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Socialist Modernity: Translation fro...

Zhang, Zhen.

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Socialist Modernity: Translation from Soviet Aesthetics into Chinese Realities.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Socialist Modernity: Translation from Soviet Aesthetics into Chinese Realities./
Author:	Zhang, Zhen.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	209 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-02, Section: A.
Contained By:	Dissertations Abstracts International80-02A.
Subject:	Comparative literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10824439
ISBN:	9780438290532

Socialist Modernity: Translation from Soviet Aesthetics into Chinese Realities.
Zhang, Zhen.

Socialist Modernity: Translation from Soviet Aesthetics into Chinese Realities. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 209 p.

Source: Dissertations Abstracts International, Volume: 80-02, Section: A.

Thesis (Ph.D.)--University of California, Davis, 2018.

This item must not be sold to any third party vendors.

The title of my dissertation, "Socialist Modernity: Translation from Soviet Aesthetics into Chinese Realities," refers to its central purpose: to explore how Chinese translations of Soviet literary and theoretical works from the socialist period continue to inform Chinese self-identification in the world and political orientation in the postsocialist period. I examine the Chinese translation of Soviet Russian discursive models in literature dating back to the 1930s and 1940s and the impact of these models on contemporary Chinese intellectual debates. Many studies of Sino-Soviet political, economic, and institutional connections exist. However, the translational connections remain largely unexamined. My project focuses on three renowned Chinese intellectuals, Hu Feng (1902-85), Qu Qiubai (1899-1935), and Zhou Enlai (1898-1976), whose "translation" of, and simultaneously distantiation from, the Soviet literary works help shape their own conceptions of a socialist modernity. The translational texts that I look into are Qu Qiubai's translation Haishang Shulin [Special characters omitted] (1932) which is based on a Soviet journal, Literary Heritage [Special characters omitted] (1931); Hu Feng's translation Yanggui [Special characters omitted] (1930), which is translated from a Soviet proletarian novel, Mess Mend: Yankees in Petrograd [Special characters omitted] (1923), written by Marietta Shaginian (1888-1982); and Zhou Enlai's critical reading of Lushun Kou [Special characters omitted] (1946) which is a translation of a Stalin Prize winner, Port Arthur [Special characters omitted] (1944), written by A. N. Stepanov (1892-1965). Here translation is understood in a broad sense: it is meaning-generating schemata by reading and rewriting; by way of translation these intellectuals locate themselves in the Chinese context and forge three different ways of Chinese futurities. These imaginations of possible Chinese realities range from a cultural China with the proletariat as the subject-object of history, Chinese internationalism, and a postcolonial China. I argue, tentatively, that these different futurities are not only posed as viable options for a socialist Chinese future but also find their way into contemporary contestations regarding the image of China and its relations with the fast-changing globality.

ISBN: 9780438290532Subjects--Topical Terms:

570001
Comparative literature.
Subjects--Index Terms:

Aesthetics

Socialist Modernity: Translation from Soviet Aesthetics into Chinese Realities.
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506 $a This item must not be sold to any third party vendors.
520 $a The title of my dissertation, "Socialist Modernity: Translation from Soviet Aesthetics into Chinese Realities," refers to its central purpose: to explore how Chinese translations of Soviet literary and theoretical works from the socialist period continue to inform Chinese self-identification in the world and political orientation in the postsocialist period. I examine the Chinese translation of Soviet Russian discursive models in literature dating back to the 1930s and 1940s and the impact of these models on contemporary Chinese intellectual debates. Many studies of Sino-Soviet political, economic, and institutional connections exist. However, the translational connections remain largely unexamined. My project focuses on three renowned Chinese intellectuals, Hu Feng (1902-85), Qu Qiubai (1899-1935), and Zhou Enlai (1898-1976), whose "translation" of, and simultaneously distantiation from, the Soviet literary works help shape their own conceptions of a socialist modernity. The translational texts that I look into are Qu Qiubai's translation Haishang Shulin [Special characters omitted] (1932) which is based on a Soviet journal, Literary Heritage [Special characters omitted] (1931); Hu Feng's translation Yanggui [Special characters omitted] (1930), which is translated from a Soviet proletarian novel, Mess Mend: Yankees in Petrograd [Special characters omitted] (1923), written by Marietta Shaginian (1888-1982); and Zhou Enlai's critical reading of Lushun Kou [Special characters omitted] (1946) which is a translation of a Stalin Prize winner, Port Arthur [Special characters omitted] (1944), written by A. N. Stepanov (1892-1965). Here translation is understood in a broad sense: it is meaning-generating schemata by reading and rewriting; by way of translation these intellectuals locate themselves in the Chinese context and forge three different ways of Chinese futurities. These imaginations of possible Chinese realities range from a cultural China with the proletariat as the subject-object of history, Chinese internationalism, and a postcolonial China. I argue, tentatively, that these different futurities are not only posed as viable options for a socialist Chinese future but also find their way into contemporary contestations regarding the image of China and its relations with the fast-changing globality.
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653 $a Aesthetics
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10824439