字幕組中譯的全球在地觀： 以《柳丁擱來亂》為例

Glocalization in Fan-subbed Chinese Translation: A Case Study of Th e Annoying Orange

本研究以網路影片《柳丁擱來亂》（The Annoying Orange）的中文字幕組翻 譯為分析對象，討論譯文所展現的全球在地性。譯文的呈現相當多元，源自書 寫符號、本土語的吸納、外來語的洗禮、因應翻譯調整等。我們發現語料的文 字表徵兼具規範性與任意性。譯者因著多語、多文化背景於網路空間舞弄文 字，產出多元混合體譯文。中文與本土語及外來語之雜糅互動中，地域性與 全球性兼融並備。譯者在自身知識素養積累的基礎上，搭配歷時的社會文化 脈絡以及共時的網路狂歡特性，內外交織創造出虛擬空間中，讀者、譯者和文 本之間特殊關係的全球在地性。言語遊戲與文化指涉通過翻譯的輸出，展現其 （不）可譯性。分析顯示，來源語為英語之影片轉譯為中文的翻譯成果攜帶著 全球在地化（glocalization）的語言及文化訊息。

This study provides some insights into glocalization via language variations found in the fan-subbed Chinese translation of the online video series The Annoying Orange. Variations are displayed by means of written symbols and result from contact with local as well as foreign languages, and from adjustments due to translation. Both regulated and unregulated uses of language are found in our corpus texts. The transliteration of the target language, namely Chinese, varies greatly depending on the background of the translators, who have some knowledge of Taiwan Mandarin and other Sinitic languages as well as of English. The variations can be attributed to the flexibility cyberspace offers to these amateur translators, which helps create the hybridity of their work that demonstrates the effects of both localization and globalization. The accumulated knowledge of the translator, the socio-cultural context, and the synchronic figures of carnivalization within cyberspace bring about a highly complex relationship between and among the text, the translator and the reader. This may sometimes lead to the untranslatability of the transliteration, especially in the case of wordplay and the cultural references in the Chinese texts. It is claimed that the Chinese translation of this English video series displays both linguistic and cultural glocalization.