由於臺灣獨特的殖民歷史，數種文化、語言在這片土地落地生根，臺灣作家也因此創作出許多混語作品。本研究針對吳明益的《單車失竊記》其中臺語文化詞進行分析，檢視譯者是否顧及臺灣文化的獨特性，向世界推廣臺灣新興文學作家的自由書寫與世界觀。研究發現譯者採行歸化策略占比最高，如此雖符合市場及讀者期待，但無法留住原文的異質性以及作者使用臺語寫作之目的，將阻礙文化流動，無法完全讓國外讀者透過臺灣文學看見臺灣，展現臺語之美。本研究也發現，譯者針對文化詞多採歸化策略，部分原因為英譯本是由商業出版商發行，主要目的為銷售，而非輸出臺灣文化；再者，譯本若負載過多異國元素將造成讀者負擔，因此透過歸化策略先將讀者吸引至臺灣文學領域，再循序漸進引起其對臺灣文化之興趣。研究建議，臺灣文化詞英譯可採用歸化異化並行策略，可在文本中留下異國文化元素，又可透過補充說明讓讀者了解內容，達到同時關照文本的藝術性和故事性之目標：對原文文化抱持敬意，促進文化交流與諒解。

When the colonialists from the Netherlands, Spain, China, and Japan arrived in Taiwan, they brought with them their cultures and languages, which created a dynamic environment for Taiwanese literature. This study aimed to investigate the strategies for translating the Taiwanese cultural terms in Wu Ming-Yi’s The Stolen Bicycle and explored whether the translation retained Taiwanese culture elements and relayed the freedom of expression and worldview of the writer to the world audience. The findings revealed that the dominant use of domestication strategy meets the expectations of the market and the needs of the audience but conceals the ideology behind the use of Taiwanese in a dominant Mandarin text. This blocks the target reader from seeing and appreciating the true beauty of Taiwan. The dominant use of domestication was also primarily due to the book’s commercial publication, the key purpose of which was to promote its market value. Nevertheless, a certain degree of domestication may attract readers to Taiwanese literature, which may in turn offer them a glimpse of Taiwan’s culture. The study recommends the adoption of both domestication and foreignization as the most feasible strategy for translating Taiwanese cultural terms to retain both the artistic and narrative flavor of the original text in the translation, which concurs with Venuti’s expectations of a translation: to respect foreign-ness and promote cultural exchanges and understanding.