霹靂布袋戲武俠專有詞分析及翻譯困難之研究

Analysis of Pili Puppet Shows' Terms of WuXia and Translation Difficulties

布袋戲是一種起源於17世紀的地方戲劇，至今最成功的就是臺灣的霹靂布袋戲。但在進軍全球市場上，其遭遇不少挫折，語言不通加上文化差異，難以符合外國人觀賞習慣與期望。霹靂在尋找翻譯人才上遇到相當大的困難，國內外亦無相關的布袋戲翻譯論文可供譯者參考。因此本研究者將從霹靂布袋戲長年經營的DVD影集進行翻譯困難研究，運用語料庫及文本分析的研究方法，針對霹靂最具代表的武俠專有詞進行原文文本分析，系統性探究語言特色及其對應的翻譯困難，最後提出可因應的翻譯策略。研究發現，「武功絕學」及「人物角色」的專有詞所佔比例最高，且運用的命名技巧最多，因此為主要的翻譯困難處。另外，專有詞常為「多字詞」，且有重覆詞素的現象，為免專有詞的英譯重覆，譯者需至少翻譯二個詞素。本研究運用奧圖卡德（Otto Kade）的四種對等模式，提供多種翻譯策略，供譯者參考。

Puppet shows, one type of local opera in Taiwan, originated in the 17th century. Of the current puppet show companies, Taiwan's Pili International Multimedia is the most successful in this industry and has been trying for many years to enter the international market. However, they have faced difficulties due to the language barrier and cultural differences, and they have difficulty meeting the viewing habits and expectations of foreign audiences. Pili has also found it very difficult to find translators and to retain the linguistic features of Pili puppet shows in the translations. Moreover, no previous research related to puppet show translation for translators is available for reference. The present study used corpus and text analysis to analyze the terms of Wuxia and corresponding translation difficulties. The results show that terms related to “Kung-Fu” and “Characters” have the highest rates of appearance and tend to share the same morphemes. Those terms also apply more naming strategies than other kinds of Wuxia terms, which cause major problems in translation. To avoid producing repetitive translations, translators need to translate at least two morphemes. The present study adopted Kade's four types of equivalence to offer possible translation strategies. It is expected that this study will help translators to translate puppet shows and establish principles of puppet show translation.