卡夫卡的刺青：歐陽子與東方白的身體轉譯

Kafka’s Tattoo: Embodied Translation in the Works of Ouyang Tzu and Dongfang Bai

本文以卡夫卡的刺青為核心概念，探討卡夫卡的作品如何透過「翻譯、轉化、再現」的轉譯，體現在戰後台灣現代主義文學的身體敘事之上。本文以《現代文學》（1960-1973）雜誌為分析場域，指認戰後台灣知識分子，西方現代性與本地主體性張力的之間進行創作。筆者首先以歐陽子（1939-）翻譯卡夫卡〈鄉村醫生〉及短篇小說〈蛻變〉為例，分析女性作家如何將卡夫卡筆下的傷口意象轉譯為水雷，並由此體現家內權力與女性身體的隱喻。其次，筆者探討東方白（1938-）的〈臨死的基督徒〉與〈囗囗〉為例，指出男性作家如何轉化卡夫卡作品中等待救贖的敘事主題，呈現戰後台灣文學中世俗彌賽亞主義。本文主張，卡夫卡的作品如同西方文化的一枚刺青，刻劃在戰後台灣現代主義作品上，與此同時開啟台灣文學與世界文學之間的動態連結。藉由卡夫卡的刺青，本文重申戰後台灣現代主義文學在跨國文化流動中，探詢身體敘事與修復翻譯的可能性。

Centred on the term Kafka’s tattoo, this paper explores how Franz Kafka’s works are embodied in the corporeal narratives of post-war Taiwanese modernist literature through translation, transformation, and representation. Using the Modern Literature magazine (1960-1973) as the corpus, this paper identifies how Taiwanese intellectuals engaged in literary creation amidst the tension between Western modernity and local subjectivity. First, the paper analyses Ouyang Tsu’s translation work,“A Country Doctor,”and her story“The Metamorphosis.”Ouyang Tzu translates Kafka’s wound imagery into naval mines, a transformation that embodies metaphors of domestic power and the female body. Second, the paper demonstrates how Dongfang Bai, in“The Dying Christian”and“□□,”transforms Kafka’s theme of awaiting salvation, presenting a kind of secular Messianism in post-war Taiwanese literature. Kafka’s works function as a Western cultural tattoo etched into Taiwanese modernism, forging dynamic connections with world literature. By using the term Kafka’s tattoo, this paper expands on the possibilities of exploring bodily narratives and reparative translation within transnational cultural flows.