從邊緣回歸正典－－1990年代楊千鶴日語文藝的跨語境傳播與女性主體翻譯實踐

From the Periphery to the Canon: The Translingual Dissemination and Female Subjectivity Translation Practice of Yang Chian-ho’s Japanese Literature in the 1990s

本研究旨在考察1990年代楊千鶴日語文藝的跨語境傳播，並將其置於海外台灣人社群與島內本土化運動交織的歷史脈絡中進行審視。過去台灣翻譯史多聚焦於男性作家或國族敘事的縱向繼承，本研究則透過楊千鶴個案，填補戰後日治女性文藝在翻譯系譜中的缺席狀態。
研究發現，楊千鶴的戰後復出，不僅受到地緣政治的牽動，也深受海外台灣人社群的文化動能影響，其再現路徑實為一種「由外而內」的逆向現身。在文本分析方面，本文透過比對戰前與戰後〈花開時節〉的日文底本，揭示楊千鶴採取「策略性篡奪」與「介入式重寫」的方式，在文本內部植入微觀的時間刻度與制度焦慮，從而深化女性主體意識。此外，由楊千鶴與其女林智美進行的母女合譯實踐，搭配「厚實翻譯」的副文本編纂策略，成功翻轉了早期由男性主導的譯介框架，奪回跨語境傳播的話語權，並確立其版本在文學史中的正典地位。最終，本文提出植根於台灣在地的「女性主體翻譯實踐」，為台灣翻譯史與性別研究提供具備批判潛能的論述維度。

This study examines the translingual dissemination of Yang Chian-ho’s Japanese-language corpora during the 1990s, situating it within the historical interplay between overseas Taiwanese communities and Taiwan’s localization movement. Departing from traditional Taiwanese translation historiography—which often emphasizes male-centric lineages or national narratives—this research focuses on Yang’s case to address the absence of female literary voices from the colonial era in post-war translation genealogies.
The analysis reveals that Yang’s post-war reemergence was not only shaped by geopolitical shifts but also by the cultural agency of overseas Taiwanese communities, producing a distinctive“outside-in”trajectory of rediscovery. Through a comparative analysis of the pre-war and post-war Japanese versions of The Season When Flowers Bloom, this paper demonstrates how Yang’s deployment of“strategic usurpation”and“interventional rewriting”—specifically through the embedding of subtle temporal scales and institutional anxieties—effectively asserts a nuanced female subjectivity. Furthermore, the collaborative translation by Yang and her daughter, Lin Chih-mei, complemented by a“thick translation”paratextual strategy, successfully disrupts entrenched male-dominated frameworks of translation and reception within the Taiwanese literary field. In reclaiming control over her translingual afterlife, Yang not only reconfigures her literary legacy but also consolidates her canonical status.
Ultimately, this study proposes a model of“female subjectivity translation practice”rooted in the Taiwanese context, offering a critical intervention for both Taiwanese translation history and gender studies.