從性別視角改寫吳爾芙《自己的房間》的中譯本：實驗性的個案研究

Feminist Revision on Chinese Versions of A Room of One’s Own: An Experimental Case Study

翻譯研究自1980 年代文化轉向後逐漸偏離純粹語言對比分析而結合其他學科 如文化研究與性別研究。女性主義翻譯研究致力於釐清原作與譯作之關係，批判對 於譯者與翻譯的傳統偏見。 此論文試圖從性別視角改寫維吉尼亞‧吳爾芙的《自己的房間》的兩個中文譯 本。作者採用弗洛圖的女性主義三種翻譯策略—彌補、註腳與劫持—來展現一個有 別於過去翻譯，張顯女性意識的新譯文。本文強調譯者身分與意識形態，揭示傳統 語言中的父權意識，進而選取、創造容許譯者自我表達的新的女性語言。 性別與翻譯結合的研究實踐在西方已盛行多年，而在台灣並無太多相關的討論， 大多仍停留在討論譯作的忠實與優美。此論文希望能藉此拓展台灣翻譯學科一個新 的視野。

The cultural turn in 1980s has taken translation studies away from mainly linguistic analysis and came into contact with other disciplines such as cultural studies and gender studies. Such feminist translation studies seek to identify and defy the traditional concepts which relegate translators and translations as inferior to the original author and his/her writings. This paper revises the two existing versions of Virginia Woolf’s A Room of One’s Own， translated by two women translators of different periods. In contrast to the fidelity and self-effacing nature of the translators of earlier periods， the authors attempt to apply von Flotow’s feminist translation strategies—supplementing， footnoting and hijacking—to achieve a new version from the gender perspective. The main focus is on how gender itself is translated and produced. It seeks to emphasize translators’ identity and ideological stance and aims to reveal a perceived patriarchal thought underlying language. Furthermore， it gestures toward a new feminine language that would allow translators (as women / second status) to express themselves. The encounter between gender and translation studies has been well established in the West; however， it seems to meet a slow development in Taiwan. This paper attempts to contribute to the intersections of these two disciplines and offer a new vision of translation studies in Taiwan.