李奭學李延輝2019-09-032012-10-162019-09-032011http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0893250026%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/96092文學家的肉身會衰老，但他們作品裡的精髓往往會隨著時間的淘洗，以各種方式「翻譯」，藉由另一種語言或表現形式流存下來，而這些「譯作」則成了班雅民（Walter Benjamin）所云原作的「來世」（afterlife）。吳爾芙（Virginia Woolf）為二十世紀女性主義作家的先驅，以意識流的技巧獨樹一幟，其纖細、敏感的寫作方式則反映出英國現代主義的精神。在中文世界中，白先勇於二十世紀六０年代發表了短篇小說〈遊園驚夢〉，該小說無論就結構、技巧、主題而言，均師法吳爾芙的《戴洛維夫人》（Mrs. Dalloway）。九０年代開始，吳爾芙小說《歐蘭朵》（Orlando）及《戴洛維夫人》陸續改拍成電影。1999年，康寧漢（Michael Cunningham）出版了普立茲獎得獎作品《時時刻刻》（The Hours）。這部小說以《戴洛維夫人》為中心，串連三位女性生命中的一天，並於2002年搬上銀幕。本研究計畫延續筆者以與吳爾芙相關的著作、電影與中文翻譯為本，藉由解構翻譯理論，探討翻譯的「模仿」與「越界」問題。本計畫中所討論的翻譯不只是文字的轉換，更擴大至文學表現形式，以及將人物化為文字、影像的轉換，而這些議題也和吳爾芙作品中的現代性有關。The term “afterlives” derives from Walter Benjamin’s “afterlife” of literary works in his groundbreaking essay “The Task of the Translator” in 1923. In my dissertation, I will appropriate Benjamin’s approach to “translation” to discuss another important literary figure in England in the early 20th century, Virginia Woolf. The age of mechanical reproduction has immensely helped distribute the image and works of Virginia Woolf. My dissertation, hence,will be divided into five chapters to delve into “imitation” and “crossings” in “translations” of Woolf’s famous novel Mrs. Dalloway. The “translation” here not only deals with “the translation of languages” but also examines the adaptation of literary forms and transformation of characters into words and images. Mrs. Dalloway is imbued with possibilities for interpretations and inspires so many writers, playwrights, directors and actors of later generations. In Chapter Two, I would discuss the translation of two stories inspired by Mrs. Dalloway: Michael Cunningham’s The Hours and PaiHsien-yung’s “Wandering in the Garden, Waking from a Dream.”In Chapter Three I will go back to the conventional notion of translation: the exchange of two different languages. I will go through four different Chinese translations of Mrs. Dalloway and examine the strengths and weaknesses of each translation based on feminist translation theories and modernist translation theories. In Chapter Four, I will discuss the filmic interpretations of Woolf’s work. These adapted versions, as the combination of shadow and light, unfold the kinship with the originals and supplement them as Benjamin’s theory suggests. In Chapter Five, I will sum up the results of the forementioned translations of the “afterlives” of Woolf and her works. Since translation works, according to Benjamin, can never be exhaustive, “the original” still has room for further exploration in the age of mechanical reproduction. Mrs. Dalloway is never finished. As time went by, it acquires new meanings and becomes something different. What he says is close to the basic idea of change in the literal meaning of “translation” in Chinese. I will, therefore, point out several possible translations of Woolf. Hopefully, future generations can still witness the Woolf’s continual star power.吳爾芙班雅民翻譯現代主義Virginia WoolfWalter BenjaminTranslationModernism