INTERPRETATION OF THE LINGUOCULTUREME “家JIA / FAMILY” IN BA JIN’S “TORRENT TRILOGY”.

Abstract

Language and culture are closely interrelated, as E. Sapir rightly noted, language can be considered as a “prerequisite for the development of the entire culture as a whole” [1, p. 233]. Indeed, a language cannot develop without relying on the cultural traditions of a nation, which implies the need to study the language in connection with cultural elements. Translation is more than just a process of transforming one language into another, it is also a process of integrating different cultural perspectives. The linguocultureme of “家 jia / family” plays a central role in traditional Chinese society, where the concept of “family” is linked to social stability and harmony. The “家 jia / family” has become a significant part of Chinese cultural heritage, reflecting the unique identity of the Chinese people through Confucianist and Taoist ideologies such as “家国天下 / Family, Country and The World” and “天人合一 / Unity of Heaven and Man”. This article aims to explore the interpretation of the linguistic and cultural aspects of the concept of “家 jia / family” in Ba Jin’s novels “Family” (1956), “Spring” (1957), and “Autumn” (1957), which are included in the “Torrent Trilogy”, and their Russian-language translations, carried out, respectively, by V. Petrov (“Family”), G. Yaroslavtsev, and P. Lin (“Spring”) and B.G. Mudrov (“Autumn”). The article examines the Chinese cultural traditions associated with the idea of “家 jia / family”, which helps readers better understand the cultural significance of the family in Chinese society.