《流轉家族：泰雅公主媽媽、日本警察爸爸和我的故事》：厚實翻譯

Abstract

台灣文化背景的獨特性幾乎無法言喻；在世界系統理論中，現代台灣的邊陲社會裡來各種不同文化的影響。晚近的後殖民思潮所帶來的衝擊，加上民主化的浪潮，台灣開始正視自己獨特的文化身份.然而後殖民思想有時可能走上文化復古中心的偏鋒，否定了受殖民影響的歷史的合法性。諷刺的是，這反過來有時會引致一種文化決定論，主張最古老的文化元素才是合法純粹的。但在一個自由民主的社會中，我們應該試圖去理解個體如何建構自我認同，而不是用他們的集體文化的過去來強加定義。下山一（林光明）是日本警察和泰雅族公主所生下的孩子。他與台灣人民的經歷相呼應，長期以來他的身份是由他無法控制的理療所定義的，然而年老時，下山一將自己視為台灣人。《流轉家族》作為下山一的自傳與家族史，描述遭殖民的經驗，同時否定殖民與反殖民主義的定義。本論文受安東尼·阿皮亞之深度翻譯、單德興之厚實翻譯和西奥·赫曼斯之雙重脈絡化等概念啟發，旨在將小眾的後殖民文學變得更加平易近人，並讓下山一的經驗和聲音進入世界文學的範疇，以探討自我身份是否應取決於過往的殖民歷史。The uniqueness of Taiwan’s cultural background can hardly be overstated; in world-systems theory, the society that dwells on peripheral Taiwan in modern times has been contributed to and shaped by hands from a wide variety of different cultures. Reflecting the general global trend of postcolonial thinking, in the wake of democratization, Taiwan has begun to come to grips with its own distinct cultural identity. However, postcolonial thought can sometimes end up denying the legitimacy of history that has occurred due to colonial influences, which can, ironically, lead to a kind of cultural determinism, where the oldest cultural elements are considered to be the most legitimate. But in a free, democratic society, we should strive to acknowledge the self-identity of individuals as they stand today, and not impose definitions built from their collective cultural past upon them.Shimoyama Hajime (Lin Guangming) was the son of a Japanese policeman and an Atayal “princess.” Paralleling the experience of Taiwan’s peoples, his identity was defined for him by forces beyond his control. Towards the end of his life, the holistic total of his experiences led him to self-identify as Taiwanese. As his memoir and family history, My Family is a Kaleidoscope is simultaneously an explication of the colonial experience and a refutation of all definitions, even those applied in the name of anti-colonialism. Inspired by Kwame Anthony Appiah’s concept of thick translation, Shan Te-hsing’s standard of dual contextualization, and Theo Hermans’ theory of dual dislocation, this thesis seeks to set an example in making minority postcolonial literature accessible, while also adding Shimoyama Hajime’s voice to the global discussion of how colonial pasts should and should not define us.