Abstract
AbstractThis article analyzes how Chinese writers in the early twentieth century translated and appropriated Russian literature through the intermediary of Japanese scholarly and creative writing. It traces how Japan began as the primary—and in some cases only—cultural broker in the Chinese reception of Russian literature during the late Qing dynasty and how its impact diminished as Western European sources became viable competitors. To illuminate Japan's unique mediating role in shaping Chinese understanding of both Russian literature and China's own literary and linguistic legacy, this article examines Wu Tao's 1907 relay translation of Chekhov's “The Black Monk” from Japanese. By probing the Sino-Japanese cultural connections that gave birth to this translation and comparing it with two later Chinese renderings from English and Russian versions, this article reflects on the factors that determine how intermediaries function in transcultural negotiations.
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