臺灣博碩士論文加值系統

一般而言，翻譯的首要條件應是力求譯文文意、風格適切。若是翻譯小說類的文本，除了文意、風格適切外，更應注意如何讓譯文讀者產生與原文讀者相對應的閱讀效果反應。因此本論文的目的即在探討譯者要如何在譯文中創造與原文相對應的閱讀反應。本論文特別選用詹姆斯‧派特森與霍華‧羅恩合著的《蜜月過後》作為翻譯文本，以讀者反應論為基礎，演繹出「第一閱讀反應」作為翻譯《蜜月過後》的主要翻譯策略。本論文可分為以下兩部份。
　　第一部份為《蜜月過後》原著的介紹，以及現有中譯本的評論與分析。此部份包含兩章。第一章介紹作者詹姆斯‧派特森與霍華‧羅恩，概述驚悚小說的特質，和《蜜月過後》的內容簡介與風格分析。第二章探討筆者在翻譯《蜜月過後》所採用的幾個技巧：包括第一閱讀反應、譯文電影化、等效翻譯、文本增益等。另外，在針對文化差異的部份：有文化隱喻與成語／固定詞語兩部份，以「第一閱讀反應」為基礎，深入探討如何在譯文中創造與原文相對應的閱讀效果反應。
　　第二部份為筆者自己對《蜜月過後》所作的中譯。根據第二章所提到的翻譯技巧與文化差異考量，筆者盡力使自己的譯文能反映出與原文相對應的閱讀反應。由於筆者在翻譯上用心良多，期待本譯文能成為中文讀者的最佳選擇。

In general, adequacy in capturing meaning and style is a top priority in the translation process. When it comes to translating fictional texts, in addition to adequacy relating to both meaning and style, the translator should also pay attention to enabling the target reader to enjoy the effect as much as was originally designed for the reader of the source text. Thus, the purpose of this thesis is to examine how a translator can create a reading response in the process of translation that corresponds to the source text. The thriller Honeymoon, coauthored by James Patterson and Howard Roughan, is therefore chosen for this thesis to demonstrate how this process works. Deduced from the reader-response theory, the “first-reading-response” is adopted as my major translation strategy, along with some other translation techniques. This thesis is divided in the following two parts.
The first part is a brief introduction to Honeymoon and a commentary & analysis of the existing Chinese translation by Zheng Jiajin. This part contains two chapters; the first chapter is about the two authors, James Patterson & Howard Roughan, the genre of the thriller, a brief introduction to Honeymoon, and a style analysis of Honeymoon. The second chapter discusses the techniques involved in my translating Honeymoon. These techniques include the first-reading-response, movielization, equivalent-finding, and contextual amplification. Especially in the case of cultural difference, an in-depth discussion, based on the first-reading-response, is carried out concerning cultural metaphors, idioms, and fixed expressions, in order to examine how to create corresponding reading responses to the source text in my Chinese translation.
The second part is my own Chinese translation of Honeymoon. I have endeavored in my translation to prove a practice that is capable of producing a corresponding reading response to the source text, guided mainly by the first-reading-response strategy, the translating techniques, and cultural concerns mentioned in Chapter Two. The aim of my translation of Honeymoon is providing entertainment for the Chinese readers.

Chinese Abstract………………………….………………………………….. i
English Abstract…………………………..…………….……………………iii
Acknowledgements………………………...…………...………..……………v
Table of Contents…………………………....………….……………………vi

Part One: A Commentary on a New Chinese Translation of Honeymoon

Chapter One Introduction………..…………………...……………………1
I. About the Authors……...………………………...……………………1
A. James Patterson………………………..…………....................1
B. Howard Roughan……………………..…..……………………4
II. A Brief Introduction to Honeymoon…………….……………………5
III. The Thriller as Genre…….....………………………..………………8
IV. Characteristics of Honeymoon………………………………..……12
Chapter Two The Translating Techniques………….…………………...16
I. Translation Strategies…………………………….…………..………16
A. First-Reading-Response………………...……………………16
B. Movielization…..........………….………..…....…...................19
C. Equivalent Finding……………………...…….………………21
D. Contextual Amplification……………….……………………23
II. Cultural Difference…………………………….……………………26
A. Crossing the Boundary of Cultural Metaphors…….…………26
B. Idioms and Fixed Expressions……………………..…………43
Chapter Three Conclusion………..……….…………...…………………54

Part Two: A New Chinese Translation of Honeymoon /《蜜月過後》中譯全文

Prologue WHODUNWHAT / 序曲　疑雲重重………………………..…57
Part One PERFECT COUPLES / 第一部　完美佳偶…….………………59
Part Two THE INSURANCE MAN / 第二部　保險員…….………...…107
Part Three VERY DANGEROUS GAMES / 第三部　玩命遊戲…….…160
Part Four TILL DEATH DO US PART / 第四部　至死方休………..….226
Part Five ESCAPE / 第五部　亡命天涯…………………...……………262

Bibliography…………………………..……………..………...……………292

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