小說到電影的改編已有不少從事改編研究領域的學者深入探討，但小說到影集的改編則較乏人問津。電視影集的性質和電影的性質有異，且近年來各個線上影音平台的興起也改變了電視媒體的面貌。無論是電視的預設用途、收看人數、觀眾群等，都從根本上產生了巨大的改變。本研究通過分析《使女的故事》從小說到影集的改變，探討這項符際翻譯中所發生的轉換及其背後的原因。此小說為加拿大作家瑪格麗特·愛特伍1985年出版的作品，並於2016年由Hulu（線上影音平台）改編為影集。本研究立基於改編研究理論，並以Blum-Kulka（2000）提出的「一致性轉換」（shifts in cohesion）和「連貫性轉換」（shifts in coherence）兩個概念作為分析的框架。Blum-Kulka所提出的概念原為語際翻譯研究的框架，但本研究試將此理論植入符際翻譯的文本對比分析，希望不僅能將《使女的故事》改編中發生的轉換歸入幾大類，同時探究這些轉換背後的各種原因，例如線上平台的性質或改編團隊製作影集的目的等。《使女的故事》影集和小說產生的年代相差30年，但影集的出現也讓「使女」在近幾年的時間成為了抗爭和爭取女性權益的象徵。文本面貌帶有時代烙印，同時也對所屬時代產生述評，該文本與讀者之間的共鳴本身具有其獨特的時代意義。

In Adaptation Studies, much attention has been paid to literature to film adaptations, but relatively few studies have been conducted on literature to television adaptations. The nature of a television series differs from that of a movie; furthermore, the advent of the age of digital television has brought about fundamental changes to the medium of television itself in terms of its affordances, reach, and audience, among other factors. This study examines the 2017 Hulu adaptation of The Handmaid’s Tale, a 1985 novel written by Margaret Atwood, and investigates the what’s, how’s, and why’s of the shifts that occurred during the cross-medium move. The concepts of shifts in cohesion and shifts in coherence put forth by Blum-Kulka (2000) provides a theoretical framework to guide our comparative textual analysis. Blum-Kulka’s theory was first proposed to be used to study inter-lingual translations, but for this paper, we have applied it to an instance of an inter-semiotic translation. Through this study, we have not only differentiated between the various kinds of shifts that occurred in the adaptation of The Handmaid’s Tale to the screen, but also discussed the reasons behind these shifts, be they due to the nature of the medium or the agenda of the adapters. Lastly, by looking at how The Handmaid’s Tale has become an icon of resistance and empowerment in social movements in the real world, we observed that the adaptation of The Handmaid’s Tale 30 years after the novel was published has its unique contemporary resonance, serving as both a product of its time and also a commentary on current events.

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