The study reveals the political and ideological journey of Beom-do Hong, a Korean independence fighter and general as reflected in the historical novel of Soviet Korean writer Kim Se-il. Due to to the lack of historical records on Beom-do Hong, stories on his deeds before and after the Japan's annexation of Korea remained at the level of legends. In Korean society, his figure is seen within opposing positions and discourses; to some he is a national hero; to others a communist collaborator. This investigation of the historical novel as a medium for the transmission of shared memories based on the protagonist's battle diary and the recollections of his comrades will fill the gap in the historical memory and contribute to alleviating social political conflicts. Memorial heritage is closely linked to the intangible aspects of heritage, which is an essential driver of development.

Over the recent years, some authors have questioned the hegemony of mankind (Anthropocene) over nature. The recent virus outbreak known as COVID19 starts a new period known as “violence” where humans are forced to recede to the private sphere. The COVID19 pandemic not only alerted the health authorities but also disposed of extreme measures which included the close of borders, airspaces, as well as the imposition of lockdown and social distancing. Not only global commerce but also the tourism industry was placed on the brink of collapse. In this grim landscape, the problem of climate change is far from being solved. While steps to reverse the greenhouse gas emission should be taken globally coordinating efforts among nations, the current climate of tension without mentioning the geopolitical discrepancies (among countries) impedes the formation of global sustainable institutions to monitor and regulate the effects of climate change. The present article centers on a visual ethnography on the film Contagion, to lay the foundations towards a new understanding of ideology and its effects on ecological justice.

The fast levels of industrialization, urbanization, globalization, and expansion of mass consumption that most countries in the world are experiencing today have led to environmental destruction and climate change, eventually threatening the survival of the Earth and humanity. Especially in the case of South Korea, where per capita greenhouse gas emissions have risen to the third highest in the world, there is an urgent need to raise public awareness of the risks of climate change and initiate a more active societal response. This study examines Korean news media trends related to sustainability and explore suggestions for sustainable measures in the Anthropocene. In this way, a total of 1,203 articles was collected, including material from the news archives of newspapers, broadcasting TV, and Internet news channels. The articles have been analyzed by means of word-count-based analysis and topic modeling. The results of this study suggest that there is a need to develop and activate articles that contain more information about the effectiveness of the social response to sustainability and climate change in the Anthropocene.

The International Council on Monuments and Sites (ICOMOS), strongly believes that heritage—natural and cultural, tangible and intangible—is fundamental to addressing the United Nations (UN) Sustainable Development Goals (SDGs). This paper explores Liangzhu cultural heritage located in Hangzhou, China. It argues that cultural heritage is also a special kind of living narrative. In accordance with the United Nations Sustainable Development Goals, cultural heritage narratives carry an important function in global sustainable development. Cross-media narrative development of Liangzhu site and ancient symbols are explored, from the appearance of elements like "The God with Mixed Human and Animal Facial Features" in design products, to the consideration of the pioneer integration of 5G technology taking place in the city of Hangzhou, an example of sustainable urban development.

The 2022 Beijing Winter Olympics faced many difficulties in the field of sustainable development. These included the reduced attractiveness of the Olympic Games as well as a certain prejudice and misunderstanding that China faces, coming mainly from western society. Encouraged by the Olympic slogan "Together to the Future", Beijing developed new technologies and explored new ideas in order to better integrate sports, economy and culture, and promote the sustainable development of the games. Taking the Winter Olympics as an opportunity, Beijing improved its sports infrastructures and industry and made useful explorations in the management of the Olympic legacy. The contribution made by the Beijing Winter Olympics in the field of sustainable development is the topic if this paper.

Sustainable development in education is one of the goals promoted by United Nations in relation to human development. It is also a great challenge for most countries, including China. Achieving educational equity is one of the keys to the success of the sustainable development in education. Faced with the complex challenges of regional, urban-rural and inter-school disparities in education, China's central and local governments have been working in order to promote sustainable development in education and improve educational equity. A variety of solutions have been proposed to address inequities and achieve significant results. In the process of practice, some reflections on encountered and potential problems have also been made, accompanied by discussions.

In this paper I outline how Poetic Inquiry can serve to help learners develop a closer relationship with the places that they live. An eco-hermeneutic investigation of language helps writers to develop a closer relationship with the places that they live by finding language to describe the plants and animals that grow there. I consider how a deep analysis of language can inspire learners to pay closer attention to local environments and seasonal shifts. A close analysis of being part of the process of collecting and growing food becomes a place where the sharing of intergenerational knowledge is fostered. The sharing of stories also contributes to a deepening of awareness of climate change. By investigating and expanding language to describe experiences within the nearby nature of local places, learners consider how stories of place can also help them uncover and expand their understandings about the Earth.

In "The Variation of Chinese Literature and the Formation of World Literature" Shunqing Cao and Lu Zhai discuss how Chinese works of literature entered other countries' literary circles through variation, and became an essential part of world literature. Both ancient Chinese literature and contemporary Chinese literature have undergone textual circulation, language translation and cultural filtering before becoming part of world literature, all of which are the reasons why literary variation occurs. According to Cao and Zhai, the occurrence of variation is a key factor for Chinese literature to become world literature, and an important foundation for the formation of world literature. A country's literature absorbs the characteristics of other countries' literature through variation, thus adapting to the cultural background and reading habits of other countries' readers in terms of language and style, in order to enter the world literature market. Variation may lead to a certain loss of nationality in literary works, and result in significant differences from the original texts. However, the formation of world literature does not come at the cost of eliminating nationality; variation facilitates the formation of world literature.

This paper analyzes the processes of cross-lingual, transnational, and cross-cultural communication and interaction of world literary classics. The author argues that world literary classics are actually the result of the variation of the exchanges between various “ethnic” literatures. Comparative literature is essentially a discipline of scholarly study of the synchronic developments of literature and culture. Although scholars have long recognized the perspective of variation in diachronic development, there has been less attention to variation in synchronic development. The formation of world literary classics is also closely related to the synchronic development of literature. Thus, variation studies in comparative literature not only reveal the perspective of cultural innovation but also find creativity in the variation of cultural and literary communication as well as innovation in the variation of literary interpretation.

The topics of Anthropocene literature have a perceived global relevance that is greater than that of literature in any other period in history, and Indra Sinha’s Animal’s People, Rohinton Mistry’s A Fine Balance, and Paulo Bacigalupi’s The Windup Girl show this clearly. These books hit common global registers, at once dealing with issues such as urbanization, corporate capitalism, and climate change as common concerns while vigorously valuing and affirming cultural heterogeneity. The topics of these novels virtually guarantee their position as world literature. Sinha, Mistry, and Bacigalupi offer hope rather than doom-and-gloom on topics that are of pressing global concern. In the process, they reveal that Anthropocene fiction has, by its very topicality, a propensity to being world literature, whatever the greatness or weakness of its national origin. Theorizing about world literature thus needs to grapple more decisively than it has with what cli-fi and Anthropocene fiction offer.

In "Literary Variation of Indian Buddhist Stories in Chinese 志怪 (Zhiguai) Novels," Wei Guo discusses Buddhist Sutra scriptures which have been a reservoir of inspiration for Zhiguai novels since their first introduction in Chinese literature. Buddhist texts were less relevant for the "documentary" tradition of Chinese literature owing to their rough structure, vague context, and lack of a sense of history and reality, since they were originally intended as texts of didacticism. Hence, in order to integrate these exotic literary materials with local aesthetic concepts, Chinese writers explored creative adaptations including the addition of adding detail, linguistic embellishments, and the endowment of each story with specific narrative scenes in terms of character, place, and time. Guo argues that Indian Buddhist stories have been remolded in Zhiguai novels and transformed from imaginary religious literature into figurative and documentary literature whereby the convergence of the source texts with the target texts shows the processes of formation of world literature(s).

Classic Edward Said´s term Orientalism was widely applied to those narratives and story-telling oriented to deride, subordinate and domesticate the “Non-Western Other”. Over centuries, Europe has developed an imperial matrix that is finely enrooted in an uncanny long-dormant paternalism where “the Other” was treated as a child to educate. The European expansion was ultimately feasible according to two combined factors. The knowledge productions by the hands of scientists occupied a great position in the entertainment of global readerships, and of course, the literary fiction embodied in the figure of travel writing. This literary genre was mainly marked by the presence of a European adventurer who launched to colonize an unknown (uncivilized) world. Travel writings spoke us of the native language of travelers who interrogated furtherly the natives. The present paperwork centers on what Derrida dubbed as “the axiom of hospitality” which means the power of language to control and domesticate the “Other”. The lingua franca not only represents the language of empire but also from the lords. In this way, world Language plays a leading role in giving a great cosmology of the surrounding world as well as legitimating the imperial expansion.

Through an analysis of the work of the Yi (彝) poets, Aku Wuwu, Jidi Majia, and Jimu Langge, this paper discusses the significance of Yi literature in translation, circulation, and production, with an additional focus on the development of minority literature in the context of world literature. A variety of factors enable the translation of ethnic minority literature, including the content and characteristics of the literature itself, the cultural ideologies and literary values of societies, and the personal motivations of authors and translators. In turn, the translation and distribution process introduce the unique experiences of the minority subject into the realm of world literature. Presenting ethnic minority literature in various forms, including recitation performance and multimedia, these Yi poets enhance the range of sensory experiences for readers while drawing attention to poetic traditions and enriching the ways in which world literature circulates. Moreover, the travels of ethnic minority writers introduce new cross-cultural writing and advances world literature’s ideals of prosperity, equality, and freedom. In sum, Yi literature represents a global development of ethnic minority literature as “anthropological literature” that enriches the content of world literature.

If we inspect closely the works that ascend to world literature from the peripheral, David Damrosch’s well-recognized argument that “world literature is writing that gains in translation” may need some revision, because apparently translation is not the sole factor that decides the formation of world literature. Translated works do not necessarily represent the best part in one national literature. Damrosch’s overemphasis on translation differences and untranslatability in world literature tends to overlook the syncretism of heterogeneous literatures: The influence of Roman Empire on Indian Buddhism, the influx of elements from Indian, Arabic, and Persian stories into European writers’ creation, the genres of China’s ancient literature influenced by Buddhism, etc. Furthermore, a great deal of Chinese idioms and allusions appearing in Japanese, Korean and Vietnamese literatures provide us a general view of how world literature forms through exchange and syncretism. On this account, Damrosh’s argument may be reformulated as “world literature is writing that gains in variation.” Variation reflects the ability to absorb otherness and then to create something new. Meanwhile, the perspective of literary syncretism will help us reasonably distinguish world literature and national canons.

In "Canonization and Variations of Shakespeare's Work in China," Qing Yang discusses the role of cross-linguistic and inter-cultural variations with regard to William Shakespeare's intercultural travel and canonization in China. In the context of globalization, Shakespeare's texts outside Western cultures undergo cross-national, cross-linguistic and inter-cultural variations in the process of translation. From a symbol of Western powers and cultures to a bearer of Confucianism, a fighter for the survival of the nation during the anti-Japanese struggle, and to a literary master with abundant possibilities of interpretation and adaption today, Shakespeares (in the plural to indicate the multiple texts of Shakespeare) change and vary in modern and contemporary China. The inter-cultural communication of Shakespeare with clear markings of Chinese culture and history progresses through variation. Yang argues that it is the paradigm of Shunqing Cao’s variation theory central to the formations of world literature(s) that has facilitated the canonization of Shakespeare’s work in China.

In "On Variations of the Classical Chinese Literary Genre terminchinesescript (Fu) in Literary History," the authors analyze the representation of the classical Chinese literary genre Fu, or namely, rhapsode, in Chinese literary histories compiled in English. A unique classical literary genre, Fu commonly appears in classical Chinese literature as well as in aesthetics and philosophy, thus constituting an important part in Chinese literature in all periods from ancient to contemporary. However, Fu falls outside the quartered-division of modern western stylistics, so is bound to cause problems in the compilation of a literary history in the Anglophone literary culture, as is the case in Sinology. This paper argues that variations caused in the translation of the name Fu and its configuration set-up in the English context have resulted in the under exploration of its full meanings in existing relevant studies, which necessitates future research for the sake of substantially changing the peripheral status of Chinese literature in the arena of world literature.

As a traditional term used in ancient Chinese, shiehwui社會 mainly implied the gatherings and meetings related to folk festivals for the worship of and making offerings to shie社, the gods of soil. The manifestation of shiehwui frequently was the target of condescension or outright condemnation from the government or Confucian elites. During the early dissemination of the western concept of society into China, one factor that facilitated its entry was the Christian missionaries’ knowledge of traditional Chinese shie and hwui會, especially the secret societies, which they applied to their translations from English into Chinese. When the modern concept of shakai (written as 社會, the same Chinese characters), formulated in Japan, was imported into Chinese at the turn of the 20th century, it became blended with the old word of shiehwui, and found a connection to the daily life experience of the lower classes in traditional China. As a result, the new concept of shehui in modern China possesses two kinds of connotations. On the one hand, it points toward the new direction of historical changes. On the other hand, it still retains the associations of condescension, dissatisfaction and anxiety that inform the perspective of the ruling class toward this term.

The term guominxing (国民性, national character) is undoubtedly an important term in both the history of modern thought and the history of modern vocabulary. However, it seems that the term has never been specifically explored as an object of study in the field of lexical history whereas in the field of intellectual history, the emphasis has often been on the ideas represented by the term as opposed to the term itself, which is in fact marginalised. This article focuses on the Chinese word guominxing, examining both the process of its production and dissemination as well as its current usage, in order to reveal its significance for the history of modern intellectual exchanges between China and Japan and the history of modern Chinese thought.

This article first describes how the classical Chinese word diguo 帝国 was used in Japan as a translation of the Dutch language and thus into English, and then looks at the establishment and use of the term Diguo zhuyi (imperialism) in Japan. Finally, it describes how the Chinese language media in Japan, the Qingyi Bao, was quickly converted into a Chinese concept by translating the Japanese newspaper.