1990년대부터 중화문화권에서 한류 현상이 생기며 인기를 얻었고, 점점 아시아로 확산되어 2000년대 중반부터는 유럽․남미․미국 등으로 확대 되어가며 글로벌 콘텐츠로 성장하였다. 한류 현상의 주된 콘텐츠는 음악․영화․드라마 등이 있지만, 이중에서도 드라마는 한류 확산에 주도적인 역할을 해왔으며 한류의 초석을 다졌다. 또한 현재까지도 지속적으로 한류의 중심적 위치를 차지하고 있기 때문에 한국의 드라마는 ‘한류의 발생지점’으로서의 의의와 성과를 가진다는 면에서 그 역할을 간과할 수 없다.
이 글은 대만에서의 한국 드라마를 중심으로 기원과 발전 그리고 번역 현황과 환경을 우선적으로 살펴보고 다음은 번역현장에서의 문제점과 과제에 대해 논하였다. 마지막으로 번역자의 양성과 번역 환경의 개선에 관련하여 몇 가지 제언을 덧붙였다. 한류의 지속적인 발전을 위해서는 한류 수입국과의 상호협력 및 경쟁력 있는 다양한 콘텐츠 개발이 필요하다고 생각된다.
1990년대부터 중화문화권에서 한류 현상이 생기며 인기를 얻었고, 점점 아시아로 확산되어 2000년대 중반부터는 유럽․남미․미국 등으로 확대 되어가며 글로벌 콘텐츠로 성장하였다. 한류 현상의 주된 콘텐츠는 음악․영화․드라마 등이 있지만, 이중에서도 드라마는 한류 확산에 주도적인 역할을 해왔으며 한류의 초석을 다졌다. 또한 현재까지도 지속적으로 한류의 중심적 위치를 차지하고 있기 때문에 한국의 드라마는 ‘한류의 발생지점’으로서의 의의와 성과를 가진다는 면에서 그 역할을 간과할 수 없다.
이 글은 대만에서의 한국 드라마를 중심으로 기원과 발전 그리고 번역 현황과 환경을 우선적으로 살펴보고 다음은 번역현장에서의 문제점과 과제에 대해 논하였다. 마지막으로 번역자의 양성과 번역 환경의 개선에 관련하여 몇 가지 제언을 덧붙였다. 한류의 지속적인 발전을 위해서는 한류 수입국과의 상호협력 및 경쟁력 있는 다양한 콘텐츠 개발이 필요하다고 생각된다.
The Korean wave started its proliferation in Greater China Region and Asia in the 1990s. Since the midst of the first decade of the 21st century, it becomes global contents in Europe, South America, and the United States, practically around the world. The main cultural contents of the Korean Wav...
The Korean wave started its proliferation in Greater China Region and Asia in the 1990s. Since the midst of the first decade of the 21st century, it becomes global contents in Europe, South America, and the United States, practically around the world. The main cultural contents of the Korean Wave include entertainment products such as music, cinema, drama, and other elements. Among all these elements, Korean drama has always been the most outstanding one, which has long since established its popularity in Asia and keeps on driving the Korean Wave in all parts of the world as the leading force. In short, Korean drama with its achievements and significance can be well recognized as "the power center of the Korean Wave" which shall not be overlooked. The present thesis starts with the recognition of Korean drama as the power center of the Korean Wave and explicates the setout, the development and the grounds of its popularity in Taiwan. Furthermore, the thesis analyses the variety of themes in Korean drama series and the transformation of theirs contents during the past two decades along with an explication of the practice of their Chinese translation, pointing out onsite translation difficulties from Korean to Chinese, and a discussion of imminent tasks of Korean-to-Chinese translators in Taiwan. The thesis also proposes ways to foster competent translators for Korean drama series and measures to improve their working conditions. Finally, the thesis urges Korean government to initiate certain measures in cooperating and collaborating with the import countries of the Korean Wave as well as producing more competitive cultural contents, in order to keep up the permeation and further development of the Korean Wave.
The Korean wave started its proliferation in Greater China Region and Asia in the 1990s. Since the midst of the first decade of the 21st century, it becomes global contents in Europe, South America, and the United States, practically around the world. The main cultural contents of the Korean Wave include entertainment products such as music, cinema, drama, and other elements. Among all these elements, Korean drama has always been the most outstanding one, which has long since established its popularity in Asia and keeps on driving the Korean Wave in all parts of the world as the leading force. In short, Korean drama with its achievements and significance can be well recognized as "the power center of the Korean Wave" which shall not be overlooked. The present thesis starts with the recognition of Korean drama as the power center of the Korean Wave and explicates the setout, the development and the grounds of its popularity in Taiwan. Furthermore, the thesis analyses the variety of themes in Korean drama series and the transformation of theirs contents during the past two decades along with an explication of the practice of their Chinese translation, pointing out onsite translation difficulties from Korean to Chinese, and a discussion of imminent tasks of Korean-to-Chinese translators in Taiwan. The thesis also proposes ways to foster competent translators for Korean drama series and measures to improve their working conditions. Finally, the thesis urges Korean government to initiate certain measures in cooperating and collaborating with the import countries of the Korean Wave as well as producing more competitive cultural contents, in order to keep up the permeation and further development of the Korean Wave.
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