Interpretation Of Three Chinese Versions Of Gone With The Wind From The Feminist Translation Perspective

In the late20th century, influenced by Western post-modernism, moderntranslation studies experienced its second turn-the “cultural turn”. During this period, ahigh degree of cooperation and inter-disciplinary nature is captured in westerntranslation studies, which expands this area beyond the translating behavior. With thevigorous development of the feminist movement in the West, feminism and translationstudies come together to form the concept of feminist translation. Compared to theprosperity of Western feminist translation, domestic translation studies from thegender perspective are still relatively rare, and critical research about the former orstudies combined the former with Chinese female translators are even hardly read.At the same time, as an outstanding representative of American novels, MargaretMitchell’s masterpiece Gone with the Wind has produced significant impact both athome and abroad since its publication, and its Chinese versions have amounted to overa dozen so far. However, most domestic studies on Chinese versions of Gone with theWind are conducted from perspectives of domestication and foreignazition, or culturaldifferences, while the content is not comprehensive enough either. Although there area few authors studying these Chinese versions from the view point of genderdifferences or ecofeminism, they are still limited by the amount of versions theyselected or the length of their papers. Therefore, the author attempts to conduct acomprehensive comparative analysis of three Chinese versions of Gone with the Windfrom the feminist translation perspective. This thesis is divided into six chapters. Thefirst chapter is an introductory section which introduces the significance of the study,the research questions and methods, as well as the overall structure of the text. Thesecond chapter is on literature review, providing a detailed overview of westernfeminist translation studies and domestic research in this field. In the third chapter, theauthor provides the theoretical framework of this study to support the main argument.The forth chapter gives a brief introduction of the novel Gone with the Wind and itsmajor Chinese versions. The fifth chapter includes case studies and analysis of thethree Chinese versions from the feminist translation perspective, and the six chapter isthe conclusion.Starting from feminist translation theories, the author summarizes some basicfeatures of works of Chinese female translators through comparison, and interprets three Chinese versions of Gone with the Wind with these features accordingly.Comparative studies are conducted from aspects of appearance, female’s uniqueexperience, psychological activities and social status of males and females, breakingformer restrictions on study perspectives of Chinese versions of Gone with the Wind.In addition, the author focuses on comparison and analysis about the figures’characterization to highlight Chinese female translators’ unique perception andembodiment of feminism reflected by the original author. Trying to explore underlyingreasons for Chinese female translators to take specific translation strategies, the authoraims at enriching domestic studies on Chinese female translators and their works, aswell as broadening research horizons of Gone with the Wind.