西方翻譯研究學者，紛紛呼籲應以譯者為主要研究對象，強調譯者在翻譯時所從事「閱讀」與「重寫」之雙重心靈活動 (Godard 1990, 91)。本文旨在研究清末民初女性譯者之翻譯情形，並探討女性如何藉由翻譯書寫表達其政治與社會之關注，試圖為受翻譯史家忽略的女性譯者，描繪出一更清晰的影像。

本文描述清末民初女性從事翻譯活動的背景，並研究中國女性接受外語教育的狀況，以便說明當時社會對女性譯者的實際看法。儘管清末改革人士認為新興的女學中，應該加入外語學習，但在實際的課程規劃上，卻將語言等同於如刺繡、紡織一般的技藝，並未增加女性外語學習的上課時數，這說明了女性譯者在數量上明顯少於男性譯者的原因。文中選擇三位女性譯者作為個案研究之對象，依照其主要從事翻譯的時間先後順序，分別為薛紹徽、陳鴻璧與沈性仁。筆者綜觀其翻譯作品，檢視其翻譯風格，試圖從其譯文與譯作選擇上，說明譯者藉譯作所傳達的想法。薛紹徽的翻譯活動影響了她自己對外國事務的看法。陳鴻璧將西方偵探小說中的女性角色，變身成為中國的俠女。沈性仁譯作中的女性人物，也呈現出不同於當時五四時期的中國「新女性」形象。最後，筆者以附錄方式，提供中國歷史上的女性譯者紀錄，其中包括真實歷史人物以及小說中女譯者之呈現，企圖從歷時的角度，提供中國女性譯者的風貌，以便能夠更清楚的展現歷史上對女性譯者的看法與態度。

Scholars of translation studies have long stressed research about translators, particularly about their “dual activities of reading and (re)writing” (Godard 1990, 91). This dissertation investigates the translation activities of Chinese women translators during the late Qing and early Republican eras. In this dissertation, I attempt to locate the political and social concerns of female translators through their translations. Some biographical information about these forgotten women translators is also provided to supplement the still gender-biased research of Chinese translation history.

This dissertation starts with an exploration of the situation of writing and language traditions in Chinese history, focusing specifically on foreign language education as it relates to women during the late Qing period. This is done specifically to provide a background and explanation for the appearance of female translators during this era. Compared with the promotion of education about other practical skills during the late Qing and early Republican periods, language education for women did not receive the same level of attention. Although some hoped to add language education to modern curricula for girls’ schools, language abilities were often regarded as simply another kind of craft, much like embroidery or sewing. I have chosen Xue Shaohui 薛紹徽 (1866-1911), Chen Hongbi 陳鴻璧 (1884-1966) and Shen Xingren 沈性仁 (1895-1943) as the subjects of my case studies for this dissertation. I examine the translational styles of these three women and demonstrate the subjectivity revealed in their individual translation projects. Xue Shaohui’s views on chastity were influenced by her translation of Jules Verne’s Around the World in Eighty Days, Chen Hongbi transformed a female character in a Western detective novel into a Chinese swordswoman, and the new women presented in Shen Xingren’s translations provided female models different from those developed by Chinese writers. At the end of the dissertation, I provide an appendix discussing Chinese women translators from ancient times up and through the late Qing period, relieving these women of their former invisibility and showing how they have been represented in works of Chinese fiction.

Primary Material
Magazines
Nüzi zazhi女子雜誌 (Women’s magazine). Vol. 1, no. 1 (Jan. 1915). Shanghai:Kwanyi bookstore, 1915.
Nübao 女報 (Women’s News), no. 1 (1909).
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Zhongguo xinnüjie 中國新女界雜誌 (1907), reprinted in Zhongguo jinxiandai nüxing qikan huibian (II). Beijing: Xianzhuang shuju, 2007.

Translations
Chen Hongbi 陳鴻璧. Tananlu 探案錄 (The Detective Files). Shanghai: Xiaoshuolin, 1906.
________. Bugui qian 捕鬼奇案 (Catch the Ghost). Shanghai: Qunyi shushe, 1911.
________. Daomian 盜面 (The Stolen Face). Shanghai: Qunyi shushe, 1911.
________. Sixiang zhi weineng 思想之偉能 (Every Man a King). Shanghai: Shangwu yinshuquan, 1923.
________. “Dianguan” 電冠 (The Electrical Crown), in Zhongguo jindai xiaoshuo中國quanji (I) 近代小說全集(第一輯) (Collections of modern Chinese novels). Taipei: Boyuan, 1987
Pan Jiaxun 潘家洵. “Shan Wu” 扇誤 (Oscar Wilde’s Lady Windermere’s Fan). The Renaissance (March 1919): 475-521.
Shen Xingren沈性仁. “Yige bingde chengli” 一個病的城裡 (Maxim Gorky’s “From a Sick Town”). The Renaissance, no. 3 (1919): 471-472.
________. Yishanji 遺扇記 (Oscar Wilde’s Lady Windermere’s Fan. La Jeunesse (1918 (12)—1919 (3)): 596-610, 41-54, 289-310.
________. “Ya Qi” 啞妻 (Anatole France’s The Man Who Married a Dumb Wife). The Renaissance (December 1919): 293-316.
________. Linken 林肯 (John Drinkwater’s Abraham Lincoln). Taipei: Commercial Press, 1921.
________. “Chang Lian” 常戀 (St. John Hankin’s Constant Love). The Short Story Magazine (October 1922), vol. 13, no. 10: 1-20.
________. “Men Kan” 門檻 (Ivan Turgenev’s “The Threshold”). The Short Story Magazine (March 1922), vol. 13, no. 5: 30-32.
________. Renlei de gushi 人類的故事 (Hendrik van Loon’s The Story of Mankind). Shanghai: The Commercial Press, 1925.
________. Shengwuxue yu richang shenghuo 生物學與日常生活 (Biology in Everyday Life). Shanghai: Shangwu Publishers, 1936.
Shen Xingren and Xu Zhimo 徐志摩、沈性仁. “Mali mali 瑪麗瑪麗” (Mary, Mary). In Xu Zhimo quanji 徐志摩全集 (Complete Anthology of Zu Zhimo), ed. Zhao Xiaqiu and Zeng Qingrui 趙遐秋、曾慶瑞, 368-470. Nanning: Guangxi renming chubanshe, 1991.
Xue Shaohui 薛紹徽. Bashiri huanyouji 八十日環遊記 (Jules Verne’s Around the World in Eighty Days) (1906). Reprinted in Zhongguo jindai wenxue daxi, fanyi wenxueji (II) 中國近代文學大系˙翻譯文學集二, ed. Shi Xhicun 施蟄存, 3-148. Shanghai: Shanghai shuju, 1991.

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