Abstract

 After the rise of deconstruction theory, post-colonial translation theory, cultural and literary translation theory, feminist translation theory developed a lot. The key function of the theory in translation is "to enable women to appear in language as much as possible, so that women can be saw by the world, women’s voice can be heard by the world (Simon: 1996:20). Compared with other translation theories, feminist translation theory is unique in the subjectivity of translator. It contained gender difference in the list of the subjectivity of translator which has been neglected in the past. Feminist translation theory reveals the role and influence of gender difference in translation. 
    
Vanity Fair is the most famous work of William Makepeace Thackeray who is a novelist that lives in nineteenth-century England. It is not only the most time-tested masterpiece of Thackeray’s writing, but also a famous novel of critical realism. Both Ms. Yang Bi and Mr. Rong Rude had successfully translated the novel. But in their translation, they employed different translation strategies and Ms. Yang Bi’s translation was deeply influenced by feminist translation theory. So this thesis is under the guidance of feminist translation theory and is a comparative study on the two Chinese versions of Vanity Fair (Ms. Yang Bi's version and Mr. Rong Rude’s version).This thesis goes from the aspects of time and place, portraying of characters (characterization of men and characterization of women), figure of speech (humor and irony) to carry out the study. Through comparison, the author found that Mr. Rong mainly employs liberal translation as his translation method. His language is concise and objective and he employs many idioms to translate the novel which make the translation localized; while Ms. Yang Bi's translation method is the combination of literal translation and liberal translation. Her choice of words is accurate; sentence structure is flexible, and language is humorous. In her translation, she was deeply influenced by feminist translation strategies (such as hijacking, supplementing, rewriting) which made her language and style of language and style of translation conforming to Thackeray’s.

Key words: feminist translation theory, Vanity Fair, comparative analysis
 
摘        要

    二十世纪70到80年代，女性主义翻译理论在解构主义观、后殖民主义翻译观和文化学派翻译观兴起之后得以发展，其理论功能主要是在翻译中尽量“使女性在语言中显现，从而让世人看见和听见女人”（Simon, 1996:20）。与其他理论相比，女性主义翻译理论在译者主体性研究方面具有独特性，它将以往受到忽视的译者性别因素列入了译者主体性研究的项目表中，并对之进行阐述，揭示性别在翻译中的作用和影响。
    《名利场》是英国十九世纪小说家萨克雷的成名作品，是他生平著作里最经得起时间考验的杰作，也是英国较著名的讽刺性批判现实主义小说。杨必女士和荣如德先生都曾对《名利场》进行过成功的翻译，但二者在翻译过程中所采用的策略却有所不同，杨必女士更多的受到了女性主义翻译理论的影响。因此本文旨在女性主义翻译理论指导下，主要从时间、地点、人物形象刻画（男人和女人的形象）、修辞（讽刺和幽默）等方面对杨必译《名利场》和荣如德译《名利场》进行比较分析。通过比较分析，笔者发现荣如德先生的翻译多采用意译的方法，语言更加简洁客观。在他的翻译中，可以看见很多传统的中国成语、习语被用来概括原文（如：忍俊不禁、如鱼得水、恃强凌弱），译作更加的本土化；而杨必女士的翻译则采用了意译与直译相结合的原则，选词准确，句式灵活，语言幽默风趣，更多的采用了女性主义翻译理论策略（如劫持、增补、重写）。
 
关键词： 女性主义翻译理论，名利场 ，比较分析