本文以晚清女作家湯紅紱的三部短篇小說譯作〈旅順土牢之勇士〉、〈女露兵〉與〈無人島大王〉中心，從文化潮流的融合、道德觀念的調和與文類形態的重構等方面考察譯者的文化譯寫實踐。湯紅紱深受明治日本戰爭文學與晚清「小說界革命」、「女界革命」等文化潮流影響，倡導藉翻譯小說宣揚愛國精神。切合晚清文化語境，湯紅紱在翻譯時著力調和原著英雄展現的「忠勇」道德觀念與晚清國族論述、女權論述以及儒家思想，以樹立國民道德典範。與此同時，湯紅紱無視原著的文類區別，化用晚清冒險家傳記與女豪傑傳記，重構譯文形式特徵，突出譯作的傳記性，期待男女英雄贏得不朽聲名。由此看來，湯紅紱的文化譯寫展示了晚清中國與明治日本、傳統與現代、性別與國族之間的張力。

This article discusses cultural adaptations in the late-Qing writer Tang Hongfu's translations of three short stories, ＂The Warrior in the Cage of Port Arthur,＂ ＂The Russian Woman Soldier,＂ and ＂The King of a Deserted Island.＂ Inspired by highly politicized cultural trends, including Meiji Japanese war literature, the late-Qing fiction revolution, and the revolution in the role of women, Tang launched her translation project with the belief that fiction could promote nationalist ideas among Chinese readers. Motivated to contribute to China's cultural renovation, on the one hand, Tang accommodated indigenous discourse on nationalism, women's rights, and Confucian ethics in her portrayal of male and female heroes who were originally the embodiment of the virtues of ＂loyalty and valor＂ in the Meiji Japanese context. On the other hand, Tang, showing no interest in the diverse generic features of the Japanese originals, reconfigured the translated texts by assimilating them to the structure of late-Qing biographies of male adventurers and female heroes, in the hope of authenticating the protagonists' identities and winning them everlasting fame. In so doing, Tang's cultural adaptations manifest the tensions between late-Qing China and Meiji Japan, tradition and modernity, and gender and nation.