Meng-hsuan Ku 



2021 marks a special year for the readers of Sanmao (1943-91), who ended her own life in a hospital thirty years ago. More and more people around the world become Sanmao’s readers thanks to the translation of her work. In addition to Chinese-speaking countries, the translation of her work has been published in Spanish-speaking and English-speaking countries, which are with the largest population in the world, in recent years.

This study compares the only available editions in Spanish and English for Stories of the Sahara: Stories of the Sahara published by Bloomsbury Publishing in 2019 (translated by Mike Fu) and Diarios del Sáhara by :Rata_ Books (translated by Irene Tor Carroggio). Beginning with a discussion on the translators’ invisibility by Venuti, it sorts the annotations appearing in the Spanish and English editions into the categories based on Nida and Newmark. Furthermore, this study conducts both quantitative and qualitative analyses and identifies the translation strategies of the two translation editions, so as to demonstrate whether the strategies are consistent with the annotation use tradition in Spanish and English translation.


KEYWORDS: Sanmao, annotation, translation strategy, invisibility, cultural scope


摘  要

2021年對於三毛(1943-91)的讀者而言是特殊的一年,三十年前三毛在醫院結束自己的生命,離開這個世界。三毛因為翻譯而有更多的讀者,除了華語圈之外,人口最多的西語和英語世界,都在這幾年出版了三毛小說的翻譯。本文將比較《撒哈拉歲月》英西語僅有的兩版本:由Bloomsbury於2019年出版的Stories of the Sahara(由 Mike Fu傅麥翻譯),以及拉塔(:Rata_)於2016年出版的Diarios del Sáhara(由Irene Tor Carroggio董琳娜翻譯)。從韋努迪(Venuti)譯者隱形的理論出發,透過奈達(Nida)及紐馬克(Newmark)將西譯本及英譯本的註釋分類,並進行量化及質性的剖析,確認兩譯本的翻譯策略,藉此說明兩者與英西翻譯中註釋應用的傳統是否吻合。



DOI: 10.30395/WSR.202212_16(1).0006