• 비교문화연구
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• 제51권
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• pp.329-356
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• 2018

감정표현의 종류에는 감정을 묘사하는 어휘, 감탄문 수사의문 등의 감정표현을 위한 문 구성, 간투사 표현, 발상태도의 부사, 문체 등이 제시되고 있다. 본고는 이러한 감정표현 가운데서 감정을 묘사하는 어휘를 중심으로, "こころ"에 나타난 '경(驚)'의 감정 표현의 번역 양상을 분석했다. 그 결과 '경(驚)'에 관한 번역 양상을 보면 사전에 제시한 대로의 어휘로 번역되는 경우도 있었지만 꼭 그렇지만은 아니라는 것을 알 수 있었다. 일본어 문에서 사용된 '경(驚)'의 감정 어휘에 대해, 한국어 역에서는 대체로 '동사⇨동사, 형용사', '부사+동사⇨동사' '부사⇨부사'로 번역되었지만, 감정표현을 강조하기 위해 다른 어휘가 더해진 경우가 있었다. 일부 '명사'는 용언을 이용해 번역되기도 했다. 상황에 따라 번역어휘는 'Surprise류(類)' 뿐 아니라 'Fear류(類)'과 'Sadness류(類)'의 어휘까지도 다양하게 사용되었다. 영어 역의 경우, 한국어 역에서 보였던 것과 다른 양상을 보였다. 주로 '동사⇨be+동사의 과거분사', '부사+동사⇨be+동사의 과거분사' '부사⇨be+동사의 과거분사'로 번역되었으며, 'Surprise류(類)', 'Fear류(類)' 등의 감정을 표현하는 동사 외에 감정 주체의 상태를 대체 표현할 수 있는 동사로 까지도 이용되는 등 매우 다양했다. 문중에 감정주체가 있는 경우의 한국어 역은 대체로 일본어 문과 일 대 일 대응 방식을 보였다. 문중에 감정주체가 없는 경우도 유사한 성향을 보이면서도, 3인칭인 경우에는 생략된 요소가 복원 가능하도록 유도한 번역이 보였다. 영어 역을 보면, 문중에 감정주체가 있는 경우에서만 아니라, 문중에 감정주체가 없는 경우도 생략된 감정주체 및 이를 판단하는 판단주체까지도 복원시켜 번역했다. 일본어와 한국어와 달리 주어는 감정을 느끼는 사람만 온 것이 아니라, 사건, 행위, 감정을 일으키는 원인이 제시되기도 했다.

• 비교문화연구
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• 제53권
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• pp.131-161
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• 2018

감정표현은 마음 의식의 내적 정태를 나타내는 것으로, 그 종류에는 '감정표현어휘', '고백표현', '문 구성', '간투사 표현', '사역 수동 수수 표현', '조사' '호칭', '문체 선택' 등이 제시되고 있다. 본고는 이러한 감정표현 가운데서 감정을 묘사하는 어휘를 중심으로, "こころ"에 나타난 '포(怖)'의 감정표현의 번역 양상을 '품사' '주어처리' '의미 분류'로 나누어 분석했다. 그 결과 '포(怖)'에 관한 번역 양상을 보면, 사전에 제시된 지시적 표현 이외에, '포(怖)'의 의미가 아닌 다른 표현, 다른 품사로도 번역되었음을 알 수 있었다. 일본어 문에서 사용된 '포(怖)'의 감정 어휘에 대해, 한국어역은 일부 '명사', '관용구', '부사+동사'를 제외하고는 대체로 일본어와 유사한 품사로 번역되었다. '명사'인 경우는 용언으로 풀어 설명한 후 강조 어휘를 더해 번역했으며, '부사+동사'는 2개 이상의 어휘가 이용된 어구로 번역되기도 했다. 상황에 따라 번역 어휘는 'Fear류(類)' 뿐 아니라 'Surprise류(類)'와 'Sadness류(類)'의 어휘까지도 다양하게 사용되었다. 영어 역의 경우, 한국어 역에서 보였던 것과 다른 양상을 보였다. 주로 '동사⇨동사, be+동사의 과거분사', '형용사⇨형용사, 동사, be+동사의 과거분사' '명사⇨be+동사의 과거분사'로 번역되었으며, 'Surprise류(類)', 'Anger류(類)', 'Fear류(類)' 등의 감정을 표현하는 어휘 외에 감정 주체의 상태를 표현할 수 있는 어휘까지 이용되는 등 매우 다양했다. 일본어 문의 감정 주체의 유무에 따른 한국어 역은 대체로 일본어 문과 유사한 문 구조로 번역되었고, 감정 주체가 생략된 3인칭인 일부 예에서는 생략된 요소가 복원 가능하도록 유도한 번역이 보였다. 영어 역을 보면, 일본어 문의 감정 주체의 생략 유무와 관계없이 감정 주체와 판단 주체까지도 복원했으며, 서술자 중심의 주어를 내세워 그에 따른 서술어를 선정해 번역하기도 했다. 그러나 주어 자리에는 반드시 감정을 느끼는 사람만 사용된 것이 아니라 사건, 행위, 감정의 요인 등이 사용되기도 했으며, 화자가 화자의 감정을 직접적으로 서술하기 보다는 주변 상황과 장면을 설명하면서 그로 인해 일어나는 감정을 서술한 경우도 있었다.

• 한국전문물리치료학회지
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• 제17권1호
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• pp.43-52
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• 2010

The Dynamic Gait Index (DGI) was developed and widely used as a clinical tool to assess balance performance during gait. The purpose of this study was to validate the Korean translated DGI using Rasch analysis. A total of 105 community-dwelling elderly was participated in this study (age range = 65~95 years; mean = 78.0 years). The translated DGI showed sound item psychometric properties, and the 8 items were arranged in order of difficulty for the total participants. The most difficult item was 'Steps' and the easiest item was 'Level surface'. Also, each of the original 4 rating scale categories satisfied the Linacre's essential criteria suggestions for optimal rating scale category effectiveness. Although, thirty eight person (36.2%) showed the maximal high score, but the most of them was no history of fall in the preceding year. For subjects who has falling history, all of the person's ability was arranged within the item's difficulty. The 8-item Korean translated DGI can be used to measure gain in elderly person with balance disorders without compromising important clinical measurement characteristics in Korea.

• 대한한의진단학회지
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• 제14권2호
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• pp.43-50
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• 2010

Background and Objectives: Cardiff Acne Disability Index(CADI) is one tool used internationally to measure the quality of life of acne sufferers. There, however, is a necessity of developing Korean version of CADI, as the questionnaires of the original one are written in English, making it hard to apply for Korean patients. So as a first step, we conducted a cross-cultural translation of CADI into Korean and verification of face validity. Methods: After properly translating CADI questionnaires into Korean up to guidelines for cross-cultural adaptation of health related quality-of-life measures, we conducted a survey with 122 undergraduates to get face validity, using the translated questionnaires. Results: About the translated CADI questionnaires, 86 out of 107 undergraduates replied that they had no difficulty understanding them, while 21 offered ideas about ambiguous expressions of them. Upon further examination of two oriental doctors, two sentences were additionally modified in the translated version. Conclusions: Firstly, we created the Korean version of CADI, one of the most effective methods in the world to measure acne sufferers' quality of life, by properly translated the original version into Korean. Then we conducted a survey for face validity with the translated questionnaires and gathered opinions from those questioned. After going through some examining and correcting procedures based on the opinions, we finalized the Korean version of CADI. It will also require a follow-up verification process to prove credibility and validity of the final version of Korean CADI.

• Acta Via Serica
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• 제3권2호
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• pp.151-160
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• 2018

There is a variety of opinions about the first translation activities within the Turkic Empire. It is widely believed that some Buddhist sutras were translated into the Turkic language in the period of Taspar Qagan (572-581). This theory is based on certain arguments: Some Turks practiced Buddhism, Buddhist monks translated sutras in the center of the Turkic Empire, Taspar brought sutras from China and had them translated, and the monarch of Northern Qi had a sutra translated and sent to Taspar. However, in my opinion, these arguments lack credibility. This article, which is based on primary Chinese sources, will question the likelihood of such translation activities having occurred. Some Chinese records for these claims exist: Da Tang Nei Dian Lu (大唐內典錄) and Xu Gao Seng Chuan (續高僧傳) by the Buddhist monk Jinagupta and the records of Hui Lin in Sui Shu (隋書) and Wen Xian Tong Kao (文獻通考). These are known as "primary sources." Secondary sources, namely contemporary history and language studies, such as those in books and articles, must be based on primary sources. It can be seen that claims relating to the first Turkic translation activities at the time of Taspar are mainly derived from secondary sources, and that the arguments in these secondary sources vary. Sometimes researchers make suppositions on the existence of information that is not referred to in primary sources. However, this is not normal practice. If a researcher relies on unknowns for the evidence of information existing, it can cause false information, ideas and anachronisms to be created. It is important that primary sources, such as the Chinese sources mentioned above, be translated correctly in language and history studies. If only a word is mistranslated, very different results may occur. Mistranslating or misinterpreting a primary source allows conclusions to be reached that are not supported by dissemination of information from primary sources. This can mislead experts and result in information that is not correct being considered as being true. As well as helping to prevent such misinterpretations occurring, another aim of this paper is to question the interpretations of the first Turkic translations in contemporary studies on history and language. The origin of such assessments will be explored and the validity of that information will be examined.

• Child Studies in Asia-Pacific Contexts
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• 제4권1호
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• pp.65-76
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• 2014

This study aims to explore the characteristics of translated picture books in South Korea and their cultural meanings over a five-decade period. This time can broadly be divided into three periods, being the Settlement Period (pre-1990), the Flourishing Years (1991-2000) and Globalization (post-2001). During the Settlement Period, picture books in South Korea were derived mainly from Japan and America and tended to be informational in nature or based on folk tales. These were translated into Korean to meet the public's curiosity for foreign cultures or for scientific information. The Flourishing Years were characterised by the availability of picture books on a wide variety on themes and forms from all over the world. In this period, the translation of books into Korean focused on a literal rendition of the meanings and sounds of names from the original text. There was also a proliferation of audiotapes, videos and TV programs based on famous picture books. In the current period of Globalization, Korean publishers, who have built confidence through studying foreign picture books over time, have increased efforts to produce their own picture books and export them abroad.

• 한국조경학회지
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• 제25권2호
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• pp.20-30
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• 1997

This study compared Korean names of 449 herbaceous landscape plants with Chinese and Japanese names to identify the origin of their Korean names. The results were as follow ; 1. Korean herbaceous plants named after Chinese names were 71 species. They could be classified into 4 typical groups of their origin : plants named from slight or partial changes of Chinese names, plants with a prefix or suffix attached to Chinese names, plants having names translated from Chinese names, and plants with the same names as Chinese. 2. Korean herbaceous plants derived from Japanese names were 378 species. They also could be classified into 4 typical groups of their origin; plants with new names in partial combination of Japaneses and Korean names, plant having names directly translated from Japaneses names, plants with the same names as Japanese, and plants having names erroneously translated from Japaneses names.

• 한국연극학
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• 제48호
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• pp.421-446
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• 2012

The purpose of this paper is to shed light onto the historical significance and limitations of the Tsukiji Little Theater's modern performances. The Tsukiji Little Theater holds a position of great importance to the history of both Japanese and Korean modern theater. Some, however, are under the completely opposite impression. There are also mixed opinions about whether the Tsukiji Little Theater is a "model example" of the modern theatrical movement or a "bad example". Based on this controversy, we look into the definitive characteristics of the Tsukiji Little Theater based mostly on "the controversy over translated foreign plays", "the controversy of foreign plays versus original plays", "the value of kabuki" and "Shinpa as a rival". This paper looked into the differences in controversy over translated foreign plays in the Tsukiji Little Theater and the controversy in existing translated foreign plays. It mostly looks at the "casuistry of foreign plays" and the "cultural engineering theory of foreign plays"to get a grasp on the controversy surrounding existing translated foreign plays. Meanwhile, the "internally critical meaning" towards the original plays of renowned writers was strong in the controversy of foreign plays in the Tsukiji Little Theater. Kaoru Osanai defined the 1920s as a dark period, and persisted that because of the activity of the Shingeki movement, foreign plays were needed instead of low-level original plays. This study examines the characteristics of original plays and foreign plays publicly performed at the Tsukiji Little Theater to analyze the "controversy of translated foreign plays versus original plays". The Tsukiji Little Theater mostly put on shows with a strong sense of resistance or that defied the old times. This caused there to be a lot of emphasis put on the rebellious mindset towards old conventions and ideologies for most of the plays, both foreign and original, and the problem arises that little mind was paid to the integrity or beauty of the works. In looking at the "value of kabuki", this paper looked into Kaoru Osanai, who was deeply involved in kabuki actors. He evaluated traditional Japanese arts highly not because of the literary value of their scripts, but because he recognized the value of how they were performed. In order to create a new spectacle, music, dance and mime was taken in from countries around the world, and kabuki was regarded highly as a means of expression on stage. Finally, we also examine the recognized reasons for treating Shinpa as a rival. There is a relationship between these reasons and a complex about the audiences they drew. The Shinpa performances always had many spectators and were successful, but those at the Tsukiji Little Theater were so unpopular with the public that it was hard for them to financially run their theater group. The empty seats in their theater constantly made the modern intellectuals in the Shingeki movement feel inferior.

• Journal of applied mathematics & informatics
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• 제25권1_2호
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• pp.533-540
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• 2007

For a certain open set G in the complex plane $\mathbb{C}$, we construct a transcendental entire function f, such that whose translated family {$f(2^nz)$} is finitely normal exactly on the set G.

• Journal of applied mathematics & informatics
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• 제17권1_2_3호
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• pp.573-583
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• 2005

For a certain set G in the complex plane, we construct a transcendental entire function f whose translated family ${f(2^{n}z)}$ is normal only at z in G and establish the relation between the normal family and the Julia direction of f(z).