1992年出版的《少年噶瑪蘭》走李潼最著名暢銷的少年小説,在台灣與中國都曽獲獎。1998年,由中由美子翻譯為日文,是第一本翻譯成日文的台灣少年小説。作者透過本書,欲呈現台灣多語言多族群的發展歴程,而日文譯者也強調「讀完這個故事之後,將會看到不同面貌的台灣社會」。本文扣緊這個主題,探討日文譯本是否充分達成呈現台灣多語言多族群社會之目標。本文將從語言翻譯和文化翻譯等兩個層面探討《少年噶瑪蘭》日文譯本。李潼在《少年噶瑪蘭》刻意呈現台灣社會多語混用的情況,文本中出現的語言有北京語、噶瑪蘭語、閩南語,所呈現文化有漢文化,噶瑪蘭族文化、70年代後期之台灣大眾文化。在語言翻譯方面,譯者以片假名表現噶瑪蘭語,人名和地名則是漢字旁以片假名標示北京話發音,善用了日文語言有三種文字的特色,這様的翻譯策略呈現了文本中的多語性,但譯本中閩南話與北京話的標記出現混用,以致古今場景的轉換未能呈現,有關漢文化、噶瑪蘭族文化、當代台灣大眾文化的翻譯也未達應有之效果,失去了作者刻意營造的歴史氛圍。本文除了分析譯本的問題點之外,也試圖提出解決這些翻譯問題的方案。
Published in 1992, ”Kavalan Boy” was the most popular novel Li Tong had ever written for youth. It received an award in both Taiwan and China. In the book, t he author intended to present a multi-level society with diversified languages and races in developing Taiwan. In 1998, this book was translated to Japanese by Naka Yumiko, never before had a Taiwanese youth novel been translated to Japanese. Naka Yumiko strongly emphasized that ”one would seen multi-faced Taiwan by reading the story.” Therefore, the following study was going to exam whether or not the Japanese version of ”Kavalan Boy” had fully reflected multi-languages with diverse races in Taiwan. This study not only analyzed some translation issues in the Japanese version, but also offered solutions to solve those problems.