This study examines gender representation in Oscar Wilde’s comedy and satire, Lady Windermere’s Fan (1892), using corpus stylistic analysis. Specifically, it analyzes gender characterization patterns in the original drama and explores how these patterns shift in two Chinese translations: Shen Xingren’s translation in 1918 and Hong Shen’s translation in 1923. By analyzing keyword patterns, collocational patterns, and characterization cues, the study reveals the intricate nature of gender characterization in the source text. Subsequently, a comparison is made between the textual patterns of the source text and their manifestations in the translations. The findings indicate that while Shen Xingren’s translation quite faithfully (re)represents the gender images and relations of the source text, Hong Shen’s selective appropriation of women and men characterization in his translation not only suppresses the source text’s potential to challenge moral absolutism towards women but also undermines the voices of women present in the original text. The article suggests that the re-representation or shifts in gender characterization observed between the source and target texts can be attributed to the translator’s ideology and adherence to particular poetics.

中文翻译：

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《温夫人的扇子》中的性别刻画及其中文翻译：语料库文体方法


本研究使用语料库风格分析研究了奥斯卡·王尔德 （Oscar Wilde） 的喜剧和讽刺小说《温夫人的扇子》（Lady Windermere's Fan，1892 年）中的性别表现。具体来说，它分析了原剧中的性别刻画模式，并探讨了这些模式在两个中文译本中是如何变化的：1918 年沈兴仁的翻译和 1923 年洪深的翻译。通过分析关键词模式、搭配模式和特征线索，该研究揭示了源文本中性别特征的复杂性。随后，对源文本的文本模式与它们在翻译中的表现形式进行比较。研究结果表明，虽然沈兴仁的翻译相当忠实地（重新）表现了原文的性别形象和关系，但洪深在他的翻译中对女性和男性特征的选择性挪用不仅抑制了原文挑战对女性的道德绝对主义的潜力，也削弱了原文中女性的声音。文章指出，在源文本和目标文本之间观察到的性别特征的重新表征或转变可以归因于译者的意识形态和对特定诗学的坚持。