Emilia Pardo Bazán (1851-1921)是19世紀下旬和20世紀上旬西班牙著名的女作家，除了作家身分，她還身兼記者、文學評論家、編者及譯者等多元角色。貴族的身分讓她在童年就接受當時婦女所沒有的特權：接受教育；除此之外，不虞匱乏的物質生活，也提供她可以到處旅行的機會，與當時歐洲的文人雅士交流，因而賦予她的文學成就。本論文將針對作家本人從英文翻譯John Stuart Mill的The Subjection of Women (La esclavitud femenina)之序言，來闡述譯者在序言裡所揭露的女性主義意識思維。序言的確是作者在自己作品或是他人作品的一種「創作」或是「意識」的文字詮釋，或是成為作品引介之功用。作家在譯序表達其伸張女權的主張，意旨作家其實藉由譯者的「角色」置入其個人色彩。有時譯序會凸顯出譯者的意識，同時也是讀者在閱讀之的導讀效果，或是「操控」，這也是操控學派(Manipulation School)所言的：沒有任何翻譯是「單純的」(innocent)。

As one of the most famous female writers in late 19th and early 20th, Emilia Pardo Bazán (1851-1921) has multiple identities as writer, journalist, literary critic, editor and also translator. Born to upper class family, she enjoys the privilege to receive proper education that is rare for women during that time. Moreover, her affluent family background provides her opportunities to travel abroad and broaden world-view through interactions with diverse social elites. This definitely contributes to her literary achievement. This research attempts to interpret how Emilia Pardo Bazán exposes translator ideology based on prologues in her translated work: The Subjection of Women (La esclavitud femenina) written by John Stuart Mill. The research centers on the prologue in La esclavitud femenina. She voices for female rights in this work. A prologue means a kind of ‘creation’ that reveals translator’s ideology, and also it is a kind of ‘introduction’ for the readers, in other words, the fact that translators are inclined to manipulate the texts, to a certain degree, reminds us the Manipulation School claim: ‘Translation is never innocent’.