多語書寫、翻譯與想像：王禎和手稿初探

Multilingual Writing, Translation and Imaginary: A Preliminary Study of Wang Chen-ho's Manuscripts

談及臺灣文學史，王禎和無疑是最傑出的作家之。近三十年來，已有許多針對王禎和的怪誕風格、語言雜燴，與實驗性的文學提出論述，然而，到目前為止大部份的論述大多限於將王禎和的寫作視為一種成品，反而比較不重視它的生成過程。本論文旨在提出王禎和多語文本研究的新視野。筆者摘錄了《美人圖》（1983）與《兩地相思》（1985-1986）兩個手稿的幾個段落，以文本生成學的角度，對王禎和手稿進行初步探討。在分析王禎和的翻譯、自我翻譯與克里奧爾化等呈現在第一層次的書寫過程後，筆者揭示了王禎和的多語詩學（poetics）與多語創制（poiesis）兩項概念，為未來研究提供一個新的角度。

Wang Chen-ho (1940-1990) is undoubtedly one of the most prominent writers in the history of Taiwan literature. Many academic and literary discourses have been devoted to Wang's grotesque style, his mixture of languages, and his literary experimentations. However most of the studies about Wang Chen-ho have focused on his writing which is understood as a “completed product,” rather than as a “becoming process.” This article is intended to be a first step towards an exploration of Wang Chen-ho's manuscripts. In light of genetic criticism, I will analyze some excerpts from the manuscripts of Meiren tu [A Portrait of Beauties] (1983) and Liangdi xiangsi [Lovesickness] (1985-1986), and I will try to highlight Wang's writing strategies. Furthermore, I will focus on Wang's polyphonic mechanisms of translation, autotranslation and creolization as manifested in the preliminary flow of his writing. This will reveal not only Wang's multilingual “poetics,” but also his multilingual “poiesis.”