馬漢茂與臺灣小說的德文編譯－以《望大海》為中心的研究

Abstract

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.