結合多元系統理論（polysystem theory）和贊助者（patronage）概念，本論文分析臺灣著名作家三毛的譯作《娃娃看天下——瑪法達的世界》的第一個中文譯本。原作為阿根廷漫畫家季諾（Joaquín Salvador Lavado Tejón）的Mafalda， 全世界最著名的西班牙語漫畫。
本論文將透過中西版本對照的方式，試圖揭示三毛在翻譯《娃娃看天下》時採用的有時自相矛盾的翻譯策略，一方面考慮到漫畫對兒童的適用性，另一方面考慮到強迫自我審查和遵守翻譯期間存在的政治敘事和嚴酷條件，即台灣戒嚴時期。
對於翻譯理論家埃文•佐哈爾（Itamar Even-Zohar）來說，翻譯作品在一般情況下被認為是邊緣文學（peripheral literature），是動態的多元系統（polysystem）中處於次要地位的文學。這意味著譯者被賦予了更大的自由度，並允許在一定程度上操縱文本以適應目標讀者的文化規範。 對於超邊緣文學的作品，例如針對成人和兒童雙重讀者群的翻譯漫畫書來説，這種效果可能成倍增加。
此外，無論採用何種翻譯策略，都可能須要遵守勒菲弗爾（André Lefevere）的贊助者（patronage）概念。該概念被理解為在特定時間和地點的主導意識型態（ideology），並以強大的機構或個人的形式具體化，這些組織或個人來自文學系統之外，卻大幅度影響翻譯行為，並以不可忽視的方式限制文學作品的翻譯內容和方式。

Considering both the polysystem theory and the concept of patronage, this thesis analyzes Wawa kan tianxia: Mafada de shijie (《娃娃看天下——瑪法達的世界》) the first Chinese translation by acclaimed Taiwanese writer Sanmao (三毛) of Mafalda, the most well-known comic in the Spanish-speaking world created by Argentinean cartoonist Quino. Through direct comparison, this thesis will attempt to shed light on the sometimes-self-conflictive translation strategy applied by Sanmao in the translation of Mafalda, considering, on the one hand, the strips' suitability for children and, on the other, the forced self-censorship and compliance with the political narrative and harsh conditions existing during the time of translation, i.e., the Taiwanese martial law period.
As for translation theorist Even-Zohar, translated works are considered, in general circumstances, peripheral literature, literature in a secondary position in a dynamic polysystem. This implies that translators are granted a greater degree of freedom and allowed to manipulate, to some extent, the text to fit the target readership's cultural norms. This effect can be multiplied for hyper-peripheral works, for instance, a translated comic book targeting a dual adult-child readership. Moreover, irrespective of the translation strategy adopted, it possibly will have to comply with André Lefevere's notion of patronage, understood as a dominant ideology in a given time and place and crystalized in the form of a powerful institution or individual that, from outside the literary system, governs the translation action and, in non-negligible ways, restricts what and how a piece of literature is translated.

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