


































Communication, Society and Media 
ISSN 2576-5388 (Print) ISSN 2576-5396 (Online) 

Vol. 8, No. 2, 2025 

www.scholink.org/ojs/index.php/csm 

121 

 

Original Paper 

A Study on the Overseas Reception and Translation Strategies of 

Shuang Xuetao‟s Works 

WANG Yue
1
 & CUI Dan

2* 

1 
Postgraduate student in English Translation at Jilin International Studies University, Changchun, 

China 

2 
Professor and Director of the Institute of International Language and Culture at Jilin International 

Studies University, Changchun, China; Doc Superviser of The School of Foreign Languages, Yanbian 

University, Yanji, China 

* 
CUI Dan, summerelephant@126.com 

 

Received: September 15, 2025   Accepted: October 18, 2025  Online Published: November 11, 2025 

doi:10.22158/csm.v8n2p121                     URL: http://dx.doi.org/10.22158/csm.v8n2p121 

 

Abstract 

The challenges of industrial civilization have given rise to a new generation of Northeastern Chinese 

writers, including Shuang Xuetao, Ban Yu, and Zheng Zhi. While their works inherit the creative traits 

of the traditional Northeastern literary group, they also introduce fresh elements into the landscape. 

Among them, Shuang Xuetao stands out as the first of the “New Northeastern Writers” to gain 

international attention, signaling the group’s gradual emergence on the global literary stage. This 

paper focuses on Shuang Xuetao and the English translation of his novella Rouge Street, exploring its 

reception in the United States and the translation strategies employed. By examining data such as book 

sales, library holdings, and reader reviews following its U.S. publication, the study assesses the work’s 

overseas impact. Drawing on Lawrence Venuti’s theories of domestication and foreignization, it further 

analyzes translator Jeremy Tiang’s cultural adaptation choices. Ultimately, this research aims to offer 

valuable insights for the international dissemination of contemporary Chinese literature and to 

broaden its pathways to global readership. 

Keywords 

Shuang Xuetao’s fiction, Rouge Street, overseas dissemination of contemporary Chinese literature, 

translation strategies 

 

 

 



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1. Introduction 

Recently, the label “New Northeastern Writers” has sparked widespread discussion within academic 

circles. Huang Ping (2017, p. 13), through his study of this literary cohort, proposed a new aesthetic 

paradigm to characterize their work. As a prominent figure among this new wave, Shuang Xuetao has 

been hailed by critics as a “belated master” for the distinctive literary brilliance showcased in works 

such as Moses on the Plain. In April 2022, Shuang made his U.S. debut with the English translation of 

his novella collection Rouge Street, marking a significant milestone in his international journey. 

Translated by Singaporean writer and translator Jeremy Tiang and published by Henry Holt, the volume 

brings together three of Shuang‟s novellas—The Aeronaut, Bright Hall, and Moses on the Plain. Upon 

its release, Rouge Street quickly garnered attention from major American media outlets, receiving a 

wave of critical response. This moment has come to symbolize the entry of contemporary Northeastern 

literature into the global literary conversation. Meanwhile, English translations of works by Ban Yu and 

Zheng Zhi—the other two members of “New Northeastern Writers”—are also underway. In this sense, 

“New Northeastern Literature” has once again drawn the attention of American scholars in Chinese 

literary studies, echoing the earlier influence of modern Northeastern literature in China. It is evolving 

into what Huang Ping (2020, p. 173) terms “Northeastern literature of the world”. As the central figure 

in this phenomenon, Shuang Xuetao not only offers valuable insights into the overseas dissemination of 

contemporary Chinese literature, but also reflects the latest developments in the study of Northeastern 

writing. Examining the translation and international circulation of his fiction contributes to a deeper 

understanding of Chinese literature today and opens up new possibilities for contextualizing Chinese 

literary experience within a global framework. 

 

2. Translation and Introduction of Shuang Xuetao’s Works 

According to incomplete statistics, a total of eight of Shuang Xuetao‟s short stories and novellas have 

been translated and published in English to date. 

 

Table 1. Overview of the Translation and Dissemination of Shuang Xuetao’s Works 

Title Translator Year Publication 

The Master Michael Day 2015 Pathlight 

Teeter-Totter Jeremy Tiang 2019 Brick 

White bird Kevin Wang 2020 Asymptote 

Rouge Street: Three Novellas Jeremy Tiang 2022  

Bottlenose Jeremy Tiang 2022 Asymptote 

Bottlenose Jeremy Tiang 2023 The New Yorker 

 



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In 2015, the English translation of Shuang Xuetao‟s short story The Master appeared in the 

English-language edition of People’s Literature, Pathlight. Four years later, in 2019, the acclaimed 

Canadian literary journal Brick published Teeter-Totter, translated by Jeremy Tiang. In 2020, New 

York-based writer Kevin Wang translated Shuang‟s short story White Bird, which was featured in the 

July issue of the international online literary journal Asymptote. With their distinctive narrative styles, 

Teeter-Totter and White Bird caught the attention of Brian Lax, an editor at Metropolitan Books. The 

steady appearance of these stories in overseas publications not only sparked interest among 

international literary enthusiasts but also laid a solid readership foundation for the eventual English 

publication of Rouge Street. 

Actually, Shanghai Translation Publishing House has played an active role in promoting Chinese 

literature abroad, using translation as a bridge to foster cultural exchange. Since launching its 

International Rights Center in 2021, the publisher has successfully facilitated the sale of foreign rights 

to Moses on the Plain, which was acquired by the Italian independent press Atmosphere Libri. In April 

2022, Shanghai Translation Publishing House partnered with Henry Holt, with Metropolitan Books 

editor Brian Lax playing a key role in bringing Shuang Xuetao‟s novella collection to an international 

audience. Following the publication of Rouge Street, Shuang‟s short story Bottlenose appeared in the 

October 2022 issue of Astra Magazine, an international literary journal under the U.S.-based Astra 

Publishing House. The issue featured the story in both Chinese and English, accompanied by original 

illustrations by artist Jia Sung. Soon after, in October 2023, Shuang‟s short story Heart, translated by 

Jeremy Tiang, was published in the New Yorker. That issue also included an in-depth interview 

conducted by Dennis Zhou, which explored the creative background behind Heart. Today, alongside 

Shuang Xuetao, other members of the “New Northeastern Writers” such as Ban Yu and Zheng Zhi are 

also gaining visibility overseas, with translation and publication projects steadily underway. Together, 

these developments signal the growing presence of contemporary Northeastern Chinese literature on 

the global literary stage. 

 

3. Analysis of the Overseas Reception of Rouge Street 

3.1. Library Holdings and Sales 

According to a search of the WorldCat database, the English translation of Rouge Street is held in 308 

libraries across nine countries and regions worldwide, indicating a modest yet notable presence in 

global library collections. Geographically, the United States accounts for the vast majority of holdings, 

reflecting an uneven distribution across the globe. Specifically, approximately 91% of the libraries that 

carry the book are located in the U.S., while Canada and Australia account for around 3% and 2% (See 

https://search.worldcat.org/zh-cn/formats-editions/1372471037). In contrast, library holdings in regions 

such as Hong Kong (China), New Zealand, Germany, the United Kingdom, Sweden, and Singapore 



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remain very limited. In November 2022, The New Yorker included Rouge Street on its annual list of 

recommended reads, alongside two other Chinese works: Barefoot Doctor by Can Xue and The 

Wedding Party by Liu Xinwu.  

 

Table 2. Library Holdings of Three Chinese Works Included in The New Yorker 

Title Author Publisher Translator(s) Number of 

Editions 

Library 

Holdings 

Barefoot 

Doctor 

Can Xue Yale University 

Press 

Karen 

Gernmart, 

Chen Zeping 

3 251 

The Wedding 

Party 

Liu Xinwu Amazon 

Crossing 

Jeremy 

Tiang 

1 272 

Rouge Street Shuang Xuetao Henry Holt & 

Co. 

Jeremy 

Tiang 

6 308 

 

Compared to the other two Chinese literary works published around the same time, Rouge Street has 

the highest number of editions and ranks first in terms of global library holdings, suggesting relatively 

strong circulation overall. However, sales figures tell a different story. As of April 23, 2025, Rouge 

Street‟s hardcover edition ranked 1,334,241 in overall book sales on Amazon North America, 15,049 in 

the short story collections category, and 43,749 in literary fiction. The paperback edition ranked 

1,287,419 in overall sales, 14,555 in short story collections, and 25,742 in literary fiction. The Kindle 

edition stood at 1,006,740 in overall rankings (See https://www.amazon.com). These numbers indicate 

that despite respectable library circulation, actual sales remain underwhelming. Translated literature has 

long faced disadvantages in the U.S. book market, and the future of Chinese literature abroad continues 

to be met with significant challenges. 

3.2 Reader Reviews 

3.2.1 Professional Reader Reviews 

In the cultural sphere, professional readers—including media critics, established authors, and 

scholars—possess considerable cultural, social, and symbolic capital. Their perspectives represent 

authoritative discourse and often influence the broader cultural landscape, thereby shaping the reading 

choices of general audiences. 

Jing Tsu, Professor of modern Chinese literature at Yale University, reviewed Rouge Street in The New 

York Times in 2022. She wrote: “He gives voice to an intriguing cast of characters left behind by 

China‟s economic miracle. They struggle to emerge from their bleak reality in search of light, efforts 

that sometimes have a religious overtone” (See http://www.nytimes.com). Publishers Weekly similarly 

https://www.amazon.com/


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praised the collection, noting: “Shuang sustains a cool, placid tone, even when reckoning with lingering 

traumas of the Cultural Revolution, Japanese occupation, and economic decline. Anglophone readers 

will be glad to get to know this rising star (See http://www.publishersweekly.com). The magazine Shelf 

Awareness commented: “Shuang Xuetao‟s remarkable English-language debut features the diverse 

residents of Yanfen Street, caught between the end of Mao‟s China and the country‟s emergence as a 

modern superpower” (See http://www.shelf-awareness,com). 

Academic commentary, though still limited in scope, has begun to emerge in articles and scholarly 

forums. In September 2022, Duke University and the international literary platform Paper Republic 

co-hosted an online panel titled Moses on the Plain: Shuang Xuetao and New Northeastern Literature, 

which brought together Chinese and international scholars. The forum focused on a range of topics 

including the logic behind story selection, intergenerational narratives, and the cross-linguistic 

rendering of character voices—offering valuable academic insight into the work‟s cross-cultural 

interpretation. Eric Abrahamsen, founder of Paper Republic, praised Rouge Street for its innovative 

engagement with Chinese history and society. He observed that while the stories are set against a 

backdrop of hardship, Shuang grants his characters enough agency and individuality to create a reading 

experience that feels open and engaging (See https://bcaf.org.cn/26359057). Carlos Rojas, Professor at 

Duke University, expressed particular interest in how the novellas explore personal trauma and 

collective crisis. He also noted Shuang Xuetao‟s stylistic innovation—namely, his use of a unified 

external voice to convey complex interiority (See https://bcaf.org.cn/26359057). Taken together, these 

reviews demonstrate that Rouge Street has been met with wide recognition and acclaim among the 

professional readers. 

3.2.2 General Reader Reviews 

First and foremost, American readers have expressed their strong interest in the historical and cultural 

context depicted in Rouge Street. Many found themselves emotionally moved during the reading 

process. The collection not only offers insight into pivotal moments in contemporary Chinese society, 

but also inspires curiosity about a foreign culture. By portraying the everyday lives of ordinary Chinese 

families, Rouge Street presents a unique and perceptive perspective—one that resonates with 

international readers and provides both a sense of novelty and connection. 

Secondly, several readers drew parallels between the trajectory of Shenyang—the industrial city where 

all three novellas are set—and the development patterns of industrial towns in the United States. 

Shenyang‟s past prosperity and subsequent decline during economic transition reminded many of 

America‟s Rust Belt. “The tone here is much the same as implied by the American Rust Best”. one 

reader commented (See https://www.goodreads.com). Another remarked, “It seems like the Pittsburgh 

of China” (See https://www.goodreads.com). These reflections illustrate the emotional resonance the 

stories have evoked among readers. 

https://bcaf.org.cn/26359057
https://bcaf.org.cn/26359057


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In addition, many readers praised the literary quality of the collection. Shuang Xuetao‟s skillful blend 

of realism with elements of mystery was frequently noted as a hallmark of his unique style. “I really 

loved the overall atmosphere of these novellas”, one reviewer wrote. “The stories are set in a gritty, 

impoverished place, with a strong sense of locality that breathes life into the characters—this is a major 

strength of the work. The resilience and darkness portrayed in the stories are seamlessly woven into the 

themes, resulting in a powerful artistic expression” (See https://www.goodreads.com). 

Some readers also praised the philosophical depth of the novellas. “Reading about the day-to-day life 

of folks who are living through the cultural revolution, about the poor, condemned folks whose names 

never come up, about folks who got run over by cars which never stop to see who they ran over...its all 

lovingly brought to life by the author”, one reviewer noted (See https://www.goodreads.com). Another 

reader pointed out that the three stories depict the dramatic social transformations in Shenyang from the 

1980s through the early 21st century. The characters experience displacement, violence, and 

abandonment—traumatic events rendered with a deep sense of humanity. They are portrayed as both 

victims and perpetrators, embodying complex and layered identities. These interwoven tales of tragedy 

and tenderness deeply moved readers, one of whom described the collection as “a book worth savoring, 

rich in thought and meaning” (Jenn, 2022, https://www.goodreads.com). 

Some readers even compared Shuang Xuetao to internationally renowned authors such as Haruki 

Murakami, Ernest Hemingway, and Mikhail Bulgakov (Luce, 2022, https://www.goodreads.com). 

Although there were differing opinions, such comparisons point to the potential global appeal of his 

work. A few readers noted that the complex backgrounds could be confusing, and that the alternating 

first-person and third-person narration affects the reading flow (Luce, 2022, 

https://www.goodreads.com). Nevertheless, the social and cultural context portrayed in Rouge Street 

largely aligned with reader expectations, and the book‟s combination of narrative strength and literary 

quality was widely appreciated. On the whole, overseas readers responded positively to Rouge Street, 

and translator Jeremy Tiang‟s contribution to its success should not be overlooked. 

 

4. Domestication and Foreignization Strategies in Rouge Street 

In 1995, American translation theorist Lawrence Venuti (2024, p. 1) introduced the core strategies of 

“domestication” and “foreignization” in his seminal work The Translator’s Invisibility. According to 

Venuti, domestication emphasizes the translator‟s invisibility by aligning the language of the translation 

with the norms of the target culture, making the text more accessible to the target audience. In contrast, 

foreignization highlights the translator‟s visibility by preserving the cultural distinctiveness of the 

source language, thus making readers aware of linguistic and cultural differences and promoting the 

transmission of cultural diversity. This section focuses on the English translation of Rouge Street by 

Singaporean translator Jeremy Tiang, analyzing how he navigates the balance between domestication 



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and foreignization in his translation practice. Drawing on Venuti‟s theoretical framework, the 

discussion explores how Tiang negotiates the tension between linguistic readability and cultural 

preservation in the translated text. 

4.1 Foreignization Strategy: Constructing Cultural Otherness and Enhancing Translator Visibility 

Xu and Zhang (2002, p. 38) argue that foreignization orients the translation toward the source culture, 

advocating for the preservation of the original author‟s diction and the cultural nuances embedded in 

the source language. It calls for the translation to accommodate the linguistic and cultural habits of the 

source text as much as possible. The application of foreignization strategies helps retain the cultural 

distinctiveness of the source text, allowing readers in the target culture to experience the richness of 

cultural difference. In Rouge Street, Jeremy Tiang employs various foreignization techniques—such as 

transliteration, graphic retention, literal translation, and explanatory rendering of cultural terms—to 

preserve the original‟s cultural specificity and reinforce the presence of the source culture within the 

translated text. 

One of the most salient examples is Tiang‟s consistent use of transliteration for personal and place 

names in Rouge Street. Rather than substituting culturally neutral or Anglicized equivalents, he renders 

names phonetically using Pinyin, such as “Li Fei” (李斐), “Gao Likuan” (高立宽), and “Shandong” 

(山东). This approach aligns with Venuti‟s concept of the “visible translator”, making the translator‟s 

cultural and linguistic decisions apparent to the reader. Although transliteration may to some extent 

hinder immediate comprehension for English-speaking readers, it preserves the phonetic texture and 

cultural resonance of the original. The foreignness of the names adds an exotic dimension to the text, 

encouraging readers to actively engage with the cultural context of the source material. This strategy 

sparks curiosity about Chinese culture and deepens readers‟ awareness of the work‟s cultural 

background. In doing so, it contributes to a more authentic cross-cultural literary experience. Through a 

“visible” translator approach, target readers are exposed not only to linguistic differences but also to the 

distinct cultural system that informs the narrative. 

Secondly, Tiang‟s foreignizing approach is also evident in his treatment of cultural symbols. For 

example, in Bright Hall, the phrase “丁字路口” is rendered as “...that intersection, which is shaped like 

the character „ding‟, 丁”. Here, the character not only refers to the T-shaped layout of the intersection 

in a traffic context but also carries symbolic meaning and metaphorical weight regarding identity. By 

directly presenting the Chinese character in its written form, Tiang bridges the structural divide 

between the Chinese and English writing systems, guiding readers to visually engage with the original 

script and cultural symbolism. This enhances both the sense of cultural otherness and the immersive 

quality of the reading experience. 

 

 



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In addition, certain culturally specific terms are translated using a hybrid strategy that combines 

transliteration with explanatory gloss. For instance, “白干” is rendered as “strong baigan liquor”, a 

choice that preserves the original term while clarifying that baigan refers to a potent type of Chinese 

liquor. This method allows readers to encounter the cultural specificity of the source term while also 

understanding its essential meaning, thus balancing foreignization with a degree of domestication. 

Overall, Tiang‟s use of foreignization reflects a deep understanding of Chinese culture and a thoughtful 

sensitivity to the needs of target-language readers. His strategy functions as a form of “cultural 

invocation”, inviting readers to expand their cultural awareness and curiosity through the literary 

experience. 

4.2 Domestication Strategy: Reducing Cultural Barriers and Enhancing Readability 

On the side of domestication, Jeremy Tiang places greater emphasis on the fluency and accessibility of 

the translation. By employing techniques such as paraphrasing, substitution, omission, and 

reorganization, he enhances the cultural adaptability of the English edition, aligning with what Venuti 

refers to as the principle of “cultural accommodation”. 

For example, in translating kinship terms, Tiang makes context-sensitive choices that resonate with 

English-speaking readers. In Bright Hall, the term “老姑” refers in Northeastern Chinese usage to the 

youngest paternal aunt—specifically, the youngest female among the father‟s generation. In 

English-speaking cultures, however, such distinctions are generally collapsed under the more general 

term “aunt”. Tiang opts for “Youngest aunt”, which accurately conveys both the familial role and 

relative age. Similarly, “二姑父” is rendered as “uncle”, and “柳姥姥” as “Grandma Liu”, using 

familiar English honorifics to bridge the cultural gap and make character relationships more intelligible 

for target readers. 

When translating regional slang and idiomatic expressions, Tiang adopts a flexible domesticating 

approach. For instance, the phrase “走背字儿势不可当” from Rouge Street—which roughly means “to 

be plagued by misfortune”—is translated as “tend to keep losing”. The choice of “losing” as a semantic 

equivalent for “走背字儿” (a colloquialism indicating bad luck) effectively captures the intended 

meaning while maintaining fluency and intelligibility. Through these choices, Tiang reduces cultural 

friction, making the text more accessible while preserving the original‟s emotional and narrative 

integrity. 

Another example can be found in the Aviator, where the Chinese saying “冻人不冻水” is rendered as 

“chill you to the bone”. This folk expression describes the biting cold of early spring—a time when 

water may no longer freeze, yet the air remains piercingly cold. Tiang‟s translation employs a 

well-known English idiom, effectively replacing a culturally specific phrase with a target-language 

equivalent. By drawing on familiar English expressions, he reduces cultural distance and increases the 

text‟s emotional immediacy for English-speaking readers, making the language of the translation feel 



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vivid and natural. 

Even more illustrative is Tiang‟s handling of dialect. The works of the “New Northeastern 

Writers”frequently feature Northeastern Chinese dialects that carry strong regional and social 

connotations. Faced with the challenge of translating culturally embedded language, Tiang often 

replaces untranslatable culture-bound expressions with functional, idiomatic English that conveys the 

same meaning and tone. For instance, “你当工人白瞎” is translated as “Why the hell are you still 

working in a factory?” and “我手欠” becomes “My hands do things they shouldn‟t”. These idiomatic 

renderings not only enhance the authenticity of the translated text but also align with the gritty realism 

and working-class speech patterns found throughout Shuang Xuetao‟s writing. In doing so, Tiang 

successfully transmits the rough-edged vitality and narrative atmosphere of the original. 

In addition, within Rouge Street, the translator also simplifies reader comprehension and reduces 

potential ambiguity through omissions and adjustments aimed at aligning the text with the reading 

habits of the target audience. These reader-oriented modifications—such as selective abridgment and 

narrative restructuring—fall under the broader strategy of domestication. 

For instance, in Bright Hall, Tiang abridges Pastor Lin‟s retelling of the Biblical story of Cain and Abel. 

In the original Chinese text, the novel includes an extended passage from the Old Testament‟s Book of 

Genesis, recounting the fratricide in detail so that readers unfamiliar with the Bible could understand 

the moral and symbolic weight of the story. However, since this narrative is widely known among 

Western audiences, Tiang omits part of the original exposition to streamline the prose and avoid 

redundancy. 

In cases involving cultural figures unfamiliar to foreign readers, Tiang supplements the text with 

explanatory additions. The name “Tong Xiangling”, for example, is translated as “the handsome lead 

actor from Taking Tiger Mountain by Strategy”, clarifying for readers that he was a celebrated 

performer in a model opera and providing both contextual and cultural information. This kind of 

amplification achieves both informational equivalence and effective cultural transmission. 

Beyond adjusting content, Tiang also consciously restructures the narrative to better suit the reading 

expectations of an English-speaking audience. In the Aviator, the original Chinese version opens with 

an alternating narrative structure: one timeline is set in 1979, when Gao Likuan first meets Li Mingqi 

and feels an immediate aversion upon learning he is the son of his former apprentice, Li Zhengdao; the 

other timeline flashes back to Gao‟s youth, gradually revealing his entangled relationship with Li 

Zhengdao and the origins of his resentment. The structure follows a pattern of “1979-past-1979-past”, 

weaving the two timelines together. 

In the English translation, however, Tiang reorders the material to create a more linear narrative. He 

first presents the full backstory involving Li Zhengdao—from his entry into apprenticeship to his 

eventual suicide—before returning to the 1979 encounter with Li Mingqi. This structural adjustment 



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enhances narrative clarity and coherence, making it easier for readers to follow character relationships 

and plot development. The linear progression aligns more closely with the conventions of English 

storytelling and improves overall readability for the target audience. 

 

5. Conclusion 

Rouge Street, with its distinctive narrative techniques and literary craftsmanship, has succeeded in 

capturing the attention of international readers. The characters portrayed in the collection, along with 

the universal emotions embedded in their stories, have resonated deeply with audiences and 

demonstrated the potential for meaningful cultural exchange. The emotional connection between 

Chinese and American readers suggests a possible pathway for the globalization of contemporary 

Chinese literature. By evoking parallels with America‟s Rust Belt and reflecting Shuang Xuetao‟s 

transnational literary vision, Rouge Street offers valuable insight into how Chinese literature can gain 

traction on the global stage and continue expanding its international presence. 

 

Acknowledgement 

I would like to express my sincere gratitude to my supervisor, for her invaluable guidance, 

encouragement, and insightful feedback throughout the process of this research. Her expertise and 

patient support have been instrumental in shaping the direction and quality of this work. 

I am also deeply grateful to my peers whose comments and discussions have enriched my 

understanding and inspired further reflection. 

Finally, I wish to thank my family and friends for their unwavering support, patience, and 

understanding during the course of my study. 

 

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Notes 

This paper comes out as the periodical research results of the following project:  

Note 1. Construction and Practice of a Transformation Model for the Professional Development of 

English Teachers in Foreign Languages Universities within an Interdisciplinary, Jilin Provincial Higher 

Education Association Context, JGJX2022D316 (吉林省高等教育学会课题——多学科交叉背景下



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外语类高校英语教师专业化发展转型模式构建与实践) 

Note 2. Research on the Cultivation Mechanism for Top-Tier Innovative Foreign Language Talents 

Guided by Values and Based on Interdisciplinary Integration, Jilin Province Education Science "14th 

Five-Year Plan" 2022 Annual Project，ZD 22143 (吉林省教育科学“十四五”规划 2022年度课题——

价值观引领下基于学科交叉与跨界融合的外语专业拔尖创新人才培养机制研究) 

Note 3. Interdisciplinary Innovation in the Construction and Implementation of the Core Curriculum 

System for English Literature Majors, The Second Batch of University-Level New Liberal Arts 

Research and Reform Practice Projects at Jilin International Studies University (吉林外国语大学第二

批校级新文科项目研究与改革实践项目——英语专业文学类核心课程体系跨学科创新构建与实

践) 

Note 4. A Study on the Cultural Characteristics and Their International Interpretation in Jilin Regional 

Literary Works (吉林外国语大学 2024年度吉林外国语大学吉林文化价值阐释与国际传播校级专

项)
 

Note 5. The 2024 university-level general project at Jilin International Studies University, entitled A 

Practical Study of Translating Works by the New Generation Northeast Writer Shuang Xuetao (Project 

No. JWXSKY2024B009).
 


