類別:

馬漢茂與臺灣小說的德文編譯－以《望大海》為中心的研究

2021-06-16T16:34:54Z

標題: 馬漢茂與臺灣小說的德文編譯－以《望大海》為中心的研究; A study of and Helmut Martin's compilation and translation of Taiwan literature into German 作者: Maximilian Kalkhof; 柯敬德摘要: 第一部德文臺灣文學選譯本──Blick ubers Meer《望大海》──於1982年由德國出版社Suhrkamp在德國出版。此一選輯由曾赴臺深造的德國漢學家Helmut Martin（馬漢茂），以及他在波鴻魯爾大學的同事Charlotte Dunsing和Wolf Baus所編譯。本論文著重馬漢茂在德國漢學發展中所扮演的角色，以及《望大海》於臺灣文學德文翻譯史上所樹立之地位與其特色，研究目標乃在於釐清《望大海》的出版背景與意圖，並探究《望大海》一書所呈現出的臺灣文學形象。最終，筆者將焦點從「編輯/篩選」轉移到「翻譯」，由對文學翻譯的鋪陳切入對中德翻譯問題的具體討論，探討《望大海》如何處理中德翻譯相關的問題。為了回答以上提問，筆者在第二章勾勒出德國漢學發展的全盤輪廓，進而回顧自戰後以來臺灣文學德文翻譯的歷史，以彰顯《望大海》在小說篩選上的特色。在第三章裡，筆者對《望大海》一書由構成起因而至背後選文意圖進行一系列討論，其中包括馬漢茂的生平、《望大海》的出版背景以及《望大海》的命名與架構，並以列表方式呈現出《望大海》所收錄的作家及其作品。接著，為了顯現《望大海》所透露出的臺灣文學形象，筆者以對照的方式分析《望大海》的小說篩選以及《望大海》在導言和評介文章字裡行間所透露出的編選企圖。而在第四章裡，筆者先釐清何謂翻譯此一關鍵問題，進而分析《望大海》如何解決中德翻譯問題。透過上述研究可知，德國漢學在20世紀70年代、80年代期間經過了翻天覆地的轉變，在方法論上從傳統的文字學逐漸轉化為更多元而具有包容性的跨領域學科，而馬漢茂恰恰是此轉變當中的靈魂人物，既受過文字學的熏陶又掌握社會科學的方法論，一生積極推動德國漢學的革新。臺灣文學德文翻譯的發展，亦因為馬漢茂在波鴻魯爾大學集中各種翻譯資源和出版管道，約從80年代初至2000年左右，顯得十分頻繁，惜於2000年後便跌入谷底。《望大海》所呈現出的臺灣文學形象與臺灣文學德文翻譯歷史的趨勢一致，以小說、70年代和80年代以及漢人作家為主，相對而言忽略了其他文類、年代以及其他族群的作家。《望大海》與臺灣文學德文翻譯史中其他選本的不同在於，它並不排除通俗小說，反而收錄知名度頗低的通俗作家。以德文語境的標準來看，《望大海》閱讀起來十分通順，不過細看其翻譯過程，仍可發現許多瑕疵。這些瑕疵再再證明翻譯之難，甚至於某種程度上證實翻譯之遠不可及。; The first German anthology of Taiwan literature – Blick ubers Meer – was pub-lished in Germany in 1982 by Suhrkamp Verlag. The anthology was compiled and translated by Helmut Martin, a German Sinologist who had been studying in Tai-wan in the late 1960s, and two of his colleagues at Ruhr Universitat Bochum, Charlotte Dunsing and Wolf Baus. The compilation of the anthology was influenced by Joseph Lau, a native of Hong Kong, who had been educated in Taiwan and was teaching in the USA for most of his career. In this thesis, the author’s main concern is to discover the role Helmut Martin played in 20th century German sinology and the role Blick ubers Meer played in the history of Taiwan literature translated into German. In order to answer this question, chapter two explores the history of German sinology and the history of Taiwan literature translated into German. Furthermore, the thesis elaborates on the question what image of Taiwan literature the editors were trying to create in the anthology. Therefore, chapter three analyzes Helmut Martin’s intellectual background, the editorial and historical background of Blick ubers Meer, its name, its structure as well as the image of Taiwan literature, that is created by the selection of short stories and by the literary essays that offer a frame for understanding them. Finally, in chapter four, the thesis turns to translational problems that occur in Blick ubers Meer. The author addresses general aporias in translation studies and tries to give a clear account of what translation is and what translation is capable of. The thesis discusses concrete problems of the language pair Chinese-German and sheds light on how Blick ubers Meer solves (or fails to solve) these problems.

頡頏、協力與協商－日治初期漢醫傳統性、近代性、合法性的生成與交混

2021-06-16T08:46:14Z

標題: 頡頏、協力與協商－日治初期漢醫傳統性、近代性、合法性的生成與交混; Antagonism, Reciprocity and Negotiation– the Development and Interaction of Tradition, Modernity and Legality in Traditional Chinese Medicine in Taiwan during the Japanese Colonial Era 作者: Yi-Ling Chen; 陳怡伶摘要: 研究者若要著手研究「漢醫」，首先必須處理:「漢醫的定義是什麼?」這個問題。漢醫歷來缺乏專門培育以及認證人才的機制，造成漢醫的定義模糊；加上公共衛生體制與西醫的衝擊，漢醫的疆界產生位移與變動。以往的研究者，多藉由法條與各項政策的實施，勾勒漢醫在日治時期的發展狀態。然而，法令並非單純的條文，還必須實踐與推行。透過公共衛生體制、防疫政策以及各種對於醫療人員資格的篩選與管理的實施，將醫生與病人、殖民者與被殖民者、漢醫與西醫、漢醫與密醫、近代性與傳統性串連起來。因此漢醫不是一個既定的範疇，而是會透過關係網絡中不同身分行動者間的互動，而有了不同的內涵。所以，西方近代醫學並不必然地與近代化劃上等號，相對地漢醫也不直接地等同於傳統。殖民者的政令也非由上而下，單向地壓迫被殖民者，被殖民者也有協商與反抗的空間。本文將深入去探究，在總督府對於管理漢醫的醫療法令之外，行動者如何在不同的事件之中，構成不同的關係網絡；而網絡中各行動者的頡頏、協力與協商的互動，又如何重新定義漢醫。; To research Chinese Medicine (Hanyi), one must first define it. Historically Chinese Medicine has suffered a lack of professional scrutiny and talent, which has left Chinese Medicine inadequately defined; as well as this, the influence of the introduction of Western medicine on public health organizations also redefined and shifted the traditional boundaries of Chinese Medicine. Previous research has focused on legal definitions and the implementation of policy to portray the development of Chinese Medicine during the Japanese colonial era. However, law is not limited to simple clauses; it also involves implementation and promotion. Through public health organizations, immunization policies, as well as policies governing the qualification and management of medical personnel, therefore doctor and patient, colonizer and colonized, Chinese Medicine and Western Medicine, Chinese Medicine and Quackery, tradition and modernity all became inextricably linked. Therefore, Chinese Medicine is not a predefined range, but rather its meanings arises from the interaction of a network of different actors. So, contemporary Western Medicine should not necessarily be seen as equivalent to modernization, and, by the same token, Chinese Medicine should not be seen as equivalent to tradition. The political decrees of the colonial government weren't top-down, oppressing the colonized in a one-way fashion, the colonized also had space to negotiate and resist. This thesis will attempt to explore, excluding the medical laws issued by the colonial authorities concerning Chinese Medicine, how actors participated in different events, causing different networks of relation and the forces of antagonism, reciprocity and arbitration within these networks, and how these redefined Chinese Medicine.

「靠北」敘事：數位民俗的流動與衍異

2024-07-29T16:18:19Z

標題: 「靠北」敘事：數位民俗的流動與衍異; “Khàu-pē” narrative : The Fluidity and Variation of Digital Folklore 作者: 石廷宇; Ting-Yu Shih 摘要: 本文以傳統民俗學與民間文學為基礎，重新勾勒當代民間文學的數位形象。主要研究題材取自數位媒體中的「靠北○○」臉書紛絲專頁，藉此思考網路鄉民話語系統中「發文與留言共構」的敘事模式，並經由建構數位民俗場景、爬梳當代民俗話語事象的風貌，提出民俗活動從實體的生活世界流動至「數位民俗」的虛擬場域之流動軌跡與衍異現象。本文認為，傳統民間文學中具有「抱怨文化」的脈絡，抱怨、訴苦，轉化為當代網路特殊的俚語事象──靠北，以諧音代表抱怨之意；而靠北敘事，正是透過不同主題、母題、角色，由數位民俗社群中發文者與留言者的「敘事＋留言」共構民俗實踐特徵，並使登陸數位大陸的所有行動者，都因此擁有能於虛擬場域進行民俗敘事發展的力量，使得數位民俗敘事在靠北系譜中，展現出不同體例、型態與變異。因此，靠北，不再只是「動詞」，既做為「助動詞」，也進一步成為「主詞」，擴大深化了民俗敘事的實踐與滲透規模，形塑出數位民俗的後現代形象。此外，與靠北相反的「雞湯敘事」則具有正向、積極的敘事力量──「雞湯」意謂滋補，有益身心，內容雖與靠北衝突，兩者的敘事模式卻有著相同結構；同時，靠北與雞湯並非真如其表面，而是在主題完全對立的情況下，類似於民俗敘事上的「互補」，每位民俗實踐者都得以選擇其一進行參與，成為數位．鄉民．民俗學中的一部分。在思考數位民俗學的流動軌跡時，「靠北敘事」作為本論思考的重心，預示了主流民俗行為的變遷邏輯，成為新世代數位民俗運動的剪影；面對實體民俗轉向線上民俗進發的道路，數位民俗學的學科化準也有必要與時俱進其田野思維和研究方式。鄉民們的一切靠北，都將成為民俗研究對象、認知當代的重要觀察焦點。靠北○○，既是負面修辭，也可視為正面手段，靠北能動性經由各不同行動者持有，同時也承擔了民俗事象的擴散與建構之工程。本文共八章，除緒論、結論外，分別探討了傳統民間文學中的抱怨文化、靠北婆婆、靠北婚姻、靠北男女、反靠北的雞湯敘事，以及深入解讀靠北敘事的特質與數位意義。本文總結，「靠北」承擔的民俗行為學意義，在網路數位敘事再現後，重新有了數位民俗學科的解讀需求；當我們了解這靠北敘事學的建構與衍異的過程，應可理解「靠北」無論作為行動綱領、參與衝動、條件反射，抑或是社會行為模式，對照其他網路民俗行為背後的運作邏輯，都有其更深層的意義。無論是民俗學本身的變遷數位時代、虛擬世界中的「鄉民．俗」的運作模式，已以嶄新型態，將所有參與者圈劃進數位民俗中，需要我們更慎重地反思與對應; This dissertation aims to analyze khàu-pē narratives on social media and redefine this digital phenomenon of contemporary folk literature. It argues that traditional folk literature contains a context of complaint culture where complaints and grievances are transformed into the unique slang phenomenon of khàu-pē in contemporary online culture. Drawing from traditional folklore and folk literature, my study examines the narrative models of posts and comments which together construct the discourse system of online communities, using primary research material from Facebook pages titled “khàu-pē ○○.” It discusses not only the complaint culture in traditional folk literature but also khàu-pē mothers-in-law, khàu-pē marriage, khàu-pē men and women, the counter-khàu-pē chicken soup narratives on social media. The literal meaning of the Taiwanese term khàu-pē refers to crying over the loss of one’s father. When used as a verb, it is a derogatory term that expresses the speaker’s disdain for or dissatisfaction with other people’s complaints to the extent that they cry as if they had lost their father. For example, “Hearing you khàu-pē is really getting under my skin.” As an interjection, it is considered a colloquial and vulgar expression that conveys ill feelings, discontent, or pretentious self-reproach. For instance, “Khàu-pē! I left my wallet at home!” Khàu-pē narratives are characterized by posts and comments on various themes, motifs, and roles, co-constructed by posters and commenters in digital folklore communities. The agency of khàu-pē is held by various participants, undertaking the diffusion and construction of folk phenomena. This allows all participants in the digital realm to develop folk narratives in the virtual field, showing different formats, styles, and variations within the khàu-pē genealogy. Thus, khàu-pē is no longer just a verb; it also functions as an auxiliary verb and even as a subject, expanding and deepening the practice and scale of folk narratives, shaping the postmodern image of digital village folk literature. In considering the migration trajectory of digital folklore, khàu-pē narratives predict the changing logic of mainstream folk behavior; moreover, they become a snapshot of the new generation of digital folk movements. As folklore transitions from the physical to the online realm, I find it significant to evolve and advance the theoretical frameworks and research methods of the academic discipline of digital folklore accordingly. All the online folks’ behavior of khàu-pē will become both the subject and object of folklore research, serving as critical observation points for understanding contemporary phenomena. Although “khàu-pē ○○” is a negative rhetorical device, it can also be viewed as a positive tool. Therefore, this dissertation constructs digital folklore scenes and traces the features of contemporary folk discourse events to propose the migration trajectory and divergent phenomena of folk activities from the physical world to the virtual domain of “digital village folklore.” It further provides an in-depth interpretation of the characteristics and digital significance of khàu-pē narratives, arguing that the significance of folk behavior associated with khàu-pē, when reproduced in digital narrative form, necessitates a new interpretation within the digital folklore discipline. Understanding the construction and variation processes of this khàu-pē narrative allows us to comprehend its deeper meaning as an action program, participation impulse, conditioned reflex, or social behavior model compared to other online folk behavior. The operational mode of online folks in the virtual world requires careful reflection and response, as it involves all participants in the digital village in a new form.

雙面翻譯—論《玫瑰玫瑰我愛你》的跨文化與跨語際交換

2021-06-15T02:38:15Z

標題: 雙面翻譯—論《玫瑰玫瑰我愛你》的跨文化與跨語際交換; Double Translation: Cross-cultural Exchange in Wang Chen-ho’s Rose, Rose, I Love You 作者: Chien-ju Teng; 鄧倩如摘要: 本篇論文旨在從文化翻譯的角度思考王禎和的小說《玫瑰玫瑰我愛你》。探討這部小說在歷經翻譯、與英譯者葛浩文的再翻譯範疇變動後的語意歧生等可能，以及在這一來一往之間，由「語言翻譯」所衍生出的文化翻譯、與翻譯的現代性等問題。《玫瑰玫瑰我愛你》不僅是王禎和的最後一部長篇小說，也是他第一部被介紹到西方的長篇作品。王禎和的多語書寫，表現了文化翻譯的多重意涵，也考驗著作者對於多種文化的掌握。《玫瑰玫瑰我愛你》中充滿了王禎和對美國文化與英語的挪用與「翻譯」，又被家葛浩文「再翻譯」為美式英語，因此造就了一種「雙面翻譯」的情形。而這些跨文化的翻譯、與雙面翻譯之後所呈現的多元臺灣圖象，勢必開闢了一個新的對話場域。因此，本文根據《玫瑰玫瑰我愛你》中對西方╱美國文化的挪用與翻譯，試圖探討文本中多音交響所透顯的跨文化意涵，並回過頭檢視葛浩文的譯本中所隱含的意識型態，探討文化流動現象，以及某些特殊文化的(不)可譯性，期能為《玫瑰玫瑰我愛你》的解讀開發出新的視角。同時，也藉由葛浩文的譯文探究英譯臺灣小說在西方被翻譯與被接受的狀況，釐清跨文化脈絡中臺灣文學的發聲位置。; This thesis aims to reconsider Wang Chen-ho's novel Rose, Rose, I Love You from the perspective of cultural translation. Rose, Rose, I Love You is not only Wang's last novel, but also his first novel brought to English readers. Written in 1984 and translated by Howard Goldblatt in 1998, there are numerous differences concerning cultural translation and translated modernity between the original text and the translated one. Wang Chen-ho's writing invites different cultural and linguistic origins, including Mandarin, Japanese, English, Taiwanese, Hakka etc, and thus I deem his writing as a kind of cultural translation. In this novel, we found his manipulation of the concept of modernism and modernity, along with his deliberate misunderstanding of American culture and language in Taiwan in the 1960s. Later, when this novel is translated into English by an American Sinologist, Howard Goldblatt, it makes the “double translation” condition of Rose, Rose, I Love You. Hence, this thesis tries to examine the image of Taiwan after the double cross-cultural exchange, and to sort out the ideology behind the translator as well as the (un)translatability of culture. In addition, through Goldblatt’s translation, we can have in-depth discussion on translated Taiwanese novels, along with the voice position of Taiwanese literature under the cross-cultural situation.

類別:

馬漢茂與臺灣小說的德文編譯－以《望大海》為中心的研究

頡頏、協力與協商－ 日治初期漢醫傳統性、近代性、合法性的生成與交混

「靠北」敘事：數位民俗的流動與衍異

雙面翻譯—論《玫瑰玫瑰我愛你》的跨文化與跨語際交換

頡頏、協力與協商－日治初期漢醫傳統性、近代性、合法性的生成與交混