| 摘要: | 賽居爾夫人《搗蛋鬼蘇菲》一至八章中譯暨評析 西元2009年，《搗蛋鬼蘇菲》一書慶祝出版150周年，根據筆者調查研究，這本書再版次數超越兩百次，是法國最暢銷的童書之一，令人驚訝的是，這是十九世紀的兒童文學作品。兒童的錯誤、倒楣事永遠是大家最愛的題材，因此多年來吸引各世代的插畫家，不斷為這本書注入新生命。 本論文的第一章介紹一位法國作家和她的書寫歷程，同時介紹當代草創的兒童報章雜誌以及Hachette出版社最著名的兒童文學系列：Bibliothèque Rose。 第二部分，筆者提出《搗蛋鬼蘇菲》的評析，本書的創新教育手法，不僅吸引第二帝國時期的兒童，當代讀者依然有興趣閱讀。主人翁蘇菲是個頑皮的小女孩，她不喜歡聽媽媽的話，也因此做了許多淘氣的事：她不小心讓自己心愛的娃娃融化、她為了想把頭髮變捲惹出麻煩。道德規範在本書中佔有重要的地位，整本書描述地便是大人引領小孩變乖、變聽話的過程。同時，本書也描述十九世紀貴族家庭的生活，包括夫妻、親子、小孩以及主僕關係，玩具和動物在兒童生活中也占有不可或缺的一部份。 第三部分介紹了兩本翻譯理論用書：第一本是Danica Seleskovitch和Marianne Lederer合著的「翻譯解釋」另一本則是Edmond Cary的「如何翻譯？」，此外加上筆者的個人省思和翻譯策略：翻譯的清晰度及兒童語言。 第四部分是《搗蛋鬼蘇菲》一書一至八章的中文翻譯。最後一個段落提出翻譯實例探討。翻譯兒童文學作品也是了解兒童的一種方法，即使過程中遇到許多難題，筆者依然希望對這本作品的翻譯及評析，能夠使更多台灣讀者認識賽居爾夫人。 Les Malheurs de Sophie of Countesse de Ségur Chinese translation of the first eight chapters and Comment Les Malheurs de Sophie (Sophie’s Misfortune) celebrated its 150th anniversary in 2009. This book, one of the most popular children’s books in France, is republished more than 200 times. It marks the genre of children literature in the nineteenth century. The materials in terms of children’s mistakes and misfortune are widely acclaimed; therefore, illustrators around the world congregate here to create new life. The first chapter introduces a French author and her compositions. The early children’s newspapers, magazines, a series of children literature, and Bibliothèque Rose (Rose Library), published by Hachette are mentioned at the same time. In the second chapter, a comment of this book is proposed. The creative education of this book appeals not only children in the Second Empire but also readers in the contemporary. The character, Sophie, a naughty little girl, disobeys the words and does some mischievous pranks. For example, she unintentionally melts her favorite wax doll and gets into trouble when she stands outside in the rain to make her hair curl. The moral rules dominate and describe the process by which adults lead children to obedience. At the same time, Sophie’s Misfortune presents such noble family life in the nineteen century as relationship among couples, children, masters and servants. Besides, toys and animals in children’s life are indispensable. The third chapter consists of two theoretical books of translation, Interpréter pour traduire (Interpret for translate) written by Danica Seleskovitch and Marianne Lederer and Comment faut-il traduire? (How to translate? ) written by Edmond Cary. Moreover, I added some personal reflections and translation strategies (clearness in translation and “children’s language”). In the fourth chapter, Chinese translation from the first to the eighth chapter is included. Samples of difficulties which I met during the work of translation are given at the end. Translating children’s book is a way to understand children. In spite of all the difficulties I encountered, I hope that more readers in Taiwan have an acquaintance with Countess de Ségur and her work. |
