As a renowned 20th-century writer and a representative of the stream-of-consciousness novel, Faulkner has had a profound impact on Chinese and even world literature. This influence has inspired a group of Chinese scholars to conduct academic research on him. Over the years, Chinese Faulkner studies have yielded fruitful results, encompassing the fields of influence studies, parallel studies, and cross-cultural studies, with distinct characteristics of comparative literature, making them an excellent case for comparative literature analysis. On the one hand, reassessing Faulkner studies in China from a comparative literature perspective broadens our understanding of Faulkner’s influence and provides a unique Chinese experience in Faulkner studies. On the other hand, examining China’s Faulkner studies from the perspective of world literature injects a global perspective and value into China’s Faulkner studies, aiming to better promote world literature studies.

It can be said that from the perspective of world literature, we can see that Faulkner research in China: on the one hand, Chinese Faulkner research has constructed the Chinese experience of Faulkner research with China’s unique culture and context.On the other hand, it provides a world perspective and practical cases that overflow the boundaries of Chinese national literature and constructs universal literary experience and aesthetic values. Both of them are integrated into the construction of world literature with the experience of cross-cultural literary exchange and interaction, providing a reference for the construction and reconstruction of world literature. With its possibility of cross-cultural influence, cross-cultural similarity, and interdisciplinary exploration of mutual interpretation, Chinese Faulkner research provides theoretical support for world literature, and also demonstrates the vivid practice of literary interpretation in the context of world literature through specific cases. In the final analysis, Chinese Faulkner research, a regional cross-cultural research practice with a global perspective, provides a possibility of cross-cultural communication, which is the premise for the realization of world literature. In addition, placing Chinese Faulkner research in the perspective of world literature will give Faulkner research a wider meaning. At the same time, taking care of Faulkner with a global perspective will enable Chinese researchers to form a conscious awareness of dialogue with international scholars, and better promote the breadth and depth of Faulkner research.

Focusing on the research paradigm of aeromobility, this article aims to sort out the narrative and imagination of aerospace in Chinese and Western literary creation since the 20th century, and explore people's complex attitudes towards time and space compression, scientific and technological progress, and different assumptions about the unknown world in different cultural backgrounds, so as to provide reference for mutual learning and cultural exchanges between Chinese and Western civilizations.

Although India and China have disparate historical backgrounds, the two countries share the Oriental cultural root. Natyasatra, as the masterpiece of Bharata, has long attracted the attention of international scholars contributing the cultural, religious and theatrical studies, including West scholars who parallel this classic with Aristotle’s Poetics and Chinese scholars who compare this Indian canon with Chinese ancient treatises, i.e. Wen Xin Diao Long, or The Literary Mind and the Carving of Dragons.

However, Chinese theatrical theories were epitomized in Ming and Qing Dynasty, during which Xian Qing Ou Ji, or Casual Expressions of Idle Feeling by Li Yu, is a systematical theatrical encyclopedia that could rival Natyasastra in scope and comprehensiveness but has long been ignored. Taking the theatrical theories as a microsome, I would explore the differentiation in various cultures and prospective mutual learning in Oriental civilizations, which is the central aim of thematology in comparative literature. In particular, regarding the ontology of drama, the principles in theatrical composition and performance, the style of drama as well as the functions of drama are all discussed in detail in both of books, yet the religion and philosophical ideas largely shaped the ideas into diverse directions.

Through the comparative lens, the study into the similarities and differences of the theatrical theories in Natyasastra and Xian Qing Ou Ji would not only commit to the inheritance of national classic poetics and contribute to the understanding of the general Oriental aesthetics, distinguishing the East from the West represented by ancient Greek, furthermore embodying the multicultural dimensions in world literature, but also experiment a new avenue of inquiry of literary theories, shifting from pursuing homogeneity in comparative literature to the mutual learning of disparate civilizations in world literature.

In the early 1960s, young Bob Dylan entered the scene and core of the New York counterculture movement, perceiving the popularity of the distinctive ideas from the Chinese classic "I Ching" among the youth represented by the hippies, which were quite different from Western traditions. Through reading, communication, and in-depth contemplation, Bob Dylan artistically transformed the philosophies in the "I Ching", such as the simplicity of the great way, change and constancy, and the interdependence of opposites. He successively created songs like "Blowin' in the Wind", "The Times They Are a-Changin'", and "Like a Rolling Stone", which reflected the contemporary value of ancient Chinese I Ching thought in terms of form, content, and philosophical connotations. The "I Ching" also had significant enlightening significance for Dylan's artistic creation that had a global impact. Dylan's reception of the "I Ching" is an important case of Chinese culture being introduced into the United States and having a profound influence, which deserves the attention of the academic community.