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  • 學位論文

浪漫愛的譯與易:1960年以後的現代英美羅曼史翻譯研究

The Translation/Mutation of Romantic Love: An Exploration of the Translation History of Modern Romances in Taiwan after 1960

指導教授 : 李根芳
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摘要


浪漫愛的譯與易: 1960年以後的現代英美羅曼史翻譯研究 羅曼史(Romance)在西方是個源遠流長的文類。中古時代的羅曼史指的是英雄騎士的故事──但浪漫愛也是其中重要的因素。此一文類的範疇迭經變更,到了現代,自禾林羅曼史(Harlequin)系列在英美廣受歡迎,銷售長紅後,其他出版社也陸續跟進,大量出版,蔚為潮流,甚至譯成多國語言,風行各地。結果是,現代的羅曼史小說似乎窄化成為了專指此一類型的愛情敍事,如雷姆斯戴爾(Ramsdell 1999)定義為:「愛情故事;其重心是兩名主角之間的發展、和滿意的結局,提供讀者在情愛追求的過程裡,某種替代性的滿足。」美國羅曼史協會(Romance Writers of America)則稱之為:以愛情故事為主,情節集中於男女關係的衝突,並在故事的高潮時,化解此一衝突……在小說裡,男、女主角為彼此、和此段關係冒險、奮鬥,其獎賞則是感情得償,以及無條件的愛情(http://www. rwanational. org/romance.stm)。 但在「現代羅曼史」裡,又可以包含「現代歌德式羅曼史」(Modern Gothics)此一次文類。一般認為,美國的現代歌德式羅曼史熱潮始於1960年,維多莉亞.荷特(Victoria Holt)的《米蘭夫人》(Mistress of Mellyn) 。也大約在同年,台灣引進其翻譯,先是在大華晚報的副刊連載刊出,因為讀者的反應熱烈,皇冠出版社於1961年推出單行本,跟著更多維多莉亞.荷特的作品、以及風格相近的瑪麗.史都華的懸疑小說也被譯入。至於非歌德類型的羅曼史,則有芭芭拉.卡德蘭(Barbara Cartland)的作品首先於1977年譯介引入台灣,同樣廣受歡迎,並引發了另一波外國羅曼史的翻譯熱潮──包括禾林羅曼史、和英、美的當紅羅曼史系列都陸續被譯入。由70年代末到90年代初的台灣,可以說是羅曼史翻譯的黃金期,每月出版數十本,主宰了本地的羅曼史巿場。但在90年代後,羅曼史翻譯熱潮逐潮步入衰退期──部份是因為著作權法的通過,再加上本國作家所寫的羅曼史漸受歡迎。他們在吸取其成功經驗後,加入傳統的中國因素,大受歡迎,反而取代了翻譯羅曼史的王位。 本論文擬探討現代英美羅曼史此一文類在台灣的譯介、受歡迎及衰退的現象,並試著探索其原因及衝擊。例如,比較傳統的中國愛情小說,此一移植進來的文類有何差異,又為何能夠吸引廣大的台灣讀者?直探羅曼史的本源,其吸引力的主因或許正在其異國風味(exotic flavors)?而哪些「異質性」是本土羅曼史的文學型式庫(如瓊瑤的作品)裡所沒有的──如情慾的書寫──並需要藉由翻譯引進的?值得注意的是,在其譯介的過程裡,究竟產生了什麼樣的改寫、編譯、以及本地化的現象?源文文本究竟如何被馴化了? 筆者主張,羅曼史的翻譯可以視為一種動態、在地化的譯/易的過程。正如論文裡指出的,一方面,在版權法通過前,受到譯文文化的制約,譯者往往會在翻譯的過程裡,改譯/易羅曼史文本,便於它們在譯文文化裡被接受,也使得它們的面貌與源文有異;另一方面,因為羅曼史的翻譯,也會在譯文文化裡產生變易,促成新一代的本土羅曼史的興起。整體上來說,此一譯/易的過程也可以說是一種藉由翻譯引入的外來質性,豐富了譯文文學裡的番易。 最後,本論文一方面會援引埃文-佐哈爾(Even-Zohar)的多元系統論的觀點,檢視翻譯羅曼史的興衰與流變,另一方面,也會在對羅曼史的性別關係進行文本分析時,借助紀登思(Giddens)提出的浪漫愛與滙流愛的概念。筆者主張,浪漫愛此一自清末民初就經由譯介被引進、吸收的愛情觀,一直影響了廣大的女性閱眾。再則,在羅曼史的流變裡,不但可以看到浪漫愛的體現,也可能有了滙流愛的雛型。獨立、平等、自決、反思的關係是紀登思對親密關係的願景,而它是否也可以成為女性書寫羅曼史的願景?

關鍵字

翻譯  羅曼史 言情小說 愛情 浪漫愛 滙流愛 情慾

並列摘要


The Translation/Mutation of Romantic Love: An Exploration of the Translation History of Modern Romances in Taiwan after 1960  Abstract Romances have long been an established genre in the west. In the medieval times, romances are stories about heroes and knights, with romantic love being one of its important elements. The defining qualities of this genre might have varied through the centuries, yet it was the amazing popularity and sales figure of Harlequin romances in the latter half of the 20th century that would reshape its definition. Following the success of Harlequin, publishers in U.S.A. rushed into this market and published tons and tons of romances. Many of these were translated into different kinds of languages, exported overseas, and were well-received all over the world. As a result, modern romances are now associated with a certain kind of love narratives, defined by Ramsdell as “[a] love story in which the central focus is on the development and satisfactory resolution of the love relationship between the two main characters, written in such a way as to provide the reader with some degree of vicarious participation in the courtship process.” Romance Writers of America called it, “[a] Central Love Story. In a romance, the main plot concerns two people falling in love and struggling to make the relationship work. The conflict in the book centers on the love story. The climax in the book resolves the love story……In a romance, the lovers who risk and struggle for each other and their relationship are rewarded with emotional justice and unconditional love.”(http://www/rwanational.org/romance) Also included in the genre of modern romances are the Modern Gothics. It is generally agreed that the Gothic boom in U.S. A. began with the Mistress of Mellyn, written by Victoria Holt in 1960, which was then translated into Taiwan, first serialized in the newspaper and then released as a single title in 1961. The translation was an immediate hit and paved the way for more translation of Victoria Holt’s works to come, with Mary Stewart’s suspense romances soon following suit. As for non-Gothic romances, Barbara Cartland’s works were first translated into Taiwan in 1977—another great hit that led to an onslaught of translation of Harlequin romances and its like to come. It was calculated that from the late 70s to early 90s, translated romances flooded into Taiwan at a publishing rate of dozens of titles per month and dominated the local romance market. Then they gradually faded out of the market in late 90s, partly due to the enforcement of the copy right law and mostly because its market shares were gradually eroded by works written by local romance writers, who copied the success formula of translation romances, injected their works with elements from Chinese Culture, got more and more popular, and finally overthroned their predecessors. This dissertation aims to explore the transmutations of modern romances translated into Taiwan after 1960, tracing the rise and fall of this genre, and tries to figure out the reason for its popularity and its impact. It might serve to ask: what’s the difference between this imported genre and the more traditional Chinese love stories? What’s its greatest appeal to Taiwanese women readers? Could it be that women readers in Taiwan are drawn to it by its exotic flavors? What foreign elements are found lacking in the repertoire of the Target Literature, as in the works of Local Romance Queen Xiong Yao, e.g., the erotics, and needed to be imported from abroad through translation? Most important of all, what kind of re-writing, adaptation and localization was involved in the process of its introduction and translation? What kind of domestication of the Source Text was taking place in translations? It is argued that the translation of romance might be viewed as the dynamic process of localized translation/mutation. As it has been pointed out in this article, the transmutation took place in both ways. On one hand, before the enforcement of the copy right law, translators, constrained by the norms of the Target Culture, might translate the Source Text in such a way that it suffered great changes during the translation process. On the other hand, the Target Literature might be transformed because of the translation itself. In this way, the translation history of the modern romances might be regarded as the enrichment of the Target Culture through the import of foreign elements. It remains to be pointed that while Even-Zohar’s Polysystem Theory will be cited to examine the translation/mutation of modern romances in Taiwan after 1960, Giddens’ definition of romantic love and confluent love will also help in the analysis of the gender relationship in these works. It was argued that, the idea of romantic love, starting with its Chinese translation at the turn of the 20th century, have had a great impact on the Chinese women readership. The dissertation will also trace the embodiment of romantic love, and possibly, the budding of confluent love, in the translation/mutation of the romantic writings. An intimate relationship based on independence, gender equality, freedom of choice and self-reflexivity is Giddens’ vision of confluent love. Could it be the vision of women’s writings of romances, too?

並列關鍵字

Translation Romance Love stories Love Romantic Love Confluent Love Erotic

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