This paper explores the reception history of Su Shi (1037-1101), examining how his image evolved over time and across different interpretations. It discusses how Su Shi, a composite model of a loyal official and a carefree literatus, was portrayed in historical, literary, and dramatic sources. By analyzing the interplay between Su Shi’s works and works of reception, this paper delves into the complex dynamics of values surrounding his image construction. This paper argues the reception of Su Shi’s works and his image was not a linear progression, but rather a constant process of negotiations and contentions of different discourses. It opposes a simplistic portrayal of Su Shi, highlighting the multifaceted nature of his persona and the diversity of perspectives that emerged over the centuries. Through critical analysis, this paper reveals the interplay of values and discourses that shaped Su Shi’s reception, resisting attempts to canonize or monopolize his image.

This study is to look at what could be the impact of the hybrid cultures' inflow on the literary venations of Shanghai writers, as shown by the non-indigenous traits of "modernity'' in the writings of Zhang Ailing. The author examines some of the earlier works of Zhang Ailing, including “Aloeswood Incense: The First Blazier,” “Jasmine Tea” and “Love.” Borrowing an angle from scholarship on the Sci-Fi, hybrid features in Lu Xun’s "Iron House" and "A Mad Man’s Diary," the study furthers the investigation on these works, which the author believes have manifested the repetition feature of rewriting and reinterpretation. It argues that the thread has been given via the writer’s repetitious emphasis on a claustrophobically confining ambience of quiet horror and terror, parallel to the drastic social changes occurring in Shanghai. The writer’s ability to “spellbind” the readers to a logically-structured enclosure, akin to a form of “grotesqueness” seen in both the influx of western Gothic literatures and the bedrock Chinese modern literature, has been bestowed by this parallel as the essential fabric of the text.