《在我墳上起舞》酷兒敘事重譯

Abstract

國際安徒生獎得主艾登‧錢柏斯（Aidan Chambers）所著之《在我墳上起舞》，以開放的風格探討青少年成長過程經歷的情慾及性向探索，其文字與文本形式上展現的創意更是備受肯定。《在我墳上起舞》於全球出版超過十種語言的譯本，其中亦包含簡體中文及繁體中文。然而，先前的相關研究大多聚焦於文本中的議題，如：同志情誼、性慾探索和死亡象徵，或是文字呈現的風格及翻譯手法，甚少探討文本中酷兒敘事的翻譯策略。因此，本文引用德蒙（Marc Démont）提出的三種酷兒文本翻譯模式、艾波斯坦（B.J. Epstein）提出的酷兒文學翻譯策略以及重譯的相關理論，分析《在我墳上起舞》兩部繁體中文譯本及一部簡體中文譯本中的酷兒敘事翻譯，並輔以各式相關附文本，試圖剖析三位譯者面對酷兒敘述採取的翻譯策略，期望整理出適合青年文學酷兒敘事的翻譯策略，提供日後相關作品翻譯參考，為華語酷兒文學翻譯作出貢獻。

Hans Christian Andersen Award winning author Aidan Chambers published the second episode of his critically-acclaimed “Dance Sequence,” Dance on My Grave, in 1982. His linguistic creativity and openness to sensitive topics are most praised by his readers. The novel has been translated into more than ten languages, including traditional Chinese and simplified Chinese. However, previous studies often focus on the subjects discussed in the text, such as homosexual relationships, exploration of sexuality and identity, and the representation of death. Few studies discuss the strategies applied in the translated texts when dealing with Chambers’ iconic humor, and fewer studies discuss the translations from the perspective of queer-related theories. Therefore, this thesis aims to explore the two traditional Chinese translations and one simplified Chinese translation of Dance on My Grave through theories of queer translation and retranslation and highlight the translational differences by analyzing paratextual material and the three Chinese translations of Dance on My Grave. Finally, with the detailed comparison and analysis of two traditional Chinese translations and one simplified Chinese translation of Dance on My Grave, this thesis also explores how translators recreate the queerness in the source text, even when it is difficult to convey the double implications of some specific phrases. It is expected that this thesis can shed new light on the queer translation in YA literature and provide valuable suggestions on the Chinese translation of queer narrative.