Translation. Region: Russian Federal
Source: People’s Republic of China in Russian –
Source: People’s Republic of China – State Council News
BEIJING, July 4 (Xinhua) — At the recently concluded 31st Beijing International Book Fair held in the Chinese capital, the Russian national stand showcased about 800 of the best new releases from the Russian publishing market, covering various literary genres. Classic works of Russian literature that have had a profound impact on Chinese society, such as “War and Peace,” “Crime and Punishment,” and “How the Steel Was Tempered,” are now creating a new reading landscape for the Chinese audience along with works by contemporary Russian authors.
THE ETERNAL RELEVANCE OF CLASSICS
Over the past 100-odd years, a huge number of classic works of Russian literature have been translated and introduced to China. The works of literary titans such as Leo Tolstoy, Fyodor Dostoevsky, Alexander Pushkin, Anton Chekhov have had a lasting and profound influence on Chinese literary circles. Classic works such as How the Steel Was Tempered, War and Peace, and The Seagull were once widely known in China, but their mass recognition has noticeably weakened in our days.
In Chinese literary studies, the prevailing opinion is that the end of the era of total reception of Russian literature in modern China does not indicate its decline, but rather a transition to a phase of deep artistic reflection, where the aesthetic value of the text dominates over utilitarian functions.
Speaking about the main readers of Russian classical literature in today’s China, the winner of the international translation prize “Read Russia”, professor of the Capital Normal University Liu Wenfei in an interview with a correspondent of the Xinhua news agency noted that teachers and students of the humanities and Russian language departments are the most devoted readers of Russian classics in China.
In addition, older Chinese writers and literary scholars have a particular fondness for the realism of the 19th-century “golden age,” while younger poets and prose writers have a clear preference for the modernist literature of the Silver Age—the works of Marina Tsvetaeva, Anna Akhmatova, and other outstanding authors. “It is unlikely that you will find a poet in China today who is not familiar with their legacy,” Liu Wenfei said. According to his observations, these groups form the main readership of Russian classics in the country.
“But the readership of Russian classics in China is by no means limited to the groups mentioned. Otherwise, it would be difficult to explain the phenomenon of multiple reprints of translations – it is enough to mention that Leo Tolstoy’s novel Anna Karenina has been translated into Chinese at least fifty times, while the works of Fyodor Dostoevsky are constantly present in publishing plans,” emphasized Liu Wenfei, a professor of Russian studies who has been involved in literary translation since the early 1980s.
THE FLOURISH OF RUSSIAN LITNISHES
Modern Russian literature is also translated quite fully in China, although classic works such as Tolstoy’s War and Peace, whose reader demand consistently exceeds that of 21st century authors, retain absolute dominance in book retail.
Contemporary Russian literature is in a phase of dynamic development, which excludes premature final assessments. This context is due to the transformation of reading practices, says Wang Xiaoyu, a junior research fellow at the Institute of World Literature of the Chinese Academy of Social Sciences.
However, according to her, compared to other languages, the spread of modern Russian literature in China should be recognized as significant – based on the volume of translations into Chinese and the awards received in recent years.
For example, Renmin Wenxue Chubanshe Publishing House launched the project “Mutual Translations of Chinese and Foreign Authors on a Single Theme”. The Chinese magazine “October” regularly publishes works by contemporary Russian writers first. In 2022, Professor Chen Fang from Renmin University of China received the Lu Xun Prize in the Best Literary Translation category for her translation work on Guzel Yakhina’s novel “My Children”, which contributes to the promotion of contemporary Russian literature in China.
Thus, Chinese youth born after the 1990s have begun to pay more attention to the works of contemporary Russian authors. As demonstrated by the activities of Russian language clubs in Beijing universities in recent years, Chinese youth interest in contemporary Russian literature has evolved from “exoticization” to “analytical discourse” – as evidenced by the academic debate on postmodern narratology in the novels of Viktor Pelevin. And the number of participants in the “Russian-Language Literature” group on the Douban review platform increased by 46 percent in the 2023 annual report.
DETLIT-REVANCE
A significant place in the exposition of the Russian stand at the 31st PMCF was given to children’s books, which clearly demonstrates the desire to strengthen the position of Russian children’s publishers in close cooperation with Chinese partners.
Let us recall that the 1950s were the “golden age” for the introduction and translation of Russian children’s literature in China. Such outstanding works as Pushkin’s fairy tale poem “The Tale of the Fisherman and the Fish”, Bianki’s “Forest Newspaper”, Gaidar’s “Distant Countries” and “Chuk and Gek”, and many other wonderful examples of Russian children’s literature were translated and published in China.
However, in recent decades, attention to contemporary Russian children’s literature has noticeably weakened. “This is a serious and unacceptable omission,” says Zhu Ziqiang, director of the Xingyuan Institute at the Ocean University of China.
This omission is now being actively corrected. In order to introduce outstanding Russian children’s books of recent decades to Chinese readers on a large scale, the Chinese publishing house “Jely” initiated and released the series “Golden Russian Children’s Books”. According to information, as of the end of June 2024, 11 titles with a total circulation of 147 thousand copies have been published within this series, including novels, fairy tales, prose and other works.
These books have firmly gained recognition in the Chinese children’s and adolescent literature market. Some of them, including “Visiting the Polar Bear” by Oleg Bundur, “Theo, the Theater Captain” by Nina Dashevskaya, were included in the reading list recommended by teachers of a Chinese school for students. “Theo teaches us that even a small role is important. Now I also want to create a puppet theater in the classroom – like Theo!” wrote an 11-year-old schoolboy surnamed Li from Beijing in a review of the book he read “Theo, the Theater Captain”, which became one of the “Top 10 Best Children’s Books of 2023” at the “Reading Month” festival in the city of Shenzhen, Guangdong Province /South China/.
At the Shanghai International Children’s Literature Fair held in November 2024, the China Literary Authors’ Society (CLAS) and the Association of Writers’ and Publishers’ Unions of Russia agreed to cooperate in acquiring numerous rights to Russian children’s publications.
According to KLAO, as of June 2024, over the past decade, Chinese publishers have translated more than 700 books from Russia, and about 400 Chinese books have been translated in Russia. Literary exchange between the two countries is gradually moving from “one-way borrowing” to “two-way exchange”. In the future, with the deep introduction of digital technology and the involvement of young people, Russian literature will continue to write new pages in China’s cultural landscape.