《蒙馬特遺言》是邱妙津(Qiu, Miaojin/ Chiu Miao-chin: 1969-1995)於 1995 年在巴黎自殺前的遺作。雖然她只寫了兩部作品《鱷魚手記》和《蒙 馬特遺言》，但已成為亞洲 LGBT 的經典文學。在邱妙津所處的時代，同 性戀的身份還是模糊不清的。這兩部小說都描繪了作者渴望同性戀為社會 所接受的期待。在《蒙馬特遺言》中，有幾句死亡的宣言反復出現，猶如 「預言死亡」。本研究論文使用中文原著和西班牙文譯文作為語料庫分析。 原作中的互文性非常顯著。邱妙津引用了許多作家、學者、電影等，使互 文性成為《蒙馬特遺言》的一大特色。西班牙譯者 Belén Cuadra 使用譯註 作為處理互文性的翻譯技巧。本研究論文運用朱莉婭‧克里斯蒂娃(Julia Kristeva)的互文性理論和羅蘭‧巴特(Roland Bartes)的「作者之死」概念 來解讀原作和詮釋西班牙譯者的風格。
Last Words from Montmartre is a posthumous work by Qiu Miaojin ( 邱妙津 Chiu Miao-chin, 1969-1995) written before she committed suicide in Paris in 1995. Although she wrote only two works, Notes of a Crocodile and Last Words from Mont- martre, they have become classics of LGBT literature in Asia. In Qiu Miaojin's era, the identity of homosexuality was still obscure and ambiguous. These two novels anticipate the acceptance of homosexuality. In Last Words from Montmartre, sever- al declarations appear just like a “death foretold.” This article uses the original work and the Spanish translation as a corpus. The intertextuality in the original work is quite remarkable. Qiu Miaojin cites many writers, scholars, films, etc., in a way that makes intertextuality a significant feature of Last Words from Montmartre. The Span- ish translator, Belén Cuadra, uses footnotes as a translation strategy to deal with intertextuality. This study applies Julia Kristeva’s intertextuality theory and Roland Barthes’ “the death of the author” concept to interpret the original work and, simul- taneously, the style adopted by the Spanish translator.