互相註解、補完的異語世界－－論東山彰良《流》中的文化翻譯

A Study on Cultural Translation in Ryu by Akira Higashiyama: Mutual Annotation and Supplementation of Different Languages

獲得第153次直木獎的台籍作家東山彰良，透過《流》一作，敘述少年葉秋生，藉由調查祖父被殺事件，刻劃台灣、中國、日本間歷史記憶的齟齬以及世代間「差異性重複」的繼承所帶來的展望。
然而，一部以台灣為舞台的小說，何以能得到日本讀者共感？細讀文本可知，《流》致力於將台灣語言文化融鑄到日本語境中。不過，有許多的文化翻譯策略消融在中譯本裡。而正是這些未譯的策略使得《流》得以在意識型態間、在異文化間，形成得以交涉、協商的「第三空間」。
從中國古典《三國志》、《水滸傳》的援用，到與現代台灣電影《艋舺》和鄉土劇的互文、召喚日治時期的記憶等，都動員了日本讀者對華語圈的共同記憶，確保了共鳴機制。並在語言方面，採用日語的「標示假名」之手法，在形、音、義上，以相互註解、補完的自我翻譯來進行文化翻譯。形成翻譯學中的異化手法，換喻式地暗示了背後的台灣底蘊。
在處理中、日、台三者間互相拮抗又情感依存的戰爭故事時，上述的嘗試，替日本的歷史觀嫁接了不同的聲音，正如酒井直樹所言，是為一種足以改變社會的「共顯實踐」的努力。透過並置第一、二代多種相異立場的發聲，讓少年葉秋生有所體悟，進而「改寫」了第三代的史觀，其敘事立場值得華語圈重視。

Ryu, the winning work of 153rd Naoki Award by Akira Higashiyama (Chen-Hsu Wang), a Taiwanese writer, describes the historical memory of Taiwan, China and Japan and the prospect of the inheritance of 'repetition with difference' between generations through a teenager Ye Qiu-sheng, who started the investigation of his grandfather's murder. The question thus came up: how a novel based on the stage in Taiwan resonates with Japanese readers? Ryu is committed to the integration of Taiwanese language and culture into the Japanese context. However, there are many cultural translation strategies overlooked in the Chinese version, which inadvertently creates 'The Third Space' in Ryu that can be negotiated and coordinated between ideologies and different cultures. Ryu has applied the common memory of the Japanese readers of the Chinese regions and ensured the resonance mechanism through reference to Chinese classical novels 'The Romance of the Three Kingdoms' and 'Outlaws of the Marsh', the intertextuality between modern Taiwanese film 'Monga' and the local drama, as well as the recalling of the memory during the Japanese occupation. In the aspect of language, the approach of Japanese 'furigana' and self-translation with mutual annotation and supplementation in form, sound and meaning are adopted for cultural translation - the foreignization technique which implies the Taiwanese cultural background with metaphor. When dealing with the antagonistic and emotionally dependent war stories between China, Japan and Taiwan, the above attempts provide different voices for the Japanese concept of history, which, in the words of Sakai Naoki, is an 'articulatory practice' that can change the society. It allows Ye Qiu-sheng to obtain an understanding and 're-write' the third-generation's view of history through juxtaposition of the different standpoints of the first and second generations. The narrative stand is worth of attention by the Chinese regions.