Comparative analysis of Russian and Chinese literary traditions: F. M. Dostoevsky's works translation and adaptation to the cultural context

Chzhan Wanjing ORCID: 0009-0003-0337-1907 Postgraduate student; Institute of Foreign Languages, Department of Theory and Practice of Foreign Languages; Patrice Lumumba Peoples' Friendship University of Russia 6 Miklukho-Maklaya str., Moscow, 117198 zhangwanjing2025@yandex.ru

Introduction

For many decades, F. M. Dostoevsky's artistic works, with their deep psychological and existential questions, aroused the interest of Chinese readers, which (among other things) had a significant impact on the formation of a new paradigm of perception of Russian classical literature, which determined further relations between Russia and China and predetermined the intersection of literary traditions of these two countries ^{[1, 2]}. Russian and Chinese literary traditions (each of which has its own specific features), today find many points of intersection: This creates a unique cultural space where a special place is given to the philosophical issues raised by the writer (in particular, those related to suffering, redemption, moral choice, etc.^[3]), as well as the socio-historical context in which Russian and Chinese societies developed.

In this regard, the relevance of the research topic is determined by a number of factors: firstly, the importance of studying the works of F. M. Dostoevsky as a significant cultural phenomenon that had a huge impact on philosophers, writers, and artists all over the world, including China (studying his works in comparison with their translation into Chinese makes it possible to identify both original themes and the motifs embedded in the writer's works are adapted and interpreted within the framework of Chinese culture; secondly, the need for a comparative analysis of the literary traditions of Russia and China in order to understand the cultural dynamics and the level of intercultural dialogue, contributing to the expansion of the boundaries of literary criticism and interpretation. This allows us to look at F. M. Dostoevsky's works through the prism of Chinese philosophy and aesthetics, thereby revealing deeper philosophical, as well as social and historical aspects of the language that may be of interest to both philologists and a wide audience.

In general, the problem of comparing the original and the translation of the writer's works of art has been considered by many modern scholars, including: Ai Huizhong, whose research is devoted to the analysis of F. M. Dostoevsky's reception in the works of Chinese writers ^[1]; And Fan Wang and N. V. Khalina, who pay special attention to the historical context in which F. M. Dostoevsky's works of art are translated (in particular, the authors highlighted the following features of the reception of the writer's work in China: "high appreciation of artistic talent, the ability to create vivid and memorable images, mastery in the use of language, attention to complex philosophical issues and so on" ^{[2, p. 210]}); Zhao Hong and O. V. Dubkova, who study the experience and traditions of translating the writer's works into Chinese from a historical and artistic-aesthetic point of view ^[4]. Of particular interest is the work of Yin Lu, which examines the ways of understanding and the specifics of the artistic transformation of Russian cultural and literary experience (F. M. Dostoevsky's work) in the works of Chinese writers ^[5], etc. However, the existing works, despite their diversity and depth, leave a number of questions open, especially in the context of the problems of mutual influence of cultures and literary traditions, which generally determined the formulation of the purpose and objectives of the research.

The purpose of the study is to identify the key features of the original and translation of F. M. Dostoevsky's works into Chinese and their relationship with the Chinese literary tradition in the framework of the development of Russian-Chinese cultural ties. To achieve the goal, it is necessary to solve the following tasks:

1) consider how the central themes and motifs of F. M. Dostoevsky's works are perceived and interpreted within the framework of the Chinese literary tradition, and how they are adapted in translations.;

2) identify significant cultural factors specific to China that have a significant impact on the perception of the writer's works (including identifying the specifics of the factors and their relationship with the Chinese literary tradition).

The novelty of the research lies in the fact that for the first time a comparative analysis is being conducted not only of the original and translation of F. M. Dostoevsky's works, but also of the cultural context of their perception, which allows for a deeper understanding of how Russian and Chinese literary traditions intersect and interact with each other. Based on this, the theoretical significance is determined by the fact that the new approaches developed in the course of the study to the translation and interpretation of literary works, taking into account the peculiarities of literary traditions and cultural characteristics of Russia and China, can be used in further research aimed at analyzing the mutual influence of different cultures and literary traditions.

The practical significance lies in the fact that the results of the research can be used to develop methodological manuals for the translation of literary works, as well as to create curricula that will contribute to a better understanding and interpretation of foreign literature in the context of Chinese culture. This can help translators and literary scholars to understand cultural and linguistic barriers more deeply, as well as to develop new approaches to intercultural communication.

In the framework of this work, various research methods were used, including comparative analysis, which allows us to compare both the original texts with its translations, as well as the Russian and Chinese literary traditions in general; methods of content analysis aimed at studying the specifics of interpreting key themes and motifs; methods of cultural anthropology for a deeper understanding of the cultural context in which a transfer is being made. Thus, all of the above determines the need to use an integrated approach to studying the features of the original and the translation of F. M. Dostoevsky's works into Chinese.

1. Peculiarities of perception and interpretation of the central themes and motifs of F. M. Dostoevsky's works within the framework of the Chinese literary tradition

The study of the specifics of perception and interpretation of the central themes and motifs of F. M. Dostoevsky in the Chinese literary tradition opens up new horizons for the analysis of both the writer's works themselves and the cultural context in which his works were translated into Chinese. As an example, we can cite one of the key themes of F. M. Dostoevsky, reflecting the inner world of a person, in particular, we are talking about the topic of moral responsibility and choice. In the Chinese literary tradition, where the concepts of harmony, collectivism and moral duty play an important role, the perception of this topic can take on completely different forms. For example, aspects of personalism, which are so significant for the writer ^[6], can be perceived through the prism of Confucian ideas about duty to society and family. All this, accordingly, leads to peculiar interpretations of characters such as Rodion Raskolnikov, Ivan Karamazov, and others, whose internal conflicts and experiences can be reinterpreted in the context of collective responsibility and social harmony. For example, an excerpt from Raskolnikov's stream of consciousness:

Rus.: "... for himself, for his comfort, even to save himself from death, he will not sell himself, but for another he sells! For a sweet, adored person, he will sell! That's what our whole thing is: he'll sell for his brother, for his mother! He'll sell everything! ....Freedom, peace of mind, even conscience, we'll take everything, everything to the market. Waste your life! If only these beloved beings of ours would be happy" ^{[7, p. 32]};

chin. "她 为 了 自己 ， 为 了 自己 的 生活 舒适 ， 甚 至 为 了 自己 的 抒 救 性 命 ， 她 不 会 决 are paid out 卖 自 己 ， 而 为 了 现在 别人 are paid out 她 却 要 卖 自 己 ! 为 了 一 个 她 杀 爱 的 人 ， 为 了 一 个 她 奉 若 神明 的 人 ， 她 却 愿意 出 卖 ! 全 部 奥秘 就 在 这 里 ， 为 了 哥哥 ， 为 了 母亲 ， 她 可 以 出 卖 自 己 ! 彻底 出 卖 ! 啊 ， 必 要 时 我 们 会 压制 我 们 的 道德 情感 ， 并 且 把 自由 、 宁 静 ， 甚 至 良心 ， 所 有 的 一 切 ， 都 拿 到 有 旧 货 市 场 上 去 拍卖 。 连 生命 也 毫 不 顾 惜 ! For herself, for the comfort of her life, even for the sake of saving her life, she would never sell herself, but now she is selling herself to someone else! For the sake of the man she loves, for the sake of the man she worships as a god, she is ready to sell herself! The whole secret is here, for the sake of her brother, for the sake of her mother, she can sell herself! Completely sold out! Ah, when necessary, we will suppress our moral feelings and put freedom, peace, even conscience, everything... all of them will be auctioned on the market. We don't even care about our own lives! As long as the people we love can be happy).

In Chinese culture, the emphasis on collectivism and harmony often leads to the fact that a person's personal suffering and moral dilemmas are viewed in a broader social context ^[4]. This creates additional layers of interpretation that can change the accents in understanding the characters and their motives. In this case, for Chinese readers, a character like Raskolnikov can be perceived in the context of Confucian ideas, where family and social ties are of paramount importance. Raskolnikov's internal conflict can be reinterpreted as not just a struggle between good and evil, but as a search for his place in the social hierarchy; his actions are perceived not only as a personal tragedy, but also as an attempt to change his fate for the benefit of others, which creates a paradoxical situation where his crime takes on the connotation of sacrifice for the sake of society.

This understanding of the topic of moral responsibility and human choice is closely related to how the Chinese literary tradition perceives the idea of "shen" (神; pinyin shén), a spiritual entity that "binds" a person to his duties to society ^[9]. Thus, Raskolnikov, who commits murder, can be perceived as a person who, being obsessed with a personal idea of justice, forgets about his moral obligations to his loved ones and society. Here, attention should also be paid to the concept of "humanity" (仁; pinyin rén) in Confucianism, which can also have a significant impact on Chinese readers' perception of the moral dilemmas of F. M. Dostoevsky's characters. This concept emphasizes the importance of finding a balance between personal desires and responsibilities to society, which can lead to a rethinking of the characters' internal struggles in the context of sociocultural values.

This leads to another theme, the theme of suffering, which permeates many of F. M. Dostoevsky's works. In the Chinese literary tradition, suffering is perceived as an integral part of life, and many classic works by Chinese writers (Lu Xin, Mo Yan, Yu Hua, etc.) are also devoted to this topic. However, unlike the works of Fyodor Dostoevsky, where suffering often leads to redemption and spiritual enlightenment, a more pessimistic view of the nature of human existence prevails in the Chinese literary tradition. This specificity in the interpretation of suffering creates a unique context for understanding F. M. Dostoevsky's characters, and Chinese readers can find both common features and significant differences in their torments. So, in "Crime and Punishment":

Russian: "Suffering and pain are always necessary for a broad consciousness and a deep heart. It seems to me that truly great people should feel great sadness in the world..." ^{[7, p. 159]};

chin. "对 于 一 个 博大 胸 襟 、 谋 深 远 虑 的 人 is to ， by 精 神 的 痛苦 的 和 肉体 by 折磨 往往 是 在 所 难免 的 。 我 觉得 ， 真 正 的 忧 伟人 应 该 大 天 下 之 忧" ^{[8, page 272]} (lit.: For a person with a broad Outlook and foresight mental pain and physical torment is often inevitable. I think a truly great person should worry about the biggest problems in the world).

In the novel The Idiot, F. M. Dostoevsky continues to explore the theme of suffering, deepening his understanding of human nature through the prism of the suffering hero, Prince Myshkin.:

Rus.: "Think about it: if, for example, there is torture; at the same time, suffering and wounds, bodily torment, and, therefore, all this distracts from mental suffering, so that you suffer from wounds alone until you die. But the main, most severe pain may not be in the wounds..." ^{[10, p. 18]};

chin. "想想看:例如, 如果是酷刑; 同時, 痛苦和傷痕、身體上的折磨, 也因此, 這一 切都 轉 移了精神上的痛苦, 讓你只被傷痕所折磨, 直至死去。 但最主要的、 最劇烈的疼 痛也 許不在傷口處..." ^{[11, page 25]} (lit.: Think about it: for example, if this is torture; at the same time, the pain and scars, physical torture, and therefore it carries emotional pain, leaving you only the scars until his death. But the main and most severe pain may not be felt at the wound site).

The theme of suffering in F. M. Dostoevsky's works serves not only as a means of penetrating into the depths of the human soul, but also as a way of exploring moral and philosophical issues. The writer often refers to the sufferings of his characters as a tool for their self-discovery and transformation. Characters reflecting on suffering face existential questions that require them to reflect deeply and ultimately lead to redemption or an understanding of their own shortcomings and weaknesses. So, in the above excerpts, F. M. Dostoevsky focuses on inner pain and suffering, which, in his opinion, are part of a great heart and a broad consciousness. In this context, suffering becomes not just a negative experience, but probably even a necessary condition for achieving depth of understanding and human wisdom.

Comparing this with the Chinese literary tradition, it can be noted that in the works of Chinese writers such as Lu Xin or Mo Yan, suffering is often presented as an inevitability, as a part of human life, without a guarantee of redemption or reflection (in the works of these authors, attention is focused on the "hopelessness and cyclical suffering" ^{[5, p. 18]}). It is important to note that in general, in Chinese culture, suffering is perceived as a result of social conditions, historical circumstances, or cultural norms ^[12], which creates a more pessimistic perception of human fate. Thus, the theme of suffering in the works of Fyodor Dostoevsky and in the Chinese literary tradition performs different functions and has different cultural contexts. For the writer, it becomes a path to reflection and redemption, while in the Chinese tradition it is often perceived as an integral part of fate, without hope for a bright future.

Of great interest is the motive of internal conflict and the search for meaning in the lives of F. M. Dostoevsky's characters, which finds a response in the Chinese literary tradition. However, in the writer's works, internal conflict becomes a central element contributing to the development of the characters and their spiritual depth. Characters such as Rodion Raskolnikov, Prince Lev Myshkin, and Ivan Karamazov struggle with their own demons, temptations, and moral dilemmas, which makes their quest for self-discovery and the search for meaning in life especially dramatic.:

Rus.: "So, I accept God, and not only willingly, but, moreover, I accept both his wisdom and his purpose, which are completely unknown to us, I believe in order, in the meaning of life, I believe in eternal harmony, in which we seem to all merge, I believe in the Word, to which the universe aspires to and which itself "goes to God" and which is God himself, and so on and so forth, and so on into infinity. <...> Well, imagine that in the final result, I do not accept this world of God, and even though I know that it exists, I do not allow it at all. It's not God I don't accept, understand this, I don't accept the world he created, it's God's world, and I can't agree to accept it" ^{[13, p. 137]};

chin. "所以我不但十分乐意接受上帝， 而且也接受我们所完全不知道的他的智慧和他 的目的， 信仰秩序， 信仰生命的意义， 信仰据说我们将来会在其中融合无间的永恒 的和谐， 信仰那整个宇宙所向往的约言， 它'和上帝同在'， 它本身就是上帝， 此类 诸如， 不可胜数。 <...> 但是你要知道， 归根结蒂， 我还是不能接受上帝的世 界， 即使知道它是存在的， 我也完全不能接受它， 你要明 白， 我不是不接受上 帝， 我是不接受上帝所创造的世界， 它 而且决不能答应去接受" ^{[14, page 169]} (lit.: Therefore, I am quite ready to accept not only God, but also His wisdom, and His purpose that we completely unknown, faith in order, faith in the meaning of life, faith in the eternal harmony in which they say we will be together in the future, faith in the promise, to which is committed the entire universe that she was "with God" itself is God and so on and so forth. <...> But know that, ultimately, I still cannot accept the peace of God. Even if I know it exists, I can't accept it. Understand that I do not reject God, but I reject the world created by God, and I will never agree to accept it).

Such inner torments reflect not only personal tragedies, but also broader philosophical and ethical issues that concern humanity as a whole. At the same time, the internal conflict of many of F. M. Dostoevsky's characters often does not always find a solution; sometimes the characters remain in a state of painful doubt and uncertainty. This creates a sense of an open ending and forces the reader to reflect on their own view of existential issues. Similarly, in the Chinese literary tradition, the motive of internal conflict and the search for the meaning of life also occupies an important place. For example, in Lu Xin's works, you can see how his characters face contradictions between their inner aspirations and the harsh reality of the world around them ^[5]. This kind of struggle is a reflection of social pressure and cultural expectations, which creates a sense of hopelessness in the reader, while deeply understanding their place in life. Characters in Chinese literature often strive for self-realization, their path leads to inner peace and alignment with external forces, in contrast to the emphasis (which F. M. Dostoevsky puts in his work) on struggle, suffering and subsequent redemption.

In addition, the specifics of perception and interpretation of themes and motives of Christian love, freedom, morality, etc. are of interest. Unlike the works of Fyodor Dostoevsky, where Christian morality and ideas about spiritual salvation occupy the central place of the writer's philosophical reflections, in the Chinese literary tradition, as previously noted, the emphasis may shift towards Confucian and Taoist principles that emphasize harmony, social relations and natural order ^[12]. In this context, for example, Christian love may be perceived not as a universal value, but as one of the components of a broader cultural and philosophical context in which not only the individual soul is important, but also social ties. All this in general also has a significant impact on the specifics of Chinese readers' perception and interpretation of F. M. Dostoevsky's works.

2. Key cultural factors characteristic of China that have a significant impact on the perception of the original and translation of F. M. Dostoevsky's works

The analysis of F. M. Dostoevsky's works ^{[7; 10; 13]} and their translations into Chinese ^{[8; 11; 14]} allowed us to identify a number of key factors influencing the perception of the main themes and motifs of the literary text: these are, first of all, linguistic and cultural features of the text; translation features reflecting the level of interlanguage and intercultural communication; as well as the social, historical and cultural specifics of literary traditions. Thus, the linguistic and cultural features of a literary text, including nationally specific connotations and realities, characterize a complex set of linguistic, cultural and social elements that form an idea of the culture of a particular people ^[6]). In the context of the writer's works and their translations into Chinese, this aspect becomes especially important, since the writer's works make explicit references to Russian culture, psychology and social structure, which may be difficult to perceive and convey in another language environment, in particular, Chinese. For example, in "Crime and Punishment": "damn it all!" ^{[7, p. 184]} / "魔鬼把一!!" ^{[8, p. 211]} (add.: The devil take it all away!). This quote reflects the national way of thinking and phraseological features of the Russian language, which require adequate translation, etc.

As for the features of literary translation reflecting the level of interlanguage and intercultural communication, first of all, it is important to note that the translation of a literary text is not just a mechanical substitution of words from one language to another, but a complex process involving interpretation, adaptation and creative reinterpretation ^[4]. In the case of F. M. Dostoevsky's works, translators, as a rule, face the need to convey not only the textual component, but also the emotional charge, philosophical depths and psychological nuances that are inherent in the original text. Thus, the use of specific lexical units, stylistic techniques, metaphorical elements, and phraseological units requires a translator to have a deep understanding of the context and cultural codes of both Russian and Chinese. For example: "there is No immortality of the soul, so there is no virtue, then everything is permitted" ^{[13, p. 325]} / 沒有靈魂不朽, 所以沒有美德, 這意味著一切都是允許的 ^{[14, page 379]} (lit.: No immortal soul, so there is no virtue, and everything is permitted). It should be borne in mind here that this statement touches on important moral and ethical aspects that can be perceived in different ways, depending on the cultural context. Accordingly, not only language skills play an important role, but also a deep understanding of the philosophical and cultural foundations that underlie such statements.

However, the most significant factors influencing the perception of the original and translation of F. M. Dostoevsky's works are related to the social, historical and cultural specifics of Chinese literary traditions and the peculiarities of the perception of Russian literature in China. The Chinese literary tradition, possessing its own unique norms and canons, as a rule interprets the works of F. M. Dostoevsky through the prism of its cultural and historical contexts ^{[2; 4]}. This may lead to the fact that characters, themes, motives, and philosophical ideas may be perceived and understood somewhat differently from what the writer originally intended. For example, in Chinese culture, where the emphasis is on collective values and harmony, the personalism and internal conflicts characteristic of F. M. Dostoevsky's characters can cause confusion or even rejection among readers. In addition, the central themes and motives (suffering, redemption, moral choice), as previously indicated, are perceived quite ambiguously by Chinese readers, which creates additional difficulties in translating texts and interpreting the writer's ideas. In this context, it is important to take into account that the adaptation of meanings is not just a technical process, but a deep creative act that requires the translator to understand not only the language, but also the historical, cultural, social, mental, etc. codes of both countries.

Conclusion

Thus, having considered the key features of the original and translation of the writer's works into Chinese and their relationship to the Chinese literary tradition, we come to the following conclusions:

The specifics of perception and interpretation of the central themes and motifs of F. M. Dostoevsky's works are determined by the interaction of cultural contexts and philosophical systems existing in both the Russian and Chinese literary traditions. This interaction generates unique interpretations that allow Chinese readers not only to perceive the writer's works through the prism of their own cultural and historical realities, but also to find relevant questions and experiences in them. At the same time, the analysis showed that translations of F. M. Dostoevsky's works into Chinese demonstrate significant cultural transformations, which are mainly due to differences in mentality and worldview. Many central themes and motifs (suffering, redemption, moral choice) are reflected in Chinese interpretations, which often focus on the social aspect rather than the individual (personal) one. All this creates unique variations on the writer's themes, adapting them to a culture where social norms and traditions play a key role.

Consideration of the factors that have a direct impact on the perception of F. M. Dostoevsky's works and their translation made it possible to identify the most significant of them: linguistic and cultural features of the text; translation features reflecting the level of interlanguage and intercultural communication; social and historical-cultural specifics of literary traditions. Based on this, it can be argued that the process of translating F. M. Dostoevsky's works in the Chinese literary environment is a complex, multi-level dialogue of cultures, in which not only the mechanical transmission of the text takes place, but also its reinterpretation and adaptation to a new cultural context. This approach allows us to explore translation not as a simple linguistic transformation, but as a creative act of interpretation, where the translator acts as an intermediary between two "cultural worlds". At the same time, not only linguistic, but also socio-cultural, philosophical, aesthetic, and other aspects of literary translation acquire special importance.