跨越文化藩籬：『浪漫騎士唐吉訶德』之副文本變異

Leaping Over the Cultural Barrier: Transformation of Paratext in Chinese Translation of ＂Mi primer Quijote＂

根據Genette（1997），所有將文本轉變成書本的成分都視為副文本（paratext），其中又分為內部副文本（peritext）和外部副文本（epitext），內部與外部副文本的劃分基準為出版品－書本。要成就一本出版品，出版社有其舉足輕重的角色，因此Genette更區分出了歸屬出版社的內部副文本；它包含書本大小、封面、封底、字體、印刷等設計。另一方面，誠如House（1981）所言，譯者應該在原文與譯文之間放置所謂的「文化過濾器」（cultural filter），用譯入語文化讀者的角度來審視原文。故，本論文旨在以譯入語文化接收者的視角探討中譯本『浪漫騎士唐吉訶德』之副文本－封面標題、封底文案、譯者序、譯文註解－如何透過出版社與譯者提供的溝通線索（communicative clues）跨越中西文化藩籬，在譯入語文化中達成最佳的溝通語境效果（contextual effects）。

Genette (1997) uses the term “paratext” to refer to what makes a text become a book. Furthermore, he divides it into “peritext” and “epitext”. When a book is published, the publisher plays a very important role. Therefore, Genette creates a subcategory of peritext –the publisher’s peritext, which includes the size, the cover, the back cover, typesetting, format, and so on. On the other hand, as House (1997: 70) said, the translator should put «cultural filter» between the source text and the target text and look into the source text with the «lens» of a target culture member. This research aims to study and analyze the paratextual elements of Mi primer Quijote –the cover, the back cover, the translator’s preface and notes. Moreover, the research also tries to see how the cultural barrier is removed by producing better contextual effects through the communicative clues offered by the publisher and the translator on the paratext.