混種文化翻譯者的凝視－－論劉吶鷗對殖民主義文學的引入和轉化

The Gaze of a Hybrid-cultural Translator: A Discussion of Liu Na’ou’s Introduction to and Transformation of Colonial Literature

劉吶鷗 (1905-1940) 生長於日治時期的臺灣，中學赴日求學，畢業後赴上海震旦大學就讀法文特別班，為其富有殖民地色彩的成長背景，增添多元現代性的特質，包含了歐洲、日本、臺灣和中國大陸的語言和文化特徵。通過廣泛接觸不同的現代主義作品，與翻譯法國保爾．穆杭 (Paul Morand, 1888-1976) 和日本的現代小說，吸納兩者的凝視策略，影響他成為一位混種文化的中間人。在此基礎上，他進而創造其具有不同程度的殖民主義文學特質的小說，表現出跟西方和日本不同的性別凝視關係。本文將梳理出這個翻譯和演化的過程，研究劉吶鷗小說表現出怎樣的性別和殖民凝視，並討論他作為混種文化翻譯者的影響和意義。

Liu Na’ou (1905-1940) was born in Taiwan during the Japanese occupation period. Pursuing his high school education in Japan, he proceeded to learn French at Aurora University in Shanghai after graduation. These experiences added to his colonial background and “multi-modern” perspective, which embraced the linguistic and cultural features of Europe, Japan, Taiwan, and China. Through extensive exposure to a broad range of modernist works as well as his translation of modernist novels by Japanese authors and Paul Morand (1888-1976), Liu Na’ou adopted the two approaches of gaze. This, in turn, inspired him to emerge as a hybrid-cultural middleman. Based on this foundation, he continued to write novels that reflected various degrees of colonialism, showing a different gendered gaze than that found in the West and Japan. This paper examines the development of Liu Na’ou’s translations, particularly with regard to the manifestation of gendered gaze and colonial gaze. In addition, the paper discusses the significance and impact of Liu Na’ou as a hybridcultural translator.