In recent years, the feminist movement in South Korea has become increasingly intense, and Korean women are urgently calling for their rights. In the Korean feminist movement, the novel KIM JI-YOUNG, BORN 1982 has become one of the representative works of Korean feminism due to its influence and appeal. The author Nam-joo Cho presents the first half of the protagonist Kim Ji young's life in an objective way, like a mirror reflecting the phenomenon of "Misogyny" in Korean society. The novel's unique "scattered perspective" writing style presents the plight of Korean women in multiple ways. KIM JI-YOUNG, BORN 1982 was born during an important period of the Korean feminist movement and also guided Korean women on the path of unity and resistance against injustice. After being translated, remade, and spread globally, it further contributed to the global feminist movement.

In 1780, Lu Yijian, a literati of the Korean dynasty, met and communicated with Bo Ming, a Mongolian literati of Qing dynasty literati . In Lu Yijian's “Sui Cha Lu”, Bo Ming's resume, lineage and appearance were all involved, which could complement the shortage of academic circles. Through the exchange of Neo-Confucianist ideas between the two people, One can gather that Bo Ming respected Cheng Zhu's Neo-Confucianism. His ideological tendency reflected the history of the confrontation between Neo-Confucianism and the heart-mind theory in the early Qing dynasty. And his Neo-Confucianist view coincided with Lu Yijian; The concept of Bo Ming’s literature theory is closely related to the literature theory of the eight masters of the Tang and Song dynasties, at the same time, Bo Ming accepted the influence of the Tongcheng faction. He and Lu Yijian held the Spring and Autumn Annals as the view of the classics, which reflected the rising academic trend of literature and classics during the Qianlong period. Lu Yijian praised Han Yu and Liu Zongyuan, which not only circuitously reflected the debate about the creation methods in the Korean literary world, but also reflected his idea of focusing on Tang in the field of literary creation. His view on the Book of Rites reflected the adherence of Korean Neo-Confucianism to "etiquette".

Though they are hermits, both Tao Yuanming and William Wordsworth have much in concerns for their societies respectively. They cherish concerns for their societies, and the evidences can be found from their poems. They express their concerns for their societies in different manners. Tao Yuanming achieves his purpose in an implicit manner while Wordsworth does it in an explicit way. This difference result from their different cultural roots. In the world history, China’s despotism is the most complex in system, the most profound in connotation, and the most far-reaching in influence, and thus the depression of the individual is the greatest. With this cultural background, Tao Yuanming can only rely on an implicit manner to express his ideas. In contrast, in Britain, the Renaissance leads to a great liberation of thought, the bourgeois revolution shatters the ideological chain of the society, and the industrial revolution improves the consciousness of democracy and freedom. In this cultural context, Wordsworth is free to air his ideas on his society explicitly.

Abstract: Chinese farewell poetry stands as one of the most remarkable literary art forms in the cultural exchange between Eastern and Western civilizations. Over the years of practice, numerous farewell poems have been translated and introduced to the western world, serving as a valuable gateway for Westerners to understand, appreciate and even to develop a fondness for Chinese culture. The current status and the impact of translation and dissemination of Chinese farewell poetry still remain as an unexplored issue and warrant a comprehensive review. Therefore, This paper aims to address this gap by first examining the current statuses of the translation and dissemination of Chinese farewell poetry. Then, it will summarize the theoretical frameworks that have guided these practices. At the end, this paper will analyze effect and roles of these efforts on enhancing the cultural exchange between eastern and western cultures. The results of this paper are expected to provide valuable insights for the translation and dissemination of other Eastern art forms to the Western world.

The Dream of Red Mansions is a masterpiece of Chinese classical novels which has well epitomized the narration features of “chapter novels” —— the typical fiction genre popular in the Chinese Ming and Qing dynasties. This novel have not only integrated the distinctive narrative techniques of Chinese oratory literature and opera arts, but also inherited the narrative patterns of Chinese historical biographies, forming some unique net-like narrative structure. Quite different from the the narrative focuses such as “plots”, “protagonists”, “conflicts”, and “rhythm” in western narration traditions, it tend to unfold a vast world gradually before the readers through the rotating of different scenes and character groups just like in the opera performance. Many scattered narrative fragments are woven together from different directions like in a loom machine. However, it is just because of this unique narration organization that it is quite difficult to grab its general narrative structure picture along some single clues. As an important field of “Digital Humanities”, “Computational Criticism” has further pushed literature studies forward to a quantitative “descriptive” paradigm with the support of big data and other computing technologies, which may offer some solution to this quest. Therefore, a corpus of the former 80 chapters of The Dream of Red Mansions was built with the aid of ParaConc in this paper to capture the narrative structure of the work under a distant reading model. The word frequency of the appellations of the main 34 characters along the chronological order of the whole novel was set as the indicator system. All the 34 characters are divided then into 2 narrative functional sequences, namely “clue character” and “satellite character” based on their Concordance Plot Bar patterns. Putting in a coordinate system, these characters then fell again into 8 narrative function zones from weak to strong. When putting the Concordance Plot Bars together, a picture of the net-like narration structure was presented in a visual and macroscopic way. Through this text mining method, the “opera-scene style” narration pattern was extracted from the rotating character groups, and the net-like narration structure of The Dream of Red Mansions is able to be seen directly. This study served as a exploration of the “Computational Criticism” method on heterogeneous national literature traditions in a more “descriptive” way, which helps to break the barrier formed by fixed and uniformed theoretical frameworks in the past several decades and capture the distinctive beauty of various national literature traditions in their original flavor to form a diversified world literature wealth.

On the basis of the achievements accumulated in the past thousand years, Chinese poetry literature in the Joseon Dynasty has achieved rapid development, not only the number of works is amazing, but also the quality of works is quite high, which can be called the heyday of Chinese poetry on the Korean Peninsula. Throughout the more than five hundred years of development of Chinese poetry in Joseon Dynasty, there have been two distinct changes in poetry style. Taking these two changes of poetry style as the dividing points, the development of Chinese poetry in Joseon Dynasty can be divided into three stages.

In the early stage of the development of Chinese poetry in the Joseon Dynasty, the study of the poetry circle mainly focuses on the poetry works and poetics of Su Shi, Huang Tingjian, Chen Shidao and so on. In terms of of the meaning of the theme of poetry, except free verse, Chinese poetry styles reflect the characteristics of Song style, and the political meaning of "Express Aspiration" is equal to the Neo-Confucianism meaning of "reasoning". From the middle of the 16th century to the end of the 17th century is the middle period of the development of Chinese poetry of Joseon Dynasty. During this period, the Tang style recurred, which had been popular in the Korean Peninsula poetry circle. The literati mainly studied Tang poetry, and the poetry circle took "Tang style" as the mainstream. In the Korean poetry circle after the 18th century, the color of speculation became more and more intense and the content of poetry was more substantial. The group of literati began to reflect on the study of Tang and retro, the status of Song poetry was rising, and the style of Tang and Song poetry showed a trend of gradual integration. However, the compatibility of Tang and Song poetic styles in this period was not a simple combination or to practice both of Tang and Song poetic styles, but a new style that adopts the strengths of others and uses them for itself. With the awakening of national consciousness and the enlightenment of practical learning, the tendency of opposing imitation, advocating stylistic innovation, and advocating "Joseon style" in poetry has become more and more prominent.