論文發表人：余淡如/加州大學河濱分校比較文學系
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本論文探討在中西文化交流當中產生的文化的翻譯性。本文追述在旅法作家戴思杰的小說中，文化革命，毛主義，以及其他思想如何被轉換翻譯以及重述，進而強調翻譯的過程，解構以及重建，以及文化的多重性。Salman Rushdie在 Imaginary homelands當中強調移民作家的獨特的雙重視野：深處在既是圈內人也是圈外人的雙重困境下，移民作家對家園產生濃烈的懷舊感，進而重建一個記憶中和想像中的家園。在旅法中國作家戴思杰2000的暢銷小說＜巴爾札克與小裁縫＞文中，戴思杰即表現了這種以記憶和想像重建家園的論述。<巴爾札克>一文描述，流放下鄉的青年在紛擾的文化革命時代劇變中以及城鄉差距下找尋自己的出路。戴思杰的小說中充滿對文化革命時期上山下鄉的懷舊感，相較於同一時期傷痕文學論述中對文化革命的批判，戴思杰以懷舊和幽默建構了對中國的新的想像。戴思杰以輕鬆詼諧的語調將文化革命以及毛主義一筆帶過，但是卻強調中國的東方色彩以及異國情調。毛主義在法國也被視為對法國革命的嚮往，其意義在不同文本下被不斷翻譯以及改變。戴思杰的小說反映他比須在中西兩方不同的論述下得取得共同點以維持他身為移民作家的獨特性。
In Imaginary Homelands, Salman Rushdie explains migrant writers' "double perspective"(19) as both insiders and outsiders in the worlds they describe. Through redescription, migrant writers reconstruct and negotiate the homeland that is both being remembered and imagined. Dai Sijie, a Chinese writer who moved in France in 1984, represents precise such double perspective as a migrant writer. Dai won immediate fame with his novel, Balzac et La Tailleuse Chinoise when it was first published in 2000. This semi-autobiographical novel delineates Dai Sijie's teenage years in the backward countryside during Cultural Revolution. Two years later, Dai adapted his own novel into a film, which won him international attention as a French filmmaker. Dai's identity as a migrant writer who writes about his memories and experiences of his youth to audiences in his current residing country poses interesting question on cultural translation. On the one hand, Balzac articulates experiences of Cultural Revolution through an autobiographical air of expression; on the other hand, such memories are reiterated with a light-hearted, nostalgic and almost orientalist point of view. The gap between historical reality and personal memories parallel the problems between experiences and expression. Balzac shows Dai's identity as a migrant writer who has to constantly struggles and negotiates between his home country, China and current country, France. This essay traces the process of translation in ideas and memories through the "re-education" of the female protagonist and argues that Dai, as a migrant author, negotiates his identity through subversion and reiteration of Maoist ideology.
