邱永漢文學在台翻譯的政治性──以譯作《濁水溪：邱永漢短篇小說選》為考察對象

The Political Character of Qiu YongHan's Literary Translation in Taiwan: An Analysis of the Translated Work QiuShui River: The Selected Short Stories of Qiu YongHan

邱永漢（1924-2012）是戰後在日第一位榮獲日本直木賞的台裔作家。九 ○年代後他的文學在日本學界備受關注，但在台灣的討論度並不高。筆者在既 有的研究基礎之上，首先重新釐清他在戰後初期歸返台灣的挫折，探討他如何 轉進日本文壇。再則，以他在台出版的第一本小說集譯本《濁水溪：邱永漢短 篇小說選》作為考察對象，比較原著與翻譯版本之間的差異，進而發現在譯本 生產的過程中，因政治性考量作者、譯者、主編自我檢閱大幅刪修，其中包括 有關二二八事件和對國民黨政權的批判等內容。因此，造成原著所訴諸的主題 失焦，弱化作家的政治批判，導致「去政治」的邱永漢文學譯作成為泛泛的大 眾小說，其中具體呈現某種翻譯的政治性。最後，筆者從台灣新文學的發展歷 程觀之，認為他應是少數台灣戒嚴時期白色恐怖腥風血雨的年代中，在日本尋 得輿論空間撰寫台灣政治的代表性小說家。當我們重新檢視台灣政治小說發展 系譜時，應重新譯出他的作品恢復其政治面貌，填補戒嚴時期的歷史縫隙，藉 以恢復邱永漢作為戰後政治小說家的形象。

Qiu YongHan (1924-2012) was the first Taiwanese writer to win the Japanese Naokisanjūgoshō(直木賞) Prize in Japan after the Second World War. Although highly regarded in Japanese academic circles after the 1990s, he has received little attention in Taiwan. Based on existing research, the researcher clarifies Qiu YongHan's frustrations linked to his return to Taiwan in the early post-war period, and also discusses his transition to Japanese literature. Furthermore, when comparing his first translation, QiuShui River The Selected Short Stories of Qiu YongHan, (《濁水溪：邱永漢短篇小說選》) to its original, it was found that political factors influenced translation production; as such, the author, translator, and editor-in-chief were subjected to heavy censorship, as were materials that dealt with the February 28 incident or contained criticism of the KMT regime. Therefore, resulting from both the de-centering of the original work's focus and the weakening the writer's political criticism, the ''de-politicized'' literary translations of Qiu YongHan have become works of popular fiction–a trend which shows the political character of certain forms of translation. Finally, the researcher observes the development of Taiwan New Literature. Indeed, he is one of the few representative novelists from the martial period who carved out a space in the public sphere in Japan to write about Taiwan politics during the White Terror. While re-examining the genealogy of the political novel in Taiwan, a re-translationof his literature in order to restore its political appearance would not only fill the historical gap of the martial law period, but also restore Qiu YongHan's image as a postwar political novelist.