In 2024, the game "Black Myth: Wukong" produced by Game Science Corporation has sparked a global craze among players and discussions among researchers, reflecting the cross-media performative nature of video games as a new form of productive force. This work is based on the traditional Chinese literary classic "Journey to the West" and integrates elements of Chinese traditional culture. In the construction of cross-media narratives, it demonstrates the performative aesthetic characteristics of the digital, virtual, interactive and generative in the field of humanities from the perspective of cultural exchange and mutual learning. Eastern fantasy stories have been rejuvenated under the creative influence of emerging audio-visual technologies, thereby recreating heroic myths closely related to modern people and generating transcendent life-political significance in immersive user games. Exploring the performative traits of video games will further contribute to exploratory thinking about the community with a shared future for mankind in the era of globalization.

The Chinese experimental opera adaptations of Shakespeare’s plays have become a unique phenomenon of cross-cultural exchange, which not only demonstrates the deep fusion of Chinese and Western theatre cultures, but also promotes the combination of the traditional art of xiqu with modern aesthetic concepts. By analyzing the experimental Peking opera “King Lear”, the experimental opera “Who is Macbeth?” and the experimental kunqu “I, Hamlet”, this article discusses the unique value and significance of these works in cross-cultural exchange. These works bring audiences a refreshing theater-going experience through unique Chinese-style performances, post-modern presentations of traditional opera elements, and deep linkage between Chinese and Western culture and thinking—firstly, the performance structure, stage design and vocal style employ rich Chinese representations in their adaptations of Shakespeare’s plays; secondly, the metatheatrical devices, such as solo performer and play-within-play structure, express their postmodern reinterpretations of traditional xiqu; thirdly, the Eastern and Western character linkage and similar identity exploration show the cultural connection and common value in different backgrounds. Through the unique Chinese-style performance, the post-modern presentation, and the deep linkage between Chinese and Western theaters, Chinese experimental opera brings the audience a brand new experience and provides a useful path for the innovative practice of xiqu.

This article aims to analyze the interplay of migration, boundary, identity and alienation through giving a close eye on the characters of ‘The Boundary’ and ‘The Reentry’, two stories from the book Roman Stories by Jhumpa Lahiri. Contrapuntal reading with postcolonial lens, particularly the concept of ‘hybridity’ of Homi K. Bhabha, has been offered to explore how the characters navigate through the liminal ‘third space’ between their native and adopted culture. Lahiri’s projection of Rome serves as a pivotal point of understanding the city as a metaphor for both inclusion and exclusion. The unnamed narrator of “The Boundary” negotiates between both physical and metaphorical borders which addresses the struggle of belonging and alienation. In "The Reentry," the protagonist’s return to Rome highlights the dissonance between memory and reality, reflecting the psychological complexities of reintegration. In both the stories Rome has been depicted as a space that shapes the identities and puts forth the dual shades of the city as it becomes a space of both estrangement and reconciliation. Bhabha’s theory illuminates the characters’ struggles with cultural adaptation and the search for home, revealing the fragmented and hybrid nature of diasporic identity.

With the advent of the digital age, the emergence of multiple media has gradually made "intermediality" a significant focus in literary and artistic studies, providing a new research perspective for Chinese American literature. Based on the intermedial theories of Werner Wolf, this paper explores the intermedial reference and intermedial transposition in the renowned The Joy Luck Club and The Bonesetter's Daughter by Chinese American writer Amy Tan. Among them, through the intermedial reference to the structure of polyphony, the novels demonstrate profound cultural connotations, achieving a unity of intermedial form and content. Meanwhile, the two novels have been adapted into a film and an opera respectively. This intermedial transposition reflects the interaction of multi-dimensional intermediality and highlights the important role in enhancing the international communication of Chinese culture. Then, this paper further reveals the unique value of intermediality in Chinese American literature as represented by Amy Tan's works, exploring its significance in fostering exchanges and mutual learning among civilizations and enhancing the global influence of Chinese culture.