翻譯與互文性：葛浩文〈古都〉譯本之羊皮紙觀點研究

Abstract

本研究旨在探討葛浩文英譯的中篇小說〈古都〉的翻譯和互文現象。互文是朱天心〈古都〉中最重要的特色，作者以多重文本、「偽百科全書式」的複雜敘事模式和頻繁用典，形塑敘述者對古都的記憶和哀愁，不僅增加了閱讀理解的困難度，也構成了翻譯上的困難。本文結合簡奈特的羊皮紙理論，將〈古都〉比擬為層層堆疊的羊皮紙，套用韋努蒂對翻譯和互文的論述作為理論框架，檢視葛浩文英譯本中互文性的體現，是否確實傳達原著意涵；同時比較朱天心其他作品英譯本以及〈古都〉日譯本中譯注的使用與葛譯本的差異，爬梳原文、譯文及其他文本間互文性的呈現。研究發現，對於高度互文的文本，顯化翻譯是不可避免且有其必要性的；處理中文俗諺或特定文化詞彙時，葛浩文多採取直譯策略，時而有扭曲或使文本再脈絡化的情形。另，由於葛浩文鮮少採用譯注等方式輔助，造成譯本互文性流失或不完全，不利於外國讀者閱讀理解。

The research aims to explore the translational and intertextual phenomena in “The Old Capital” rendered by Howard Goldblatt. Intertextuality is the most essential characteristic in Tien-hsin Chu’s “The Old Capital.” The author incorporates multiple texts, “encyclopedia-like” narratives and citations to construct the narrator’s memories and melancholy toward the old capital, which not only builds a reading barrier but also creates difficulties in translation. This paper combines Gérard Genette’s theorization of palimpsests, comparing “The Old Capital” to a palimpsest. By applying Lawrence Venuti’s discourse on translation and intertextuality as the theoretical framework, the study examines whether Howard Goldblatt’s translation has conveyed the gist of intertextual implicatures in this novella. Besides, Chu’s other works translated to English and Japanese edition of this novella are analyzed and compared with Goldblatt’s rendering. The intertextual relationships between the original, the translation and other texts are unraveled. The research discovers that explicitation is inevitable and necessary for translation of a highly intertextual work. When dealing with Chinese idioms or culturally-specific expressions, Goldblatt often resorts to literal translation. Distortion and recontextualization of the text could be found in his translation. In addition, since paratextual devices such as annotations are rarely used in Goldblatt’s translation to assist foreign readers’ comprehension, the intertextuality is lost or incomplete in his translation.