賴慈芸Lai, Tzu-Yun吳品儒Wu, Pin-ru2019-09-032016-09-012019-09-032016http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060125006L%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/95902本研究探討村上春樹是否意圖藉由翻譯「自己有興趣的作品」當作創作前的練習。為比對他的創作與譯作之關聯與交互作用，本研究將其著作分為譯作與創作兩類型，接著按照時間順序，試圖比較同時期創作與譯作的主題相似度高低，並以伊文佐哈（Itamar Even-Zohar）的多元系統理論（Polysystem Theory）解釋村上「譯作—創作循環」的形成背景。本研究發現，早在村上春樹還未開始寫作前，已開始翻譯中意的文學作品作為消遣。創作第一篇小說《聽風的歌》時，他先以英文創作，再自譯回日文，藉此發展出屬於自己風格、且為其都市性文學所必需的翻譯腔文體。村上創作初期，因出自喜愛，大量翻譯瑞蒙•卡佛的作品，藉此學習如何創作短篇小說，因此承襲了卡佛作品中的特色，翻譯卡佛是村上創作短篇的巔峰時期。村上翻譯其他作家的作品，亦為了自己的小說做準備，例如翻譯歐布萊恩的小說，練習戰爭敘事，此技巧在《發條鳥年代記》三部曲發揮極大的作用。村上的透過翻譯學習創作，其小說家身分又能為其譯文風格背書。村上翻譯策略和一般譯者十分不同，尤其是語序調動、片假名、故事角色人稱。他的譯文趨近直譯，結構貼近原文，時常使用片假名音譯。村上為了選擇適當第一人稱，會想像角色的內心世界。以上種種異於常規的翻譯，皆可用他所謂的「小說家身分」解釋。正因他為知名小說家，他的譯作才為讀者所接受，此現象合乎多元系統理論中的翻譯文學所處位置之討論。Literature translation is one of Haruki Murakami’s pastime well developed way before he becomes a novelist. When looking for the right style for his first novel, Hear the Wind Sing, Murakami wrote the opening in English and then later translated his writing into Japanese, thus the birth of his foreign writing style. By translating Raymond Carver’s short stories, Murakami learns how to tell stories in his styles and reaches the peak of short stories in his writing career. In the same way, Murakami borrows the necessary devices to tell war stories from his translation of Tim O’Brien. As a novelist/translator, Murakami’s translation style diverges from his contemporaries: he prefers to keep the source text’s foreignness by following its sentence order and through the use of katakana. What sets Murakami aside from ordinary translators is that he tries to figure out story characters’ undiscovered emotions through “the imagination of a novelist”. While many other translators are expected to eliminate their styles to represent the originality of source text, Murakami’s novelist manipulation exerts significant effect on his translation.村上春樹翻譯瑞蒙卡佛多元系統理論Haruki MurakamiTranslationRaymond CarverPolysystem Theory