《冰與火之歌第三部：劍刃風暴》簡繁譯本比較研究

Abstract

本研究以《冰與火之歌》譯本論爭為出發點，思考奇幻文學翻譯風格問題，聚焦於簡繁奇幻文學譯本之翻譯差異。首先檢視喬治‧馬丁的奇幻美學以及他在奇幻文學界的地位，接著回顧《冰與火之歌》之出版狀況。藉由梳理奇幻文學翻譯策略研究和簡繁譯本研究作為研究基礎，本研究採言談分析檢視文本的方言、語域問題，並從奇幻文類特色和作者創作風格思考簡繁譯本策略。

研究發現，方言趣味有不可譯的問題，內容和形式權衡之下，簡繁體譯本皆採意譯策略，文字趣味逸失。狀聲詞則多直譯處理，兩岸譯文各有各的趣味；繁體的非標準方言譯文節奏處理稍嫌工整，應避免整齊劃一的四字格；當代次文化語彙進入譯文可能會讓讀者「出戲」，導致時空錯置，干擾讀者閱讀奇幻文類。語域分析展現中西文化差異，牽涉社會文化符碼的詞語使用應避免文化大雜燴。就翻譯奇幻文類中較正式的語言而言，簡體譯本的語言較繁體靈活許多，文字節奏較為明快、文言文造詣在繁體之上。奇幻語言特色方面，譯者應避免邏輯謬誤，甚至因不察而打破作者之安排。總結來看，譯者對奇幻文類特色是否熟稔、對於讀者群的想像與掌握程度，都會影響奇幻文學翻譯的產出及接受狀況。This study investigates the Simplified and Traditional Chinese translations of George R. R. Martin’s A Storm of Swords: A Song of Ice and Fire, Book 3. Hailed as the century’s master writer of fantasy literature, George R. R. Martin has carved out a unique and extraordinary place for himself in the genre. Starting with the reception of the series’ Traditional Chinese translations, this research delves into the potential stylistics issues relevant to translators, and looks at comparison research of Simplified/Traditional Chinese translations as well as studies on translating fantasy literature. This study then bases its research on these findings and results to center on relevant key issues including discourse analysis, dialect and register analysis, and translating strategies that specifically consider the importance of genre features.

Dialect and register analysis reveal problems of untranslatability in conveying language uniqueness at the dialect level. Non-standard dialects are best not presented with excessive language devices such as four-character idiomatic expressions. Incorporating contemporary sub-cultural and Internet usage in fantasy literature may yield unfavorable results—namely, anachronistic elements may disrupt the reading process and thus hamper the joy that fantasy literature promises. In terms of translating into formal registers, this study finds that Simplified Chinese translator excels in employing classical Chinese to artistic effect. Multilingual aspects of fantasy literature demand that translators be wary of logical fallacy and be cautious not to tread on the suspense and techniques devised by the writer. Overall, the Simplified Chinese rendition is more versatile and enjoyable, with a variety of translation strategies at the translator’s disposal. This study holds the view that an in-depth inquiry into the features of fantasy literature and readership will offer insight into the critical criteria that serve as better indicators for superior renditions.