出走与归来——从易卜生与王尔德戏剧中出走女性的译介看“五四”女权话语的多样性  

The Diversity of Feminist Discourse in May Fourth Era Advanced by the Translation of Henrik Ibsen and Oscar Wilde's Plays

作　　者：罗列[1] 

机构地区：[1]西南财经大学经贸外语学院,四川成都610074

出　　处：《妇女研究论丛》2008年第4期42-51,共10页Journal of Chinese Women＇s Studies

摘　　要："五四"时期对易卜生与王尔德戏剧的译介进入了高潮,针对其中离家出走和试图出走的女性的探讨,成为"五四"女权话语的重要内涵。出走的娜拉被奉为女性解放的最高象征,但并不能解决女性出走后所面临的重重困难,作品中那些"归来"并实现觉醒的女性亦得到读者相当的认可,并被作为解决女性盲目出走、身陷困境的一种选择,显示出"五四"语境在出走风潮之下,对女性解放的多元思考和接受。翻译作为一种文化建构力量,推动了中国女权话语的发展。The May Fourth Era reached its peak along with the translation of Henrik Ibsen and Oscar Wilde＇s plays into Chinese.The discussion and debate about the images of women in these plays,who leit and attempted to leave their family,became a major concern of the feminist discourse in this period.When Ibsen＇s Nora was regarded as the most essential and overwhelming symbol of womeffs liberation,the women who were forced or who chose to stay also won popular recognition among the Chinese readers.Their popularity among readers indicated that women＇s achievement of self awakening without abandoning family was publicly approved.This way of self awakening helps to diversify the＂liberation＂and feminist discourse in the May Fourth era.As a force to construct culture,transla- tion pushed forward the development of feminist discourse in China.

关 键 词：女权话语 翻译 女性形象 

分 类 号：I206.5[文学—中国文学]