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朝鮮語 から 英語: The significance of music in the everyday lives of marginalized urban adolescents General field: 社会科学 Detailed field: メディア/マルチメディア
原書のテキスト - 朝鮮語 먼저, 도시 주변부의 청소년들은 그들이 살고 있는 지역이나 계층적 특성상 대도시 내에서도 교육적·문화적·경제적으로 열악한 환경에 처해 있었고, 입시경쟁에서도 이미 뒤쳐져 있다는 의식을 갖고 있었다. 그들 사이에서도 경제자본, 문화자본의 보유 정도에서 차이가 있었는데, 여기서 자본을 적게 가진 청소년들일수록 뚜렷한 목적의식이나 계획 없이 방치되고 소외된 일상을 보내고 있었다. 가족의 적극적인 지원을 받지 못한 채 학교의 입시 경쟁에서도 밀려난, 주변부에서도 더 '주변화된' 청소년들은 스스로를 '잉여'라고 생각하면서, 자신만의 힘으로, 혹은 또래 친구들과의 네트워크를 통해서 자신들만의 방식으로 일상을 살아가고 있었다. 그들의 일상적 문화생활은 대개 인터넷, 휴대폰, MP3 플레이어와 같은 미디어의 이용을 중심으로 이루어지는데, 여기서 특히 음악을 듣고, 공유하고, 노래를 부르는 등과 같은 음악적 실천들이 중요한 비중을 차지하고 있었다.
翻訳 - 英語 First, the ‘marginalized’ adolescents were living in relatively disadvantaged surroundings in terms of economic status, educational support and cultural richness, even though they live in a metropolis such as Seoul. Additionally, there are distinctions within the group. Whereas some of the subjects enjoyed plenty of economical and cultural capital, others could not afford it. The ‘more marginalized’ adolescents who have little capital were barely supported by their family and fell behind in the competitive education system, therefore considering themselves as ‘surplus 잉여’ human beings. They live their excluded and neglected mundane lives heavily depending on PC, internet, mobile phones and MP3 players. Within this context, musical practices such as listening to music, sharing MP3 music files with peer groups, and singing along to popular songs have important places in their lives.
英語 から 朝鮮語: The Moto Hagio Interview General field: 芸術/文学 Detailed field: ジャーナリズム
原書のテキスト - 英語 Hagio:You have to understand the situation in [Japanese] comics in those days. In the girls' comics, you would have stories in which the woman you thought was the mother turns not to be the mother [laughs], and the real mother is actually somewhere else. There was a variety of settings. For example, the poor child in the story turns out to actually come from a rich family, or the child of a rich family turns to have been adopted from a poor family. And one of the standard device was amnesia. [Laughs.] There's a popular Korean drama that's using the same device. It appeared so often, it makes me think that what with the war and the harsh social conditions, people had an unconscious desire to forget everything. So the heroine goes off in search of her real mother, but along the way she develops amnesia, and ends up being taken care of by a string of kind strangers.
Another popular motif was ballet. There was quite a boom in girls' comics about ballet for a while. For example, the heroine would be a girl from a poor family who's really good at ballet, but she loses the lead to an untalented girl from a rich family. [Laughter.] In the standard story, there would be a mean girl and a kind-hearted heroine, and there would be a very clear-cut struggle between good and evil. [Laughter.]
They were very simplistic stories. But the good artists would draw these standard stories with an interesting twist; for example, Miyako Maki and Masako Watanabe. There were only about seven artists drawing girls' comics in those days. Women, I mean; there were plenty of male artists drawing girls' comics then. Tetsuya Chiba's girls' comics were particularly good1.
Thorn: Chiba's first serial, Mama's Violin, was a story like that. The heroine is looking for her mother, who is suffering from amnesia.
Hagio: Right, and the mother regains her memory when she hears her daughter's violin.
Thorn: And of course the heroine goes through all kinds of troubles and is eventually reunited with her mother.
Hagio: Right. Mitsuteru Yokoyama also did a story titled Tomboy Angel, which featured a tomboy as the heroine. I really liked stories like that, in which the heroine was lively.
Thorn: But, generally speaking, most girls' comics of the day featured passive, helpless girls who were cute and sweet and nothing else.
Hagio: Yes, that's the way most of them were. So anyway, as I continued to draw, I found a "comics friend," and one day she said, "Let's make a proper comic." But we were just in our first year of junior high school, and we had no information, no idea how to go about it. Comics are of course printed on both sides of the paper, but one of us had heard that you mustn't draw on both sides of the paper. [Laughter.] And after we had already drawn it, we learned that you're supposed to use a ruler when you draw the panel frame.
[Laughter.] We had drawn them freehand.
翻訳 - 朝鮮語 하기오: 당시 (일본만화의) 상황을 이해하셔야 해요. 여자애들 만화를 보면 어머니인 줄 알았던 사람이 사실은 어머니가 아니고 (웃음), 친어머니는 다른 데 있다는 식의 이야기가 많았죠. 설정은 다양했어요. 예를 들면 가난한 아이는 사실 부잣집 아이거나, 부잣집 아이가 사실은 가난한 집에서 입양된 거라든가 말이에요. 그리고 가장 자주 사용된 설정은 기억상실증이었죠. (웃음) 똑같은 설정을 사용하는 한국드라마도 있더군요. 너무 자주 나와서 어쩌면 전쟁과 힘든 사회환경 때문에 사람들이 모든 걸 잊고 싶었던 무의식적인 바램이 있지 않았나 싶어요. 아무튼 여주인공은 친어머니를 찾아 떠나지만, 도중에 기억상실증에 걸리고 온갖 친절한 사람들의 도움을 받게 되지요.
그 밖에 인기 있던 소재는 발레였어요. 한동안 소녀만화에서 발레가 붐이었죠. 가난한 집안에서 태어난 주인공 소녀는 발레에 뛰어난 재능이 있지만, 재능 없는 부잣집 딸에게 주역을 빼앗기곤 했지요. (전원 웃음) 뻔한 이야기에서는 못된 여자애와 착한 여주인공이 뻔한 선과 악의 대결을 벌였죠. (전원 웃음)
아주 단순한 이야기였어요. 하지만 마키 미야코나 와타나베 마사코 같은 뛰어난 작가들은 그런 뻔한 이야기라도 재미있게 그려냈죠. 당시에 소녀만화를 그리던 여성 작가는 7명 정도밖에 되지 않았어요. 물론 남자 작가들은 많이 있었지만요. 특히 치바 테츠야의 소녀만화가 매우 좋았어요.
손: 치바의 첫 번째 연재작인 [엄마의 바이올린]도 그런 이야기였죠. 여주인공이 기억상실증에 걸린 어머니를 찾아 다니는 내용이었죠.
하기오: 네, 그리고 어머니는 딸의 바이올린 연주를 듣고 기억을 되찾구요.
손: 물론 여주인공은 온갖 고생을 다 하고서야 겨우 어머니와 만나죠.
하기오: 맞아요. 요코야마 미츠테루도 [말괄량이 천사]라는 소녀만화를 그린 적이 있는데 여주인공이 말괄량이였어요. 저는 그렇게 활발한 여주인공이 나오는 스토리가 좋았어요.
손: 하지만 전반적으로 당시 소녀만화 주인공들은 수동적이고 무력하고, 귀엽고 착하기만 했죠.
하기오: 네, 대부분은 그랬죠. 어쨌든 그림을 그리면서 “만화 친구”를 하나 사귀었고, 어느 날 친구가 제대로 된 만화책을 만들어보자고 하더군요. 하지만 아직 중1 학생들이라 정보도 없었고 하는 방법도 몰랐죠. 만화책을 보면 양면인쇄가 되어 있지만, 우리는 종이 양면에 그리면 안된다고 들었거든요. (전원 웃음) 게다가 다 그리고 나서야 칸을 칠 때 자를 대야 한다는 걸 알았어요. (전원 웃음) 우린 자 안 대고 그냥 그었거든요.
Korean/English/Japanese translator with 10+ years experience and pop culture researcher/project director with 9+ years experience.
I have worked on legal, academic (humanities & social sciences & art history), and fictional (webcomics, graphic novels, novels, and PC/mobile games) works. Between 2012 and 2015 I was employed at the Supreme Court Library of Korea, where I was responsible for translating Supreme court cases into English as well as participating in the publication of the annual case law collection. As freelance translator & interpreter I have translated various commercial works ranging from webcomics to PC/mobile games: namely, Her Tale of Shim Chong on Tappytoon, Rebirth in Paradise on Tapas, and When the Jewelweeds Bloom (comic book).
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