繪寫康熙――Emperor of China及譯本《康熙》文體評析

Abstract

本文研究史景遷著作Emperor of China: Self-Portrait of K’ang-hsi的三度翻譯過程。在一九七四年出版的Emperor of China，採用第一人稱自述，寫作清朝皇帝康熙的偽自傳。他恪遵原典史料記載，擷取、拼貼與翻譯史料，以現代英文描繪康熙自畫像。史景遷使用的清初史料，有相當比例是由滿漢轉譯而來，這是Emperor of China的第一度翻譯。史景遷將史料重新組織，翻譯為英文，為第二度翻譯。在二○○五年，Emperor of China的譯本《康熙》在台灣出版，經歷第三度翻譯的過程。本文採用文體分析的研究方法，研究Emperor of China的三度翻譯過程，因筆者能力所限，本文對第一度翻譯僅做簡短介紹，將重點放在第二度與第三度翻譯，瞭解現代英文繪寫康熙的史景遷，以及以文言文體還原翻譯Emperor of China的譯者溫恰溢，各描繪出何種康熙形象，兩者有何差異。

This thesis studies the three-time translation involved in writing and translating Emperor of China: Self-Portrait of K’ang-hsi, a work of Jonathan D. Spence. Published in 1974, Emperor of China is a pseudo-autobiography, narrated in first-person by the K’ang-hsi Emperor of the Ch’ing Dynasty. Spence selected, patched and translated historical records from various sources to compose a coherent account of K’ang-hsi’s life. Every word in Emperor of China is quoted from historical archives. Parts of the early Ch’ing Dynasty archives used by Spence were translated from Manchu into Chinese, which can be considered as the first-time translation. The reorganization and translation of the historical materials by Spence is the second-time translation. In 2005, the Chinese translation of Emperor of China, K’ang-hsi, was published in Taiwan, which is the third-time translation. This thesis uses stylistics’ research approaches to analyze these translation processes. However, due to the author’s limited ability, the first-time translation is only briefed introduced. This research focuses on the second- and the third-time translation in order to distinguish the difference between the image of K’ang-hsi portrayed by Spence in English, and the image drawn in the “wen yan”(classical Chinese) back-translation by the translator Wen Chia-yi.