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研究生：	陳宣 Chen, Hsuan
論文名稱：	臺灣布袋戲英譯初探：霹靂布袋戲劇集英譯譯注 Translation of Taiwanese glove puppetry: An Annotated Translation of the Pili Glove Puppetry Series
指導教授：	胡宗文 Hu, Zong-Wen
學位類別：	碩士 Master
系所名稱：	翻譯研究所 Graduate Institute of Translation and Interpretation
論文出版年：	2019
畢業學年度：	107
語文別：	英文
論文頁數：	185
中文關鍵詞：	臺灣布袋戲、翻譯、譯注、字幕
英文關鍵詞：	Taiwanese glove puppetry, translation, annotated translation, subtitle
DOI URL：	http://doi.org/10.6345/NTNU201900930
論文種類：	學術論文
相關次數：	點閱：261 下載：28
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布袋戲自十八世紀中葉傳至臺灣以來，歷經了許多革命性的變化，也因此成為許多專家學者研究的重點。然而，大多數文獻偏重討論臺灣布袋戲的歷史與發展，或是布袋戲中使用的臺灣閩南語，而鮮少觸及翻譯這塊領域。臺灣布袋戲經歷過豐富的歷史及政治背景而演變至如今的樣貌，蘊含複雜的文化意象，加上使用的是臺灣閩南語，因此英譯實為一難題。而目前的現代臺灣布袋戲當屬霹靂國際多媒體為龍頭，將此一民俗表演藝術與多方科技融合，形成一種新的現代產物。此篇論文將提供筆者自翻的霹靂布袋戲劇集系列一集，並附上注釋作為譯注。霹靂布袋戲以閩南語為口頭語言而國語為影視字幕，此文以翻譯國語字幕為目標，透過布袋戲國語字幕的英譯讓來自不同文化、說不同語言的朋友也能欣賞臺灣寶貴的藝術。此篇論文旨在透過筆者初步的嘗試，以期為臺灣布袋戲吸引更廣大的關注，並展現此種文化翻譯文本的可譯性，未來期望有更多學術界的專家能可更進一步研究臺灣布袋戲的英譯，讓此臺灣本土文化為國際所了解，發揚光大。

Taiwanese glove puppetry has undergone a series of impressive transformations since it first set foot on the island in the mid-18th century, given the island’s rich colonial history. Therefore, the history as well as the development of the Taiwanese glove puppetry is a topic that raised interest among many scholars, who have thoroughly studied and discussed the Chinese origin of this folk art and its unique localization in Taiwan. However, while ample research has been done on the history of Taiwanese glove puppetry, very few focused on the translation of the traditional performing art. Owing to the rich cultural reference and the complex language situation, Taiwanese glove puppetry certainly does not present an easy task for translators. This paper, therefore, gives an annotated English translation of one episode from one of the most popular glove puppetry series in Taiwan, the Pili glove puppetry series. Spoken in the Taiwanese language, the glove puppetry series employs Mandarin Chinese subtitles, which this paper aims to translate into an accessible English text. The purpose of this paper is to attract greater attention to this Taiwanese folk art and prove the translatability of such culturally challenging text. With the experience, more research can be carried out in the future to focus on the English translation of Taiwanese glove puppetry, and hopefully introduce this Taiwanese-speaking art to more audience from other parts of the world.

ACKNOWLEDGEMENT  i
摘要  ii
ABSTRACT  iii
TABLE OF CONTENTS  iv
LIST OF FIGURES  viii

Chapter 1  Introduction  1
Research background  2
Literature review  3
Research purpose  5

Chapter 2  History of Taiwanese glove puppetry  8
I. Origin and spread  9
Origin  9
Across the strait  12
II. Development in Taiwan  13
Qing dynasty: mid-18th century–1895  13
1 Historical background  13
2 Development of glove puppetry  14
Japanese rule: 1895–1945  18
1 Before the Second Sino-Japanese War: 1895–1937  19
1.1 Historical background  19
1.2 Development of glove puppetry  21
2 After the Second Sino-Japanese War: 1937–1945  25
2.1 Historical background  25
2.2 Development of glove puppetry  27
KMT rule: 1945–present  31
1 Before the rise of television: 1945–1960  32
1.1 Historical background  32
1.2 Development of glove puppetry  37
2 After the rise of television: 1960–present  41
2.1 Historical background  41
2.2 Development of glove puppetry  48

Chapter 3 The Huang family and Pili International Multimedia Co., Ltd.  55
I. The Huang family  56
First generation: Huang Ma (黃馬)  56
Second generation: Huang Hai-tai (黃海岱)  57
Third generation: Huang Chun-hsiung (黃俊雄)  58
Fourth and fifth generation: The Huang brothers and
their children  61
II. Pili International Multimedia Co., Ltd.  63
History  63
1 The independence and transformation of the Pili glove puppetry series  63
2 The Huang brothers in Pili productions  65
3 Pili's commercial success  68
Conventions  70
1 Genre  70
2 Magical objects and characters  71
3 Pili glove puppetry's timeline and geographic
setting  73
Language  75

Chapter 4  Discussion and research limitations  79
Discussion  79
1 Religious connotation  79
2 Terminology of the conventions  81
3 Proper nouns  83
4 Linguistic properties  87
Research limitations and prospect of future studies  89

Chapter 5  Pili Destiny: The Battle of the Immortals and Demons II the demon destroyers <Episode 29> The Greatest of Mankind, the Eye of the Martyr 91
Introduction  91
1 Background of the season  92
2 Before the events of this episode  93
Annotated English translation  95

References  176

Appendix  178
                                

一、中文文獻
Chang, 張軒豪（2004）。本土文化產業的全球化—以霹靂布袋戲為例（碩士論文）。國立交通大學，新竹市
Chang, 張溪南（2004）。黃海岱及其布袋戲劇本研究。台北：臺灣學生書局
Chen, 陳木杉（2000）。雲林縣布袋戲發展史暨布袋戲宗師黃海岱傳奇。台北：臺灣學生書局
Chen, 陳龍廷（1990）。電視布袋戲的發展與變遷。民俗曲藝，（67/68），68–87。
Chen, 陳龍廷（2007）。臺灣布袋戲發展史。台北：前衛出版社
Chen, 陳龍廷（2008）。聽布袋戲：一個臺灣口頭文學研究。高雄：春暉出版社
Chiu, 邱一峰（2004）。閩台偶戲研究（博士論文）。國立政治大學，台北市，取自臺灣博碩士論文知識加值系統
Hsieh, 謝中憲（2009）。台灣布袋戲發展之研究。台北：稻鄉出版社
Hsieh, 謝佩瑩（2005）。台灣布袋戲的武俠先鋒—劍俠戲。淡江人文社會學刊，（22），35–56。
Huang, 黃春秀（2006）。細說臺灣布袋戲。台北：國立歷史博物館
Li, 李承陽（2019，3月17日）。霹靂進化第5代黃政嘉掌舵。中國時報，取自https://www.chinatimes.com/?chdtv
Lu, 呂訴上（1961）。臺灣電影戲劇史。台北：銀華出版部
Tseng, 曾瓊瑩（2009）。傳統文化產業之創新：以霹靂布袋戲為例（碩士論文）。元智大學，桃園市，取自華藝線上圖書館
Wu, 吳明德（1999）。開創布袋戲新紀元—論「霹靂布袋戲」的藝術成就。中國工商學報，（21），39–71。
Wu, 吳明德（2005）。臺灣布袋戲表演藝術之美。台北：臺灣學生書局

二、英文文獻
Ching, T.S. (2001). Becoming “Japanese”: Colonial Taiwan and the politics of identity formation. Oakland, CA: University of California Press.
Huang Chun-hsiung, Shi Yan-wen, and Mirror Man [Digital image]. (n.d.). Retrieved from http://event.moc.gov.tw/sp.asp?xdurl=ccEvent2013/ccEvent_cp.asp&cuItem=2045518&ctNode=676&mp=1
Huang Hai-tai receiving honorary doctorate degree [Digital image]. (n.d.). Retrieved from http://chawucha.blogspot.com/2008/06/blog-post_27.html
Lai, Y.H. (Photographer). (2019, February 27). 黃強華︰維繫傳統非守舊，霹靂100年後也是傳統 [Digital image]. Retrieved from https://www.gvm.com.tw/article.html?id=56379
Vincent Huang recording for the show [Digital image]. (n.d.). Retrieved from https://www.pm-mag.net/Article/Article_content.aspx?Tid=230
Yi Ye Shu the Ever Wise [Digital image]. (n.d.). Retrieved from https://drama.pili.com.tw/role/shu/

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