異質性翻譯的（不）對等──以《睡眠的航線》法譯本為例

(Non-)Equivalence of Heterogeneity in Translation:On Routes of Sleep’s French Translation

在吳明益的文學作品《睡眠的航線》（2007）中，可見其以揉合歷史、生態與多語的穿插安排進行文學創作。對國內中文讀者來說，因成長於多語社會的地緣關係，故在辨識作品語言的雜揉與跨文化語境方面較無太大障礙；然對於多數國外讀者而言，因對台灣（語言）歷史和背景認知有限，又如果從事台灣文學（語言）的譯者僅以歸化翻譯的方式為所在地讀者服務，那麼作品中藉多語細膩呈現
的台灣歷史文化視野將必然被中心語言消弭。故此，法籍譯者關首奇（Gwennaël Gaffric）選擇以「副文本」（le paratexte）、「少量克里奧語」（une langue légèrement créolisée）與「法國俚俗語」（l’argot français）等翻譯策略進行作品的翻譯實踐。此處固然客觀有效的提昇台灣文學（語言）跨國落地後的識別性，但卻同時帶有社會語言歷史不對等的風險。本文首先將簡要爬梳作者（非）虛構書寫慣習衍生的能動性，以及其如何影響譯者翻譯策略的決擇，最後摘選台法譯文本間翻譯的對比與分析呈現實作的結果。

Wu Ming-Yi’s Shuimian ddee hangxian (睡眠的航線) uses multilingualism in order to illustrate the complex history of Taiwan alongside ecological concerns. While most Taiwanese readers can easily identify this feature of language in Wu’s work due to their environment, it is a challenge for foreign readers to understand this cultural aspect of Taiwan. Some translators employ domestication strategies that eliminate cultural
differences in accordance with readers’habits and knowledge in the target language. However, such an approach runs the risk of flattening the cultural complexity reflected in Wu’s text. This paper explores the alternative approach adopted by Gwennaël Gaffric in his French translation of Shuimian de hangxian. To translate the linguistic heterogeneity in Wu’s work, Gaffric deploys various strategies, such as the use of paratext (le paratexte) and the appropriation of partial creolized languages (une langue légèrement créolisée) and French slang (l’argot français). I compare the source text with Gaffric’s French translation in order to analyze the impact of these strategies. While Gaffric aims to strengthen the distinctiveness of Taiwanese literature abroad, this paper argues that such approaches potentially reproduce socio-linguistic hierarchies within the Taiwanese and French markets respectively.