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2025, Volume 8,  Issue 1

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Cultural Interaction Studies and Research on Modern East-West Linguistic and Cultural Encounters： A Case Study of Aesop’s Fables in Chinese Translation
UCHIDA Keiichi
2025, 8(1): 5-29. doi: 10.19857/j.cnki.ICL.20258101
Abstract:
The question as to “what is cultural interaction studies” invites diverse answers from various disciplines and perspectives. That said， its foundational methodology， namely， “observing the center from the periphery，” remains consistent. This paper examines the translation and dissemination of Aesop’s Fables in modern China as a case study to explore the mechanisms of East-West linguistic and cultural encounters during the eastward transmission of Western learning. The study reveals that the missionary community constructed unique intercultural communication models through the translation of Aesop. Not only did their translation strategies demonstrate a profound grasp of Chinese linguistics， but they also reflected the methodological value of “observing the center from the periphery” in cultural interactions. Moreover， Chinese translations of Aesop’s Fables exhibit distinct localization tendencies， while the “Westward Transmission of Aesop” phenomenon highlights the bidirectional nature of cross-cultural exchanges. By synthesizing achievements in Sino-Western Chinese language studies and tracing the history of Aesop in Chinese translation， this essay provides empirical evidence for cultural interaction studies. The author also lists sources and includes a comprehensive bibliography in the hope of facilitating researchers with like interests.
[Abstract](13) [PDF 2222KB](3)
Special Topic：In Memory of Professor YE Jiaying
Professor Ye Jiaying’s Scholarly Realm and Methodology
WANG Zhaopeng
2025, 8(1): 30-45. doi: 10.19857/j.cnki.ICL.20258102
Abstract:
Professor Ye Jiaying holds a lofty academic vision. Her research on classical Chinese poetry aims to inherit the lifeblood of traditional culture， find the position of classical Chinese literature in the global cultural coordinate system， and also to clarify the characteristics of Chinese poetry and its unique contribution to world culture and world civilization， so as to enhance the pride and self-confidence of Chinese culture. She has extensive literary knowledge and deep academic roots. While modern academic specialization often leads scholars to separate the study of shi （poetry） and ci （lyric poetry）， Ye integrates both forms， achieving unparalleled comprehensiveness in her research. The breadth of her study of classical Chinese poetry is unmatched. She also established her own theoretical system， focusing on explaining the vitality of Chinese classical poetry， so as to activate the life force hidden therein. Her exploration of this vitality is incisive and multifaceted： she excels at contextualizing specific works within broader frameworks， interpreting individual poets through collective perspectives， and illuminating Chinese traditions via Western theoretical lenses. Unlike scholars who approach research merely through diligent effort， Ye dedicates her very life to studying and disseminating classical poetry. This devotion has unlocked her fullest potential， sustaining both her intellectual vigor and scholarly legacy.
[Abstract](9) [PDF 1910KB](1)
How is the Modern Transformation of Ancient Literary Theory Carried Out？ On Ye Jiaying’s Theory of “Evocative Inspiration” in Comparative Poetics
LIU Yabin
2025, 8(1): 46-62. doi: 10.19857/j.cnki.ICL.20258103
Abstract:
Ye Jiaying proposed the theory of “Evocative Inspiration” as a fundamental principle of poetics. Under the perspective of comparative poetics， she combines modern life experiences， unifies the inspiration of life and rational logic， and constructs a poetic system with modern characteristics. The theory of “Evocative Inspiration” originates from the sensory power of “Xing” （兴） in traditional poetics， where “Feng” （风） and “Xing” are synonymous， indicating a transition from religious and political concepts to poetic techniques. While extracting life vitality， the theory identifies natural imagery and social phenomena as the roots of the “life inspiration.” Grounded in poetics itself， it shifts its focus from artistic techniques to subjective life experiences， highlighting its aesthetic characteristics of life through reconstructing traditional poetic discourse. While author， reader， and work are part and parcel of literary activity， traditional poetics emphasizes the author’s inspirational dimension. Western poetic theories are employed to complement and refine this framework， with “Evocative Inspiration” prioritizing the holistic life journey of the individual and allowing the emotional development of poetic life to be passed down from generation to generation. As far as poetry itself is concerned， both the textual concepts of New Criticism and the theory of semiotic code fall within the category of “Bi” （比） in traditional poetics. “Evocative Inspiration” has a phenomenological sense of the beginning of life. The “potentiality，” “possibility” and musicality embedded in textual language align more with the essence of “Xing” （兴）， rendering the work itself a complete life entity， wherein life inspiration becomes the hallmark of excellent poetry. In the practice of “poetic life，” the philosophy of “Evocative Inspiration” ascends to the level of moral personhood， unifying beauty and goodness through gradual self-perfection from initial life inspiration. In the face of the difficulties and hardships of modern society， the unique feminine “beauty of passive virtue” plays a universal and instrumental role in preserving， resisting， and redeeming life， embodying noble human ethics. Through perpetual life inspiration and emotional resonance， the theory of “Evocative Inspiration，” holds significant revelatory value for the modern transformation of ancient Chinese literary theory.
[Abstract](8) [PDF 1957KB](1)
Ye Jiaying’s Poetics of Life Experience in the Mutual Reference between Chinese and Western Poetics
LI Yun
2025, 8(1): 63-74. doi: 10.19857/j.cnki.ICL.20258104
Abstract:
From composing poetry through authentic life experiences， to interpreting poetry via life insights， and ultimately inspiring vital resonance through such interpretations， Ye Jiaying established a supreme “Poetics of Life Experience.” She asserts that genuine life experiences and emotional vitality constitute the essence of poetry， holding that truly great poets write and embody their verses through lived existence. This poetics emerged from the dialogue between Chinese and Western poetic traditions. Its deep-seated origin lies in China’s lyrical tradition dating back to the pre-Qin period， which emphasizes poetry as an external manifestation of inner sentiments， which differs vastly from Western mimetic theories. Its deeper foundation resides in China’s humanistic philosophy initiated in the pre-Qin era， where Confucius， Mencius， Laozi and many other intellectuals prioritized human spirituality and creativity， shaping the people-oriented feature of Chinese poetic education that emphasizes poetry’s role in guiding individuals and society. In contrast， Plato and Socrates undermined poets’ creative capacity while overemphasizing divine inspiration， regarding poetry as something that offers minimal benefit to individuals or society. Inheriting pre-Qin traditions while building upon Wang Guowei and Gu Sui’s scholarship， the Poetics of Life Experience reveals poetry’s authentic nature， providing both theoretical significance for creation and practical value for critical appreciation. Riveting on life experience， Ye Jiaying reinterprets poetic works through meticulous analysis of poets’ genuine humanity and complex emotions， and thus transcends rigid interpretive frameworks. She navigates recipients to engage in life-oriented poetic experiences， cultivates vibrant sensibilities， and enables spiritual elevation through poetry， ultimately achieving individual awakening， development， and self-perfection.
[Abstract](6) [PDF 1906KB](2)
The Influence of Modernist Literature on Ye Jiaying’s Poetic View
LI Hongzhe
2025, 8(1): 75-87. doi: 10.19857/j.cnki.ICL.20258105
Abstract:
The irrational features of modernist literature， which emphasizes sensibility and intuition， has formed a unique landscape of Western literature in the 20th century. The emergence of schools such as symbolism， expressionism and stream of consciousness in the later period is the concrete practice of this trend of thought， and a number of outstanding writers and works represented by Kafka， Joyce， Faulkner and Proust have emerged， which have had a great influence on the creation of later writers. Scholars have written many papers about this phenomenon， but their focus was mostly on fictions. Ye Jiaying was the first person to apply the characteristics of modernist literary creation to the study of classical Chinese poetry. A master of classical poetry， Ye Jiaying was praised for her appreciation approach， which bridges East and West and connects the past and the present. This methodology stems from her scholarly heritage， mentorship， profound erudition， and her deep engagement with Western literary theory. Having spent years abroad teaching， researching， and disseminating classical Chinese poetry， Ye’s unique life experiences and broad academic vision enabled her to synthesize traditional Chinese literary theory with Western frameworks， thereby breathing new life into the study of classical Chinese poetry. Modernist techniques， such as symbolism and the transcendence of temporal-spatial boundaries， profoundly inspired Ye. She applied these methods to interpret works by historically “enigmatic” figures like Li Shangyin and Wu Wenying， unveiling the aesthetic essence of classical poetry and illuminating the poetic sensibilities of ancient literati. Her groundbreaking conclusions offer fresh pathways for interpreting classical poetry， wedding traditional Chinese poetics with modernity and global literary discourse.
[Abstract](11) [PDF 1865KB](1)
Gu Sui’s Way （Dao） of Literary Interpretation： A Concurrent Discussion on the Intellectual Origins and Academic Legacy of Ye Jiaying
PANG Weiwei
2025, 8(1): 88-102. doi: 10.19857/j.cnki.ICL.20258106
Abstract:
Gu Sui， upholding the Confucian ideal of pursuing the Way （Dao）， demonstrates his modern identity as a Chinese literary scholar， educator， and classical literature researcher through multidimensional literary interpretation. Rooted in Confucian literary thought， his approach to literary interpretation evinces a precise understanding of the essence of literature and its social function. Gu Sui’s literary interpretation began with the birth of “new literature，” and then went through the recreation of classical literature， including ancient-style poetry， ci-poetry， and qu-poetry in modern language， and finally returned to the modern interpretation of Chinese classical literature. In this final stage， he “rearticulated” the intellectual dimensions of classical Chinese literary forms， “reconfigured” the relationship between these forms and modern ideological frameworks， and “redefined” their contemporary value. Through his creative and interpretive practices， Gu Sui achieved the modern transmission of China’s classical literary lineage. Simultaneously， Gu realized his ideal and goal of literary interpretation by identifying a modern trajectory for the evolution of Chinese literature and thought， which provided a unique perspective for the study of classical Chinese literature in modern China. In essence， Gu Sui’s approach to literary interpretation was realized through the interplay of textual analysis and creative practice. Ye Jiaying， a disciple of Gu Sui， inherited and expanded upon his literary thought and academic vision. In light of what Ye has elucidated， an in-depth exploration of Gu Sui’s approach to literary interpretation will not only help present the modern development of the study and transmission of classical literature， but also facilitate a positive impact on the future transmission of classics and the inheritance of intellectual thoughts.
[Abstract](10) [PDF 2017KB](1)
Special Topic：In Memory of the Centenary of Rabindranath Tagore’s Visit to China and A Hundred-Year Retrospective on Sino-Indian Literary Relations
Literary Exchanges between China and India through English： Ahmad Ali’s Visit to China and the Sino-Indian Literary Exchanges in the 1940s
WANG Chunjing
2025, 8(1): 103-120. doi: 10.19857/j.cnki.ICL.20258107
Abstract:
Ahmad Ali visited China in the late 1940s， and his trip reflected the complex trajectory of Sino-Indian literary exchanges. The entire process of Ahmad Ali’s visit to China in 1947 was well-documented in news reports， with more than a dozen newspapers covering the event， highlighting its significance at the time. Ali came to China as an Indian professor， and this exchange between China and India also involved British influence. In the history of Indian literature， Ahmad Ali is known as one of the initiators of the Progressive Writers’ Movement and the author of the novel Twilight in Delhi. The Indian Progressive Writers’ Movement had direct connections with Indian writers living in Britain， and the publication of Ali’s novel was supported by British writers. Against the backdrop of the global anti-fascist war， Ali came to China as a British literature professor， facilitated by networks established by the British Council， the BBC， and British writers. In the 1940s， Britain became a unique space for Sino-Indian exchanges， with some literary magazines published in London featuring works by Indian， Chinese， and other Eastern writers. These magazines became sources for Chinese translators to introduce Indian writers’ works. During his time in China， Professor Ali not only taught British poetry but also published articles introducing Indian literature. Additionally， he collaborated with Fang Yingyang to translate a large number of new Chinese poems， contributing to Sino-Indian literary exchanges. During the anti-fascist war， Eastern and Western writers built bridges of cultural exchange， allowing Sino-Indian writers to achieve textual and personnel exchanges in the international cultural space. This represents an overlooked undercurrent in the history of Sino-Indian literary exchanges.
[Abstract](7) [PDF 2014KB](2)
“Translation Field” in Polyphonic Harmony： Multiple Subjects and Their Practices in the Hindi Translation of Chinese Literature （1978—1995）
JIA Yan
2025, 8(1): 121-141. doi: 10.19857/j.cnki.ICL.20258108
Abstract:
In the scholarly field of Sino-Indian literary relations， the translation of Chinese literature into Indian languages during the late twentieth century proves to be a significant lacuna， which can be ascribed to the predominance of the idea of “direct translation” and the lack of original materials in the indigenous languages of India. Should this issue be calibrated， the notion of “India” in “Indian translation of Chinese literature” needs to be resituated from a nationality-based framework （i.e. a translation performed by Indians and in India） to a language-based framework （i.e. a translation into Indian languages）. This helps bring in view various non-Indian subjects engaged in the translation of Chinese works as well as Indian subjects who translated on foreign soil. At the same time， it is imperative to make systematic collection， sorting， and study of local-language materials a necessary premise for conducting research on this topic. This paper examines the multiple subjects and their practices in the translation and introduction of Chinese literature in Hindi from 1978 to 1995， seeking to unveil the trends and characteristics of bilateral literary exchanges after the normalization of Sino-Indian relations. Particular efforts are made to demonstrate the mechanisms and effectiveness of the translation of Chinese literature into Indian languages before Indian sinologists began to loom large in this field. Although the translation of Chinese literature into Indian languages during this period is characterized by a salient diversity of subjects dwelling at seemingly opposite ends （e.g. institution and individual， China and India， independent translation and cooperative translation， inward translation and outward translation）， these subjects do not exist in isolation from each other but are incorporated in a “translation field” comprising multiple relationships. This translation field is distinctively polyphonic， where harmonious chords and discordant noises coexist and often result in a certain degree of heteroglossia. It is these polyphonic relationships that connect heterogeneous and even ostensibly antagonistic translational subjects in a network of action， generating a substantial and diverse corpus of Chinese literary translations for Indian readers through dynamic processes of alignment and differentiation.
[Abstract](9) [PDF 2092KB](2)
The Pantheistic Subjective Consciousness of the Chinese Tagorean Writers’ Group
SUN Yixue, WANG Rongcui
2025, 8(1): 142-161. doi: 10.19857/j.cnki.ICL.20258109
Abstract:
Rabindranath Tagore， a globally influential writer after winning the Nobel Prize in Literature， had seen his works and ideas widely disseminated and studied in China. A significant group of modern Chinese writers， notably influenced by Tagore’s creative theory and artistic style， formed the “Chinese Tagorean Writers’ Group，” represented by celebrity figures such as Guo Moruo， Bing Xin， Xu Zhimo and so forth. These writers all emphasize the subjective status and consciousness of “human beings，” with Tagore providing them a new possibility to express what they call the “self.” The “Chinese Tagorean Writers’ Group” focuses on unifying the “I” with the Supreme Being to manifest the self， in particular accentuating the divinity of “man.” Meanwhile， the “Chinese Tagorean Writers’ Group” also enriches subjectivity through a natural fusion of the “I” and “Brahman.” Furthermore， they also pay attention to the integration of the “I” with the individual spirit to articulate the self， and give considerable weight to the richness of the individual’s spiritual world as well as the dissolution of the boundaries between artistic and spiritual realms. While the “Chinese Tagorean Writers” share common ground with Tagore’s pantheistic thought in promoting subjective consciousness， their approaches are not entirely identical and consistent. That said， they jointly absorb the fusion of “Brahman” and the “I” in Tagore’s pantheism， demonstrating a Tagorean “pantheistic subjective consciousness，” which fully embodies the Eastern characteristic of “subject-object integration，” while in the meantime， remains distinct from the Western sense of subjective consciousness that relies on subject-object dichotomy and “self” perfection. The concept of “Chinese Tagorean Writers’ Group” serves as an attempt to explore the relationship between Tagore and modern Chinese writers， unveiling both the uniqueness of Tagore’s influence on modern Chinese writers， and the interaction between modern Chinese writers and foreign cultural impacts on a deeper level.
[Abstract](8) [PDF 2016KB](1)
On the Translator’s Stance and the Selection of Translation Strategies in the Chinese Translation of Indian Classic Poetry： Taking the Chinese Translation of Sūrsāgar as an Example
WANG Jing
2025, 8(1): 162-182. doi: 10.19857/j.cnki.ICL.20258110
Abstract:
In the context of globalization and cultural restructuring， literary translation， as a cornerstone of cross-cultural communication， has increasingly demonstrated its strategic significance. Taking the Chinese translation project of the medieval classic Indian poem Sūrsāgar as an example， the translation team led by Jiang Jingkui confronted three major challenges： the linguistic differences between Hindi and Chinese， the modern reinterpretation of religious and cultural symbols， and the localization of poetic meter and form. The team innovatively addressed the issue of the “untranslatability” of poetry by constructing a comprehensive translation strategy system that gives priority to literal translation， foreignization， and semantic translation， supplemented by cultural interpretation. Their approach prioritizes literal translation to preserve textual integrity， foreignization to highlight cultural heterogeneity， and semantic translation to ensure narrative coherence. Additionally， they pioneered a “translation with explanation” mechanism， achieving comprehensible transformations of religious metaphors and poetic qualities through intra-text annotations， cultural image conversions， and rhythmic adaptations， thereby forming a multidimensional network of cultural interpretation. Breaking through the binary opposition of traditional translation theories， this translation method emphasizes the translator’s agency in navigating “otherness” and “heterogeneous” elements during the “cultural turn” in literary translation. It provides a methodological breakthrough for addressing the problem of the “untranslatability” of poetry and advances translation studies into the realm of cultural interpretation. In practice， this translation project has established a replicable model for the mutual translation of classics， contributing to the civilization dialogue project intrigued and underpinned by the “Belt and Road” Initiative. By establishing the principle of respecting cultural heterogeneity， it offers insights for Chinese culture’s “going global” strategy and promotes diverse coexistence of the global cultural ecosystem. Literary translation has thus transcended mere linguistic conversion， evolving into a vital cultural practice that fosters global cultural diversity and advances the construction of a shared future for mankind.
[Abstract](10) [PDF 2125KB](0)
Sino-Indian Cross-Cultural Exchange in Cantonese Opera
WANG Weijun
2025, 8(1): 183-199. doi: 10.19857/j.cnki.ICL.20258111
Abstract:
Cantonese Opera stands out among contemporary Chinese theatre arts for its modern aesthetic sensibilities and innovative spirit. In the course of its development， Cantonese opera has undergone bold reforms by assimilating foreign artistic elements， creating a large number of intercultural dramas. Not only do these intercultural works highlight the ethos of “borrowing-ism” （or cultural appropriation） in the culture of Cantonese opera， but they also showcase a history of localizing foreign cultures and the historical trajectory of Sino-foreign cultural exchanges. Among these， the Sino-Indian cross-cultural exchange in Cantonese opera is particularly noteworthy. For instance， the Cantonese opera When Gandhi Meets Xishi ingeniously employs the technique of dream allegory commonly found in Chinese literature to bring together Gandhi and Xishi， two historical figures who were unlikely to meet each other in reality at all， in a dreamscape in the ancient Chinese city of Yue to promote patriotism and moral integrity， and， furthermore， to facilitate a cross-cultural dialogue on patriotic ideals between China and India. Another example， Mulian Rescues His Mother， elevates the theme of filial piety in the play through karmic causality， bringing into harmony religious beliefs and secular humanism to manifest the exchange and fusion of Confucian and Indian Buddhist filial beliefs. Morever， the Cantonese Opera Ratnavali organically weaves Chinese and Indian cultural elements through dramatic form， the expansion of Sino-Indian theatrical dialogue by means of an integration of themes， performance techniques， and artistic styles， thereby demonstrating a more nuanced and diversified model of cultural exchange. As a whole， these intercultural dramas juxtapose Indian aesthetics with Chinese characteristics， celebrating the humanistic spirit of Indian culture while preserving the traditional artistry of Cantonese Opera. It is in such a way that they advance deeper Sino-Indian cultural interactions and offer a commendable Chinese approach to intercultural theatre studies.
[Abstract](12) [PDF 1941KB](1)
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