Abstract
This essay considers the spread and reception of Dream of the Red Chamber in the West through the theory of aesthetic reception. Though it was originally read with wonder and Orientalist suspicion, its Western reception has progressed through increasing exposure to Chinese culture and literature, gaining an appreciation of its thematic and cultural depth. In its conception, aesthetic reception theory, developed by Hans Robert Jauss, emphasises the openness of reading, even when texts traverse linguistic and cultural borders. The paper covers translation issues confronting Dream of the Red Chamber translators, such as interpreting culturally distinctive symbols, reusing narrative conventions, and conveying Confucian, Daoist and Buddhist philosophical concepts. By investigating choices in translation and their effect on reception, the paper illustrates how cultural translation turns the text around for Western readers, turning Dream of the Red Chamber from an exotic object into a world literature classic. If it takes account of the significance of cultural exchange in translation, this research offers a glimpse of the future of Chinese literatures global influence.
Published Version
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