| 摘要: | 日本的古典文學原本就內含著主流文化的性質與次文化的性質。之所以會如此說，是因為相對於原本被視為模範的舶來品=古代中國文化精華的「漢詩文」，日本存在著「和歌」「和文」等日本獨自的文化產品。在此意義上，日本的古典，可說是相對於主流文化漢詩文的一種次文化。雖說如此，在日本國內，相對於「漢詩．和歌」這種主流文化，「物語文學」可說是以次文化的姿態出現，而現存最古老的作品即是竹取物語。而此作品被「說話化」，又被「御伽噺化」，近代則被歌劇化、電影化，最近則被改編成動畫，或是脫胎換骨成為現代小說。也就是說，因解釋而產生的變容過程，同樣也是〈文化越境〉，在此意義上，竹取物語可說是被廣義的文化持續翻譯的代表性存在。此次論文將以竹取物語為中心，並以動畫等的關係為主軸，窺探廣義的文化翻譯的現況.
Japanese classical literature holds two sides culture-like nature originally soon, one is main, the other is sub culture. This began to import culture from ancient China, Chinese culture and Chinese verse (poem) meant main culture, Japanese and Japanese verse Waka meant sub culture conversely. By the way, we recognize verse as main and prose as sub culture in literature. So, Japanese verse Waka is main, the other, story or tale or narrative is all sub culture. Because Japanese classical literature holds two sides culture like this. The oldest tale in Japan Taketori-Monogatari remade for children's story, opera, movies, animations. This tale has all the appearance of crossing in all directions. To say in other words, remaking the literary works for another culture shows cultural translation. Taketori-Monogatari is continued cultural translation now |
