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題名 尋覓/迷『華茲華斯』：《序曲》為華茲華斯之名的翻譯與新生
Des Tours de Wordsworth: The Prelude as the Translation of Wordsworth`s Proper Name and Its Sur-vival
作者 張郁屏
Chang, Yu Ping
貢獻者 楊麗敏
Yang, Li Min
張郁屏
Chang, Yu Ping
關鍵詞 華茲華斯
德希達
《序曲》
翻譯
專名
新生
otobiography
William Wordsworth
Jacques Derrida
The Prelude
translation
proper name
sur-vival
佚傳
日期 2008
上傳時間 9-十二月-2010 12:02:14 (UTC+8)
摘要 《序曲》一直以來被視認為華茲華斯的自傳詩，描述華茲華斯如何憑藉自身心靈與自然的互動，發展獨立整合的自我。然而，《序曲》文本結構上的多重性與不完整性，卻與華茲華斯所提倡的自我形象相抵觸。本篇論文將依據德希達的翻譯理論，由三方面探討華茲華斯如何透過書寫《序曲》形塑自身詩人形象的身份認同。首先，寫作《序曲》是華茲華斯的譯者天職 (the task of the translator)。唯有完成書寫《序曲》此一必要卻又不可能的任務 (a necessary and impossible task)，華茲華斯才可確立自己作為詩人的身份認同。再者，華茲華斯的詩人身份仰賴華茲華斯之名的翻譯 (the translation of Wordsworth`s proper name)。華茲華斯之名的可譯與不可譯 (the translatability and untranslatability of Wordsworth’s proper name)促使華茲華斯不斷地進行翻譯與改寫，因而造成了《序曲》文本結構上的多重性與不完整性。最後，《序曲》將以華茲華斯的「佚傳」(otobiography) 而非自傳的方式進行重新詮釋，說明華茲華斯企圖透過書寫《序曲》所建立的自我身份認同，必須藉由「他者的耳朵」(the ear of the other)來確立。
The Prelude has long been regarded as William Wordsworth`s autobiographical poem in which he celebrates an autonomous and consistent self nourished from the interaction between his mind and Nature. However, the textual plurality and a sense of incompleteness of The Prelude contradicts the unique and unitary self-identity proposed by Wordsworth in this poem. On the basis of Derrida`s theory of translation, this thesis intends to investigate the establishment of Wordsworth`s identity as a poet in The Prelude in three aspects. First, the writing and completion of The Prelude is Wordsworth`s task of the translator, the necessary and impossible task in search of an identity as a poet. Second, the constitution of Wordsworth`s identity as a poet depends on the translation of Wordsworth`s proper name which calls for and against translation at the same time. The translatability and untranslatability of Wordsworth`s proper name leads to the textual plurality and incompleteness of The Prelude as the result of Wordsworth`s endless translation of his name. Last but not least, The Prelude is not so much Wordsworth`s autobiographical poem as Wordsworth`s otobiography which calls for the ear of the other to constitute his self-identity by hearing and signing with him. This thesis endeavors to prove that Wordsworth, in the position of an indebted translator committed to an insolvent debt and non-dischargeable duty by a translation contract with Nature and Coleridge, is obliged to translate his proper name in search of the sur-vival of his name as a poet and his poetry by writing The Prelude as his otobiography which is always open to and demands the ear of the other to recognize and affirm Wordsworth`s name as a great poet.
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描述 碩士
國立政治大學
英國語文學研究所
94551010
97
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0094551010
資料類型 thesis
dc.contributor.advisor 楊麗敏zh_TW
dc.contributor.advisor Yang, Li Minen_US
dc.contributor.author (作者) 張郁屏zh_TW
dc.contributor.author (作者) Chang, Yu Pingen_US
dc.creator (作者) 張郁屏zh_TW
dc.creator (作者) Chang, Yu Pingen_US
dc.date (日期) 2008en_US
dc.date.accessioned 9-十二月-2010 12:02:14 (UTC+8)-
dc.date.available 9-十二月-2010 12:02:14 (UTC+8)-
dc.date.issued (上傳時間) 9-十二月-2010 12:02:14 (UTC+8)-
dc.identifier (其他 識別碼) G0094551010en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/49881-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 英國語文學研究所zh_TW
dc.description (描述) 94551010zh_TW
dc.description (描述) 97zh_TW
dc.description.abstract (摘要) 《序曲》一直以來被視認為華茲華斯的自傳詩，描述華茲華斯如何憑藉自身心靈與自然的互動，發展獨立整合的自我。然而，《序曲》文本結構上的多重性與不完整性，卻與華茲華斯所提倡的自我形象相抵觸。本篇論文將依據德希達的翻譯理論，由三方面探討華茲華斯如何透過書寫《序曲》形塑自身詩人形象的身份認同。首先，寫作《序曲》是華茲華斯的譯者天職 (the task of the translator)。唯有完成書寫《序曲》此一必要卻又不可能的任務 (a necessary and impossible task)，華茲華斯才可確立自己作為詩人的身份認同。再者，華茲華斯的詩人身份仰賴華茲華斯之名的翻譯 (the translation of Wordsworth`s proper name)。華茲華斯之名的可譯與不可譯 (the translatability and untranslatability of Wordsworth’s proper name)促使華茲華斯不斷地進行翻譯與改寫，因而造成了《序曲》文本結構上的多重性與不完整性。最後，《序曲》將以華茲華斯的「佚傳」(otobiography) 而非自傳的方式進行重新詮釋，說明華茲華斯企圖透過書寫《序曲》所建立的自我身份認同，必須藉由「他者的耳朵」(the ear of the other)來確立。zh_TW
dc.description.abstract (摘要) The Prelude has long been regarded as William Wordsworth`s autobiographical poem in which he celebrates an autonomous and consistent self nourished from the interaction between his mind and Nature. However, the textual plurality and a sense of incompleteness of The Prelude contradicts the unique and unitary self-identity proposed by Wordsworth in this poem. On the basis of Derrida`s theory of translation, this thesis intends to investigate the establishment of Wordsworth`s identity as a poet in The Prelude in three aspects. First, the writing and completion of The Prelude is Wordsworth`s task of the translator, the necessary and impossible task in search of an identity as a poet. Second, the constitution of Wordsworth`s identity as a poet depends on the translation of Wordsworth`s proper name which calls for and against translation at the same time. The translatability and untranslatability of Wordsworth`s proper name leads to the textual plurality and incompleteness of The Prelude as the result of Wordsworth`s endless translation of his name. Last but not least, The Prelude is not so much Wordsworth`s autobiographical poem as Wordsworth`s otobiography which calls for the ear of the other to constitute his self-identity by hearing and signing with him. This thesis endeavors to prove that Wordsworth, in the position of an indebted translator committed to an insolvent debt and non-dischargeable duty by a translation contract with Nature and Coleridge, is obliged to translate his proper name in search of the sur-vival of his name as a poet and his poetry by writing The Prelude as his otobiography which is always open to and demands the ear of the other to recognize and affirm Wordsworth`s name as a great poet.en_US
dc.description.tableofcontents Dedication....................................................................................................... iii
Acknowledgments............................................................................................iv
Chinese Abstract..............................................................................................viii
English Abstract...............................................................................................ix
Introduction.......................................................................................................1
Chapter One
Wordsworth: the Poet as the Translator.............................................................25
I. Introduction……………………………………………………....25
II. What Is Translation? From Benjamin to Derrida………………...27
2.1 The Story of Babel and the Translation Contract……………...29
2.2 The Translation and the Original……………………………....31
III. Wordsworth as an Indebted Translator….......................................34
3.1 Wordsworth’s Translation Contract with Coleridge…………...35
3.2 Wordsworth’s Contract with Nature in Writing Poetry………..44
IV. Conclusion………………………………………………………...57
Chapter Two
Wordsworth’s Task as a Translator: Translating “Wordsworth” into “Something
of More Worth”...................................................................................................59
I. Introduction......................................................................................59
II. Translating the Proper Name……………………………………....61
2.1 The Division of the Proper Name: the Double-Bind Structure….62
2.2 The Desire for a Unitary Identity………………………………..65



2.3 The Sur-vival of the Proper Name as the Task of the Translator..70
III. Wordsworth’s Task of the Translator in The Prelude………………74
3.1 Wordsworth’s Arduous and Detoured Pilgrimage……………….77
3.2 Translating “Wordsworth” to Worthy Words…………………….82
IV. Conclusion…………………………………………………………..94
Chapter Three
An Everlasting Signature Event: The Prelude as Wordsworth’s Otobiography…98
I. Introduction………………………………………………………… 98
II. Translation and Autobiography…………………………………….103
2.1 Proper Name and Signature in Autobiography…………………..104
2.2 Autobiography as Otobiography:
the Nominal Contract with the Other…………………………….107
III. The Prelude as Otobiography……………………………………….110
3.1 Coleridge and Dorothy as the Other……………………………...111
3.2 Wordsworth as the Other…………………………………………128
IV. Conclusion…………………………………………………………...138
Conclusion...............................................................................................................141
Bibliography............................................................................................................149		zh_TW
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dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0094551010en_US
dc.subject (關鍵詞) 華茲華斯zh_TW
dc.subject (關鍵詞) 德希達zh_TW
dc.subject (關鍵詞) 《序曲》zh_TW
dc.subject (關鍵詞) 翻譯zh_TW
dc.subject (關鍵詞) 專名zh_TW
dc.subject (關鍵詞) 新生zh_TW
dc.subject (關鍵詞) otobiographyzh_TW
dc.subject (關鍵詞) William Wordsworthen_US
dc.subject (關鍵詞) Jacques Derridaen_US
dc.subject (關鍵詞) The Preludeen_US
dc.subject (關鍵詞) translationen_US
dc.subject (關鍵詞) proper nameen_US
dc.subject (關鍵詞) sur-vivalen_US
dc.subject (關鍵詞) 佚傳en_US
dc.title (題名) 尋覓/迷『華茲華斯』：《序曲》為華茲華斯之名的翻譯與新生zh_TW
dc.title (題名) Des Tours de Wordsworth: The Prelude as the Translation of Wordsworth`s Proper Name and Its Sur-vivalen_US
dc.type (資料類型) thesisen
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