唱寂寞的歌：論袁哲生〈沒有窗戶的房間〉及〈秀才的手錶〉之文化詞翻譯策略

Abstract

袁哲生被譽為後鄉土文學開創者之一，其作品為台灣鄉土文學開拓一條嶄新的道路，雖仍描述市井小民之日常故事，卻揉雜了民間信仰及魔幻，並加入方言、地方口語及俚語。其〈送行〉於1994年榮獲第十七屆時報文學獎短篇小說類首獎，旋即在文壇打開知名度。袁於2004年驟逝，截至2023年其作品中僅有五篇小說翻譯成英文，三本為強勇傑所譯，其餘兩本為范德培所執筆。袁作品之研究主要圍繞文學領域，多聚焦作品中所呈現之「死亡」、「消失感」、「憂鬱」，另也有以鄉土小說流變為主題的之研究，探討袁以及其他作家之作品在「鄉土文學」脈絡下的影響及地位，然而以翻譯角度探討袁之作品在學界仍屬荒蕪之境，仍無前人研究得以借鏡。本論文揀選強勇傑以及范德培所譯〈沒有窗戶的房間〉及〈秀才的手錶〉之英譯本，並選出文本中五大文化詞：人名、地名、宗教、粗話以及俗語，先以歸化及異化做初步分類，並分析譯者傾向使用之翻譯策略、方法及技巧，並評析譯文是否能夠有效構築原文中所刻劃中的世界。研究觀察後發現兩譯者在面對此五大類文化詞時，實則歸化與異化交互使用，但強偏向採取歸化，而范則傾向於異化，筆者另也提出在英譯上述文化詞時，譯文如何影響文化詞語意之建構，希冀為未來欲翻譯袁之作品或後鄉土文學之譯者提供參考。

Yuan Zhe-Sheng, renowned as a pioneer of post-regional literature, blazed a trailfor Taiwan nativist literature. Post-regional literature not only depicts the lives ofordinary people, but also weaves together folk beliefs, the paranormal, dialects, local colloquialisms, and slang. Yuan's literary prowess earned him immediate recognition when he won first prize in the short fiction category at the 17th China Times Literary Award in 1994. Unfortunately, Yuan Zhe-Sheng passed away in 2004, and only five of his short stories have been translated and published as of 2023, with three translated by Yung-chieh Chiang and two by David van der Peet. Existing research on Yuan Zhe-Sheng's works predominantly centers around themes of "death," "concept of disappearance," and "melancholy."Some scholarly works explore the influence of his writings on the evolution of Taiwan nativist literature. However, research on Yuan's works from a translation studies perspective still remains unexplored in academic circles. This thesis primarily examines the translation strategies of five categories of culture-specific items (CSI)—character names, place names, religious terminology, swearing, and sayings—in the English translation of A Room without Windows and Xiucai’s Watch, respectively by Yung-chieh Chiang and David van der Peet. Thisthesis first categorizes the aforementioned items into the domains of domestication and foreignization, and analyzes the translation strategies, methods, and techniques employed for each item. The research findings suggest that both translators employ strategies of domestication and foreignization, with Yung-chieh Chiang leaning more toward domestication and David van der Peet displaying a general inclination toward foreignization.