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Journal articles on the topic 'Chinese fiction, Chinese'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Lao, Yan-Shuan, and Liu Ts'un-yan. "Chinese Middlebrow Fiction." Modern Language Journal 69, no. 2 (1985): 169. http://dx.doi.org/10.2307/326515.

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2

Fokkema, D. "Chinese Postmodernist Fiction." Modern Language Quarterly 69, no. 1 (2008): 141–65. http://dx.doi.org/10.1215/00267929-2007-029.

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3

Raphals, Lisa. "Chinese Science Fiction:." Osiris 34, no. 1 (2019): 81–98. http://dx.doi.org/10.1086/703867.

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4

Kinkley, Jeffrey C. "Chinese crime fiction." Society 30, no. 4 (1993): 51–62. http://dx.doi.org/10.1007/bf02695237.

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5

Kumar, Nishant. "UNDERSTANDING THE TRANSNATIONAL CHARACTERISTICS OF CHINESE SCIENCE FICTION." ShodhKosh: Journal of Visual and Performing Arts 4, no. 1 (2023): 343–47. https://doi.org/10.29121/shodhkosh.v4.i1.2023.3620.

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Chinese science fiction, a subset of the fastest-growing global science fiction, has been largely overlooked by mainstream literature in China. Despite facing socio-political and economic turmoil, it has slowly made a mark in contemporary literature. As society changes, science and technology advance, and the shadow of history remains, new generations of Chinese science fiction writers have successfully triggered its development. Currently, the number of Chinese sci-fi writings has increased rapidly, and some great paradigms are even included in textbooks. However, the emergence of globalizati

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Xia, Tianyi. "The Development History of Chinese Science Fiction from Liu Cixin's Science Fiction." International Journal of Languages, Literature and Linguistics 6, no. 3 (2020): 136–41. http://dx.doi.org/10.18178/ijlll.2020.6.3.265.

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7

Esteva, Sara Rovira. "Translating Chinese Pop Fiction." Perspectives 15, no. 1 (2007): 15–29. http://dx.doi.org/10.2167/pst002.0.

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8

Kinkley, Jeffrey C., Yue Daiyun, Deborah Rudolph, and Yeh Wenhsing. "Intellectuals in Chinese Fiction." Chinese Literature: Essays, Articles, Reviews (CLEAR) 11 (December 1989): 154. http://dx.doi.org/10.2307/495535.

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9

Lu. "Chinese Historical Fan Fiction." Pacific Coast Philology 51, no. 2 (2016): 159. http://dx.doi.org/10.5325/pacicoasphil.51.2.0159.

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10

Healey, Cara. "Gender and Genre in Contemporary Chinese Science Fiction." Prism 21, no. 2 (2024): 368–93. https://doi.org/10.1215/25783491-11825615.

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Abstract Chinese science fiction's growing popularity and integration into an increasingly diverse global science fiction field have sparked discussion of the genre's approach to gendered subjectivity. This article explores the intersections of gender and genre in Chinese science fiction on both textual and extratextual levels. The author argues that Hao Jingfang's 郝景芳 “Beijing zhedie” 北京折疊 (Folding Beijing) and Xia Jia's 夏笳 “Baigui yexing jie” 百鬼夜行街 (One Hundred Ghosts Parade Tonight) combine, subvert, and reinterpret tropes of premodern Chinese literary genres like caizi jiaren 才子佳人 (scholar

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Wang, Yangyang. "From “New Worlds” to “Science Fiction World”: Exploring the Chinese Inspiration of the New Wave of Science Fiction." Economic Society and Humanities 1, no. 2 (2024): 36–41. http://dx.doi.org/10.62381/e244206.

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New Worlds has had a huge impact on Western science fiction literature and propelled the development of British "New Wave" science fiction novels. Editor in chief Michael Moorcock dedicated to developing new literary styles and cultivating a large number of excellent science fiction writers. Before the 1990s, Chinese science fiction novels had always been a supplement to popular science and children's literature. It was Science Fiction World that cultivated a "new generation" of science fiction writers for Chinese science fiction literature and brought a vigorous development momentum to the Ch

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12

Li, Siyao. "Teaching Chinese reading to students with the help of fiction texts." Moscow Pedagogical Journal, no. 4 (December 11, 2024): 112–18. https://doi.org/10.18384/2949-4974-2024-4-112-118.

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Aim. To substantiate the peculiarities and potential of the texts of modern Chinese fiction as a means of teaching Chinese and to present a number of methodological recommendations on the use of these texts in the Chinese language classes.Methodology. This article uses such research methods as the study and generalisation of advanced pedagogical experience in the field of teaching the Chinese language and Chinese fiction, documentation of pedagogical research, analysis of scientific works in the field of text theory, literary studies and linguistics.Results. This article demonstrates the impor

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13

Du, Yan. "Intergenerational Writing Practices in Chinese Fiction for Adolescent Girls." Girlhood Studies 15, no. 2 (2022): 89–105. http://dx.doi.org/10.3167/ghs.2022.150207.

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The Anthology of Chinese Fictions on Adolescent Girls’ Psychology (2016) is one of the most renowned collections of girls’ stories in Chinese children’s literature. Authored by Qin Wenjun, Cheng Wei, and Chen Danyan, it is often associated with the rise of shaonǚ xiaoshuo (girls’ fiction) in China. In this article, I evaluate the collective writing practices of the women authors mentioned above, focusing, in particular, on how their featured stories address intergenerational dissent and explore models of communication between adolescent girls and women. Highlighting how The Anthology traverses

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14

Teng, Xu, and Mohd Asyiek Mat Desa. "Exploring Chinese Characteristics in Science Fiction Films: A Case Study of 'Wandering Earth'." Journal of Ecohumanism 3, no. 3 (2024): 1387–95. http://dx.doi.org/10.62754/joe.v3i3.3609.

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Chinese science fiction films were first created in the 1930s, but few outstanding works appeared until the beginning of the 21st century. With the appearance of Wandering Earth in the 2019 Spring Festival, Chinese science fiction films entered a new stage of development.This paper, using the 'Wandering Earth' series as a blueprint for research, first summarizes the development of Chinese science fiction films. Secondly, it focuses on analyzing why 'Wandering Earth' can be considered a genuinely Chinese hard science fiction film.Finally, through the analysis of the Wandering Earth series, we w

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15

Pers, Mona. "Swedes Reading Chinese American Fiction." Amerasia Journal 34, no. 2 (2008): 55–60. http://dx.doi.org/10.17953/amer.34.2.1374841378v480xm.

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16

Nienhauser, William H. "The Origins of Chinese Fiction." Monumenta Serica 38, no. 1 (1988): 191–219. http://dx.doi.org/10.1080/02549948.1988.11731207.

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17

Zhang, Qinghua, and Chenmei Xu. "Carrying on “Chinese Fiction” Traditions." Chinese Literature Today 6, no. 1 (2017): 18–23. https://doi.org/10.1080/21514399.2017.1319205.

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18

WANG, Yiping. "World Literature, Industrialization, and the Two Faces of Contemporary Chinese Science Fiction." Cultura 18, no. 1 (2021): 95–108. http://dx.doi.org/10.3726/cul012021.0007.

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Abstract: In "World Literature, Industrialization, and the Two Faces of Contemporary Chinese Science Fiction" Yiping Wang discusses contemporary Chinese science fiction against the backdrop of the influence of world literature and the development of industrialization in China. Wang argues that two sides represented respectively by Liu Cixin and Han Song constitute the feature of contemporary Chinese science fiction. The side characterized by the works of Liu Cixin is the close connection with world science fiction and the positive attitude and consistency with technological innovation and indu

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19

Yu, Shuang. "Translation and canon formation." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 18, no. 1 (2020): 86–104. http://dx.doi.org/10.1075/forum.19010.yu.

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Abstract As an essential part of the “Globalization of Chinese Culture” strategy, the translation of Chinese fiction into English has gained more significance and deserves more academic attention. Through making a survey of Chinese fiction in English translation from 1978 to 2018, the article not only presents different trajectories of the development of Chinese fiction in English translation in mainland China and the English-speaking countries but also shows that different canons of Chinese fiction in English translation have been formed in the course of this development. Reasons for the form

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20

Ding, Zichen. "Exploring the Development of Soft Science Fiction Films in the Chinese Film Market: Taking Dune 2 as an Example." Advances in Economics, Management and Political Sciences 102, no. 1 (2024): 238–43. http://dx.doi.org/10.54254/2754-1169/102/2024ed0070.

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Following the cessation of the COVID-19 pandemic, the Chinese film industry has experienced a resurgence, leading to fresh prospects for the Chinese science fiction film market. On March 8, 2024, the Chinese mainland will host the release of Dune 2, which has garnered significant popularity in the Chinese science fiction cinema market. The goal of this study was to investigate whether the popularity of the Dune series of movies in the Chinese film market persists. The objective of this study was to investigate the potential influence of the Dune series of movies on the Chinese science fiction

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21

Xinyi, Ma, and Hua Jing. "Humanity in Science Fiction Movies: A Comparative Analysis of Wandering Earth, The Martian and Interstellar." International Journal of Linguistics, Literature and Translation 4, no. 1 (2021): 210–14. http://dx.doi.org/10.32996/ijllt.2021.4.1.20.

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Wandering Earth, released in 2019, is regarded as a phenomenal film that opens the door to Chinese science fiction movies. The Chinese story in the film has aroused the resonance of domestic audiences, but failed to get high marks on foreign film review websites. In contrast, in recent years, science fiction films in European and American countries are still loved by audiences at home and abroad, such as The Martian and Interstellar, which have both commercial and artistic values. It can be seen that the cultural communication of western science fiction movies is more successful than that of C

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22

Moyer, Jessica Dvorak. "What Is Eighteenth-Century Xiaoshuo?" Eighteenth-Century Fiction 37, no. 1 (2025): 128–45. https://doi.org/10.3138/ecf.2023-0054.

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This article responds to the question, “What is eighteenth-century fiction?” with a focus on Chinese fiction. It begins with an overview of eighteenth-century Chinese fiction and a deeper reading of the explicit metafictionality of China’s most famous eighteenth-century novel, Story of the Stone (also known as Dream of the Red Chamber). Then it critically interrogates the assumed equivalency between the English term fiction and the Chinese term xiaoshuo through a historical overview of the unequal literary and linguistic engagements between Europe and China. The article concludes that “we can

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23

Zhao, Y. H. "The rise of metafiction in China." Bulletin of the School of Oriental and African Studies 55, no. 1 (1992): 90–99. http://dx.doi.org/10.1017/s0041977x00002664.

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Though it would be almost impossible to trace who first applied the term ‘Avant-Garde fiction’ (Xianfeng Xiaoshuo ) to a recent trend in Chinese fiction since 1985, it is an appropriate name in many respects. All the previous schools of fiction in modern China—Wound fiction (Shangheng Xiaoshuo ), Reform fiction (Gaige Xiaoshuo ), Re-thinking fiction (Fansi Xiaowen ), or Roots-Seeking fiction (Xungen Xiaoshuo )—received their names after their respective subject matters. The naming of Avant-Garde fiction itself seems to indicate that Chinese fiction has grown out of its thematic age to enter a

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24

Wei, Dandan. "The Translator’s Subjectivity in Ken Liu’s Translation of Chinese Science Fiction: A Case Study of <i>Invisible Planets</i>." Social Science and Humanities Journal 9, no. 06 (2025): 8328–38. https://doi.org/10.18535/sshj.v9i06.1899.

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Science fiction is a genre combining literariness, imagination, and scientific logic. Now this genre written in English is still occupying a dominant position, while Chinese works have been peripheral in the field of science fiction. This paper investigates the translator’s subjectivity in Ken Liu’s English translation of Chinese science fiction, focusing on his anthology Invisible Planets. The study first provides a brief overview of the development of science fiction globally and within China, emphasizing Liu’s role in introducing Chinese science fiction to Anglo-American readers. Then the c

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25

Hedberg, William C. "RECLAIMING THE MARGINS: SEITA TANSŌ'S SUIKODEN HIHYŌKAI AND THE POETICS OF CROSS-CULTURAL INFLUENCE." International Journal of Asian Studies 12, no. 2 (2015): 193–215. http://dx.doi.org/10.1017/s1479591415000121.

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This article focuses on the literary criticism of the Edo-period scholar, Seita Tansō (1719–1785). Although a historian by vocation, Tansō additionally lectured extensively on the Chinese vernacular novel, Shuihu zhuan (Jp. Suikoden, En. The Water Margin). While earlier generations of Chinese fiction aficionados in Japan had also discussed Shuihu zhuan, early eighteenth-century analysis was primarily limited to philological explication—a task necessitated by the extensive use of colloquial language in the novel. In contrast to this tradition of philological exegesis, Tansō turned his attention

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26

Rasuleva, Nigina Alisherovna. "SCIENCE FICTION IN WESTERN AND CHINESE LITERATURE: SIMILARITY AND COMMUNITY." International journal of word art 5, no. 5 (2022): 5. https://doi.org/10.5281/zenodo.7038307.

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Traditionally, science fiction is fiction mixed with scientific ideas at the same time. The article analyzes the formation of the science fiction genre in world literature, the creativity and writing style of modern Western and Chinese science fiction writers. Well-known and popular works of science fiction writers reflect their main content and essence.

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27

Fan, Tszyalin'. "Chinese Modern Science Fiction Literature: Translation and Acceptance in Russia." Litera, no. 9 (September 2024): 181–96. http://dx.doi.org/10.25136/2409-8698.2024.9.68749.

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The subject of the study covers the process of translation and distribution of Chinese science fiction literature in the Russian book market. The main attention is focused on the peculiarities of cultural and literary interaction between Russia and China. The study analyzes the methods and strategies used in the translation process, examines their effectiveness and identifies potential problems. Cultural nuances that play a key role in the perception and adaptation of Chinese fiction by Russian readers are also considered. Through a quantitative analysis of translations and reviews, the articl

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28

Lua, Shirley O. "Recreating the World in Twenty-First-Century Philippine Chinese Speculative Fiction." Prism 19, no. 2 (2022): 491–508. http://dx.doi.org/10.1215/25783491-9966767.

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Abstract This article surveys contemporary Filipino Chinese authors' interest in speculative fiction. Many of the authors of this burgeoning movement were included in the anthology Lauriat: A Filipino-Chinese Speculative Fiction Anthology (2012), edited by Charles A. Tan. These authors find speculative fiction a fruitful genre for combining Western literary techniques and material gleaned from Philippine myth and folklore.

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29

Jiang, Yuqin. "Anti-heroic figures, Dream Boxes, and the Search for the Nature of Humanity:  A Cyborg Narrative in Contemporary Chinese Science Fiction." Writing Chinese: A Journal of Contemporary Sinophone Literature 3, no. 1 (2024): 22–32. https://doi.org/10.22599/wcj.87.

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KEYNOTEYuqin Jiang is Professor of Comparative Literature, at the School of Humanities, Shenzhen University, Shenzhen. Her research interests span cyborg narrative, sci-fi poetics, digital humanities, science fiction, postcolonial literature, and cultural theories. She is currently leading a National Social Science Fund project titled "Cyborg Narrative and the Construction of 21st-Century Science Fiction Poetics". She has recently edited significant works: The New Integration of Science and Technology with Humanities: Research on Science Fiction in the Perspective of New Liberal Arts (Nanjing

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30

Imbach, Jessica. "Chinese Science Fiction in the Anthropocene." Ecozon@: European Journal of Literature, Culture and Environment 12, no. 1 (2021): 121–37. http://dx.doi.org/10.37536/ecozona.2021.12.1.3527.

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 A green future has become a central promise of the Chinese state and the environment is playing an increasingly important role in China’s bid to promote itself as a political alternative to the West. However, Chinese state environmentalism and its promotion of “ecological civilization” (shengtai wenming 生态文明 ) have so far proven more aligned with political interests rather than environmental goals. At the same time, low -orbit industrialization as a response to the climate change or the resurgent fantasy of p opulation control as a necessity from the standpoint of biology in environmen

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31

Hammond, Charles E., and Lee Yu-hwa. "Fantasy and Realism in Chinese Fiction." Chinese Literature: Essays, Articles, Reviews (CLEAR) 8, no. 1/2 (1986): 126. http://dx.doi.org/10.2307/495129.

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32

Jasper, David. "Finding theology in contemporary Chinese fiction." International Journal for the Study of the Christian Church 19, no. 2-3 (2019): 160–74. http://dx.doi.org/10.1080/1474225x.2019.1640584.

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33

Ning, Wang, and Charles Ross. "Contemporary Chinese Fiction and World Literature." MFS Modern Fiction Studies 62, no. 4 (2016): 579–89. http://dx.doi.org/10.1353/mfs.2016.0053.

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34

Yang, Jincai. "Political interrogation in contemporary Chinese fiction." Neohelicon 41, no. 1 (2014): 145–56. http://dx.doi.org/10.1007/s11059-013-0223-8.

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35

Chan, Mimi. "Chinese women's speech in English fiction." Language & Communication 10, no. 4 (1990): 231–53. http://dx.doi.org/10.1016/0271-5309(90)90011-y.

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36

Dauncey, Sarah. "Writing Disability into Modern Chinese Fiction." Chinese Literature Today 6, no. 1 (2017): 48–55. https://doi.org/10.1080/21514399.2017.1319213.

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37

Chan, Leo Tak-hung. "Does the Narrator Get Translated Into Chinese?" Babel. Revue internationale de la traduction / International Journal of Translation 44, no. 1 (1998): 46–64. http://dx.doi.org/10.1075/babel.44.1.04cha.

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Abstract The translation of narrative fiction, unlike that of poetry and drama, has received little critical attention, because it has not been deemed distinctive enough to merit study in its own right. The purpose of the article is to define the literary-critical approach to evaluating translated fiction, first by showing its reverse, the language-oriented approach, and then closely analyzing three instances where it is deployed. Then attention will be focused on one problem area and it is seen that shifts on a micro-structural level can create an effect on macro-structural elements, producin

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38

Zakharova, Natalia V. "Love Fiction in China in the Second Decade of the 20 th Century: from Sentiments to Duck-Lovebirds and Butterflies." Studia Litterarum 6, no. 1 (2021): 88–110. http://dx.doi.org/10.22455/2500-4247-2021-6-1-88-10.

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The article analyzes the evolution of Chinese love fiction in the first years that followed the 1911 Xinhai revolution. The article focuses on literature representing “couples in love,” namely fiction about “duck-lovebirds and butterflies,” an invariant of the “love prose” genre. The authors of these works both continued the traditions of the previous literature and at the same time attempted at modernizing the genre. Chinese literary scholars have controversial opinions about this genre and its invariants. Controversies concern the literary movement to which these works should be attributed,

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Zakharova, Natalia V. "Love Fiction in China in the Second Decade of the 20 th Century: from Sentiments to Duck-Lovebirds and Butterflies." Studia Litterarum 6, no. 1 (2021): 88–103. http://dx.doi.org/10.22455/2500-4247-2021-6-1-88-103.

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The article analyzes the evolution of Chinese love fiction in the first years that followed the 1911 Xinhai revolution. The article focuses on literature representing “couples in love,” namely fiction about “duck-lovebirds and butterflies,” an invariant of the “love prose” genre. The authors of these works both continued the traditions of the previous literature and at the same time attempted at modernizing the genre. Chinese literary scholars have controversial opinions about this genre and its invariants. Controversies concern the literary movement to which these works should be attributed,

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40

Klein, Lucas. "Circumcised or Cannibalized: Une vie de boy in Chinese Translation." PMLA/Publications of the Modern Language Association of America 128, no. 1 (2013): 133–41. http://dx.doi.org/10.1632/pmla.2013.128.1.133.

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To understand ferdinand oyono's 1956 cameroonian novel une vie de boy in its two chinese translations, first Understand that modern Chinese literature begins in translation. This is true with translation understood both narrowly and broadly. The first “modern” work of Chinese literature—that is, the first work of literary fiction published in modern vernacular Chinese—is the 1918 “Diary of a Madman” (), by Lu Xun (1881-1936), its title a reference to Nikolay Gogol's 1835 story, its narrative written in the vein of calls by Liang Qichao (1873-1929) for a “revolution in fiction” ( [“Foreword” an

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41

Vlasova, Tatiana A. "“AUTHENTICITY” AND “FICTION” IN THE FORMULAS OF A CHINESE FAIRYTALE." Folklore: structure, typology, semiotics 4, no. 1 (2021): 12–38. http://dx.doi.org/10.28995/2658-5294-2021-4-1-12-38.

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The article is focused on studying the specific features of the Chinese fairytale on the example of its traditional formulas. Unlike the “classic” fairytale described by the “Propp formula” and the Aarne – Thompson system indexes, the Chinese fairytale is built upon the completely different type of the fairytale fantasy. That feature is manifesting primarily in its relation to non-textual reality (= reality), which directly affects the poetics and the style of the genre. The paper considers the structure and content of the initial and final formulas as one of the most important markers of the

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42

Li, Cheng. "Inventing Climate Change." Prism 21, no. 1 (2024): 150–78. https://doi.org/10.1215/25783491-11206904.

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Abstract By engaging with and bringing together Chinese environmental humanities and science fiction studies, this article argues that the narratives of weather and climate revealed in late Qing science fiction serve as a metonymic vehicle and a medium for addressing China's social and political crises. The author analyzes three late Qing science fiction works—Bingshan xuehai 冰山雪海 (Iceberg and Snow Ocean), Dianshijie 電世界 (Electrical World), and Xinshitouji 新石頭記 (New Story of the Stone)—and delves into the intellectual history of modern Chinese environmental ideas. In exploring literary represe

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43

Zhang, Jirong. "On the Influence of Chinese Newspapers and Periodicals on Japanese Chinese Literature." Asian Social Science 14, no. 8 (2018): 113. http://dx.doi.org/10.5539/ass.v14n8p113.

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Japanese Chinese literature is a Literature written by overseas Chinese in Japan using Chinese characters. Its emergence and development are related to the Chinese newspapers and periodicals. The Chinese newspapers and periodicals in Japan, represented by the Chinese Review Weekly, provided a platform for the publication of literary works and a spiritual home to the overseas Chinese in Japan. Chinese journals in the Mainland of China, represented by the Fiction World, have played a decisive role in the construction and dissemination of Japanese Chinese literature in Chinese Mainland. Both of t

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44

Qin, Li. "Strategies for Translating Chinese Colloquial Expressions into English in Science Fiction: A Case Study of English Version of the Three-body Problem." International Journal of Education and Humanities 6, no. 1 (2022): 196–200. http://dx.doi.org/10.54097/ijeh.v6i1.3091.

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In recent years, Liu Cixin’s trilogy the Three-body Problem, a science fiction novel, has broken the monopoly of foreign science fiction, won massive and popular reviews and admiration from Chinese and foreign readers, and has become an important source for Chinese culture to “go global”. To some extent, the result of English translation of science fiction has relatively affected its spread abroad. In the context of cultural differences, in order to enable overseas readers to correctly feel and understand the cultural elements of Chinese science fiction, it is necessary to properly convey spec

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45

Jasper. "Seeking Christian Theology in Modern Chinese Fiction: An Exercise for Sino-Christian Theology." Religions 10, no. 7 (2019): 422. http://dx.doi.org/10.3390/rel10070422.

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The development of Christian theology in contemporary China can learn much from Chinese fiction beginning with Lu Xun and his dedication to writing for the spirit of the Chinese people. Increasingly, Chinese novelists have reflected the growth of spiritual life in the Chinese People’s Republic in spite of the burden placed on the Christian church and religious believers.

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46

Wang, Jijia. "Analysis of Historical Views in The Man Who Ended History: A Documentary." Frontiers in Humanities and Social Sciences 3, no. 11 (2023): 110–16. http://dx.doi.org/10.54691/fhss.v3i11.5752.

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As a highly regarded Chinese-American science fiction writer, Liu Yukun’s science fiction The Man Who Ended History: A Documentary published in 2012 combines science fiction elements with historical event against the background of Unit 731 of the Japanese Imperial Army’s violent behavior in Harbin, showcasing the views of the East and West on Chinese traumatic history. This article combines new historicism to examine the relationship between history and individuals within the text, as well as the historical views upheld by all parties.

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Ma, Shuo. "The Influence of Existentialism on Chinese Science Fiction Literature." Communications in Humanities Research 21, no. 1 (2023): 91–96. http://dx.doi.org/10.54254/2753-7064/21/20231427.

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Existentialist philosophy has exerted a profound and extensive influence on contemporary society, extending its impact beyond the domain of philosophy to significantly shape the arts, including literature and cinema. This paper adopts existentialist theory as its primary analytical framework, employing methodologies such as textual analysis and comparative research to provide a concise examination of how existentialist concepts and perspectives, notably those pertaining to Absolute Freedom, The Others, Absurdism, and Humanism, have influenced and integrated with Chinese science fiction novels.

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She, Xiaoling, and Jian Wen. "Modern Chinese Fiction (1919–1949) in Russia: Early Translation, Publication and Research." Vestnik of Saint Petersburg University. Asian and African Studies 13, no. 1 (2021): 4–18. http://dx.doi.org/10.21638/spbu13.2021.101.

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The article provides an overview of early Russian translations and publication of modern Chinese fiction (1919-1949). The approaches to the early study of the works of prominent representatives of modern Chinese literature are examined and the reasons why Soviet society is interested in their heritage are identified. Since the 1920s, well-known works of renowned Chinese writers have been frequently translated into Russian mainly by young sinologists. Most of them had been to China and had developed a direct understanding of the development of modern Chinese literature, translating primarily fr

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Iliychuk, Iryna. "Principles of Chinese Language Teaching Based on the Material of Chinese-Ukrainian and Ukrainian-Chinese Fiction Translations." Journal of Vasyl Stefanyk Precarpathian National University 9, no. 2 (2022): 118–22. http://dx.doi.org/10.15330/jpnu.9.2.118-122.

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Abstract:

The article highlights the combination of translation and didactic areas aimed at the study and substantive application of translated artistic texts in teaching and scientific-theoretical activities, which will help to introduce elements of an innovative approach into the methodology of teaching Chinese in Ukrainian secondary and high schools and universities. Didactic materials of artistic translations from the Chinese language will introduce to pupils, students and everyone who is interested in China, its geography, history, mental traits, culture, way of living and lifestyle of the populati

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Liu, Tao Tao, and Mau-sang Ng. "The Russian Hero in Modern Chinese Fiction." Philosophy East and West 40, no. 3 (1990): 407. http://dx.doi.org/10.2307/1399437.

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