近年來,文學譯者之地位越來越受重視,但針對「譯者主體性」或「譯者能見度」之研究,主要仍圍繞在「原作者」與「譯者」、「原作」與「譯作」以及翻譯策略的探討;直到語料庫的興起,才帶動了文學譯者風格之研究,並確立文學譯者在翻譯過程之主導地位。為了擴大研究譯者之譯作風格,更有學者提倡將譯者的個人文學創作納入研究;本論文即採用此一研究方法,針對余光中和張愛玲《老人與/和(大)海》之譯作以及二位的個人散文創作,進行詞彙及句法的比較與分析,以探討「譯者能見度」彰顯之現象。研究發現,余光中和張愛玲確實將散文的詞彙與句法風格帶入《老人與/和(大)海》之譯作中,進而彰顯了「譯者能見度」。整體而言,本論文為譯者風格與譯者個人文學創作間的關係進行了初步性探討,同時驗證了譯者若身兼文學創作者,往往會將文學創作風格融入譯作,進而普遍彰顯了譯者之能見度。
The impact of the translator’s viewpoint on a translated text has been debated for a long time; but the issues of translator subjectivity and (in)visibility are relatively neglected topics in the literary translation. Corpus analysis techniques offer the possibility of quantifying the influence of the individual literary translator on the translated text. Olohan proposes that this influence could be isolated by comparing the translation with “control” non-translated texts written by the same translators. Acting on this suggestion, this paper analyses the words and sentence patterns of Ernest Hemingway’s The Old Man and the Sea translated by Yu Kuang-chung and Chang Eileen, and compares it with the style of the same two translators’ literary writing, hoping in this way to gain insight into the extent of the translator visibility. The results show that both translators apply their literary writing style to their translation and, in this sense, translator visibility is established and observable. The research is thus a concrete realisation of Olohan’s original proposal.