《傲慢与偏见》（Pride and Prejudice）是英国作家简·奥斯汀的代表作， 不仅在英国文学史上有着重要地位，还被广泛翻译成多种语言传播，以此跻 身于世界经典文学之列。本文将以蒙古国阿穆尔达瓦的《Бардамнал ба адлал》 和中国内蒙古自治区斯琴通拉嘎《 ᠪᠠᠬᠠᠷᠬᠠᠯ ᠪᠠ ᠪᠠᠷᠳᠠᠮᠨᠠᠯ》两种《傲慢与偏见》蒙古文译本为研究对象，通过比较来自不同国家但拥有相近文化传统的两位译者在翻译时选择的翻译策略与翻译风格的异同，分析其背后的文化原因，从译介学的角度出发评估其创造性叛逆的忠实度，勾勒出这部世界文学经典进入蒙古文化语境之后的新面貌。本文分为绪论、两种译本的具体比较分析、结语等三个部分。在绪论中，对研究缘起及其学术史进行了梳理，阐明了《傲慢与偏见》一语两译研究的研究价值，介绍了本文所选取的比较译本对象的基本情况，包括译者的背景、翻译过程、以及译本在蒙古文化中的影响等，并提出了译本比较研究的理论基础及创新点。第二章中，从书名的译介、人物形象的再现、文化意象和情节主题的传达等三个角度具体比较了两个译本的异同，并且分析了其原因。在讨论译本人物形象的再现时，主要聚焦了人物对话、书信内容等方面的翻译与处理；文化意象和情节主题的传达则从“God bless you”的译介、英国舞会与求婚等文化意象的再现、小说主题与情节的传达等三个方面进行了讨论。结语中，在总结两个译本异同的基础上，提出了两个译本的总体特征与风格，并讨论了其背后的原因和这项研究所带来的启示。

Pride and Prejudice, a masterpiece by the British author Jane Austen, holds a significant position not only in the history of British literature but also globally, having been widely translated into multiple languages and recognized as a classic of world literature. This article will take the Mongolian translations of "Pride and Prejudice" by Amurdawa from Mongolia, titled "Бардамнал ба адлал," and by SeqenTonglag from the Inner Mongolia Autonomous Region of China, titled "ᠪᠠᠬᠠᠷᠬᠠᠯ ᠪᠠ ᠪᠠᠷᠳᠠᠮᠨᠠᠯ," as the subjects of its research. Through a comparative analysis of the translation strategies and styles adopted by these two translators, who hail from different countries but share similar cultural traditions, we aim to explore the cultural and social reasons behind their differences and assess the fidelity of their creative treason from the perspective of Medio-Translatology. This article endeavors to outline the new face of this world literary classic as it enters the cultural context of Mongol. The article is divided into three main parts: Introduction, Detailed Comparative Analysis of the Two Translations, and Conclusion. In the Introduction, we trace the origin and academic history of the study, introduce the basic messages of two translations，clarify the research value of studying the two Mongolian translations of "Pride and Prejudice," and present the theoretical foundation and innovative aspects of our investigation. In the second chapter, we undertake a detailed comparison of the similarities and differences between the two translations from three perspectives: the translation of the book title, the reproduction of characters, and the conveyance of cultural imagery and plot themes. While discussing the reproduction of characters, we focus on the translation and treatment of dialogue and letter content. The conveyance of cultural imagery and plot themes is examined through the translation of "God bless you", the reproduction of cultural imagery such as British balls and proposals, and the communication of the novel's themes and plots. In the Conclusion, this article summarize the similarities and differences between the two translations, propose their overall characteristics and styles, discuss the underlying reasons, and reflect on the insights gained from this study.