一九五〇、六〇年代西方現代主義導入台灣的契機，使台灣文學作家重新檢視以白話文為主的小說語言、反省在文學創作上力有未逮之處，進而開啟一連串的實驗性書寫，試圖塑造具主體性的小說語言，打破白話文書寫的窠臼。王文興、舞鶴可謂小說語言實驗最激進且最成功者，以自身創作理念及語言堅持為基點，打造主體性極強且極具異質性之創作語言，其作品於外譯至英語的過程中，遭遇多面向的翻譯難題。本論文試圖以翻譯理論定義王文興、舞鶴小說語言中的「異質」，並以不同理論框架及文本分析此「異質」在語言、文化及創作理念上更深刻之意涵，進而以王文興《家變》、舞鶴《餘生》二代表作為例，透過文化翻譯及少數文學翻譯觀點，探討當代台灣文學中的異質性在英譯過程中，經過語言及文化轉譯後的得失，以及突破之可能性。

The introduction of modernism in the 1950s and 1960s has inspired Taiwanese writers to reexamine their use of language in literary creation and reflect on the inadequacy of vernacular modern Chinese. A succession of writing experiments is conducted by a handful of Taiwanese writers in search of an ideal creative language with subjectivity. Hailed as two of the most prominent figures successful in the revolution of creative language, both Wang Wen-hsing and Wu He have created a language of considerable subjectivity and heterogeneity. This dissertation aims to define and analyze the heterogeneity in Wang Wen-hsing's and Wu He's literary works through various theoretical frameworks and textual analyses. Subsequently, the process of rendering the heterogeneity in both writers’ iconic novels Family Catastrophe and Remains of Life is explored through the theoretical lens of cultural translation and translation of non-standard languages. The English translation by Michael Berry and Susan Wan Dolling respectively, is analyzed in detail before I propose the possibilities and impossibilities of overcoming the language and cultural hurdles during the complex process of translation.

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