Difference between revisions of "History of Translation Theories"

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[[Hist_Trans_Theo_EN_14]]
 
[[Hist_Trans_Theo_EN_14]]
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==Abstract==
 
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Before and after the May Fourth Movement, there is an unprecedented cultural revolution in the field of ideology and culture, the New Culture Movement. The main purpose of this movement is to enlighten the public and spread advanced idea and culture. Many literary societies are created during this period. The members of these literary societies translate many books which are written in foreign countries. The translation theories are developed gradually in this process. The aim of this paper is to give a systematic analysis about the translation theories raised by those famous writer in the literary societies, such as Lu Xun and Guo Moruo. Then we will have a comprehensive understanding about the translation theories from 1911 to 1949.
 
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==Key Words==
 
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Translation theories, Translation standards, Translators, Literary societies
 
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==摘要==
 
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在五四运动前后，于思想文化领域曾发生过一场规模空前的文化革命运动，即新文化运动。这场运动以启迪人们，传播先进的文化思想为目的。这场运动中还涌现了许多文学社团。这些文学社团的成员翻译了许多国外著作。在翻译著作的过程中，他们逐渐形成了自己的翻译思想。本论文将系统介绍和分析文学社团成员提出的翻译理论，如鲁迅和郭沫若。我们能更好的了解这些翻译理论。
 
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==Introduction==
 
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The New Culture Movement is also an important milestone in the history of Chinese literature. The literature changes greatly from form to content in this period, surpassing the literary changes of any past era.With the vigorous development of the New Literature Movement, literary translation has also entered the most glorious period in the history of translation. The journal “New Youth” which was founded by Chen Duxiu translated and introduced many foreign literature works, so did other journals created by other literary societies.(Wang 2004:95)#
 
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The New Culture Movement was a distinct turning point in which the literature changed greatly from form to content. With the flourishing of the New Literature Movement, literary translation has also entered the most glorious period in the history of translation. During this period, many literary societies founded magazines to introduce foreign literary works. For example, the journal New Youth founded by Chen Duxiu, provided a platform for literary translation.(Wang 2004:95)
 
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--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 12:58, 13 December 2021 (UTC)
 
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During this period, literary translation had two significant characteristics: First, the May Fourth New Literature translation was another translation climax following the climax of translating Western works. In Comparison with the climax of translating Western works, fundamental changes have taken place in the number of translation works as well as the quality of these works. The important sign is that the leading forces of translation in this period are revolutionary writers such as Lu Xun and Guo Moruo, who are first-rate literary translators. Under the active advocacy and hard work of these people, Chinese literary translation has achieved extensive and in-depth development, forming a positive translation style. At the same time, a large number of outstanding professional translators emerged, such as Zhu Shenghao and Fu Lei. Second, in comparison with translation of other foreign countries’ literature works, Russian literature works’ translation dominates in the society. In addition, translating works about Marxism is another important aspect in that period.(Wang 2004:94)#
 
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==Some Debates in this Period==
 
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The prosperity of translation in the New Culture Movement brought about the vitality of translation theory, which made new advances on the translation work. Different translation methods were raised by different scholars. During this period, the vigorous literary revolution and the development of the vernacular literature movement promoted a thorough transformation of the translation style, boosting the transition of the traditional translation theories.
 
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===Literal Translation and Free Translation===
 
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The language structure and stylistic structure of English and Chinese have the same side. When translating the source texts, we can translate it according to the structure of the original text, which is the so-called "literal translation". The content of the original text is put in the first place, faithful to the original text the second. The smoothness of the target text is of the least importance of all. It is not only faithful to the original content, but also in line with the language and stylistic structure of the original text. On the contrary, free translation emphasizes that the content of the source text should be in the first place. What matters most is to express the meaning of the source text faithfully. Besides, the translator can be free from restriction of the form of the source language. But the target translation is required to be natural and smooth.(Fang 2011:101)#
 
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The first problem encountered in the development of the translation theory is the relationship between vernacular, classical Chinese, literal translation and free translation. Some thinks that literal translation should be used in vernacular, while free translation should be in classical Chinese. Using classical Chinese in free translation can reveal the beauty of Chinese to the most. Others deem that literal translation and free translation should be in vernacular. While the third view is that literal translation or free translation has nothing to do with vernacular or classical Chinese.(Fang 2011:101)#
 
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The common method in the translation process is to combine literal translation with free translation. Any good translation work will not just use a single translation method throughout the whole passgae. And the two translation methods are used together in the same translation work to maintain the accuracy of the original content and avoid ambiguity.
 
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===Faithfulness or Smoothness===
 
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From the late 1920s to the early 1930s, there was a debate about translation standards in the translation field. Many famous scholars were involved in this debate, which lasted for eight years and shocked the entire literary field. In 1929, Liang Shiqiu criticized Lu Xun's translation method of “rigid translation”, saying that "it is better to be smooth than to be faithful." Zhao Jingshen also believed that translating books should satisfy the needs of the target readers; In other words, we should put the readers in the first place. Then we could consider whether the translation was correct or not. The most important thing is the smoothness of the translation. Therefore, Zhao Jingshen said that it should be expressiveness, faithfulness and elegance according to the importance of the three standards put forward by Yan Fu. The main leaders of this controversy, the representatives of “Faithfulness” are Lu Xun and Qu Qiubai. The representatives of“Smoothness” are Liang Shiqiu and Zhao Jingshen. The two parties discussed the following topics: the issue of faithfulness and smoothness, literal translation and free translation, Europeanization and domestication and the issue of retranslation. These are the four central points of this debate. Consensus was reached in many aspects through this debates. This debate acts as a catalyst for the development of the traditional Chinese translation theory.(Wang 2004:106)#
 
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==The literary Societies in this Period==
 
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During the May fourth movement, many famous literary societies which were specialized in the translation of foreign literary works emerged. More than one hundred literary societies and several hundred periodicals were founded between 1921 and 1925. Focusing on different aspects, they translated many famous works in other countries. Some organizations specialized in the translation and translation of foreign literature appeared in China. For example, the Literature Research Academy was initiated by Shen Yanbing and Zheng Zhenduo, the Creation Society organized by Guo Moruo and the Crescent Society formed by Hu Shi, Liang Shiqiu and Xu Zhimo. These new literary societies shouldered the responsibility of translation and made great contributions to the development of translation. Their works offered a window on the advanced thoughts in the foreign countries at that time.(Li 2016:132)#
 
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===The Creation Society===
 
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The Creation Society (Chuangzao She) is one of the most crucial literary societies in the 1920s in China, which was formed in Tokyo, Japan in June 1921 and closed down in February 1929 thanks to the oppression from Kuo Min tang government. In the early stages, its members were Chinese students who studied in Japan, such as Guo Moruo, Yu Dafu, Cheng Fangwu, Zhang Ziping, Tian Han and Mu Mutian. Later new comers joined in this society, such as Hong Weifa, Deng Junwu, Wang Duqing, Teng Gu, Xu Zuzheng, Zhang Dinghuang Tao Jingsun, Jing Yinyu and He Wei. In 1924, it had about thirty members. The purpose of the Creation Society is to build new literature under the slogan of “Creation” and to eliminate some poorly produced translation works in the new literature school. (Tan 2006:1)#
 
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In addition, the creation Society also has its own important promotion tool, such as Creation Quarterly and Creation Weekly. And most of its translation activities were reflected in these periodicals. Creation Quarterly was the earliest journal of the Creation Society, which was edited by Guo Moruo, Cheng Fangwu and Yu Dafu. It started publication on March 15, 1922 and ended in the late February 1924, having totally published 2 volumes, the first volume with 4 issues and the second one with 2 issues. Creation Weekly, its second joumal, was also edited by Guo, Cheng and Yu. It began in May 1923 and came to its end in May 1924, with the total number of 52 issues. Both Creation Quarterly and Creation Weekly were published by Shanghai Taidong Publishing House. Creation Daily was the last publication of the early Creation Society, which was edited by Cheng Fangwu, Yu Dafu and Deng Junwu. It was the literary supplement of a newspaper called New China Daily. Its first publication was on July 21, 1923 and the last on November 2 of the same year, totally 101 issues. (Tan 2006:2)#
 
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Apart from its outstanding writings, the translation works of its members played an important role in the translation history of China since their translation activities covered a wide range, including fiction, poetry and drama. Besides, the members of the Creation Society were concentrated on introducing persuasive literary schools in the western countries, such as Romanticism, Aestheticism and Symbolism. It was generally acknowledged that the Creation Society laid the foundation for the translation of romantic literary works. The source texts in these three periodicals mainly were written in England, France and Germany. The famous English writers or poets the early Creation Society introduced included Oscar Wilde, Shelley, Thomas Grey, Wordsworth, Dickens. Besides, they also translated some works written by French and German writers, such as Hugo and Heine.(Tan 2006:3)#
 
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As mentioned before, the Creation Society mainly focused on translating romantic works. Romanticism was a broad intellectual and artistic movement disposition that arose toward the end of the eighteenth century and reached its zenith during the early decades of the nineteenth century. The ideals of Romanticism included an intense focus on expressing human subjectivity, an exaltation of nature, human passion and emotion. Underlying nearly all Romantic views of literature was an intense individualism based on the authority of experience. (Tan 2006:3)#
 
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====Reason from historical background====
 
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During the May Fourth movement, the society in China needed urgently revolution to build a more prosperous future. Percy Bysshe Shelly who is a romanticist also creates many poems about revolution. He loved people and hated oppressors and exploiters. Shelly called on the people to overthrew the rule of tyranny and injustice and prophesied a happy and free future for mankind. He remained in this social and political ideal and fought for it all his life. We can have a look at his poems which can help us to understand the reason why Guo Moruo is so fond of Shelly’s poems. Shelly 's Political Poems “Queen Mab” is a long poem of great importance, which contains almost all Shelley’s major social and political ideas. It is written in the form of a fairy-tale dream. Through the mouth of the fairy queen the poet presents his own views on philosophy, religion, morality and social problems. Queen Mab is a revolutionary poem condemning tyranny and exploitation and the unjust war lunched by the rich to plunder wealth. (Li 2019:47)#
 
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The Revolt of Islam is another important poem of Shelley’s. The poem tells of a brother and a sister, Laon and Cythna, who are united in their common ideal of liberty, equality and fraternity. They arouse the spirit of revolt among their Is lm people against their tyrants. Heroic struggle for the liberation of mankind and union with a sister-comrade were inseparable elements of Shelley’s idea. Prometheus Unbound stated that the figure of Prometheus has been symbolic of those noble-hearted revolutionaries. In this poem Prometheus represents mankind itself and Zeus, a symbol of all reactionary institutions. Though chained to the rock, Prometheus has great allies in the work. He is supported by innumerable forces. Thus inspired with a firm confidence in the final triumph of his just cause. Prometheus is perfectly calm in his sufferings. Finally, in spite of desperate resistance, Zeus is overthrown by the huge spirit Demogorgon, the symbol of change and revolution. Prometheus is released by the hero of great strength. The image of Prometheus unites four noble qualities: mans shaping intellect, his heroic endurance, the defiance against tyranny and the love of mankind. Prometheus bound becomes Prometheus unbound This symbolizes the victory for man's struggle against tyranny and oppression.(Li 2019:48)#
 
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From the analysis above we can come to a conclusion that both Shelly and Guo Moruo live in the same of revolution. They have the same revolutionary thoughts and emotional background. Guo Moruo also was devoted to the cause of revolution and trying to build a bright future for the public. In this case, it is no wonder that Guo Moruo has a fancy for Shelley’s poem. Moreover, Guo Moruo is able to understand the inner meaning of Shelley’s poems well thanks to their similar aspiration. Guo Moruo thinks highly of Shelley and considers Shelly as a “true poet”. (Xiong 2012:92)#
 
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====Reason from personal background====
 
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At the beginning of this paper, it is mentioned that the Creatioin Society is mainly created by Chinese students who studied in Japan where they were influenced greatly by romanticism. Zheng Boqi presented his view about the reason why the members  of the Creation society tend to be romantic. It is no wonder that the writers of the Creation Society tended to romanticism. First, they have lived abroad for a long time. As a result, they are familiar with the defects of the capitalist and the decaying and corruptions of those in power. They know the weakness of the domestic society clearly. The members of the Creation Society feel extremely disappointed and suffer a lot. The oppression imposed on them by domestic and foreign countries only strengthened their rebellious mood. (Xiong 2012:95)#
 
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Second, after returning to China, they, faced with the society where the public leads a difficult life, feel at a loss about what they should do so that they can save people from the abyss of suffering. In this case, they need to find a way to express their emotions. The most fundamental philosophical disposition of Romanticism has often been seen as irony, an ability to accommodate conflicting perspectives of the world. Therefore, romantic works are very suitable for them to air their unhappiness and their sorrows. (Xiong 2012:96)#
 
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Third, the persausive ideas in Japan at that time would naturally affect them for they have lived in Japan for many years. Through the Japanese literatures, they read a large number of western literary works and theories. They have been involved in various western literary schools. The Japanese literature acts as an important guiding role. Some well-known writers are promoted through Japanese translators. The members of the Creation Society fall under the spell of the thoughts of western writers, such as Shelley and Whitman. In the 10 years since the members of the Creation Club studied in Japan, the translation and introduction of works created by western romantic writers has not stopped in the Japanese literary world. Some scholars pointed out: "Most of the works translated and introduced in Japan at that time belonged to romantic works. Although the western critical realism and naturalist works played a dominant role in literature at the time. However, they were paid little attention." (Xiong 2012:97)#
 
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Besides, the Chinese students can learn a variety of foreign language courses in the universities in Japan. Generally, Japanese teachers often use literary works as teaching materials. This lays the foundation for the members in the Creation Society to understand western literature. All in all, Japanese literary world builds the bridge between Chinese students and western romantic works. Through contact with a large number of western literary works, the members of the Creation Society have a preference for romantic works, which is inseparable from the impact of the translation and introduction of Japanese literature.
 
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===The Literature Research Academy===
 
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The Literature Research Academy was formally established in 1921. The initiators were Zheng Zhenduo, Shen Yanbing (Mao Dun), Ye Shaojun (Ye Shengtao), Zhou Zuoren and so on. With the development of this society, other famed writers joined the Literature Search Academy successively, including Xie Wanying (Bing Xin), Zhu Ziqing, Shu Qingchun (Lao She), Xu Zhimo etc, totaling more than 170 people. As a new literature society whose enormous contributions spans several areas, such as literature, politics and translation, during the May Fouth period, the power of the media significantly anticipates the development and success of the Literary Research Academy. First and foremost has been the impact of "Novel Monthly". From 1921 to 1922, Mao Dun served as the editor-in-chief of the "Novel Monthly". The "Novel Monthly" become a crucial tool for the Literature Research Academy to voice their thoughts and promote their translation texts. The members of this society translate and introduce a large number of foreign literary works, mainly focusing on realistic works in Russia, France and Northern Europe. Besides, they also introduce the trends of the literature around the world, literary theories and literary schools. At the same time, attention is paid on some famous foreign writers such as Andersen, Maupassant, Dostoevsky, Turgenev, and Roman Roland. According to statistics, from the first issue of Volume 12 published in January 1921 to Issue 12 of Volume 17, the translations of Russian literature and French literature occupied a dominant position.(Wang,2019:15)#
 
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===The Weiming Society===
 
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Weiming Society was founded in Beijing in August 1925 and initiated by Lu Xun. Along with the movements in literature and translation, the Weiming Society were a group of writers who flourished during the period of the New Culture Movement. An important concern of the members of the Weiming society was to get the works and translations of young writers published. Short though the time of its existence may have been, it nonetheless exerted a powerful attraction through their introduction to the foreign literary works. Lu Xun thought that the Weiming society “work surefootedly and never brag about itself”. It is this kind of attitude that helps this society to build a good reputation among the readers. The Weiming Society is called that one of the only three literary groups whose influence on China's literature continues to the present day. (Zhang 2013:28)#
 
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As mentioned above, what underlies the creation of the Weiming Society is an awareness that the writers should translate literary works in foreign countries as much as possible. Therefore, the translation of other foreign works played an important role in the activities of theWeiming Society. From 1925 to1930, the members of the Weiming Society at least would translate a book. In some years, they published three or four books. Among these books, some were translated completely. And they sometimes only chose a part of the book to translate.(Zhang 2013:28)#
 

Revision as of 16:32, 13 December 2021

History of Translation Theories

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1 李瑞洋 A Brief Introduction of Contemporary Chinese Translation Theories--from 1949 to Present

Hist_Trans_Theo_EN_1

2 陈心怡 History of Translation Theories of Russia after the collapse of Soviet Union

Hist_Trans_Theo_EN_2

3 张扬 An Overview of Contemporary American Translation Theory——The American Translation Workshop

Hist_Trans_Theo_EN_3

4 曾俊霖 An Overview of the Development of Western Translation Theories

Hist_Trans_Theo_EN_4

5 张怡然 History of Translation Theories from early Russia to the Soviet Union

Hist_Trans_Theo_EN_5

7 尹媛 A Brief Introduction of Contemporary American Translation Theory——Examplified mainly by Nida

Hist_Trans_Theo_EN_8

9 李双 History of translation theory of France from 20th century to the present

Hist_Trans_Theo_EN_9

杨堃 Chapter 10:French Translation Theories From 16th Century to 18th Century

Hist_Trans_Theo_EN_10

"十六世纪至十八世纪法国翻译理论"

11 刘运心= History of Translation Theories in Ancient Rome

Hist_Trans_Theo_EN_11

12 魏兆妍 The Humanistic Trend in Western Translation Theory from the 14th to the 19th Century

Hist_Trans_Theo_EN_12

13 吴婧悦 History of Translation Theories in the Soviet Union

Hist_Trans_Theo_EN_13

杨爱江 Chapter 14: History of Chinese Translation Theories from 1919 to 1949

中国1919年至1949年翻译理论历史

杨爱江 Yang Aijiang,Hunan Normal University, China

Hist_Trans_Theo_EN_14

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