East Asian Unconscious of Translation and World Literature
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World literature is a historical concept that can only be established and practiced through translation into the native language. Translations in East Asia are accompanied with intentional misreading or unintentional misunderstandings. World literature as imagined in Korea, China, and Japan is neither singular nor politically equal. Problematizing the spirit of the age and imagination of translations in East Asia in the first half of the 20th century provides new perspectives that the methodologies of comparative literature or translation studies cannot capture. Translations of A Doll’s House by Henrik Ibsen and “The Last Lesson” by Alphonse Daudet are a great example for demonstrating how contemporary European literature is incorrectly interpreted and reproduced in East Asia’s historical context. On the other hand, the difference of viewpoints between The Good Earth by Pearl S. Buck and Moment in Peking by Yutang Lin is produced through translations by the ideological transformation of China as the other and East Asian self-representation. Translation is a cultural praxis and effect that actualizes “East Asian World Literature” and brings it to historical movements.
Abstract
World literature is a historical concept that can only be established and practiced through translation into the native language. Translations in East Asia are accompanied with intentional misreading or unintentional misunderstandings. World literature as imagined in Korea, China, and Japan is neither singular nor politically equal. Problematizing the spirit of the age and imagination of translations in East Asia in the first half of the 20th century provides new perspectives that the methodologies of comparative literature or translation studies cannot capture. Translations of A Doll’s House by Henrik Ibsen and “The Last Lesson” by Alphonse Daudet are a great example for demonstrating how contemporary European literature is incorrectly interpreted and reproduced in East Asia’s historical context. On the other hand, the difference of viewpoints between The Good Earth by Pearl S. Buck and Moment in Peking by Yutang Lin is produced through translations by the ideological transformation of China as the other and East Asian self-representation. Translation is a cultural praxis and effect that actualizes “East Asian World Literature” and brings it to historical movements.
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