當西方奇幻遇上東方思想：《地海傳說》系列中譯本之翻譯策略與風格評析

王婉卉

doi:10.6342/NTU201703782

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當西方奇幻遇上東方思想：《地海傳說》系列中譯本之翻譯策略與風格評析

When Western Fantasy Meets Eastern Philosophy: An Analysis and Comparison of the Translation Strategies and Style of The Earthsea Cycle

王婉卉 , Masters　　Advisor：石岱崙　　

英文 DOI： 10.6342/NTU201703782

娥蘇拉‧勒瑰恩；地海傳說；奇幻文學；翻譯策略；風格；仿古； Ursula K. Le Guin ； the Earthsea Cycle ； fantasy literature ； translation strategy ； style ； archaism

Abstract │ Reference (81) │ Altmetrics

Abstract 〈TOP〉

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The Earthsea Cycle not only raises Ursula K. Le Guin’s status to one of the masters in Western fantasy literature, but is also praised as one of the fantasy classics. Le Guin tells great adventures of the physical and the spiritual journey of the characters with her elegant writing style; in particular, she ingeniously integrates Taoist philosophy in a setting of traditional Western fantasy. Therefore, while the first trilogy is considered to be young adult fictions, the novels are full of philosophical issues, not to mention the second trilogy released after nearly two decades of contemplation and maturity. Taking the genre, simple diction and rhythmic structure into consideration, it is indeed unique that the traditional Chinese translations present a style carrying several traces of archaism. In addition, the first and last three books are translated by two different translators, yet both styles seem to be similar to each other, which deserves critical analysis from the perspective of translation.
The present thesis will focus on the style of The Earthsea Cycle, investigating what the translation strategies of the two translators have in common or differ from each other. The evidence of archaism will be another focus while whether archaism is necessary or proves to be abrupt in the translation will also be explored. The analysis will begin with the definition and features of style. Based on the three main categories of linguistic, grammatical and rhetoric, the texts in the Cycle are devided into five subcategories, including diction, proper names (personal names, place names and proper nouns), rhythm (dialogue and description), idioms and sayings, and songs and poetry. Next, examples will be compared and analyzed under each subcategory. Finally, the overall translators’ style will be revealed with a summary of the strategies.
With the comprehensive analysis, the two translators do choose to adopt an overall domesticated style despite some minute differences in certain strategies. Both select archaic or uncommon diction, often using four-character length, short phrases, parallelisms and repeated structure, conforming to the common paratactic feature of Chinese writing with an apparent trace of archaism. However, compared with the concise and simple style in the original, the translators seem to achieve the conciseness but with extra embellishment, lacking the simplicity Le Guin displays in the Cycle. Additionally, although the archaism can often been spotted in the translation, the unskillfulness might result in ambiguity and translationese. Thus, one of the possible solutions could be resorting to a plainer and less indirect style.

Reference ( 81 ) 〈TOP〉

Le Guin, Ursula K. A Wizard of Earthsea. Puffin Books, 1971.
連結：
---. Dihai wushi 地海巫師 [A Wizard of Earthsea]. Translated by Tsai Meiling 蔡美玲, Miaosi chuban, 2002.
連結：
---. Dihai gumu 地海古墓 [The Tombs of Atuan]. Translated by Tsai Meiling 蔡美玲, Miaosi chuban, 2002.
連結：
---. Dihai bian 地海彼岸 [The Farthest Shore]. Translated by Tsai Meiling 蔡美玲, Miaosi chuban, 2002.
連結：
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