吳爾芙的《歐蘭朵：一部傳記》中譯在台灣的變形記

TheTransformation and Translationof Virginia Woolf's Orlandoin Taiwan

吳爾芙在世界文學的經典地位毋庸置疑。她於1928年所發表的《歐蘭朵：一部傳記》（Orlando：A Biography），一方面有傳記作品的考據之實，另一方面又展現了跨越文類疆界，以詼諧戲謔筆法打破現實與虛擬界限的高度創意。這部作品的中譯與1993年改編電影問世不無關係，迄今共有四個中譯本。本論文試圖藉由法國符號學家惹內（Gérard Genette）的「附文本」（paratexts）、翻譯學者雷飛維（AndréLefevere）「翻譯為重寫」等概念，來探討不同時期各家譯者與各個出版社所「包裝操縱」的吳爾芙，如何打造出各種不同形貌的《歐蘭朵：一部傳記》，學者單德興所提出的「雙重脈絡化」的概念適切地點出了譯者之責，有助於進一步釐清譯作的定位。本論文希望藉由惹內對「附文本」的討論，首先檢視原作中吳爾芙如何利用各類附文本，遊走跨越文類疆界，打破現實與虛構的界限，凸顯出附文本與正文的交互映照，開啟了多重解讀的可能性；其次再檢視譯文重寫者，如何利用各種出版機制及版面設計等各類附文本，形塑我們對一部作品的認識，藉由雷飛維對翻譯即重寫的討論，來剖析譯作在經過重新詮釋與重寫者的操縱後，如何產生新的意義與影響。

Virginia Woolf with her great talent as a writer and thinker has achievedcanonical status in world literature. There is no doubt that she was one of the most distinguished modernist writers in the twentieth century and her works continue to have animpactintoday's world.When Virginia Woolf was first introduced to Taiwan's readers in 1960, her works were indeed seen as a stimulus to contemporary literary production, butit wasn't until the 1990s that Woolf's works were translated into Chinese on a larger scale and became more widely acknowledged by Taiwan's readership. However, only certain novels were translated and in some cases, a single text gave rise to three or four different translations. The film productions of Orlando(1993) and The Hours(2003) have played an important role in promoting Woolf's popularity in Taiwan.This article will attempt to examine Orlando, one of her most popular works in Taiwan, and investigate how different translators render this witty and poetic text. Orlandowas first translated into Chinese in 1993, the same year the film version was released in Taiwan, and since then, fourmore versions of the work have appeared on the market (themost recent onebeing released in 2008). Why did the publishers want to produce different versions? What imagesdo these four translations represent? What translation strategies do the translators adopt in order to deal with Woolf's innovative style? This studyapplies the theoretical frameworks of Gérard Genette and of André Lefevere in order to investigate the fourrecent translations of Virginia Woolf's Orlando. In addition,Shan Te-hsing's concept of 'double contextualization' fittingly explains how a translated work should be placed in the target culture. It is hoped that this case study can shed new light on the historiography of literary translation in Taiwan in particular andoftranslation studies in general.