114 年 國立成功大學臺灣文學研究所《外文文學文獻解讀（英文）》

核心觀念

本題考查文學文本的中翻英，重點不在逐字對譯，而在於：

1. 掌握敘事時態：全文以過去發生的事件為主，宜使用過去式。
2. 還原動作與畫面：如「左右滑上滑下」「搖晃得相當厲害」「提得高高」須譯出動態感。
3. 處理中文省略主語與代詞：依上下文補出英文所需的主詞、受詞。
4. 兼顧語意與英文習慣：中文可連續堆疊動作，英文須透過分句、介系詞與連接詞重新組織。
5. 處理文化詞彙：「鰹仔」可譯為 bonito；「野芋葉」可譯為 wild taro leaves；「巴士」可譯為 bus。
6. 依語境判斷「車子」：本段提到騎乘、車把、節省巴士費用，故譯為 bicycle 比 cart 更符合情境。

解題方法

翻譯時可依照「先切分語意，再重組英文句子」的方式處理：

• 先找出每句的主詞、動詞與補語。
• 將連續動作拆成英文容易理解的分句。
• 中文的「不得不」譯為 had to。
• 「跟著……」可用 with 或 as 表示同步動作。
• 「一定……」依敘事語境譯為 would surely 或 would certainly。
• 「苦苦地求」不可只譯成普通的 asked，應保留懇求意味，如 begged 或 pleaded with。
• 「一見到……就……」可用 as soon as he saw... 或 the moment he saw...。

參考翻譯

A-Tsang was riding the large bicycle, his buttocks having to slide from side to side and bounce up and down. A cooked bonito wrapped in wild taro leaves was hanging from the bicycle’s handlebar stem, swaying violently with the motion of the bicycle. A-Tsang knew how happy his grandfather and younger brothers and sisters would be when he brought the fish back up to their mountain home. They would certainly be amazed to learn that he had learned how to ride a bicycle. Besides, riding the bicycle back to the foot of the mountain at Pitou would save him twelve dollars in bus fare for the round trip. That was why A-Tsang had pleaded with the carpenter to lend him the broken bicycle that had been left unused in the storeroom.

Along the way, nothing else occupied A-Tsang’s mind—not even the symphony produced by the various parts of the broken bicycle. He thought only of bringing the fish to his grandfather as quickly as possible. The moment he saw his grandfather, he would hold the fish high in the air and say, “What do you think? My memory isn’t so bad, is it? I’ve brought a fish back!”

句型與用字解析

1. 「阿蒼騎在大車上」

was riding the large bicycle 使用過去進行式，呈現故事進行中的畫面。

「大車」在此不是一般拖運貨物的馬車，而是尺寸較大的自行車。若譯為 cart，會與「騎在……上」及後文「車把」的情境不合。

2. 「屁股不得不左右滑上滑下」

可譯為：

his buttocks having to slide from side to side and bounce up and down

其中：

• 「不得不」是 had to。
• 「左右」是 from side to side。
• 「滑上滑下」在此不是單純滑動，而是因車子破舊、騎乘不穩而上下彈動，因此用 bounce up and down 更自然。

3. 「包在野芋葉里的熟鰹仔」

a cooked bonito wrapped in wild taro leaves

「熟鰹仔」指煮熟的鰹魚，不宜譯成 cooked fish，因為會失去原文的魚種資訊。

4. 「掛在車的把軸上」

was hanging from the bicycle’s handlebar stem

「掛在」使用 hang from；「把軸」可依自行車構造譯為 handlebar stem。若採較寬鬆的考試譯法，也可寫成 hanging from the handlebars。

5. 「祖父和弟弟妹妹將是多麼高興」

how happy his grandfather and younger brothers and sisters would be

此處使用 would be，因為是阿蒼對未來情況的想像。英文間接敘述中，過去式敘事搭配未來過去式 would 最自然。

6. 「他們知道他學會了騎車子，也一定驚奇」

本題要求將一段英文文學文本翻譯成中文，考驗考生對英文的理解能力，以及將其精確、流暢地轉換為中文的能力。翻譯時需要注意保留原文的敘事風格、人物情感與情節的張力。

解題思路：

1. 理解原文語境與細節：
   • "She had a horror of snakes and bats, which I hide in pockets and sewing baskets; otherwise she was entirely fearless."
     • "horror"：極度的恐懼、害怕。
     • "which I hide in pockets and sewing baskets"：這裡的 "which" 指代的是 snakes and bats。這句的意思是，我（敘述者）會把蛇和蝙蝠藏在口袋和縫紉籃裡，但這並不讓「她」（母親）害怕，她的害怕僅限於蛇和蝙蝠。
     • "otherwise she was entirely fearless"：除了蛇和蝙蝠，她其他方面都無所畏懼。
   • "One day I saw a vicious devil of a Corsican, a common terror in the town, chasing his grown daughter with a heavy rope in his hand, threatening to wear it out on her."
     • "vicious devil of a Corsican"：一個兇殘的科西嘉人（人名或稱謂）。
     • "common terror in the town"：鎮上人人畏懼的人物。
     • "chasing his grown daughter with a heavy rope"：拿著粗繩子追趕他已成年的女兒。
     • "threatening to wear it out on her"：威脅要把繩子（用來打她）磨損掉，意指要狠狠地打。
   • "Cautious male citizens let him pass but my mother spread her door wide to the refugee, and then, instead of closing and locking it after her, stood in it, barring the way."
     • "Cautious male citizens let him pass"：謹慎的鎮上男性居民都讓他過去（避開麻煩）。
     • "my mother spread her door wide to the refugee"：我母親打開門，讓（女兒）這位避難者進來。
     • "stood in it, barring the way"：母親站在門口，擋住了去路。
   • "The man swore, cursed, threateatened her with his rope; but she only stood, straight and fine, and lashed him, shame him, derided, and defied him until he asked her pardon, gave her his rope and said with a blasphemous oath that she was the bravest woman he ever saw."
     • "swore, cursed, threateatened her with his rope"：男人咒罵、咆哮，並用繩子威脅她。
     • "she only stood, straight and fine"：她只是挺直、端莊地站著。
     • "lashed him, shame him, derided, and defied him"：她斥責他、讓他蒙羞、嘲諷他、反抗他。
     • "until he asked her pardon, gave her his rope"：直到他向她道歉，把繩子給了她。

本題要求將一段關於後現代主義、晚期資本主義與彈性累積的學術論述翻譯成中文，並理解其核心觀點。這考驗考生對社會學、經濟學及文化理論的理解能力，以及將複雜概念精確表達出來的中文翻譯能力。

解題思路：

1. 理解原文核心概念：

   • David Harvey, The Condition of Postmodernity：點明出處，大衛·哈維的《後現代的狀況》。
   • flexibility as the modus operandi of late capitalism：哈維認為「彈性」是晚期資本主義的運作模式。
   • distinguishes contemporary systems... as a break from the earlier, Fordist model：將當代系統（利潤、生產、分配、消費）與早期福特主義（集中式大規模組裝生產）區分開來。
   • Fordist model... workers were also the mass consumers：福特主義的特點是工人同時也是產品的大眾消費者。
   • "the regime of flexible accumulation" reigns：「彈性累積的統治」或「彈性積累的模式」盛行。
   • realms of business philosophy and high finance or in production systems, labor markets, and consumption：涵蓋商業哲學、金融、生產、勞動市場和消費等各個領域。
   • What is missing from Harvey's account is human agency and its production and negotiation of cultural meanings：哈維的論述中，缺少了「人類能動性」（human agency）及其在晚期資本主義規範環境中生產與協商文化意義的部分。
   • writers on "the information age" maintain that globalization... operates according to its own logic without a class of managers or capitalists in charge：關於「資訊時代」的作者認為，全球化（由電子數據流統一的全球金融市場）依照自身邏輯運作，不需管理者或資本家領導。
   • Aihwa Ong. 1999. Flexible citizenship. Duke University Press.：引文出處，艾瓦·翁，1999，《彈性公民權》，杜克大學出版社。

2. 逐句翻譯，注意學術詞彙：

   • "In The Condition of Postmodernity, David Harvey identifies flexibility as the modus operandi of late capitalism."

     • "modus operandi"：運作模式、操作方式。
     • 翻譯：在大衛·哈維的《後現代的狀況》一書中，他將「彈性」識別為晚期資本主義的運作模式。

   • "He distinguishes contemporary systems of profit making, production, distribution, and consumption as a break from the earlier, Fordist model of centralized mass-assembly production in which the workers were also the mass consumers of their products."

     • "distinguishes... as a break from"：將...與...區分開來，視為一個斷裂。
     • "Fordist model"：福特主義模式。
     • "centralized mass-assembly production"：集中式大規模組裝生產。

本題要求將一段關於民族主義（Nationalism）的三重悖論的學術論述翻譯成中文，並解釋其涵義。這考驗考生對政治學、社會學及歷史學理論的理解能力，以及將複雜概念精確表達出來的中文翻譯與闡釋能力。

解題思路：

1. 理解原文核心概念與結構：

   • Author and Source: Benedict Anderson, Imagined Communities. 這本書是研究民族主義的經典著作。
   • Core Topic: Three paradoxes of nationalism. 民族主義的三重悖論。
   • Paradox 1: Objective modernity of nations vs. subjective antiquity. 國家在歷史學家眼中是現代的產物，但在民族主義者眼中卻是古老的。
   • Paradox 2: Formal universality of nationality vs. irremediable particularity. 國籍作為一個社會文化概念是普遍的（每個人都有），但具體表現卻是獨一無二、無法化約的（如「希臘」國籍是獨特的）。
   • Paradox 3: Political power of nationalisms vs. philosophical poverty/incoherence. 民族主義擁有強大的政治力量，但其哲學基礎卻貧乏且不連貫。
   • Consequence of Paradox 3: Nationalism hasn't produced "grand thinkers" like Hobbes, Marx, etc. 民族主義不像其他主義，沒有產生偉大的思想家。
   • Intellectual Reaction: Cosmopolitan intellectuals feel condescension ("no there there"). 國際化、多語的知識分子因此感到輕蔑。
   • Tom Nairn's View: Nationalism as a "pathology of modern developmental history," like neurosis, leading to "dementia," rooted in helplessness. 湯姆·奈恩將民族主義視為現代發展史的「病態」，如同個體的「神經症」，有失控為「失智」的傾向，根源於全球性的無助感（社會的嬰兒化），且難以治癒。

2. 逐句翻譯，注意學術詞彙與語氣：

   • "Theorists of nationalism have often been perplexed, not to say irritated, by these three paradoxes:"

     • "perplexed": 困惑。
     • "irritated": 惱怒。
     • 翻譯：民族主義理論家們常常對這三個悖論感到困惑，甚至惱怒：

   • "(1) The objective modernity of nations to the historian's eye vs. their subjective antiquity in the eyes of nationalists."

     • "objective modernity": 客觀的現代性。
     • "subjective antiquity": 主觀的古老性。
     • 翻譯：(1) 從歷史學家的視角來看，國家是客觀現代的產物；然而在民族主義者眼中，國家卻是主觀古老的。

   • "(2) The formal universality of nationality as a socio-cultural concept—in the modern world everyone can, should, will 'have' a nationality, as he or she 'has' a gender—vs. the irremediable particularity of its concrete manifestations, such that, by definition, 'Greek' nationality is sui generis."

     • "formal universality": 形式上的普遍性。
     • "socio-cultural concept": 社會文化概念。
     • "irremediable particularity": 無法化約的特殊性。
     • "concrete manifestations": 具體表現。
     • "sui generis": 獨一無二的、特有的（拉丁語）。
     • 翻譯：(2) 國籍作為一種社會文化概念，其形式上是普遍的——在現代世界，每個人都可以、應該、也將擁有國籍，如同他或她擁有性別一樣——但其具體表現卻具有無法化約的特殊性，以至於，依定義，「希臘」國籍是獨一無二的。

   • "(3) The 'political' power of nationalisms vs. their philosophical poverty and even incoherence."

     • "political power": 政治力量。
     • "philosophical poverty": 哲學上的貧乏。
     • "incoherence": 不連貫、矛盾。
     • 翻譯：(3) 民族主義的「政治」力量，對比其哲學上的貧乏甚至不連貫。

   • "In other words, unlike most other isms, nationalism has never produced its own grand thinkers: no Hobbeses, Tocquevilles, Marxes, or Webers."

     • "isms": 主義。
     • "grand thinkers": 偉大的思想家。
     • 翻譯：換言之，與大多數其他主義不同，民族主義從未產生過自己的偉大思想家：沒有像霍布斯、托克維爾、馬克思或韋伯那樣的人物。

   • "This 'emptiness' easily gives rise, among cosmopolitan and polylingual intellectuals, to a certain condescension."

     • "emptiness": 空虛、匱乏。
     • "cosmopolitan and polylingual intellectuals": 國際化和多語的知識分子。
     • "condescension": 輕蔑、居高臨下。
     • 翻譯：這種「空虛」很容易在國際化和多語的知識分子中，引起某種程度的輕蔑。

   • "Like Gertrude Stein in the face of Oakland, one can rather quickly conclude that there is 'no there there'."

     • "no there there": 這裡沒有什麼東西、空無一物（引自 Gertrude Stein 的詩句，意指某地缺乏實質內容）。
     • 翻譯：就像格特魯德·斯坦（Gertrude Stein）面對奧克蘭（Oakland）時所說的，「這裡什麼也沒有」（no there there）。

   • "It is characteristic that even so sympathetic a student of nationalism as Tom Nairn can nonetheless write that: ' "Nationalism" is the pathology of modern developmental history, as inescapable as "neurosis" in the individual, with much the same essenti