蔡依林如何翻譯瑪丹娜：一個身體-文本案例研究

Abstract

翻譯研究作為學術研究的一個切入點，為社會學科研究提供了全新的視角。本文試圖從翻譯研究的角度，探究作為「同志天后」流行女歌手的形象再現。根據羅蘭·巴特的符號學對text（文本）的分析，筆者提出女歌手的「身體」也是一種text（文本），包括造型符號（如「Boy Toy」、「拜金女」、「女扮男裝」等）、身材符號（「雌雄同體」）和動作符號（如voguing、「女女吻」）；同時，從「陰性書寫」的視角來看，文字（text）也有感官性和身體性（如歌詞的重複性和節奏性）。因此，本論文視「瑪丹娜」為「原作」、「蔡依林」為「譯作」，試圖從Body as Text和Text as Body的角度，結合模仿翻譯、符際翻譯和性/別研究說明「蔡依林」如何翻譯了「瑪丹娜」的同志天后稱號。希望藉此研究為翻譯研究和文化翻譯略盡棉薄之力。Translation studies, as a field of academic research, is capable of providing new perspectives that can contribute to social studies. This thesis attempts to examine the representation of the images of female singers from the perspective of translation studies, among other concepts.It utilizes the conception of “text” according to the semiotic analysis of Roland Barthes, and makes the claim that the female singer’s body is also a “text,” whose semiotic elements include image (e.g., Boy Toy, Material Girl, cross-dressing), physical appearance (e.g., androgyny), and gesture (e.g., voguing, same-sex kissing). In addition, this research also delves into the notion of “text” in Cixous’ Ecriture Féminine, as that which can be sensory and bodily, just as song lyrics can be rhythmic and repetitive. It is in this light that this thesis takes Madonna to be the “source text” and Jolin Tsai to be the “target text.” This thesis engages with these two figures as “Body as Text” and “Text as Body,” and by a combination of concepts drawn from imitation as translation, semiotic translation, and gender studies, it also explores how Jolin Tsai “translates” Madonna’s “Queer Queen” into her own.The hope for this research is to make a small contribution to the fields of Translation Studies and Cultural Studies.