2021, Vol., No.62

According to the change of attitude in modern translation theory, a traditional dichotomy of translation, literal translation and liberal translation, has been changed and gradually replaced by new translation strategies. This study argues that the two types of translation (i.e. literal translation and liberal translation) have an identical goal “good translation”, despite the fact that each of them has been discussed in different ways from various perspectives. The two translation strategies that are called foreignization and domestication are examined in this study. Among others foreignization and domestication are most acceptable and applicable to the modern translation theory. Based on this assumption, this paper examines the background of these two strategies and proposes a new approach to them. Then, it also discusses the important role of a translator as a reproducer by focusing on the fact that translating is re-producing of the original under a guideline. This paper identifies periodical implications and universal values of a current translation methodology that were inherited from traditional hermeneutics. As a way of producing “good translation”, Paul Ricoeur (French philosopher) expanded the scope of text hermeneutics into translation, and proposed the notion of ‘linguistic hospitality’. It is an attempt to tackle the issue of untranslatable texts, which is one of the main subjects in translation studies. The process of adapting the characteristics of a native language for another language is similar to offering a hospitality of a different culture. Through the process, the understanding of two different cultures is broaden and when linguistic hospitality is added to this, the better quality of translation is finally obtained, albeit not a perfect one. This paper shows that it is crucial for a translator to harmonize the two strategies, foreignization and domestication in translating; translation made with harmony between the two makes readers experience both unfamiliarity and familiarity in different cultures and finally provides them with a fertile imagination. As a rewriting between the two different cultures, a translator meets a text and then creates a new product, a translated work. It can be the most ideal translation for a translator to harmonize unique characteristics of a source language with those of a target language.

Korean-Chinese Translation Quality of Simultaneous Translation - Through “Mr. Queen” Chinese Subtitle

Du Bin , LEEKUNSEOK | 2021, (62) | pp.241~267 | number of Cited : 2

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Analysis of ZhuXi’s ‘theory of Li-Gi’·YulGok’s ‘theory of Li-Gi’ & the Christian ‘Spirit & Flesh’

Yongtae Lee | 2021, (62) | pp.269~296 | number of Cited : 0

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A Study of Narrative of Regression to the Past in the Film Ni Hao, Li Hyan Ying

sung-hee Jin | 2021, (62) | pp.297~317 | number of Cited : 1

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The “Cultural Discount” of Chinese Films on New century in International Communication and Its Reduction Strategy

Zhang Fangyuan , Lee Seok Hyoung | 2021, (62) | pp.319~345 | number of Cited : 0

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On the one hand, as an economic product, movies involves multiple links such as planning, production, distribution, publicity, and screening. The box office revenue generated can bring substantial economic benefits to film creators and producers. On the other hand, movies are also cultural products and carriers of cultural output. Whether it is Hollywood in the United States, K-Pop in South Korea, and the animation industry in Japan, they have fully demonstrated their own unique country's culture, attracted attention from around the world, and are regarded as positive models in international communication, which we call cultural “soft power”. But now that Chinese films are confidently entering the world stage, they are also facing an embarrassing dilemma. The champion of the Chinese New Year Festival in 2019, the SF movie <The Wandering Earth>, full of Chinese imagination. However, this film, which is known as “marking the spring of Chinese SF movie”, did not receive a very high rating in overseas markets. Coincidentally, there is also a Chinese movie <Wolf WarriorⅡ> that ranked the top-1-box office list in mainland China with 5.639 billion yuan, but it ranked 72nd in the global ranking list. Unlike the ancient costume martial arts films and police and criminal Kung-Fu films that have been popular on the international stage from the end of the 1990s to the beginning of this century, the popularity of Chinese films seems to be gradually cooling down on the international stage. This paper takes Chinese-language films as the research object, trying to analyze the phenomenon of “cultural discount” and influencing factors in film cross-cultural communication, expounding the barriers and elements of Chinese-language films in the process of international communication, and find the reasons for the weakening of the communication effect. Thinking about the strategy of how to eliminate and reduce the phenomenon of “Cultural discount” in cross-cultural communication when Chinese films enter the international market in the future and provide an academic reference for the “Globalization” policy of Chinese culture.

KJCKorea
Journal Central

The Journal of Study on Language and Culture of Korea and China 2023 KCI Impact Factor : 0.38

2021, Vol., No.62