翻譯文學文本時，必須尊重語言本身的特質，惟有藉由保留其特性，譯者方能存續多語文本中複雜的語言網絡。因此，譯者應避免獨斷均質的譯法，以傳達出文字異質性為目標。
本論文擬以安東尼‧伯吉斯的《發條橘子》為例，探討書中自創社群習語「納查奇語」的翻譯問題，除了以貝爾曼的變形傾向分析現有中譯本的不妥之處，筆者並試譯第一部內容，藉以提出適當之翻譯策略。考量到漢字與拼音語言間的差異，納查奇語應以若干不同策略譯入中文。筆者期望本論文能喚起譯者對自創語言的重視，進而發掘出中文文字的創造力。

When it comes to literary translation, the priority should be to respect the unique qualities of different languages in the work. Only by retaining their features can the translator preserve the complicated networks of a multilingual text. Therefore, the translator should avoid an arbitrary homogenization and manifest the foreignness of the languages.
What I aim to do in my thesis is to examine the translation problems posed by Nadsat the invented sociolect in Anthony Burgess’s novel A Clockwork Orange. I will analyze the deforming tendencies, proposed by Antoine Berman, of the novel’s Chinese version. I also translate the first part of the novel to exemplify the ideal translation strategies in my opinion. Considering the huge difference between phonetic alphabets and Chinese characters, I use various strategies to construct the Chinese verson of Nadsat. Hopefully, this thesis will bring attention to the translation of invented languages and further release the potential creativity of the Chinese language.

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