In the history of literary and cultural exchange and mutual learning between China and foreign countries since modern China, if we choose one of the most representative western dramatists who can make continuous comparative study with Chinese classical drama, the first choice is undoubtedly Shakespeare. For more than 100 years, Shakespeare's plays have been frequently compared not only with the works of individual Chinese classical drama writers, but also with the Chinese classical drama as a whole. This century-old unconventional comparison is quite rare. Paying attention to this comparative phenomenon has very important theoretical value for us to further promote the exchange and mutual learning of Chinese and foreign literature and culture under the guidance of correct comparative concepts. A century of comparison between classical Chinese drama and Shakespeare's plays objectively and truly presents the inner journey of Chinese scholars from the perspective of Western literature, from the level of literature and culture to constantly understand themselves deeply, rationally correct themselves, and from respecting the West to pursuing equal dialogue and demonstrating cultural self-consciousness and self-confidence.

William Faulkner, as the peak of modern American literature and southern literature in the 20th century, has had an impact on literature all over the world. As a representative of Taiwan's modern literature, Pai Hsien-yung's own creations also show Faulkner's fingerprints in many ways. Pai Hsien-yung transformed Faulkner's modernist techniques of flashbacks, time philosophy and multi-angle narratives, southern gothic colors and mythological patterns into his own literary creations, and coalesced them with his personal life experiences and traditional Chinese cultural resources to form a literary world with Pai Hsien-yung‘s characteristics.Pai Hsien-yung learns and transforms Faulkner's various modernist novel techniques in his novels, especially Crystal Boys, and displays Faulknerian Southern Gothic colors in his homosexual writing, and uses Faulkner's usual mythological patterns, moving from “Faulkner's Myth” to Bai Xianyong's “New Park Myth”.

威廉·福克纳（William Faulkner）作为20世纪美国现代文学及南方文学的高峰，其文学影响遍及世界。白先勇作为台湾现代文学的代表，也在其自身创作中浮现出深深浅浅的“福克纳的指纹”。白先勇将福克纳的闪回、时间哲学与多角度叙事的现代主义创作技巧、南方哥特色彩与神话模式转化至自身的文学创作中，与个人生命体验与中国传统文化资源共同凝聚成具有白先勇特色的文学世界。白先勇在小说创作特别是《孽子》中对福克纳多种现代主义小说技巧的学习与转化，又在同性恋书写中展现福克纳式的美国南方哥特色彩，并使用福克纳惯用的神话模式，从“福克纳的神话”走向白先勇的“新公园神话”。

Han Kang’s The Vegetarian has been criticized for its "Western narrative traditions," reflecting the identity anxiety of East Asian literary scholars. This mirrors Tokiko Kitagawa’s question about why East Asian feminism must be conceived within the context of “East Asia.” The Vegetarian offers an answer by both echoing Western ecofeminism and being rooted in Korea’s historical trauma.

The motif of "flowers" runs throughout novel. While it superficially echoes the Western ecofeminist tradition that associates flowers with female fertility, Han Kang, as discussed in The Boy Is Coming, draws on the Buddhist perspective shared by her father, rooted in the Avatamsaka Sutra’s concept of "three thousand worlds of flowers." She transforms this symbol into a vessel connecting personal and national memories, pointing directly to trauma of war and politics. When the flower changes from a patriotic symbol to a relic of the Jeju Massacre, Han Kang critiques state violence and national trauma, moving beyond Western ecofeminism’s “nature-harmony” ideal.

The “tree-fire” motif merges Western eco-criticism’s nature-as-victim metaphor with Korean shamanic practices, where burning trees witness violence and release collective grief. As in The Boy Is Coming, Han Kang links the Gwangju Uprising with “blood and fire rebirth” imagery. Han Kang shows how suppressed ecological and gender violence transforms into resistance through local religious practices.

Han Kang（한강）, along with her surname "Han(한)" , has inherited the core concept of "Han(한)" , a concept deeply embedded in Korean literature, from her father Han Seungwon (한승원). Yeong-hye refuses to eat meat due to recurring dreams of violent bloodshed. Her action is not only a direct rebellion against her Vietnam War veteran father's patriarchal control but also a metaphor for military dictatorship under Park Chung-hee, which disciplined women's bodies during Korea's modernization, coinciding with the Vietnam War period. However, she adds an ecological dimension, expanding "Han(한)" beyond national humiliation. Novel critiques cultural anxiety of “eating dog meat” during Korea’s engagement with the West, rejecting both Western salvation narratives and nostalgic cultural essentialism. Han Kang uses the individual body’s awakening to expose power structures imposed by both indigenous traditions and foreign hegemony.

The Vegetarian anchors ecofeminism in specific Korean historical traumas. Han Kang suggests solutions must arise from “relational politics.” The Nobel Prize highlighted the novel’s confrontation with historical trauma, showing that East Asian modernity is a dynamic network of translation, naming, and narrative. Yeong-hye’s body becomes a battleground, rejecting ideological submission. Her resistance deconstructs cultural identity myths and transforms literature into a space for political resistance. Like I Do Not Bid Farewell, Han Kang uses embodied writing to critique collision of Eastern and Western power.

Wangdao, ou la voie royale: recherches sur l'esprit des institutions de la Chine archaïque written by Léon Vandermeersch is a monumental work that studied the transitions of the social institutions and the spirit of ritualism during the Yin and Zhou dynasties through comparison of the classics of Confucianism with oracle bone and bronze inscriptions. This book, originally completed in 1975 by Léon Vandermeersch as his doctoral thesis in France after twenty-year in-depth research, was a crystallization of sinology fused by resources from China, Japan, and France. Compared to Western sinologists who remained silent on the research and interpretations of Chinese and Japanese paleographers due to doubts about the authenticity of the oracle bone and bronze inscriptions or their inability to deal with these relevant materials, Léon Vandermeersch had already consciously absorbed these studies for his ancient history research in the 1970s. He attempted to shift the focus of the study of ancient Chinese social institutions from Marcel Granet's anthropologically flavored "Marriage Relations" to "Ancestor Worship" from the perspective of the sociology of religion. However, in contrast to the detailed classification and dating research on oracle bone and bronze inscriptions by Chinese and Japanese scholars, Léon Vandermeersch sought to create a comprehensive framework that would interconnect various dimensions of the Yin-Zhou Dynasty Institutions. This framework delineates a particular emphasis on the mutual influence among institutions. It examines the family institution, including the marriage system, from the perspective of the ancestral worship system, and describes the kingship system, while uncovers the production institution in the blind spot. The framework demonstrates the logical speculation, the grand multi-disciplinary vision, and the innovative spirit of "Yin-Zhou Institution Theory" by Léon Vandermeersch. Moreover, inspired by the methodological approach of the French Annales School's history of mentalities, Léon Vandermeersch, in contrast to Western juridism based on teleology-logic, unearthed the mentality of ritualism in the ancient Chinese based on morphology-logic during the long period of the transition from the Yin to the Zhou dynasty. Wangdao, which integrated the diachronic and synchronic perspectives of the new theory of the Yin-Zhou Institutions, is the basis of the dimension of "Social System" in Léon Vandermeersch’s sinology system. It has injected vitality into the reflection on the origins of Chinese institutions and deserves more attention and dialogues among the foreign and domestic researchers of sinology (or Chinese studies) and ancient Chinese history.

The New Zealander Rewi Alley was a visionary writer, translator, and poet. He lived and worked in China for 60 years, and wrote nine poems about Beijing. These poems describe the natural landscape, social reality, historical evolution and contemporary role of Beijing from three dimensions, namely, time, space and imagery. The consistent theme in these poems is a strong sense of community. The sense of community in these poems is mainly manifested in three aspects: first, the recognition of and optimistic attitude towards the community of common destiny as revealed in “Peking”, “Summer Thoughts”, “Peking Winter Scene” and “A May Morning in Peking”; second, the idea of opposing war and striving for peace as reflected in “An Afternoon of Peking Spring” and “Winter Dusk at the Summer Palace”; third, the longing for the world proletarian community as shown in “Red Leaves at Hsiang Shan”, “Spring Festival Eve, Peking, 1977” and “Peking, July 7, 1977”. These poems are products of a specific historical period, highlighting words such as “people”, “destiny”, “peace” and “world”, expressing the strong confidence of the Chinese people in building socialism, their friendship with and responsibility for the world’s proletarians. To some extent, these poems are epic poems about Beijing, which help us better understand the historical logic of modern and contemporary Chinese revolution and construction, and understand China’s position, development orientation, and vision in the contemporary world.