[앵커브리핑] '표현의 부자유, 그 후'

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[앵커브리핑] '표현의 부자유, 그 후'

Broadcasted on Aug. 5, 2019
Translated by Jung Myung-suk and Brolley Genster

뉴스룸의 앵커브리핑을 시작하겠습니다.

This is today's anchor briefing.

조선을 상징하는 경복궁의 정문, 광화문은 한때 본래 자리에서 3.75도가량 비틀어져서 비뚜름히 서 있어야만 했습니다. 조선을 강제병합한 일본이 가장 먼저 손보고자 했던 장소. 그들은 경복궁 한복판에 총독부를 들여앉힌 뒤에 광화문마저 남산을 향하도록 뒤틀어 놓았는데… 바로 그 남산에는 일본을 받드는 '신사'가 있었던 것입니다. 당연히 바로잡아야 했지만, 고민은 깊었습니다.

Gwanghwamun, the main gate of Gyeongbok Palace that is the symbol of the Joseon Dynasty, was once was moved 3.75 degrees from its original position. The palace was the place that Japan wanted to take over after it annexed Joseon by force. It built the Japanese Government-General of Korea in the middle of Gyeongbok Palace and also repositioned Gwanghwamun so that it would face Mount Namsan, where there was a “shrine” that worshiped Japan. Of course, we should correct the wrongdoings right away, but our worries went deep.

*annex: 합병하다 *Japanese Government-General of Korea: 조선총독부 *worship: 숭배하다

"시내 한복판에 너비 50m, 높이 20m짜리 대형 공사막을 흉측해서 어떻게 설치하나"
- 유홍준 전 문화재청장

“How can we install a huge, ugly cover for a construction site that is 50 meters [164 feet] wide and 20 meters high in the middle of the city?”
- Yoo Hong-joon, a former director of the Cultural Heritage Administration

너비 50m, 높이 20m의 건축물을 가려야 하는 대공사… 고민하던 당시 문화재청장은 거대한 벽을 떠올렸습니다.

A large-scale covering that had to cover a structure 50 meters wide and 20 meters high… The worried head of Cultural Heritage Administration at the time came up with the idea of constructing a huge wall.

*Cultural Heritage Administration: 문화재청

광화에 뜬 달
- 강익중 설치미술가

A moon that rose in Gwanghwa
- Kang Ik-joong, an installation artist

벽은 벽이되, 공사장을 가로막은 그 벽은 또 다른 예술작품으로 태어나서 시민과 마주 선 것이지요. 공사를 진행한 3년 동안 길을 지나다니는 이들은 비록 광화문은 볼 수 없었지만, 그 너머를 상상했습니다. 불편하더라도 반드시 바로잡아야 할 역사… 시민은 거대한 벽 너머에 있는 광화문을 보지 않고도 보고 있는 셈이었습니다.

The walls that hide the construction site became another work of art and stood before the people. Over the three years of the construction, passersby were not able to see Gwanghwamun, but they could imagine what was beyond the walls. A history that must be set straight, even if it becomes an inconvenience… People were already seeing without seeing the actual Gwanghwamun beyond the enormous walls.

*passersby: 오가는 사람들

일본 아이치현 나고야. 그곳에도 단단한 가림막이 세워져있습니다. 일본 정치권과 극우의 으름장으로 인해서 한국과 일본의 시민들이 함께 지키던 소녀상은 벽 뒤에 가려졌고…

Nagoya, Aichi Prefecture, Japan. A hard wall stood in this area as well. A “peace girl” statue that Korean and Japanese citizens have been defending together was hidden behind a wall because of the threats by political leaders in Japan and extreme rightists…

*prefecture: 지방 행정 구역, 도, 현 *rightist: 우익

"철거하지 않으면 가솔린 통을 들고 가겠다"

“If [the statue] is not removed, I will bring a gasoline tank.”

"일본 국민의 마음을 짓밟는 일. 내 마음도 짓밟혔다."
- 가와무라 다카시 나고야 시장

“This is an act that tramples the hearts of Japanese people. It has trampled my heart as well.”
- Nagoya Mayor Takashi Kawamura

아예 경비인력까지 배치돼서 관람객 출입을 막고 있다 하니… 소녀들은 가려진 벽 뒤에 숨어 또다시 긴 시간, 숨을 죽여야 하는 것일까… 그러나 사람들은 벽 너머에 있는 소녀상을 보지 않고도 이미 보고 있습니다. 견고하게 세워진 그 흰 벽과 보안요원이 배치된 공간은 역설적이게도 또 하나의 예술작품이 되어서, 누군가 철저하게 가리고자 하는 죄의식을 오히려 세상에 내보이고 있으니까요.

It is said that there were even guards placed to block visitors from entering… Do the young girls have to hide behind a wall yet again and hold their breath for a long time? However, people are looking at the “peace girl” statue beyond the wall without having to look at it. Ironically, the white wall was installed sturdily and the area where security guards were deployed became another work of art, and instead spread a sense of guilt throughout the world, that someone wanted to conceal thoroughly.

*sturdily: 튼튼하게

"역사적 폭거…전후 일본 최대의 검열 사건"
- 아이치트리엔날레 실행위원 3인

“Historical violence… The biggest incident of censorship in Japan’s postwar period.”
- Three members of the executive committee of the Aichi Triennale, an international art festival held in Aichi Prefecture, Japan

"협박이나 폭력을 긍정하는 일"
- 나카가키 가쓰히사 전시 참가 작가

“An action that affirms blackmail or violence.”
- Katsuhisa Nakagaki, an artist who participated in the exhibition

단단한 벽 앞에 가로막힌 오늘의 역사를 또렷이 보여준 그 전시의 이름은 "표현의 부자유, 그 후" 입니다.

The exhibition’s name that showed us the histories of today that is blocked off by a hard wall is translated from Korean into English as, “Non-freedom of expression, since.”

오늘의 앵커브리핑이었습니다.

That is all for today’s anchor briefing.

More in Appendix

번역기도 모르는 진짜영어


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