번역과 이데올로기 ― 중국의 신문화운동과 후스의 『인형의 집』 번역 실천 (Translation and Ideology- China’s New Culture Movement and Hu Shi’s Translation of A doll’s House)

서지정보

· 발행기관 : 중국어문학연구회
· 수록지 정보 : 중국어문학논집 / 125호 / 249 ~ 269페이지
· 저자명 : 이지영

초록

One of the main themes of the New Culture Movement launched in 1915 was the critique of Confucianism for the democratization of political system in China’s modern transformation. This meant a determination to promote a wide reception of western modern thoughts and literary works, like democracy, scientific ideas, liberalism, individualism, anarchism and so on. In 1918, A doll’s House was published in China under the title of Nora by the fourth issue of New Youth(Xinqingnian) as the base of New Culture Movement. The translation was entrusted to Hu Shi, an emblematic westernizing figure whose life was devoted to proclaiming the vision of New Culture Movement at the time.
This paper locates Hu Shi’s translation of A doll’s House in the historical context of New Culture Movement. Hu does this translation by paying attention to the marginalized woman‘s position at the base of society to foster individualism, one of the main agendas of New Culture Movement. On the one hand, He introduces Henrik Ibsen of the writer of A doll’s house as a social reformist in Ibsenism, the paratextual apparatus of Nora, while on the other he strategically chooses to translate A doll’s House, a controversial drama about emancipation of woman. Hu’s pioneering practice of translation is consistent with the spirit of the democratic indivisualism of the New Culture Movement, which is strongly opposed to Confucianism. This shows that how such an enlightening translation activity with the intention of social reform allows the translator to challenge the Confucianism-dominated society from a sociological perspective. It also demonstrates that translation as an ideological practice is conditioned in a particular historical context from the perspective of translation and ideology discourse.

영어초록

One of the main themes of the New Culture Movement launched in 1915 was the critique of Confucianism for the democratization of political system in China’s modern transformation. This meant a determination to promote a wide reception of western modern thoughts and literary works, like democracy, scientific ideas, liberalism, individualism, anarchism and so on. In 1918, A doll’s House was published in China under the title of Nora by the fourth issue of New Youth(Xinqingnian) as the base of New Culture Movement. The translation was entrusted to Hu Shi, an emblematic westernizing figure whose life was devoted to proclaiming the vision of New Culture Movement at the time.
This paper locates Hu Shi’s translation of A doll’s House in the historical context of New Culture Movement. Hu does this translation by paying attention to the marginalized woman‘s position at the base of society to foster individualism, one of the main agendas of New Culture Movement. On the one hand, He introduces Henrik Ibsen of the writer of A doll’s house as a social reformist in Ibsenism, the paratextual apparatus of Nora, while on the other he strategically chooses to translate A doll’s House, a controversial drama about emancipation of woman. Hu’s pioneering practice of translation is consistent with the spirit of the democratic indivisualism of the New Culture Movement, which is strongly opposed to Confucianism. This shows that how such an enlightening translation activity with the intention of social reform allows the translator to challenge the Confucianism-dominated society from a sociological perspective. It also demonstrates that translation as an ideological practice is conditioned in a particular historical context from the perspective of translation and ideology discourse.

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