The overseas translation and reception of Wen-Hsin Tiao-Lung(《文心雕龙》) is one of the important research propositions of the dialogue between Chinese and Western poetics. As a monograph on ancient Chinese literary theory, Wen-Hsin Tiao-Lung integrates literary connotation, aesthetic value, critical spirit, Confucianism and Taoism, and is of great significance for interpreting traditional Chinese literary and artistic studies, aesthetics, and philosophical thoughts. Among the 50 chapters and more than 37,000 words in the book, there is a “Tsan” at the end of each article. Although it does not occupy much space, it is the “punchline” of each article, and it is also the “craftsmanship” that Liu Hsieh’s exquisite carving, which has extremely high translation research value. Since the beginning of the 20th century, through the unremitting efforts of scholars such as E.R. Hughes, Vincent Yu-chung Shih, Stephen Owen, Siu-kit Wong, Yang Guobin, Cai Zongqi, etc., Wen-Hsin Tiao-Lung has produced three full English translations and eight abridge English translations, which have provided great material support for the overseas research of Wen-Hsin Tiao-Lung and continuously expanded its interpretation space. However, the way of writing in Wenyan (classical Chinese) and micro-words makes Wen-Hsin Tiao-Lung quite different from Western academic backgrounds in terms of linguistic characteristics, terminology system, literary thinking, and cultural context. In addition, different translators also have their own emphases and characteristics based on different aesthetic tendencies, creative purposes, and translation habits. Focusing on small incisions, this paper compares and examines the translation results of “Tsan” in various translations, found that translators’ diverse understandings of “Tsan” directly affect their translation practices of Tsan’s culture-loaded terms and syntactic forms, and there are more or less translation problems in the existing translations. Therefore, in order to keep rejuvenating the vitality of ancient Chinese literary theory classics in the interpretation, and further strengthen the dialogue between Chinese and Western poetics, the academic community still calls for the production of new translations of Wen-Hsin Tiao-Lung.

Japanese War-Supporting Poetry emerged with the onset of the First Sino-Japanese War (1894-1895) and evolved over the next fifty years, eventually disappearing after Japan's defeat in World War II. As an instrument of war propaganda, this literary genre played a crucial role in helping Japanese militarists control public opinion and conduct ideological reeducation of the population. Furthermore, it became deeply embedded within the Japanese educational system during wartime, significantly shaping the war memory of the post-war generation. As research on Japanese War-Supporting Poetry has deepened, Japanese scholars have conducted multifaceted critiques of this inhumane genre. However, other East Asian countries, in the process of translating and introducing wartime Japanese authors' works, often neglect this body of literature, which in turn affects the critical evaluation of certain Japanese writers.

Qu You 's classical Chinese novel collection Jiandeng Xinhua, as the first novel in Chinese history that encountered the fate of prohibition and destruction, its influence transcends national boundaries. In the ancient East Asian cultural circle, the literary exchanges between China and the Korean Peninsula have a long history, and they have composed a rich and colorful cultural chapter together. As a neighboring country deeply infiltrated by Han culture, the literature development of Korean is deeply influenced by Chinese literature. In the 15th century, Jiandeng Xinhua spread to Korea and received extensive attention. Jin Shixi, a talented Korean literati was deeply inspired to imitate it and created the first Chinese-language novel Jin’ao Xinhua in the history of Korea. At the beginning of the 20th century, Yin Yunqing counted the Chinese novels outside the domain and compiled them into the Donghai Yiwen, which included two novels in Jinao Xinhua. Taking Jinao Xinhua as the intermediary bridge, Donghai Yiwen has become the return work after the transnational eastward transmission of Jiandeng Xinhua. From the perspective of comparative literature, this thesis will use the theories of doxologie and variation to explore the prohibition and outflow of Jiandeng Xin hua, the acceptance and variation of Jin’ao Xinhua to Jiandeng Xinhua and the text backflow of Donghai Yiwen through the methods of close reading and case study, so as to investigate the transnational dissemination and text backflow of ancient Chinese classical novels and explore the differences of literary acceptance in different social eras and cultural contexts.

In the past history of translation in China, the translators, as the main subjects in translation activities, have unconsciously exhibited their creative role in translating and transferring ideas. However, their subjectivity has been suppressed and neglected for quite a long time. Compared with that of those who translated and introduced foreign ideas and literature into China, the subjectivity of translators of ancient Chinese literary thoughts has been even more marginalized. This situation is based on several reasons: (1) marginalization of Chinese-to-foreign translation activities compared to foreign-to-Chinese translation activities; (2) marginalization of translation of ancient Chinese literary thoughts compared to translation of other Chinese classics; (3) marginalization of the identity of the translators as the subject of the translation of ancient Chinese literary thoughts. In a new era when mutual appreciation and exchange among different civilizations is expected, the translators of Chinese literary thoughts are supposed to play a more active role in order to bring the discourse of Chinese literary thoughts into the world literature stage.

During Emperor Qianlong's reign, which coincided with the rule of King Yeongjo and King Jeongjo of the Korean Joseon Dynasty, there was a significant shift in Joseon's cultural perception of the Qing dynasty towards a more positive view. This, combined with Emperor Qianlong's considerable personal charisma, led to the portrayal of many favorable images of him in the 《燕行录》 (Yanxinglu) written by Joseon envoys. In these accounts, Qianlong is depicted as a dignified figure with sharp yet amiable features, a wise ruler diligent in state affairs and committed to good governance, and a friendly emperor toward the Koreans. These portrayals “idealized” him as an exemplary emperor, often imbued with subjective admiration. At the same time, through careful observation and hearsay, the Joseon envoys also noted more critical aspects of Qianlong’s character and reign. They described him as indulgent in extravagant and wasteful luxuries, with a volatile temper and an autocratic style of governance. These negative traits, they argued, stemmed from the emperor's increasing arrogance and insatiable greed as his personal power expanded unchecked in the later years of his reign. By analyzing these descriptions, we can discern a nuanced image of Emperor Qianlong constructed by the Joseon envoys—one that lies between “ideological” admiration and “utopian” idealization, offering a relatively balanced perspective.