跨族群翻譯與歷史書寫：以李昂〈彩妝血祭〉與賴香吟〈翻譯者〉為例

Cross-Ethnic Translation and Historiography: The Instances of Li Ang's ＂Rouged Sacrifice＂ and Lai Hsiang-yin's ＂The Translator＂

本文援用酒井直樹的翻譯門檻論和廖朝陽的翻譯倫理學，試圖從翻譯的角度出發，深入探討文化與政治上的強勢族群和弱勢族群之間的溝通和權力關係，以及弱勢族群、乃至於弱勢中的弱勢族群的歷史經驗之表述、再現與翻譯的問題。在強勢的國語文化下，弱勢族群以國語書寫其被壓抑抹煞的歷史經驗總已是跨族群的翻譯與歷史書寫。如何翻譯才能讓外省人以同理心理解而非曲解，乃至於引發其焦慮或打壓？而弱勢中的弱勢如何再現、翻譯其經驗？本文想要藉由討論李昂〈彩妝血祭〉和賴香吟〈翻譯者〉，探討跨族群翻譯與歷史書寫的問題。兩篇小說一篇處理二二八與白色恐怖，另一篇處理反對運動，都涉及了弱勢以及雙重弱勢的表述問題，以及可譯性與不可譯性的張力。

In light of Naoki Sakai's theorizing of translation as liminality and Chaoyang Liao's theorizing of the ethics of translation, this paper looks into the power relationship between the culturally and politically powerful ethnic group and minorities as well as the translation of the historical experiences of ethnic minorities, especially minority women and homosexuals, in Taiwan. In Taiwan's mandarin culture under the colonial rule of Kuomintang, for ethnic minorities to write in mandarin about their historical experiences that had hitherto been officially suppressed and erased always entails cross-ethnic translation and historiography. How to translate their experiences in order for the mainlanders to empathize with rather than misunderstand them? How can minority women and homosexuals represent and translate their experiences? This paper uses the instances of Li Ang's novella ＂Tsai-chuang Hsieh-chi＂ (Rouged Sacrifice) and Lai Hsiang-yin's novella ＂Fan-yi Che＂ (The Translator) to analyze the issues involved in cross-ethnic translation and historiography. The two novellas, one dealing with the 2-2-8 massacre and the White Terror, the other the rise of the Opposition in the 1970s and 1980s, tackle the self-representation of ethnic minorities, particularly minority women and homosexuals, as well as the tension between translatability and untranslatability.