追尋舊中國：由The Chinese Maze Murders看翻譯的運作
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2007
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自九○年代起，翻譯學界興起「文化轉向」（cultural turn），翻譯研究逐漸由文字上的分析轉由以文化面向解釋。如勒菲弗爾（André Lefevere）便表示翻譯並非來自真空，而必然受到各種因素的影響，他提出翻譯過程有三大影響來源：贊助者（patronage）、意識型態（ideology），以及詩學觀（poetics）。本文以此文化翻譯研究途徑出發，研究高羅佩（Robert van Gulik）以中國題材寫成的The Chinese Maze Murders在不同時空下的翻譯背景，並為譯本中所呈現的面貌提出可能的解釋。
本文主體分三個面向。在贊助者面向，探討出版歷史、贊助者造成的形象，以及各種準文本的意義。評論譯作時往往著重譯文本身，但譯作的包裝卻會影響整部作品的意義及形象，甚至與作者或譯者的原意都有所不同。同樣一部The Chinese Maze Murders的譯本，在不同時空下就有了不同的包裝模式，呈現出不同形象。在意識型態面向，由譯者背景及時代因素，討論各譯者如何還原翻譯心中的「中國」：高羅佩要塑造理想中國，陳來元要回歸傳統中國，而姜漢森與姜漢椿則是帶入了英文版的中國。而在詩學觀方面，則是先比較中西修辭的概念，探討西方修辭學在中國文本的應用，找出中西之間修辭的共同點，並點出翻譯是文本變化的動力。
綜合以上研究發現，高羅佩的The Chinese Maze Murders在翻譯過程中深受勒菲弗爾所提出的三項因素影響，各譯本所呈現的中國形象各有不同。隨著各中譯本的傳播而與讀者互動，譯作塑造的世界便在中文讀者心中成形，等到讀者完全接受之後，又有誰能說這不是中國？
Since the 1990s, translation studies have seen a move towards the analysis of translation from a cultural studies aspect, the so-called “cultural turn.” A key figure, André Lefevere, notes that translation is not done in a vacuum, but under influences, mainly patronage, ideology, and poetics. With the cultural translation studies approach, the thesis examines three Chinese translations of Robert van Gulik’s The Chinese Maze Murders, aiming to reveal the influences on each translation, and find possible explanations for the different images of China presented. The main body of this thesis can be divided into three sections. The first is about the influence of patronage, which focuses on the publishing history of each translation, the image different publishers cast on the translations, and the effects of the paratexts. Oftentimes critiques on translation focus on the translated text itself, but the overall “packaging” by the patrons can put the translated text in a different light. Then the influence of ideology is studied. Translators of different backgrounds have different ideologies about what “China” is, and the ideologies reflect on their translations, creating different images of China. These images might not be real, but through translations, they can make differences in the real world, and formulate a collective image in the readers’ mind. And the last part on poetics discusses the Western rhetoric in Chinese texts. When editing, or “translating,” past Chinese stories into his novel, Robert van Gulik integrated Western rhetoric into the plot. And when the novel was translated back into Chinese, it thus brought the concept of western rhetoric into Chinese literature. To sum up, the translations of Robert van Gulik’s The Chinese Maze Murders are greatly influenced by the three factors proposed by Lefevere. The “China” in the English text is altered in the translations, but each translation creates a new universe of discourse, and it is in those translations that the idea of China is enriched.
Since the 1990s, translation studies have seen a move towards the analysis of translation from a cultural studies aspect, the so-called “cultural turn.” A key figure, André Lefevere, notes that translation is not done in a vacuum, but under influences, mainly patronage, ideology, and poetics. With the cultural translation studies approach, the thesis examines three Chinese translations of Robert van Gulik’s The Chinese Maze Murders, aiming to reveal the influences on each translation, and find possible explanations for the different images of China presented. The main body of this thesis can be divided into three sections. The first is about the influence of patronage, which focuses on the publishing history of each translation, the image different publishers cast on the translations, and the effects of the paratexts. Oftentimes critiques on translation focus on the translated text itself, but the overall “packaging” by the patrons can put the translated text in a different light. Then the influence of ideology is studied. Translators of different backgrounds have different ideologies about what “China” is, and the ideologies reflect on their translations, creating different images of China. These images might not be real, but through translations, they can make differences in the real world, and formulate a collective image in the readers’ mind. And the last part on poetics discusses the Western rhetoric in Chinese texts. When editing, or “translating,” past Chinese stories into his novel, Robert van Gulik integrated Western rhetoric into the plot. And when the novel was translated back into Chinese, it thus brought the concept of western rhetoric into Chinese literature. To sum up, the translations of Robert van Gulik’s The Chinese Maze Murders are greatly influenced by the three factors proposed by Lefevere. The “China” in the English text is altered in the translations, but each translation creates a new universe of discourse, and it is in those translations that the idea of China is enriched.
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Keywords
翻譯, 贊助者, 意識型態, 詩學觀, translation, patronage, ideology, poetics