作 者：吴丽艳[1] WU Li-yan （School of Foreign Languages, Liaoning University of International Business and Economics, Dalian 116052, China） 机构地区：[1]辽宁对外经贸大学外语系,辽宁大连116052 出 处：《黑龙江教育大学学报》2017年第3期 141-143,共3页Journal of Heilongjiang College of Education 摘 要：在日语中频繁的使用被动语态,而与此相对,我们在汉语表达的时候较少使用被动语态,而尽可能地使用主动句,使句子的表达通顺流畅。以日本作家夏目漱石的著作《哥儿》、《心》,村上春树的著作《挪威的森林》以及其汉语翻译版本为探讨对象,针对日语的被动语态的汉语翻译进行探讨分类,其最终目的是帮助中国日语学习者正确地翻译并且正确地使用日语的被动语态,以及翻译日语的被动语态时应该注意的问题,总结其汉译的规则。Passive voice is frequently used in Japanese while in Chinese we seldom use it. Instead, we usually use the active sentence to make the expression more smoothly. Taking Natsume Soseki＇s Botchan , Kokoro and Haruki Murakami＇s Norwegian Wood and their Chinese translation versions as the research subject, this paper classifies the Chinese translation of Japanese passive voice in order to help Japanese learners correctly translate and use passive voice, illustrates the problems we should pay attention to when making translation and concludes the rules of its Chinese translation. 关 键 词：被动标识 被动句 翻译 分 类 号：H364[语言文字—日语] ，日语论文题目，日语论文 |
