「拾藏」是2018年國立臺灣文學館開發的文學品牌,具有「拾起熠熠發光的藏品」之意,致力於將藏品「轉譯」為故事與商品。「轉譯」一詞的使用,目前多與實務相關。本文嘗試援用德希達討論「傳承」的概念,以及詹姆斯.楊關於「紀念物」的思考,從理論層面分析「轉譯」的文學史意義。本文藉「拾藏」之名,談《小封神藏寶圖》遊戲轉譯的路徑。首先,因為一九九○年代各縣市作家作品集出版的「薪火相傳」,而有《許丙丁作品集》的整理,開啟其後《小封神》的相關研究,是二○一○年代轉譯的立基。其次,遊戲中的寶藏,兼及台南廟宇特藏、博物館與圖書館館藏,並且在主線《小封神》新編故事外,另有支線《台灣男子簡阿淘》。遊戲因此將許丙丁的除魅神魔迷信,轉譯為除魅威權幽靈,既傳承台灣文學故事,同時也回應當代文化記憶的尋索。
"Archive selection" is the literary brand developed by the National Museum of Taiwan Literature in 2018, evoking the idea of "collecting glistening precious objects," and expending effort to "transform" the collected objects into stories and merchandise. The use of the word "transformation" is currently most often related to practice. This article draws on the concept of "inheritance" discussed by Jacques Derrida, as well as James E. Young's reflections on "memorials," to analyze the literary historical significance of "transformation" from the level of theory. Through the concept of "archive selection," this article discusses the path of the transformation of the game The Crazy Gods Show. First, owing to the passing on of knowledge in the 1990s through the publication of collected works of authors from various counties, the Collected Works of Hsu Ping-ting were compiled; this was the start of research on Hsu Ping-ting's Xiao Fengshen, which formed the foundation of transformation in the 2010s. Second, the precious objects collected in the game draw upon the collections of temples, museums, and libraries in Tainan; meanwhile, aside from the main plot based on a new version of the story of Xiao Fengshen, there is also a subplot based on Son of Taiwan - Chien A-tao. The game thus transforms Hsu Ping-ting's elimination of superstitious belief in gods and demons into the elimination of the specter of authoritarianism. Through this, it passes on the story of Taiwan literature, while at the same time responding to the contemporary search for cultural memory.
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