跨越純土耳其語的界線：奧罕‧帕慕克之土耳其文原著《我的名字叫紅》及其英文譯本的風格分析

Crossing the Boundary of Pure Turkish (Ö z Türkçe): Stylistic Analysis of Benim Adım Kırmızı by Orhan Pamuk and Its English Translation

奧罕‧帕慕克是聞名於世界文壇中的其中一位土耳其作家，而他的作品已有超過四十種語言以上的海外譯本；然而有關於其作品的所有中文譯本卻並非從土耳其文原文直譯。本篇論文以其膽炙人口的土耳其文原著小說《我的名字叫紅》（＂Benim Adzm Kzrmzzz＂）及其英文翻譯為例，透過例證與評論的方式，利用前景化理論分析帕慕克的寫作風格。帕慕克在寫作上的「多元」風格不僅反映出他對於東、西方議題的觀點，更創造出他期望在小說中所呈現的文學效果與意象。他企圖擺脫土耳其語言改革以來的純土耳其語的框架，創造出多元的語言風格。而本書的英文譯者Erdag Goknar試圖運用古語、俚語等多樣化的英語詞彙及表達方式創造出與英語讀者閱讀習慣迴異的譯文。本文的目的則是分析帕慕克的文學風格以及G5knar在其英語譯作中如何展現原作寫作風格的方法。

Orhan Pamuk is one of the famous Turkish writers in the world, and his works have been translated into more than forty languages. However, all the Chinese translations of his novels were not rendered from the Turkish original. In order to analyze the style of Pamuk, this thesis examines one of his notable literary works Benim Adım Kırmızı and its English, as well as Chinese translations in the light of Foregrounding Theory through examples and commentary. Pamuk’s “mixed style” not only reflects his points of view on the issue of the East and the West, but also creates the literary effects and imagery he expects. He attempts to cross the boundary of Pure Turkish derived from Turkish Language Movement, thereby creating diversified language style. The English translator Erdağ Göknar tries to create dissonant translation with the diversity of English vocabulary, such as archaisms and slangs. The aim of the article is to analyze the literary style of Pamuk himself and to examine how Göknar conveys the original’s language style in his translation.