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研究生:高詣軒
研究生(外文):Gao, Yi-Syuan
論文名稱:翻譯日本虛擬歌手:「鏡音樂坊」的粉絲字幕實踐
論文名稱(外文):Translating Japanese virtual idols: Fansubbing practices of “Kagamine Lab”
指導教授:李根芳李根芳引用關係
指導教授(外文):Lee, Ken-fang
學位類別:碩士
校院名稱:國立臺灣師範大學
系所名稱:翻譯研究所
學門:人文學門
學類:翻譯學類
論文出版年:2021
畢業學年度:109
語文別:中文
論文頁數:102
中文關鍵詞:粉絲字幕粉絲翻譯歌詞翻譯虛擬歌手日本次文化迷群
外文關鍵詞:fansubbingfan translationlyrics translationvirtual idolsJapanese subculturefandom
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日本動漫、遊戲等次文化產業相關商品,近數十年來快速在全球市場上盛行。分析大多認為日本次文化作品善於建構跳脫現實日本的「異世界」,能夠開放各地消費者發展出獨特於自身脈絡的粉絲參與形式。然而,在日本次文化全球化的過程中,語言文化障礙是不可忽視的一道高牆,粉絲翻譯、字幕組的存在也凸顯現有傳播流程中的語言隔閡,需要透過觀眾自發的參與來彌補。本文從日本次文化中具代表性的「虛擬歌手」文化出發,探討虛擬歌手歌曲如何跨越語言障礙擴散到台灣以及廣義華語文化圈地區。本文以在2014年於影音頻道上成型的粉絲字幕平台「鏡音樂坊」作為研究對象,透過對成員的線上訪談與對相關社群的網路觀察,分析鏡音樂坊的粉絲字幕實踐模式,包括成員的參與動機、字幕製作流程、成員與上下游社群的互動關係、如何因應版權爭議等。本文亦探討鏡音樂坊成員在虛擬社群的身分實踐,分析他們如何成為有效的傳播中介,並豐富虛擬歌手的文化內涵。研究結果發現,鏡音樂坊成員展現身為日本次文化粉絲的參與性,一方面提供下游觀眾委託、參與粉絲字幕平台互動的管道,也會和上游創作者就版權爭議協商溝通。參與鏡音樂坊期間,成員的日常生活也穿梭在現實工作、學業和線上的複數虛擬身分之間,展現主體的多元角色。
In recent decades, Japanese subculture industry has been producing myriad commodities that attract customers all around the world. Some analysts believe these commodities, albeit originated in Japan, offer a virtual alternative reality that allows even overseas customers to participate in different fan activities in accordance with their distinct social contexts. However, language barrier still stands in the way of the globalization of Japan’s popular culture, a fact manifested by the existence of fan translation or fansubbing groups run independently by local fans. This thesis focuses on those people who help Japanese virtual idols, characteristic of Japanese subculture, overcome language differences and appeal to Chinese-speaking fans. This research draws on the case of the “Kagamine Lab,” a fansubbing platform that started producing subbed videos for virtual idol-related MVs since 2014. Through online interviews and observation, this study looks at what the fansubbers’ motivations are, how they produce videos and interact with online community, and how they deal with copyright controversies. The ways the Kagamine Lab’s members build or play with their virtual identities and meanwhile enrich the transnational landscape of virtual idol culture are also examined. The results show the fansubbers’ practices can illustrate the participatory nature of Japanese subcultural fandom: they receive commissions from downstream followers and negotiate with upstream creators on copyright. Their daily lives are shared between different virtual and “real-life” roles, demonstrating multilayered subjectivity.
謝辭 i
摘要 ii
Abstract iii
目次 iv

第一章 全球化下的日本虛擬歌手粉絲字幕 1
1.1 針對日本角色商品的重要論述 3
1.2 「粉紅全球化」和「萌」的潛在盲點 7
1.3 正視翻譯和字幕研究的必要 11

第二章 文獻評析與研究問題形成 15
2.1 日本流行次文化的形成和全球譯介 16
2.1.1 日本次文化的虛擬與「無國籍」特性 17
2.1.2 粉絲參與創造的次文化意義 19
2.1.3 日本次文化全球化的翻譯屏障 23
2.1.4 小結 25
2.2 同中有異的各地粉絲翻譯和字幕組 26
2.2.1 字幕組的興起和成員背景 27
2.2.2 字幕組的不同型態 30
2.2.3 字幕組的組織和製作流程 33
2.2.4 小結與研究問題 35

第三章 研究方法 38
3.1 研究與訪談流程 39
3.2 資料分析角度 41

第四章 研究結果與討論 42
4.1 鏡音樂坊的成立和成員動機 42
4.1.1 「興趣作為動機」的內涵 44
4.1.2 社群互動的支持作用 49
4.1.3 小結 54
4.2 團隊發展、成員招募與實務流程 54
4.2.1 推進字幕團隊發展的委託機制 55
4.2.2 牽動社群的字幕製作流程 59
4.2.3 從「翻譯行動」理論看鏡音樂坊 63
4.2.4 小結 66
4.3 從頻道停權事件看版權問題 67
4.3.1 突然發作的版權隱疾 68
4.3.2 粉絲字幕社群對版權的看法 72
4.3.3 轉載倫理的在地差異 75
4.3.4 小結 78
4.4 虛擬空間中的粉絲字幕譯者身分實踐 79
4.4.1 成員流動的虛擬/現實身分 81
4.4.2 字幕展現的譯者能動性 86
4.4.3 小結 91

第五章 結論與研究限制及反思 93

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