Trees, with their exuberant vitality and astonishing self-healing capabilities, have been an indispensable sacred symbol in human beliefs since ancient times. In India, on the South Asian subcontinent, the tropical monsoon climate has nurtured dense forests and towering trees. On this land, whether in the Vedic myths of ancient India, Hindu mythology, or Buddhist faith, there are legends about the wish-fulfilling tree (Sanskrit: parijata, kalpavriksha). These magical trees, growing in mythical paradises such as Mount Sumeru, the Garden of Eden, and the Kunlun Hanging Gardens, not only symbolize eternal life but also possess the miraculous power to fulfill wishes.

In China, the worship of trees also has a long and storied history, closely intertwined with the propagation and generation of life. The ancient Chinese mythological masterpiece, the "Classic of Mountains and Seas" (Shan Hai Jing), documents numerous divine trees with magical functions. With the eastward spread of Buddhism, the Buddhist faith in Ancient China concretized the veneration of Buddhist doctrines into the worship of the wish-fulfilling tree, a form of reverence that combines the pursuit of immortality and the fulfillment of wishes. In the Thangka art of Tibetan Buddhism, this adoration and faith in divine trees find their most vivid expression. The wish-fulfilling tree in Thangkas has its roots anchored in the realm of Asuras, while its canopy reaches into the heavenly realms, providing the Thirty-Three Heavens with fruits of eternal life when they ripen. The late Ming Dynasty's supernatural novel, "Journey to the West," also records such a magical tree, known as the ginseng fruit tree. Its fruits, resembling infants, grant over three hundred years of life with a single whiff and a lifespan of 47,000 years when consumed.

From the wish-fulfilling tree in Indian mythology, to the kalpavriksha in Buddhism, and then to the ginseng fruit tree in "Journey to the West," we can observe the intricate process of transmission and transformation of the worship of divine trees between India and China. This not only serves as a historical testament to the formation and development of tree worship and belief but also vividly reflects the influence of Buddhist culture on Chinese literature. It allows us to glimpse the rich cultural connotations and historical changes embedded within.

Abstract: The translation of Chinese poems into English by Wu Jingxiong is an important event in the translation of Chinese classical literature in the first half of the 20th century. His translation action was built on the soil of the mutual development of Chinese and Western literature in the late Qing Dynasty and the Republic of China, and was generated by the desire of intellectuals at that time to talk about China to the outside world in order to construct cultural subjectivity. This kind of speech is presented by the Chinese self-published English newspaper T’ien Hsia Monthly, in the narrative mode of "using Western grammar to speak about China to the West ". Influenced by multiple identities such as symbolist and patron, the themes and poets of Chinese ancient poetry selected and translated by Wu Jingxiong are closely related to his individual experience and cultural concepts. Most of the symbols in the translated text have volitional rewriting and deformation, which is the product of the translator's translation purpose of emphasizing dissemination and publicity. Multiple identities and translator tasks interweave with texts, either implicitly or explicitly shaping the translation form of ancient poetry.

The thesis "A Comparative study of ecological thoughts in children's literature between East and West -- taking China and Germany as examples" mainly explores the heterogeneity and homogeneity of ecological thoughts in children's literature between China and Germany. The thesis is carried out from five aspects: first, it is about the history of Sino-German children's literature exchange and mutual learning; second, it is about the origin, generation and development of Sino-German children's literature ecological thoughts; then, it is about the isomorphism of Sino-German children's literature; and then it is about the heterogeneity and mutual learning elements of Sino-German children's literature ecological thoughts. Finally, it discusses the feasible ways for the future writing of ecological works of Chinese and German children's literature and the cultivation of children's ecological consciousness.

Suzhou Tan-Ci is a kind of rap art in Jiangnan area of China. Together with Chinese Kunqu Opera and Suzhou gardens, it forms the "three cultural masterpieces" of Suzhou, a famous historical and cultural city. Pansori is a well-known rap art on the Korean Peninsula, and it is also the quintessential art of the Korean Peninsula. As a representative of the Jiangnan area of China and the Korean Peninsula rap performance art, Suzhou Tan-Ci and pansori have their own distinctive aesthetic characteristics.

It is not difficult to find that the script literature and rap performances of Suzhou Tan-Ci and pansori show different characteristics in aesthetic feelings, aesthetic tastes, aesthetic ideals, aesthetic standards and other aspects, which are closely related to the different social and cultural contexts in which they are located and the different aesthetic concepts and habits.

In view of this, on the basis of examining the different social and cultural contexts in which Suzhou Tan-Ci and pansori grow, this paper mainly analyzes the different aesthetic characteristics of Suzhou Tan-Ci and pansori in terms of narrative mode and listening and performance relationship, so as to understand the artistic taste and cultural tension of Suzhou Tan-Ci and pansori more deeply and objectively.

If Suzhou Tan-Ci is a civic art with strong Wu cultural flavor, then Pansori is a folk performing art with Korean folk culture characteristics. When it comes to the social culture of Pansori, the first thing to mention is the witch culture that has a long history on the Korean Peninsula. Because of the carrier of the witchcraft culture, the secular happiness of the Korean Peninsula culture can become a kind of cultural accumulation and inheritance, and gradually form the deepest cultural psychology of the Korean Peninsula people. When we talk about the cultural psychology of the Korean people, we have to mention the unique character and temperament of the Korean people - "Xing", as well as the special psychological complex - "Hate".

The aesthetic characteristics of Suzhou Tan-Ci and pansori are reflected in the composition elements of both -- literature, music and performance. This paper only discusses the different aesthetic characteristics of the two in narrative structure and the relationship between listening and performing.Suzhou Tan-Ci and pansori as rap art, narrative is also their most basic artistic composition factor. The traditional narrative art forms the plot structure with the main line of the vertical development of the character and the fate of the character in the conflict, and unfolds the plot and narrates the story according to the structure of "transition". Suzhou Tan-Ci and pansori are no exception. However, in the expressive form of plot development, pansori presents a single linear longitudinal structure, while Suzhou Tan-Ci presents a multi-linear structure with longitudinal structure as the main and horizontal structure as the auxiliary.

The cross-cultural practice of landscape poetics reveals that landscape, as a dynamic medium of power encoding and ideological representation, permeates the interaction between literary writing and social cognition. Focusing on the landscape discourse in the literary supplements of Xinshu Newspaper in wartime Chongqing, three phases of evolution emerge: the exiles’ nostalgic fetishization of homeland landscapes suturing national trauma, the critical deconstruction of the “wartime capital” exposing power hypocrisy, and the post-bombing sublimation of suffering that reimagined Chongqing as a symbol of national resilience. W.J.T. Mitchell’s theory of “naturalized power” and Karatani Kōjin’s concept of “cognitive apparatus” converge here, highlighting how landscape functions both as a product of Western modernity’s theoretical travel and a localized practice of identity reconstruction in the Eastern context. By symbolizing geographical space, wartime landscape narratives transformed Chongqing from a physical site into a cultural metaphor for the national community. These strategies not only resonate with global critiques of landscape’s ideological role but also exemplify how wartime literature engaged in shaping nationalist discourse. The Landscape Poetics manifests as a complex interplay of natural scenery, cultural memory, and political allegory, ultimately constituting a crucial research perspective on ideological contestation and national identity formation in the context of wartime China.