CAJ | 학술논문

创造性叛逆最早由法国埃斯皮卡提出，后引入国内，在翻译界引起了很大的反响。由于文化差异等原因，在翻译文学作品时，创造性叛逆不可避免。海明威的《老人与海》是世界文学宝库中最为经典的著作之一，其中张白桦译本由于运用了创造性叛逆的翻译策略，成为诸多中译本中最为成功的译本。本文试图通过文本分析，探讨该译本创造性叛逆在女性主义倾向和文化差异上的具体体现。
창조성반역최조유법국애사피잡제출，후인입국내，재번역계인기료흔대적반향。유우문화차이등원인，재번역문학작품시，창조성반역불가피면。해명위적《노인여해》시세계문학보고중최위경전적저작지일，기중장백화역본유우운용료창조성반역적번역책략，성위제다중역본중최위성공적역본。본문시도통과문본분석，탐토해역본창조성반역재녀성주의경향화문화차이상적구체체현。
Creative treason was first put forward by Robert Escarpit. After introduced into China, it evokes great repercussions. Bacause of cultural difference and other reasons, creative treason is inevitable during the translation of literary works. The Old Man and the Sea by Hemingway is one of the most excellent works of the world literature. Among all its translations in China, Zhang Baihua's translation is the most successful one by using translation tactics of the creative treason. This article, by analysising the text, aims at inquiring into the specific manifestation of the creative treason from two parts: one is the feminist tendency, the other is cultural differences.