Abstract：Facing the global ecological and environmental crisis, literature has made the most direct and critical response creatively. Looking at the literary histories of China and the United States, both William Faulkner and Jia Pingwa have been dedicated to writing about nature and humanistic ecology, exploring the social roots of ecological crises, and seeking solutions to ecological problems for over half a century. Their writings reflect the insights and reflections of the East and the West on ecological civilization, providing typical research texts for systematically studying ecological views in different cultures. Under the guidance of ecological criticism theories from both China and the West, this paper analyzes the characteristics of the two writers’ works in terms of ecological literature themes, ecological images, and ecological thoughts, outlining the similarities and differences in their ecological literary expressions. Furthermore, under the model of mutual interpretation of ecological thoughts between China and the West, and in the context of social history, it differentiates and interprets the “similarities within differences” and “differences within similarities” in their ecological writings, building a bridge for the exchange and communication of ecological thoughts between China and the West, and exploring new paths for mutual recognition and learning of ecological thoughts between the two cultures.

The concept of "game" has existed since ancient times. Although it has long been in a "non-mainstream" position, it has always existed in the process of civilization development, playing a role in shaping, constructing and influencing human civilization. At present, mankind has entered the digital age, and the content of digital games can allow players to understand civilization and even influence players' views on civilization. However, at present, Chinese digital games lack works with strong meaning and value connotations, and accordingly, there is a lack of an independent knowledge system for game research theory. Faced with the urgent need to establish an independent knowledge system for Chinese digital game research, how should Chinese digital games and research actively participate in the writing of civilization history? For the above issues, this article puts forward some views.

The origin of world literature in China can be traced back to 1898, but Chinese intellectuals consciously advocated for it in the 1920s. Members of literary research association文學研究會, led by Shen Yanbing沈雁冰, Zheng Zhenduo鄭振鐸, Ye Shaojun葉紹鈞 and others, aimed at introducing world literature, organizing old Chinese literature and creating new literature, and vigorously translated and introduced foreign literary works through The Short Story Magazine小說月報, Literary Monthly文學旬刊 and other publications. Among them, Shen Yanbing’s practice of “world literature” may deserve special attention. On the one hand, his call to not only develop national literature but also jointly promote world literature echoes Goethe’s vision. On the other hand, he actively cooperated with foreign journalists in China in an effort to promote Chinese literature to the world.

This paper mainly focuses on Shen Yanbing’s early practice of world literature. The first part examines his literary reform movement within The Short Story Monthly, transforming it successfully from the base camp of the Mandarin Duck and Butterfly School into the vanguard for spreading new world trends. The second part explores the changes of Shen Yanbing’s own concept of translation. Behind this change/wavering is actually his deep understanding of world literature and his firm determination to integrate Chinese literature into the global literary landscape. The third part will discuss a series of Shen Yanbing’s practices aimed at promoting Chinese literature on the world stage. Together, these contents constitute Shen Yanbing’s early conception of world literature and his exploratory practices.

Abstract: This study is based on Feng Shi's theory of the religious nature of primitive writing and the East-West discourse of Yi and Xia. It employs a method of comprehensive comparison and empirical analysis to delve into the hidden connections between Sanxingdui symbols, Bashu pictography, and early Ancient Yi script. The rich primitive divination customs of the Yi people and their Bagua system provide a rich cultural soil for this research. Through a detailed analysis of Yi bone divination rituals, the study reveals the entire process from the clear purpose of divination to the interpretation of the burn patterns, forming a unique narrative system of pictography. In this process, the initial relationship between divination texts and cracks is not established on clear meanings, resulting in a randomness and mysticism in the judgment of good and bad fortune in relation to the shape of the cracks. The research finds significant common characteristics between the symbols used in Yi bone divination and early Ancient Yi script, Sanxingdui symbols, and Bashu pictography. It is inferred that early Ancient Yi script may have been created by priests to achieve communication between humans and deities based on the burn patterns of bone divination. Among these, Bashu pictography is likely the divination symbols for communication between gods and humans, such as "卐" and "十"; while Sanxingdui symbols serve to interpret the meanings of divination texts and assess auspiciousness, such as the commonly seen "eye" symbol representing divine communication on Sanxingdui bronze vessels. Thus, it can be seen that Bashu pictography and Sanxingdui symbols collectively constitute an important source of early Ancient Yi script. This research emphasizes that Sanxingdui symbols, Bashu pictography, and early Ancient Yi script are key carriers of early Chinese civilization, providing important clues for the origin and development of Chinese civilization, just like oracle bone script.

Over a hundred years ago, through learning and imitating from the discourse and systems generated in Western philosophy, Chinese scholars gradually built the so-called “Chinese philosophy” with pre-Qin thought as its source. Up to the present time, the controversy around it brought about by one-way borrowing has gradually transformed into the exploration on independence of Chinese philosophy, in which overseas pre-Qin thought research has played an important role. This article focuses on the pre-Qin research of Chad Hansen, along with that of Chris Fraser and Roger T. Ames, so as to discuss how Chris and Roger, under the influence of Hansen, show the sense of mutual learning of civilizations through their distinctive approaches. The three Sinologists above, who present different concerns respectively in their study on Confucianism and Mohism, then meet in a broader area, namely pre-Qin philosophical thought research, emphasizing the elimination of binary opposition and promotion of mutual dialogue between China and the West, and hence launch a rewriting of Chinese and Western philosophy and even civilizations.Specifically, Roger, who thinks through Confucius and is committed to letting Chinese philosophy speak, examines and develops Confucian philosophy by drawing on the ancient Chinese language philosophy constructed by Hansen based on the thoughts including Mohism and School of Names; Chris, who directly follows Hansen, reflects on the value of Chinese thought in today’s world philosophy and make further interpretation and translation of pre-Qin texts such as Mozi. More importantly, their researches on pre-Qin thought reveal the attempt and trend of “learning from the east to solve Western problems”, and this is also the great proof of the actual interaction and dialogue in Sinology, which is indeed our wish of advocating mutual learning of civilizations.