The Anthropocene novels of Korean-American writer Chang-rae Lee are typical in presenting the image and existential dilemma of East Asian women. His novel On Such a Full Sea shows the arduous journey of a Chinese woman named Fan. Against the backdrop of the anthropocene climate disaster, she travels through the B-Mor, open counties and the Charter in the United States in search of her boyfriend Reg. This novel is both the discourse of foreign others on China and the discourse of foreign men on Chinese women. This paper takes the image of Chinese women in On Such a Full Sea as the research theme, and uses the methods of iconography and a feminist perspective to analyze the significance of the image of Chinese women in Western Anthropocene novels, explore its causes and limitations, and think about the value and enlightenment of this image.

This study takes the phenomenon of Chinese placenames in Korean Gasa as the core issue.Through meticulous textual analysis and historical investigation, this study deeply analyzes the flexible use of these placenames in literary imagination and the profound construction of symbolic meaning, and then reveals the profound and lasting impact of China-Korean cultural exchanges on the development of Korean literature. As a shining pearl in the treasure house of Korean literature, Korean Gasa not only bear the unique hist orical memory and cultural tradition of the Korean nation, but also play an important role in the long history of China-Korean cultural exchanges, becoming a vivid example of the mutual penetration and mutual influence of the two cultures.

The poems of Tu Fu were introduced in the English world in the 19th Century, but didn’t exert a certain influence on American poetry until the New Poetry Movement. At present, the studies on the overseas dissemination of Tu Fu' s poems at home and abroad mostly focus on principles and strategies of translation, with a few impacts of Tu Fu’s poems on the creation of American poetry.

This thesis explores the influence of Tu Fu on the creation of poetry in America. It takes three periods as clue: the New Poetry Movement, the Mid-and-late 20th Century, and the Contemporary Era. The representative poets in each period are used as examples in the process of argumentation. These poets' translations of Tu Fu’s poems are different from those of professional translators and sinologists, which not only reflect the poets’ individual characteristics, but also have some impacts on the poets’ writing style.

In the period of New Poetry Movement, the themes such as "friendship", and images such as "southern wind" "willow" and "boat" in Lowell’s Chinese style poems, are similar to that of Tu Fu's poems. In the mid-and-late 20th century, the ideology of the American people failed to keep pace with the rapidly expanding material well-being. As a heterogeneous culture, Tu Fu’s poetry ushered in development in America where there was a need for the ideological innovation. It provided ideas for the American people to regain the peaceful mind. Kenneth Rexroth, also known as the Godfather of the Beaten Generation, learned Tu Fu’s rhetoric, imagery and subject matter, and also incorporated Tu Fu's thoughts into his own life and creation. In the contemporary era, the spread of Tu Fu's poetry in America entered a thriving period. During this period, there were more poets who absorbed the essences of Tu Fu's poetry for their own creation, such as Jane Hirshfield and Sam Hamill. They developed a keen interest in Tu Fu after reading Rexroth's translation, and imitated Tu Fu's spiritual temperament in their own creation. Up to now, Tu Fu' s poetry are still being studied and accepted by American poets and scholars, and influencing the creation of American poets.

By analyzing the dissemination of Tu Fu’s poetry in America in three periods, it can be found that American poets did not only simply translate and introduce Tu Fu’s poetry, but also integrated Tu Fu’s poetry into their own creations, and had a profound understanding of the image, artistic conception and spirit. With its abundant connotations and creative forms, Tu Fu’s poetry has met the needs of American poets in different periods, they promoted the innovation of the form and content of American poetry during the New Poetry Movement, and adapted to the American people's desire for spiritual culture in the mid-and-late 20th century. Nowadays, it serves as a bridge to promote the cultural exchanges between China and America.

City of Broken Promises, which is a historical novel and female Bildungsroman published in 1967 by the British diplomat and author Austin Coates (1922-1997), fictionalises Anglo-Portuguese relations in eighteenth-century Macau and Canton, as well as the love relationship of the East India Company supercargo Thomas Kuyck Van Mierop and the Chinese Catholic orphan Martha da Silva, who becomes the richest woman in Macau and one of the city’s biggest benefactresses. The novel is based on oral tradition and historical documents, and it portrays the unique culture and history of Macao during that period. The hidden clue in the story is that Martha’s looking for a name, which is also the unremitting motivation for her growth. In the end, Martha, who has a successful career, even named a commercial cruise ship after herself. This article explores how a Chinese woman achieved self-realization in the historical environment of the colonialism from the perspective of cultural and gender identity.

In the history of Western fantasy novels, the masterpieces crafted by renowned Western fantasy novelists like John Ronald Reuel Tolkien, C.S. Lewis, and J.K. Rowling have exerted a profound and far-reaching influence. Since the 1950s, they have not only decisively shaped the creative trends and developmental process of Western fantasy works but have also left a profound impacts on the evolution of contemporary Chinese fantasy novels. With the influx of Western fantasy novels into China via translation and film adaptations, domestic contemporary fantasy literature has embarked on a journey of creative assimilation. Drawing inspiration from the elaborate construction of grand story backgrounds, characterization, thematic ideology and narrative structure, Chinese authors have ingeniously integrated these elements with their rich native cultural heritage. This symbiotic fusion has given birth to a distinctively national and regionally flavored fantasy narrative, emblematic of the growing self-awareness in the pursuit of innovation within the local fantasy genre. Accordingly, this paper is based on a cross - cultural perspective and combines the theory of comparative literary variation to deeply analyze how contemporary Chinese fantasy literature integrates with Western fantasy novels in aspects such as story structure, the shaping of character imagination, themes, and narration. Based on the context of Chinese local culture, it creatively mutates and derives local fantasy novels that integrate multiple elements of Western fantasy, Chinese metaphysical fantasy, and martial arts (Wuxia) novels, etc., thus rejuvenating these novels in the context of the era of cultural exchange and mutual learning among civilizations.