This article aims to discuss translation and reception of Russian literary work by Mikhail Petrovich Artsybashev (1878-1927) in Korea and China in 1920s. Firstly, translation of the novel by Artsybashev into Korean and Chinese was through what’s sou...
This article aims to discuss translation and reception of Russian literary work by Mikhail Petrovich Artsybashev (1878-1927) in Korea and China in 1920s. Firstly, translation of the novel by Artsybashev into Korean and Chinese was through what’s source text. Secondly, how to be appropriated in Korea and China in 1920s?
In the late 1910s and early 1920s, translation of the novel by Artsybashev into Japanese by Nobori Shomu and Nakajima Kiyoshi was very influential in Japan. The Korean students studying abroad in Tokyo was acquainted with the novel by Artsybashev through those. In 1920s, the Korean intellectuals translated four novel works by Artsybashev which entitled “The Night”, “The Happiness”, “The Bloodstain”, “Horror”.
In 1920s, the most influential Chinese-language collection of Artsybashev’s stories was Xuehen (The Bloodstain) published by Kaiming (Enlightenment) Book Company in March 1927. It brought together “The Bloodstain” and “Pasha Tumanov” translated by Zheng zhenduo, “Morning Shadows” and “Nina” by Shen zhemin, “The Revolutionary” by Hu yuzhi, “The Doctor” by Luxun. The Chinese translation was translated not through Russian original text but through intermediary translation in English or German.
The Chinese translators recalled the suffering they have experienced in the course of the anti-imperialist and anti-capitalist movement in reading the works of the revolutionary material by Artsybashev. And they accept those as a text for overcoming the barriers of reality and inspire the revolutionary struggle will. In contrast, because subjected to colonial situations, the Korea translators has translated to learn the realism technique, and from expectations for the nation emancipation and the socialist movement.