翻譯即重寫:從《孽子》到《水晶男孩》 - NTU TDR

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Zhang,Chun-hong張春紅.“xinzhongdenapianjingtu—jieduniezizhongdelianhuayixiang”“心中的那片淨土——解讀《孽子》中的蓮花意象”[“ThePureLandintheHeart—AnAnalysisoftheLotusImageryinNiezi”].世界華文文學論壇[ForumforChineseLiteratureoftheWorld],January2010,pp.47-50. Zhang,Xiao-hong,張小虹.“buxiaowenxueyaonieshi—yinieziweili”“不肖文學妖孽史——以《孽子》為例”[“TheDegenerateLiteratureandtheHistoryofDemons—TakeNieziasanExample”].Taiwanxiandaixiaoshuoshizonglun台灣現代小說史綜論[AnAnthologyoftheHistoryofModernTaiwanFiction],Lianjin聯經,2000,pp.165-202. Zhu,Yihua朱怡華.AStudyofHowardGoldblattasaTranslator.MaThesis.EastChinaNormalUniversity,2012. dc.identifier.urihttp://tdr.lib.ntu.edu.tw/jspui/handle/123456789/70768- dc.description.abstract《孽子》為台灣作家白先勇迄今唯一出版的長篇小說作品,1983年出版後,由於以男同性戀為題材,轟動了當時的文壇,並且因此被視為華人同志文學的先驅。

白先勇曾表示,撰寫《孽子》乃是欲以「華人的角度」探討同性戀之議題,且《孽子》之主題為「父子關係」。

因此,《孽子》不僅僅是描繪了台北1970年代社會底層的男同性戀群像,更深刻描繪了在華人傳統文化下,身為同性戀的兒子與父親的親情與衝突,並延伸至同性戀的個人與整個社會的衝突。

小說中,家庭、社會所容不下的男同志青少年們在台北新公園組建了自己的社群,並從事性交易,他們所建立的同性關係,包含與師傅楊教頭的關係,以及與恩客的關係,都被描寫成了擬父子關係,可視為華人傳統家庭關係的衍生結構。

另外,白先勇也描寫了社會的恐同氛圍,書中大眾對於男同性戀的想像,還只停留在現代化以前的中國文學作品中對於男男關係的描繪,大眾對男同性戀之過時刻板印象可以從小說中許多古典文學典故之運用看出;而在小說中,宗教思想也成為了重要的元素,藉由佛教輪迴與救贖之概念,融合道教與民間信仰,呈現故事中的生命觀。

《孽子》不單單僅是一本同性戀文學作品,更是一本描寫「人」的小說,其英語譯本《CrystalBoys》由葛浩文(HowardGoldblatt)所譯,在1990年由GaySunshinePress出版。

對於翻譯,葛浩文表示改寫是不可避免的手法。

自1990年代開始,翻譯研究逐漸由探討翻譯之忠實性,到研究翻譯過程中的操縱手法,提出「翻譯即重寫」之概念。

本研究藉由討論「孽子」這個書名與整部作品的關聯性,分析葛浩文將其轉譯成「CrystalBoys」所造成的男同志意象重塑,並以此為基礎,深入觀察葛浩文在《CrystalBoys》當中採用的翻譯策略,分析在《CrystalBoys》當中,葛浩文是如何再現白先勇在原著當中呈現之宗教精神,台北70年代社會中的男同志意象及其同性關係、華人傳統文化下的父子衝突與社會大眾對男同志的擬古式想像,並企圖進一步探討,葛浩文在《CrystalBoys》的再現,如何改變了《孽子》這部作品。

zh_TW dc.description.abstractAbstract Nieziistheonlyfull-lengthnovelbyTaiwanesewriterBaiXianyong.Publishedin1983,withmalehomosexualsasthesubject,NiezicreatedasensationintheliteraryworldthenandisseenasthepioneerofChinesehomosexualliterature.BaihasindicatedthathisaimofwritingNieziistoprobeintotheissueofhomosexuality“fromaChineseperspective”andthatthemeofNieziis“father-sonrelationships.”Thus,NiezinotonlyportraystheimageoftheunderprivilegedmalehomosexualsinTaipeiinthe1970s,buttheworkhasalsoprobedintothefather-sonrelationshipsandconflictsintheChinesetraditionalculture,aswellastheconflictsbetweenthehomosexualindividualsandtheTaiwanesesociety.Inthenovel,thegayteenagers,unacceptablebytheirfamiliesandthesociety,constructtheirowncommunityintheTaipeiNewPark,andengageinprostitution.Thesame-sexrelationshipstheybuild,includingtherelationshipwiththeirmentorYangandtheirrelationshipswiththeirsponsors,aredescribedasquasifather-sonrelationships,whichcanberegardedasanextensionofthetraditionalChinesefamilialstructure.Also,Baihasdepictedthehomophobicatmosphereinthesociety,wherethepublic’simaginationofmalehomosexualsisstillbasedonthedepictionofmale-malerelationsinpre-modernChineseliterature,whichcanbediscernedbyChineseclassicliteraryallusionsusedinthenovel.Ontheotherhand,religiousbeliefisalsoasignificantelementinthefiction.WiththeconceptofreincarnationandkarmainBuddhism,integratedwiththebeliefofTaoismandChinesefolkreligion,theconceptoflifeinNieziispresented.Nieziisnotmerelyagaynovelbutalsoafictionthatwritesabout“humanbeing.”TheEnglishtranslationofNiezi,titledCrystalBoys,byHowardGoldblattwaspublishedin1990byGaySunshinePress.Goldblatthasindicatedthatrewritingisinevitableintranslation.Sincethe1990s,thefocusofTranslationStudieshasgraduallyshiftedfromthedebatesonfaithfulnesstotheexaminationofmanipulativestrategiesintheprocessoftranslationandproposedanideaoftranslationasrewriting.ThestudydiscussesthecorrelationbetweenthestoryofNiezianditstitleandanalyzeshowtheimageofthemalehomosexualsarere-madewiththetranslationofthetitlefrom“niezi”to“crystalboys”byGoldblatt.Further,thestudyexaminesthetranslationstrategiesdeployedbyGoldblattinCrystalBoysandscrutinizesGoldblatt’sre-presentationoftheimageofmalehomosexualsinTaipeiin1970s,thefather-sonconflictsinthetraditionalChineseculture,andthepublic’simaginationofmalehomosexualsonthebasisofthepre-modernChineseliteraryworks.ItisintheinterestofthisstudytoinvestigatehowNieziistransformedinCrystalBoysthroughGoldblatt’sre-presentation.en dc.description.provenanceMadeavailableinDSpaceon2021-06-17T04:37:47Z(GMT).No.ofbitstreams:1ntu-107-R05147002-1.pdf:1675392bytes,checksum:41289326e45c967c672564fbff6637aa(MD5)Previousissuedate:2018en dc.description.tableofcontents摘要ii Abstractiii TABLEOFCONTENTSv Chapter1FromNiezitoCrystalBoys:whathasbeenchanged?1 1.1Translatingasrewriting:whenbadsonsareturnedinto“crystalboys”1 1.2HowardGoldblattandhisnotionsoftranslation9 1.3NieziandBaiXian-yong14 1.4Chapterization22 Chapter2There-presentationofthereligiousimagery24 2.1VanishedBuddhistnotionsofkarmaandreincarnation30 2.2AbridgedrenderingofChinesetraditionsandOccidentalizedBuddhistgods37 2.3IntegrationoffilialpietyinChinesecultureandreligiousnotions43 Chapter3Rewritingsexuallysuggestivelanguageandquasi-familialrelationships50 3.1Homosexualityastaboo,sexualimplicitness51 3.2Thepretendedson57 3.3Mentorasfather66 Chapter4Re-creationofthearchaicgayworld74 4.1Gaymalesas“butts”75 4.2Rewritingtheeffeminacyofgaymaleswithanarchaicvocabulary80 Chapter5Conclusion95 WorksCited100 dc.language.isoen dc.title翻譯即重寫:從《孽子》到《水晶男孩》zh_TW dc.titleTranslationasRewriting:FromNiezitoCrystalBoysen dc.typeThesis dc.date.schoolyear106-2 dc.description.degree碩士 dc.contributor.oralexamcommittee何致和(Zhi-HeHe),陳榮彬(Rong-HinChen) dc.subject.keyword同性戀,文學翻譯,《孽子》,葛浩文,《CrystalBoys》,再現,Lefevere,父子關係,zh_TW dc.subject.keywordhomosexual,literarytranslation,Niezi,HowardGoldblatt,CrystalBoys,re-presentation,Lefevere,father-sonrelationship,en dc.relation.page106 dc.identifier.doi10.6342/NTU201802498 dc.rights.note有償授權 dc.date.accepted2018-08-08 dc.contributor.author-college文學院zh_TW dc.contributor.author-dept翻譯碩士學位學程zh_TW dc.date.embargo-terms2300-01-01 dc.date.embargo-lift2300-01-01- 顯示於系所單位:翻譯碩士學位學程 文件中的檔案: 檔案 大小格式  ntu-107-1.pdf 作者未授權公開取用1.64MBAdobePDF 顯示文件簡單紀錄 系統中的文件,除了特別指名其著作權條款之外,均受到著作權保護,並且保留所有的權利。



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