In the history of eastern and western Literature, there is a Secretive Counterpoint Writing chain deserves our attention. Mili: A Chinese fairy tale figured a story between a powerful Chinese prince and an England girl in trouble. Walpole originates a kind of narrative tradition, which regards the gender, race and identity as the important elements in building the relationship between eastern culture and western culture. The tradition is also widely employed in the literary works such as Madam Butterfly, Miss Saigon and L'amant in the 19th century. However, the three novels reverse Walpole’s cultural orientation, represent its race discrimination. Nevertheless, M. Butterfly, The Lost Daughter of Happiness and K express their dissatisfaction with race discrimination in the western people’s minds .These seven works ranging from Mili:A Chinese fairy tale to K fully improve this narrative tradition, in which main elements such as the gender, race and identity are frequently used and developed in different eras, forming the Counterpoint Writing relationship between them.

This paper reexamines the translation of Lord Byron as a rebel hero and poetic model of British Romanticism in ‘May Fourth’ China, foregrounding its intricate engagement with the evolving trajectory of Chinese literary modernity. In doing so, it proposes a framework grounded in Even-Zohar’s Polysystem theory, Lefevere’s notion of rewriting, and theoretical conceptualisations of literary modernity. With a particular focus on the 1924 special issues of Short Story Monthly and Morning News Supplement, this study explores the poetic and sociocultural constraints that shaped the translation of Byron’s poetry in the era characterised by the rise of vernacular language, the prosperity of modern free verse, and the integration of Western mode of expression into Chinese literary repertoire. The descriptive and historical analysis not only unveils the critical role of translation in both reflecting and contributing to the transformation of Chinese poetry from a ‘stagnant’ old genre to a ‘living’ new one but, more significantly, suggests that the newness of the modern cannot be framed as a clear-cut rupture with the past but rather involves a set of fierce and intricate confrontations and collaborations between the traditional and the modern, as well as the indigenous and the foreign.

Under the perspective of mutual learning of civilizations, the image of the Miao people in the late Qing Dynasty and the Republic of China is a diverse and complex topic. The image of the Miao people in this period was not only influenced by their own cultural traditions, but also deeply imprinted with the collision and integration with foreign cultures, especially the western Christian culture and the mainstream culture of the Central Plains. With The West China Missionary News (1899-1943) as the center and through the image of Miao people in this period, we can have a deeper understanding of the uniqueness and diversity of Miao culture, and a better understanding of the communication and interaction between different cultures.

Firstly, the portrayal of the Miao in the The West China Missionary News is examined, focusing on three aspects: the natural environment, social culture, and psychological essence. This analysis reveals a Western depiction of the Miao as "primitive" "backward" "poor" and "ignorant" reflecting a derogatory and negative perspective. This stereotype stems from Western labeling, portraying the Miao as a group in need of Western "salvation" and "enlightenment". Further, the construction of the Miao image in the publication is scrutinized through historical, textual and authorial contexts, elucidating how the Miao have been represented as "the other". The examination explores the dynamics behind the formation of their image. Lastly, the value of the "foreign gaze" is assessed, revealing the Miao's image and its implications. This reevaluation serves as a mirror to reflect on unnoticed cultural issues and exposes the significance of the representation of Southwest China's ethnic minorities under modern Western discourse.

Through foreign eyes, we can observe that news reports featuring images depicting Miao people not only serve as personal creative records reflecting what Western writers have witnessed, but also offer colorful depictions reflecting cultural histories among southwest Miao people during late Qing Dynasty up until the Republic of China. Unique news styles coupled with narrative elements present throughout The West China Missionary News contain intertextual values bridging textuality with reality when examining literary imagery.

This historical experience offers important insights for mutual learning between Chinese and Western civilizations. Firstly, cultural exchanges must be based on the principles of equality and respect, avoiding cultural hegemony and assimilation. Secondly, cultural transformation should focus on the protection and development of indigenous cultures, rather than simply transplanting foreign cultures. Finally, cross-cultural exchanges require sincere cooperation and mutual understanding from both parties to achieve true mutual learning and win-win outcomes.

The algorithmic transformation of digital ink art provides a cross-disciplinary artistic paradigm for addressing cultural aphasia. Grounded in Variation Theory as its methodological foundation, this paper demonstrates how Chinese literary theory reconstructs indigenous aesthetic discourse to counteract the subjective colonization of Eastern art by Western techno-centrism.

The study reveals the dual cultural effects of algorithmic disenchantment: While Western technology reduces "bone method brushwork" to computational symbols, Chinese literary theory activates dormant aesthetic genes through cultural filtration mechanisms. The digitization of ink ontology does not entail passive dissolution, but rather achieves algorithmic empowerment of traditional aesthetics through transmedial reinterpretation of "qiyun" (spirit-resonance) and revitalization of "fenggu" (wind-bone). This investigation decodes China's approach through two experimental paradigms:1. Poetic resistance to technological hegemony through "qiyun": Xu Bing's The Character of Chinese Characters reconstructs "feibai" (flying white) brushwork as fragmented data-stream narratives through cross-civilizational dialogue between oracle bone script and ASCII codes. Guided by Liu Xie's "spiritual thought" from The Literary Mind and the Carving of Dragons, the work transforms creative consciousness of "conceptual primacy over brushwork" into intersubjectivity within interactive interfaces. By embedding Eastern temporal philosophy within Deleuze's "Logic of Sensation", it subverts David Damrosch’s presumption of cultural dissipation in "elliptical refraction".2. Paradigm-shifting challenge to modernity narratives through "fenggu": The AI landscape program reconstructs spatial cognition in convolutional neural networks using Guo Xi's "Three Distances" theory, with initial parameters set through Shitao's "One-Stroke" doctrine. The "raindrop texture strokes" generated through adversarial training create non-Western visual syntax. This "algorithmic cunfa" not only disproves James Cahill's modernist anxiety about the "end of Chinese painting", but also establishes bidirectional negotiation between technological rules and Eastern aesthetics through Xie He's "Six Principles" evaluation system.

This paper proposes that digital ink art fundamentally constitutes a technological pathway for Chinese literary theory to resolve cultural aphasia. Through "intermediality" and "cultural transposition", Chinese aesthetics achieves three breakthroughs: transforming technological disenchantment from passive adaptation to active reconstruction; shifting artistic subjectivity from "othering" expressions to localized transcoding; and materializing civilizational dialogue beyond theoretical abstraction into technological embodiment. This provides Eastern wisdom transcending postcolonial narratives for the global literary community.

The Beats of the 1940s and 1950s inevitably invites exploration of the diverse intercultural influences that shaped it and its lasting legacy. In the last decades, Chinese scholars have made great contribution to the international research into Zen for the Beats, through the concentration on Han Shan, or Cold Mountain in Tang Dynasty, in the Beats’ translation and literature works. Central to this maverick community is Jack Kerouac, the leader who combined the figure of Han Shan with his personal background in his works.

With the booming of the Theory of Variation in Chinese comparative literature, scholars have noted the quality of Variation in the image of Han Shan yet few have provided convincing or detailed arguments regarding the rich connotations of Kerouac’s portrayal of Han Shan. Even among the limited studies, the focus tends to be on the similarities between American local culture and Zen, claiming it was Zen’s compromise that prompted the intercultural communication while meanwhile denies the distinctive value of Kerouac’s literary vision in shaping this image.

However, as the Theory of Variation in comparative literature mainly studies the variation in the communication of literature between different countries and different civilizations, with an emphasis on identifying difference, Kerouac are vital contributors to world literature for his noteworthy and innovative variation of Han Shan. Therefore, taking Kerouac’s varied depictions of Han Shan in two of his semi-autobiographical works — The Dharma Bums and Desolation Angels as a compelling case study within the framework of the Theory of Variation, I would demonstrate how Kerouac employed cultural filtering through selecting and omitting Chinese Han Shan while infusing this image with American cultural and philosophical dimensions i.e., Christianity and Transcendentalism. Intriguingly, his creative writing of Han Shan may predict and provide a way to comprehend Deleuze’s aesthetic concept of Rhizome.

Through an American lens, Kerouac has transformed Han Shan into an ever-lasting heterogeneous symbol within world literature. Thus, investigating Han Shan’s dynamic evolution as a world literary symbol within Kerouac’s works under the perspective of Variation, not only bears relevance in understanding the Beats, but also experiments a new avenue of inquiry of contemporary literature, 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.