中日文化源遠流長，語言文字之間有不少相似之處。然而，因著語境和文化上的差異，兩種語言之間仍然存在著翻譯的可譯性和不可譯性的問題。被譽為「馬來西亞女性書寫第一人」的黎紫書，她的小說特點是充滿濃郁的南洋鄉土風情，以及詭異的魔幻色彩。本文主要是從語言和文化的角度來看黎紫書小說的語言策略，並以她的短篇小說《山瘟》、《蛆魔》、《國北邊陲》作為翻譯實例，進行分析研究。同時，也透過日譯本的實例，來看譯者如何運用他的翻譯策略，達到信（忠實）、達（通順）、雅（優美）這三重翻譯標準，從而探討翻譯文學中的可譯性和不可譯性。總的來說，黎紫書採取多樣化的敘事角度作為書寫策略，而日文譯者則採用歸化法作為主要的翻譯策略。

Due to their centuries-long cultural interrelationships, Chinese and Japanese languages are almost identical in various ways. However, due to the differences of the two languages grammar and some distinct dissimilarity between the two cultures, there are still some elements that give rise to problems in translations among their literatures - which are coined ＂translatability＂ and ＂untranslatability＂. Li Zhi -shu's, known as ＂The Best Female Malaysian Writer＂, trademark in writing is her ability to describe the unique lifestyles and cultures found in South-East-Asian region and also to embed mystery, fantasy elements into her works. This article examines Li's Linguistic Strategy through linguistic and cultural angles, comparing her literary work - ＂Mountain Plagues＂, ＂Maggot Nightmare＂, ＂Northern Frontier＂ against its Japanese translated version. Its objective is to explore the ＂translatability＂ and ＂untranslatability＂ in literature translations. The rationale for utilizing so many techniques is that there are linguistic gaps in terms of syntax and grammar in between Chinese and Japanese language; thus, to ensure Japanese readers could understand the context of the translated text , various translation techniques had been employed. In conclusion, Li Zhi-Shu has a unique approach and strategy in writing her anecdotes in various styles while Professor Arai utilized ＂Domestication Method＂ as his main translation strategy.