| 摘要: | 本計畫以台灣法文譯者胡品清（1921-2006）的翻譯小說為研究對象，一方面重新整理胡品清於1965-1985年間翻譯的法語小說，從莫里亞克（François Mauriac）的《寂寞的心靈》（Thérèse Desqueyroux）到莒哈絲（Marguerite Duras）的《情人》（L’Amant），評估這些翻譯成果的價值與影響；另一方面，我們也探討身兼譯者與創作者的胡品清如何擺渡、穿梭在不同的文化、語言與文類之間，實踐一種翻譯與創作並行的自我書寫。胡品清於1962年來台後獨居陽明山，任教中國文化學院，同時展開她的法文翻譯生涯。冷戰時期的台灣國際處境孤立，反共戒嚴的政治背景都左右了法文小說翻譯的路線與策略。胡品清幾乎是當時唯一在台灣從事法文翻譯的學者，也從而享有一種無拘束（disponibilité）、能自由調度的工作環境。雖然遠離塵囂，然而透過譯書，她展現對國外文壇動態敏銳的觀察與分析，為台灣學界譯介了豐富、創新的文學思潮。另一方面，作為詩人與散文家的胡品清，從未有過真正的小說創作，而翻譯了大宗的法國小說是否滿足她透過虛構幻想寫作的渴求？散文中的自述可以提供部分揣測。雖然文學翻譯畢竟不同於自我創造的恣意悠游，但是翻譯卻提供了一種透過他者，重組自我的機會，正如胡品清在文化斷裂的島嶼時空中，以翻譯重塑整體的想像，映現法國文學的面貌。翻譯變成了一種以揉雜、拾綴為策略的生存抵抗，既是從原文中提煉出的漂流物，也可以是隨處可紮根、延續生命的有機體。 ;This project aims to discuss a Taiwanese translator Hu Pin-Ching’s（1921-2006）translation of French novels into Chinese version. This research means to backtrack the French novels’ value in the history of French literature, to review the importance of the translation and the meaning of the translated works from 1965 to 1985, the most active period of Ms. Hu’s translation career. The translated novels included Francois Mauriac’s Therese Desqueyroux and Marguerite Duras’ L’Amant. Furthermore, the research aims to analyze Ms. Hu’s double identity as translator and writer, and how did she deal with cross-languages, cross-cultures and cross-genres, when realizing self-writing between parallel translation and creation. Since 1962, Ms. Hu had lived along in Yangmingshan, she had been a French teacher and a translator at Chinese Cultural University. During the Cold War, Taiwan was isolated internationally, ideologically anti-communist. Under the imposition of martial law, there’s some influence on the translation strategy of French literature. Under the unstable political situation and cultural break, the island where Ms. Hu lived was isolated, similar situation as her translation. At the other side, translation for her was an unrestrained and liberal field. As a translator, she was ever more sensible to the literary world. Also, as a poet and an essayist, she had never written any novel, but had translated a lot of French novels instead, which could be a way to satisfy her desire of fictional creation. Some examples of self-expression in her essays could be referred to the mentioned issue. Translation is different from liberal creation, the first offers a way of self-composition. In the shadow of interpreting others’ work, she was braiding herself by translation; located in the fragmental time and space of the island, she reconstructed the overall imagination and reflected the image of French literature by her translation. Translation became a work of mixture and pick up which could be a strategy of resistance in her life. Her translation works similar to some rafting rhizome, were refined from the language of origin, as certain organism available to be planted elsewhere for a continuation of life. |
