Table 2.
The main findings of the studies applied feminist translation theory.
| Author/s and year | Focus | Research Methodology | SL-TL | Novel/s, Author-Translators |
Findings |
|---|---|---|---|---|---|
| Modrea (2005) | Translator’ ideology | Qualitative | Spanish- English + French | Tres Tristes Tigres by Guillermo Cabrera Infante – (translators: Bensoussan, Levine). | Bensoussan's translation is a straightforward, direct translation, with few modifications; Levine has clearly shown her voice in translation |
| Paleczek (2010) | Translation of grammatical gender | Not explicitly mentioned | Polish- English | Dom dzienny, dom nocny by Tokarczuk (translator: Antonia Lloyd). | Tokarczuk's play with language can be “rewritten” in English—though English lacks pervasive grammatical gender, it does not lack corresponding cultural and patriarchal constructions. |
| Hsing (2011) | Impact of gender consciousness in the translation | Qualitative | English-Chinese | Children's literature translated from British English to Chinese Alice's Adventures in Wonderland (1865), The Princess and the Goblin (1872), Treasure Island (1883), The Happy Prince and Other Tales (1888), The Wind in the Willows (1908), Peter Pan (1911). |
Taiwanese Female translators have intervened in the Culture, and have constructed their gender identities. A large proportion of male translators in the selected texts share similarities and tend to use language that is stronger, more aggressive, and direct to interpret the source narrative. |
| Miletich (2012) | Translation of grammatical gender | Qualitative | Spanish- English | Pronombres Personales by Isaac Chocrón (translator: Miletich). | The existence of texts that contain words that can be masculine or feminine in Spanish provides an extra challenge when transferring the Spanish text into English, a language that does not seem to have such an abundance of these explicit terms. |
| Bateni et al. (2013) | Feminist translation strategies | Corpus-based research | English-Persian |
Tess D'Urbervilles by Hardy (translators: Siravan Azad and Mina Sarabi); Unaccustomed Earth by Jhumpa Lahiri (translators: Amir Mehdi Haghighat and Goli Emami); Mrs. Dalloway by Virjinia Woolf (translators: Parviz Dariush and Farzaneh Taheri); Pride and Prejudice by Jane Austen (translators: Reza Rezaei and Sousan Ardekani); Wuthering Heights by Emily Bronte (translators: Kamran Parvaneh and Fatemeh Amini); A Thousand Splendid Suns by Khalid Husseini (translators: Mehdi Ghabraei and Somayyeh Ganji). |
Female translators have used footnotes in their translations more than male translators. |
| Moghaddas (2013) | Gender differences in translation | Qualitative | English-Persian | Not mentioned explicitly | There is no significant difference between the Iranian male and female translators' translations in terms the translation accuracy. |
| Mohammadi (2014) | Translators' ideology | Qualitative + Quantitative | English- Persian | Mrs. Dalloway (1925) by Virginia Woolf (translators: Darush and Taheri). | Almost all the manipulated selected words are used by the male translator. Statistical data, on the other hand, revealed a difference between positive and negative gender values in which the negative choices are employed more by the male and the positive ones more by the female translator |
| Chen and Zhang (2016) | Translators' subjectivity | Not explicitly mentioned | English-Chinese | The Old Man and the Sea by Ernest Hemmingway-(translator: Eilen Chang) | Feminist translators' subjectivity is manifested greatly in the translation practice of Eileen Chang |
| Chen and Chen (2016) | Feminist translation strategies | Not explicitly mentioned | English-Chinese | The Old Man and the Sea by Ernest Hemmingway (translator: Zhang Ailing). | The feminist translation strategies of prefaces, supplementing, and hijacking have been used. |
| Yuan (2016) | Gender consciousness in translated children's | Qualitative | English-Chinese | The little Berry by J.M Berry (translator: Liang). | Peter's gender (the character in children's literature) has been consistently disguised in the target text. The mystification of Peter Pan's gender is discussed in light of the conceptualization of childhood in China and the development of domestic children's literature and feminist movements in the 1920s, highlighting the role the target culture context plays in translation. |
| Shuo and Min (2017) | Feminist translation strategies | Not explicitly mentioned | English- Chinese |
The Old Man and the Sea by Ernest Hemmingway; The Legend of the Sleepy Hollow by Washington Irving (translator: Zhang Ailing). |
The feminist translation strategies of prefacing, supplementing, and hijacking have been used. |
| Shuo and Min (2017) | Feminist translation strategies | Not explicitly mentioned | Chinese-English | The Golden Cangue by Eileen Chang | The feminist translation strategies of prefaces, footnoting supplementing, hijacking have been used |
| Raidah (2017) | Impact of gender consciousness in the translation | Qualitative | Arabic-English | Corpus of 10 novels written by Arab women writers, translated by women translator. | The gender of authors and translators did not impact the way Arab women are represented |
| Allam (2018) | Feminist translation strategies | Qualitative | Arabic- English | Professor Hanaa by Reem Bassiouney (translator: Laila Helmy). | The TT is womanhandled by prefacing and footnoting, supplementing and hijacking to fit certain feminine politics by 7.2%, 75.3% and 17.5% lexically and semantically to exalt the main female figure and to demean the male figures. |
| Tang (2018) | Translator's ideologies and the impact of gender consciousness in | Qualitative | English -Chinese |
The Joy Luck Club by Amy Tan (1989) (translators: Cheng Naishan, Yan Yingwei, and Peihua); The Kitchen God's Wife (1991) by Amy Tan (translators: Yang De, Ling Yue, and Yan Wei, Zhang Deming). |
The hijacking and supplementing that female translators use in a few cases reflect that they have a better understanding of Tan's thoughts and intentions and attempt to convey them to the readers, which also shows their gender consciousness and attitudes toward women's awakening. In contrast, the male translators prefer rewriting and omission, with a result that their translations deviate from traditional translation ethics of fidelity |
| Qing Qiu (2019) | Impact of gender consciousness in the translation | Qualitative | English- Chinese |
To the Lighthouse by Virginia Woolf; (translators: Ma Ainong, Qu Shijing). |
The analysis reveals the differences between female translation and male ones as a result of their gender consciousness. |
| Li and Zhang (2019) | Linguistic choices of the translators | Not explicitly mentioned | English- Chinese | Persuasion by Jane Austen (translators: Sun Zhili and Qiu Yin). | Female preferences of exclamatory sentences and rhetorical questions, sentence-final particles, reduplicated words as well as prefaces and footnotes. |
| Baya (2019) | Translators' ideology | Not explicitly mentioned | Arabic- English |
Women at Zero Point by Nawel Saadaouis (translator: Hatata); Memory of the Flesh by Ahlem Mosteghanemi (translator: Raphael Cohen). |
Hatata has exaggerated his description adopting amplification strategies to dramatize and make the reader sympathize with the heroine as she is a victim. As for the translation of Ahlam Mosteghanemi's novel is concerned, the translator has highlighted the male presence by employing some terms denoting masculinity, in addition to the omission of some words and phrases used by the author in the novel that has feminist connotations |
| Jing-Jing (2019) | Translator’ ideology | Not explicitly mentioned | English -Chinese | The Old Man and the Sea by Ernest Hemingway (translator: Aileen Chang). | During the translation of The Old Man and the Sea, Eileen Chang consciously tries hard to preserve the meaning and style of the original text, while her strong feminist tendency leads her to unconsciously utter women's voices to a certain degree, not very explicitly, but implicitly. |
| Wang, Yu & Chen (2019) | Translator’ ideology | Not explicitly mentioned | Chinese-English |
Shuihu Zhuan by Shi Naian (translator: Sidney Shapiro). |
Sidney Shapiro has mitigated many of the stereotypes against women in patriarchal society present in the ST |
| Hou et al. (2020) | Feminist translation strategies. | Qualitative | English-Chinese |
Emma by Jane Austen (translators: Sun Zhili and Zhu Qingying). |
The female translator tends to use more feminist translation strategies in her practices consciously or unconsciously than the male translator |
| Li (2020) | Translators' subjectivity + gender consciousness | Not explicitly mentioned | English-Chinese | The Color Purple by Alice Walker (translators: Yang Renjing, and Tao Tie). | The male translator has paid no special attention to gender, whereas, the female translator has stronger feminist consciousness than the male translator who has shown deep-rooted patriarchal consciousness and a sense of gender discrimination in his translation, the female translator has shown feminist thought. |
| Jinga, Lihua (2020) | feminist translation strategies | Not explicitly mentioned | English-Chinese | Pride and Prejudice by Jane Austen (translators: Lei Limei and Sun Zhili). | The female translator makes the figures in the translation more vivid and artistic and conveys certain feminist ideas. So we can see that the feminist consciousness of the translator has a certain influence on the translation process. |
| Meng (2020) | Re-construction of gender in the English translation | Qualitative | Chinese-English | Leaden Wings by Zhang Jie (translator: Gladys Yang). | Textual and paratextual analyses show a paradox—feminist discourse and linguistic sexism—resides in the translation. Whilst feminist discourse is evident in both the paratexts, i.e. the preface, afterword and list of characters, and the text, the sexism embedded in the English language, represented in the translation by the use of male generic terms man/men and the female child term girl/girls to refer to adult women, finds its way into the translation. |
| Shaheen et al. (2021) | The discursive construction of feminist identities + the influence of the ideological position of the translator on the translation activity | Qualitative | Urdu- English | The Dancing Girls of Lahore by Louise Brown (translator: Dr. Naeem Tariq). | The position of the translator is reflected in the grammatical and lexical choices of the translation activity. |
| Mingli (2021) | Influence of ideological position of the translators in the translation activity | Qualitative | English- Chinese | To the Lighthouse by Virginia Woolf (translators: Qu Shijing and Ma Ainong). | Following the mainstream patriarchal ideology on women's role in society, Qu has presented Mrs. Ramsay as a perfectly idealized Victorian woman, which resonated with the social hierarchical rules for Chinese women at the time. Whereas, Ma has translated under a feminist socio-political scenario when the women's liberation movement was on the rise in China. She is perceived to create her translated text influenced by gender consciousness but She has expressed their feminist faith and concepts implicitly between lines. |