賴慈芸Tzu-yun Lai邱思潔Szu Chieh Chiu2019-09-032006-1-302019-09-032006http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G0069125010%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/95890華裔美國文學作品常有中文戶文的特色，意即以英文來描述與中國文化或歷史背景相關的敘述。這些作品中所敘述的歷史故事、民間傳說、成語用字等，常與一般中文讀者的認知不同，筆者在此將這類差異稱為「文化變形」；身為譯者，在回譯時面對這種「文化變形」，該照原著一字不漏照翻以尊重作者？還是該予以修正以迎合讀者？無論選擇前者或後者的翻譯策略，所依之憑據為何？台灣譯者一般又是如何處理？ 本文試以兩位知名華裔女作家的代表作─譚恩美《喜福會》﹝Amy Tan: “The Joy Luck Club”﹞與湯婷婷《女鬥士》﹝Maxine Hong Kingston: “The Woman Warrior”﹞─來探討上述「文化變形」之翻譯策略。本論文探討之譯本為民國七十九年出版的于人瑞《喜福會》譯本、民國六十六年出版的吳企平與張時《女鬥士》譯本；筆者透過彼得紐馬克﹝Peter Newmark﹞的文本分類，與漢斯弗美爾的目的論﹝Hans Vemeer: Skopos theory﹞，從作者、讀者、文本三方面，來探討及歸納「文化變形」的翻譯策略，以期將來譯者翻譯類似文本時可供參考。 筆者歸納出文化變形若屬於資訊、事實的變形，亦即「無意識」的變形，且作者本身定位為大眾小說作家，服務的是一般讀者的話，變形處應該予以更改，以符合讀者期望，文中所探討譚恩美之《喜福會》即為此類。若文化變形屬於作者本身抒發性的創作，亦即「有意識」的變形，且作者本身定位較為學術，服務的是學術界或知識份子的話，變形處應該予以保留，或附註加以說明，以完整傳達作者原創的意涵，一如文中所探討湯婷婷之《女鬥士》。Summary Intertexts are an obvious characteristic of Chinese American literature, which means English-speaking authors using English to describe stories related to Chinese culture or history. Proverbs, stories, or folktales told in these works are often different from the cognition of ordinary Chinese readers. In this thesis, I named this kind of difference as “cultural metamorphosis”. As a translator, how to deal with this kind of “cultural metamorphosis” in back translation? Should we render the text word for word to show respect for the authors? Or, should we modify the text to cater to the tastes of readers? No matter the answer is the former or the latter, what are the reasons of choosing a specific translation strategy? How do Taiwanese translators deal with the problem? The thesis tries to discuss the translation strategies of “cultural metamorphosis” through the Chinese translations of Amy Tan’s “Joy Luck Club” and Maxine Hong Kinston’s “The Woman Warrior”, both of which are classics of Chinese American literature. The Chinese translation of “Joy Luck Club” was translated by Yu Ren-rui and published in 1990. As to “The Woman Warrior”, two translations are available. One is Zhang-Shi’s version, and the other is Wu Qi-ping’s. Both of them were published in 1977. By utilizing Peter Newmark’s and Hans J. Vermeer’s translation theories, I explored the translation strategies of cultural metamorphosis through three aspects: authors, readers, and texts. It is hoped that the conclusions can serve as references for translators rendering similar texts. The conclusions are as follows: If the cultural metamorphosis belongs to the metamorphosis of information and facts, that is, “unconscious” metamorphosis, and the author is positioned as a popular writer who serves the general public, translators should modify the texts regarding the cultural metamorphosis, so as to fulfil the readers’ expectations. Amy Tan’s “The Joy Luck Club” is a case in point. On the contrary, if the cultural metamorphosis is the expressive creation of the author, that is, “conscious” metamorphosis, and the author’s position is more academic, serving the academic circles or educated people rather than the general public, translators should keep the original texts intact, so as to convey the messages of the author. Maxine Hong Kingston’s “The Woman Warrior” is a case in point. Key words: Chinese American literature, cultural metamorphosis, Amy Tan, Maxine Hong Kingston, translation.翻譯文化變形譚恩美湯亭亭華裔美國文學translationcultural metamorphosisAmy TanMaxine HongkinstonChinese American literature