The Zhongyong, also known as The Doctrine of the Mean, has gradually attained recognition as a philosophical classic over more than 300 years of translation endeavor, since its initial English translation in 1691. A comprehensive review of its translation history unveils significant shifts in the understanding and reception of The Zhongyong. The work has been rendered into 29 English versions, that encompasses full translations, selected translations, compilations, and even adaptations in comic form. In this paper a detailed overview of the English translation history of The Zhongyong is presented, that categorizes it into three distinct phases: (1) “An Interpretation of Confucianism through a Christian Lens (1691-1905)”, in which, translators primarily sought to draw parallels between Confucianism and Christianity. (2) “An Interpretation of Confucianism through Western Cultural Frameworks (1906-2000)”, where translators predominantly adopted a culturally oriented translation strategy, that aligned The Zhongyong with Western philosophical and cultural paradigms. (3) “A Reinterpretation of Confucianism through Its Chinese Cultural Context (2001-present)”, in which, the focus shifts to the restoration of the original philosophical and cultural essence of the text, and contributes to its canonization as a philosophical classic within global discourse. The translation of the title “Zhongyong,” is further examined through an analysis of four representative renditions to illustrate the diverse conceptual understandings they reflect. The findings indicate a notable trend towards interpretive translation, wherein various strategies are employed to enhance readers’ comprehension of complex philosophical concepts. As the demographic of translators has diversified, translation strategies have also evolved from domestication in the earlier phases to foreignization in the contemporary phase, which signifies a growing emphasis on preserving the authentic Chinese philosophical context.

The series of novels “Eurasian Symphony” written by Rebakov and Alimov is a major event in the writing of China in contemporary Russian literature. The dual identities of the two writers and sinologists have endowed the novels with unique literary character and aesthetic taste. They have both systematic knowledge and in-depth research on Chinese history, culture and literary classics, and have the patriotism and literary imagination of Russian writers. China, as an idea and symbol, is the key factor in the writer’s creation of the ideal country of Ordus. With the help of the genre of afternative history and detective themes, the writers parodie Eurasianism, and China’s time and space become an organic part of the country of Ordus, expanding its geographical pattern and extending its historical latitude and longitude. Based on their high recognition of Chinese civilization, Rebakov and Alimov expressed their unique insights on the operating mechanism of an ideal society by reshaping Confucianism. The Confucian gentleman model is a yardstick for personal cultivation, and benevolent government and moral governance are the spiritual pursuits of a harmonious society. In the novel, Chinese cultural symbols are combined with Russian culture, and the writers construct the semiosphere of the cultural community of Ordus. Hieroglyphs are combined with Russian letters, and the writers shape the Chinese symbol system in the cultural space of Ordus.

Dr. Lim Boon Keng, JP, OBE (1869–1957) played a significant role in the cultural and educational development of early 20th-century Singapore and Malaya. Born into a Peranakan family in British colonial Singapore, Lim was the first Chinese student to receive the Queen’s Scholarship and studied medicine at the University of Edinburgh. Lim is considered an intermediary between West and East (Xie, 2024). His unique background, blending Western education with traditional Chinese values, positioned him as a key figure in promoting Chinese education (Ang, 2007) and Nanyang Confucian Revival Movement (Wang, 2012) helped bridge the gap between the English-speaking Peranakan community and the broader Chinese population, shaping the foundations of Singapore’s unique multicultural identity.

By comparing Lim’s early 20th-century initiatives with later the government of Singapore’s efforts in promotion of Confucianism in the 1980s and the commitment to fostering a bilingual and bicultural society, this research offers a deeper understanding of his lasting contributions, his foresight in anticipating the importance of cultural and linguistic integration, and the enduring nature of Singapore’s multicultural identity.

This paper explores how Black Myth: Wukong introduces a new media narrative model grounded in Chinese philosophy. By leveraging the established image of Sun Wukong in media history, the game enables players to construct and dissolve their subjectivity through the process of becoming Wukong. This approach challenges the conventional digital narrative paradigm, which centers on player subjectivity. Furthermore, the game employs cyclical narrative time, drawing players into continuous cycles of media innovation. The evolution of the Wukong narrative reflects the evolution of the Sinicization of narrative from non-digital to digital media, and its transformation of media narratives. This development calls for the creation of a research framework and discourse for media narratives that embodies unique Chinese characteristics.