本文探討克里斯多福•馬克特（Christopher Markert）於1986年出版的《易經》展演式翻譯,如何運用視覺與文字型內副文本,建構出一種文化正當性的假象。馬克特的版本提出若干意識形態論述,以批判西方文化,而這些論述並未見於既有的漢學研究中;與此同時,該譯本又通過多項陳述暗示其曾參照中文材料,並納入大量中國視覺元素,例如脫離語境的漢字,以及幾乎每個跨頁都可見的傳統中國繪畫複製品。藉由熱拉爾•熱奈特（Genette）的副文本理論、皮爾士符號學,以及麥坎內爾（MacCannell）的「展演式真實性」概念,本研究主張：這些內副文本策略並非作為有意義的文本指涉而運作,而是作為「中國性」的符徵,模擬出文本與中文來源之間的指示性連結。本文特別指出,馬克特系統性地以視覺元素充斥版面,營造出一層極具說服力的文化正當性外衣,使這一實際上屬於展演式翻譯的譯本,得以在國際間作為中國經典的真實再現而流通。本研究揭示了一種副文本策略：文化符號被用來營造出文本具有真實性與正當性的表象,從而繞過那種真正建立在來源材料之上的指示性關係,而這種關係傳統上正是翻譯作為一種實踐的基礎。本個案研究通過將副文本分析延伸至文學框架之外,並引入「展演式翻譯」的概念,拓展了翻譯研究的討論範圍,同時表明視覺元素尤其可以作為一種正當化機制,展演出文本原本並不具備的權威。
Abstract
This article examines how Christopher Markert’s staged translation of the Book of Changes (1986) uses visual and verbal peritexts to construct a façade of cultural legitimacy. While Markert’s version presents ideological arguments against Western culture absent from established sinological scholarship, it makes several statements which suggest engagement with Chinese sources and incorporates an extensive array of Chinese visual features such as decontextualized Chinese characters and copies of traditional Chinese paintings on nearly every double-page spread. By drawing on Genette’s paratext theory, Peircean semiotics, and MacCannell’s staged authenticity, this study argues that these peritextual strategies do not function as meaningful textual references but as signifiers of “Chineseness” that simulate indexical connection to Chinese sources. Particularly, the article demonstrates how Markert’s systematic visual saturation creates a persuasive veneer of cultural legitimacy that enables what is effectively a staged translation to circulate internationally as a genuine representation of the Chinese classic. The findings reveal a paratextual strategy wherein cultural signifiers are deployed to authenticate a text, bypassing the sort of genuine indexical relationship to source materials that traditionally grounds translation as a practice. This case study contributes to translation studies by extending paratextual analysis beyond literary framing and introducing the concept of staged translation, demonstrating how visual elements especially can function as mechanisms of legitimation that perform the authority a text otherwise lacks.
关键词
《易經》 /
展演式翻譯 /
偽翻譯 /
視覺內副文本 /
皮爾士符號學
Key words
Book of Changes /
staged translation /
pseudo-translation /
visual peritexts /
Peircean semiotics
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