The onomatopoeia in literary works frequently provokes translation problems and no consensus has been reached by translators. This study aims to explore the translation of onomatopoeia between Chinese and English, two drastically different languages, with a case of the translation of Can Xue’s novel The Last Lover by Annelise Finegan Wasmoen. A detailed textual analysis has detected three major translation strategies: italicized transliteration, italicized transliteration plus target equivalents, and italicized transliteration plus explanation, with the second one occupying a lion’s share. All the strategies demonstrate obvious efforts of foreignizing the translated onomatopoeia and produce a strengthened foreign effect. The facts that The Last Lover won the Best Translated Book in 2015 and that the statistics suggest a positive readers’ response show that onomatopoeia, non-arbitrary across languages, has its potential to be transferred successfully between languages and cultures. A foreignizing translation strategy makes it possible for the sound effects of the onomatopoeia of the original to be preserved and for the target readers to experience something foreign, while its acceptance suggests the increased tolerance for translated literary works in the target system.

中文翻译：

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《最后的情人》中拟声词的异化翻译

文学作品中的象声词经常引发翻译问题，译者至今未达成共识。本研究旨在探讨汉语和英语这两种截然不同的语言之间的拟声词翻译，以安妮丝·菲根·瓦斯穆恩 (Annelise Finegan Wasmoen) 的残雪小说《最后的情人》的翻译为例。详细的文本分析发现了三种主要的翻译策略：斜体音译、斜体音译加目标对等物和斜体音译加解释，其中第二种占据了很大份额。所有这些策略都表现出明显的将翻译的象声词异化的努力，并产生了强化的外国效应。《最后的情人》在 2015 年获得最佳翻译书籍的事实以及统计数据表明读者的积极反应表明，象声词不具有跨语言的任意性，具有在语言和文化之间成功转移的潜力。异化翻译策略使原著象声词的音效得以保留，使译文读者体验到异域风情，而其接受则表明译文文学作品在译文体系中的容忍度有所提高。