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Jane Austen is a famous British realistic novelist in the 19th century and is known as “the female writer who has the equal status with Shakespeare”.Austen lived in English countryside all the year round and country life is the main theme of her novels.This novel has reflected an important aspect of the social life of Britain in the early 19th century，which is the ideal of marriage;besides，it still has expressed a series of problems in England at the time of customs，social relations，class concepts，marriage and family.Therefore，for many years，there have been appearing a lot of studies from both east and west about Pride and Prejudice.
a）Feminism
For these 20 years，there are many studies about feminism in Pride and Prejudice，mainly caused by its feminist ideology and consciousness reflected in the perspective of the feminine-centered narrative approach in the work;more specifically，the heroine Elizabeth has a strong gender equality ideology.According to Yao（2013），Elizabeth believes that marriage and love should be independent;at the same time，she challenged and rebelled against the patriarch of secular rituals;she is a full-fledged image of a new woman，and her feminist consciousness shown in the novel has limitations and deficiencies to a certain extent，but it still has a strong sense of realism.Besides，Pride and Prejudice has also described feminism based on female education.Gong（2011）found that Austen does not arbitrarily teach，but resorts to characters and plots to more dialectically engage in female education;she has expressed her disgust for "talent" and "elegance"，and she is more willing to be happy and sensible.In the meantime，Austen used female view to create works，which has also shown her awareness on feminism.In the history of female literary writing，Jane Austen has made pioneering efforts to establish a tradition of female writing;Pride and Prejudice completes the transcendence of the literary classic narrative model by constructing a narrative pattern with an omniscient perspective;on the other hand，the writer rejects the man’s grand narrative and writing paradigm，and is faithful to her own experience in the world and her life experience（Wu，2000）.However，although most scholars agree with Austen’s view about feminism，there is still an opposed point about it.For instance，according to Hui（2015），through this novel，we can find that women always seem to be passive and subordinate in the relation between two sexes;however，they seem to be very active in temptation of men to go into marriage，and throughout the novel，all the women seem to be ready to make a trap for the men to marry them. Through all of these studies，we can find that Austen has an advanced attitude to women，and an awareness of feminism.Austen is one of the most significant female authors all around the world.Her novels appeared in the early 19th century.They has swept away the popular pseudo-romantic trend，inherited and developed the British 18th-century outstanding realist tradition，and made preparations for the climax of 19th century realistic novels.
b）Translation
Since Pride and Prejudice is a worldwide famous novel for readers，it has been translated into different languages to let people from different countries read.Besides，Austen has a number of readers in China，however，since many Chinese readers are not good at English，most of them read the translated version;therefore，the strategies of the translation of Pride and Prejudice from English to Chinese have always been discussed by scholars.Firstly，there are some studies about the translation of dialogues in Pride and Prejudice.For Ji & Shen’s view（2007），as the main means of portraying characters in the book，dramatic dialogue scenes can be seen everywhere in the text，and each character in this novel highlights his distinctive image through a unique discourse style.In this paper，Ji & Shen（2007）have made a comparison about three different translated versions，and from their paper we can tell that we need to pay more attention to figures’ images and the situation of the conversation when we do translation.Since dialogues are not simple “dialogues”;they can also be good expressions about people’s characters and emotions，for example，sometimes the use of modal particles can shows the characters of roles in this novel.Moreover，some scholars have done some researches about the use of rhetorical devices in translation such as irony.Chen（2016）thinks that there are mainly two kinds of irony being used in translation，which are expressive irony and commitment irony.By taking good advantages of these two kinds of ironies，translators have brought Chinese readers more direct impression on the figures in this novel.Besides，in Chen’s paper（2016），she has done some research about ecological translation studies on Pride and Prejudice by making a comparison between Wang’s translation version and Sun’s translation version.By comparison，although Wang’s translation also adapts to the three dimensions，Sun’s translation has a higher degree of adaptability in three dimensions;the different versions of the two translations in the three dimensions of language，culture，and communication are due to the different adaptations of the two translators to their respective translation ecological environments，namely different personal experiences，abilities，translation motives，and different translation social and historical backgrounds. c）Film Adaptation
Since Pride and Prejudice has a significant position in literary world，there are many producers，screenwriters and directors preferring to adapt this novel into films.The first film version of Pride and Prejudice was shown on in 1938，and after that，there has been six audiovisual products totally till now.These 20 years，there are also a few studies about film adaption of Pride and Prejudice.For instance，in Hong’s study，she has mainly focused on the visualizing interiors in the film Pride and Prejudice shown on 2005;“In the 2005 film Pride & Prejudice，activities as simple as walking through the house or circling on the dance floor constitute a kinesthetic language for making interior spaces visible in temporal and spatial terms”（Hong，2013）.Based on this paper and the film version，we see them actualized in the same way that domestic life is constructed in the Bennet home—through repetitive and circular movements that straddle the divide between the concrete and the abstract，instead of inferring Elizabeth Bennet’s desires.Mining the creative tension between physical movement and narrative movement，the film shows how interiority is a product of the material and relational conditions of everyday life”.Besides visualizing interiors，some scholars are concentrated on the use of words in Pride and Prejudice’s films and TV series，such as O’Connell Daniel C and Kowal Sabine.In their study，they have talked about the use of interjections’ performance in Pride and Prejudice TV Mini-series shown in 1995，and they have found that there were 398 interjections in this audiovisual version，which were most spoken by actresses to all more dramatic expressiveness（Daniel C & Sabine，2010）.Since the film adaption has brought much benefit to the film producers，which has also provided more interests to film producing companies，there are also some studies about the relationship between adapted film and its producing company.In Robinson’s study（2013），Metro-Goldwyn-Mayer’s（MGM’s）1940 version of Pride and Prejudice moves the film’s action forward in time from the 1790s（the decade in which Austen wrote the novel）or the 1810s（the decade in which the novel was published）to the 1830s/-40s.This time switch reflects the multi-authorship in place during Hollywood’s Studio Era—considering that this switch in time was instigated by Adrian，the film’s costume designer—and makes the film an excellent case study of MGM house authorship.Specifically，this time shift placed Pride and Prejudice comfortably within the MGM literary prestige tradition，most examples of which were set in Dickensian mid-nineteenth century，as well as making the romantic trope of the waltz available to establish and ground the two major love stories. Since Pride and Prejudice is a famous literary work which has a huge research value，there have been more and more studies about it for these 20 years.For the existing studies，some are focus on feminism，some are concentrated on translation，and all these researches have made a great contribution to some extents for people to learn Pride and Prejudice better.However，there is no specific study on the subtitle translation strategies of Pride and Prejudice’s film version，which can express female roles’ characteristics better.Therefore，this paper will focus on the strategies used in Pride and Prejudice’s film version translation to express female roles characteristics better.
References
[1]Hong，M.（2013）.Visualizing Interiors：The Language of Movement in the 2005 Film Pride & Prejudice.Genre，46（3）.
[2]Hui，J.（2015）.A story without love：on pride and prejudice from the feminism perspective.Cross-Cultural Communication，11（2）.
[3]O’Connell，D.C.，& Kowal，S.（2010）.Interjections in the performance of jane austen’s pride and prejudice.Journal of Psycholinguistic Research，39（4），285.
[4]Robinson，L.A.（2013）.Crinolines and pantalettes：what mgm’s switch in time did to pride and prejudice（1940）.Adaptation，6（3），283-304.
[5]陳竞春.（2016）.《傲慢与偏见》反讽翻译方式的运用研究.兰州教育学院学报，32（2），125-126.
[6]龚龑.（2011）.《傲慢与偏见》中的女性教育.中华女子学院学报，23（04），71-76.
[7]纪晓斌，申迎丽.（2007）对话翻译与小说人物形象的再现——兼评《傲慢与偏见》的三个中译本.解放军外国语学院学报，2007（05），83-87.
[8]吴卫华.（2000）.试析《傲慢与偏见》的女性写作立场.外国文学研究，2000（03），96-100.
[9]姚晓晖.（2013）.《傲慢与偏见》女权主义思想析论.开封教育学院学报（6），23-25.
作者简介：
杜伊哲，1997年5月，女，汉，辽宁省沈阳人，硕士学历，新加坡南洋理工大学中国与全球治理专业。学校：南洋理工大学
a）Feminism
For these 20 years，there are many studies about feminism in Pride and Prejudice，mainly caused by its feminist ideology and consciousness reflected in the perspective of the feminine-centered narrative approach in the work;more specifically，the heroine Elizabeth has a strong gender equality ideology.According to Yao（2013），Elizabeth believes that marriage and love should be independent;at the same time，she challenged and rebelled against the patriarch of secular rituals;she is a full-fledged image of a new woman，and her feminist consciousness shown in the novel has limitations and deficiencies to a certain extent，but it still has a strong sense of realism.Besides，Pride and Prejudice has also described feminism based on female education.Gong（2011）found that Austen does not arbitrarily teach，but resorts to characters and plots to more dialectically engage in female education;she has expressed her disgust for "talent" and "elegance"，and she is more willing to be happy and sensible.In the meantime，Austen used female view to create works，which has also shown her awareness on feminism.In the history of female literary writing，Jane Austen has made pioneering efforts to establish a tradition of female writing;Pride and Prejudice completes the transcendence of the literary classic narrative model by constructing a narrative pattern with an omniscient perspective;on the other hand，the writer rejects the man’s grand narrative and writing paradigm，and is faithful to her own experience in the world and her life experience（Wu，2000）.However，although most scholars agree with Austen’s view about feminism，there is still an opposed point about it.For instance，according to Hui（2015），through this novel，we can find that women always seem to be passive and subordinate in the relation between two sexes;however，they seem to be very active in temptation of men to go into marriage，and throughout the novel，all the women seem to be ready to make a trap for the men to marry them. Through all of these studies，we can find that Austen has an advanced attitude to women，and an awareness of feminism.Austen is one of the most significant female authors all around the world.Her novels appeared in the early 19th century.They has swept away the popular pseudo-romantic trend，inherited and developed the British 18th-century outstanding realist tradition，and made preparations for the climax of 19th century realistic novels.
b）Translation
Since Pride and Prejudice is a worldwide famous novel for readers，it has been translated into different languages to let people from different countries read.Besides，Austen has a number of readers in China，however，since many Chinese readers are not good at English，most of them read the translated version;therefore，the strategies of the translation of Pride and Prejudice from English to Chinese have always been discussed by scholars.Firstly，there are some studies about the translation of dialogues in Pride and Prejudice.For Ji & Shen’s view（2007），as the main means of portraying characters in the book，dramatic dialogue scenes can be seen everywhere in the text，and each character in this novel highlights his distinctive image through a unique discourse style.In this paper，Ji & Shen（2007）have made a comparison about three different translated versions，and from their paper we can tell that we need to pay more attention to figures’ images and the situation of the conversation when we do translation.Since dialogues are not simple “dialogues”;they can also be good expressions about people’s characters and emotions，for example，sometimes the use of modal particles can shows the characters of roles in this novel.Moreover，some scholars have done some researches about the use of rhetorical devices in translation such as irony.Chen（2016）thinks that there are mainly two kinds of irony being used in translation，which are expressive irony and commitment irony.By taking good advantages of these two kinds of ironies，translators have brought Chinese readers more direct impression on the figures in this novel.Besides，in Chen’s paper（2016），she has done some research about ecological translation studies on Pride and Prejudice by making a comparison between Wang’s translation version and Sun’s translation version.By comparison，although Wang’s translation also adapts to the three dimensions，Sun’s translation has a higher degree of adaptability in three dimensions;the different versions of the two translations in the three dimensions of language，culture，and communication are due to the different adaptations of the two translators to their respective translation ecological environments，namely different personal experiences，abilities，translation motives，and different translation social and historical backgrounds. c）Film Adaptation
Since Pride and Prejudice has a significant position in literary world，there are many producers，screenwriters and directors preferring to adapt this novel into films.The first film version of Pride and Prejudice was shown on in 1938，and after that，there has been six audiovisual products totally till now.These 20 years，there are also a few studies about film adaption of Pride and Prejudice.For instance，in Hong’s study，she has mainly focused on the visualizing interiors in the film Pride and Prejudice shown on 2005;“In the 2005 film Pride & Prejudice，activities as simple as walking through the house or circling on the dance floor constitute a kinesthetic language for making interior spaces visible in temporal and spatial terms”（Hong，2013）.Based on this paper and the film version，we see them actualized in the same way that domestic life is constructed in the Bennet home—through repetitive and circular movements that straddle the divide between the concrete and the abstract，instead of inferring Elizabeth Bennet’s desires.Mining the creative tension between physical movement and narrative movement，the film shows how interiority is a product of the material and relational conditions of everyday life”.Besides visualizing interiors，some scholars are concentrated on the use of words in Pride and Prejudice’s films and TV series，such as O’Connell Daniel C and Kowal Sabine.In their study，they have talked about the use of interjections’ performance in Pride and Prejudice TV Mini-series shown in 1995，and they have found that there were 398 interjections in this audiovisual version，which were most spoken by actresses to all more dramatic expressiveness（Daniel C & Sabine，2010）.Since the film adaption has brought much benefit to the film producers，which has also provided more interests to film producing companies，there are also some studies about the relationship between adapted film and its producing company.In Robinson’s study（2013），Metro-Goldwyn-Mayer’s（MGM’s）1940 version of Pride and Prejudice moves the film’s action forward in time from the 1790s（the decade in which Austen wrote the novel）or the 1810s（the decade in which the novel was published）to the 1830s/-40s.This time switch reflects the multi-authorship in place during Hollywood’s Studio Era—considering that this switch in time was instigated by Adrian，the film’s costume designer—and makes the film an excellent case study of MGM house authorship.Specifically，this time shift placed Pride and Prejudice comfortably within the MGM literary prestige tradition，most examples of which were set in Dickensian mid-nineteenth century，as well as making the romantic trope of the waltz available to establish and ground the two major love stories. Since Pride and Prejudice is a famous literary work which has a huge research value，there have been more and more studies about it for these 20 years.For the existing studies，some are focus on feminism，some are concentrated on translation，and all these researches have made a great contribution to some extents for people to learn Pride and Prejudice better.However，there is no specific study on the subtitle translation strategies of Pride and Prejudice’s film version，which can express female roles’ characteristics better.Therefore，this paper will focus on the strategies used in Pride and Prejudice’s film version translation to express female roles characteristics better.
References
[1]Hong，M.（2013）.Visualizing Interiors：The Language of Movement in the 2005 Film Pride & Prejudice.Genre，46（3）.
[2]Hui，J.（2015）.A story without love：on pride and prejudice from the feminism perspective.Cross-Cultural Communication，11（2）.
[3]O’Connell，D.C.，& Kowal，S.（2010）.Interjections in the performance of jane austen’s pride and prejudice.Journal of Psycholinguistic Research，39（4），285.
[4]Robinson，L.A.（2013）.Crinolines and pantalettes：what mgm’s switch in time did to pride and prejudice（1940）.Adaptation，6（3），283-304.
[5]陳竞春.（2016）.《傲慢与偏见》反讽翻译方式的运用研究.兰州教育学院学报，32（2），125-126.
[6]龚龑.（2011）.《傲慢与偏见》中的女性教育.中华女子学院学报，23（04），71-76.
[7]纪晓斌，申迎丽.（2007）对话翻译与小说人物形象的再现——兼评《傲慢与偏见》的三个中译本.解放军外国语学院学报，2007（05），83-87.
[8]吴卫华.（2000）.试析《傲慢与偏见》的女性写作立场.外国文学研究，2000（03），96-100.
[9]姚晓晖.（2013）.《傲慢与偏见》女权主义思想析论.开封教育学院学报（6），23-25.
作者简介：
杜伊哲，1997年5月，女，汉，辽宁省沈阳人，硕士学历，新加坡南洋理工大学中国与全球治理专业。学校：南洋理工大学