流浪與翻譯：三毛的作家與譯者身分研究

三毛是臺灣1970－1980年代極受歡迎的作家，她以《撒哈拉的故事》（三毛，1976）、《哭泣的駱駝》（三毛，1977a）、《萬水千山走遍》（三毛，1981）等書，自傳式描寫流浪沙漠的故事，以及在中南美洲旅遊踏查的見聞，因而在當時的年代，創造出流浪文學的文化現象。身為女性遊走在各種不同的文化之間，三毛的生活經驗即是一種翻譯。在流浪散文書寫之外，她也翻譯了丁松青（Barry Martinson）神父的三本書，以及阿根廷漫畫家季諾（Quino）的漫畫《娃娃看天下》（Mafalda）（季諾，1974／2014）。本文參考Berman（1995／2009）所提出之譯者研究方法，從翻譯立場（position）、翻譯計畫（project），與翻譯視域（horizon）面向，探討三毛的作家身分、譯者意識，以及其翻譯計畫。透過分析三毛的流浪書寫與翻譯作品，呈現譯者及其譯作所反映的時代剖面。三毛因流浪書寫而一舉成名，造成華語文壇上的三毛旋風，讓她進而以Lefevere（1992）所說的贊助者（patronage）身分，主導、甚而改寫（rewrite）接下來的翻譯計畫。在三毛的書寫與譯寫中，歸化與異化的策略交替出現，達到特別的效果。而她改寫原作的翻譯方式，也顯示作者、譯者間另一種密切的合作關係。

關鍵字

三毛；流浪文學；丁松青；瑪法達；女譯者

並列摘要

Chen Ping, famously known as Sanmao, was a highly popular female writer in Taiwan during the 1970s and 1980s. In Stories of the Sahara and Far Across the World, she narrated her life experiences wandering in the Sahara desert and in Middle and South America at a time when traveling was not very convenient and women crossing borders to remote lands were very rare. Accordingly, Sanmao was recognized as the leading figure in wandering literature of her time. As a woman who spoke multiple foreign languages and shuttled among different cultures, Sanmao figuratively lived a life of translation. Translation was her reality as well. In addition to her cross-cultural writings, she also produced Chinese translations of Barry Martinson's English books and Quino's Spanish Mafalda comics. Sanmao's fame also enabled her to act as the ＂patron,＂ as described by André Lefevere, to dominate and rewrite her translation projects. The author of this paper adopted Antoine Berman's suggested translation approaches to reveal Sanmao's translation position, translation project, and translation horizon. This integrated analysis of Sanmao's literary output and her identity as a writer and translator sketches the contours of her era through her translations. Sanmao's domestication and foreignization strategies and her rewriting plans proved particularly effective and demonstrated new levels of cooperation between writers and translators.