女性主義翻譯理論下《紫色》陶譯本和楊譯本的差異研究

ChapterTwoABriefIntroductiontoTheColorPurpleandItsTwoTranslations2.1AliceWalkerandIntroductiontoTheColorPurpleTheColorPurplewasagreatefforttopromoteblackfeminism.ThestorytoldtheblackwomanCelieexperiencedvariousmisfortunesinherlife,suchasherfatherwaslynchedbyawhiteman,Celiewasrapedbyherstepfather,herchildwasgivenawaybyherstepfather,andshemarriedthefatheroffourchildren.UntilshemetShug,undertheinfluenceofShug,sheslowlychangedfromtheoldconceptandwasfullofhopeforlife.TheColorPurpledescribedtheprocessofablackwoman’stransformationandgrowthfromtheoldideas,andfullyshowedthepoliticalsituationandlifesituationofblackwomenunderthedoubleoppressionofgenderandrace.WangJingjinREF_Ref129627776\r\h[2]oncesaidthatTheColorPurpledeeplyreflectedthefeministthoughtandrevealedtheconnotationofblackwomen’sstruggleforliberationandgenderequality.2.2FemaletranslatorTaoJieandTao’sTranslationTaoJie,bornin1936inShaoxing,ZhejiangProvince,graduatedfromtheDepartmentofWesternLanguagesandLiteratureofPekingUniversity.After1980,shebegantopublishbooks,includingAmericanFictionandMitchellNeverWentWiththeWindin1982.WhileengagedinAmericanliterature,TaoJiealsodevotedherselftoliterarytranslationandwomen’sstudies.Inwomen’sstudies,TaoJieoncewroteanarticleaboutCanadianwomen’seffortstogainsocialvalueandrespect,inspiringwomentogainself-awarenessanddaringtoexpresstheiropinions.UndertheguidanceofTaoJie,sheheldmanylecturesandseminarsonWesternfeministtheories,whichlaidasolidfoundationfortheestablishmentoftheWomen’sResearchCenterofPekingUniversity.ChineseAmericanfemalewriterHuDieREF_Ref129627808\r\h[3]TheWomanWarriorandAliceWalker’sTheColorPurplewerehermostfamousworksonAmericanfeministliterature.IchosetotranslateTheColorPurplebecauseAliceWalker’sdepictionofwomen’sstatusinthenovelremindedheroftheinequalityChinesewomensufferedinthepast.ShealsosaidTheColorPurplewasabookaboutabusedblackwomenbecomingindependentwomen.ItcanbeseenthatTaoJiewasatranslatorwithacertainbackgroundoffeministresearch.2.3MaleTranslatorYangRenjingandYang’sTranslationYangRenjing,bornin1937,graduatedfromtheForeignLanguagesDepartmentofXiamenUniversity.HereceivedhispostdoctoraldegreefromHarvardUniversityin1981.YangRenjinghadstudiedwesternliteratureformanyyears,especiallyAmericanliterature,andpublishedmanyworkssuchasTheBiographyofHemingwayandHemingwayinChina.Inadditiontowritinghisownbooksandessays,hetranslatedseveralAmericannovelsintoChinese,includingDang,YakYangREF_Ref129627933\r\h[4]TheLifeofDurbinandTheMediator,andAliceWalker’sTheColorPurple.ItwasclearfromYangRenjing’sworksthathisresearchfocusedonthebroadconceptofAmericanliterature,includingthehistoryanddevelopmentofAmericanliteratureorthecollectionofsomeclassicbooks.ComparedwithTaoJie,YangRenjing’sknowledgeoffeministstudieswasreallypoor.InhisonlyessayonTheColorPurple,hefocusedonAliceWalker’suniquecharactersubjectivityinthenovel.ChapterThreeFeministTranslationTheory3.1EmergenceofFeministTranslationTheoryThecombinationoffeminismandtranslationultimatelyledtotheformationoffeministtranslationtheorywasnotaccidental,buthaditshistoricaloriginandspecificreasons.Inthelonghistory,womenwereregardedastheappendagesofmenandhadalowsocialstatus.Theoriginaltextwascreativeanddominant,whilethetranslationwasimitativebutsubordinate.Nomatterhowmuchthetranslatortriedtoapproachtheoriginaltextintheprocessoftranslation,therewillinevitablybedifferencesbetweenlanguageexchanges,sotranslationwillinevitablyberegardedasflawed.AlcotREF_Ref129627977\r\h[5]arguedthat“translatedtextshaveclothedforeignauthorsinnewgarb”.Thisshowedthattranslatorsandtranslatorswerenottreatedequally.Becausetranslationandwomenhadmuchincommon,theyweremarginalizedandignoredintheirrespectiveworlds,sotherewerevarioussexistmetaphorsbetweenwomenandtranslation.ThesamewastrueofChina.Therefore,itwaspreciselybecausetranslatorsandwomenwereoppressedandneglectedobjectsunderthepatriarchalthoughtthattranslatorsandwomenfoundakindofmutualidentification,empathyandself-reflectionfromeachother.Thisdeterminedthattranslationandfeminismmustbecombinedtochangetheirownstatusandfightfortheirownrights.Withthedevelopmentofthewomen’smovementandtheEnlightenment,feministspayedmoreattentiontoequalityanddiscoursepowerintheculturalfield.InfluencedbythediscoursetheoryofFrenchpost-structuralistmasterFoucault,feminismbelievedthatdiscoursewasthepowerofexpression,whichwasnotonlythetooltousepower,butalsothekeytoholdpower.Therefore,womenmustbeliberatedbylanguage,andwomen'sliberationmustbeganwithlanguage.Translationwastheprocessoflinguisticmanipulation,whichlargelysatisfiedfeminists’ideaofcreatingalanguagethatspokenforwomen.Womensawtranslationasanimportantweaponinbuildingandcementingtheirsocialidentity,allowingsocietytosawtheirthoughtsandheardtheirvoices.Therefore,thecombinationoffeminismandtranslationstudiesledtotheemergenceoffeministtranslationtheory.3.2MainRepresentativesandViewsofFeministTranslationTheoryFirstofall,feministtranslationtheoryemphasizedtheequalitybetweentheoriginalandthetranslatedtext.Traditionaltranslationtheoryheldthattranslationandthetranslatorwereregardedassecondary;theoriginalandtheauthorwereregardedassuperior.Therefore,feministtranslationtheorychallengedtheauthoritativenessofthesourcetextandheldthatthetargettextshouldenjoyanequalstatuswiththesourcetext.Newmark,PeterREF_Ref129628024\r\h[6]pointedout:“Notextiscompletelyoriginal,becauselanguageitselfisalreadyessentiallyatranslation,becauseeverysymbolandeverytextisatranslationofanothersymbolandanothertext.Everytranslationis,toacertainextent,aninvention,whichconstitutesauniquetext”.Therefore,feministtranslationresearchersbelievedthattranslationdidnotdestroytheintegrityoftheoriginaltext,butmadeanewinterpretationoftheoriginaltext,andinfusednewbloodandvitalityintotheoriginaltext.Secondly,feministtranslationtheoryredefinedloyaltyandbetrayalintranslation.Traditionally,faithfulnesswasregardedasthehigheststandardoftranslation,whichonlyreferredtofaithfulnesstotheliteralmeaningoftheoriginaltext.Fromthefeministpointedofview,thisabsoluteliteralloyaltywasliketheobedienceofwomentomen,whichwasobviouslyaone-sidedviewofwomen’spopularityandidentity.Forthisreason,feministLiXiaoyanREF_Ref129628056\r\h[7]hadanewunderstandingofloyalty,thatwas,loyaltyreferstowritingprojects,inwhichboththeauthorandthetranslatorparticipate.Therefore,thefeministtranslatornolongersubmittedtotheauthorityoftheauthorandtheoriginaltext,butmanipulatedthelanguagecreativelythroughtranslation.Inaddition,contrarytotraditionaltranslationtheories,feministtranslationheldthatcreativetreasonhelpedtorevealculturaldifferences,distortionsandmisinterpretations.Finally,feministtranslationtheoryemphasizedthesubjectivityofthetranslator,whiletraditionaltranslationtheoryheldthatthetranslatorwasaninvisiblehand,whichonlymechanicallytransformedthewordsofonelanguageintoanother.Thetranslatorwasnotallowedtoleaveanymarkinthetranslation,whichhadbeenstronglycriticizedbyfeministtranslators.InparticulartoLeech,Geoffrey&JansvartvikREF_Ref129628086\r\h[8].Onbehalfof,Theyadvocatedthatthetranslatorshouldbecomeatranslatorandmanipulator,andthatthesubjectivityofthetranslatorshouldparticipateinthetranslation,soastorecognizethecreativityandindividualityofthetranslator.Intranslationpractice,feministsusedtheirownuniquetranslationstrategiestodemonstratetheirownpersonalhistoryandpoliticalstand,andtodemonstratetheircreativity.3.3TranslationStrategiesofFeministTranslationTheoryThemostimportantandcommonlyusedtranslationstrategiesoffeministtranslationtheoryarecomplement,preface,footnoteandhijacking.Supplementationwassimilartocompensation.James,G.&HartmanREF_Ref129628221\r\h[9]interpretsupplementationasmakingupfortheabsenceofimportantfeaturesandinformationintheoriginaltext.Intheprocessoftranslation,whentranslatorsthoughtthatsomehiddenorhiddeninformationneededtobeexplainedorrevealed,theyoftenadoptedsuchtranslationstrategies,especiallygenderdiscrimination.Throughthesupplement,thetranslatorcannotonlyrevealtheauthor’sconnotationclearlytothereaders,butalsoaddedhisownideologyorviewpointtothetranslationandrewritethetextinafeministway.Theforewordandfootnoteswereimportanttoolsforactiveparticipationandparticipationinmeaningmaking.Infeministtranslationpractice,preamblesandfootnoteswereoftenusedtoexplaintheintentionsoftheauthorandtranslator.Explainthemaincontentorfeministideasinthework,andcommentonsomewords,sentencesorfulltext,especiallyiftherewasfeminisminthework.Inthisway,thefemaleidentityofthetranslatorcanbeexposedtothetargetaudience,sothatthetranslator’ssubjectivityandcontributioncanberevealed.Hijackingreferredtostealingtextswhoseintentionwasnotnecessarilyfeminist.Feministtranslatorsoftenusedthisstrategytochangewordsorsentenceshostiletowomen,ortohighlightfeminismandattractreaders’attentiontothetranslator'sfeministconsciousness.Forexample,feministtranslatorsoftenreplacedallmasculinewordswithfeminineorneutralwords,whichdidnotaffecttheoriginalcontentbutcreatednewgendermeanings.Ofcourse,feministtranslatorsalsohadothertranslationstrategies,butthispaperwaslimitedinspaceandonlyelaboratedonthesethreemaintranslationstrategies.ChapterFourSpecificDifferencesofFeministTranslationTheoryinthetwoChineseTranslationsofTheColorPurple4.1DifferencesinTranslationStrategies4.1.1AddPrefaceandFootnotesInordertorevealtheirintentionsandincreasetheirviewsonthenovel,astrategyadoptedbyfeministtranslatorswastouseprefaceorfootnote.Here,theycanexpressedtheirunderstandingoftheoriginaltextfromtheperspectiveoffeministtranslation,andexplainedwhycertainmethodsareadoptedandcertainwordswereomittedoradded.Thesamewastrueofthetwotranslationstheauthorchoosestocompare.Inthepreface,TaoJiepointedoutthatTheColorPurplewasanovelaboutinequalitybetweenmenandwomeninapatriarchalsociety,andracismwasnotthemainissuetobediscussedinthenovel.Inotherwords,thefocusedofthebookwasonhowblackwomenatthetimegainedtheiridentityandstruggledtoachieveindependencefrommaledomination.Inafootnote,Taopointedoutthatinordertospecificallyhighlightthesexismsufferedbyblackwomen,AliceWalkerproposedtheconceptof“feminism”whichwasanarrowconceptanddifferentfromfeminism.Intheforeword,TaoJiealsohighlypraisesAliceWalker,whowasascholardedicatedtoprotectingblackwomenandimprovingtheirsocialstatus.Onthecontrary,YangRenjingdidn’tpayenoughattentiontothegenderprobleminhisnovels.Inhisview,TheColorPurpledealtwithmanyimportantsocialissuesintheUnitedStates,andtheinequalitysufferedbyblackwomenwasonlyoneofthem,butnotthemostimportant.YangRenjingalsobelievedintheprefacethattheloveaffairsofsomeblackwomeninthenovelreflectedtheconstantdeclineofthenationalmorallevelatthattime,whichwasmainlytheresultofsexualliberation.However,allloveeventsorwomen’spursuitoflovewereusedasasymboltoexpresstheirpursuitoffreedomandhappiness,andhowtheyresistandresisttheoppressionofpatriarchalsociety.Obviously,YangRenjingmisunderstoodthispartofthemeaningthattheoriginalauthorintendedtoconvey.Tosomeextent,thisshowedthat,asatranslatorwholackedfeministconsciousness,hisunderstandingofthenovelwasquitedifferentfromthatoffeministscholars.4.1.2AdditionsTranslationwasameansofconvertingbetweenlanguages.However,duetothedifferentculturaldifferencesbetweencountries,itwasinevitablethattherewillbeambiguityinthedescriptionofthingsagreed.Therefore,inthefeministtranslationstrategy,thesupplementdealtwiththeoccurrenceofthisphenomenonverywell,andexpressedthetruemeaningoftheoriginaltextthroughcarefulexplanationofsomedescriptions.Forexample:“Andshedresstokill.Shegotonaredwooldressandchestfulofblackbeads;Ashinnyblackhatwithwhatlooklikechickinhawkfeatherscurvedownsideonecheek”.T：她打扮得講究極了；她穿著一件紅色的羊毛裙，胸前掛著好些黑珠子；一頂耀眼的黑帽子上插了幾根好像是鷹身上的羽毛，羽毛彎下來貼在面頰上。Y：她穿得過分講究；她穿了一件紅毛線衣，胸口掛了黑珠子，戴了閃亮的黑帽子，帽子上插著野雞毛，一直彎到半邊臉上。ThissectiondescribedthemomentwhenCeliefirstmetSugar.ShugwasamazedinCelie’seyesandobviouslyshewantedtobejustlikeher.AliceWalkerusedanumberofexpressionsheretoshowindetailhowShugemergedatthistime.Wecansawthat,inCelie’seyes,Sug“dresstokill”,whichclearlyindicatedthatsheadmiredher,oratleastwasattractedtoherbyhisappearance.Inhertranslationofthephrase,TaoJieusedtheword“講究極了”,whichtrulyreflectedCelie’sviewofShug’sappearanceatthetime.However,YangRenjingtranslateditas“過分講究”whichactuallycontainedsomenegativeimplicationsforShug’sdress.Thetranslationclearlymisunderstoodtheoriginalauthor’sintentions,andsuchatranslationwasdonefromahumanpointofview,showingaslightcriticismofShug.Asforthelattertwoexpressions,dressreferredtosomethingawomanwearinordertoshowoffherbody’sbeautyandattractiveness.TaoJieheretranslateditas“紅色的羊毛裙”,indicatingthatShugwaswearingadressthatshowedthebeautyofawoman.GivenhowillShugwasatthetime,thedescriptionalsospokentoawoman’squesttoimpressothersdespiteherpoorphysicalcondition.Instead,YangRenjing’schoiceofexpressionis“紅色毛線”,whichwasaverynormalphrasewithnobeautyconnotation.Themaletranslatorhereignoredtheself-awarenessoftheShugthatAliceWalkerwantedtoconveytothereader.Thesituationwasalmostthesamewhenwesawthat“hawkfeather”translateddifferentlyinbothversions.Thefemaletranslatorused“鷹的羽毛”togiveanelegantimpression,whileYangRenjingused“野雞毛”,whichweremuchcheaperandevenuglyintheeyesofthehumaneye.Inthispart,TaoJie,asafemaletranslator,supplementedandexplainedShug’sappearance,payingmoreattentiontoShug’sbeautyandtheauthor'sintention,whileconveyingthedetaildescriptionoffemaleperfection.4.1.3HijackingHijackingthiskindoftranslationstrategywasoftenusedtochangewordsorsentencesthatwereunfavorabletowomen,soastohighlightfeminismandattractreaders’attentiontothetranslator’sfeministconsciousness.TaoJieoftenpayedmoreattentiontotheexpressionofwomen’spsychology,andwillnotappearstraightforwardanddistortinwords,andwillpaymoreattentiontotheimageandstatusofwomen.However,inYangRenjing’stranslation,somedescriptionsofwomenoftenshowedalackofunderstandingofwomenandasenseofhardtranslation.Forexample:“Listen,shesay，rightdownthereinyourpussyisalittlebuttonthatgitsrealhotwhenyoudoyouknowwhatwithsomebody;Itgithotterandhotterandthenitmelt;Thatthegoodpart.Butotherpartgoodtoo,shesay;Lotofsuckinggoon,hereandthere,shesay;Lotoffingerandtonguework”T：聽著，她說，你下身有個圓東西；你干那種事的時候，這個圓東西會發(fā)熱；它越來越熱，熱的化掉了；這是最好的地方；別的地方也好極了，她說；這兒那兒，吮啊吸啊的，她說；手指頭，舌頭都忙個不停。Y：聽著，她說，在你的下身的正下方有個小小……你跟男人相好時……然后自己漸漸消失；這是個好部位，但別的部位也不錯，她說，全身都可以……ThiswasaconversationbetweenCelieandShugaboutbodyparts.Accordingtofeministtheory,toimprovethestatusofwomen,theymustbehelpedtogainself-assuranceandconfidence,andthefirststepwastounderstandtheirbodies.Inthispart,TaoJierealizedthisviewandrealizeditthroughherowntranslation.Confrontingtheseissuesdirectlywasthefirststepinhelpingwomengainself-recognitionandwasaveryimportantpartofgainingindependence,equalityandrespectinsociety.Instead,YangRenjingtranslatedthispartinaverydifferentway.HemayhadthoughtthatsentencesaboutsexlifewouldbetooexplicitforChinesereadersbecauseourculturewasquiteconservative.Insteadofproposingthesedescriptions,Yangchosetoremovethesentencesandreplacedthemwithafewapostrophes.ComparedwithTaoJie,heignoredthefeministintentioncontainedinthispartandconveyedhiscontemptforwomenfromtheside.4.2DifferencesinInnerExpressionofEmotion4.2.1NarrativeToneIntonationplayedanimportantroleinthenovel.Itshowedtheimportanceandurgencyofthesequenceandthetensionreflectedintheplot.Throughreadingandcomparingtheoriginalandthetwoversions,theauthorfeltthedifferentintonationbetweenthelines.Womententtohaveacarefulendingtothecontinuum,whilemententtohaveacasualending.Forexample:“Thewayyoulookoutthereplowinginadress.”T:你穿著裙子犁地那樣子真叫人看了生氣。Y:穿條裙子，犁地干重活，你那個鬼樣子，真讓人反感！ThesubjectofTheColorPurplewasfemalespiritualsurvivalandself-consciousness.Inthenovel,ShugplayedanimportantroleinguidingCelieandtheotherwomen’sself-perceptions.Shedeeplyinfluencedthem,encouragingCelietoshakeoffhershynessandguiltandrenewherstruggleforinjusticeandoppressionunderpatriarchy.Thetoneoftheoriginalseemedreproachfulanddamning,butitusuallyshowedShug’ssenseofurgencyinevokingCelie’sself.The“反感”and“鬼樣子”inYangRenjing’sversion,aswellastheinterjectiontone,expressedShug’sangerandimpatience,whichmadehisversionmarkedintheoppositedirection.InTaoJie’sversion,“真叫人生氣”notonlyexpressedShuge’spersuasion,butalsoherangeratanyformofrestraint.Throughcomparison,itcanbeclearlyseenthatTaoJiehighlightsthefeministspiritofwomenintheoriginalwork.4.2.2SentenceExpressionSentencewasthebasicunitoflanguageuse,itwascomposedofwordsorphrases,canexpressacompletemeaning.LiChenREF_Ref129628298\r\h[10]oncesaidinfeministtranslationthat“theexpressionofacompletesentencecanreflectthetranslator'scorrectunderstandingoftheoriginaltext”.Theexpressionofsentencesplayedanimportantroleinemphasizingfeministtheory.Example:“AnneJuliawasanastywomanaboutthehouse.”T:安妮·茱莉亞實(shí)在不是個會持家過日子的女人。Y:安妮·茱莉亞是個不會管家的丑女人。AllthewomeninTheColorPurplesufferedfromracialandgenderdiscriminationwithoutexception.“AnnieJulia”inthesentenceabovewasAlbert’sexwife.Shemarriedhim,butshedidn’tlovehimatall,andhertwosistersdescribedheras“anastywoman”.Asawoman,TaoJiedeeplyfelttheoppressionofblackwomenfromthepatriarchalrule.Sheavoidedtheword“hate”andusedaroundaboutwayofsayingit,whichreflectedherattitudeofsympathyforwomen.Inaddition,sheputthenegativeword“不是”infront,whichweakenthelanguageofdemeaningwomen.ContrarytoTaoJie’stranslation,YangRenjingchose“丑女人”,whichobviouslyincreasedthedegreeofbelittlingwomen,andtheadjective“不會管家”alsostrengthenedthefocusofdescribingwomen.4.2.3DifferencesinWordChoiceIntheprocessoftranslation,wordselectionwasnotaneasytask,butitwasveryimportantforthetranslator,becausethechoiceofwordsdirectlydeterminesandreflectsthetranslator’sattitude.Assertionandpurpose,thusaffectingthereader’sexpressionoftheinnerfeelingsoftheoriginal.Example:“Shugsaid,What,tooshametoputsinginganddancingandfuckingtogether?Shesmiled.”T:莎格說，怎么啦，你不好意思把唱歌，跳舞和性交聯(lián)系在一起？他大笑起來。Y:莎格說，什么呀？你太害羞，不敢把唱歌，跳舞和通奸聯(lián)系在一起嗎？她笑了。Inacertainsocialcontext,Shugwasdespisedandhatedbymostblackmenandwomenbecauseofhisrebelliouscharacter.Forblackpeople’svulgarandbluntlanguage“fucking”,YangRenjing’stranslationof“通奸”wasaderogatoryterm.SinceShugwassoboldandnevercaresaboutcriticism,it'snotsurprisingthatsheshouldsaidthis.However,inordertoeliminatediscriminationagainstwomen,feministtranslatorTaoJiecarefullychosetheneutralword“性交”,whichwasdifferentfromtheoriginalversion.Shestoodonthesideofwomenandaimedtoprotectwomen’sself-esteem.Theauthorthoughtthatthetranslationoftheoriginaltextas“性愛”willgavereadersagoodimpression.4.3DifferencesintheMainAnalysisoftheTranslation4.3.1ImprovetheStatusofWomenThereweremanyfactorsintheadvancementofwomensuchaseconomicindependence,profoundknowledgeandwideknowledge.Example:“Hegivesheralittlenickname,too,callherSqueaky.”T:他給她起了個小外號，叫她“吱吱叫”。Y:他給她起了個外號，叫斯貴客。MaryAgnes’sgirlfriend,thestepsonoftheheroineCelie,didn’texistatfirstjustlikeCeliebecausehernamewaseasytoforget.TaoJietranslatedhernicknameSqueakas“吱吱叫”.Because“吱吱叫”wasjustanonomatopoeia,andithighlightedthatpeopleareignoringMaryAgnes’srealname.Theinabilitytorememberwomen’snameswasindeedareflectionoftheirlowsocialstatus.Atthesametime,italsoinjectedfreshvitalityintotheimprovementofwomen’sstatusandplayedanimportantroleinimprovingwomen’sstatusthroughtranslation.YangRenjingtranslated“斯貴客”wordforword,withoutanyimpliedmeaning.Themainmeaningofwomenwasdirectlyexpressed.HeruledoutAliceWalker’sdesiretoexpressthemeaningofthenicknameintheoriginal.4.3.2PortrayingFemaleImagesInthisnovel,thedepictionofthebodyandsex,althoughalsothemostcontroversialpart,playedanextremelyimportantroleintheexpressionofthefemaleimage.However,thisdescriptionreflectedtheimageofwomen.Bycomparingthebodydescriptionandgenderdescriptionofmaleandfemaletranslators,wecanfoundthattranslatorsofdifferentgendersoftenhaddifferentdepictionsoffemaleimages.Example:“...myfriendcomes.Andcrampsandachesandpains.”T：我的朋友來了。我腰酸背痛，抽筋肚痛。Y：鬼朋友找我來了，緊接著便是痙攣和疼痛。Asawoman,TaoJiecanaccuratelyexpressedthephysiologicalpainofwomenduringmenstruationwithspecificwords.“腰酸背痛，抽筋肚痛”representedNetty’stoleranceforphysicalandemotionaltortureinthatsituation.Thegreatimageofwomenprotectingtheirchildrendespitetheirownphysicalpainwasvividlyexpressed.InYangRenjing’stranslation,however,hetranslatedthephrase“myfriendcomes”into“鬼朋友”.Histranslationmaymisleadreaders,especiallymalereaderswhodidnothavethisuniquesense.Andthefollowing,“緊接著便是痙攣和疼痛”simplydescribedpain.Theworldwascommonphysicallyandmentally.Ifyouwereeverenduredthesamepainandfeeling,obviously,youcandescribeitmoreaccurately.Therefore,TaoJie’sversionwasmoreaccurateanddetailedwhendescribingthespecialimageofwomen,whichwaseasierforreaderstounderstand.YangRenjing’sversionwasmoreofadescriptionofthemainbodyoftheoriginaltext.4.3.3FemalePsychologicalReflectionIntermsofpsychologicalexpression,thetranslatedversionsweregenerallydifferentwiththedifferentfeelingsofmaleandfemaletranslators.Example:“Ittookhimthewholespring,fromMarchtoJune,tomakeuphismindtotakeme.”T:他托了整整一個星期的時間，從三月一直拖到六月，最后才下定決心要我。Y:從三月到六月，他花了整個春天，才下定決心娶我。SoifAlbertwouldmarriedher,shecouldtookNettyoutoftheirhomeandprotectedNettyfrombeingrapedbyherstepfather.However,YangRenjing’stranslation,whichsimplytranslated“took”and“fromMarchtoJune”into“花了”and“從三月到六月”lackthepoweroffiguresofspeechorthecomplexemotionsofCelie’sdesiretofiercelyprotectNetty.NordiditexposeAbbott’shesitancyandindecision.Butinthemainbody,YangRenjingexpressedtheinjusticeanddespairofwomentotherealityfromthesideincisivelyandvividly.InTao’stranslatedversion,shetranslatedthephrasesas“托了整整一個星期的時間”and“從三月一直拖到六月”,twophrasesthatcouldaccuratelydepictedthemoodandemotionsofCelie’sanxiety,aswellasAlbert’shesitation.Meanwhile,TaoJie’sversionalsoreflectedtheunfairnessoftheirmarriagerelationship.Shetranslated“takeme”to“要我”whileinYangRenjing’sversion,hetranslatedto“娶我”Infact,asweallknow,AlbertdidnotlikeCelieatall.ShewasboughtbyAlbertlikeananimal.ChapterFiveMainResultsoftheStudyontheDifferencesbetweentheTwoChineseTranslations5.1FeministPrinciples--TaoJie’sTranslationThroughcomparison,itwasfoundthatTaoJie’sfeministresearchbackgroundwasdeep,andsheshowedstrongfeministconsciousnessinthetranslationofTheColorPurple.TaoJiewasmoresensitiveandpayedmoreattentiontowomen’spain,theirappearanceandtheirphysicalexperiences.Byvividlytranslatingthesesections,shesoughttoshowhowwomenareoppressedandeventorturedbymeninapatriarchalsociety,andhowsomewomenpursuetheirownbeauty,enjoytheirownsexlives,gainself-approval,andultimately,mostimportantly,independence.Morespecifically,atranslatorwithfeministconsciousnesscanamplifythenegativeimagesofmenandboldlychoosewordswhendescribingscenesrelatedtosex,becauseshebelievedthatsuchcontentwasanimportantstepforwomentoachievehigherstatus.Generallyspeaking,feministtranslatorsusedlanguageasatooltopromotegenderneutralityinliteratureandenhancedtheaestheticeffectofwomen.Ontheonehand,itchallengedthepatriarchallanguageandtriggeredwomen’sself-knowledgeandspiritualliberation.Ontheotherhand,italsoeliminatedthediscriminationofmenagainstwomen,improvedthesocialstatusofwomenandobtainedtheequalrightsofwomen.Intranslatingthenovel,Tao’stranslationfocusedongenderdiscriminationandwomen’sstruggleforliberation,asopposedtoYangRenjing’stranslation,whichfocusedonthebroadercontextofsocialissues.Therefore,TaoJiemostlyadoptedfeministprinciplesinhertranslationofTheColorPurple.5.2ThePrincipleofSubjectivity--YangRenjing’sTranslationInABriefAnalysisofChineseTranslation--OntheManifestationoftheTranslator’sSubjectivityunderFeministTranslationTheory