ABSTRACT Different languages have different colour palettes and different colour associations. Literary texts is an area, where colours play a special role. Preserving colour flavours of literary works in translation may therefore be difficult. In the first part of the article I examine the colour palettes of six Russian writers: Gogol′, Dostoevskij, Tolstoj, Čechov, Bulgakov and Pasternak. An analysis of the frequencies of colour terms shows that the writers have different attitudes to colours: to some of them colour is important (Bulgakov, Pasternak), while others pay less attention to it (Tolstoj, Dostoevskij); some authors do not have favourite colours (Gogol′, Čechov), others do have colour preferences (Bulgakov, Dostoevskij). In the second part of the paper, Finnish translations of the Russian works studied in the first part are examined with the same methods. The analysis reveals massive changes in the use of colour terms. Both colour repertoire and proportions of different colours change dramatically in the colour palettes of the translations. A case study of a parallel concordance for the word černyj ‘black’ in Bulgakov’s works shows that the main reason of the observed changes is the differences in the semantics of colour terms in Russian and Finnish.

中文翻译：

---

Цвет в художественном тексте и в переводе: Опыт корпусного исследования

摘要 不同的语言有不同的调色板和不同的颜色联想。文学文本是一个领域，色彩在其中扮演着特殊的角色。因此，在翻译中保留文学作品的色彩风味可能很困难。在文章的第一部分，我考察了六位俄罗斯作家的调色板：果戈理、陀思妥耶夫斯基、托尔斯泰、切乔夫、布尔加科夫和帕斯捷尔纳克。对颜色词频率的分析表明，作家对颜色有不同的态度：对其中一些人来说，颜色很重要（布尔加科夫、帕斯捷尔纳克），而另一些人则不太重视（托尔斯泰、陀思妥耶夫斯基）；一些作者没有最喜欢的颜色（Gogol′、Čechov），其他人有颜色偏好（Bulgakov、Dostoevskij）。在论文的第二部分，第一部分研究的俄语作品的芬兰语翻译也采用相同的方法进行检查。分析揭示了颜色术语使用的巨大变化。颜色库和不同颜色的比例在翻译的调色板中发生了巨大变化。布尔加科夫作品中 černyj 'black' 这个词的平行索引的案例研究表明，观察到的变化的主要原因是俄语和芬兰语中颜色术语的语义差异。