scholarly journals A Study of Chi-Chen Wang’s Translation Strategies of Modern Chinese Literature

2019 ◽  
Vol 9 (1) ◽  
pp. 45
Author(s):  
Saisai Huang
Keyword(s):  
Chinese Literature ◽  
Great Influence ◽  
Social Background ◽  
Modern Chinese Literature ◽  
Political Climate ◽  
Source Text ◽  
The West ◽  
Translation Strategies ◽  
Modern Chinese ◽  
The Social

Chi-Chen Wang (1899-2001) is a trailblazer in promoting Chinese literature in the West and is also one of the earliest scholars who made modern Chinese literature known to the Westerners. As a both renowned writer and translator in the West, Chi-Chen Wang’s translation motivation, his comment on modern Chinese literature together with the social background of his translation activities has a great influence on his choice of translation strategies. The study provides a detailed discussion on Wang’s choice of translation strategies by analyzing his translation motivation, the cultural and political climate of his translation activities as well as his own literary judgments. And the textual analysis of his translation reveals that Wang’ translations incline to retain the foreignness in the source text and revise the original texts through condensation and deletion.

“HOW MUCH TRUTH CAN A BLADE OF GRASS CARRY?”: Ch'en Ying-chen and the Emergence of Native Taiwanese Writers

1973 ◽  
Vol 32 (4) ◽  
pp. 623-638 ◽  
Author(s):  
Joseph S. M. Lau
Keyword(s):  
Chinese Literature ◽  
Modern Chinese Literature ◽  
People’S Republic Of China ◽  
People's Republic Of China ◽  
The West ◽  
Republic Of China ◽  
Modern Chinese ◽  
Ying Chen ◽  
Nationalist Government

Though Taiwan has since 1949 been the seat of the Nationalist Government and the domicile of several millions of exiled Chinese, no serious literature has been produced until the late fifties.1 Explanations are not difficult to give. For one thing, since nearly all the important figures of modern Chinese literature have remained in the People's Republic of China,” their works are therefore proscribed for political reasons. Cut off from their mainland base, the disinherited young Taiwanese writers, having no native idols to emulate and anxious to create a tradition of their own, could only import from the West whatever “isms” they considered to be the literary fashions of the day—symbolism, surrealism, existentialism, futurism, modernism, phenomenalism, etc. Quite often, however, what they regarded as daring experiments at the time of initiation later turned out to be

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