1930년대 중후반 백화 양건식 야담에서의 번역 문제 - 야마다 비묘의 慨世志士 女裝の探偵과 양백화의 <동양풍운 여장소년>을 중심으로 - = Translation Issues in Yadam by Baekhwa Yang Geon-sik in the Mid-to-Late 1930s - Focusing on Yamada Bimyō’s Kaisei Shishi Josō no Tantei and Yang Baek-hwa’s “Dong yang Pung un Yeojang Sonyeon” -

다국어 초록 (Multilingual Abstract)

This study demonstrates that “Dongyang Pungun Yeojang Sonyeon,” serialized in ten installments in Yadam by Yang Geon-sik from July 1937 to July 1938, is a translation of Yamada Bimyō’s Kaisei Shishi Josō no Tantei, published in 1902. The study examines the significance of this work within Yang Geon-sik’s literary activities. Since Kim Ok-gyun appears as a key character in “Dongyang Pungun Yeojang Sonyeon,” the study first surveys narratives of Kim Ok-gyun produced in colonial Korea. While Kim Ok-gyun was depicted in the 1920sas a reformer who sought to save the nation, in the 1940she was portrayed as a precursor who cooperated with Japan. Previous studies have scarcely addressed Kim Ok-gyun narratives of the 1930s. Works from this period include Kim Ki-jin’s “Simya-ui Taeyang” and Yang Geon-sik’s “Dongyang Pungun Yeojang Sonyeon.” While The “Simya-ui Taeyang” ends with the failure of Kim Ok-gyun’s uprising and his exile to Japan, “Dongyang Pungun Yeoja ng Sonyeon” depicts Kim’s life after exile until his assassination in Shanghai.
“Dongyang Pungun Yeojang Sonyeon” features Hwajeon Yeoncharang, a follower of Kim Ok-gyun, as its protagonist, portraying his espionage activities as he disguises himself as a woman and travels between Qing China, Joseon, and Japan. Since large portions of the work closely reproduce the content of Kaisei Shishi Josō no Tantei, it is more akin to a translation than an adaptation. However, when the historical circumstances and context in which the translation was produced are considered, it is difficult to regard Yang Geon-sik as having transferred Yamada Bimyō’s work “as it was.” Consequently, “Dongyang Pungun Yeojang Sonyeon” departs from the original work’s intentions and messages, conveying a different meaning to colonial Korean readers.
Although Yang Geon-sik consistently advocated literary purism from the late 1910s to the early 1930s, by the mid-1930s, when the pressureon literature intensified, he turned his attention to past literary forms and history. Yamada Bimyō’s Kaisei Shishi Josō no Tantei is written in the modern colloquial style and depicts historical and fictional figures intermingling as they forge their destinies. In this respect, it is not entirely at odds with the literary ideals emphasized by Yang Geon-sik. However, several puzzling aspects remain. Despite having generally published yadam set in ancient China, Yang serialized a story featuring relatively recent historical figures in a yadam magazine. Moreover, while the first half of the translation is relatively faithful, the latter half is marked by extensive abridgment and omission. These features can be interpreted in relation to the historical context of the Sino-Japanese War, which began in 1937. In sum, “Dongyang Pungun Yeojang Sonyeon” not only allows us to identify the distinctive characteristics of Yang Geon-sik’s literary activities after the mid-1930s, but also demonstrates the need to reconsider works published in yadam magazines, which have often been regarded as antiquated and detached from contemporary reality.