本論文旨在分析黃哲倫《中式英語》中的跨語際與跨文化翻譯。論者已敏銳地指出《中式英語》與《蝴蝶君》在主題上的一脈相承—黃哲論在這兩部劇中皆細緻地處理了中西對抗與文化差異的議題。不過，對文化差異的關注往往預設了一種封閉的文化觀，而忽略了翻譯所扮演的中介作用。有鑒於翻譯是《中 式英語》情節的核心推動力，本論文試圖解析劇中翻譯實踐所涉及的語言政治以及文化認同的形塑。藉由細讀劇中英語與中文的權力張力，以及以無法翻譯的「關係」與「情義」為中心的倫理實踐，本論文主張，劇作家不僅挑戰了當 代英語作為通用語的霸權以及由其所支撐的意識形態，也提出翻譯做為方法， 認識現代中國的複雜性與異質性。

This thesis examines the translingual and transcultural practices of translation
depicted in Chinglish. While the critics who draw parallels between M. Butterfly and Chinglish identify culture as a major factor in the misconception and (mis)communication in the two plays, this assertion overlooks the mediative role of translation in articulating cultural identities. Therefore, in lieu of assuming the inherent nature of cultural differences, my approach involves closely examining the process of translation when engaging with Chinglish. This scrutiny revolves around the power struggles between Chinese and English languages, and the varied practices of the concepts of guanxi and qíng yì in the play. As a way of rethinking David Henry Hwang’s ideal of multiculturalism and internationalism in the global framework, my thesis argues that Chinglish not only challenges the hegemony of the English language and values, but also proposes translation as a way to approach the complexity and heterogeneity of modern China.

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