Reception of Dostoevsky’s Creativity in Chinese Translations, Works of Art and Scientific Research

The article is devoted to a survey analysis of F. M. Dostoevsky’s reception in the works of fiction of Chinese writers and in scientific literary studies. The main features of the translations of Dostoevsky’s texts and studies of the Russian classic in different historical periods, which were determ...

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Autor principal:	Huirong Ai
Formato:	article
Lenguaje:	RU
Publicado:	Tsentr nauchnykh i obrazovatelnykh proektov 2020
Materias:	chinese writers dostoevsky transfer study humanism artistic connection culture Slavic languages. Baltic languages. Albanian languages PG1-9665
Acceso en línea:	https://doaj.org/article/2afb4f122c01459f914debf7e2af8a4e
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id	oai:doaj.org-article:2afb4f122c01459f914debf7e2af8a4e
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spelling	oai:doaj.org-article:2afb4f122c01459f914debf7e2af8a4e2021-12-02T07:58:12ZReception of Dostoevsky’s Creativity in Chinese Translations, Works of Art and Scientific Research2225-756X2227-129510.24224/2227-1295-2020-11-154-176https://doaj.org/article/2afb4f122c01459f914debf7e2af8a4e2020-12-01T00:00:00Zhttps://www.nauka-dialog.ru/jour/article/view/2146https://doaj.org/toc/2225-756Xhttps://doaj.org/toc/2227-1295The article is devoted to a survey analysis of F. M. Dostoevsky’s reception in the works of fiction of Chinese writers and in scientific literary studies. The main features of the translations of Dostoevsky’s texts and studies of the Russian classic in different historical periods, which were determined by the socio-cultural attitudes and ideological orientation that dominate in China, are considered. It is noted that the representation of Dostoevsky in China from the very beginning was not an exclusively cultural phenomenon, but was associated with the desire of the progressive intellectuals to create a modern national literature. Based on historical facts and scientific research, it is established that Dostoevsky’s reception is represented in the artistic world of modern Chinese writers of different generations, in particular Lu Xun, Yu Dafu, Tie Ning and many others, but deep comparative studies have been carried out only in relation to writers of the 1920s and 1940s years. The author pays special attention to the analysis of the political and cultural background and ideological attitudes in the perception of Dostoevsky’s creativity and views by Chinese writers. It is shown that Dostoevsky’s reception in China is pragmatic and one-sided: Chinese writers highly appreciated Dostoevsky’s humanistic attitude towards the “humiliated and insulted”, but generally did not accept his religious ideas.Huirong AiTsentr nauchnykh i obrazovatelnykh proektovarticlechinese writersdostoevskytransferstudyhumanismartistic connectioncultureSlavic languages. Baltic languages. Albanian languagesPG1-9665RUНаучный диалог, Vol 1, Iss 11, Pp 154-176 (2020)
institution	DOAJ
collection	DOAJ
language	RU
topic	chinese writers dostoevsky transfer study humanism artistic connection culture Slavic languages. Baltic languages. Albanian languages PG1-9665
spellingShingle	chinese writers dostoevsky transfer study humanism artistic connection culture Slavic languages. Baltic languages. Albanian languages PG1-9665 Huirong Ai Reception of Dostoevsky’s Creativity in Chinese Translations, Works of Art and Scientific Research
description	The article is devoted to a survey analysis of F. M. Dostoevsky’s reception in the works of fiction of Chinese writers and in scientific literary studies. The main features of the translations of Dostoevsky’s texts and studies of the Russian classic in different historical periods, which were determined by the socio-cultural attitudes and ideological orientation that dominate in China, are considered. It is noted that the representation of Dostoevsky in China from the very beginning was not an exclusively cultural phenomenon, but was associated with the desire of the progressive intellectuals to create a modern national literature. Based on historical facts and scientific research, it is established that Dostoevsky’s reception is represented in the artistic world of modern Chinese writers of different generations, in particular Lu Xun, Yu Dafu, Tie Ning and many others, but deep comparative studies have been carried out only in relation to writers of the 1920s and 1940s years. The author pays special attention to the analysis of the political and cultural background and ideological attitudes in the perception of Dostoevsky’s creativity and views by Chinese writers. It is shown that Dostoevsky’s reception in China is pragmatic and one-sided: Chinese writers highly appreciated Dostoevsky’s humanistic attitude towards the “humiliated and insulted”, but generally did not accept his religious ideas.
format	article
author	Huirong Ai
author_facet	Huirong Ai
author_sort	Huirong Ai
title	Reception of Dostoevsky’s Creativity in Chinese Translations, Works of Art and Scientific Research
title_short	Reception of Dostoevsky’s Creativity in Chinese Translations, Works of Art and Scientific Research
title_full	Reception of Dostoevsky’s Creativity in Chinese Translations, Works of Art and Scientific Research
title_fullStr	Reception of Dostoevsky’s Creativity in Chinese Translations, Works of Art and Scientific Research
title_full_unstemmed	Reception of Dostoevsky’s Creativity in Chinese Translations, Works of Art and Scientific Research
title_sort	reception of dostoevsky’s creativity in chinese translations, works of art and scientific research
publisher	Tsentr nauchnykh i obrazovatelnykh proektov
publishDate	2020
url	https://doaj.org/article/2afb4f122c01459f914debf7e2af8a4e
work_keys_str_mv	AT huirongai receptionofdostoevskyscreativityinchinesetranslationsworksofartandscientificresearch
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Reception of Dostoevsky’s Creativity in Chinese Translations, Works of Art and Scientific Research

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