當花邊不敵流言：〈花邊教主〉官方及網路字幕組譯文比較

Abstract

網路BT技術日新月異，逐漸改變人們收視習慣，愈來愈多人觀看的影片不再是店頭租售或電視播映的版本，而是網路字幕組發佈的版本。本文即以掀起網路下載及點播熱潮的美國劇情影集〈花邊教主〉(Gossip Girl，2008) 為研究對象，研究文本為第一季共十八集的譯文，版本包括華納官方及網路四大美劇字幕組譯文，旨在比較官方及網路字幕組的翻譯策略及翻譯特色，並試對台灣字幕產業現況提出反思。

研究發現，網路字幕的特色主要有四，包括註解、零翻譯、歸化、譯者可見度。譯者可見度反映在譯者可掛名、添加個人訊息及使用流行詞彙等上。相較下，官方版本無一註解，僅有極少數零翻譯或歸化的例子，譯者不得掛名、避免使用流行詞彙，且以原文優先，譯文無任何個人訊息，譯者可見度較網路字幕譯者低落許多。官方在翻譯品牌、網站名稱時，傾向僅譯上義詞，雖較符合簡化原則，但也導致原文若干流行時尚元素流失。

網路字幕一般予人品質低劣、錯誤百出的刻板印象，本研究卻發現，官方扭曲原意的誤譯情況甚至多於兩個網路版本，但錯別字的情況確實是網版較多。另外，由於本文涉及網路字幕組探討，而國內現有相關研究甚少，因此也梳理有關資訊，試瞭解其運作機制、觀眾群、未來發展，並由此反思台灣現今字幕翻譯產業。

With the evolution of web-based BT technology, fan-subbed (fan-subtitled) versions of various shows and movies have gradually eclipsed official versions as a major source for foreign audiovisual materials. In recognition of this trend, this study aims to compare the translation strategies adopted by translator(s) at Warner Bro. to those used by four major fan-sub groups in season one of Gossip Girl. The study also attempts to reflect on the traditional translation norms advocated by the current subtitling industry in Taiwan.

Based on the results of this study, the four fan-subbed versions all contained characteristics not found in the official version, including: the use of comments and zero-translation; a tendency towards domestication; and a higher translator visibility. Translator visibility of the fan-subbed versions is seen in the translator’s willingness to attach their name and personal information to their work, as well as their frequent usage of modern slang or popular colloquialisms. In contrast, in the official version, the translator(s) is essentially invisible. Translators are unnamed and avoid adding any personal information; neither is there any use of commentary or modern slang, and in only a few examples can they be found to have adopted zero translation or domestication strategies. The official translators tend to universalize brand and website names, resulting in a translation that is more concise but lacking in popular and in-fashion elements.

In contrast to the prevailing view that fan-subbed translations are poor in quality, the researcher finds that although fan-subbed versions exhibit a higher frequency of typos, the official version has more instances of mistranslation than in two of the four fan-subbed versions. Finally, since at present there are still very few studies detailing the workings of fan-sub groups in Taiwan, this study also includes information on the operating mechanisms and target audiences of these groups, as well a discussion on the impact of such groups on the subtitling industry in Taiwan.