Lee Hyemi’s sensuous poem “The Cupboard with Strawberry Jam” and Kim Hyejin’s About My Daughter, both works that also deal with the closet and what stays “hidden and sweet” or comes marching out of it with a lesbian-in-law in tow.Queer rights in Korea has taken a battering in recent years: we have a homophobic president, witch hunts against gay soldiers (military service is compulsory in Korea; you want us to serve in the military and go to jail? Make up your goddamn minds!), and Christian fanatics are coming down strong—and violently—against queer pride all over the peninsula. But we are fighting back. We have always been fighting back, but there has been something different in the air these past couple of years: the out authors, their books that suddenly seem to be doing quite well, and the domestic and international response, nay, demand for their work is mounting by the day. In these very pages, I once wrote about a lunar sorority of queer Korean literary translators. Now, thanks to our authors, we’re ready to step forth into the sun. "Korean Literature Is Stepping Out" © 2019 by Anton Hur. All rights reserved.Read more from the June–July 2019 issueFurther ReadingScissors, ShiningAbel’s Autobiography About My Daughter

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • The Watchlist: May 2019

    By Tobias CarrollEach month, Tobias Carroll shares a handful of recently released or forthcoming titles in translation that he’s especially excited about. From World Editions | A Devil Comes to Town by Paolo Maurensig, translated from the Italian by Anne Milano Appel | Fiction | 120 pages | ISBN 9781642860139 | US$14.99What the publisher says: “Taut with foreboding and Gothic suspense, Paolo Maurensig gives us a refined and engaging literary parable on narcissism, vainglory, and our inextinguishable thirst for stories.”What Publishers Weekly says: “Maurensig (Theory of Shadows) skillfully handles the tale’s mysteries and ambiguities: has Father Cornelius really spotted the devil, or is he an unreliable narrator in thrall to his own infernal, Faust-inspired fictions? And is the widespread urge to write, to 'indelibly engrave ourselves on the metaphysical plate of the universe,' demonic or divine? This nested narrative is an entertaining exploration of the manifold powers—creative, confessional, corrupting—of fiction.”What I say: There’s a lot to savor in this bleakly satirical novel, from the description of an isolated town teeming with writers of varying talents to a unique spin on the idea of devils (as opposed to the devil) sowing chaos in the world. The nested structure nods to both nineteenth-century Gothic tales and postmodern lit—which in and of itself suggests the sensibility of this narrative of diabolical interests and literary ambition.  ***From Oneworld | Things That Fall from the Sky by Selja Ahava, translated from the Finnish by Emily Jeremiah and Fleur Jeremiah | Fiction | 240 pages | ISBN 9781786075413 | US$24.95What the publisher says: “Three lives are changed forever by a series of random events: a young girl loses her mother when a block of ice falls from the sky; a woman wins the jackpot twice; and a man is struck by lightning four times. Selja Ahava weaves together these unique stories in a charming, one-of-a-kind tale about just how far people will go to force life into a logical pattern they can make sense of.”What Booklist Online says: “Finnish writer Ahava’s European Union Prize-winning 2015 novel, now her first to be published in English, is a whimsical and thoughtful rumination on the terrifying randomness that dictates the course of a life.”What I say: In different hands, the plot of Things That Fall From the Sky, in which a family grapples with a sudden and bizarre death, might have felt self-consciously quirky or cloying. Instead, Ahava embraces the eccentricities of her characters and the role of randomness in the novel’s plot, pivoting from a meditation on grief into something closer in tone to the Ricky Jay-narrated prologue of Paul Thomas Anderson’s Magnolia. ***From Yale University Press | The Book of Collateral Damage by Sinan Antoon, translated from the Arabic by Jonathan Wright | Fiction | 312 pages | ISBN 9780300228946 | US$24.00What the publisher says: “Widely-celebrated author Sinan Antoon’s fourth and most sophisticated novel follows Nameer, a young Iraqi scholar earning his doctorate at Harvard, who is hired by filmmakers to help document the devastation of the 2003 invasion of Iraq. During the excursion, Nameer ventures to al-Mutanabbi street in Baghdad, famed for its bookshops, and encounters Wadood, an eccentric bookseller who is trying to catalogue everything destroyed by war, from objects, buildings, books and manuscripts, flora and fauna, to humans.”What Maaza Mengiste says: “Sinan Antoon is a master storyteller and The Book of Collateral Damage reaffirms his place amongst some of our very best writers. Vividly imagined and sensitively told, this is a tale of one man's exile and return, and all the distances traveled to find a semblance of home.”What I say: Antoon’s novel juxtaposes scenes from the life of Nameer, an Iraqi writer living and working in the United States during the second Gulf War, with a series of writings that he receives in correspondence. As Nameer navigates academic life, romance, and his own complex feelings about the war, Antoon balances the philosophical with the visceral, leading to a haunting denouement.***From Coach House Books | The Laws of the Skies by Grégoire Courtois, translated from the French by Rhonda Mullins | Fiction | 200 pages | ISBN 9781552453872 | US$16.95What the publisher says: "Once upon a time, a class of six-year-olds heads into the forest for a camping trip. The innocent children play games where they imagine monsters everywhere: the creaking of trees becomes a growl, the tree trunk becomes an ogre."What Publishers Weekly says: “Alone in an unforgiving nature and soon separated from any semblance of adult supervision, the brutality of the world is suddenly laid bare for children. Among them, the precociously mature Hugo dares to take a stand against Enzo in a desperate attempt at survival. Unflinching in its savagery, the nightmarish poetry of this modern Lord of the Flies is undeniable.”What I say: The Laws of the Skies takes its title from a fable told within its pages, about a mouse who learns to fly, becoming a bat—and who is subsequently attacked and blinded by vengeful birds. That description suggests a sharp turn from whimsy to menace, and it serves as a model for the novel as a whole. From the outset, we know that this tale of lost children will not have a happy ending, but the bleakness in store for these characters still has plenty of room to unnerve.***From Pica Pica Press | Sun-Tzu’s Life in the Holy City of Vilnius by Ričardas Gavelis, translated from the Lithuanian by Elizabeth Novickas | Fiction | 220 pages | ISBN 9780996630436 | US$13.99What the publisher says: “Another intellectual horror story by the author of Vilnius Poker. In this, Gavelis's last novel before his sudden death at the age of 52, the master of the macabre takes us through the life of the Sun-Tzu of Vilnius, a warrior of the political and economic changes that followed the fall of the Soviet Union. Sun-Tzu launches attacks on his enemies from his bunker hidden in the legendary underground labyrinths of Vilnius. A fantastic metaphoric voyage into the depths of good and evil.”What Dalkey Archive Press says: “Ričardas Gavelis, who passed away in August of 2002, also incorporated eastern themes into work, but brought them back to the Lithuanian setting. His last novel, The Life of Sun-Tzu in the Sacred Town of Vilnius (Sun-Tzu gyvenimas šventame Vilniaus mieste; 2003), was well received and seen as his swan song. The work consists of linked non-narrative chapters about a man imbued with the philosophy of Sun-Tzu.” What I say: Ričardas Gavelis’s life of an unnamed man coming of age and discovering his own unique philosophy of life abounds with questionable morality, deft wordplay, and jarring narrative transitions. Numerous major characters meet untimely fates, creating a sense of a world in which ethics and fate have been turned on their head—and, in turn, helping to explain just why this novel’s protagonist embraces Sun-Tzu’s ethos for his own life. ***From White Pine Press | What Makes a City? by Park Seongwon, translated from the Korean by Chung Hwa Chang and Andrew James Keast | Fiction | 188 pages | ISBN 9781945680205 | US$16.00What the publisher says: "What Makes a City? provides the reader with an intelligent perspective on the strange culture of our times and a series of adventures through which we explore universal human problems. Family, education, the media, popular culture, technology, alienation, financial power or the lack thereof . . . These are among the most prominent components of the eight stories which comprise this book, in which characters struggle—sometimes in despair, but usually with a sense of humor—to understand or at least accept their place in a world that often makes no sense."What Korean Literature Now says: “What makes up a city? The novel answers this question by stating that a city has something hidden inside, something that remains untamed by civilization. Through Park’s novel, we come to discover that although we may travel outside a city, the outside is actually the irrational that is hidden inside.” What I say: The stories in What Makes a City? abound with contradictions: they incorporate everything from quotidian family scenes to high-concept narratives of cryogenic sleep and futuristic debt. What connects them is a sense of storytelling, in both its power and its limitations. This book abounds with questions of stories, both those we tell ourselves and those we process to make sense of the world—even when the world around us lacks all reason.  Looking for more reading suggestions? Check out Tobias Carroll’s recommendations from last month.Published May 15, 2019   Copyright 2019 Tobias CarrollReturn to WWB DailyLeave Your Comment /* * * CONFIGURATION VARIABLES: EDIT BEFORE PASTING INTO YOUR WEBPAGE * * */ var disqus_shortname = 'wwborders'; // required: replace example with your forum shortname /* * * DON'T EDIT BELOW THIS LINE * * */ (function() { var dsq = document.createElement('script'); dsq.type = 'text/javascript'; dsq.async = true; dsq.src = '//' + disqus_shortname + '.disqus.com/embed.js'; (document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0]).appendChild(dsq); })(); Please enable JavaScript to view the comments powered by Disqus.comments powered by Disqus

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • The Queer “I”: The Tenth Queer Issue

    Susan Harris introduces our tenth Queer issue.Nearly a decade ago, our former editor Rohan Kamicheril planned an issue of queer writing. The issue proved so popular, and so reflective of our editorial vision, that we decided to make it an annual event. You’ll find queer writing at WWB throughout the year, but our June issues have provided a space to bring this multiplicity of voices into conversation with each other and with readers. This month we bring you our tenth Queer issue.This time around we’re presenting nine short prose works and a single poem. The characters are united by several themes: they seek success in love and work; they find themselves in the grip of romantic obsession and preteen confusion; others find themselves points of obtuse (in multiple senses) triangles and objects of surprising affections. All the pieces are told in the first person, lending intimacy and immediacy to the events they describe.Short fiction has been a mainstay of our queer issues from the very first, showcasing some of the form’s master practitioners. This year is no different. Afro-Caribbean writer Yolanda Arroyo Pizarro won the National Short Story Prize of the PEN Club of Puerto Rico in 2013 for her collection Las Negras. Known for exploring the limits of female characters who challenge hierarchies of power, here she traces a relationship that morphs from bullying to bond. Muscular young teen Elena fights her way into a tough boys’ gang as they pummel the effeminate Ricardo. As she navigates often-confusing social and sexual currents, and faces her own crush on the alluring Johana, her relationships with both the gang members and their target evolve.The Italian writer Matteo Bianchi, too, is adept at exploring characters who move with tentative steps across unfamiliar territory, often defying expectations along the way. His work Cher upon a Midnight Clear, a “fairy tale for adults,” looks at a little boy’s love of what his parents consider girls’ toys. The prolific Bianchi, whose work also includes an edited volume of American gay fiction in Italian translation, first graced our pages in August 2004 with “Maternal Love,” an antic, affectionate tale of two very different people whose paths cross at the Padua pride parade. He’s one of our favorites, and we’re delighted to welcome him back with a story set in the late eighties. An anxious college student picks up a working man, then finds himself falling for him. As they warily move into a relationship, Bianchi deftly sketches the milieu, showing the jumpy narrator warily maneuvering among friends, family, and fellow students as his feelings for Alessandro deepen.  Can these men defy societal and familial expectations to find happiness? As in “Maternal Love,” Bianchi provides a surprising, deeply satisfying answer.  As celebrated Chinese author Lu Min demonstrates, power structures can be inverted and exploited, and boundaries defied. Lu, a rare out lesbian in China, has collected multiple awards for her fiction, which has been translated into nine languages. In “Scissors, Shining” she finds a young apprentice to a village tailor measuring clients and sizing up their relationships with his enigmatic boss. When a neglected wife attempts to interest the tailor in a more intimate assessment, the apprentice finds himself caught in a different sort of calculation. Min deftly captures the woman’s desperation and the tailor’s inexplicable lack of interest through the lens of the apprentice’s innocence, as the bewildered teen struggles to make sense of the emotional turmoil. As Master Song’s tiny shop becomes a site of assumptions overturned and boundaries violated, Min captures the potential for abuse in all hierarchies.The power structures that provide the mooring for Montenegrin novelist and screenwriter Stefan Bošković’s short story are both personal and professional. In his “Search: Porn” a fading fiction writer arrives at the home of his editor (and former lover) for a dinner that quickly goes pear-shaped. Arlen thinks they’ll be negotiating edits to his short story collection; instead, his editor and the latter’s new girlfriend serve up a demonstrative display, interrupting their embraces only long enough for his editor to announce that he intends not to publish the book at all. Reeling from this double rejection, Arlen brings the evening to a vivid conclusion worthy of 2016 Festival of European Short Stories runner-up Boškovic. Is outright rejection worse than being strung along? Icelandic poet and novelist Kári Tulinius asks in “Abel’s Autobiography.” Abel falls in love with Jerome, who is in an open relationship with the genderfluid Lionel. Abel’s infatuation with Jerome is soon equaled by his jealousy of Lionel; he turns to spying, stalking, and a singularly poor decision, all related in a breathless syntax that mirrors his headlong obsession.In “So Long, Luise,” noted French novelist Céline Minard asks what happens when our syntax is not our own. Minard, who has explored topics including space travel, medieval history, and the Western,  provides a giddy peek into an elaborate literary hoax. While outlining her will, the narrator, a Parisian celebrated for writing in English, cheerfully confesses that, in fact, her books were written in French; the English versions are translations. She traces the impetus for her imposture to her great love, Paige, an Australian whose mother tongue launched the author’s professional (and personal) triumphs.Speaking of triumphs, we’re particularly pleased to salute the increasing visibility of queer writers in Korea with a selection edited by star translator Anton Hur.  As Hur notes in his exuberant introduction, Korean literature has long had queer undercurrents, but only recently have writers felt free to be explicitly out. Highlighting the work of four contemporary voices, Hur brings us some of the freshest, most exciting work we’ve published.Lee Jong San’s novel Customer is the first of a trilogy that takes place on a future Earth. The narrator, Suni, comes from a desert region whose residents are known as “worms.” Selected for a scholarship to a prestigious school in a well-to-do city, she begins a romance with her roommate, an androgyne, and encounters the subculture of “customers,” people who undergo a variety of body modifications, or “customs.” In Customer Lee creates a world where people can mutate and enhance their physical forms to match their emotional make-ups.The body looms large in Lee Hyemi’s poetry, as well, which is characterized by fluidity and immersion. In “The Cupboard with Strawberry Jam” Lee contributes an erotic ode grounded in lush metaphor. Lee has spoken out on sexual harassment, both within Korean literary circles and the global #metoo movement; as with her activism, her poetry recreates and holds space for agency and queerness in female sexuality.In counterpoint to the work of Lee and Lee, Kim Hyejin’s novel About My Daughter and Kim Bong-gon’s “College Folk” confront the shaming and rejection faced by many who identify as queer, often by those closest to them. In an excerpt from About My Daughter, a widow invites her underemployed daughter to move in, but is less hospitable to a third party. The mother, a caregiver in a nursing home, struggles to accept her daughter’s sexuality and her partner; the younger women, in turn, fight poverty and sexual discrimination. In her portrait of the resistant mother and the stubborn couple, Kim draws a nuanced portrait of a clash both generational and social. A student saves a professor from scandal, then finds himself in a position to embroil them both in a new one in Kim Bong-gon’s “College Folk.” In an interview with the Korean Literature Institute, the author notes that the story was his first in which he both took his time and included his own experiences, and declares, “it contains my three favorite elements: queer, liberal arts, and romance.”“Queer, liberal arts, and romance” are some of our favorite elements, too, and we find ourselves in increasingly larger company in this than when our first Queer Issue came out in 2010: same-sex marriage is legal in the US, Ireland, and many other countries, most recently Taiwan; the Edith Windsor case has granted same-sex spouses the benefits of heterosexual couples; Iceland, Belgium, Luxembourg, Serbia, and Ireland have elected openly gay prime ministers, and an openly gay man is among the many declared candidates for the US presidency. Yet Brunei recently declared same-sex activity punishable by stoning; the US military now bars transgender applicants; and the self-professed homophobia of Brazil’s president, Jair Bolsonaro, stoked the atmosphere that made it necessary for our Afro-Brazilian contributor Jean Wyllys to flee for his safety. Come what may, rest assured we’ll still be here with stories that celebrate the queer experience in all its plurality. We hope you’ll enjoy the selection we present here.© 2019 by Susan Harris. All rights reserved.Read more from the June–July 2019 issueFurther ReadingKorean Literature Is Stepping OutAbout My DaughterScissors, Shining

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Linguistic Slapstick, Brutal Joy, and Profane Parrots: 18 Translators on Translating Humor

    By Jessie ChaffeeIn celebration of this month’s issue of International Humor, we asked top translators to share stories about the joys and challenges of translating humor, from puns to satire to creative curses.  Alta L. Price on Dana Grigorcea’s Double Meanings Jeon’s advice reminded me of an important lesson I learned early on in grad school. I had once complained to the brilliant Professor Youngjoo Son about having to read J. M. Coetzee’s Waiting for the Barbarians in her class because I was disgusted by the narrator. She replied that I shouldn’t confuse the author with the narrator and should try reading the work ironically: wasn’t Coetzee somehow satirizing the voice, subtly sending up the narrator, mocking him, even laughing at him? In other words, have I tried reading him ironically? With this in mind, I went back to my 2010 manuscript and revised it with an awareness of this possibility of an ironic reading.That revised translation won an award last year. The prize money was, ironically, almost exactly the amount I was shorted in 2010. Antonia Lloyd-Jones on Maryla Szymiczkowa’s Whimsical Names When Zosia Krasodomska-Jones and I co-translated Krystyna Boglar’s children’s novel Clementine Loves Red, we decided that as the book was not firmly set in Poland, but could be just about anywhere, we would change the Polish names to English ones. One of the children was called, oddly, Jarzynka—the diminutive of jarzyna, “vegetable”—and the other children say how strange it is to be called “little vegetable.” But later in the book she turns out to be the daughter of Mr Jarzyna, hence her nickname. Despite its meaning, Jarzyna doesn’t sound strange as a Polish family name. I scoured lists of fruits and vegetables in search of ideas, and finally hit upon Macadamia as the name for the child, and then her father could be Mr MacAdam.But when I translated Maryla Szymiczkowa’s retro crime novel, Mrs Mohr Goes Missing, firmly set in 1890s Kraków, I couldn’t be so flexible. The crime-solving heroine is Pani Profesorowa Szczupaczyńska—Mrs-Professor’s-Wife-Unpronounceable. It sounds comical in Polish because it’s a mouthful to say and also because a szczupak is a pike, and fish names are always funny. But however fishy, a pike has razor-sharp teeth. All of which reflects the character of our heroine, a tough cookie, but one who sometimes prompts laughter. Sometimes I ask authors if I can change Polish names that to non-Poles look like car crashes, but this time I needed to keep the humor. I needed a name that (a) sounded credibly Polish; (b) included a fish; and (c) warned us not to laugh at her too much. The authors reminded me that there’s a Polish name “Heryng,” but that didn’t tick the boxes. After reading lists of fish names and Polish surnames, I invented a new one: Turbotyńska. OK, a turbot is a harmless flat fish, but it has turbo power. Bonnie Huie on Qiu Miaojin’s Love of Media IlliteracyDepressives can sometimes be the funniest people of all. Emotional vulnerability and dark psychological depths may typify Qiu Miaojin’s masterworks, but there is a whole other side to her literary alter ego that is both savage and goofy, and this can be seen in the satirical episodes of Notes of a Crocodile, which are narrated in the third person and draw upon the lowbrow language of everyday visual media.One such episode—which takes as its target mainstream Taiwanese newspapers and their sensationalistic coverage of a minority group referred to only as “crocodiles”—calls for the two-dimensionality of caricature. In a scene that could easily have been lifted from the panels of a comic strip, a naive “reader who called up the paper with an animal encyclopedia in hand” seeks information from a crass editor who answers the phone while “taking a bite of tuna sandwich.” Nothing could be farther from the fluid, abstract world of emotions and intellect inhabited by the alienated protagonist, Lazi, than this warped social reality, in which the entirety of one’s thoughts (and the essence of one’s character) can be flattened and reduced to the symbolic object in one’s hands. This zany prologue is followed by a spurt of other reader-editor exchanges that appear without speaker attribution, like a jumble of interjectory speech balloons. The interaction concludes in a mutual consensus to exercise stupidity, whereupon the exasperated editor, who wants to be asked the exact same question over and over so that it can be answered by a recording, instructs the reader: “Why don’t you just start with, ‘Can you tell me what the exact same question is?’” The reader replies: “That makes sense.” To render the artlessness of your fellow human beings, it takes a cold, cold heart.Read an excerpt from Qiu Miaojin’s Notes of a Crocodile, translated by Bonnie Huie Boris Dralyuk on Mikhail Zoshchenko’s Dark Hilarity I recently wrote a little piece about the deliciously maddening challenges of translating the great Soviet satirist Mikhail Zoshchenko—specifically, of translating his darkly hilarious Sentimental Tales. That meant undertaking the thankless task of explaining jokes . . . And here I am, explaining another one. I do so for a good cause, because it seems to me that jokes can teach us an important lesson about translating in general, the lesson of freedom: it’s always best to let one’s mind do a somersault or three before grabbing hold of the trapeze again.Early in the first tale of Zoshchenko’s cycle, our clumsy narrator explains the demise of a peripheral character. The original Russian, if translated “literally,” would read something like this: “Only the medical attendant Fyodor Perepenchuk died much earlier, and, to be exact, he didn’t die, that is, didn’t die his own death, but hanged himself.” That leaves a lot to be desired. First, the rhythm, which is beautifully halting in Russian, is just plain halting in English. More importantly, the core of the verbal humor—the fact that our narrator is constantly, unwittingly, undermining clichés and bringing dead metaphors to life—has gone out the window. In Russian, “to die one’s own death” is a fixed phrase, meaning “to die of natural causes.” By stumbling over it, our narrator points to the fact that hanging oneself is certainly a matter of taking one’s death into one’s own hands. To create a similar effect in English, I raided its native store of morbid euphemisms: “But the medical attendant Fyodor Perepenchuk was taken from us at an earlier date. Of course, it isn’t so much that he was taken from us as that he hanged himself.” The Russian Perepenchuk didn’t die his own death—but, then again, he very much did. Meanwhile, his English double wasn’t taken from us—but, then again, he very much was. After all, you can’t just leave a fella hanging. Take leaps, translators. Look alive! Bruna Dantas Lobato on Caio Fernando Abreu’s Brutal JoyCaio Fernando Abreu’s 1982 collection Moldy Strawberries gives life to the marginal underworld of the cities of Porto Alegre and São Paulo. Written during the military dictatorship in Brazil, the collection touches on censorship, homophobia, depression, and urban violence. The material is often so dark, so steeped in loss, that I worry I might not be “bleeding” enough on the page as I translate it—to quote the metaphor the author uses to describe his writing process. After the moments of tension in the stories, Abreu tends to release the pressure by cracking a joke or two, only to tighten his grip again immediately after. Here, humor dispels the tension so the stories’ darkness can catch us off guard and hurt us again.In one of my favorite stories in the collection, “The Survivors,” the protagonist moves quickly from subject to subject, talking about her relationship with her best friend, her favorite authors, her depression, her sedatives, then about how she now knows how to properly masturbate—it’s all good—then back to her time in a psychiatric hospital. In the title story, “Moldy Strawberries,” a suicidal, recovering drug addict makes fun of his doctor’s recommendations but follows his orders anyway. In many ways, the characters’ wit and lightness serve as a reference point for assessing the depth of the darkness found in these stories. But they also show that despite everything, these characters are still alive and full of joy. At the end of “Moldy Strawberries,” the narrator stands on top of an overpass and stares at the flowerless flowerbeds down below. “Would it be possible to grow strawberries here?” he asks, by which he means, “Is it be possible to find joy and beauty in a world like ours?” For Abreu, the answer is always yes.Read fiction by Caio Fernando Abreu, translated by Bruna Dantas Lobato Charlotte Whittle on Jorge Comensal’s Profane ParrotIn Jorge Comensal’s The Mutations (forthcoming from FSG, November 2019), a Mexico City lawyer is stricken with cancer of the tongue: cellular mutations, pathology reports, a glossectomy, chemotherapy. . . sounds hilarious, right? Enter Benito, a bedraggled parrot gifted to the patient as a consolation for the loss of his tongue. Though Benito is from the jungle, he curses like a Mexico City native: “¡Cabrón!” and “¡No mames!” are some of his signature squawks. Translating curses is a tricky business, especially when they come from the mouth of a parrot. The question arises: is it most important to preserve the image evoked by the original phrase, or to find an alternative that occupies the same approximate role in the target language? Cabrón could be translated directly as “bastard” or “asshole,” but can also express praise and admiration. Perhaps, then, “motherfucker” was a candidate? I spent a long time watching videos of Samuel L. Jackson demonstrating the glorious flexibility of that word. But, for reasons that become apparent in the extraordinary final scene of The Mutations, I needed a term that could also be brought into play as a profane echo of “Lamb of God.” “Son of a bitch” offered an echo at least in structure, and delightfully profane implications when applied to the Holy Family. And what of “¡No mames!”—that quintessentially Mexican expression of surprise or disbelief? Though it may not occupy the same semantic field, the English “What the fuck?!” seemed to capture Benito’s reactions to his friend and confidant perfectly.So, the protagonist’s first dialogue with the parrot goes like this: The parrot was intrigued by this human who, unlike all the others it had met, didn’t overwhelm it with noise and gestures. There was something comforting about his discreet gaze and total silence. Gradually, it began to relax in the patio, surrounded by bushes and flower pots. Once it had grown used to Ramón’s presence, it demonstrated its cheerfulness with one of the phrases it knew.“Son of a bitch!” it squawked in a shrill and nasal voice. “Son of a bitch!”Ramón let out his first guffaw since the tumor had appeared on the scene. The mutant sound that emerged from his lips was more like a sea lion’s territorial bark than a human expression of delight.“What the fuck?!” answered the parrot.Ramón roared with laughter. The parrot reiterated its surprise at its companion’s unexpected reaction.“What the fuck?!”I’d be lying if I said I didn’t also fall down a rabbit hole (one I absolutely don’t regret) of watching videos of swearing parrots. From the deadpan to the jubilant, I have become an expert in the cursing birds of the Internet. I think Benito would approve.   Edward Gauvin on Satire and Swearing in Graphic LiteratureBecause I translate a lot of comics, I get a lot of questions about translating humor. I’m grateful to my medium of predilection for letting me tackle a variety of genres that don’t often make it over here, at least not from France: biography, popular science, epic fantasy, crime, science fiction, and, recently, documentary reportage. But humor is a small slice of what I do; Sunday funnies aren’t a thing in French. Then again, satirical weeklies aren’t a thing in English, though thanks to Ros Schwartz, I was part of a crack team translating a short-lived digital version of Charlie Hebdo. There, the task was as much to pack in cultural reference as to craft a snappy caption. If brevity is the soul of wit, and wit the epitaph of emotion, then too often translations are weathered headstones. Here lies a joke; it died of explanation.Most of the funny pages I’ve done, from Abel Lanzac and Christophe Blain’s Weapons of Mass Diplomacy to Gébé’s Letter to Survivors, have eschewed gut-busting for satirical barbs. By far, my bugbear in comics is, instead, translating profanity, which is all about emphatic equivalencies and seldom remotely literal. Just whose name is being minced in vain when the character’s . . . a pagan? A paladin? An alien? In the Loop and David Simon’s Twitter account set gold standards for swearing, but their invective is often so inventive it can’t be torn from context.And establishing context—setting tone and voice, priming readers’ expectations—is something translating humor shares with translating just about anything. Punch lines hog the limelight, like trouvailles in translation, nuggets of linguistic brilliance often justly trucked out to validate our craft. But what’s a bit without a build? That elastic atmosphere of likely laughter lets the joke explode.Read Abel Lanzac and Christophe Blain’s Weapons of Mass Diplomacy and Gébé’s Letter to Survivors, translated by Edward Gauvin Emma Ramadan on Fouad Laroui’s Absurd ScenariosFouad Laroui is really, really good with plays on words, and his book of short stories, The Curious Case of Dassoukine’s Trousers, is full of them. Translating that sort of thing is always quite difficult, especially when it’s necessary for the punch line of a joke. In his story “Bennani’s Bodyguard,” Laroui misspells the French word for “bodyguard” (guard du corps) throughout the story—gardkor, gardicor, etc.—to reflect and poke fun at the accent of Moroccans speaking French. This play with accents and dialects that works so well in French didn’t seem to in English, so I ended up dropping some of it.But overall, the humorous story arcs present in Laroui’s book translate into English. One story revolves around a swimming exam that has to take place in sand or on grass at certain Moroccan schools that don’t have swimming pools—the students are thus caught off guard by the new exam requirements that have just been passed down from on high. That scenario is just as ridiculous in English as in French. In “Born Nowhere,” Laroui pokes fun at Morocco’s bureaucratic systems by unraveling the story of an uncle who goes to extreme lengths to ensure his nephew can vote for him in an election twenty-one years later. In the title story, featured in the January issue of Words Without Borders, our protagonist, Dassoukine, has to cross a major city square in his pajamas after a thief steals his only pair of pants. He buys a ghastly pair of colorful golf trousers to wear to an important meeting at which he is to negotiate the price of twenty million pounds of wheat. He makes out with the product for next to nothing because his appearance has the committee convinced he’s a “desperate case.”The situations are absurd but also believable because of the systems in place in countries like Morocco, and therein lies the humor, which I think translates. One thing about Fouad’s humor is that it requires a certain understanding of the world, of what life might be like in other countries. But I think your average reader of short stories in translation is someone familiar with, or at least interested in, other countries and cultures—someone with an open mind and the ability to imagine.Read Fouad Laroui’s “The Curious Case of Dassoukine’s Trousers,” translated by Emma Ramadan Hillary Gulley on Yoss’s Latinate Laughs The humor in Yoss’s “Interstellar Biochocolate Mousse à la Solitaire . . . For Two” is both situational and linguistic. On the one hand, it’s a recipe set in the future, intended for interstellar travelers who might not know what milk is, or that it comes from mammals like cows. On the other, it refers to ingredients—both familiar and futuristic—by their Latin names. For example, the recipe calls for milk from a cow (bos taurus) and warns against using milk from the dragonturkey of Colimán IV (dracubirdius horribilis).While the translation of these aspects was surprisingly straightforward, there was the added layer of the recipe’s detached, didactic tone. Latinate words, which evoke the didactic in English, underlie the entire Spanish language, so their near-exclusive use in the original is inevitable—and not necessarily funny. But in English, the Latinate lexicon has a different role: it’s the domain of the institutional, the learned, and the guarded, and can be heavy and pedantic in a way that its cognates are not in Spanish. The same qualities, however, make it an ideal candidate for mockery.When I translate from the Romance languages, I tend to avoid longer English words from Latin in favor of their shorter, punchier equivalents from Old English. But in this case, I knew I could heighten the piece’s ironic tone by using more Latinate words (studies have “determined” and not “shown,” milk is “produced” and not “made”). The challenge was to pepper the English prose with enough of these words to create the desired effect while still preserving the piece’s light, idiomatic feel. But after all my efforts, the ultimate irony may be that in Yoss’s vision of the future, cows are almost extinct and milk comes from dragonturkeys, while Latin has somehow managed to thrive in deep space.Read Yoss’s “Intersteller Biochocolate Mousse à la Solitaire . . . For Two,” translated by Hillary Gulley  Jeremy Tiang on Lawrence Lei’s Linguistic SlapstickFor a small island, Macau contains a lot of languages: along with Portuguese and English, the locals speak Cantonese and (sometimes) the Macanese patois, with neighboring China providing an influx of Mandarin. A story I translated for the Macau Literature Festival, “Wolf Hunt” by Lawrence Lei, exploited this linguistic fluidity to create a great comic climax.The story follows a motley group of people fed up with their dead-end jobs who decide to carry out a kidnapping to make some quick cash. Unsurprisingly, they are hilariously inept at this, not least because their getaway driver is from Mainland China and doesn’t understand Cantonese, so everyone else can only speak to her in their appalling Mandarin.The story ends with a standoff: a hit man has come after their victim and is prepared to wipe out the kidnappers to get at him. The driver manages to pull a gun on the hit man—and at the same moment, a dropped cigarette sets a pile of newspapers alight. One of the gang screams at another to open a window (“kai chuang”) to clear the smoke, but mispronounces a crucial word and instead says “kai qiang”—“shoot.” So everyone with a gun pulls the trigger . . .Call it translator’s luck, but English provided an elegant, more straightforward solution: the single word “fire!” shouted at the sight of the flames is enough to set off the gun battle. Rather than try to explain the mispronunciation, I simply had the flustered gang member lose the ability to put a sentence together in Mandarin, so all he can shout is that one word, over and over.Bang. John K. Cox on Ajla Terzić’s Comical Imagery In the text “Tito and Taxidermy, or What If Tito Had Been on Twitter,” which Words Without Borders published, I was struck once again by Ajla Terzić’s incredible powers of observation. These powers come through in all her work, and if you hang out with her in person, they’re almost supernatural. It’s a real gift, I believe. Anyway, in this especially breathless and generally humorous essay of hers, she makes a lot of thumbnail characterizations of famous people, as well as of certain emblematic consumer products, quintessentially Yugoslav organizations, etc. When I first read her line about the “cat-eyed Elizabeth Taylor and a Richard Burton who’s sunburned to a crisp,” I dashed off to Google to look at photos of those stars from those years. Ajla was right, of course, and I’ve never been able to shake those images or her words. After a good laugh, I realized she works the same magic with all kinds of other things in that little story, from a goofy sex toy to a donkey ride at a county fair to Tito’s memory as a “phantom limb.” These images hit a remarkably high level of emotional truthfulness by combining both accuracy and humor.Read Ajla Terzić’s “Tito and Taxidermy, or What If Tito Had Been on Twitter,” translated by John K. Cox Margaret Carson on Remedios Varo’s Absurdist HumorBefore I began translating Remedios Varo’s Letters, Dreams and Other Writings, I knew she had a strong comic streak—for example, in her masterpiece Mimetismo [Mimicry], a woman sitting in an armchair begins to blend in with it, like a moth mimicking a tree—but I had little idea of the comic brilliance I’d discover in her writings, especially in her letters. Forget about news and gossip: these letters are comedy sketches, pure and simple. They’re amusing not because of their ingenious punch lines or clever wordplay or culturally-specific jokes. The humor is in the weird scenarios and improbable elements, such as a house with a small volcano rising in its courtyard that’s “admirable at preparing shish kebabs and brochettes to perfection” and whose lava can be applied to the scalp. It’s an absurdist humor in which things like a woman’s shoe of pearl-embroidered, violet velvet or a dried hummingbird stuffed with magnetic dust have an unusually consequential role. The beauty of my job as the translator was to simply render Varo’s words into English in the same straight-faced tone, asking myself, “Is this amusing in English?” ”Is it deadpan enough?” “Too over-the-top?” There was one instance when I did add some flourish to the original: in a letter to an old friend Varo waxes nostalgic about “las antiguas paellas”—the former paellas, the paellas of old—which I couldn’t help but translate as “the paellas of yesteryear,” smiling all the way. Michele Hutchison on Tosca Menten’s Creative CursingHumor can come in many different forms which pose different translation problems. Timing is often crucial, but that’s not so much of an issue as long as you think about the syntax beforehand so that the funny word comes at the end of the line where it belongs. A play on words is more of a challenge because you often have to move away from the original while keeping the association credible. Creative cursing can also be fun to translate, which was something I particularly enjoyed in the novels of Ilja Leonard Pfeijffer. While translating the children’s novel Dummie the Mummy and the Golden Scarab by Dutch author Tosca Menten, I got to reinvent some fake swear words that might appeal to young readers:“Nick rarely got angry, only at his paintings. He swore at them and said things like, ‘Ugly cottypot!’ It was a swear word he had invented because Angus and his father did not allow swearing in the house. He had also invented ‘Whumpy dumpman’ and he used that for all other things.” Mui Poopoksakul on Prabda Yoon’s Humorous NicknamesPrabda Yoon’s The Sad Part Was and Moving Parts both have a lot of tee-hee moments where the author makes jokes playing off a word or a name. Trying to replicate his move with names proved particularly difficult because naming practices in Thailand and in English-speaking countries are different. Thai nicknames are often simple, everyday words, and you can choose just about anything; for example, it’s completely normal to name your kid Apple or Orange or Duck or Chicken, so writers have more options at their disposal when setting up a joke. Translating humor linked to a name presents two issues. First, to keep the joke, you’ll probably have to turn the name into an English name, which isn’t ideal. Second, your possibilities as to what passes as a name are much more limited. In a story in Moving Parts, a boy has a nightmare about being pinched by a crab (“pooh” in Thai). Then soon after he wakes up, we meet a character whose name in the original is Jah. The word “jah” in Thai is a particle so it doesn’t have much meaning, but there’s a Thai crab dish called pooh jah, so I had to try to come up with a recognizable crab dish that contains a person’s name in its name. In the end, I went with Crab Louie, although it’s maybe more retro than I would have liked.Read fiction by Prabda Yoon, translated by Mui Poopoksakul Owen Good on Réka Mán-Várhegyi’s Fantastical FarceHumour in Translation 101, or:Authorized AssaultTuesday, 11:00 a.m., a seminar room in Budapest. We’re about to discuss possible translations of a violent and absurd encounter. In one of Réka Mán-Várhegyi’s short stories, “The Age of Aquarius,” our hero Magdi, after a few productive hours of translation work at home, overloads on greasy scrambled eggs, a very milky coffee, and a quantity of chocolate cookies. Magdi presently passes out in bed fully dressed. She wakes up groggy in the unfriendly dark of the evening. It happens.Swiftly en route to the bar, maybe grouchy from fatigue, certainly holding hard feelings toward her ex-boyfriend, Magdi plays out a fantasy where she spots her unsuspecting ex on the street and presently nekifutásból fejeli le . . .“She gives him a diving head-butt,” chimes in a brave student. I put it on the board.Any more? What else have we got?“She floors him.”“She torpedoes him.”“She gives him a Glasgow kiss?”On the board.She dropkicks him, she roundhouses him, she spears him, she nuts him one, she clotheslines him.We pause to catch our breaths and reflect. We’re having a lot of fun. The ex-boyfriend meanwhile has had better days and is crawling for the door, when from the back row:“She Zidane’s him!”When we look at the full board, we agree the first suggestion is the closest. But we can’t agree if it’s the best. We become film directors: First we get the best out of the English actors we have. Afterward we select the take that draws the best reaction, while still following logically. In our heads, we play back synonyms as Magdi launches, leaps, and dives across the street toward an unsuspecting ex.Read Réka Mán-Várhegyi’s fiction, translated by Owen Good Peter Bush on Teresa Solana’s Comical CannibalsWhen names are comic, and the context is appropriate, I’m all for translating them. But how? I faced such a challenge when working on Teresa Solana’s surreal tale of the first sleuth in history in “The First Prehistoric Serial Killer.” The Hairy Bear tribe is experiencing murder after murder, and in the Catalan original these troglodytes are named after medieval Catalan nobles and other historic figures: Pere, Berenguer, Guifré, Odalric, Humfrid, Martí . . . All key figures in those halcyon days when Barcelona ruled the roost in the Mediterranean. A rival set of Neanderthals is based in Poblet, otherwise renowned for its beautiful medieval monastery. Not exactly household names in the US or UK! I should mention that the story is shot through with other anachronisms—the sleuth is familiar with Sherlock and Sigmund, among others. In a first version, I opted for contemporary aristos—Philip, Charles, Harry, Elizabeth, James // required: replace example with your forum shortname /* * * DON'T EDIT BELOW THIS LINE * * */ (function() { var dsq = document.createElement('script'); dsq.type = 'text/javascript'; dsq.async = true; dsq.src = '//' + disqus_shortname + '.disqus.com/embed.js'; (document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0]).appendChild(dsq); })(); Please enable JavaScript to view the comments powered by Disqus.comments powered by Disqus

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • Starting at the Surface: An Interview with Lee Hyemi

    By So J. LeeLee HyemiSo J. Lee’s translation of Lee Hyemi’s “The Cupboard with Strawberry Jam” from Unexpected Vanilla appears in this month’s Queer issue. After a year of emailing back and forth, the two met in person for the first time in Mangwon-dong on May 11 and talked about Surrealism, stereotypes about Korea, making up words, speaking out against sexual violence, and becoming a “grandma author.” This interview was conducted in Korean and has been condensed and translated by So J. Lee. So J. Lee: There are a number of images or words that I associate with you, so I thought I’d start this interview with a game of word association. For example, you can say what word comes to mind when I say “eyelash.” Lee Hyemi: Gaze.SJL: Water surface (Homonym of “sleep” in Korean).LHM: Pillow?SJL: Oh, water surface. LHM: Water pillow? [laughs]SJL: The twinkle in one’s eyes.LHM: Sign.    SJL: Mark. LHM: Magnolia.SJL: Finger. LHM: Scratch.SJL: Swaying.LHM: Aurora.SJL: Shining.LHM: Palette.SJL: Flipping. LHM: Mud.SJL: Runny.LHM: Lips.SJL: Fading. LHM: Footprints.SJL: I wanted to try this since your poems remind me of Surrealist paintings. I notice one or two details before I come to understand the whole, and even then I don’t “understand” it neatly or logically. I feel like I had a dream. So when I read them in Korean, I simply read them, and it’s when I translate them into English that I think, “Wait, what? This doesn’t actually make sense!” Is there any word you want to explain further? LHM: There’s definitely a list of words that I use often in my poetry. I want to use a variety of words, so I try to avoid that list as much as I can. Yet there’s still so many. I feel like I’ve been caught. [laughs] I didn’t realize “flipping” appeared so often.SJL: I think you use it in different ways. In “No Panties” the flowers’ skirts are flipped, and in “Diver” the ocean is flipped. Because you’re an avid scuba diver, I was surprised that you use the word “water surface” more often than “submersion.” Is there a reason?LHM: I think I prefer the sound of “water surface” (sumyeon) over “submersion” (jamsu). Plus, submersion is the state of already having gone down and seen something, already having found out. Water surface, then, is the state of not knowing yet? Possibility, maybe. There’s more room for imagination. Maybe I like not knowing more than having found out.We say we sink into sleep. We sink into water. We sink into thought. I think all this sinking is related to falling, whether we fall into or for something. The water surface contains the wait of the world before we fall in. To sink into something, you have to start at the surface.SJL: Interestingly, your poems often feature bodies, but it’s less like the speaker talking about their own body and more like someone else’s finger, footprints, or some other body part appearing. LHM: I think you’re right. I like to focus not on the word itself but on its periphery, so that the reader can think of the word on their own. Thinking about eyes, I write about eyebrows. I want to talk about love without talking about love. I want to talk about sadness without using the word “sadness.”SJL: As you know, Surrealism started as an artistic movement to resist fascism, but male artists received much more attention than female artists and treated women as sexual muses. So I appreciate the way that you, as a female artist, resist the machismo of Surrealism. LHM: The pivot of all “isms” is men, or power—while poetry and the language of minorities attempt to overcome the violence of those isms. Even without a “female” label, I think it’s necessary to destroy and break through all sorts of isms.SJL: Your poems have been published in a variety of English-language journals over the past year, and I’ve introduced Unexpected Vanilla as “subverting the vanilla norm without denying its pleasures.” I find it amusing that BDSM is considered unusual in the society we currently live in, yet the opposite, “vanilla,” is what’s unexpected in the world of your collection. Would you like to explain the title?LHM: I like imagining what we now take for granted becoming totally antiquated or disappearing in the future. “In the past they used to go to a place called school,” or “Women used to get pregnant and give birth. How barbaric,” or “They used to cook their own food.” What we used to never question is already changing, you know? Even now in Korea, there aren’t that many families that make their own kimchi or gochujang or soy sauce, and people don’t have memories of their grandmothers making sikhye anymore. Considering something to be “obvious” and using that as an absolute standard is itself an excessively conservative way of thinking. Isn’t it good for the parameters of normalcy, what is considered obvious, what is “vanilla,” to later become totally unreasonable and unimaginable?Aside from that, the image of vanilla ice cream. Sweet, melting, dripping, smearing. I picked it because I like how it’s both sticky and hard.SJL: I think it fits perfectly. As I said in Asymptote last month, I read this collection because I was drawn by the unique title. I saw the word “vanilla” and read on thinking, “No way . . . ” but then I was pleasantly surprised to find a poem called “Femdom.” Including your first collection Ultraviolet, your titles suggest a deviation from the standard or norm. What do you think? LHM: Through translation I learned that both titles have the sense of being “outside” something. I want to face outward, try to see what’s invisible, and keep rejecting what’s considered obvious or saying that there’s another way. In the case of Ultraviolet, I was very interested in colors for a while. The wavelengths of light, ultraviolet rays, infrared rays, the visible spectrum, etc.UV rays are interesting. For example, there’s this plain white flower with an incredibly colorful pattern that appears when you take a picture with a UV camera. The pattern on the flower is called a runway. It's a target of sorts, with arrows saying, “Here is the honey.” Bees and butterflies see this runway and go to the flower, but the pattern is invisible to our eyes. The cover of Ultraviolet has a butterfly—a creature that can see beyond violet. I wanted to express the meanings of not only what we can see, but what we cannot see.SJL: You debuted in English through Modern Poetry in Translation’s focus on LBGTQ+ poetry, and now you’re in the Words Without Borders Queer Issue X. I was nervous emailing you for the first time [about the issue] and thrilled that you greeted me so warmly. How do you feel about you or your works being read in a queer context? LHM: Honestly, I do think that it’s simplistic for people to be packaged and consumed only by their sexual identity. I mean, identity is so very complex and personal. And it can change over time. I wrote these poems to capture that confusion. It’d be nice if readers can identify and empathize with the situation or emotion I’ve presented in a poem.SJL: That sounds ideal. But it seems like a complicated issue because it’s also important to take pride [in your identity] when you speak up as a minority. In Korea these days, there are more works about queerness and openly queer authors. Then again, I think being an open secret is such a Korean queer thing . . .LHM: Our society is certainly rigid. People are quick to clutch their pearls and make a big deal out of such things. What about it! I mean, if you’re not going to date me, mind your own business. [laughs] I think it's a bit violent to pry into someone's identity like that.I've written many poems with sexual nuances, and it’s true that I was very interested in that. Human desires, just how far people go. “Femdom” features a kind of role-play that allows for the experience of dominance and subjugation, which creates sexual tension. It's a sexual relationship as well as a political practice. I also wonder, “Do I feel sexual desire only after checking where I am in relation to my partner?”SJL: The funny thing is, you keep talking in the past tense. LHM: There was a time when I was too obsessed with that sort of thing.SJL: Are you announcing that you’re not anymore?LHM: Now I’m into other things . . . I’m really interested in plants these days. Have I become too mild? [laughs] When I find a new interest, I tend to fall hard. I research, find illustrations.SJL: I think you’re quite bold for writing poems like “The Cupboard with Strawberry Jam” and “Femdom,” but that aspect isn’t addressed in any of the criticism. I find that really curious. LHM: Why don’t they [address it]?SJL: That’s my question! Why do you think [they don’t]?LHM: I think the reviews of my first book tended to lump everything into "love.” I got the sense that they knew but avoided it in the way you say "making love" to avoid saying "sex." The word “love” is too massive and ambiguous. It includes friendship and sexual intercourse and thought.I suppose some parts may be uncomfortable to address in literary criticism. Sex is still a subject that’s not serious or dignified enough and difficult to discuss. Maybe it’s difficult to address without devoting an entire chapter to it.That's what the “average” person is most afraid of: that they’ll become unexpected.SJL: To think about it another way, I wonder if queerness or kink just goes over people's heads in a heteronormative society. When the film The Handmaiden came out, there were people reading the lesbian romance as “sisterly love," or really trying not to see what’s in front of them. LHM: Trying to cover it up. That's what the “average” person is most afraid of: that they’ll become unexpected. So they turn their backs, pretend like something doesn’t exist, and try to fit everything into the norm somehow.SJL: When I first started translating your work, someone said your work isn’t “Korean enough” to translate.LHM: [imitating air quotes] Not “Korean enough”?SJL: As in, non-Korean readers want something “exotic,” but Unexpected Vanilla isn’t that and so won’t succeed.LHM: Orientalism?SJL: Yes. We can laugh at it now, but I did want to discuss this in person. It’s true that many young writers, not just you, are told by Korean literary critics that their works lack a traditional sensibility. What do you think about that?LHM: First, let me go change into a hanbok dress. [laughs] I have to do some fan dancing as well. I suppose we should consider what Korea’s unique characteristics are, rather than stereotypes or what’s understood as “Korean” by the world. That said, my poems contain a number of Korean elements. “Under the Fluttering Red and White Flags” features Korean shamanism. There are poetic aspects to Korean superstitions, like “If you burn a raw tree, your neighbor dies” or “You shouldn't write in red ink.”SJL: That poem about shamanistic flags is truly plenty “Korean.” [laughs] But it’s not like you have to do that. Despite the criticism of “not being Korean enough,” you also majored in Korean literature as an undergraduate and just finished your doctoral courses. LHM: Actually, the reason I majored in Korean literature in the first place is—I thought that if I got my MA and PhD in Korean literature as a native speaker, I could reach the pinnacle of Korean . . . but how misguided I was! Even though I can’t go higher, I’ve gone deeper. There aren’t too many opportunities to examine one’s native language that deeply. I wanted to be around words.SJL: Is there a period you’re especially interested in?LHM: The 1950s. Postwar literature. How to overcome such shattering. Deprivation and loss and futility. The works contain a lot of those feelings. As well as end-of-the-world sentiments. “Let’s die,” that kind of thing.There’s a poet named Kim Ku-yong whose works feature a Buddhist worldview, and I like that Buddhist attitude. “Life is pain anyway.” [laughs] All is nothing, nil, vain.SJL: Everything passes. LHM: We’re just wheels spinning on. I also think that the Korean language will eventually die out. The Korean we know will be gone in one hundred, two hundred years, no? Isn’t it the poet’s duty to develop the nuances of language? I think the poet’s major is not literature, but thought.SJL: What kind of language do you think it’ll become?LHM: It’ll be a hybrid language. There must be things that can’t be expressed in the megalanguage, words that existed in Korean. Isn’t it the poet’s duty to develop the nuances of language? I think the poet’s major is not literature, but thought.Pushing thought to the limits of one’s native language. So poets are national representatives of sorts, of language. “I’ve thought this far in Korean. How far have you thought in English?”Hm… But what is Korea as seen by foreigners? A tragically divided country that has yet to escape the agony of war?SJL: But I think it’s changed. If you look at K-pop, it’s not like BTS is performing on SNL wearing hanbok. LHM: There’s that vibe that K-pop gives off, though. Cheerful and stylish and glittering? A people of heung, represented by Psy? But then we also have incredible—SJL: Han!LHM: What do we do about this. [laughs] Why do we define ourselves as the “people of han”? I mean, there are so many Korean words related to sadness. Words for anger and sorrow are incredibly developed, while there aren’t that many words for joy and pleasure.SJL: I think that when you’re happy, you’re just happy—LHM: You don’t need any words. Then when you’re sad, you want to describe how sad you are in great detail because you don’t want to use the same words as someone else. But is this unique to Korea? German is probably more specific, no?SJL: Then which of “joy, anger, sorrow, pleasure” do you think Unexpected Vanilla is closest to? LHM: I wrote a lot about bittersweet moments, I think. The sadness that comes from being so happy, you think the happiness will disappear? The first poem in the collection, “Summer, When Loquat Trees Light Up,” is about you and I walking with our fingers laced together in the summer and kind of anticipating the sadness to come. Sensing that something will fade away because it shines so bright. What we feel looking at the snow before it melts. I think I wrote a lot about that. Isn’t that slightly the world of joy?SJL: I don’t think it’s all that sad. A bit of a . . . future-oriented sadness?LHM: Oh, yes, yes.SJL: Mourning a sadness that doesn’t exist yet? LHM: Sad because you’re enjoying the present, because this might fade away. “This is so nice right now, but what do I do when it’s gone?” It was like that with my exes, too.SJL: I think this is especially true of romantic relationships. [laughs]LHM: “Can it get better than this? What if there’s only misery left between us?” [laughs] That kind of fear? But even that comes from feeling good about the present.SJL: How does teaching creative writing affect your own writing? LHM: Like I mentioned earlier, we do projects together. My students seem like geniuses. I mean, they’ve decided to write. How incredible is that. I’m always inspired by them. And I also give them prompts designed to inspire. Recently we did a class on naming emotions. For example, euya. The self-disgust you feel when you wake up on a weekend and it’s two-thirty in the afternoon. “What am I doing with my life.” [laughs] It’s a word that combines the sensations of that weekend sunshine and your covers. Among the students' words, there was reugeuk. The flutter in your heart when you almost lose your footing. And toto. The feeling that you get from seeing your childhood toy pushed into a corner. The guilt, feeling sorry, your childhood memories. Rather than ready-made words like "joy" or "sadness," these are handmade names of emotions that we created specially for ourselves.Regardless of how ugly your cake is, the fact that you baked a cake is much more impressive than not having baked a cake.SJL: Fun!LHM: Isn’t it? I try to make my poetry workshops fun and enjoy them a lot, too. I went to an arts high school myself. I like writing and talking about it with others. And I don’t really scold [my students]. I’m more likely to say, “You wrote this? Amazing!” The fact that they wrote something is worthy of praise. Regardless of how ugly your cake is, the fact that you baked a cake is much more impressive than not having baked a cake. Even if you ended up with a rock-hard cake, your kitchen probably smelled delicious, you probably tried decorating it and felt the joy of making a cake, right? Great job.But am I too lenient and not discerning enough? [laughs] I’m just so proud that they’re writing! It makes me happy.  SJL: When I started translating in fall 2017, I found your post in support of the #문단_내_성폭력 [“sexual violence within the literary establishment”] movement. A lot has happened since then, such as the poet Choi Young-mi’s accusation against Ko Un and his losing the defamation suit. Is there anything you’d like to add? LHM: I have a lot to say, of course. As I said back then, I made a list of what happened to me and ended up with twenty-five people. I didn't even include any of the “lighter” counts like touching my thighs. Just direct physical and verbal sexual harassment.SJL: Oh . . . I didn’t know about that part. LHM: I only included severe cases of verbal sexual harassment; if I included everything, there would be fifty people. I started writing about it to sort it out for myself, and didn't know it would spread so widely. I'm so glad that times have changed, that people now react like, “Really?” It used to be, “Oh, that's just how it is. Don't complain. Did you hear about so-and-so?” That was the norm. People didn't believe you. [The public discourse] needs to continue so this won't happen to the next generation of poets. Just as performing jesa ceremonies for your ancestors used to be a given and now everyone says, “Please, who does jesa in this day and age?”SJL: You said your next collection is coming out in two years. What can we expect? Can you give us any hints about the title or content?LHM: My work so far has lingered around relationality. After thinking about fluidity in Unexpected Vanilla, I'd like to try something different. To go deeper within myself or with "you." Whether we can now live independently. After all, we rely on relationships because it's hard to stand on our own. I want to try thinking about my inner self more than my interpersonal relationships.SJL: This is a bit of a cheat, but is there a question you’ve always wanted to answer? LHM: I have a scene in mind. A backpacker your age goes to a used bookstore in a small country town in Europe and grabs a book with Korean on one side and English on the other. The book is very old. And the person reading it is my granddaughter!SJL: Whoa!LHM: She found her grandma’s poetry collection! This requires a couple of conditions, right? It has to be translated, I have to get married and have a baby, I have to become a grandmother. First, you have to . . . [laughs]SJL: Ah, so it needs to be translated and published. LHM: The important thing is for me to write for a long, long time before I become a grandmother.SJL: Serang Chung said something similar! That she wants to become a “grandma author.”LHM: How difficult it must be to become a grandma author. Go us!Published Jun 12, 2019   Copyright 2019 So J. LeeReturn to WWB DailyLeave Your Comment /* * * CONFIGURATION VARIABLES: EDIT BEFORE PASTING INTO YOUR WEBPAGE * * */ var disqus_shortname = 'wwborders'; // required: replace example with your forum shortname /* * * DON'T EDIT BELOW THIS LINE * * */ (function() { var dsq = document.createElement('script'); dsq.type = 'text/javascript'; dsq.async = true; dsq.src = '//' + disqus_shortname + '.disqus.com/embed.js'; (document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0]).appendChild(dsq); })(); Please enable JavaScript to view the comments powered by Disqus.comments powered by Disqus

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2020년도 한국문학 단기번역실습워크숍(아랍어권, 인도네시아어권) 참가자 모집

    지원자 여러분께서 보여주신 한국문학번역에 대한 열정에 다시 한 번 감사드립니다. 코로나 19의 확산으로 인한 팬데믹 선포, 국가 간 이동의 어려움으로 인해 2020년도 한국문학 단기번역실습워크숍은 취소되었음을 알려드립니다. 내년도 동일 행사 개최와 행사 취소 관련 안내는 지원자 여러분께 개별 안내 드리겠습니다. 감사합니다. ------------------------------------------------------------------------------------------------------------------한국문학번역원은 아랍어권, 인도네시아어권 예비번역가를 대상으로 한국문학 단기번역실습 워크숍을 개최합니다. 많은 관심과 참여 바랍니다.[2020 한국문학 단기번역실습워크숍] • 기간: 6. 15.(월) ~ 6. 25.(수)/ 주말 제외• 언어권: 아랍어권, 인도네시아어권• 프로그램 - 한국문학 번역실습(10회/ 전문가의 지도로 한국문학작품을 해당 외국어로 번역하는 실습) - 작가와의 번역공동작업(1회/ 번역대상 작품 저자와의 만남, 질의응답 진행) - 한국문학 특강(2회/ 고전문학 특강 1회, 근·현대문학 특강 1회)• 응모자격 - 한국문학 전공 석사 재학 이상(재학 포함)의 학력을 가진 아랍어/인도네시아어를 모국어로 하는 원어민 - 국내 대학 인도네시아어문학/ 아랍어문학 석사 재학 이상(재학 포함)의 학력을 가진 내국인• 선정인원: 해외참가자 각 언어권별 3인 내외/ 국내참가자 각 언어권별 3인 내외• 지원사항 1) 해외참가자: 왕복항공료, 숙박비, 식비, 일비 지원 2) 국내참가자(국내 거주): 교육기간 중 식비, 일비 지원 3) 수강료: 전액 무료 ​• 제출서류(첨부 양식 다운로드하여 작성) 1) 참가신청서 (양식 붙임2-1. 첨부) 2) 한국문학 작품 번역텍스트 (대상작품: 김애란, 「물 속 골리앗」중 일부) ※ 텍스트 원문(붙임3.) 및 제출 양식 (붙임2-2.) 첨부 3) 이력서 (자유양식, 기존 출간 된 작품 혹은 번역경력이 있을 경우 반드시 기재) 4) 지도교수 혹은 관련 분야 전문가 추천서 (양식 붙임2-3. 첨부)• 신청방법: 이메일(academy@klti.or.kr) 접수• 신청기간: 2020. 3. 9.(월) ~ 3. 25.(수) 자정(한국시간 기준)• 국내 참가자 대상 면접심사: 2020. 4. 10.(금) • 선정자 발표: 2020. 4. 13.(월) 개별 통지 및 본원 홈페이지에 발표• 문의: 번역교육본부 석희진(Email: academy@klti.or.kr/ +82-(0)2-6919-7758)

    알림광장 > 공지게시 > 공지사항

  • 한국학중앙연구원 한국학대학원 2020년 정부초청외국인장학생(GKS) 선발 안내

    ​한국학중앙연구원 한국학대학원에서 붙임과 같이 2020년도 정부초청외국인장학생을 모집합니다. 역량있는 학생들의 많은 지원 바랍니다.1. 지원 자격가. 2020. 9. 1. 기준 만 40세 미만(1980. 9. 1. 이후 출생자)으로,나. 최종학교 전(全)학년 성적 평점평균이 (100점 만점에) 80점 이상이며,다. 한국 내에서 학위를 취득한 적이 없는 외국인 학생※ 한국에서 교환학생이나 어학연수 했던 학생은 지원 가능※ TOPIK 4급 이상의 한국어 실력을 갖춰야 지원할 수 있는 한국학중앙연구원 한국학대학원 입학전형과 달리, 본 정부초청외국인장학생 프로그램은 한국어 능력과 관계없이 지원 가능2. 장학 기간​모집과정장학금 지급 기간비고석사 학위과정3년(2020. 9. 1. ~ 2023. 8. 31.)한국어연수1년+학위과정2년박사 학위과정4년(2020. 9. 1. ~ 2024. 8. 31.)한국어연수1년+학위과정3년3. 장학 혜택 :생활비 월 100만원, 왕복항공료, 건강보험료 등4. 모집 분야​학 부전 공인문학부 한국사학,고문헌관리학,철학,국어학·국문학문화예술학부 인류학·민속학,종교학,음악학,미술사학,인문정보학·인문지리학사회과학부정치학,사회학,교육학글로벌한국학부 한국문화학(석사 과정만 운영),고전번역학(협동과정)4개 학부석사과정14개 전공/박사과정13개 전공5. 신청 기간 :2020. 3. 13.(화) 17:006. 신청 방법 :지원서, 자기소개서, 연구계획서, 추천서 2부, 졸업증명서, 성적증명서 등 지원서류 우편 또는 방문 제출7. 기타 :세부내용은 아래 링크 참고- 한글 안내문 : http://www.aks.ac.kr/front/boardView.do?brd_mgrno=136&menu_no=251&brd_no=157150- 영어 안내문 : http://intl.aks.ac.kr/english/viewtopic.php?t=559&sid=4379a97ebdbfff49ddaca96f4a6988d9

    알림광장 > 공지게시 > 공지사항

  • "The Only Child" by Mi-ae Seo has many flaws

    In “The Only Child,” Korean author Mi-ae Seo delivers a sometimes frightening psychological thriller with echoes of “The Silence of the Lambs” and “The Bad

    알림광장 > 공지게시 > 외신에서 본 한국문학

  • 2020년 한국문학번역원 홈페이지 웹접근성 인증 갱신

    한국문학번역원 홈페이지가 한국웹접근성인증평가원으로부터 4년 연속 인증을 갱신하였습니다.(​※ 한국웹접근성인증평가원: 국가정보화기본법 제32조의 2 및 동법 시행규칙 제3조의 3에 의거한 공인된 인증기관 입니다.)​앞으로도 한국문학번역원은 웹접근성 품질 저하 방지 및 정보 접근성 향상 유지를 통해장애인과 노약자분들을 포함한 많은 분들이한국문학번역원 웹사이트를 이용하시는데 불편함이 없도록 최선을 다하겠습니다.

    알림광장 > 공지게시 > 공지사항

  • 2020년 한국문학번역원 정규직 2인, 계약직 7인 채용 필기전형 합격자 발표

    2020년 한국문학번역원 정규직 2인, 계약직 7인 채용 필기전형 합격자를 붙임과 같이 발표합니다.

    알림광장 > 채용정보 > 채용공고

  • 2020년도 1분기 한국문학 번역지원 공모사업 심사 총평

    2020년 1분기 한국문학 번역지원 공모사업 심사 총평​​ 2020년 1분기 번역지원은 2019년 10월 1일부터 12월 30일까지 3개월 동안 접수된 작품들을 대상으로, 서류심사와 1, 2차 내외국인 심사 및 최종 심사를 거쳐 지원 대상을 선정하였다.이번 분기에는 총 14개 언어권 55건의 신청서류가 접수되었으며, 언어권별로는 영어 12건, 프랑스어 2건, 독일어 1건, 스페인어 4건, 러시아어 6건, 중국어(간체) 9건, 일본어 10건, 루마니아어 1건, 미얀마어 1건, 베트남어 2건, 세르비아어 1건, 아랍어 1건, 인도네시아어 1건, 터키어 4건, 장르별로는 소설 40건, 시 5건, 인문 4건, 아동 1건, 기타 7건이었다. ​1차 외국인 심사에서는 원어민 출판 관계자가 해당 언어의 구사 능력과 번역원고의 문체 및 가독성 등을 중심으로 평가하였으며, 이를 통과한 작품을 대상으로 2차 내국인 심사자가 원작과 번역원고의 등가성, 원작에 대한 이해도 등을 중심으로 평가하였다. 1, 2차 심사결과를 토대로 2월 21일에 실시한 최종심사 선정회의에서, 각 심사 결과 및 선정위원의 의견을 종합 반영하여 다음 총 6개 언어권 7건의 번역 작품에 대한 지원을 결정하였다. ■ 언어권별 최종 선정현황: 영어 2건, 러시아어 1건, 중국어(간체) 1건, 일본어 1건, 베트남어 1건, 터키어 1건 최종 선정 회의에서 논의된 주요 내용은 다음과 같다. 영어권에서는 박찬순 작가의 『무당벌레는 꼭대기에서 난다』와 이상화 시인의 『빼앗긴 들에도 봄은 오는가』가 각각 지원 작품으로 선정되었다. 전자는 그 자체로 원작인 것처럼 오늘날 한국 사회가 존재하는 그대로를 읽는 이에게 전달하는 자연스러운 번역이라는 평을, 후자 역시 원작의 맥락과 함축적 의미를 매우 탁월하게 표현하고 있는 번역이라는 평을 받았다. 러시아어권에서 선정된 작품은 김성동 작가의 『만다라』이다. 가독성이 높으면서도 원작의 의미나 형식을 충실히 전달하고자 하는 번역자의 노력이 엿보이는 번역으로 높은 평가를 받았다. 중국어권에서는 조해진 작가의 『빛의 호위』가 지원 작품으로 결정되었다. 작품 속에 담긴 작가의 의중을 잘 이해하고 특유의 섬세한 감성을 잘 포착하여 이를 유려한 문체로 잘 재현해 낸 것으로 평가되었다. 일본어권에서는 높은 가독성과 적확하고 세세한 단어 선택으로 평가 받은 박서련 작가의 『체공녀 강주룡』을 지원 작품으로 선정하였다. 베트남어권에서는 전경린 작가의 『엄마의 집』이 지원 작품으로 결정되었다. 원작의 매력을 잘 전달한 번역으로, 특히 사색적인 대화문, 역자주를 통한 현지 독자의 이해를 돕는 해설이 국내외 심사자 모두에게 높은 평가를 얻었다. 마지막으로 터키어권에서 선정된 작품은 장은진 작가의 『아무도 편지하지 않다』이다. 원작의 맥락이나 상황에 대한 이해도가 높으며 원작의 템포에 맞는 인상적인 번역으로 평가 받았다. 앞으로도 새로운 작품과 번역을 통해 다양한 한국문학이 세계의 독자들을 만날 수 있기를 바란다. ​​ 2020년 2월 21일 심사위원장 임규찬

    알림광장 > 공지게시 > 공지사항

  • 2020년도 1분기 한국문학 번역지원 공모사업 지원대상자 선정

    ㅇ 한국문학번역원(원장 김사인)은 2020년도 1분기 한국문학 번역지원 대상작으로 총 6개 언어권 7건을 선정하였다.ㅇ 해외출판사 관계자의 심사와 내국인 해당분야 전문가 심사 등 총 세 차례의 심사를 통과하여 2020년도 1분기 한국문학 번역지원 대상작으로 최종 선정된 건의 목록은 다음과 같다.​연번언어권신청인(번역자/공역자)장르원작자작품명1영어조윤정소설박찬순무당벌레는 꼭대기에서 난다2이성일시이상화빼앗긴 들에도 봄은 오는가3러시아어리디아 아자리나소설김성동만다라4중국어(간체)양설매소설조해진빛의 호위5일본어하기와라 메구미소설박서련체공녀 강주룡6베트남어두 티 타인 트엉소설전경린엄마의 집7터키어타이푼 카르타브소설장은진아무도 편지하지 않다총 지원건수총 6개 언어권 7건 (영어 2건, 러시아어 1건, 중국어(간체) 1건, 일본어 1건, 베트남어 1건, 터키어 1건)