女性主义翻译理论视角下《温夫人的扇子》中译本比较研究

A Comparative Study of the Chinese Versions of Lady Windermere’s Fan from the Perspective of Feminist Translation Theory

In the 1980s, feminist theory began to permeate the field of translation studies, while translation research focusing on gender differences also entered the theoretical realm, ultimately forming a distinctive feminist translation theory. Oscar Wilde, a morally controversial author of the late Victorian era, though male, also reflected feminist ideas in his works. Existing studies on Chinese translations of Lady Windermere’s Fan predominantly focus on teleology, postcolonialism, and domestication, with few examining the work through a feminist translation lens. This paper attempts to conduct a comparative study of the Chinese translations of the play Lady Windermere’s Fan—one by female translator Shen Xingren (1918) and the other by male translator Yu Guangzhong (1992)—based on feminist translation theory. The analysis examines three levels of translation strategies: prefacing and footnoting supplementing, and hijacking, exploring the similarities and differences between the two translations in terms of the strategies employed and their effects.

20 世纪80 年代，女性主义理论开始逐渐渗入翻译研究领域，同时关注性别差异的翻译研究也进入理论层面,最终形成了颇具特色的女性主义翻译理论。王尔德作为维多利亚时期末期在道德上饱受争议的作者，虽是男性，其作品中也体现出了女性主义思想。现有对《温夫人的扇子》中译本的研究，多集中于目的论、后殖民主义、归化等角度，但很少有从女性主义翻译视角进行研究的案例。本文试图在女性主义翻译理论的基础上，对剧作《温夫人的扇子》的女性译者沈性仁的汉译本（1918）和男性译者余光中的汉译本（1992）进行比较研究，从前言和脚注、增译、劫持这三种翻译策略的层面进行对比，探寻两个译本在使用的翻译策略、翻译的效果等方面的异同。