語言是社會文化的「鏡子」、「視窗」，是文化的載體。16世紀在歐洲，不允許女性從事創作，只允許宗教文本的翻譯。女性只能通過翻譯這一狹窄的空間做出最大程度的反抗，表達女性對生活、社會、愛情、政治的看法。就如女性失去了她的地位處於第二性一樣，翻譯也遭到了同樣的歧視。無論譯者在傳譯的過程中多麼努力接近原文，與原文「等同」，仍然是一種理想。女性主義者在翻譯中使用各種手段干預文本達到創造性叛逆，總結了三種主要的翻譯策略，即增補（supplementing）、加寫前言與註腳（prefacing）、劫持（hijacking）。這種策略經過19世紀，進入21世紀有所發展，女性主義翻譯家力圖消除語言中存在的性別歧視。這種思潮對東方女性翻譯家也不例外。於是本文通過《傲慢與偏見》兩種不同性別譯者的韓譯本作了些比較與觀察。 其結果發現不同性別的譯者在 1）審美標準 2）語言表達 3）選詞方面表現出明顯的差異。

In 16th-Century Europe, women were not allowed to engage in creative writing, but only in bible translation. Thus, European women manifested their inner thoughts in their translating works. Like women, translation was regarded as a second option and despite translators' endeavors, translations were always thought to be flawed vis a vis original works. In the course of translation, women tried to be treacherous in every possible way and that trend was led to the efforts in the 21st Century to remove sexual discrimination in languages. The trend influenced female translators in the East also. In this context, this paper studies differences shown in men's and women's translations of the same original works.