雙面翻譯—論《玫瑰玫瑰我愛你》的跨文化與跨語際交換

Abstract

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.