翻譯艾略特的〈荒原〉：歷史、贊助和詩學

王姿云

doi:10.6342/NTU202103655

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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

王姿云 , Masters　　Advisor：陳榮彬　　

英文 DOI： 10.6342/NTU202103655

艾略特；重寫；詩學；譯介史；贊助； Eliot ； Rewriting ； Poetics ； Translation history ； Patronage

Abstract │ Reference (39) │ Altmetrics

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“‘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.

Reference ( 39 ) 〈TOP〉

Bassnett, Susan and Lefevere, André, editors. Translation, History and Culture. London: Cassell, 1995, pp. ix.
Cai, Xinchun 蔡欣純. A Research of Kuo-ch’ing Tu 's Modern Poetry, Literature Translation, and Poetics 論杜國清現代詩創作、翻譯與詩論. 2009. Taiwan Normal University, MA thesis.
Chen, Yunyuan 陳允元. “Lun duguoqing zai xiandai wenxue li de yi jie huodong yu
zhanqian shidai shiren chenqianwu de jiaoshe yu jiaocuo” [論杜國清在《現代文學》、《笠》的譯／介活動──與戰前世代詩人陳千武的交涉與交錯]. Wenshi taiwan xuebao 文史台灣學報, vol. 13, 2019, pp.61-83.
Chen, Jianzhong 陳建忠. “Meixinchu (USIS) yu taiwan wenxueshi chongxie :yi meiyuan wenyi tizhi xia de taigang zazhi chuban wei kaocha zhongxin” [「美新處」（USIS）與台灣文學史重寫：以美援文藝體制下的台、港雜誌出版為考察中心]. Guowen xuebao 國文學報, vol. 52, 2012, pp. 211-242.

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