문화적 이질성을 초월한 페미니즘

Feminism transcending cultural heterogeneity -A study on the translation and reception of Jo Nam-ju's novels in China-

The article primarily delves into the translation and reception of Jo Namju's works in China from the perspective of readers. Firstly, it chronicles the characteristics of the Chinese translation of Jo Namju's novels and the evolving reception among readers. It reveals that works like “Kim Ji-young, Born 1982” by Jo Namju have garnered acceptance in China largely due to the symbiotic relationship between traditional print media and film adaptations. The original novels in print deepen readers' understanding of the films, while film adaptations in turn stimulate interest in the original novels. Through this combined effort, “Kim Ji-young, Born 1982” has emerged as Jo Namju's most discussed and influential work in China. Secondly, Jo Namju's works resonate with the thematic expectations of Chinese readers, fostering profound spiritual resonance and value recognition. Chinese readers extend their perspective to the broader East Asian cultural context, interpreting Jo Namju's works as embodying a “feminism” that transcends the cultural heterogeneity between China and South Korea. Moreover, they offer diverse evaluations of Jo Namju's works based on their artistic and socio-cultural value. While Chinese readers acknowledge the artistic and literary flaws in “Kim Ji-young, Born 1982,” they do not overlook its powerful emotional impact and cultural influence. Adopting a chronological narrative form, the novel portrays the real-life struggles of ordinary Korean women and the identity crisis and spiritual dilemmas faced by female communities, prompting contemporary women to reflect on and seek self-realization. When dealing with such poignant social issues, perhaps reducing the so-called literary qualities can amplify its power to awaken hearts. Jo Namju's novels often consciously align personal experiences with broader social-historical contexts or problem awareness. In this sense, the simplicity of language, the weakening of artistic techniques, and aesthetic effects may be actively pursued by Jo Namju to highlight the unique significance of these works that bridge the gap between the personal and the social, between “documentary” and “fiction.”