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영어

The Manyoshu is the oldest existing collection of Japanese poetry from the 8th century. It would often be compared to hyangga (vernacular Korean poetry). The collection consists of twenty books with nearly 4,500 waka poems. Unfortunately, however, this greatest anthology of Japanese poetry doesn’t have a complete translation in Korean language yet. Instead, it has just been quoted and translated partially. According to analysis on the translation of the Manyoshu into Korean by the times, it can be divided into Japanese colonial period and post-national-liberation period. In this study, the Manyoshu translated into Korean language during the colonial period has been investigated. It was Suh Doo-soo and Kim Eok who attempted to translate the vast anthology. Suh Doo-soo entered Keijo Imperial University which targeted modern academism. He was the first Korean who studied Japanese Linguistics and Japanese Literature. He selected and translated Sakimorinouta into Korean among the poems in the Manyoshu, and it was published on the Korean daily Daehan Mail Shinbo from November 2 to 12, 1942. Meanwhile, Kim Eok’s Abridged Translation of the Manyoshu was published on the Korean daily Daehan Mail Shinbo from July 28 to August 31, 1943. As mentioned above, Suh Doo-soo’s Sakimorinouta and Kim Eok’s Abridged Translation of the Manyoshu were published on the Korean daily Daehan Mail Shinbo in the early 1940s. Even though intertextuality existed between Sakimorinouta and Abridged Translation of the Manyoshu, there was no preliminary study on it. Therefore, this study has unveiled the intertextuality between Sakimorinouta and Abridged Translation of the Manyoshu for the first time, focusing on translated poems and translation approach (target language－or source language-oriented).

한국어

일제강점기 식민지 조선에서 나온 『만엽집(万葉集)』의 발췌･번역 텍스트인 서두수의 ｢防人歌(사모리노우다)｣와 김억의 ｢만엽집초역｣에는 ‘병사의 노래(防人歌)’가 공통적으로 번역되어 있다. 이것은 내용적 측면 곧 번역 작품의 측면에서 ｢防人歌(사모리노우다)｣와 ｢만엽집초역｣간에 상호텍스트성이 있다는 것을 뜻한다. 한편 ｢防人歌(사모리노우다)｣와 ｢만엽집초역｣은 광복 이후에 나온 『만엽집』텍스트와 달리 ‘OHOKIMI’라는 가어(歌語)를 조선어로 옮길 때, ‘聖上’과 ‘님’을 각각 차용한 후, 그것들을 일관되게 사용했다. 또한 ｢防人歌(사모리노우다)｣와 ｢만엽집초역｣은 번역문에서 공통적으로 한글과 한자를 병행하는 표기를 했고, 일본의 고유명사를 표기할 때 『』과 같은 기호를 썼고, ‘々’과 같은 ‘ODORIZI(踊り字)’를 사용했다. 이와 같은 형식적인 측면 곧 번역 방식의 측면에서 볼 때도 이들 번역 텍스트 간에는 상호텍스트성이 인정된다. 결국 서두수의 ｢防人歌(사모리노우다)｣와 김억의 ｢만엽집초역｣간에 보이는 상호텍스트성은 후대 번역자인 김억이『만엽집』을 번역할 때, 선행 번역자인 서두수를 의식했다는 것을 의미한다. 곧 일제강점기하에서는 『만엽집』번역의 계보가 이어졌다는 것을 말하다. 이것은 『만엽집』번역사의 측면에서 볼때 큰 의미를 지닌다. 왜냐하면 『만엽집』번역의 계보가 광복 이후에는 끊어지기 때문이다