"Comparative literature is not a 'comparison of literature'." This statement prompts us to consider what scholars in comparative literature are comparing. In the study of the Wushan literature of Japan, it has been observed that incorporating "heterogeneous factors" and "homogeneous factors" from the surveyed texts to reconstruct the communication relationships between foreign literatures may present a viable approach. When there is an interaction between literatures of different countries, its complexity often manifests in the intricate web of prolonged communication rather than in the final direct outcome.

Previous research methodologies have typically focused on establishing the starting point and endpoint, presupposing a linear route between the two points—whether from object A to object B or vice versa. To some extent, this singular path inevitably leads to a simplified understanding of the relationship. Additionally, it is crucial not to overlook the assessment, existence, and transformation of "heterogeneous factors" and "homogeneous factors" within the text.

Modern East Asian writers established a community among writers by confirming each other's cultural memories through the creation of poetry and constantly building collective memories. The exchange of culture between Qing and Joseon writers began at the end of the 18th century, and cultural exchanges between Qing and Korean writers began to show a pattern that lasted for several decades on a higher level. In particular, as Western powers invaded East Asia in the early 19th century, East Asian writers began to discuss countermeasures for new changes, and it seems that they had a broader conversation on issues such as how to respond to the West and what changes the fate of the Qing Dynasty would face in the face of this crisis, and whether they could restore neutralization, the spiritual pursuit of East Asian writers.

The sunny activities during the Chuseok, which were discussed in this paper around 1861, are known as one of the literary activities that best showed the interaction patterns between East Asian writers under this background.

First of all, the urban painting activity organized by Dongmunchang called for a sunny day in 1861 when the politics of the Qing Dynasty were in jeopardy due to the damage of the Second Opium War to Han Chinese and Joseon Chinese.

Next, the fact that this poem's sunny house has a lot of writers scrambling to sunny up compared to the sensitive issues it deals with, or talks about the emotions that the poem shares with, those writers are interested in.

Next, the first edition of this poem contains the poems of 30 writers, seven of whom were poems of Korean writers who were performed between 1861 and 1862. Whenever Dong Won-hwan received a poem from a Korean writer, he met with the Korean writers separately for several days and had a deep conversation with them. It can be seen that he is satisfied with the poetry exchange activities through the Chuhoehwachang collection, such as the fact that Dong Won-hwan received a poem from a Korean writer, and that he published this poem in Joseon.

Overall, the Chuhaehwachangjib can be seen as a process of creating collective memories by representing artistic activities between writers and reminding them of cultural memories, reaffirming each other's identities through collective memories, and establishing a new community between writers.

Therefore, I would like to discuss some of the following issues in this paper. The Korean people want to find out how they successfully decoded the hidden topic that Dong Won-hwan was trying to talk about, how they decoded the topic, how they responded to the difficult part to respond and interpreted it constructively in response to the new changes, and how they reaffirmed the collective sense of common consciousness and established a collective identity by dealing with "difference" or "change" that could break down the collective sense of common consciousness.

As a representative commentary on Zuo Zhuan, Zuozhuan Jishi written by Yasui Sokken, a famous Japanese sinologist, was deeply influenced by textology of Qing Dynasty. Under the impact of great emphasis on practical learning in Qing Dynasty, Zuozhuan Jishi not only inherited the Qing Confucians' thoughts of studying classics, including criticizing Du Yu's annotations, reviving Han scholarship and applying Confucian classics to reality, but also adopted and adequately applied the annotation methods of Qing Dynasty's textology in the aspects of philological exegesis, historical research, version collation and so on. What's more, the work also extensively cited the annotation results of dozens of textology scholars in the Qing Dynasty, such as Hui Dong, Gu Yanwu, Wang Niansun, Ruan Yuan and the like, embodying the academic characteristics that focused on exegesis, empirical evidence and collation. While accepting above thoughts and methods of Qing Dynasty's textology, Zuozhuan Jishi demonstrates critical spirit by presenting unique interpretations that differ from the Qing Confucians in terms of specific points, reflecting a selective agreement with their ideas and choosing reasonable one to follow, which strictly practices the Qing Confucians' academic style that is realistic. The origin relationship between Zuozhuan Jishi and textology of Qing Dynasty is an illustration of textological characteristics of Yasui's scholarship, as well as an epitome of the localization of Chinese practical learning in Japan. It is of great benefit to understand the prevalence of Qing Dynasty's textology in Japanese sinological circles during the Edo period, and even to investigate the academic exchange and development between China and Japan.

There are four dimensions to the selection and translation of contemporary Chinese writers' works in Japan: firstly, the award-winning works of the writers; Secondly, choose more short and medium stories as the subject matter; Thirdly, literary works that tend to reflect Chinese historical events, regional customs, and cultural character in terms of content; Fourth, pay attention to the creations of female writers. In the external dissemination of contemporary Chinese literature, the works of Chinese female writers showcase unique literary charm and social insights through their unique female perspectives. Writer Zhang Jie is the first Chinese writer to win three national awards for long, medium, and short stories, and the only writer in the country to win the Mao Dun Literature Award twice. Her works have been translated into over ten languages including English, French, German, Russian, and Danish, with nearly 30 translations available. However, Japan was the first country to pay attention to and translate Zhang Jie's works. The evaluation of writer Zhang Jie by the Japanese academic community is: "As a pioneer of Chinese literature in the new era, she entered the literary world with a unique artistic style and is the most outstanding female writer in an era

The translation and introduction of works by writer Zhang Jie in Japan presents the following four characteristics.

As a concept in narratology, perspective is a special perspective and angle from which a work or a specific narrative text views the external world and inner world. It is the spiritual connection point between the author and the text. The female image presented in Zhang Jie's works is the author's insight into the external world as a female observer. Writer Zhang Jie and Professor Fudi, two women of the same age, meet in the work "Ark". The translator clearly and accurately grasps the author's creative intention and the meaning of the work. The reason why Zhang Jie's works can be successfully translated into Japan is also because the language style of Japanese is suitable for the expression of female writers, with a large number of onomatopoeic words, and female language is very suitable for the form of "inner monologue" in the works. The translation and introduction of Zhang Jie's works in Japan is rigorous, precise, and highly artistic. The author's observation of Chinese society through the protagonist's female perspective and the portrayal of resilient and ideal female images in the works are important elements in the translation and dissemination of Japanese works.

Records on Entering Shu (Ru Shu Ji) is a diary written by the Southern Song poet Lu You (1125-1210) during his journey into the Sichuan region. It consists of six volumes and is one of the longest travelogues of the Song Dynasty, also recognized as the most significant literary achievement and influential diary-style travelogue of its time. After the record was introduced to Japan, it underwent multiple editions, reprints, and annotated translations, achieving widespread dissemination and influence. In post-Meiji publications, Records on Entering Shu was used as a "comprehensive encyclopedia" referenced in various fields such as agriculture, water conservancy, history, geography, customs, and biology. It was also regarded as a "model travelogue" in the literary creations of Japanese literati and Chinese travel accounts, often being admired and imitated in terms of content, creative paradigm, usage of classical references, and travel routes.

The Annotations on the Records on Entering Shu (1881) is considered the earliest known annotated version of the work in East Asia, with its preface and annotations written in Classical Chinese. It was reprinted twelve years after its initial publication, and several Japanese editions with translations and annotations followed. These publications reflect the broad audience Records on Entering Shu found in modern Japan. To this day, academic studies on Records on Entering Shu have covered aspects such as its ideological content, its status and influence, textual studies, and landscape routes. Research on modern Japanese literati's travelogues and writings about China has also established a strong foundation from perspectives such as scholar interactions and image studies. However, there is still a lack of focused studies on the reception of Records on Entering Shu in Japan and its impact on the travel writings of modern Japanese literati about China.

Against this backdrop, this paper attempts to examine Records on Entering Shu within the social and historical context of modern Japan from both synchronic and diachronic perspectives. By analyzing contemporary publications of the time and focusing on multiple Japanese translations and annotated editions of the work, the study aims to trace the "line" that links them, providing a glimpse into the "scope" of its dissemination and reception in modern Japan. The goal is to offer a new perspective for research on modern Japanese scholars' travelogues about China and to explore the evaluation and influence of Records on Entering Shu in modern Japan, thereby contributing to the understanding of its literary, cultural and historical value.

With the wide dissemination of The Song of Everlasting regret in Japan, Yang Guifei has also become the subject of much writing by Japanese literati. The image of Yang Guifei in Japanese literature is naturally coupled with the image of "Kiritsubo Consort" in The Tale of Genji by Zi Shibu; in the Noh play by Jinchun Zenbake, she becomes a "resurrected" fairy; in the historical novel The Legend of Yang Guifei by Inoue Yasushi, she shares the same tragic fate as herself;and in folklore, there are two kinds of encounters: "the double theory" and "the resurrection theory". The variation of the image of Yang Guifei in Japanese literature is mainly reflected in the change from "beauty in trouble" to "national god", and in the subject matter of Yang Guifei's literary works, from "feelings of family and country" to "beautiful love".The reasons for the Japanization and variation of Yang Guifei's image are found to lie in the "depoliticization" of Japanese literature, the aesthetic tradition of "mono no aware", the cultural filter and the "exoticization" of literature.