在台灣文學或是文化場域當中,翻譯做為一個現象一直是存在甚至是貫穿其中的。「翻譯」和「語言」就好像是一體兩面的銅板,構成了台灣文學複雜多變的地貌。近來的文化翻譯研究觀點或許提供了我們一個新的視角以及可能性,來重新閱讀這些存在在台灣文學史以及文化場域當中的翻譯現象。本文試圖援引晚近新興翻譯研究所開發的新視點:將翻譯視為一種跨越語境/跨越文化的實踐。尤其,透過當代文化翻譯的概念和尼蘭加納(Tejaswini Niranjana)提出的後殖民翻譯實踐以及翻譯與歷史的關係,嘗試重斯思考台灣戰後初期跨語世代的「譯腦」現象。如果翻譯就是一種跨界的隱喻,是不是可以說戰後初期「跨越語言的一代」其實也在這種身分的轉換當中進行著語言、文化乃至主體的翻譯工作。他們被時代所跨越,被文化所跨越,被語言所跨越,而總是處於翻譯與被翻譯之中。
In Taiwan literary field, translation has been a particular phenomenon. ”Translation” and ”language” are two sides of one coin that constitute the multiple features of Taiwanese Literature. Since the paper seeks to deal with the translation issue, I want to use recent theory of cultural translation as a starting point to reexamine the translation practice in Taiwan literary field. In recent theory of cultural translation, they view translation as a practice of transcultural and translingual. Furthermore, the paper seeks to employ the theory of Tejaswini Niranjana who thinks the problematic of translation and the writing of history are bound together to reexamine the ”brain translated” phenomenon happened on the translingual generation after 1945. It is found that their writings are not only translingual practice but also transcultural practice. And they lives always already ”in translation”.