The Project of Chinese Translation for Tsunehiro Uno’s “The Imagination of First Decade after 2000.”

日本文化論述輸入至台灣也已有很長的時間。台灣閱讀者理所當然地接受這套論述時，卻忽略了一個斷代。從九○年到零年代，這十年即是宇野常寬所說的「失落的十年」。 1995年至2001年左右，由於這時期日本面臨泡沫經濟崩壞，並長期處於名為「平成不景氣」的經濟大蕭條狀態下，且「努力也不會發達」、「努力也沒有意義」的消極氛圍掌控日本文化空間，因此當時的文化論述著重於「繭居」氣氛下的社會結構。然而，其實在2000年代以後，因為911的恐怖攻擊事件，人們的思想轉變成「決斷主義」，而「決斷主義」的特徵就是人們不再封閉自己，想做什麼立即採取行動。於是在2001年前後，這股「隱蔽/心理主義」的模式慢慢被解除，且宇野常寬稱之「倖存感」的感覺，開始瀰漫在這個社會上。 《零年代的想像力》本書出版於2008，零年代結束之際。研究範圍主要著眼於在2000年到2008年之間的日本國內文化，尤其著重於小說、電影、漫畫、電視劇、動畫等的「故事」上，與探求其想像力的變遷。宇野常寬的《零年代的想像力》中所論述的大眾文化文本幾乎都已輸入至台灣，因而本書翻譯的意圖在於透過日本文化評論家對於日本本國文化評論的論述，確實理解「故事」欲傳達出來的原意，進而理解到日本社會結構的變化造成故事中結構的改變與影響。希望能透過譯介《零年代的想像力》，瞭解到日本社會與文化評論的現況帶進台灣，能成為台灣研究者的催化劑，並作妥善的利用。Having been introduced to Taiwan for a long time, Japanese culture discourse has been accepted by Taiwanese readers, who have, however, ignored a missing period of Japanese history. That is, as Uno Tsunehiro refers to “The Lost Decade,” the ten years from the 1990s to the 2000s. From 1995 to 2001, due to the collapse of the bubble economy in Japan during this period and the long-term economic depression of “Heisei depression,” the cultural field in Japan had been held in a negative atmosphere that people believed that “effort would never pay off” and “effort had no meaning,” so that the cultural discourse at the time mostly focused on the social structure under the hikikomori (‘cocoon’) phenomenon. However, because of the terrorist attacks of 911, after the 2000s, people’s thinking had turned into a “decisive mode,” meaning that people would take immediate action whenever they wanted to do something and no longer withdrew themselves. Therefore, such a “social withdrawal/cocooning psychology” had been gradually overcome around 2001. At the time, the “sense of survival” referred by Uno Tsunehiro had been pervading in this society. Uno Tsunehiro’s book The Imagination of the 2000s was published in 2008, the end of the 2000s. This book focused on the Japanese culture between 2000 and 2008, with a particular attention to the “stories” in fiction, film, comics, TV shows, and animation, as well as the exploration of the changes in the imagination of the stories. The texts discussed in The Imagination of the 2000s have been mostly introduced to Taiwan, and thus the intention of the translation plan is to precisely grasp the original meanings intended to be conveyed in the stories by reviewing Japanese cultural criticisms and arguments made by Japanese cultural critics, and further understand that the changes in the structure of the Japanese society also caused the changes in the structure of the story and other influences. By translating The Imagination of the 2000s, the researcher expects to have a clear understanding of the current situation of the Japanese society and cultural criticisms, hoping that the translation version could be as a catalyst and well used by Taiwanese researchers in the future.目次 第一章 翻譯背景與動機……………………………………………………………1 第一節 日本大眾文化在台灣……………………………………………………1 第二節 相關研究與評論 ………………………………………………………10 第三節 翻譯範圍與方法 ………………………………………………………15 第四節 預期問題 ………………………………………………………………19 第二章 零年代的想像力翻譯………………………………………………………20 第一章 問題設定 —九○年代到零年代╱「失落的十年」的另一面………20 第二章 資料庫模型生成的排除型社會 ——「動物化」的時代與社交恢復的可能性…………………………39 第三章 「隱蔽/心理主義」—喪失與絕望的想像力……………………………52 參考書目……………………………………………………………………………6