The Zhongyong, also known as The Doctrine of the Mean, has gradually attained recognition as a philosophical classic over more than 300 years of translation endeavor, since its initial English translation in 1691. A comprehensive review of its translation history unveils significant shifts in the understanding and reception of The Zhongyong. The work has been rendered into 29 English versions, that encompasses full translations, selected translations, compilations, and even adaptations in comic form. In this paper a detailed overview of the English translation history of The Zhongyong is presented, that categorizes it into three distinct phases: (1) “An Interpretation of Confucianism through a Christian Lens (1691-1905)”, in which, translators primarily sought to draw parallels between Confucianism and Christianity. (2) “An Interpretation of Confucianism through Western Cultural Frameworks (1906-2000)”, where translators predominantly adopted a culturally oriented translation strategy, that aligned The Zhongyong with Western philosophical and cultural paradigms. (3) “A Reinterpretation of Confucianism through Its Chinese Cultural Context (2001-present)”, in which, the focus shifts to the restoration of the original philosophical and cultural essence of the text, and contributes to its canonization as a philosophical classic within global discourse. The translation of the title “Zhongyong,” is further examined through an analysis of four representative renditions to illustrate the diverse conceptual understandings they reflect. The findings indicate a notable trend towards interpretive translation, wherein various strategies are employed to enhance readers’ comprehension of complex philosophical concepts. As the demographic of translators has diversified, translation strategies have also evolved from domestication in the earlier phases to foreignization in the contemporary phase, which signifies a growing emphasis on preserving the authentic Chinese philosophical context.

When The Sorrows of Young Werther was published in Europe, it instantly created an enormous social impact, where many enchanted readers imitated the outfit, the temperament, and even the suicidal decision of Werther. This phenomenon, known variously as the “Werther Fervor”, the “Cult of Werther”, or the “Werther Effect”, has long been discussed in the Western academia. The term “Werther effect” has been used to refer to “imitation suicides elicited by media portrayals of suicide”, and it has since been widely researched in the fields of public health, media studies, and cultural studies. In this research, I discuss the Chinese counterpart of the Werther fervor in the early twentieth-century by probing the way readers merged their reading of this novel with their own circumstances. I then zoom in on how the impact of Guo Moruo’s translation may have been associated with the suicides of young students, a striking social phenomenon observed by many Republican critics.

While Goethe was already introduced to Chinese readers as early as 1898, he only became much more widely known after the first full translation of Werther, translated by Guo Moruo, was published in April 1922 by Taidong Book Company in Shanghai. Between 1922 and 1932, Guo’s translation was reprinted over 50 times, testifying to the extent of its popularity. In fact, Guo’s translation of Werther not only left an indelible mark on the modern Chinese language, but also wielded an enormous influence on the susceptible minds of young Chinese writers and common readers alike. The most notable worshippers of Werther include Guo Moruo himself, Tian Han, and Zong Baihua, who together composed the anthology Kleeblatt (三叶集 Shamrock) to focus solely on Goethe, as well as a less known yet equally, if not more, passionate follower, the playwright Cao Xuesong. I examine the reading of Werther by these writers as well as by common readers, before probing the close relation between the reading of this work of popular literature and the social issue of suicides in China at the time.

Drawing on trauma studies and memory theories, this paper examines Malaysian Chinese writer Tan Twan Eng's English novels, The Gift of Rain and The Garden of Evening Mists, analysing how they engage with themes of forgiveness and memory ethics in the context of Malaysia's 1980s Look East policy. Tan's novels powerfully depict the trauma of Japanese occupation in Malaysia while exploring his protagonists' complex struggle between preserving wartime memories and healing from trauma. Rather than advocating for post-war retribution, his works thoughtfully examine the intricate process of restoring justice while preserving traumatic memories.

Tan's novels skillfully balance the duty to remember with an aspiration for peace, proposing a path toward non-violent reconciliation with former perpetrators. Through this lens, Tan's work offers both a novel approach to traumatic narrative and a fresh perspective on justice. While acknowledging that historical memory and justice for victims remain essential moral imperatives, Tan suggests that love, forgiveness, and friendship can serve to promote peace and reconciliation with former adversaries.

This is particularly evident in the meaningful interactions between protagonists and their Japanese visitors, which symbolise an ethics of non-violent reconciliation, whereby collective remembrance facilitates communal healing. Through these encounters, Tan envisions a future where former enemies can forge peaceful relationships, potentially preventing future conflicts. His work demonstrates that while we must maintain our responsibility to remember history and seek justice for victims, these goals can be achieved through paths that emphasise understanding and reconciliation rather than retribution.

The idea of sacrifice is evident in narrative systems throughout different languages. In European as well as Indian context, there are epics and other narrative forms which show the presence of the idea of sacrifice. In the European context, we can start with epics like The Iliad and The Odyssey, which possess characters with sacrifice being one of the features in them. While in the Indian context, we have Ramayana, which also shows the same. I will be extensively talking about the emergence of sacrifice from Iliad to Meghanada Badh Kavya. On the other hand, we also have a sacrificial nature in the Indian context which can be traced to be present. It is seen throughout the epics (and Mahakavyas in India) of different languages that one of the common generic markers is the presence of war in epics. Now, very simply, these narratives have one or generally more warrior noble characters. These noble characters are meant to go through certain types of journeys of their own and also go through certain types of sacrifices. I will be starting the paper by introducing the archetype I have selected from the epic The Iliad and will further try to find its emergence in the characters of other epics like Odysseus and Meghnad Badh Kavya. I will take up the presence of sacrifice across epics in different contexts and trace it through certain characters of these epics. The image of sacrifice which I will be talking about differs from epic to epic, which is based on the situation the character is in but acts as the ultimate path to achieve their goal. I have taken sacrifice as an archetype because of its presence in the epic Iliad and Odysseus as well (Ramayana as well), which further is also seen in other epics. I will be focusing upon a specific image which is of a male character. The sacrifice is shown as something important which leads to them fulfilling their duty towards the nation, family, society, etc. The characters which I will be focusing upon are Hector from The Iliad, Odysseus from The Odyssey and Meghnad from Meghnad Badh Kavya. To also show its presence in Indian Mahakavyas, I will be taking up the Lakhman from Ramayana.

Pain and Trauma axiomatically understood in many subjective sensitivities - may be referred to be fluid, transient and enigmatic in phenomenal reality and in context of consciousness-raising which actually in categorization of varied independent constructs that is resistance, resilience, precarity, rehabilitation, reinstatement etc. Simplistically put, pain is unpleasant, yet the context determines its configuration and reception. Moreover, fixed definitions and meanings can be slippery as they go beyond emotional and sensory experiences; they are shaped by a number of social and cultural factors and are experienced variously. The psychodrama of protest and experience while in pain and trauma, anxieties for instance - cannot be standardized and sometimes it seems to resist description entirely. The narratives and accounts of the tangibly felt and perceived experiences of pain and trauma may become an axiomatic reference to the overall human experience of mortality.

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