The Collection of Foreign Novels (Yuwai Xiaoshuo Ji, 1909), co-translated by Lu Xun and Zhou Zuoren, represents a significant milestone in the emergence of modern Chinese literature. Of the included works, three stories (two by Leonid Andreyev and one by Vsevolod Garshin) were translated by Lu Xun from German, while the remaining 13 were rendered by Zhou Zuoren from English. This study examines the English translations of Chekhov’s works used by Zhou Zuoren, and Zhou’s intentions, strategies, and misreadings in translating Chekhov. By doing so, it seeks to elucidate Chekhov’s influence on the development of modern Chinese literature and the short story as a literary form in the modern Chinese literature.

Abstract: The epic poem "Manas" is a cultural bearer that unites the spirituality of the Kyrgyz people and a monument in living form that manifests the charm of oral literature. The Manas has become world-famous through the transmission and singing of the Manasch, and its related research has been promoted in several countries in a planned and scaled manner. Among them, Manaschism in Russia is the earliest started and the most mature. Russian Manaschis and Manasology experts continue to document, study, and promote the epic. The Russian scholarly community has focused on the epic nature and ethnohistorical value of Manaschka, and the 100-year history of research reflects the interdisciplinary nature of research thinking, the disciplinary specialization of research results, and the internationalization of the scale of research. The Russian research community has not only solved the basic problem of the classical construction of the epic through exploration and research, but also made an important contribution to the promotion of national spirit. Therefore, it is worthwhile to learn from its research process, refer to its research experience, and reflect on its current situation, so as to contribute to a new level of research on Manas in the world.

Chinese cultural canons are the concentrated expression of traditional Chinese philosophical thought and cultural essence. As a key initiative of the strategy of ‘Chinese culture going out’, Russian translation of canonical books has built a bridge between Chinese and Russian culture.With the cultural turn in translation studies，The historical and cultural context behind the act of translation and the issue of translator subjectivity have received increasing attention in translation studies. Differences in identity also determine the ideology behind the act of translation, the cultural background and the linguistic style of the translated text, which ultimately leads to the formation of unused translation styles, and conveys a very different cultural ideology and image of China to the outside world, and this results in a different culture-shaping force.

Among Russian sinologists, Lukyanov (Анатолий Евгеньевич Лукьянов) stands out for his comparative philosophical and cultural typological approach. He has a fascination with ancient Chinese culture, “Tao” and “archetype” and the relationship between “Ren” and “Tao” are two pairs of key concepts in his study of ancient Chinese culture. Lukyanov has a very clear understanding of the rhythmic nature of the Chinese canon and argues that none of the sinologists who preceded him realized the problem of the rhythmic nature of the Chinese canon.

On the basis of this, this paper intends to combine the theory of manipulation in the cultural school of translation studies with the theory of translational behavior in the German functional school of translation studies, examining Lukyanov's translation of the Chinese canons from three basic aspects: ideology, poetics, and patronage, respectively. In terms of ideology, it mainly examines the translator's cultural identity in the historical, social and contemporary context in which Lukyanov lived. In terms of poetic, it mainly examines Lukyanov's choice of translation strategy based on his cultural identity, the inner laws of the text and his own poetic view of translation, as well as the translator's value orientation behind this choice of translation strategy. In terms of patronage, this paper will focus on the influence of Lukyanov's ‘moral’ school of Russian Sinology on his direction of research, his target audience, and his choice of translation strategies. On the basis of research in the three areas mentioned above, this paper goes beyond the level of linguistic research to expand the research horizon to the translator's personal background, emotional tendency and the social communication dynamics in which he lived, aiming to construct a three-dimensional translation history of Lukyanov's person and expecting to provide more insights and references for the Russian translation of Chinese canons.

Abstract: Before and after World War II, there was a surge of interest in Chinese poetics in Czech, driven by the friendly relations between China and Czech at the time. A group of scholars researching China dedicated themselves to absorbing the essence of Chinese culture for the development of their own society. In 1944, four songs adapted from Chinese poetry were sung in the Terezin concentration camp, created by the imprisoned musician Pavel Hass (1899–1944) based on translations of ancient Chinese poetry by Czech translator Bohumil Mathesius (1888–1952). The ideals of eternity, balance, and harmony expressed in Chinese poetry constructed a "utopia" in the hearts of the Czech people during the Nazi regime, helping to soothe the psychological trauma of innocent victims of war. Czech scholars employed Marxist literary theory to carve out an interpretative path for Chinese poetics that bridged the ancient and modern, as well as Eastern and Western perspectives. This allowed Chinese poetry to become a warm current flowing into the spiritual homeland of the people amidst the fires of war. In a time of severe national crisis, the Czech people, caught between socialism and capitalism, yearned to find a social development path to address their problems. They employed Marxist theory to explore the realm of traditional Chinese poetics in search of spiritual nourishment that aligns with modern societal values, seeking cultural strength embedded with modern genes within the ancient wisdom of the East.

King Gesar is a long epic that gathers the collective wisdom of the Tibetan people in China. It has flowed to different ethnic groups and places through many modes of dissemination, such as trade and commerce exchanges, wars, artists' singing, and Tibetan Buddhism. In the long process of transmission, Gesar constantly adapts to the new requirements of life and undergoes several innovations, which not only leaves traces of the changing times, but also compatibilises the different national temperaments of Mongolian, Tibetan and Buryat into Gesar, making an important contribution to the enrichment of the world's literature and the inter-ethnic cultural exchanges. The research of Gesar in Russia can be divided into three stages. The first stage began in the late 18th century, when scholars discovered Gesar and traced its origins, and the research on Gesar was interrupted in the 1940s due to the influence of political factors; the second stage began in the mid-20th century, when the reputation of Gesar was restored, and its research was put on the right track, and the pioneers of Gesarology devoted themselves to the collection, collation, translation, publication, and research of Gesar to lay an important foundation for the development of Russian Gesarology. The third stage began in the 21st century, when a new generation of Gesar scholars injected new vigour into the study of Gesar, and a wealth of academic and folk activities promoted the inheritance and development of Gesar.