Translation And Introduction Of Strindberg In The Republic Of China And Its Multiple Influences

Strindberg is one of the three pioneers of modern drama and occupies a very important position in the world literary world.Strindberg had been widely translated,introduced and disseminated in the Republic of China,and her concept of women’s liberation and her novel and drama creation had multiple influences in China,but few scholars paid attention to it at present.Investigating the translation and influence of Strindberg during the Republic of China will help to fill the gap in the study of the relationship between Strindberg and China literature,and enrich the content of the study of foreign literature translation and modern transformation of China literature.The translation and introduction of Sternberg during the Republic of China period was the basis for its influence.Due to the diversity of translation and introduction situations at this stage,the impact of Sternberg is also manifested in multiple aspects.On this logical basis,this article first examines the translation and introduction of Sternberg during the Republic of China period,and then outlines various dissemination paths based on historical materials to explore multiple influences.The main content of each chapter is as follows:The first chapter combs and examines the translation and introduction of Strindberg in the Republic of China.In terms of translation,Strindberg’s works translated into Chinese are mainly short stories and one-act plays,which are mostly related to gender issues,and some of them are frequently retranslated.In terms of comments,Strindberg is frequently cited in articles about literary thoughts,drama movements and women’s liberation.The preface and postscript of the translation and the biographies of the dictionary outline the overall appearance of Strindberg and his works;Monographic articles have a deeper analysis of him.In the review of articles and works,the image of Strindberg’s female misogynist is particularly striking.The second chapter discusses the original meaning of Strindberg’s women’s liberation and its Chinese acceptance.Strindberg,based on the "iron law of nature",opposed the women’s liberation movement and advocated women to be good wives and mothers.However,he did not deny the heavy burden given to women by nature,and radically advocated women’s due rights,and his thinking pointed to the common liberation of both sexes.Strindberg’s concept of women’s liberation was used by enlighteners in the 1920 s,and in the 1930 s,it became the ideological resource advocated by the New Life Movement and "Women Go Home".In the rich resources of women’s emancipation of the mind in the Republic of China,the ideas of Strindberg,Ibsen,Allan Kay,Goldman and others are both tit-for-tat and complicated,and have a unique position and value.The third chapter discusses the influence of Strindberg’s Married on China’s modern love and marriage novels.During the Republic of China,the novels in Married were frequently retranslated,published,published and widely distributed,which had a certain influence on China’s modern marriage novels.The description of the new women under the women’s liberation movement in Married has influenced the writing of "new women" by writers such as Sun Xiangong,Li Jinming,Mao Dun,Shen Congwen,Peng Zi and Mu Shiying.The depiction of male spiritual dilemma in love and marriage has inspired the imagination of love of young writers Chen Weimo,Chen Xianghe and Zhao Jingshen in Shenzhong Society.The revelation of the tragedy of the couple’s daily life has profoundly influenced the love and marriage writing of Yu Qi and Ding Di,Shanghai-style popular novelists.The fourth chapter discusses the relationship between Strindberg’s drama creation and modern drama in China.As one of the pioneers of modern one-act drama,Strindberg created and expounded the form of one-act drama,which promoted the construction of one-act drama theory in the Republic of China through the translation and introduction of Mao Dun,Xiang Peiliang and Muhui Cai.As a pioneer of expressionist drama,Strindberg directly influenced Vetkin,Kaiser,the pioneers of German expressionist drama,and O ’Neill in the United States,while all expressionist dramas in the Republic of China directly or indirectly accepted Strindberg’s legacy.Cao Yu,Guo Moruo,Hong Shen,Ou Yangyuqian,Bai Wei,Xiang Peiliang,Gao Changhong,Zhao Boyan,Pu Shunqing and other playwrights also have spiritual kinship with Strindberg.