This study examines the notation of proper nouns, loanwords, and foreign words in the translations and adaptations of the French novel Les Miserables in Japan and the re-translations (re-adaptations) of the novel in Korea in the modern age.
Hara Hoitsuan’s notation of proper nouns, loanwords, and foreign words is based on the principle of following the original language. Choi Nam-seon, who re-translated it into Korean, also followed the original language in principle. However, some names of persons were read in Korean and written in Chinese characters.
On the other hand, in the Japanese adaptations of the novel by Guroi and Luiko as well as in the re-adaptations of these Japanese adaptations into Korean by Choi Nam-seon, Min Tae-won, and Hong Nan-pa, proper nouns for places and people’s names were written sometimes in a Japanese style and sometimes in a Korean style. Loanwords and foreign words were translated into the language of translation, or written in the generally used forms of loanwords. The comparison between Korean translations shows that Japanese notation was used in Hong Nan-pa’s Aesa, which contained the instability of literary language.