Theatre reviews have long shaped artistic discourse, but their role in capturing the cultural depth of global majority theatre is seldom addressed. HOME X, a collaboration between East Asian artists in London and Hong Kong, highlights the rich interactions between theatre, diasporic identity, and Chinese literary traditions. However, its British theatre reviews largely ignored these cultural references, prioritizing the production’s technological aspect over HOME X’s deep-rooted engagement with Chinese literature including mythology, fable, poetry, and the novel. This article foregrounds the cultural and literary depth of HOME X, and contrasts it with the limited lens of existing British theatre reviews, further drawing on such theories as Gayatri Chakravorty Spivak’s concept of ‘epistemic violence’ and Ric Knowles’s ‘new interculturalism’ to address the controversies surrounding such reviews. It thus argues for a more inclusive and culturally aware approach to reviewing East and South East Asian (ESEA) performances in an era when global majority theatre practices and audience are visibly increasing.

Autoregressive language models generate text by predicting the next word from the preceding context. The regularities internalized from specific training data make this mechanism a useful proxy for historically situated readerly expectations, reflecting what earlier linguistic communities would find probable or meaningful. In this article, I pre-train a GPT model (223M parameters) on a broad corpus of Chinese texts (FineWeb Edu Chinese V2.1) and fine-tune it on the collected writings of Mao Zedong (1893–1976) to simulate the evolving linguistic landscape of post-1949 China. Identifying token sequences with the sharpest drops in perplexity – a measure of the model’s surprise – reveals the core phraseology of “Maospeak,” the militant language style that developed from Mao’s writings and pronouncements. A comparative analysis of modern Chinese fiction demonstrates how literature becomes unfamiliar to the fine-tuned model, generating perplexity spikes of increasing magnitude. The findings suggest a mechanism of attentional control: whereas propaganda backgrounds meaning through repetition (cognitive overfitting), literature foregrounds it through deviation (non-anomalous surprise). By visualizing token sequences as perplexity landscapes with peaks and valleys, the article reconceives style as a probabilistic phenomenon and showcases the potential of “cognitive stylometry” for literary theory and close reading .

This article provides a detailed description of an undocumented use of zaìshì 在勢 as a deontic adverb in Late Qing and Early Republican Chinese literature. This word commonly functions as a verb (“to hold power”) or a nominalized verb (“one who holds power”), but its use as a preposed deontic adverb, meaning “under these circumstances”, is not attested in earlier Chinese texts and has no cognates in other Sinitic languages. The author analyses the syntax and semantics of zaìshì in a large corpus of medieval Chinese texts and early Chinese translations of foreign literature. The article then suggests that the preposed deontic adverb zaìshì emerged as the result of the appropriation of linguistic elements present in classical literature but whose use had been restricted to classical forms of literary composition.

The unprecedented power of China and its cultural expansion are increasing the need to examine its hegemonic impact in the field of literature. The new concept of ‘sinophone’, inspired by postcolonial criticism, reveals vigorous protests against Mainland’s centrality by advocating Chinese Diaspora literature, which has been too long relegated to a peripheral status. This study seeks to reconsider such debates through investigations of historical reasons, ideological issues, and perspectives they have widened. The sinophone literature is thus set up as a creative space, denationalized as well as transnationalized. Denying both the weight of the matrix and the chimerical archipelago, it follows the poetics of relation, the intermixture, and the Open.