英文摘要 |
"Literary translation is closely related to linguistic and cultural contexts specific to the source and target literatures. With that view in mind, Roman Alvarez and M. Carmen-Africa Vidal presuppose that literary translation has to be culture-bound. Linguistic anthropologist Michael Agar coined the term“languaculture,”identifying the inseparability between language and culture, which is what makes translation an act of“rendering foreignness.”Distinguished scholars, such as Antoine Berman, Lawrence Venuti and Paul Ricoeur, have agreeably acknowledged linguacultural plurivocity–a concept which highlights the heterogeneity across languages/cultures and the autonomy of translated corpus.Pai Hsien-yung has topped the list of the most translated modernist writers from Taiwan. His diaspora-themed masterpiece Taipei People has been translated into several foreign languages. Based on Agar’s conceptualization of languaculture, this paper first examines the differences in the translator’s notes from the English and Japanese versions of this work with regards to the denoting of conventional proper nouns. Next, it employs Berman's“textual deformation”approach and J. F. Aixela’s strategies in rendering culture-specific items (CSIs), seeking to probe into how the source text’s hybridity and foreignness, which are manifested in its vulgar language, idiolects, and culture-loaded expressions involving inextricable untranslatability, have been made visible or invisible once represented within the terrain of World Literature." |