• Korean Journal of Logic
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• v.6 no.1
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• pp.33-50
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• 2003

본 논문에서 필자는 기존의 양상 허구주의의 번역 체계가 가지고 있는 세가지 난점을 극복할 수 있는 양상 허구주의의 새로운 번역 체계를 제시한다. 이 세 난점이란 (1) 많은 세계들의 존재를 받아들이지 않을 수 없게 된다. (2) 세계 간의 비교를 하게 하는 양상 진술문을 제대로 번역할 수 없다 (3) 어떤 양상 진술문에 내해 잘못된 진리치를 부여한다 이다. 이 세 난점을 극복하기 위한 필자의 제안은 세계-양화사의 범위 안에 등장하는 양화사들이 주어진 세계 내의 사물들만을 범위 내에 포함하는 루이스의 초기 번역 체계나 비한정적 양회사를 도입하는 루이스의 후기 번역 체계를 받아들이는 대신, 양화사를 조금씩 조금씩 비한정시키는 (unrestrict) 시키는 것이며, 필지 공식 번역 체계는 우주 (세계)의 부분전체론적 합으르 정의되는 "다우주(muitiverse)"라는 새로운 용어를 도입함으로써 얻어진다. 필자의 공식 번역 체계는 다음과 같다: P가 가능하다 iff PW에 의하면 P가 잠인 다우주가 존재한다 P가 필연적으로 참이다 iff PW에 의하면 모든 다우주에서 P가 참이다 마지막으로 필자는 비한정적인 세계 간의 비교를 하게 하는 양상 진술문을 적절하게 번역하기 위해서 필자의 번역 체계에 약간의 수정을 가한다.

• Annual Conference on Human and Language Technology
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• 1996.10a
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• pp.329-337
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• 1996

일-한 기계 번역을 연구하는 많은 연구자들은 양국어의 문절-어절 단위의 어순 일치와 같은 구조적 유사성을 최대한 이용하기 위해 직접 번역 방식을 채택하고 있다. 그러나, 일본어와 한국어 술부간에는 대응하는 품사의 불일치 및 국부적인 어순의 불일치 등이 어려운 문제로 남아 있다. 본 논문에서는 이들 술부 표현의 불일치를 해결하기 위해 이미 제안하였던 "양상 테이블을 기반으로 한 한국어 술부의 생성 방법"에 대해 좀더 체계적인 평가를 하고자 한다. 이 방법은 술부만을 대상으로 하는 추상적이고 의미 기호적인 양상 자질(modality feature)을 테이블화(양상 테이블)하여, 양국어의 술부 표현의 피봇(pivot)으로 이용함으로써 술부 양상 표현의 효과적인 번역을 가능하게 하였다. 일본어 499 문을 대상으로 실제 술부의 번역처리를 시행해 본 결과, 약 97.7%가 자연스럽게 번역됨을 확인하였다. 특히, 술부의 생성 부분은 일본어에 의존하지 않는 양상 테이블을 도입함으로써 일-한뿐만 아니라 다른 언어로부터의 한국어 술부 생성에도 적용시킬 수 있을 것이다.

• Korean Journal of Logic
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• v.10 no.2
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• pp.109-123
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• 2007

본 논문에서는 양상 논리의 정식들이 일차 논리에서 정의가능하다는 사실을 살펴 볼 것이다. 그 중에서도 특히, 크립키식 양상 해석을 중심으로 일차 논리를 통한 정의가능성을 살펴볼 것이다. 여기서 정의가능성이란, 크립키 해석에서 타당한 정식들에 대응하는 일차 논리의 타당한 정식들을 찾을 수 있다는 것을 의미한다.

• (The)Study of the Eastern Classic
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• no.49
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• pp.461-486
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• 2012

This article is an English translation of the five works on paper in The Classical Novels of Korea. They are , and First, omitted in the translation, was added, paraphrasing, mistranslation occurs. These features are usually symptoms typically appear in the translation Second, the analysis of attitudes about translation. Weakened and the rating is made to award or disparage, the interest was focused on the story. And listed by the case of the delivery of the story, rather than in the direction of emphasizing the development of the story has been translated. The prodigy man story of translation, depending on the purpose of the translation, select the text. And need to decide how to translate. Only then will be able to achieve international mutual understanding Korean literature.

• Cross-Cultural Studies
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• v.43
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• pp.171-206
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• 2016

Russian anarchist thinker P. A. Kropotkin had a significant impact on the school of thought, the literary field and the anarchist movement in East Asia in the early 20th century. This paper examines the history of the translation of Kropotkin in terms of the routes and paths of translation in colonial Korea in comparison with those in Japan and China. It is a known fact that the acceptance of Kropotkin in colonial Korea is owed to pioneering translation works in Japan, but it appears that there have been various transformations and magnetizations in the process of translating the texts into the Korean language. Despite a disturbing censorship, the works of Kropotkin, such as "I appeal to the youth ("Aux Jeunes Gens" in French)", were imported, translated and distributed by various routes throughout the 1920s and there were various versions of translated Korean texts. At this point, it is noteworthy that there are works which were translated from Chinese texts about Kropotkin, such as the works of Yu Seo (柳絮), and it can be said that there is a relationship between Korean translations and Chinese original texts. Since the 1930s, the phenomenon of the appropriation of Kropotkin as a litterateur and critic rather than an anarchist thinker is particularly apparent, and this allows us to understand that Kropotkin became a major pathway to interpret Russian literature in East Asia. In colonial Korea, translations of Kropotkin were generally via Japan and China, but the process of translation also showed the struggle to accept and adapt 'the foreign text' into the Korean language.

• Annual Conference on Human and Language Technology
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• 1993.10a
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• pp.547-557
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• 1993

본 논문에서는 일-한 기계 번역 시스템에서 한국어 생성에 대한 효율적인 방법을 제안한다. 일본어와 한국어는 대부분의 문법 체계가 비슷하지만 어절 내, 특히 술부 내에서는 문법 형태소의 어순이 일치하지 않고 형태소간에도 일대일 대응이 불가능한 경우가 많다. 또한 일본어 용언에 부정의 조동사가 사용된 문장을 한국어로 번역할 때에도 부정의 뜻을 내포하는 한국어 용언이 존재하면 부정적 역어로 생성하여야 한다. 이러한 점으로 인하여 형태소 대 형태소를 일대일로 대응시켜 생성하면 자연스럽고 올바른 한국어 문장을 얻기 어렵다. 따라서 기본적으로 직접 번역 방시을 이용하면서 술부의 생성을 위하여 양상류 의미자질을 이용하는 방법을 제안한다. 본 논문에서 제안한 한국어 생성 방법은 기존의 방법보다 적은 사전 작업으로 간단하게 자연스러운 한국어 표현을 얻을 수 있었다.

• Journal of the Korea Convergence Society
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• v.9 no.6
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• pp.217-224
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• 2018

The aim of this study is to examine how satires in the English movie, are translated into Korean. Satire is a literary technique in which the writer expresses sarcasm or criticism by using humor or irony. As satire induces laughter by criticising someone or something in the form of humor, it is not easy to convey the same effect to audiences with different social, cultural and political backgrounds. Naturally, satire translation poses great challenge to translators. This study analyzed satirical humors in , based on 4 basic strategies discussed commonly in the previous studies on humor translation, which found out Source Text(ST) preservation prevails, that is to say literal translation. This analysis result is expected to be worth in drawing an effective strategy for satire translation in the convergence perspective of society, culture or politics in other countries.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.29-60
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• 2010

• Cross-Cultural Studies
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• v.53
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• pp.131-161
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• 2018

Emotional expressions are expressions that show the internal condition of mind or consciousness. Types of emotional expressions include vocabulary that describes emotion, the composition of sentences that expresses emotion such as an exclamatory sentence and rhetorical question, expressions of interjection, appellation, causative, passive, adverbs of attitude for an idea, and a style of writing. This study focuses on vocabulary that describes emotion and analyzes the aspect of translation when emotional expressions of 'Hu(怖)' is shown on "Kokoro". The aspect of translation was analyzed by three categories as follows; a part of speech, handling of subjects, and classification of meanings. As a result, the aspect of translation for expressions of Hu(怖)' showed that they were translated to vocabulary as they were suggested in the dictionary in some cases. However, they were not always translated as they were suggested in the dictionary. Vocabulary that described the emotion of 'Hu(怖)' in Japanese sentences were mostly translated to their corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Also, different vocabulary was added or used to maximize emotion. However, the correspondence of a part of speech in English was different from Korean. Examples of Japanese sentences that expressed 'Hu(怖)' by verbs were translated to expression of participles for passive verbs such as 'fear', 'dread', 'worry', and 'terrify' in many cases. Also, idioms were translated with focus on the function of sentences rather than the form of sentences. Examples, what was expressed in adverbs did not accompany verbs of 'Hu (怖)'. Instead, it was translated to the expression of participles for passive verbs and adjectives such as 'dread', 'worry', and 'terrify' in many cases. The main agents of emotion were shown in the first person and the third person in simple sentences. The translation on emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as it was in Korean. However, adverbs of time and adverbs of degree tended to be added. Also, the first person as the main agent of emotion was positioned at the place of subject when it was translated in English. However, things or the cause of events were positioned at the place of subject in some cases to show the degree of 'Hu(怖)' which the main agent experienced. The expression of conjecture and supposition or a certain visual and auditory basis was added to translate the expression of emotion when the main agent of emotion was the third person. Simple sentences without a main agent of emotion showed that their subjects could be omitted even if they were essential components because they could be known through context in Korean. These omitted subjects were found and translated in English. Those subjects were not necessarily humans who were the main agents of emotion. They could be things or causes of events that specified the expression of emotion.

• Journal of Korea Game Society
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• v.21 no.5
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• pp.115-132
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• 2021

This study seeks to examine the aspects of the translation and translation activities of game fan translators through the localization case of 'Dragon Age Inquision'. The interaction and experience of the game are game fan translation, giving various motivations and generating translation kinetics. The study confirmed the motivation by observing the process of game fan translation, which shows the characteristics of producers and recipients at the same time, and interviewing game fan translators. The translation of the game fan will reveal the productive aspect of the game fandom, and then I suggest a point where the game culture should discuss the fan translation.