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Carving Status at Kŭmgangsan: Elite Graffiti in Premodern Korea by Maya K. H. Stiller (review) 雕塑现状Kŭmgangsan:玛雅·k·h·斯蒂勒(Maya K. H. Stiller)的前现代韩国精英涂鸦(回顾)
IF 0.2 4区 社会学 Q4 Arts and Humanities Pub Date : 2023-06-27 DOI: 10.18399/acta.2023.26.1.008
Youenhee Kho
Carving Status at Kŭmgangsan is the fruit of Maya Stiller’s dedicated fieldwork at Kŭmgangsan 金剛山, traditionally believed to be the most beautiful site on the Korean Peninsula, but inaccessible to South Koreans due to its location in North Korea. Stiller surveyed the entire mountain twice, photographing more than five thousand carved inscriptions and identifying the majority of carved autographs by cross-referencing a variety of written documentation in order to map the location and time when the carvings were made. She had originally intended to examine Buddhist remains at and religious pilgrimages to Kŭmgangsan. However, the rock carvings she found throughout the mountain and the inscription a scholar left beside a statue of Buddha which was popular with Chosŏn Confucian scholars (p. 53–57) led her to change her focus to the secular motivations of late Chosŏn travelers to Kŭmgangsan. Drawing on Michel Foucault and Edward Soja, she suggests in the introduction that Kŭmgangsan may have been “a heterotopia” or a “third place” during the premodern period of Korea, serving as a counter-place to the class-controlled society of Chosŏn. She also applies Pierre Nora’s concept of “memory site” to the places at Kŭmgangsan where travelers left their autographic inscriptions.1 Stiller investigates how much a trip to Kŭmgangsan cost and how such trips were financed. According to her analysis, the cost was one-third of what it would take to feed a family for a year (p. 22), and the successful completion of such a costly trip depended on a traveler’s social status. This focus on money, social class, and individual desire for selfexpression, together with insights into material culture, are remarkable in that it overcomes the limitations of previous research which has generally not looked at Kŭmgangsan from this perspective. This is due to the fact that Kŭmgangsan took on a sacredness under Japanese colonial rule in the early twentieth century, as shown in Ode to Kŭmgang (Kŭmgang yech’an, 金剛 禮讚) by Ch’oe Namsŏn (1924) and many paintings of Kŭmgang-san by Ko Huidong during 1930s and it has since become a special, forbidden place in the collective South Korean
Kŭmgangsan的雕刻状态是玛雅·斯蒂勒在Kŭmgangsan的专门田野工作的成果,传统上被认为是朝鲜半岛最美丽的地方,但由于它在朝鲜的位置,韩国人无法进入。斯蒂勒对整座山进行了两次调查,拍摄了5000多幅雕刻的铭文,并通过交叉参考各种书面文件来确定大多数雕刻的签名,以便绘制雕刻的地点和时间。她原本打算在Kŭmgangsan检查佛教遗迹和宗教朝圣。然而,她在整个山上发现的岩石雕刻和一位学者留下的碑文(在Chosŏn儒家学者中很受欢迎)使她把注意力转向了最近Chosŏn前往Kŭmgangsan的旅行者的世俗动机。她以米歇尔·福柯(Michel Foucault)和爱德华·索贾(Edward Soja)为基础,在引言中提出,Kŭmgangsan可能是韩国前现代时期的“异托邦”或“第三个地方”,与Chosŏn的阶级控制社会相对立。她还将皮埃尔·诺拉的“记忆地点”概念应用于Kŭmgangsan网站上旅行者留下亲笔题词的地方斯蒂勒调查了一次去Kŭmgangsan的旅行要花多少钱,以及这些旅行的资金来源。根据她的分析,这次旅行的花费是一个家庭一年所需食物的三分之一(第22页),而成功完成如此昂贵的旅行取决于旅行者的社会地位。这种对金钱、社会阶层和个人自我表达欲望的关注,以及对物质文化的洞察,是值得注意的,因为它克服了以往研究的局限性,这些研究通常没有从这个角度来看待Kŭmgangsan。这是因为在20世纪初的日本殖民统治下,Kŭmgangsan被赋予了神圣的地位,如赤叶Namsŏn(1924年)的《致Kŭmgang》(Kŭmgang yech ' s, jinjin)和高惠东在20世纪30年代的许多画作《致Kŭmgang-san》,从此成为韩国集体的一个特殊的禁区
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引用次数: 0
Issues in Translating Korean Vernacular Poetry: Based on Translating the Namhun T’aep’yŏng-ga Anthology into Russian 韩国白话诗翻译中的若干问题——以《南勋·泰普'yŏng-ga选集》的俄文翻译为例
IF 0.2 4区 社会学 Q4 Arts and Humanities Pub Date : 2021-11-16 DOI: 10.18399/ACTA.2008.11.1.007
A. Guryeva

Abstract:

This article aims at examining some issues to consider while working on Korean vernacular poetry translation in relation to the 110-year tradition of Korean studies in Russia. Examples will be taken from the Namhun t’aep’yŏng-ga 南薰太平歌 (Songs of the Great Peace at South Wind) poetry anthology (1863) by an unknown compiler.

Borrowed Classical Chinese Images: Korean vernacular poetry is full of images borrowed from classical Chinese literature, some of them being phrases organized according to the grammatical rules of classical Chinese. They play an important role in a text as symbols of literary expression requiring a number of specific textual features to be transmitted in a translation. This presents a difficult task in the case of a language, which is not related to the Chinese literary tradition directly (e.g. a western language such as Russian). The issues are: a) The dual-language character of the text: Korean and classical Chinese; and b) metric features as a result of laconic Chinese expressions.

Compositional and literary modes: a) inversion; b) parallelism etc. Most of the modes are based on Korean syntax which differs from that of western languages, therefore, a way of conveying these modes is suggested.

The necessity for commentary: There are numerous methods for showing the beauty and particular compositional quality of the original in translation, but in many cases extra comments are necessary: a) symbols; b) allusions; c) traditional images; d) geographical and historical names or terms etc.

Some of the features to be considered when translating vernacular poetry correlate with those of contemporary Korean poetry. For instance: a) borrowed Western images; and b) compositional and literary modes. This will be shown through the example of poems by Chŏng Hyŏn-jong.

A conclusion is drawn concerning the similarity of issues to consider when translating poetry from both periods, especially a similar tendency in the functioning of borrowed images which occurs in both classical and contemporary poetry. The former was based on the Chinese literary tradition as a source to enrich the poem’s expressive world and to participate in this tradition, the latter appeals to the western and the world cultural tradition in order to become a part of it as well as to enhance its expressiveness. Similar compositional and Eterary modes which need to be reflected in translation may be found in classical and contemporary poetical texts, but their purposes may differ, and they increase in variety in the case of contemporary poems.

摘要:本文旨在从俄罗斯110年的韩文研究传统出发,探讨韩文诗歌翻译工作中需要考虑的几个问题。例子将取自Namhun t 'aep 'yŏng-ga(南风大和平之歌)诗集(1863年),作者不详。借用中国文言意象:韩国白话诗中充满了借用中国文言文学的意象,其中一些是按照文言语法规则组织的短语。它们作为文学表达的符号在文本中起着重要的作用,需要在翻译中传递一些特定的文本特征。对于一种与中国文学传统没有直接关系的语言(如俄语等西方语言)来说,这是一项艰巨的任务。问题是:a)文本的双重语言特征:韩文和文言文;b)由于汉语表达简洁而产生的度量特征。2 .构成与文学模式:a)倒装;B)并行性等。这些语态大多基于与西方语言不同的朝鲜语句法,因此提出了一种表达这些语态的方法。注释的必要性:在翻译中有许多方法可以显示原文的美和独特的构成品质,但在许多情况下,额外的注释是必要的:a)符号;b)典故;C)传统图像;翻译白话诗时要考虑的一些特点是与当代韩国诗歌相关联的。例如:a)借用西方形象;b)写作和文学模式。这将通过Chŏng Hyŏn-jong的诗歌示例来展示。本文总结了在翻译这两个时期的诗歌时需要考虑的问题的相似性,特别是在古典诗歌和当代诗歌中出现的借用意象功能的相似趋势。前者以中国文学传统为源泉,丰富诗歌的表达世界,并参与到这一传统中来;后者则诉诸西方和世界文化传统,融入其中,增强其表现力。在古典和当代诗歌文本中,都可以找到类似的需要在翻译中体现的构成模式和诗歌模式,但它们的目的可能不同,而且在当代诗歌中,它们的多样性增加了。
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引用次数: 1
Korean Attitudes toward the United States: Changing Dynamics ed. by David I. Steinberg (review) 《韩国人对美国的态度:变化的动力》,大卫·斯坦伯格主编(书评)
IF 0.2 4区 社会学 Q4 Arts and Humanities Pub Date : 2021-11-16 DOI: 10.5860/choice.42-6133
A. Cathcart
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引用次数: 0
Koryŏ Sources: There Is More to Koryŏ than Celadon 高丽的来源:高丽不仅仅是青瓷
IF 0.2 4区 社会学 Q4 Arts and Humanities Pub Date : 2021-11-16 DOI: 10.18399/acta.2008.11.1.003
Edward J. Shultz
Abstract:Very few western scholars have ventured into the study of Koryŏ. Moreover, Koryŏ, often looked upon as the middle of Korea’s three dynastic periods, gets little respect in Korean historical circles. This lack of focus on Koryŏ is due in part to rather limited sources when compared to the richness of Chosŏn. Despite this, there still remain important sources such as official dynastic histories, miscellaneous literary writings, religious tracts, tomb and other inscriptions that beg for translation. Although the perils that confront the translator are many, the process of uncovering the past and making it accessible to general readers offers unique rewards. This paper explores these issues and reveals this writer’s own problems and successes in translating Koryŏ source material. Koryŏ sources pointedly show that there is much more to this often overlooked kingdom than just celadon.
摘要:很少有西方学者涉足高丽语的研究。此外,通常被视为韩国三朝中间时期的高丽,在韩国历史学界几乎得不到尊重。这种对高丽语缺乏关注的部分原因是与Chosŏn的丰富相比,来源相当有限。尽管如此,仍然有一些重要的资料,如官方的朝代史、各种文学作品、宗教传单、坟墓和其他铭文,需要翻译。尽管译者面临的危险有很多,但揭示过去并使其为普通读者所了解的过程提供了独特的回报。本文对这些问题进行了探讨,并揭示了作者本人在翻译高丽语原文中存在的问题和取得的成功。高丽的资料明确地表明,在这个经常被忽视的王国,除了青瓷,还有更多的东西。
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引用次数: 0
Space and Identity: Myth and Imagery in the South Korean Patriotic Landscape 空间与身份:韩国爱国主义景观中的神话与意象
IF 0.2 4区 社会学 Q4 Arts and Humanities Pub Date : 2021-11-16 DOI: 10.18399/ACTA.2007.10.1.001
Guy Podoler
Abstract:This article explores the relationship between South Korean national identity and the country’s patriotic landscape. It attempts to decipher the images and the codes that museums, memorial halls, and monuments transmit to the local audience in order to establish a sense of spatial and temporal sameness and unity among the members of the nation. The analytic tool which is employed for that purpose is the distinction between “mythology” and “memory,” which makes it possible to avoid the commonly metaphorical use of the latter term. The framework of the analysis is presented in the form of a historical survey of the interaction between governing mythology, i.e. the dominant narrative preferred and advanced by the state, and collective and personal memories in South Korea. This underscores the fact that the present-day natural image of a landscape, which is dominated by images of the colonial past, is actually a late development. Only in the 1980s, when new socio-political conditions allowed for governing mythology and memory to converge and place the colonial past at the forefront of national identity, was this demonstrated by a wave of constructing memorial sites for the colonial past.In this context, it is possible to analyze which images are transmitted and how, and why specifically those images are important. Both external and internal challenges have influenced the decision to base governing colonial mythology on the role of South Korea as the legitimate son, who is responsible for the commemoration of deceased patriots, by relying on a set of familiar cultural and religious images. A highly passionate patriotic language that echoes early twentieth-century rhetoric, not only assists in strengthening the connection between the post-colonial South and pre-divided Korea, but it also mirrors the ongoing concern for the stability of the country. Also, the patriotic landscape sanctifies the death of the patriots, though death as a value is not sanctified. This demonstrates the way through which the concept of patriotism, which forms the emotional linchpin of nationalism, is tied to the idea of civic consciousness and the fulfillment of daily national obligations.
摘要:本文探讨了韩国民族认同与国家爱国主义景观之间的关系。它试图破译博物馆、纪念馆和纪念碑传递给当地观众的图像和代码,以便在国家成员之间建立空间和时间的同一性和统一性。为了达到这个目的而使用的分析工具是“神话”和“记忆”之间的区别,这使得人们有可能避免后一个术语通常的隐喻用法。分析的框架以韩国统治神话(即国家偏爱和推进的主导叙事)与集体和个人记忆之间相互作用的历史调查的形式呈现。这强调了一个事实,即当今的自然景观形象,由过去的殖民形象主导,实际上是一个较晚的发展。直到20世纪80年代,当新的社会政治条件允许统治神话和记忆融合在一起,并将殖民历史置于国家认同的最前沿时,这一点才被一波为殖民历史建造纪念场所的浪潮所证明。在这种情况下,有可能分析哪些图像被传输,如何传输,以及为什么这些图像特别重要。外部和内部的挑战都影响了政府的决定,即依靠一套熟悉的文化和宗教形象,将统治殖民神话建立在韩国作为负责纪念已故爱国者的合法儿子的角色上。充满激情的爱国主义语言与20世纪早期的修辞相呼应,不仅有助于加强后殖民时期的韩国与分裂前的朝鲜之间的联系,还反映了对国家稳定的持续关注。此外,爱国主义景观神圣化了爱国者的死亡,尽管死亡作为一种价值并没有神圣化。这表明,作为民族主义情感支柱的爱国主义概念是如何与公民意识和履行日常国家义务的理念联系在一起的。
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引用次数: 4
Lessons Learned in Translating the Paekche Annals of the Samguk Sagi 《三国志百济志》翻译的经验教训
IF 0.2 4区 社会学 Q4 Arts and Humanities Pub Date : 2021-11-16 DOI: 10.18399/ACTA.2008.11.1.004
J. Best
Abstract:Both as a historian and as a person who has recently translated the Paekche Annals (Paekche pon’gi) from the twelfth-century Samguk sagi, it is my belief that there are three factors that are of fundamental importance both to the original composition of any work on history and to its later translation. The three are: 1) the conceptualization of what span of time and what types of information are relevant to a proper understanding of the history being considered; 2) the theoretical or philosophical assumptions concerning the value or purpose of history underlying the text and its translation; and 3) the historiographic methodology whereby it is understood that these ends ought properly to be achieved. Although Kim Pusik (1075–1151), who oversaw the compilation of the Samguk sagi, and I differ somewhat on all three points, my first duty as his translator was to express as accurately as possible his ideas as represented in the text of the Paekche Annals, and then—where necessary and appropriate—to express any contrasting ideas of my own in annotations. In this paper I present a few examples of how the three factors listed above affected Kim’s representation of Paekche history in the Paekche Annals, and how in some of these instances a differing historical perspective of mine was expressed through the annotations appended to my translation of his text.
摘要:作为一名历史学家和最近翻译了12世纪三国志《百济志》(Paekche pon 'gi)的人,我认为有三个因素对任何历史著作的原始构成和后来的翻译都是至关重要的。这三个是:1)什么时间跨度和什么类型的信息与正确理解正在考虑的历史相关的概念化;2)关于文本及其翻译背后的历史价值或目的的理论或哲学假设;3)史学方法论,据此理解这些目标应该恰当地实现。虽然监督《三国志》编撰的金浦锡(1075-1151)与我在这三点上有些不同,但作为他的译者,我的首要任务是尽可能准确地表达他在《百济志》文本中所表达的观点,然后在必要和适当的地方,在注释中表达我自己的任何相反的观点。在本文中,我列举了几个例子,说明上面列出的三个因素是如何影响金在《百济志》中对百济历史的描述的,以及在这些例子中,我是如何通过我对他的文本的翻译所附加的注释来表达我不同的历史观点的。
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引用次数: 0
Aftertaste 回味
IF 0.2 4区 社会学 Q4 Arts and Humanities Pub Date : 2021-11-16 DOI: 10.1215/9781478022718-007
Ch’ŏ Un-Yŏng, Julie Y. Min
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引用次数: 0
Pre-Modern Materials in German Translation 前现代材料的德语翻译
IF 0.2 4区 社会学 Q4 Arts and Humanities Pub Date : 2021-11-16 DOI: 10.18399/ACTA.2008.11.1.002
M. Eggert
Abstract:Premodern Korean writings translated into the German language are mainly restricted to literary works—at least as far as monographic publications are concerned. Besides attempting an overview of existing German translations, I will try to provide answers to the question why this is so, and discuss the potential value of German language translations of premodern Korean materials (including, but not confined to literary works). Finally, I will address future prospects and issues of quality management.
摘要:前现代韩国作品的德语翻译主要局限于文学作品,至少就专著出版物而言是如此。除了尝试概述现有的德语翻译外,我将试图回答为什么会这样的问题,并讨论德语翻译前现代韩国材料(包括但不限于文学作品)的潜在价值。最后,我将讨论质量管理的未来前景和问题。
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引用次数: 0
The Evolution of a Confucian Landscape in the Andong Cultural Region of Korea: Universalism or Particularism? 韩国安东文化区儒家景观的演变:普遍主义还是特殊主义?
IF 0.2 4区 社会学 Q4 Arts and Humanities Pub Date : 2021-11-16 DOI: 10.18399/ACTA.2007.10.1.003
Je-hun Ryu
Abstract:It is generally known that (private) academies are heavily concentrated in the so-called Andong cultural region, or in the upper reaches of the Naktong River. This region is the ancestral home of many yangban families that not only influenced the locality but also the whole country. From the Neo-Confucian perspective, there were many sites in the region suitable for studying Confucianism through self-reflection. The physical (topographical) conditions and the sage named T’oegye were responsible for the relative concentration of academies in the region. Depending on the spatial pattern of diffusion, the developmental process of academies in the region can be divided into three stages: the original, transformative and restorative.In the original stage, the main way to justify the location of an academy was to infuse the site with meaning by linking the famous scholars both in space and time. The geographical connections of the scholars to the sites of study or retreat often justified the location of academies. It is the enshrined scholars who added sacredness to the site. In the transformative and restorative stages, increasingly, lineage connection rather than geographical connection and scholarly achievement became an important factor in the foundation of academy shrines. In the construction of an academy, therefore, the religious and intellectual justification for shrine-building sometimes became a controversial issue. Instances of contention also occurred among different groups over the same site that eventually led to territorial division.Neo-Confucianism, as it has been practiced in academies in the Andong cultural region, seems to share characteristics in common with those religions that bind people firmly to a place. The academy has eventually turned from a place open to any lineage groups into a place only open to one or more lineage groups. Neo-Confucianism, which originally claimed to be a universal ideology, has been increasingly practiced as a particularism within regional and local boundaries. Neo-Confucianism is a place-bound religion that has encouraged love for one’s own lineage and hostility to others. The academy is a landscape of high visibility and public significance that has served to enhance a sense of lineage identity. It has encouraged the lineage’s loyalty to its own territory.
摘要:众所周知,书院主要集中在所谓的安东文化区,即洛通江上游。这个地区是许多阳板家族的祖籍,不仅影响了当地,而且影响了整个国家。从新儒家的角度来看,该地区有许多适合通过自我反思来研究儒学的场所。自然(地形)条件和圣人T 'oegye是该地区书院相对集中的原因。根据传播的空间格局,该地区高校的发展过程可以划分为初始阶段、转型阶段和恢复性阶段。在最初的阶段,证明书院位置的主要方法是通过将空间和时间上的著名学者联系起来,为这个地点注入意义。学者们与学习或隐居地点的地理联系往往证明了学院的位置。是被供奉的学者们给这个地方增加了神圣性。在转型和恢复阶段,世系关系逐渐取代地理关系和学术成就成为书院神祠建立的重要因素。因此,在书院的建设中,修建神祠的宗教和知识正当性有时成为一个有争议的问题。在同一地点,不同的群体之间也发生了争论,最终导致了领土划分。在安东文化圈的书院中,新儒学与把人紧紧地绑在一个地方的宗教有共同的特点。书院最终从一个对任何世系群体开放的地方变成了只对一个或多个世系群体开放的地方。新儒学,最初声称是一种普遍的意识形态,已经越来越多地在区域和地方边界内作为一种特殊主义来实践。新儒学是一种受地域限制的宗教,鼓励对自己血统的爱和对他人的敌意。该学院是一个高知名度和公共意义的景观,有助于增强血统认同感。它鼓励了家族对自己领土的忠诚。
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引用次数: 1
To the Convenience Store 去便利店
IF 0.2 4区 社会学 Q4 Arts and Humanities Pub Date : 2021-11-16 DOI: 10.4135/9781452229669.n819
Kim Ae-ran, Julia Kwon
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引用次数: 8
期刊
Acta Koreana
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