语义翻译视角下《蛙》的日译本评析

摘要

The translations of Mo Yan’s work that are available in the Western world can be described as showing a reader-centered communicative translation strategy. However, in the case of Japanese translations, the strategy becomes one of semantic translation under the influence of the kundoku tradition (Japanese reading of traditional Chinese characters) which has lasted for one thousand years since the Heian Era. In this paper, we analyze Yoshida Tomio’s translation of Mo yan’s Frog with a focus on vocabulary and discourse, and we discuss the aesthetic effects of Yoshida’s semantic translation on three essential factors:the structure, comparison and sound.%西方世界对莫言作品的翻译，多采用以读者为中心的交际翻译的策略。但是日本人在翻译莫言作品时，由于受自平安时代以来汉籍训读传统等的影响，采用的是忠实于原文与原作者，保留原语文化的语义翻译的策略。小论试以《蛙》的日译本为中心，从词汇和语篇的角度分析译者吉田富夫氏所运用的语义翻译策略，并从纽马克所提出的语义翻译审美价值所依赖的三元素--结构、比喻、声音出发，探讨该种翻译策略下所产生的审美效果。