戰前以日文發表詩作的桓夫在跨越語言的障礙後，於1958年起改以中文書寫。爾後在創作之餘大量譯介日本現代詩及詩論，除此之外還計畫性的翻譯台灣現代詩，中譯日、日譯中皆有，其中亦不乏他自己的作品，並且經常使用筆名陳千武代表其翻譯者的身分。 筆者感到興趣的是，身為譯者的陳千武搖擺在異化了的「局內人」和全知的「局外人」之間，他採用何種翻譯策略來翻譯自身﹙＝桓夫﹚？筆者大膽的假設陳千武對桓夫的翻譯事實上是為了促成相異文化之間相互渡越和對話的可能性而進行的重寫，因此他所採取的翻譯策略必須有效的去除日本語文學和台灣文學之間的疆界，進而開拓你中有我、我中有你的文學閾境。本文將援用霍米‧巴巴的文化翻譯理論，就以下兩方面進行探討：一是圍繞著語言、文體等傳統文學翻譯上的問題，一是統攝日本和台灣文學，並在其背後起了框架作用的各自的文化如何交混並跨越疆界的問題。

Before World War II, Taiwanese poet Huanfu wrote poetry in Japanese, but since the year of 1958, he started to create in Chinese. In addition to poetry, he translates Japanese modern poetry or criticism into Chinese, and he also translates Taiwanese poetry to Japan intentionally. While he translates it side-by-side in the daytime, there can be the thing taking up a work of his own. In addition, I want you to pay attention to that Huanfu usually plays an active part as a translator with a pen-name called "Chen Qianwu". As a translator, Chen Qianwu comes and goes among an alienated "insider" and an "outsider of the omniscience ". I am interested how he translates himself and what kind of strategy he takes. I think Chen Qianwu’s translation for Huanfu is a kind of intercultural transit, and he tries to rewrite with an intention of promoting the possibility of talks again . The translation strategy that Chen Qianwu takes must be able to remove a barrier between the Japanese literature and Taiwan literature on the premise effectively, and it must be a thing reclaiming the space of the literature to do subsumption for each other. Here I want to consider next two questions using Homi Bhabha’ theory of Cultural translation. One is about traditional problems around literal translation, such as the use of language or tone of literal work. The other is about how different cultures behind Japanese literature and Taiwan literature become hybrid, and how they go through the barrier in between throuth translation.