Please use this identifier to cite or link to this item: http://hdl.handle.net/11455/95534
標題: 宇野常寬《零年代的想像力》 翻譯計劃
The Project of Chinese Translation for Tsunehiro Uno’s “The Imagination of First Decade after 2000.”
作者: 李惠芬
Huei-Fen Li
關鍵字: 宇野常寬;零年代;想像力;日本文化;御宅文化;動漫畫;Uno Tsunehiro;the 2000’s;imagination;Japanese culture;otaku culture
引用: 參考書目 一、翻譯文本 1. 宇野常寬,《К①年代ソ想像力》(東京:早川書房,2008)。 二、專書(依作者或編者姓氏筆劃排列) 1. 伊藤剛,《ЪЩロ・ユИ・ЫЧЭ》(東京:星海社,2014)。 2. 金堤,《等效翻譯探索 (增訂版)》(台北:書林,1998)。 3. 洪婉瑜,《推理小說研究兼論林佛兒小說》(台南:台南縣政府,2007)。 4. 高野和明,李彥樺譯,《種族滅絕》(台北:獨步文化,2013)。 5. 四方田犬彥,陳光棻譯,《可愛力量大》(台北:天下文化,2007)。 6. 大塚英志,《物語消費論》(東京:角川文庫,2001)。 7. 鶴見濟,丁申譯,《完全自殺手冊》(台北:苿莉出版,1994)。 8. 東浩紀著,褚炫初譯,《動物化的後現代:御宅族如何影響日本社會》(台北:大藝出版,2012)。 9. 東浩紀著,黃錦容譯,《遊戲性寫實主義的誕生:動物化的後現代2》(台北:唐山出版社,2015)。 10. 湯禎兆《《俗物圖鑑》(台北:商周,1999)。 11. 湯禎兆《感官世界——游於日本映畫》(台北:萬象圖書,1996)。 12. 湯禎兆《整形日本》(台北:博雅書屋,2010)。 13. 湯禎兆《日劇最前線》(商周:2000)。 14. 湯禎兆《命名日本》(台北:博雅書屋,2012)。 15. 湯禎兆《悶騷日本》(台北:奇異果文創,2015)。 16. 湯禎兆《殘酷日本》(台北:奇異果文創,2016)。 17. 楊照,〈「缺乏明確動機……」──評台灣本土推理小說〉,《文學的原像》(台北:聯合文學,1995)。 18. 李育霖,《翻譯閾境-主體、倫理、美學》(台北:書林,2009)。 19. 李天鐸、何慧雯〈遙望東京彩虹橋:日本偶像劇在台灣的挪疑想像〉,李天鐸編,《日本流行文化在台灣與亞洲(1)》(台北:遠流,2002)。 20. 劉宓慶,《當代翻譯理論》(台北:書林,1999)。 三、期刊論文 1. 李衣雲,〈解析「哈日」現象:歷史•記憶與大眾文化〉,《思想》,第14期(2010.01),頁99-109。 四、網路資料 1. 「ヤУсソ引出ウ」ゾ生わペ力ク!,2016/05/15上網查閱:http://e-satoken.blogspot.tw/2013/07/2010-20081995.html 2. udn 聯合追星網,2008年4月29日,2016/09/10上網查閱:http://stars.udn.com/star/StarsContent/Content16203/ 3. 考りペギバソ書評集,2012年2月27日,2016/05/15上網查閱:http://ueshin.blog60.fc2.com/blog-entry-1749.html
摘要: 
日本文化論述輸入至台灣也已有很長的時間。台灣閱讀者理所當然地接受這套論述時,卻忽略了一個斷代。從九○年到零年代,這十年即是宇野常寬所說的「失落的十年」。

1995年至2001年左右,由於這時期日本面臨泡沫經濟崩壞,並長期處於名為「平成不景氣」的經濟大蕭條狀態下,且「努力也不會發達」、「努力也沒有意義」的消極氛圍掌控日本文化空間,因此當時的文化論述著重於「繭居」氣氛下的社會結構。然而,其實在2000年代以後,因為911的恐怖攻擊事件,人們的思想轉變成「決斷主義」,而「決斷主義」的特徵就是人們不再封閉自己,想做什麼立即採取行動。於是在2001年前後,這股「隱蔽/心理主義」的模式慢慢被解除,且宇野常寬稱之「倖存感」的感覺,開始瀰漫在這個社會上。

《零年代的想像力》本書出版於2008,零年代結束之際。研究範圍主要著眼於在2000年到2008年之間的日本國內文化,尤其著重於小說、電影、漫畫、電視劇、動畫等的「故事」上,與探求其想像力的變遷。宇野常寬的《零年代的想像力》中所論述的大眾文化文本幾乎都已輸入至台灣,因而本書翻譯的意圖在於透過日本文化評論家對於日本本國文化評論的論述,確實理解「故事」欲傳達出來的原意,進而理解到日本社會結構的變化造成故事中結構的改變與影響。希望能透過譯介《零年代的想像力》,瞭解到日本社會與文化評論的現況帶進台灣,能成為台灣研究者的催化劑,並作妥善的利用。

Having been introduced to Taiwan for a long time, Japanese culture discourse has been accepted by Taiwanese readers, who have, however, ignored a missing period of Japanese history. That is, as Uno Tsunehiro refers to “The Lost Decade,” the ten years from the 1990s to the 2000s.

From 1995 to 2001, due to the collapse of the bubble economy in Japan during this period and the long-term economic depression of “Heisei depression,” the cultural field in Japan had been held in a negative atmosphere that people believed that “effort would never pay off” and “effort had no meaning,” so that the cultural discourse at the time mostly focused on the social structure under the hikikomori (‘cocoon’) phenomenon. However, because of the terrorist attacks of 911, after the 2000s, people’s thinking had turned into a “decisive mode,” meaning that people would take immediate action whenever they wanted to do something and no longer withdrew themselves. Therefore, such a “social withdrawal/cocooning psychology” had been gradually overcome around 2001. At the time, the “sense of survival” referred by Uno Tsunehiro had been pervading in this society.
Uno Tsunehiro’s book The Imagination of the 2000s was published in 2008, the end of the 2000s. This book focused on the Japanese culture between 2000 and 2008, with a particular attention to the “stories” in fiction, film, comics, TV shows, and animation, as well as the exploration of the changes in the imagination of the stories. The texts discussed in The Imagination of the 2000s have been mostly introduced to Taiwan, and thus the intention of the translation plan is to precisely grasp the original meanings intended to be conveyed in the stories by reviewing Japanese cultural criticisms and arguments made by Japanese cultural critics, and further understand that the changes in the structure of the Japanese society also caused the changes in the structure of the story and other influences. By translating The Imagination of the 2000s, the researcher expects to have a clear understanding of the current situation of the Japanese society and cultural criticisms, hoping that the translation version could be as a catalyst and well used by Taiwanese researchers in the future.
URI: http://hdl.handle.net/11455/95534
Rights: 同意授權瀏覽/列印電子全文服務,2017-08-29起公開。
Appears in Collections:臺灣文學與跨國文化研究所

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