배수아 소설의 번역성과 타자성 연구

Abstract

The novels of Bae Suah are explained through 'translation' and 'the other'. This study used Derrida's theory of deconstruction as an analysis tool. This study divided the novels of Bae Suah into three periods as the theme and style of the novel changed, focusing on the novels of 2010s age in which deconstructed style appeared. The transformation of Bae Suah's novel, which focused on the argument and rational language, was influenced by the continuous translation work during the creation process. Especially, in this study, attention was paid to the fact that the deconstructive style and the interest in 'dream' appearing in the novels of Bae Suah 's in the 2010s age are derived and shaped from the characteristics of ''the other'. Alterity was a common theme among the novels of Bae Suah, as has been demonstrated in previous studies on. This alterity differs in the three periods. As the influence of the translation work and the deconstructive ideology become stronger, the alterity of the novel has developed in a unique way. In addition, not only did the translation work acted as a method of creation, but also each translation and Bae Suah's own works has close relationship. Therefore, translation is an indispensable subject in analyzing the novels of Bae Suah. In the research methodology, this study discussed the relation between translation act and creation, and 'translationality'. The deconstructive view does not recognize the authority of the original to the translation, but grasps the translation as an act of creation. Jean Boase-Beier maintained that translation is not only a creation with intertextuality but also an active, pluralistic interpretation. This is linked to Derrida's translation thought that attempted to disconstruct the dichotomy including the relation between the creation and the translation. Also in the late period of Derrida, it emerged as a central thought that the concept of the other related to 'différance'. The absolute hospitality that Derrida put forward can account for the complex relationship between the subject and the other manifested in Bae Suah's novel. Through the translation work, Bae Suah's style is converted into a deconstructive language. And the function of 'dream', which was used mainly in novel, gradually changed from allegory to irrational 'dream' order itself. The influence of translation is more evident when we look at the connection between "unknown night and day" and Sadek Haydayat's "blind owl" or "snake and water" and Franz Kafka's "dream". And the way in which the novels of Bae Suah appeared was changed with time. In the 1990s age, the protagonists of her novels tended to despise the entire crowd, but in the 2000s age the crowd in the novels were separated from the marginalized others, and in the 2010s age the alterity have been found on all borders of world. The upper and lower relationships between the other and the subject were dismantled, and the process of finding the alterity oppressed in the subject was revealed. Through such a collapse of the boundary, the translational attitude that discovering and welcoming the others is revealed. In conclusion, this study examined texts in terms of translating and alterity in the novels of Bae Suah 's view of 'translating the other '. Translation writing is a refusal to establish a hierarchy between mother tongue and foreign language (subject and other), and is an act of accepting 'unfamiliar' things that have not been recognized in the past by abandoning the interpretation of the subject. This is the work of reconstructing the other who killed by the dichotomous worldview made on the basis of the subject, and it is the hospitality that accepts the other as the inside of the subject. In Bae Suah 's novel, such communication and hospitality with the other develops into the grammar of shamanism in which the voice of the other is uttered from the body of the subject. The 'dream' and the grammar of shamanism, which are separated from reason, share a discourse similar to 'the fourth person' created in the Japanese novel system. The characters of Bae Suah' s novel, which understand the voices of others and realize them as 'others', express the reconciliation and the literary community as the human-animal, human-god, etc. are connected in the traditional song of Ainu. In the novel of 2010s age, when the text of Bae Suah changed into a deconstructive language, it develops into a form in which the unconscious itself out of the subject 's control. In traditional structuralist grammar, it is impossible to restore the 'strangeness' of the other as it is, so the attempt of translation through the translation shows the new literary horizon that understands and represents the other. The 'Grammar of Dreams' presented by Bae Suah' s text is original in Korean literature and is a new accomplishment that could not be found in the solid dichotomy and realism about subject and the other