����ɫҹ�桻? ??? ??? ??? ???? ?? (A study on the Japanese-Korean transformational patterns of the "Konjiki Yasha")

���о���1913���n���Ρ�������󡻤��B�d�����ҥåȤ������L�މ����η��U�^�̤ǬF�줿���ݤο����Ŀ�ĤȤ��롣���L�މ��� ��β��t�~�Ρ���ɫҹ�桻�򷭰��η�ʽ�Ƿ��U������ΤǤ��ꡢ�����ꥹ������Bertha M.Clay�Ρ�Weaker than a woman��������ɫ ҹ�桻���{���Ǥ��뤳�Ȥ����餫�ˤʤäƤ��롣��Weaker than a woman���Τ褦��18-19���o�����ꥹ��ѧ�����ʥ�����Ǥ��� ����ͥС�h(domestic novel)�ϥ���ꥫ�Ǥ��˚ݤ򼯤᤿�ϡ����Εr�����ձ��˴�����ݔ�뤵���������������ձ��Ǥ��ͥС�h�� ����������Ȥ��ƶ��Ť������ձ���ͨ�׵ļ�ͥС�h��1910����γ��r�ǡ�������󡻤����Ĥ˴Ρ��ȷ��U���줿���Ȥ��������L �މ������бP����K�P�ˤ����ơ���ɫҹ�桻�����ݤ��餫�ʤ���ݤ��Ʒ��U����Ƥ��롣���Τ褦�ʉ��ݤ��ձ��ε۹����x���M�� �ʤ��鹲�˳��L������ͥС�h���ڰ�����Ů����˳��r�΁��y��Ů���񤬽j�ߺϤäƬF�줿��ΤǤ����˼���롣�����Ϸ��U�ߤ� �����w�ػ��ν���Ů�Ԥˌ�����񶨵��J�R��Ӱ푤��뤨����˼���롣���о���ͨ���ƽ����η��U�^�̤ǬF�줿���ݤ��о����¤����Q�����ʾ���뤳�Ȥ��Ǥ����˼���롣

The purpose of this study is to examine the transformational patterns in the translation process of "Janghanmong", which was published in "Maeil Sinbo" in 1913 and popularized among people. "Janghanmong" is a translation of Ozaki Koyo's "Konjiki yasha (The golden demon)" which has been very popular in Japan for novels and shorts, and was written with reference to "Weaker than a woman" by the British author Bertha M.Clay. This novel was a Domestic novel, which was a central genre of English novels in the 18th and 19th centuries, and was also popular in the United States, The Domestic novel genre was further introduced into Japan as a genre of Katei shosetsu '(lit.)Home novel' after the Sino-Japanese War. Popular Japanese Domestic novels were translated into the form of an adaptation centering on "Maeil Sinbo" in the colonial Joseon, where the publishing enlightenment and political contents was prohibited after the 1910 Korean-Japanese unification. Especially, "Janghanmong" was dramatized into a new soap opera and attracted great popularity. However, "Janghanmong" translated the contents of "Konjiki yasha (The golden demon)" with modifications of the story of the heroine, Shim Soon-ae, from the middle to the conclusion of the book. Such a transformation can be seen as a merger of traditional feminie images of Joseon women with images of women included in Domestic novels that have grown together in the course of the restoration of Japanese militarism. The Japanese Domestic novels assume women as the main readers, but they limit the role of women to the family. These images of women crossed over to Joseon and met with traditional images of women that emphasized the purity of women, and greatly changed the contents of "Janghanmong". This was also likely influenced by the negative perception of modern woman held by the translator Cho Jung-hwan.
Through this study, we hope to be able to present various new perspectives that have emerged in the study of modern translation patterns.