After Lu Xun published“A Madman’s Diary”(Kucmgren riji)and“The True Story of Ah Q”(A Q zhengzhuan),through the active introduction by modern Korean mass media,Lu Xun enjoyed the highest popularity of all modern C...After Lu Xun published“A Madman’s Diary”(Kucmgren riji)and“The True Story of Ah Q”(A Q zhengzhuan),through the active introduction by modern Korean mass media,Lu Xun enjoyed the highest popularity of all modern Chinese literary author in Korea Peninsula.“A Madman’s Diary”translated by Ryu Sooin,was published in the magazine Donggwang(The oriental light)in 1927.Yang Baekhwa's translation of“The True Story of Ah Q”was serialized in The Chosun llbo(The Korea daily)in 1930.“Lu Xun and His Works”by Jeong Raedong,who conduct systematic criticism on Lu Xun's literature,was published in The Korea Daily in 1931.Lu Xun was thus differentiated from the so-called “Zhou Brothers”and claimed a place of his own as a representative Chinese writer.After that,Lu Xun’s various works were translated into Korean,and he was acknowledged as“a Chinese literary master”and“a world-class writer”in the Korean literary world.Lu Xun’s literature was hence widely acknowledged.Lee Kwangsoo even created another character called“Park Seondal”based on the motif of“Ah Q.”With the development of mass media,people were eager to see Lu Xun's personal image.In the 1930s,major Korean media,such as The Shin Dong-a(The new East Asia),The Dong-a llbo(The East Asia daily),The Chosun llbo(The Korea daily),The Maeil Sinbo(The daily report),Chokwang(The morning light)and Samcheonli(Three thousand miles),successively published Lu Xun’s portraits and photos,helping visualize Lu Xun’s image and making great contributions to shaping the public image of Lu Xun and his literature.Through these major media in Korea,Lu Xun’s works and his reputation became widely known,and his portrait images were also circulated.In February 1938,the Hwarang Garden Troupe staged the play The True Story of Ah Q.Considering the commercial nature of the theatre at that time,the public performance of The True Story of Ah Q indicates that Lu Xun and his works had achieved a solid foothold in the public mind.However,Korean people’s access to Lu Xun’s literature was blocked after March 1938,when Japanese imperialists imposed a blanket ideological clampdown.With the advent of liberation on August 15,1945,the modern Korean public strongly needed Lu Xun's life experience and literary spirit as enlightenment.Hence,translation and research of Lu Xun’s literary works became active again.In particular,in 1946,after the publication of The Collected Short Stories of Lu Xun(Volumes 1-2),jointly translated by Kim Kwangju and Lee Yongkyu,which included Lu Xun’s major works,Korean people were able to gain a more systematic access to Lu Xun’s literature.The inspirational value of Lu Xun’s literature was re-ignited after Korea's liberation and independence.Lu Xun was thus once again praised as“a literary giant”and“a great writer.”展开更多
This article begins by articulating a new perspective on the translation of Chinese poetry, arguing that the most important of the three well-known ＂difficulties＂ in the translation of Chinese poetry outlined by Yan...This article begins by articulating a new perspective on the translation of Chinese poetry, arguing that the most important of the three well-known ＂difficulties＂ in the translation of Chinese poetry outlined by Yan Fu 严复 （1854-1921）--namely, faithfulness （xin 信）, conveyance （da 达）, and elegance （ya 雅）--should in fact be the one that is least often discussed, da. The author principally interprets da as ＂conveying＂ the mood and then the meaning of the original work into the target language. This position is then illustrated by specific examples from Lu Xun＇s （1881-1936） emotive and highly allusive classical-style poetry, engaging issues regarding its annotation, exegesis, and translation which have arisen in Chinese literary and scholarly circles. The author suggests that since the deployment of affective images has often been designated as an essential and distinguishing characteristic of Chinese poetry, the translation of Chinese poetry into Western languages must make an effort to engage with the original images--not simply resorting to paraphrases or substitutions--and concludes that poetry in translation can and does have important and lasting effects on the literature of the target language.展开更多
基金the National Social Science Fund of China:Documentation and Research on the History of Modern and Contemporary Literature Exchange between China and South Korea(Project No.16ZDA189).
文摘After Lu Xun published“A Madman’s Diary”(Kucmgren riji)and“The True Story of Ah Q”(A Q zhengzhuan),through the active introduction by modern Korean mass media,Lu Xun enjoyed the highest popularity of all modern Chinese literary author in Korea Peninsula.“A Madman’s Diary”translated by Ryu Sooin,was published in the magazine Donggwang(The oriental light)in 1927.Yang Baekhwa's translation of“The True Story of Ah Q”was serialized in The Chosun llbo(The Korea daily)in 1930.“Lu Xun and His Works”by Jeong Raedong,who conduct systematic criticism on Lu Xun's literature,was published in The Korea Daily in 1931.Lu Xun was thus differentiated from the so-called “Zhou Brothers”and claimed a place of his own as a representative Chinese writer.After that,Lu Xun’s various works were translated into Korean,and he was acknowledged as“a Chinese literary master”and“a world-class writer”in the Korean literary world.Lu Xun’s literature was hence widely acknowledged.Lee Kwangsoo even created another character called“Park Seondal”based on the motif of“Ah Q.”With the development of mass media,people were eager to see Lu Xun's personal image.In the 1930s,major Korean media,such as The Shin Dong-a(The new East Asia),The Dong-a llbo(The East Asia daily),The Chosun llbo(The Korea daily),The Maeil Sinbo(The daily report),Chokwang(The morning light)and Samcheonli(Three thousand miles),successively published Lu Xun’s portraits and photos,helping visualize Lu Xun’s image and making great contributions to shaping the public image of Lu Xun and his literature.Through these major media in Korea,Lu Xun’s works and his reputation became widely known,and his portrait images were also circulated.In February 1938,the Hwarang Garden Troupe staged the play The True Story of Ah Q.Considering the commercial nature of the theatre at that time,the public performance of The True Story of Ah Q indicates that Lu Xun and his works had achieved a solid foothold in the public mind.However,Korean people’s access to Lu Xun’s literature was blocked after March 1938,when Japanese imperialists imposed a blanket ideological clampdown.With the advent of liberation on August 15,1945,the modern Korean public strongly needed Lu Xun's life experience and literary spirit as enlightenment.Hence,translation and research of Lu Xun’s literary works became active again.In particular,in 1946,after the publication of The Collected Short Stories of Lu Xun(Volumes 1-2),jointly translated by Kim Kwangju and Lee Yongkyu,which included Lu Xun’s major works,Korean people were able to gain a more systematic access to Lu Xun’s literature.The inspirational value of Lu Xun’s literature was re-ignited after Korea's liberation and independence.Lu Xun was thus once again praised as“a literary giant”and“a great writer.”
文摘This article begins by articulating a new perspective on the translation of Chinese poetry, arguing that the most important of the three well-known ＂difficulties＂ in the translation of Chinese poetry outlined by Yan Fu 严复 （1854-1921）--namely, faithfulness （xin 信）, conveyance （da 达）, and elegance （ya 雅）--should in fact be the one that is least often discussed, da. The author principally interprets da as ＂conveying＂ the mood and then the meaning of the original work into the target language. This position is then illustrated by specific examples from Lu Xun＇s （1881-1936） emotive and highly allusive classical-style poetry, engaging issues regarding its annotation, exegesis, and translation which have arisen in Chinese literary and scholarly circles. The author suggests that since the deployment of affective images has often been designated as an essential and distinguishing characteristic of Chinese poetry, the translation of Chinese poetry into Western languages must make an effort to engage with the original images--not simply resorting to paraphrases or substitutions--and concludes that poetry in translation can and does have important and lasting effects on the literature of the target language.
