Abstract
Translation and reception of literary works are generally influenced and restricted by the socio-cultural background and literary norms existing in the target language country. Literary works are usually translated in conformance to the ideology of target language country. Meanwhile there also has been different evaluations in accordance with the socio-cultural background of target language country even if it is the same author or the same work. Tanizaki is a typical Japanese writer of the Aesthetic movement whose works have been translated and accepted in China during three periods. During 1928-1941, under the Shanghai Concession circumstances, much attention was given to the idiosyncrasy of Satanism that had a considerable influence on modern Chinese literature. After 1980, under the influence of left wing’s thought and disputes between politics and literature, Tanizaki was actually accepted as an antiwar writer; his aestheticism was analyzed because of its practical and pedagogical significance. After 1994, as China’s politics became relatively open, Tanizaki’s works were appreciated more favorably and the objective and literary concept of aestheticism was approved.
