The Translation And Research Of Mao Dun's Novels In Japan

Summary Xiao Tian Yuefu ' s excerpt of ?Disillusionment?in 1935 is the beginning of Mao Dun ' s translation of novels in Japan.In 1936,he translated ?shaking? and ?Pursuit?together,with ?Sad China : The Great Transition Period? as the title of the book,which was published by Tokyo First Study.This is the first Japanese translation of Mao Dun ' s works.The publication of?Great transition period?triggered different evaluations by Japanese critics.From the perspective of outsiders,Japanese scholars ' views put forward from the perspective of literature itself have a certain reference value for Mao Dun research in China,and these evaluations are inseparable from the social and cultural background of Japan before the war.After World War II,Japanese scholars further deepened their research on ?Corrosion?.The research results of Japanese scholars make us realize that : overview of the whole society,recording the grand narrative of the times and depicting the human customs,exploring the humble human nature of the private narrative have their own existence value,each has its own specific reader group,can also trigger the interest of foreign readers,have an international influence.Japanese scholars attach importance to Mao Dun,but also because of his Western European realism to explore the road of East-West combination of Japanese literature to inspire and demonstrate.In 1940,Wu Tian Taichun translated ?Rainbow?,which is another Japanese version of Mao Dun ' s novels after ?Great transition period?.Wu Tian Taichun translated only the first seven chapters of ?Rainbow?,in which he explained the symbolic meaning,style and character of Hong.He analyzed the characteristics that Mao Dun was deeply influenced by the thought of ' continuity ' in Bergson ' s philosophical system when he created ?Rainbow?.Before and after the formation of the Japanese translation of ?Rainbow?,Jingshanghongmei and Tengjingguanci put Mao Dun ' s works in the world literary system more accurately from a literary perspective.Although there are few research results,they are meticulous,unique and forward-looking.?Rainbow? has a profound impact on the creation of the translator Wu Tiantaichun 's short story ?Holy Girl? after the war.The two works have obvious intertextuality in narrative background,character description and feminism,which fully reflects the special literary value and significance of ?Rainbow? in the foreign cultural system.?Midnight?is one of the most important Chinese modern works translated and studied by Japanese scholars.To date,six versions have been translated in Japanese.The paper ?Mao Dun Theory? published by Zhu Neihao in April 1936 is the first systematic review of ?Midnight?.Zhu Naihao criticized the conservative Zhina school and the old Han school through the evaluation of ?Midnight?in the form of ' evil prose '.In his good consciousness,Mao Dun was one of the founders of establishing the paradigm of “ new literature ” in the oriental cultural system.He intended to warn conservative Chinese literature researchers in a rhetorical way: Mao Dun provided a paradigm and reference for Japanese literature in the 1930 s on how to deal with the combination of traditional Chinese literature and western literature,and its influence and value should not be underestimated.In1938,Zeng Tian intended to complete the translation of ?Midnight? with the title of ?Late Night in Shanghai?.In addition to the translator' s “ explanation,” there were a total of10 pictures of Liu Xian' s printwork?A picture of the night? in the translation.Compared with the work itself,he was more willing to introduce Shanghai under the state of war to Japanese readers through the translation of?Midnight? society on a large scale.However,due to the war and the low evaluation of readers,the translation only completed the first two chapters.After World War II,?Midnight? ushered in the climax of translation.In 1952,Osaka Desi published its complete translation for the first time.After that,Nagano Nagano and Takada Zhao II completed the combined translation in 1962 and 1970,and Yoshino Nakano translated ?Midnight? completely in 1963 and 1970.The translator made a positive comment on the work from the perspectives of realism and creative themes.The study of ? Midnight ? in Japan after the World War II shows the characteristics of diversification of research perspectives and methods and gradual progress of text classics.The translation evaluation of ?Midnight?is the most typical example of Mao Dun' s classicization in Japan.The translation of ?Corrosion?,?Rainbow?and?Midnight?promoted the spread of Mao Dun ' s wartime novels in Japan.In 1947,the article ?Mao Dun ' s Literature-(1)About? published by Niano in the magazine ?China? became the original work of the spread of ?Corrosion? in Japan.In 1954,Yoshino published the first Japanese translation of' ?Corrosion? ' on the basis of the revised version completed by Juchi rent in 1946.In 1961,he revised and published the single version again.In 1978,Shi Chuanhong once again published the complete translation of ?Corrosion?.From the 1960 s to the 1990 s,Japanese scholars interpreted and studied the text of ?Corrosion? from the aspects of stylistic structure,stream of consciousness and narrative style.Their views had a dialogue and contention in the Sino-Japanese academic circles,which reflected Mao Dun ' s spirit of a realistic writer who tried to explore the complexity of human nature and respected the law of art in the foreign cultural system.?Corrosion?has a profound impact on the novel ?Gears? by Horitian Shanwei in 1951.The two works have obvious intertextuality in story background,character and psychological description,which fully reflects the great influence of ?Corrosion? in the early postwar Japanese academia and critics.In september 1949,zhu neihao first briefed japanese readers about the story of china 12,followed by three japanese versions,i.e.onoshiro 1958,zhu neihao 1962 and jianjianjianyang 1980.In the fifties and sixties of the20 th century,Japanese researchers are eager to reflect on the national spiritual dilemma faced by Japan after the defeat of the war and the cultural fault formed under the leadership of western political discourse by reading the struggle between individual life and national ideology and culture described in ?Frost leaves red like February flowers?.In the 1980 s,?Frost leaves red like February flowers? was retranslated and highly valued by the translator.The reason is that after the new period,in the critical context dominated by domestic academic circles,it is not unrelated to the comprehensive promotion of the ?Frost leaves red like February flowers? classicization with the style of ?Dream of Red Mansions?classical literature.Secondly,the world pattern of " globalization " has led Japan to show a pluralistic trend in both creation and theoretical research,and the trend of Japanese literature and art has again fallen into a fierce collision between eastern and western cultures.As for the acceptance of western literature and culture,Japanese critics have deeply realized that acceptance is not equal to modern blind ' bring ' and ' interaction ',and ' local consciousness 'is not conservative in wartime,but to take advantage of each other and form an equal dialogue.In this context,?Midnight? with the style of ?The external history of Confucianism? and?Frost leaves red like February flowers?with the style of ?Dream of Red Mansions?and the color of national art are regarded by Japanese people.These two epic masterpieces describing Chinese tradition and modernity naturally received strong attention from Japanese scholars and readers in the 1980 s.In addition to novels,Mao Dun short stories have also been translated and studied in Japan.The short story ?Algae row? was completed on February 26,1936 and published on the first page of volume 19,issue 5,of Japanese magazine ?Reconstruction?on May 1,1937.It is the only novel published abroad in Mao Dun 's creative career and is of great significance in the history of Sino-Japanese literary exchanges.After reviewing the historical materials,the author and his tutor found that ?Algae row?was actually translated by justice on the mountain,rather than Lu Xun ' s or Lu Digeng and Hu Feng ' s.For Japan ' s large magazine?Reconstruction?,can get the Chinese literary giant Mao Dun ' s bestowed manuscript can be said to be rare.President Yamamoto Shih-yan began to operate propaganda before the publication of his works.At the end of April,a number of newspaper comments published by critics such as Yoshida and Benduoxian appeared.Several comments appeared after the publication on May 1.These comments are enough to prove that ?Algae row?reflects the extraordinary significance that cannot be ignored in the history of Sino-Japanese literary and cultural exchanges before the war.Works such as ?Spring silkworm?,?Autumn Harvest?,?Linjiapuzi? and?Witch? were translated and published in Japan after the war.Among them,?Spring silkworm?have four,and ?Linjiapuzi? have three versions,which are the two most translated versions of Mao Dun's short stories in China and Japan.Through these works,Japanese researchers and readers learned directly about China ' s rural economy in the 1930 s and the image of Chinese peasants struggling under imperialist rule.Before the war,Zhu Naihao put ?Spring silkworm? in the overall framework of Chinese peasant literature to explain its unique literary value,which highlights the integrity and comprehensiveness of Japanese scholars ' understanding of Chinese modern literature in the1930 s.The post-war “ rural trilogy” and ?Linjiapuzi? were further studied and explained.Japanese scholars pay more attention to the embodiment of Mao Dun 's consciousness as a 'writer ' in the text,and explore the individual life experience and ideological essence of Mao Dun as a ' writer '.Whether the story is consistent with historical facts is naturally not included in the research focus.Thus,' rural trilogy ' and ?Midnight?are accepted and interpreted as ' pure literature ' rather than as ' a high-level social document ' to understand China 's economy and society.Japanese scholars are keenly aware of the ' unique artistic value ' and ' literature value beyond the political position ' in Mao Dun ' s rural narrative novels,and they have adopted different research methods and perspectives from domestic,and then come to a more unique point of view and reading experience.Overall,the translation and research of Mao Dun 's novels in Japan,whether it is the research vision,research and translation methods,or the conclusion point of view should arouse the attention and reference of Mao Dun 's research circles in China.With the deepening of Sino-Japanese literary and cultural exchanges,a profound understanding and understanding of heterogeneous cultures,the development of exchanges between them and the resolution of cultural and ideological barriers between the two countries have become an important issue that cannot be avoided.The study of the translation,introduction and research of Mao Dun ' s literature in heterogeneous culture helps to examine the value and significance of being obscured and ignored in self-culture and literature from the perspective of the “ other ”.At the same time,it also peeps at the shortcomings and deficiencies of Japanese scholars in the study of modern Chinese literature from the perspective of the“ other ”,and explores how to eliminate the misunderstanding and deviation in the field of literature research in the context of heterogeneous culture,which is beneficial for us to further study Mao Dun in the future.