DIFFERENCES IN THE INTERPRETATION OF I. BUNIN’S WORKS IN CHINA

Abstract

The article examines history of perception in China of the works and ideas of I. Bunin in the 1980s and XX centuries. Focusing on the analysis of Chinese scholars of Bunin’s works on love and country themes, presenting differences in interpretation at different periods of the study and analyzing the main reasons. With the appearance of the first works of I. Bunin, his work became the subject of critical essays, reviews, articles. The writer’s contemporaries noted the talent of the novice writer, the subtle lyricism of the images he created, the psychological depth and reliability of the characters. Critics of the early twentieth century drew attention to the subtle observations of the writer and the original features of his figurative vision. Thus, M.Ya. Abramovich noted the unique ability of I. Bunin to feel and convey the subtlest manifestations of life, calling them “pantheistic passion”. The writer’s ability to emotionally react to the state of nature was noted by F.A. Stepun, comparing I. Bunin’s talent in depicting nature with F.M. Dostoevsky’s skill in penetrating human nature. The article uses materials of domestic and foreign scientists who studied the works and works of I. Bunin. The article reveals the interpretation of the works of I. Bunin in the allegorical sense, adjusted for Chinese culture and worldview. The author notes the images created by the writer, with a distinctive unity of the picturesque and the value, capable of “animating” the images and “foreseeing” their development.