| Abstract |
World literature scholar David Damrosch argues that original works and translations are fundamentally distinct texts. After being translated, original texts may suffer some loss, but translation can also yield new insights—such as being placed in a fresh context for discussion. Additionally, translation theorist Lawrence Venuti believes that once a translation becomes part of a series or collection, its positioning may undergo transformation. This study focuses on Taiwanese novelist Chen Yao-chang’s novel Kueilei Hua and its English translation, which has been retitled Puppet Flower. I will focus on the English translation’s paratextual elements, including the translated book’s title, preface, author’s introduction, list of principal characters, footnotes, maps, photographs, and glossary. Though Puppet Flower is a work translated from Kueilei Hua, the two works may significantly differ for readers. Not only do they have distinct chapter titles, but their overall structural arrangement has also been adjusted. According to Chen, these changes were made to enhance accessibility for English-speaking readers. However, even amidst these alterations, Puppet Flower strategically strives to retain historical accuracy. Furthermore, Puppet Flower belongs to the series “Modern Chinese Literature from Taiwan” published by Columbia University Press. This affiliation underscores the novel’s emphasis on themes related to indigenous peoples and ethnic diversity. Ultimately, this case study vividly illustrates that translation serves as an opportunity for “retelling,” allowing us to reshape a story through an alternative lens. |
