Violence is a recurring poetic issue that South Korean writer Han Kang constantly explores in her works. She repeatedly reflects on these questions: how to face violence, how to understand violence, and how to resist violence. In her creative process, Han Kang not only focuses on the violence that exists within the individual and the violence coming from the family, but also touches violence from society, the state, and history.The former represents internal violence, while the latter is external violence. This paper will analyze how Han Kang responds to the violence present in the human world from three perspectives: the individual, society, and history. Han Kang uses highly poetic but restrained and calm language to depict a silent form of violent resistance, one that rejects humanity and societal language. She also expresses the need to confront the brutal reality of history and embrace the painful historical trauma with love. While contemplating violence, she is probing the deepest aspects of human nature.

Translation semiotics is an emerging and significant subdiscipline within both semiotics and translation studies. It provides a novel framework for exploring the intricate interplay between signs and meaning in translation. This paper undertakes an in-depth interpretation of Yuewei Caotang Biji, a classic work of Chinese literature, and analyses a piece of its English translation, The Great Fire Cracks No Filial Son’s Home by Victor H. Mair, within the theoretical framework of translation semiotics. As an interdisciplinary field, translation semiotics draws upon linguistics, literary theory, sociology, and other related disciplines and theories, offering robust theoretical support for this study. The research systematically categorises and analyses the signs in the translated text, delving into their referential meanings—namely, the concrete objects or concepts represented by the signs; intratextual meanings, which encompass the cultural connotations and symbolic significance inherent in the signs; and pragmatic meanings, which pertain to the effects and significance generated by the signs within specific contexts.

Through a detailed examination of Victor’s translation strategies, the study reveals that the translation of signs necessitates the consideration of multiple factors, such as linguistic and cultural differences, as well as the target audience’s background and cognitive frameworks. In this process, interdisciplinary thinking plays a crucial role, enabling the translator to transcend linguistic barriers and convey the emotions and meanings embedded in the source text.

This research not only enriches the application and understanding of translation semiotics but also provides new insights and methodologies for translation practice. By adopting a sign-centred perspective, translators can more accurately convey the intentions of the original work, thus fostering cultural exchange and preservation. This approach holds considerable significance for enhancing mutual understanding among diverse cultures and promoting the global dissemination of literary works.

The occurrence of the act of Patricide represents an inevitable path for the younger generation in their struggle for the right to express their voice and the establishment of self-awareness. The realization of self-identity cognition through external reflections and ultimately accomplishing a spiritual metamorphosis via Patricide, which shared a common thematic experience embodies the universality and similarity in Oriental Literature. Both Chinese writer Yu Hua's "Cries in the Drizzle" and Turkish writer Pamuk's "The Red-Haired Woman" deeply analyze the distorted father-son relationship within the Oriental cultural world through the power of anguish. The two boys, similarly confronted with the absence of love and a compelling need for spiritual transformation, endeavor to seek a social father within the web of social relations as an "other" to emulate. They collectively undergo the enlightenment and struggle of sexual awareness, striving to transcend yet facing numerous obstacles, ultimately leading directly or indirectly to the occurrence of Patricide. The motif of the "father-son" relationship has been endowed with a new visage by authors in the Oriental Literature, where the underlying opposition and conflict between father and son harbor deeper reflections and implications about the cultural connotations and social essence of their respective nations. In today's fluid and instantaneous modernity society, In today's fluid and instantaneous modernity society, the act of Patricide not only hints at the genuine circumstances of internal social relations and the inevitable outcome of traditional culture being defeated by modern order, but also alludes to the inevitable continuity within culture at the spiritual and identity levels. Modern culture, on the one hand, exhibits like Patricide tendency by abandoning traditions and embracing the neoliberal order. And on the other hand, through the revelation of authentic "father-son relationships", it continues to sustain the operations of traditional humanity ethics and culture, and attempts to draw nourishment from them to address existing real-world issues. It is imperative for us to contemplate how these diverse concepts, traditions, and modernity can better complement and coexist with each other.

This paper examines Tanizaki Jun’ichirō (谷崎潤一郎)’s works Naomi (痴人の愛) and Crane's Cry (鶴唳) from a postcolonial perspective, investigating the potential of “aesthetic foreign concessions” in his works as a “third space” that redefines cultural boundaries. Tanizaki Jun’ichirō expressed his appreciation of the Foreign Concessions (areas governed by foreign powers with extraterritoriality, when late imperial China was partially colonized) in “Thinking of Tokyo” (東京をおもふ), viewing it as an ideal approach for Eastern culture to respond to the impact of Western culture, that is, to preserve the “purity” of culture by establishing strict conceptual and physical boundaries to isolate cultures from one another. In his works, Tanizaki Jun’ichirō attempts to establish “foreign concessions” by presenting Chinese and Western cultures within specific, enclosed spaces. Tanizaki’s view of the Foreign Concessions in China, which reduces the political and economic aspects of the foreign concession and focuses only on its role in maintaining cultural separation, reflects what Karatani Kōjin (柄谷行人) describes as “aestheticentrism.” Therefore, this paper refers to these spaces as “aesthetic foreign concessions.” Tanizaki’s praise of the Foreign Concessions in China is grounded in a colonial discourse that integrates a progressive historical perspective and an inclination toward cultural relativism. Tanizaki believed that there is an essential distinction between various cultures and advocated for the isolation of cultures as a means of preserving their purity. While Tanizaki’s primary aim in creating “aesthetic foreign concessions” was to explore the possibility of limiting cultural exchange in modern contexts, his works inherently engage in an act of cultural translation. Tanizaki’s writing can be seen as a response to cultural hybridity, illustrating the hybrid nature of modern Japanese culture. The hybridity of modern Japanese culture led to anxiety among intellectuals about their cultural identity. Intellectuals like Tanizaki tried to establish cultural boundaries, but the process of defining one’s identity in relation to the “other” essentially facilitated cultural exchange. As a result, Tanizaki’s “aesthetic foreign concessions” serve as Homi Bhabha’s concept of the “third space,” challenging cultural boundaries and prompting a reconsideration of the concept of "culture" and cultural identity within the context of modernization.

About the spread of Wenxindiaolong（文心雕龙） on the ancient Korean Peninsula, the earliest documents that can be seen at present are recorded by Cui Zhiyuan of Xinluo era. One is the Inscription of monk Wuran’s Monument, the other is The biography of the Buddhist monk Fazang, who was the old master of Dajianfu Temple（大荐福寺）in the Tang Dynasty. As the origin of the trace of Wenxindiaolong（文心雕龙） in the history of Korean Peninsula, these two articles are of great significance in the study of text emendation, the outflow and transmission of Chinese Classics, the exchange of literature, culture and literature thoughts between China and Korean Peninsula, and the comparative literature study.

Under the background of mutual appreciation between Chinese and Western civilizations, the study of the mechanisms of translation and dissemination of ancient Chinese literature is an important way to enhance the soft power of Chinese culture. As a literary work that has been lost for thousands of years and then reappeared in Dunhuang's Cave of Sutras,《秦妇吟》（Qinfuyin） has been reintroduced into the field of literary history through the joint efforts of scholars from both Chinese and foreign countries. As Cao Shunqing(2024) mentioned “despite the richness and variety of cultural communication methods, language translation has always been the essence of international communication.” In view of this, this study is the first to utilize the theories of variation and hermeneutics in comparative literature to study the three existing translations of Qinfuyin. According to the author's collection, there are currently three complete translations of Qinfuyin, namely, Lionel Giles' translation in 1925, Robin D.S Yeats' translation in 1988, and Xu Yuanchong's translation in 2005. Different from the traditional translation's concern and requirement of “faithfulness, expressiveness and elegance”, the study of variation pays more attention to variations that occurs when Chinese literature is translated into the English-speaking world. The three translations of Qinfuyin have five types of variations, which are closely related to the translators social environment, study and work experience, and motivation from the hermeneutic point of view, and are reflected in five aspects: phonological variations, predicates variations, toponym variations, rhetorical devices variations, punctuation variations. In the body part of the paper, the author gives a detailed analysis of the five aspects with extensive examples and analysis. The study reveals that the three translators, due to their different cultural backgrounds, translation motives, multiple social positions, present their own characteristics in translating Qinfuyin: Giles is academic-oriented; Robin emphasizes humanistic concern; Xu Yuanchong not only pursues the “three beauties”, but also shows the Chinese translators' sense of subjectivity from passive acceptance to active translation and participation in international communication.However, translation faces the challenges of cross-language and cross-cultural communication. Therefore, how to strike a balance between fidelity and artistry, and how to ensure that the essence of culture can be accurately transmitted without losing its beauty, are key issues that scholars need to continue to explore. Chinese and foreign translators should continue to increase exchanges and joint interpretation, and try their best to dissolve the linguistic and cultural barriers. For Chinese scholars, they should actively undertake the translation and research of Chinese literature in the English-speaking world, and establish the self-subjective consciousness of translation.