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作 者:丁旭辉[1] 鲁紫嫣 DING Xuhui;LU Ziyan(School of Foreign Languages and Literatures,Lanzhou University,Lanzhou 730000,China)
出 处:《湖北师范大学学报(哲学社会科学版)》2025年第2期74-79,共6页Journal of Hubei Normal University(Philosophy and Social Science)
基 金:教育部产学合作协同育人项目“基于数字化平台的混合式课程教学资源与体系改革”(20210293038)。
摘 要:在女性主义翻译理论视角下,翻译不仅仅是简单的语言转换,而且是一种对文本进行改写的行为。本文以拉德克利夫·霍尔的女同性恋题材著作《孤寂深渊》为例,从女性主义翻译理论出发,通过对比分析内地和台湾地区两个译本,探讨了两位女性主义译者张玲和严韵在翻译过程中所采取的改写手段的异同。研究发现,两位译者均采用了加序、劫持等策略,凸显了译者强烈的性别意识和女性主义思想,以此为女性争取话语权和平等权,提高对女同性恋群体的理解与包容。然而,由于译者对原文的主观理解以及目标受众接受度等方面的差异,译者对文本的改写程度也存在差异。相比而言,严韵在女性意识影响下对原文的改写程度相对显著,更直接地呈现了社会对女性的刻板印象,但两位译者都一定程度引导了读者的阅读期待,彰显了女性译者的主体性。From the perspective of feminist translation theory,translation is not merely about linguistic conversion,but a creative act of rewriting texts from a gender perspective.By using feminist translation theory,the present paper explores the rewriting strategies adopted by two feminist translators,Zhang Ling and Yan Yun,based on the comparison of the two Chinese versions of Radclyffe Hall’s lesbian novel The Well of Loneliness.It is found that both translators show their strong gender consciousness and feminist thoughts through strategies of prefacing and hijacking,which aims to advocate for women’s discourse rights and equality,and to enhance understanding and inclusivity towards the lesbian community.However,due to differences in translators’personal backgrounds,subjective understandings of the text,and considerations of target audience’s acceptance,there are variations in the extent to which the text is rewritten.Specifically,Yan Yun’s rewriting is more pronounced under the influence of her gender consciousness,more directly presenting societal stereotypes about women.Nevertheless,both translators guide the readers’expectations to some extent and showcase the subjectivity of female translators.
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