吳爾芙的今生來世－以〈譯者之責〉論〈安卓珍尼〉中傳承的現代主義

文學家的肉身會衰老、消失，但他們作品裡的精髓往往會隨著時間的淘洗，以各種方式「翻譯」，籍由另一種表現形式流存下來，這些「譯作」則成了班雅民(Walter Benjamin)所云原作的「來世」(afterlife)。吳爾芙(Virginia Woolf)為二十世紀女性主義作家的先驅，以意識流的技巧獨樹一幟，其纖細、敏感的寫作方式則反映出英國現代主義的精神。在吳爾芙的小說中，主角自由穿越時間、空間甚至性別的界線，展現女性的自主性。在中文世界中，香港作家董啟章獲聯合文學小說新人獎的中篇小說〈安卓珍尼〉不但實踐了吳爾芙在《自己的房間》(A Room of One’s Own)所闡釋的雌雄同體概念，也通用了若干《戴洛維夫人》(Mrs. Dalloway)中的主題與技巧。本立即擬以〈安卓珍尼〉為對象，討論這部中文現代小說的主題、結構與技巧，藉班雅民譯論剖析董啟章如何以〈安卓珍尼〉傳承吳爾苵作品中的現代主義特色，延續原作生命。

關鍵字

吳爾芙；班雅民；純粹語言；現代主義；安卓珍尼

並列摘要

Writers perish, but their works live on. The essence of the literary works can be carried on through various kinds of ”translations.” For Walter Benjamin, these ”translations” become the ”afterlife” of the original. In the 20(superscript th) century, the writer Virginia Woolf heralded the feminist movements. Her use of stream of consciousness is so unique and her subtlety and sensitivity reflect the spirit of English modernity. In her novels, the characters can freely cross the borders of time, space and even gender to demonstrate their autonomy. Dong Kai-cheung, a writer from Hong Kong, won Taiwan's Unitas Award for New Fiction Writers in 1994 for his novella ”Androgyny.” This novella not only realizes the ideal of androgyny illustrated by Woolf in A Room of One's Own, but also borrows a variety of techniques from Mrs. Dalloway. Therefore, this paper aims to examine the motif, structure and techniques of this Chinese novella. By means of of Benjamin's theory, it analyzes how Dong inherits the modernist characteristics from Woolf's works and prolongs the life of the original.