翻譯與文學生產
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Date
2010-03-??
Authors
邱漢平
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國立臺灣師範大學研究發展處
Office of Research and Development
Office of Research and Development
Abstract
在東亞進入全球化時代，英語日益成為跨越地區與跨越文化的溝通媒介，漢字則成為這個地區介於全球語言與國家語言之間的文字。本論文從翻譯的面向研究東亞的文學與文化生產，以便在地區內國家語言與英語接觸交流日增的情況下，探討漢字在這兩類語言交會並置時扮演何種角色。翻譯被視為兩種語言並置互補，此一概念源自班雅明的〈譯者之天職〉：「黏合瓦罐碎片時，連最細微之處都必須能夠相配」（Benjamin, “Task”260）。此一論點的要義在於點出演變之潛在可能處，將其定位在「兩個收斂級數的共同極限」，也是「兩個消失數值的共同極限」（Deleuze, The Fold 17）。翻譯之所以能夠促成變化，細究其緣故，可以歸諸「共同極限」，此一位置具有把個別特質提升到「融入不確定範疇的視野，經歷一種跨越原有格局的強烈變化」（Deleuze, Essays Critical and Clinical 3）。把中文視為處於共同極限位置，有助於展現東亞的特質，既非某一國也非全球性的特質。文章以韓裔作家車學敬的英文自傳體小說《聽寫》與金榮昡編劇的《大長今》連續劇作為論述分析的文本。
Amid talk of East Asia’s rise in the coming decades, the role of Chinese characters in the literary/cultural production in this part of the world should not be obscured by the global use of English. English in its wide currency nowadays .nds a near analogy in Chinese, though in a smaller scale, before the advent of modern times. As East Asia enters the age of globalization, English is growing in significance as a cross-cultural and cross-regional medium of communication, with Chinese lying somewhere between the global language and the national languages in this region. This paper studies East Asia’s literary/cultural production from the perspective of translation in order to explore the role of Chinese in a cultural landscape where the national languages in this region are brought in juxtaposition with English. The conception of translation as the convergence of two languages brought to match each other .nds its origin in Walter Benjamin’s “The Task of the Translator”: “Fragments of a vessel that are to be glued together must match one another in the smallest details” (260). The signi.cance of this view lies in the potentials of becoming, as “the common limit of two convergent series,” (Deleuze, The Fold 17). What translation has in provoking transformations can be attributed to “the common limit,” which has the function of elevating individual traits “to a vision that carries them off in an indefinite, like a becoming that is too powerful for them” (Deleuze, Essays Critical and Clinical 3). To view Chinese as situated in a zone of proximity like this helps reveal singularities of East Asia, which can be treated neither as national, nor as global. Dictee by Theresa Hak Kyung Cha and the popular Korean TV drama Dae Jang-Geum (or Jewel in the Palace) are used for discussions.
Amid talk of East Asia’s rise in the coming decades, the role of Chinese characters in the literary/cultural production in this part of the world should not be obscured by the global use of English. English in its wide currency nowadays .nds a near analogy in Chinese, though in a smaller scale, before the advent of modern times. As East Asia enters the age of globalization, English is growing in significance as a cross-cultural and cross-regional medium of communication, with Chinese lying somewhere between the global language and the national languages in this region. This paper studies East Asia’s literary/cultural production from the perspective of translation in order to explore the role of Chinese in a cultural landscape where the national languages in this region are brought in juxtaposition with English. The conception of translation as the convergence of two languages brought to match each other .nds its origin in Walter Benjamin’s “The Task of the Translator”: “Fragments of a vessel that are to be glued together must match one another in the smallest details” (260). The signi.cance of this view lies in the potentials of becoming, as “the common limit of two convergent series,” (Deleuze, The Fold 17). What translation has in provoking transformations can be attributed to “the common limit,” which has the function of elevating individual traits “to a vision that carries them off in an indefinite, like a becoming that is too powerful for them” (Deleuze, Essays Critical and Clinical 3). To view Chinese as situated in a zone of proximity like this helps reveal singularities of East Asia, which can be treated neither as national, nor as global. Dictee by Theresa Hak Kyung Cha and the popular Korean TV drama Dae Jang-Geum (or Jewel in the Palace) are used for discussions.