This study analyzed and considered the translation aspects of Japanese novel No Longer Human (source text) written by Dazai Osamu, in terms of language, culture, and literature, by contrasting the source text with its three Korean translations (target... This study analyzed and considered the translation aspects of Japanese novel No Longer Human (source text) written by Dazai Osamu, in terms of language, culture, and literature, by contrasting the source text with its three Korean translations (target texts: TT1, TT2, and TT3). Chapter 1 Introduction puts forward the purpose of and necessity of this study, with investigating the meaning and role of translation and looking into the significance and necessity of Korean translation aspects with respect to Japanese novels. Chapter 2 presented academic grounds for the need for the contrastive study of translation versions, centering on translation theories, and suggested the direction of this study in consideration of precedent studies. Chapter 3 analyzed the grammatical elements of the 'Noda' sentence, which reflects the stylistic characteristics of the work, from a linguistic viewpoint; and Chapter 4 classified and reviewed culture-related vocabulary from a cultural viewpoint. Chapter 5 selected major key words of the work, and looked into their translation aspects from a literary viewpoint. The types of translating the 'noda' sentence and the culture-related vocabulary were sub-classified into preservation translation, substitution translation, and ellipsis translation (or ellipsis/addition translation). And in the analysis of the key words of the work as literary elements, 'chi (恥)' and 'douke (道化)', which are major key words of No Longer Human, were investigated, and the results of the analysis are as follows: First, as for the translation aspects of linguistic elements, the Japanese 'Noda' sentence reflecting a confessional style, which is the characteristic expression technique of the work, was investigated in connection with the translation aspect of matching between 'Noda' and 'geosida' in the Korean language. As a result, the following three forms were found. ① Cases of 'preservation translation' into a conclusive modality construction in the form of 'geosida' ② Cases of 'substitution translation' into the past tense as in the morpheme 'eot (at) da' ③ Cases of 'ellipsis translation' into the unmarked (?) present tense as in '-n da' As for the ratios of the translators' translation aspects for the 'Noda' sentence, it was found that in TT1, 'preservation translation' was 52%, 'substitution translation' 22%, and 'ellipsis translation' 26%, respectively. In TT2, 'preservation translation' was 15%, 'substitution translation' 47%, and 'ellipsis translation' 38%, respectively; and thus the ratio of 'substitution translation' was found to be high. 'Noda' was matched with 'eot (at) da,' and was used in the sense of retrospective 'confession' to the listener by the speaker. In TT3, 'preservation translation' was 14%, 'substitution translation' 30%, and 'ellipsis translation' 56%, respectively; and thus the ratio of 'ellipsis translation' was found to be high. That is, 'Noda ' was matched with '-n da (Ø) ' of a declarative sentence. And the analysis showed that this is an expression appearing in the structure that the speaker ('zibun' contrasted with other) is made to become the subject of the sentence, and objectifies his circumstances; and that the expression is designed to calmly deliver information on the speaker's 'exploration of human nature', rather than 'confession.' Second, as for the translation aspects of cultural elements, it is also possible to make classification into the three translation types of 'preservation translation,' 'substitution translation,' and 'ellipsis translation.' First, the 'preservation translation' may be sub-classified into 'phonetic borrowing,' which borrows sounds in translation, and 'loan translation,' which does translation with the meaning of a target language. The former transcribes '東京' into '도쿄 (Tokyo),' and the latter into '동경 (Donggyeong).' The 'preservation translation' is primarily found in proper names such as a person's name, a place name, a book title, and a temple name. The ratio of the 'preservation translation' was found to be relatively high in TT1 (65%), compared with TT2 (49%) and TT3 (48%). The reason for the high ratio of preservation translation in TT1 is that it adopted the loan translation of Chinese character vocabulary as in 'yeogeup (여급)' for '女給.' In contrast, TT2 and TT3 did the 'substitution translation' by means of vocabulary actually used as in 'hostess' for '女給.' The 'substitution translation' is translation to facilitate understanding for readers of the target language by substitution with vocabulary or an idiom having a similar meaning, rather than preserving a specific cultural element of the source text. It is sub-classified into 'hypernym translation,' 'cultural substitute translation,' and 'paraphrase translation.' The ratio of the 'substitution translation' was found to be relatively high in TT2 (45%) and TT3 (47%), compared with TT1 (27%). After all, it may be said that what seem most fluid in the translation of cultural elements are loan translation and cultural substitute translation. Lastly, as for the 'ellipsis/addition translation,' 'ellipsis' is to omit translating a culture-specific element of the source text when the translator judges that it does not harm the style; and 'addition,' albeit not frequently used, is to add a cultural object not existing in the source language, for the sake of readers. All the three translations showed similar tendencies. Third, No Longer Human has been known as an autobiographical confessional novel. In the case of Dazai Osamu, his growth process or life experiences become important clues to his literary background. Among them, '恥' and '道化' are depicted in his work with his own unique vocabulary. '恥' is manifested in a variety of aspects ranging from shyness and bashfulness to disgrace an humiliation, and can be seen as being included in the general concept of 'sense of shame.' In addition, '道化' is an act to make other laugh or deceive other, and serves as a critical factor to determine the hero's character; it was pointed out, however, that most of all the three translations did uniform translation that relates it to laughter, and thus failed to reflect fully the meanings of the source text. This study classified novel translation aspects into linguistic, cultural, and literary elements, and inquired into them; it is deemed, however, that the sub-classification may vary with work. Because it may be said that it results from a translator's individual translation strategy, which is influenced by his/her social background, and the like. Therefore, as for studies on the translation aspects of novels, they will have to be carried out as diverse as the number of works. From this study, it is deemed that continued studies on translations are needed. Key words : Translation; Japanese-Korean novel translation; 'Noda' sentence; Translation of culture-related vocabulary; Translation of the key words of work
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