田漢所翻譯王爾德（Oscar Wilde）的《莎樂美》中，他用了童女、閨女和處女三個不同譯法來譯王爾德原作中的七個vierge。同時，當莎樂美捧著約翰頭顱對死去的約翰提出她的控訴時，田漢將原著中tu m'a déflorée.譯成「你把我心裡的貞操奪去了」，反映了譯者特定的意識形態，是對於貞操的多元論定義，源自形成譯者性言說的社會脈絡。本文使用傅柯在《性史》中的性言說作為基礎，探討不同社會的性言說，對於《莎樂美》的翻譯和解讀之差異。Vierge的三種中文翻譯，屬於翻譯手法中的歸化譯法，但也屬於André Lefevere所說的「改寫」的譯法。這三個翻譯和「你把我心裡的貞操奪去了」一樣，是受到譯者意識形態的影響，牽涉到文本背後社會文化的差異，以傅柯的理論來說，即是性言說。中西不同的性言說下，解讀了不同的莎樂美情慾，從而形塑了不同的女性形象。田漢翻譯《莎樂美》乃受日本影響，視唯美主義為進步指標，但在不同的性言說影響下，田漢對於莎樂美產生了不同的解讀，讓他下意識地將之反映在翻譯中，影響了他所譯的莎樂美形象，從而呈現出田漢個人的中國新女性想像

In Tien-Han's translation of Oscar Wilde's Solomé, he uses three Chinese words, ton-nü (girl-child), gweh-nü (lady of boudoir), and chu-nü (housebound lady) to translate the seven 'vierge' in the play. He also elects to translate 'tu m'a déflorée' into 'you have taken away my virginity spiritually', instead of 'you have deflowered me,' which Salomé said after Jochannan's head was presented to her on a silver plate. All these choices Tien makes reflect his ideology influenced by certain social context, which, in Michel Foucault's words, is sexual discourse. By 'domesticating' in his translation of 'vierge', instead of 'foreignizing', and by 'rewriting' 'tu m'a déflorée', Tien's translation shows how ideology of a translator can influence his translation and results in a different understanding of the heroine. Influenced by Japan's fascination with Aestheticism, which is seen as an index of a country's modernization, Tien introduced Wilde's Salomé as an attempt to modernize China. But what he fails to see is that the differences in sexual discourse between the West and the East, could result in a different understanding of Salomé. Without recognizing the sexual discourse and the social context behind Wilde's Salomé, Tien incorporates in his Salomé translation one of his two Chinese new woman ideals, femme fatale, which appears in stark contrast with his other new woman prototype, village girl, and translate her into his own imagination of Chinese new woman