國立臺灣大學外國語文學系Department of Foreign Languages and Literatures, NTU馬耀民2017-09-122018-05-292017-09-122018-05-292006-02http://ntur.lib.ntu.edu.tw//handle/246246/283464本文透過閱讀三個會被視為充滿「誤譯」的譯本，說明譯者在翻譯行為中往往「回歸」自我，反思其在翻譯當下所處的情緒狀態。文中將探討的三個翻譯文本分別是波特萊爾《巴黎的憂鬱》的最後一首〈結語〉(“?pilogue”)、《惡之華》的〈出航〉(“Le Voyage”)以及葉慈的〈被邀寫首戰爭詩〉(“On Being Asked for a War Poem”)三個翻譯文本所產生的無論是「社會批判」、「愛國論述」，或者是「政治論述」，都可說是「誤」讀及「誤」譯的結果，卻使我們除了譴責以外，不得不被引領進入某些歷史時刻，體會這些譯者想要傳達的訊息，(儘管這些訊息僅代表其個人觀點或立場)，也不得不暫時擱下以「信」或者是「忠實」為標準的翻譯理論，重新思考「翻譯」是怎麼樣的行為、「翻譯文本」是怎麼樣的文本、除了譴責以外如何對待(或閱讀)「誤」譯的文本。The paper deals with three translated texts which are fraught with mis-translations. The three texts in question, Baudelaire's “?pilogue” of Le Spleen de Paris, and “Le Voyage” of Les Fleurs du Mal, and Yeats' “On Being Asked for a War Poem,” are read in such a way that the respective subtexts of “social ciritique,” “patriotic discourse” and “political discourse” are unveiled. These readings show that in translating, what is often translated is a translator's “prejudices of perception” and “local concerns,” calling for an alternative understanding of the nature of translated text, translation behavior, and the discourse on translation.13428121 bytesapplication/pdf誤譯對等忠實語用學規範規範性翻譯理論波特萊爾南方朔mis-translationequivalencefidelitypragmaticsnormnormative theory of translationBaudelaireNan Fang Suojournal articlehttp://ntur.lib.ntu.edu.tw/bitstream/246246/283464/1/3409_200602_7.pdf