At the beginning of the 1980s, some western scholars, like Itamar Even-Zohar, Susan Bassnett, André Lefevere and Lawrence Venuti gradually realized cultural elements in translation studies, such as rewriting, ideology, poetics and patronage, etc. The first Chinese translation was not published until 1994. So far, Jin Di’s edition (1994 and 1996), Xiao Qian/Wen Jieruo’s edition (1994) and Liu Xiangyu’s edition (2021) have been three mainstream translations in China. With the guidance of foreignization and domestication, Jin mainly adopted foreignization, similar to the “Theory of Equivalent Translation” that he has coined. Xiao and Wen claimed that translators should spare no effort to make the translation fluent and colloquial. Liu was devoted to find out the similarity of forms between source language and target language and make detailed interpretation on Irish history and culture. On the premise of respecting the original logic and main ideas, it is the best way to use both foreignization and domestication flexibly if needed. Throughout the centennial journey of “Odysseus” in China, Ulysses and its three Chinese translations have not only embarked on the cross-cultural communication and cooperation between China and Ireland, but also provided a magnificent example to overseas communication of modern Chinese literature in an era of globalization.