This article delves into the translation initiative known as the UNESCO Collection of Representative Works: Treasures of World Literature, which was launched in the post-World War II period under the auspices of UNESCO. The study explores the processes and mechanisms of world literature production in the post-war era. The article highlights that, influenced by post-war developmentalism and modernization trends, UNESCO sought to establish a system of world literature embodying a shared human spirit by selecting and translating classic works from various nations, aiming for cross-cultural exchange and world peace. However, the creation of world literary classics under UNESCO’s guidance became a realm of international cultural-political contention, revealing tensions between developed and developing countries, the West and the non-West, universal values, and cultural diversity. The production of world literature classics has always been a contentious, selective construction process reflecting the political, economic, ideological, and cultural power structures of different eras.

“Palindrome” represents a unique literary form in China, characterized by its playful nature, with a long history and profound influence. Starting from the translational variations of the English term “palindrome,” this paper first expounds the pictographic nature of palindrome poems’ forms and structures, rich variety of genre and diversity of thematic meanings. On this basis, it focuses on most critical work within the sequence of Chinese palindrome poetry: Su Hui’s Xuan Ji Map. This paper briefly outlines its creative background and its significance in the developmental history of Chinese palindrome poetry, as well as the attention and research it has garnered in Anglo-American academia. Emphasizing Michèle Métail’s Wild Geese Returning, it reveals several main characteristics and patterns in the organization of Xuan Ji Map: multidirectional connectivity and nested meanings, zigzag rhyming and cross-rhyming, omitting words and borrowing words. It also addresses the connection between Xuan Ji Map and Taoist philosophy as highlighted by Métail, alongside its influence on David Hinton’s Classical Chinese Poetry, and analyze Hinton’s interpretative variations of Xuan Ji Map. Furthermore, by integrating Hinton’s understanding of Taoist and Zen philosophy, the paper analyzes the impact of Xuan Ji Map on Hinton’s spatial poetry Fossil Sky from the perspectives of intrinsic thought and compositional strategies, highlighting the playful significance of Xuan Ji Map and its vital value in cross-cultural dialogue.

文明互鉴 situates Chinese literary tradition in a Global context, encouraging research on how it may dialogue with other traditions that have remained materially disconnected from China until recently. In that sense, 文明互鉴 may become useful methodologically to reformat “World Literature” into a mosaic of cross-civilizational case-studies concerned with mutually appropriate literary issues. After reaching scale, it would be possible to dispense with overarching narrative(s) focused on any specific tradition and its claims to influence.

Taking such a cue, I will search for common grounds between Portuguese-language and Chinese ancient literatures. There are enough parallels to postulate a degree of “poetic-cultural” equivalence between early “Cancioneiro” 歌谣集 poetry and the “Airs of the Countries” from the Classic of Poetry 《诗经·国风》. I will analyze three pairs of poems: (1) “Hum tal home sei eu, ai bem talhada” (D. Dinis, B 514, V 97) and 《周南·关雎》; (2) “Vaiamos irmana, vaiamos dormir” (Fernando Esquio, B 1326, V 932) and 《鄘风·柏舟》; (3) “Pero el-Rei há defeso” (Estevão da Guarda, B 1298, V 902) and 《魏峰·硕鼠》. Considered general differences in terms of language family, ethology and poetical-aesthetic codes, the poems are compatible in respect of form, content and theory.

My presentation has three sections. An introduction will present the theoretical references, subject matter and standards for comparison. As bureaucratic, patriarchal and agricultural societies, Middle Age Iberian Peninsula and Ancient China possess relevant common features. Such affinities foster a similar sense of what it means to “be a poet” and to “produce poetry”. They also attribute analogous social functions for poetic creations. The main section is devoted to the case-studies. First, the poems have comparable formal features, such as compositional techniques and prosodical properties. They share the same sense of orality and musicality, creating rhythm and melody through vocabular repetition. Second, regarding their content, Portuguese-language cantigas are classified under a tripartite division of themes. All three are identifiable in their Chinese counterparts: love (expressed by male or female voices) and the satirical game between parties at odds with each other. Finally, the two traditions also follow comparable theoretical frameworks. I will summarize the technical and critical standards defined in the short treatise “Arte de Trovar”, included in the Cancioneiro of the National Library, and the “Great Treatise”《毛诗·大序》, part of the textus receptus of the Classic of Poetry in the Mao tradition.

In the conclusion, I will attempt a theoretical discussion about how 文明互鉴’s methodology may become relevant to World Literature (and comparative literature as a discipline). Specifically, I will dwell on its interplay with mainstream “Theory”, concentrating on how it relates to “Postmodernity” in terms of philosophical underpinnings, political ideology and literary historiography.

Abstract: The Red Queen is one of the important works written by Margaret Drabble, a famous British contemporary writer. Focusing on intercultural communication and understanding, the three parts in the novel titled as “ancient times”, “modern times” and “post-modern times” are connected with spirit narrative. The writer’s expectation towards post-globalization era featured by mankind’s equal and harmonious living is embodied in the novel. There are two prominent ideas in the novel. One is the criticism and reflection to globalization. The other is Drabble’s understanding of cosmopolitanism. A kind of tension is formed with the two ideas to represent the contemporary reality. In the “ancient times” part, the turbulent life of the Crown Princess is narrated with the first person narrative, together with the understanding of the events at the ancient times with modern western psychological theories, medical knowledge, science and philosophical knowledge of the spirit of the Princess. The Princess, as the narrator, shows her confidence in the Korean culture with the western culture as a kind of reference. The spirit of the Princess serves as a combination of eastern and western cultures, and there is a tendency of cosmopolitanism embodied in the understanding of the culture of ancient Korea. The Princess has unique appreciation for their aesthetics. She values high on their psychological construct, too. The confidence in their culture prompts the cherish and preserving of the traditional culture. In the “modern times” part, the importance of communication and understanding is shown through several intercultural communication instances. With Dr Halliwell’s visit to Seoul as the thread, a modern woman’s family, career and private life are stated. As a substitute for the Princess, Dr Halliwell’s life shows the shared dilemma that mankind face in different times and different cultures. With the shared dilemma, mankind could find some common place and eliminate prejudices through communication. This could be traced to Drabble’s creation idea. For example, in Drabble’s another earlier novel The Middle Ground, the communication, negotiation and understanding of different cultures is an important concern, too. In the “postmodern times” part, the prospect of win-win gets its prominence based on the respect for the common character of mankind. Drabble’s expectation for post-globalization is voiced by Dr Halliwell. Different cultures could enjoy harmonious co-existence. Communication and understanding could have more innovative productivity and achieve win-win. In all, Drabble’s expectation for harmonious future for mankind is expressed with her broad international vision, delicate psychological description and superb spirit narrative skills.

The Travels of Marco Polo represents a significant document in the history of East-West cultural exchange, with its influence continuing to the present day. Through the lens of cross-cultural communication theory, this paper examines the translation history of The Travels in China, its communication characteristics, and contemporary value. The research reveals that the reception of The Travels has evolved from being valued primarily as historical documentation to becoming a paradigm of cultural exchange. Its cross-cultural communication features are manifested in three aspects: the uniqueness of observational perspective, the inclusiveness of narrative strategies, and the innovation in cultural translation. As a crucial text in early East-West cultural exchange, The Travels offers important implications for contemporary cross-cultural communication: first, communicators should maintain an open and inclusive attitude; second, communication strategies should emphasize appropriate expression of cultural differences; and third, in the digital age, cross-cultural communication requires innovative approaches and discourse systems. This study provides significant insights for understanding the communicative value of historical documents and exploring contemporary paths for cross-cultural communication.