- 學位論文
翻譯艾略特的〈荒原〉：歷史、贊助和詩學
Translating Eliot’s “The Waste Land”: History, Patronage, and Poetics
摘要
艾略特的代表作《荒原》自出版以來改變了文人對「詩」的定義。透過世界各地的艾略特譯介史，能發現艾略特的作品及其詩學對法國、義大利、西班牙和日本等不同國家的文學產生了深遠的影響，而背後的原因經常是文人贊助、社會因素和文化政治。 透過爬梳艾略特的譯介史，尤其是《荒原》的翻譯史，我想要研究艾略特在中國和台灣的譯介概況，以便了解在什麼樣的時空背景下產生了哪些譯本。我想以最早的三個《荒原》中譯本為例，深入了解每個譯本產生的過程和原因，以及每個譯本背後的社會、文化及政治脈絡，並探究譯者本身的詩學及美學如何影響譯文成品。 在第一個中譯本中，葉公超和翻譯家趙蘿蕤，也是贊助者和譯者的關係值得一究。葉維廉的第二個中譯本出現在台灣現代文學運動的鼎盛時期。杜國清的第三個中譯本靈感則是來自日文最早的兩個《荒原》譯本。此外，值得細究的面向便是譯者的詩學及美學。《荒原》中譯本的前三位譯者趙蘿蕤、葉維廉、杜國清都是詩人，因此我們或許能視他們為艾略特的「共同創作者」或「重寫者」，因為譯者經常在無形中將自己的詩學和文學觀融入譯文中。
並列摘要
“‘Eliot’s ‘Waste Land’ is I think the justification of the ‘movement,’ of our modern experiment, since 1900,” said Imagist poet Erza Pound. The reception of Eliot around the world has also shown that Eliot’s works, poetics and criticisms had had profound influence upon literature in different countries, such as France, Italy, Spain, and Japan, and the results were often due to patronage, social agenda, and cultural politics. By looking at the translation history of Eliot, especially the translation of “The Waste Land” I wish to trace the historical overview of Eliot’s reception in both China and Taiwan so as get an understanding of when, what and why certain translations appear. Then, with the three earliest Chinese translations of “The Waste Land” as examples, I wish to see how and why each of them were produced in the first place, and how the social agenda, cultural politics, institutions, and poetics of each translation played a part in the making of the translated text. In the case of the first translation, there were a number of important patrons to consider, most notably George Yeh and the translator Zhao Luorui. In the case of the second translation, Wai-lim Yip along with many other poets were in the heyday of the Taiwanese modernist movement. From Yip’s translation, I wish to know what are the social agenda and cultural politics involved in the translation. In the case of the third translation, K. C. Tu’s translation was one of a kind for its inspiration from two earliest Japanese versions of “The Waste Land”. Another aspect to be considered is the poetics of the translators. The first three translators of the Chinese version of “The Waste Land”—Zhao Luorui, Wai-lim Yip, K. C. Tu, were all poets themselves. In many ways, we may consider them as co-creators or rewriters of Eliot since by translating, they may have embedded their own poetics and literary views into their translations.