‘Failed Feminism’

IF 0.3 3区 文学 0 LITERARY THEORY & CRITICISM Critical Survey Pub Date : 2022-09-01 DOI:10.3167/cs.2022.340305
Ying Duan, Junwu Tian
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Abstract

In Vinegar Girl, a 2016 fictional adaptation of The Taming of the Shrew, Anne Tyler exhibits an ambivalent treatment of the female predicaments left by William Shakespeare: while she invests her modern version of Katherina with linguistic and intellectual independence emblematic of female resistance to patriarchal disciplines, she somehow acquiesces in the fixed familial place and the stereotypical images of women in the monolithic patriarchal system. When the novel was introduced into the Chinese mainland in 2017, the Chinese publisher, out of commercial concerns, advertised it as a highly feminist text through the delicate manipulation of the translation of its title and a series of paratextual manoeuvres, to the detriment of the novel’s ambiguous complexities of gender issues. The marketing strategies nevertheless backfired on one of China’s social media platforms and rendered the novel a relatively ‘failed’ feminist text against China’s unique market and media background in the last decade.
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在2016年改编自《驯悍记》(The驯悍记)的小说《醋女》(Vinegar Girl)中,安妮·泰勒(Anne Tyler)对威廉·莎士比亚(William Shakespeare)留下的女性困境采取了矛盾的处理方式:虽然她赋予自己的现代版凯瑟琳以语言和智力上的独立,象征着女性对父权纪律的反抗,但她在某种程度上默许了固定的家庭地位和铁腕父权制度下女性的刻板形象。2017年,当这部小说被引入中国大陆时,出于商业考虑,中国出版商通过对书名的微妙翻译和一系列意指手法,将其宣传为一部高度女权主义的作品,损害了小说对性别问题的模糊复杂性。然而,这种营销策略在中国的一个社交媒体平台上适得其反,在过去十年中,在中国独特的市场和媒体背景下,这部小说成为了一部相对“失败”的女权主义作品。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Critical Survey
Critical Survey LITERARY THEORY & CRITICISM-
CiteScore
0.20
自引率
0.00%
发文量
40
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