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3. The Trends in Chinese Literature of XX and XXI Centuries Issues of Far Eastern Literatures: Materials of the 11th International Scientific Cconference. June 27–29, 2024 48 German, Japanese, etc. The present paper aims to discuss the literary legacy of Pema Tseden based on the analysis of a volume published in 2018 under the title Enticement: Stories of Tibet. Being an example of modern Tibetan literary writing and a lens through which one is able to observe modern Tibet, this collection of 10 witty stories with a strong Tibetan flavor sets a reader down a road of reflection on the wondering minds of Tibetans and one’s own inner world. Pema Tseden explores the universal themes of friendship and love, birth and death, treachery and loyalty, modernization and globalization, religious beliefs and local superstitions. Given that, a peculiar twist of each story unwaveringly returns readers back to the Tibetan Plateau and traditional Tibetan imagery. While many stories tend to present rather realistic descriptions, in terms of literary styles one also encounters elements of traditional Tibetan folk tales (e. g., the frame of the so-called Golden Corpse Tales), magical realism, and even science fiction. Keywords: Tibetan literature, modern Tibet, Tibetan imagery. Mukherji Priyadarsi (Jawaharlal Nehru University), priyadarsimukherji@gmail.com Tibetan Nostalgia in Chinese Verses: A Study of Culture-Specific Symbolisms in Alé’s Poetry and the Question of Transcultural Translation Born in 1959,Alé (orAlai inChinese) is awriter belonging to theGyarongTibetophony. He attained his literary fame by writing in Chinese. From the book— Poems of Alé, one can find examples of a concrete manifestation of Sino-Tibetan dialogue in terms of emotions and thoughts. Alé, known to the world for his novels, has had a profound attachment to poetry as poemswere his first love as he explains that his literary journey beganwith verses. Though he has been writing about Tibet and the life of the Tibetans in his native Ngawa region, he prefers to write in Chinese but he often constructs his thoughts in Tibetan. He designs his ideas in Tibetan but later translates the ideas intoChinese and that is howhis diction permeates with non-Chinese expressions—with a typical undertone of his cultural environs. Devoid of any political connotation, Alé’s poems are unsophisticated and sensitive in terms of vision, revealing a perplexing history and realities of theTibetan-inhabited regions with typicallyTibetan cultural symbolisms. Alé makes use of Tibetan folk legends, local customs, and religious and historical figures but inclines to be realistic, diluting the elements of mysticism. His poems reflect Alé as a wanderer through the journey motif, as a critic through his subtlety in choice of words and reading the text between the lines, and as a narrator of his childhood memories that seem to be inevitably creeping towards oblivion. The recurrent theme in Alé’s poems revolves around the problems of marginalization. The inherent contradiction between the centralized Chinese state and the marginalized Tibetans and their respective worldviews, with far-reaching consequences affecting the ecological balance—have found a powerful voice inAlé’s poetry. TranslatingAlé’s poems involves a multidimensional complexity in terms of rendering concepts and culture-specific symbolisms— the process of which is essentially transcultural requiring translingual poetic mastery. Keywords: Culture-Specific symbolisms, Sino-Tibetan interface, challenges in transcultural translation. Nikolskaya Svetlana (MSU), svetlana-nikol@yandex.ru Staging and Screenplay as Chinese Literary Genres in XX–XXI Centuries Staging is a play based on a literary work which initially was not a drama. In other words it is a novels, novellas and stories transformation for theatre performance. The author's task is to convey the initial inten- tion of the work. But the need to adapt the material for stage performance determines the amendments