自中韩建交以来，韩国学者对中国的关注度也逐步提升，进行中国现当代文学研究的队伍也在不断壮大。本文在接受美学和传播学、译介学的理论背景之下，通过分析中国当代作家莫言、余华、曹文轩的作品在韩国译介的情况，试以此揭示中国当代小说在韩国的流行和接受情况。本文主要结合社会韩国历史文化背景，分析莫言的《红高粱家族》、余华的《许三观卖血记》、曹文轩的《红瓦》 被韩国读者接受情况以及其原因。此外笔者还搜集了有关报纸、杂志以及个人博客等各种相关媒介信息，并对其进行总结分析，试图一窥这三位中国当代作家的作品在韩国接受与流行的“全貌”。实际上，作者的知名度是韩国读者选择中国当代文学作品时考虑到的主要因素之一。 在韩国受欢迎的大部分中国当代作家作品不是曾在海外获过奖，就是曾被改编成过电影或话剧。例如，在中国改编成电影的《红高粱》和《活着》等作品就是因在海外获奖而使其在韩国也倍受关注，这样大大提高了其原作的知名度，从而也使其原作小说更加受到韩国读者的青睐。由此延伸，莫言和余华后来写的一些作品，甚至其他的中国当代文学作家作品也进一步受到了韩国读者的关注。可见,电影的推介和文学作品的获奖在很大程度上影响了中国当代文学作品在韩国的接受程度，并且给中国当代文学在韩国的发展提供了更广阔的空间，同时让已出版过的作品取得更大的反响。此外，中国当代文学作品在韩国的接受程度与韩国读者的“期待视野”、“创造性阅读”以及译者的“创造性翻译”也有着密切的关系。具体而言，莫言的《红高粱家族》、余华的《许三观卖血记》、曹文轩的《红瓦》有主要有以下几个特征： 第一，作品符合韩国历史、民族文化情结，其主要内容引起了读者的共鸣；第二，作品中政治性趋于淡化。第三，韩国读者通过作品的阅读能够与“韩国社会问题”联系进行“创造性阅读”。第四，译者为韩国读者作品或多或少进行了“创造性翻译”。可以说上述综合因素决定了这些作品在韩国的生命力。

Since China and South Korea have established diplomatic relations, South Korean scholarly interest in China has continued to increase along with numbers of scholars who study Chinese contemporary literature. This thesis analyses how the works of the Chinese contemporary literature authors “YuHua”, ”MoYan” and “CaoWenXuan” are received in Korea, and how it's been studied based on the theory of “Receptional Aesthetic”, “Communication” and “Mesologie”. I will determine when the Chinese contemporary literature was introduced, disseminated, and studied in South Korea. I will analyze why YuHua's “Xu Sanguan Sells Blood”, Cao WenXuan's “Red tile-roofed house”, and Mo Yan's “Red Sorghum” were accepted by South Korean readers in light of South Korean historical literature of the era. In addition to that, I intend to collect and analyze various medias, such as articles, magazines or personal blogs, to analyse and grasp how the literature is accepted and received by popular culture. I think the Chinese contemporary literature is more likely well received by South Korean readers when adapted into films or theatre. Also, I think there is a close relationship between the acceptance of Chinese contemporary literature and “horizon of expectation”, “creative reading” and “creative translation” of Korean readers. To be specific, YuHua's “Xu Snaguan Sells Bold,” CaoWenXuan's “Red Tile-Roofed House” and MoYan's “Red Sorghum” show the following characteristics. First, the contents give rise to emotional sensations within South Korean readers when the literature expresses similar ideas to that of South Korean culture. Second, the literature with a less strong political nature attracts more South Korean readers. Third, South Korean readers associate the social problems of South Korea with “creative reading”. Forth, translators also try “creative translation” for South Korean readers. Through these features, the Chinese contemporary literature finds its vitality and success in South Korea.