In the Korean novel ‘채식주의자’ (The Vegetarian) by Han Kang, the term ‘아내’ (wife) is sometimes replaced with ‘그녀’ (she/her), which raises the question: why is this choice made, and does it affect the reading experience? This article explores the reasoning behind this decision, its implications for translation, and the literary effects of using ‘그녀’ instead of sticking to ‘아내.’ We’ll also look at how this choice is handled in translations like the Japanese version and its impact on the reader’s perception of the story.
1. The Context of ‘아내’ and ‘그녀’
‘아내’ is the standard word for ‘wife’ in Korean, and it’s used to refer to a married woman in a familial or formal context. On the other hand, ‘그녀’ is a pronoun that means ‘she’ or ‘her’ and is often used in literature or storytelling. In ‘채식주의자,’ Han Kang chooses to use ‘그녀’ at times instead of ‘아내,’ which is a notable stylistic decision.
This raises the question: does it make sense to replace ‘아내’ with ‘그녀’ in certain situations? In some cases, ‘그녀’ provides a more detached or ambiguous feeling, which can enhance the emotional distance or the complexity of the characters. It also aligns with the narrative style, which often uses ambiguity to create an open-ended atmosphere.
2. The Literary Effect of Using ‘그녀’
By choosing ‘그녀,’ the author creates a subtle shift in how the wife (the character referred to as ‘아내’) is perceived. Instead of focusing on her as a defined role (i.e., as a wife), she becomes more of an enigmatic figure. This approach works well within the novel’s themes, where identity and self-perception are explored in a fragmented way.
In contrast, using ‘아내’ in every instance would emphasize the character’s role within a traditional family structure, perhaps limiting the reader’s interpretation of her as a more complex and layered individual. The use of ‘그녀’ allows for a more fluid and open portrayal of the character.
3. Translation Choices: Japanese Version of ‘The Vegetarian’
The Japanese translation of ‘The Vegetarian’ follows the original author’s intent but faces the challenge of adapting the ambiguous use of ‘그녀’ in a way that resonates with Japanese readers. In Japanese, the equivalent word for ‘wife’ is ‘妻’ (tsuma), but the use of ‘彼女’ (kanojo) can introduce a similar ambiguity as ‘그녀’ does in Korean.
Like the original text, the translation sometimes opts for ‘彼女’ to create a more emotionally detached or mysterious atmosphere. However, this can be confusing for readers who are accustomed to the traditional use of ‘妻’ when referring to a wife. This difference between the Korean original and its Japanese counterpart highlights the challenges translators face when maintaining the original author’s tone and message.
4. Avoiding Repetition: A Strategy for Fluid Narrative
One reason Han Kang might have chosen to alternate between ‘아내’ and ‘그녀’ is to avoid repetitive language. Repetition, especially of a word like ‘아내,’ could create a monotonous or predictable rhythm, which might detract from the novel’s lyrical quality. By switching to ‘그녀,’ Han Kang adds variation and fluidity to the text, allowing for a more dynamic reading experience.
This strategy is especially important in a novel like ‘채식주의자,’ where themes of identity, selfhood, and transformation are central. The fluid use of language mirrors the protagonist’s journey of self-discovery and alienation, and it prevents the narrative from becoming too rigid or constrained by traditional family roles.
5. Conclusion: The Artistic Choice Behind ‘그녀’
In conclusion, the decision to use ‘그녀’ instead of ‘아내’ in ‘채식주의자’ is an artistic choice that enhances the novel’s themes of ambiguity and identity. While it might initially feel strange or confusing, this choice serves to deepen the emotional impact of the story, creating a more complex and multifaceted portrayal of the protagonist and her relationships. The use of ‘그녀’ invites the reader to engage with the character in a more nuanced way, free from the constraints of traditional labels.
コメント