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==英语笔译卞王倩 Bian Wangqian 202170081563==
<center>'''Europeanized Chinese and Cultural Factors Behind it'''</center>

<center>卞王倩</center>

===Abstract===
Europeanized Chinese language is directly originated from translation, and first appeared in the translation of scriptures by western missionaries in China in the early 18th century. Translation activities in the late Qing dynasty and Modern Vernacular Chinese Movement and New Culture Movement in 1915 contributed to the Europeanization of the Chinese language. Europeanized Chinese language is mainly manifested in the fact that Chinese has been influenced by English via translation, and thus shows the characteristics of English word formation from the lexical level and syntactic level. In terms of cultural factors behind it, the literary translation boom at the end of the Qing Dynasty and the beginning of the Republic of China promoted the formation of a “western paradigm” in Chinese writing; during the May Fourth Era, scholars rejected traditional literature and favored foreign literature, while advocating the Europeanization of translations; after May Fourth, translators pursued a literal translation style in translating foreign literary works to retain the heterogeneous character of foreign language, mainly English. In terms of the effect, Europeanized Chinese language can be divided into benign Europeanization and malignant Europeanization, the former being the positive and the latter negative. In fact, the malignant Europeanized Chinese language has long been criticized by literary scholars and critics in China, but nowadays, against the backdrop of increasingly close cultural exchanges between China and western countries, a fresh look at the Europeanized Chinese language will bring us new inspiration.

===Key words===
'''Europeanized Chinese; Cultural Factors; Literary Translation, Modern Vernacular Chinese Movement; New Culture Movement'''

===Introduction===
This paper mainly discusses Europeanized Chinese language and its cultural factors. It consists of a literature review and three main parts. The first part is a cases analysis of Europeanized Chinese language, that is, specific examples are given here to illustrate nine elements of Europeanized Chinese language, which are: abuse of subjects and passive voice as well as longer modifiers in a sentence and longer sentences, the former four being counted from the syntactic level; abuse of nouns, conjunctions, articles, pronouns and “的”, the latter five being discussed from the lexical level. The second part is the classification of Europeanized Chinese language, malignant Europeanization and benign Europeanization respectively. Most of the nine elements in the first part can be included as malignant Europeanization, while for benign Europeanization, four types are introduced here, they are more disyllabic words, the multi-class and class shift of words, conjunctions and adverbs that makes sentences’ logic clearer and loanwords, which all remind us of the positive effect of cultural exchange in a certain background. The third part, also the last part, explains what leads to the Europeanization of the Chinese language: one is the importation of strong western culture, and the other is the Chinese language being in a transition around the May Fourth period, both contributing to the Europeanized Chinese language.

===Literature Review===
According to Yu Guangzhong, a great scholar in modern China, Europeanized Chinese language was massively introduced during the May Fourth period, when the Modern Vernacular Chinese Movement was initiated and the vernacular Chinese came to take place of the classical Chinese as the language mainly used by the literary field and New Culture Movement significantly popularized the vernacular Chinese that was later used by the ordinary people. In the beginning, new-born vernacular Chinese was actually not mature, so such famous scholar and reformist as Lu Xun advocated the introduction of western language forms, especially of English, into the new-baby vernacular Chinese so as to transform it by enriching this new form of language featuring simplicity and being easily understood. In fact, this can be seen as a cultural interchange, to which translation is the best bridge. As a result, translation has emerged as the main source of Europeanized Chinese language, which is mostly seen in translated works. (Wang Li, 1954: 209). Moreover, literary translation contributed to the majority of the formation of Europeanized Chinese language. Accordingly, Europeanized Chinese language initially often existed in translated foreign works and the literary circles and therefore was often appeared in many works by some famous writers and literary men.

As a result, the vernacular Chinese came to carry many characteristics of English in terms of expression forms. The scholars during that period and later were no doubt hit by this wave, there being famous essayists Zhu Ziqing, Zhou Zuoren, Yu Pingbo and master of Chinese culture Qian Mu (Si Guo, 2002: 88). Put it specifically, their works, especially proses, all presented prominent Europeanized features in the use of words and sentence structures, which include the abuse of the abstract nouns, indefinite articles, owner pronouns, conjunctions, prepositions and the increasing loanwords and passive voice and long attributive modifiers and so on, which were often seen in English compared with Chinese. Some literary critics, therefore, criticized the use of Europeanized elements in the Chinese language ruining the independent identity of Chinese and its purity and distinctions and even led to the falling of Chinese. This is eventually reduced to what Yu Guangzhong called “Malignant Europeanized Chinese” (Yu Guangzhong, 2014: 129). In contrast, benign Europeanized Chinese is often seen in high-quality works by excellent writers or translators who have been proficient in both Chinese and any other foreign language.

Actually, Europeanized Chinese language not only presents the negative side as has been mentioned above but also carries the positive side. Foreign languages forms and expressions in Chinese have greatly enriched the treasury of Chinese, making it a multi-genres language and thus a distinctive national language. What’s more, it is the result of Sino-foreign exchanges and the reflection of the great impact of cultural factors. As China opens up wider to the outside world, Europeanized Chinese language is no longer abrupt and intolerable. Instead, it comes to be an integral part of the modern Chinese language and gets increased in popularity among international learners.

However, as Yu Guangzhong stressed, benign Europeanized Chinese is a good tool for those able masters, while the rest or most of the translators or translation learners are dealing with malignant Europeanized Chinese language and thus produce awkward Chinese and Chinese translations. And this impact extends to modern times and the field of translation. Europeanized expressions in Chinese are often seen in modern Chinese translation students and even professional translators. In this respect, this is what this writing aims for: to clarify the Europeanized Chinese language and find out its cultural factors. it’s hoped to bring some inspiration for how to correct this mistake and relieve the negative consequences of Europeanized Chinese after this concept and phenomenon is realized and made clear.

===Section One Cases Analysis of Europeanized Chinese Language===
As has been mentioned before, Europeanized Chinese Language can be found in Europeanized features in the use of words and sentence structures(Peng Xuan, 2003: 88), mainly in terms of the syntactic level and lexical level.
The Europeanization seen from the syntactic aspect can be evidenced by the frequent use of subject, long modifiers and passive voice in a sentence and longer sentences and more judgment sentences.

'''(1)More Subjects in a Sentence'''

As we all know, Chinese has been seen as a parataxis language while English a hypotaxis language(Dong Xiaobo, 2013: 156). That is to say, Chinese is logically implicit, and is not closely tied by all conjunctions, even the subjects in Chinese sentences are often not a must, as it unfolds around some certain theme. In contrast, English is logically explicit, and often forms a close sentence structure by means of all complete sentence components and conjunctions and so on, especially a subject that almost is never absent. But as the Chinese came to get Europeanized and carry the features of English, more subjects can be seen in the sentences worked out by some famous writers.

Example 1我在康桥时虽没马骑，没轿子坐，却也有我的风流，我常常在夕阳西下时骑了车迎着天边扁大的日头直追。（徐志摩，《我所知道的康桥》）

Example 2脊背微俯，双手松松拢住车把，他活动，利落，准确；看不出急促而跑得很快，快而没有危险。（老舍，《骆驼祥子》）

From Example 1 and Example 2, we can see Chinese is loosely organized and thus contains many clauses. Example 1 and Example 2 both have a personal subject, “I” and “he” respectively. But compared with Example 1, Example 2 is more in accordance with the features of Chinese expression, that is, simplicity, straightforwardness and subject omission. To put it specifically, the same personal subject was used three times in Example 1, while the figure is one in Example 2, which depicts a skillful coachman as the hero clearly.

'''(2)Longer Modifiers in a Sentence'''

Example 3 那些自骗自的相信不曾把他们自己的人格混到著作里去的人们，正是被那最谬误的幻见所欺的受害者。（周作人，《文艺批评杂话》）

Example 3 vividly shows how long an attributive modifier could be. Of course, we never deny there are modifiers or modified clauses in Chinese, but not those awkward ones. For Example 3, a more Chinese version could be as follows:

Example 4 有些人自己骗自己，相信不曾把自己的人格混到著作里去，这种人实在是被那谬误的幻见所欺。（王力，《中国现代语法理论》）

Compared with Example 3, Example 4 transformed such a long attributive into two descriptive clauses, providing a smooth and natural premise for the following conclusion “这种人……”.

'''(3)Passive Voice in a Sentence'''

Despite a thematic language, Chinese has seen a more active voice in its writing unless there is a necessity or intention to emphasize some information or to describe something unsatisfied or unwanted. (Wang Li, 1954: 340) English, instead, usually prefers passive voice in expression, and so the major information that is placed at the beginning of a sentence as the subject is well emphasized. As a result, Europeanized Chinese language is dotted with “被”, a Chinese character marking a positive voice.

Example 5 昨天捉着的嫌疑犯，经警察局证明无罪，已被释放了。

For the suspect, his release is never a bad thing or unwanted. Therefore, “被” in this sentence can naturally be deleted, so we get: 昨天捉着的嫌疑犯，经警察局证明无罪，已经释放了。

There are many other similar examples:

a.English expression b.Europeanized translation with “被” c.Natural Chinese

a.Be murdered or killed b.被害 c.遇害

Be buried 被埋葬下葬

Be regarded as 被视为算是、算得上

Be guided 被领着有人领着

Be passed 被通过予以通过

Be protected 被保护受到保护

Be entrusted 被委托受人之托、受到委托

Be reduced 被处于……（某种不好的境地）沦为

Be reported 被报道据报道

So we can see that translated Chinese with “被” is totally influenced by English expressions with positive voices, which can be changed into active voice via translation and thus tend to be more authentic and acceptable for Chinese.

'''(4)Longer Sentences'''

Given the difference between Chinese and English, the same information will be expressed in simple and short sentences in Chinese due to its less use of conjunctions, while organized and relatively complicated ones in English via conjunctions or prepositions. But as the Europeanization spread in Chinese, longer sentences are emerging.

Example 6 我这本书只预备给一些“本身已离开了学校，或始终就无从接近学校，还认识些中国文字，置身于文学理论、文学批评，以及说谎造谣消息所达不到的那种职务上，在那个社会里生活，而且极关心全个民族在空间与时间下所有的好处与坏处”的人去看……

According to this long sentence, the major part is “I’m writing this book for those who…”. It will never mind if there is a long sentence that serves as an attributive clause after “who” in English, but it will be never the way a Chinese writes by inserting a long long attributive clause inside a sentence with a simple structure. So Yu Guangzhong criticized it as the “aftermath of malignant Europeanization”.
From the perspective of vocabulary, the Europeanization of the Chinese language can be seen from the abuse of abstract nouns, indefinite articles, owner pronouns, conjunctions, prepositions and the increasing number of loanwords and so on.

'''(5)Noun Plague'''

One of the distinct differences between Chinese and English lies in the fact that Chinese is a dynamic language as it favors verbs, while English a static one as it is rich in abstract nouns and prefers practicing nouns (Dong Xiaobo, 2013: 67).
Example 7 It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.
This famous line comes from Pride and Prejudice written by Jane Austen, and could be a convincing example of the generous use of nouns in English. Not only literary texts. As a result, the Europeanization of the Chinese language directly leads to the popularity of nouns among Chinese scholars and talents.

One is the increased affixes in Chinese. For words ending with the suffix “-ism”, “主义” is coined in Chinese; for words ending with the affix “anti”, “反” is created in Chinese. So we get 科学主义(scientism)爱国主义(patriotism)、形式主义(to practice formalities for formalities’ sake)、反帝反封建(anti-imperialism and feudalism)、反倾销(anti-dumping) and so on. Second is a growing number of loanwords, mainly nouns. 谷歌 translated from Google and推特 from Twitter; 可口可乐 from Coca-Cola and 瑞幸 from Luckin; 福特 from Ford and 粉丝 from fans; 辉瑞from Pfizer and 新型罐装病毒 from Covid-19, etc., all of those words have been known to Chinese and even used in their daily life. Third, stiff translation transplanting of abstract nouns in English results in the presence of such suffixes of Chinese noun phrases as “度”（-th or -ity）, “性(-ity or -ce)”, “化(-ize)”, “感(-ness)”, which are often seen in “相关度(relativity)” “宽度(width)” “可能性(possibility)” “重要性(importance)” “现代化(modernization)” “挫败感(sadness)” “幸福感(happiness)” and so on.

'''(6)Abuse of Conjunctive Words'''

As it is stressed before, Chinese sentences are loosely organized, as it uses few conjunctive words. But in English, all kinds of conjunctions and prepositions both contribute to the close structure of sentences. Affected by such an impressive feature, the Chinese is unavoidably getting assimilated.

For example, 和 is translated from and; 而且 from what’s more or moreover; 然而、但是、可是 from but; 因此、于是、结果 from therefore or as a result; 倘若、如果、要是 from if; 在……中、里 from in or on; 对于……、关于……、就……而言 from as for, with regard to or in terms of. According to Wang Li (1954: 352), there were really no some of those conjunctive words, but Europeanized Chinese language took advantage of some verbs in traditional Chinese to create such responses, and finally get what we have been universally using today.

Example 8 宝玉说丫头们不会放，自己放了半天，只起房高，便落下来了。急得宝玉头上的汗都出来了。

These two lines are chosen from Cao Xueqin’s A Dream of Red Mansion, and lively depict Precious Jade’s poor skills at flying kites and consequent anxiety. But this information is conveyed in even two sentences that have been cut, and with few conjunctive words used.

'''(7)Abuse of the Articles'''

The articles are often used before nouns in English sentences, and can be classified into the definite article “the” and indefinite articles “a” and “an”. Once being translated into Chinese, they can be “这个” "那个”“一个” and “一种”. But in fact, there is no responding words in Chinese, so such expressions as “一个” and “一种” will never be a Chinese ones. But in Europeanized writing, such touch is everywhere to see. It can be said, wherever there is an indefinite article in English, there will always be a “一个”“一种” in Chinese. (Wang Li, 1954: 378)

Example 9 一个有钱的单身汉一定想要一个老婆，这是一条举世公认的真理。

This sentence is translated from Example 7, which is a good example that the articles are universally used before nouns in English. But it will never be a good translation as presented in Example 9 if we preserve those articles. The problem lies in that the Chinese use them little or never. In contrast, the version by Sun Zhiyi, a famous Chinese translator, is short and pithy, more Chinese most importantly:

有钱的单身汉总想要娶位太太，这是一条举世公认的真理。

English articles are seen not only in translated Chinese, but also in the Chinese works that were written by those writers affected by western philosophy and English grammar.

Example 10 但一个人要写他最心爱的对象，不论是人是地，是多么使他为难的一个工作？（徐志摩《我所知道的康桥》）

According to Si Guo(2002: 90), the two “一个” used in this sentence is never better than no use of them, even the second “一个” is a wrong use. Despite the wrong use, isn’t the sentence without superfluous articles more enjoyable for readers:

但人要写他最心爱的对象，不论是人是地，是多么使他为难的工作？

'''(8)Abuse of Pronouns'''

Here Europeanized Chinese language caused by personal pronouns and adjectival possessive pronouns is discussed here. Firstly, we have to make it clear that, the vernacular Chinese during May Fourth Period came to use personal pronouns in a frequent and general manner. But before that, “他” (he in English) could be the only choice. In English, however, personal pronouns are so diversified: first person singular “I”, first-person plural “we”, second person singular and plural “you”, for third-person singular, “he” is used to refer to man, “she” refer to woman, and “it” refers to inanimate objects or any living creatures except for humans, and their common plural “they”. So are adjectival possessive pronouns: my, your, his, her, its and their. Such rich expressions are once introduced, they will definitely affect the Chinese. As a result, “我”(I in English) “他”(he), “她”(she), “它”(it), “我们”(we) and even “他们”“她们”“它们” and “我们的”“我的”“他的”“她的”“它的”“他们的” and so on, all have joined the Chinese language.

Example 11 我们的祖母，我们的母亲的少女时代已无从想象了，因为即使是想象，也要凭藉一点亲切的记亿。我们的姊妹，正如我们，到了一个多变幻的歧途。最使我们怀想的是我们那些年青的美丽的姑姑，和那些快要消逝了的闺阁生活。何其芳，《哀歌》

He Qifang was an excellent poet and essayist in the 1930s literary circle in China and was just as famous as Xu Zhimo. This extract consists of three sentences, in which the writer should use the personal pronoun two times and the adjectival possessive pronoun four times. This is unimaginable. The same problem also appears in Zhu Ziqing’s Rush.

Example 12燕子去了，有再来的时候；杨柳枯了，有再青的时候；桃花谢了，有再开的时候。但是，聪明的，你告诉我，我们的日子为什么一去不复返呢？——是有人偷了他们罢：那是谁？又藏在何处呢？是他们自己逃走了罢：如今又到了哪里呢？

我不知道他们给了我多少日子，但我的手确乎是渐渐空虚了。

According to Yu Guangzhong, firstly, the abuse of pronouns in this part leads to a confusing reference; secondly, the third “他们” is indeed groundless, as we failed to find what it really referred to in this context.

'''(9)Abuse of “的”'''

The Chinese character “的” is generally placed after the adjectives in Chinese to form their unique suffix. And with its help, the adjectives can be used as the noun modifiers, along with the noun, forming the subject or attributive in a sentence; as the predicate placed at the end of a judgment sentence; or frankly as a noun to denote one’s identity or career.

Example 13 鲁镇的酒店的格局，是和别处不同的。（鲁迅，《孔乙己》）

The wine shops in Luchen are not like those in other parts of China. (Yang Xianyi)

For the Chinese sentence of example 13, the subject “酒店的格局” consists of a noun and an adjective as its modifier and is modified by a noun modifier with a suffix “的” to denote the wine shop’s location and where this story begins. And its predicate is an adjective ending with “的”. In general, it is a judgment sentence with “的” playing three roles. But it’s worth our attention that the translation from Yang Xianyi contains no adjective. So we can conclude that, for English, it can rely on all kinds of sentence components to form the modifiers to support and enrich the whole sentence, and even a list of adjectives arranged in a sentence will never look weird. But for Chinese, such coordinated modifiers as a list of adjectives in a sentence is tolerable but is never a good way to convey the same information as that in English.

Example 14 She had such a kindly, smiling, tender, gentle, generous heart of her own.

a. 她是厚道的、乐观的、温柔的、和蔼的以及大度的。

b. 她心地厚道，为人乐观，性情温柔，待人和蔼，气量又大。

So according to how Chinese is organized and Chinese expressions, for Example 14, translation b is always better than translation a, because the abuse of “的” is not what Chinese favors. However, the fact is that, even in modern times, affected by English grammar and poor ability to freely use Chinese, many translation learners, with the writer herself included, will often have the difficulty in avoiding using “的” too much while organizing the sentence in Chinese. Just as Yu Guangzhong (2014: 60) commented, “unfortunately, Chinese and the knowledge of Chinese literature have been the weak spots of those students in colleges of foreign languages, where most translation talents are cultivated.” It couldn’t be right anymore.

===Section Two Classification of Europeanized Chinese Language===
In fact, there is no clear classification of Europeanized Chinese language. But Yu Guangzhong, Si Guo and Jin Shenghua and other respectable experts all referred to this problem in their works, and explicitly called them examples of Europeanized Chinese language “malignant Europeanization”. Accordingly, they also approved the positive sides of the Europeanization of the Chinese language, which here is called “benign Europeanization.”

Let’s first come to malignant Europeanization. It is also called “servile Europeanization” (Si Guo, 2001: 99) Of course, such a saying is aimed at some cases of malignant Europeanization. That is, some awkward Chinese expressions are produced, as we stressed before, due to disqualified translators or writers who fail to get rid of the restriction of English texts and grammar. This is the relatively objective reason. But for another, the Europeanization of Chinese texts is some group’s progressive choice due to their applauding or blind imitation for English and its grammar. This is what we call “servile Europeanization”. Anyway, malignant Europeanization has caused a negative impact on translation and Chinese, blocking translators from producing high-quality translation works and writers from producing native and special works of all fields.

So what are the examples of malignant Europeanization of the Chinese language on earth? Actually, 9 aspects from the perspective of syntactic and vocabulary respectively listed above could be almost included in the category of malignant Europeanization. These problems are lingering now so that generations of Chinese are often unable to produce totally Chinese works. Especially for those students who major in English and are devoted to translation, they are exposed to such an environment where real and pure Chinese is far from their needs and in turn produce strange and unsatisfactory translations but fail to get the point of the problem. So for malignant Europeanization, we all should realize it on our own initiative and correct such problems while engaged in our translation practice.

Given the Europeanization of the Chinese language is the result of cultural exchange, there must be some positive impacts. So benign Europeanization is sure to emerge and has come to be integral of the Chinese.

Benign Europeanization can be seen from such aspects as follows:

'''(1)More Disyllabic Words'''

Classical Chinese is a monosyllabic language. As the vernacular Chinese was introduced and got popularized, disyllabic words were followed. And translation from English has promoted this trend and greatly increased the bank of Chinese vocabulary.
One is synonymous disyllabic words, such as 资本、权利、甜蜜、解放、活动。The other is disyllabic words evolved from monosyllabic words, such as 情感、丰富、健康、工作、旅行。

'''(2)The Multi-class and Class Shift of Words'''

In terms of word formation, the multi-class and class shift of words are distinctive features of English and other European languages. (Liu Zhengbing, Ding Yuanyuan, 2020: 21) Naturally, Europeanized Chinese language has caught this feature. For example, “科学”“迷信”“精神” in Chinese can serve as nouns and adjectives; “明白”“团结”“亲近” can be used as verbs and adjectives; and “便宜”“方便”“麻烦” even can be regarded as noun, verb and adjective respectively in different contexts. The diverse word classes, therefore, determine the flexible shift of word class according to specific contexts. As a result, the use of words is more flexible and Chinese expressions are more various.

'''(3)Conjunctions and Adverbs Make Logic Clear'''

Despite featuring being loosely organized, the Chinese have to rely on a certain number of conjunctions and adverbs to make clear or explicit the logic in their professional texts that are not as easy and understandable as the general texts. So the introduction of rich conjunctions and adverbs in English is not always a bad thing. Instead, it will make professional writing more friendly to its layman readers.

'''(4)Importation of Loanwords'''

A great many loanwords come to China as the exchange between China and western countries is increasingly close. With translation, more and more newcomer loanwords are known to Chinese people and are playing an important role in their daily life. For example, many smart acronyms are universally used by the Chinese when they refer to or describe something, such as WTO in trade, CCTV in media, PK or KO in game and so on.
In conclusion, although malignant Europeanization is more discussed and gets more criticism, benign Europeanization shouldn’t be overlooked. According to Yu Guangzhong, benign Europeanization is usually seen in first-class translation works and outstanding writings, as for the translators and writers involved, Europeanized Chinese can be flexibly used to better serve their translation or writing. The excellent is the minority. So there is still a long way for us most translators or translation learners to go.

===Section Three Cultural Factors Responsible for the Europeanization===
'''(1)Importation of Western Culture'''

Since the early Republic of China, western culture was imported in large quantities through English and translation. The disparity in the political situation at that time determined that western culture was in a strong position, and also determined that the Chinese people were more possibly forced or active to accept the western culture. At the same time, under the influence of the current philosophy of “create the knowledge and serve the society”, literary translations emerged in the late Qing, with the translation of novels playing an important role (Wang Hongzhi, 2000: 43). In this translation boom, in order to take into account the reading needs of the general public, the language used in translated novels was not only the classical one, but also the vernacular one, or a mixture of classical and vernacular. (Lin Yanmei, 2011: 51) Later, the concept of translated literature tended to preserve the heterogeneous elements of western literature that were different from Chinese literature, thus gradually forming a “western paradigm” of literary translation, and the influence of western literature and western culture on the language of translation or Chinese at that time had to have been penetrated into Chinese grammar and syntax.

'''(2)Chinese Language was in a Transition'''

During the New Culture Movement, the classical language had become rigid and failed to meet the needs of the times, while the development of the vernacular Chinese was still in its infancy, immature and limited in its ability to be used for expression, and therefore it entails further growth. At the same time, at the beginning of the New Culture Movement, various literary leaders advocated new literature and opposed traditional Chinese literature, and favored foreign literature. And the movement advocators in general (Qian Xuantong, Lu Xun, Fu Sinian, Zhu Ziqing, etc.) believed that western languages were more accurate than Chinese and thus advocated extreme Westernization or Europeanization, especially in the area of writing. During the May Fourth period, calls for total Europeanization was also made. As a result, the tide of Europeanization in the Chinese language was raging, and the Europeanization of translations even was a fashion.

The vernacular Chinese movement of the late Qing Dynasty, together with China's inherent tradition of the vernacular Chinese, led to the growing engagement of literary translation in vernacular Chinese (Deng Wei, 2010: 72), and the tendency to Europeanize the language of the translated literature became more and more obvious. Facing such a landscape, translators pursued the literal translation technique, which was the most direct technical reason for promoting Europeanization; and the original works were designed to imitate western grammar to achieve the effect of Europeanization.

To conclude, the Europeanization of the Chinese language is the result of joint efforts of the literary translation boom in the early Republic of China, the Modern Vernacular Chinese Movement and the New Cultural Movement. They are exactly the cultural factors behind this phenomenon.

===Conclusion===
In fact, Europeanized Chinese is a new and diverse literary style that has gradually formed since the New Culture Movement and late May Fourth Movement, and it encompasses simple and well-formed classical Chinese and orderly-organized English, and friendly and natural vernacular Chinese. Its influence continues to this day.

===References===
* Deng Wei邓伟.(2010).归化与欧化——试析清末民初翻译文学语言的建构倾向[Domestication and Europeanization: An Analysis of the Tendency to Construct the Literary Language of Translation in the Late Qing and the Early Republic of China]. 文艺理论研究 Theoretical Studies in Literature and Art,(03):72.

* Dong Xiaobo董晓波.(2013).''英汉比较与翻译''[English-Chinese Comparative Studies and Translation].北京：对外经贸大学出版社 Beijing: the University of International Business and Economics Press，第67、156页.

* Fu Jingmin, Yuan Yujun傅敬民、阮雨俊.(2020)汉语欧化的语言学特征及其规范[Linguistic Features of the Europeanization of Chinese and its Principles]. 当代外语研究， Contemporary Foreign Language Studies,(06)：123.

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==英语笔译曹姣 Cao Jiao 202170081564==
<center>'''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example'''</center>
<center>'''从诗歌视角浅谈唐朝宫廷文化——以《长恨歌》为例'''</center>
<center>曹姣CaoJiao</center>
===Abstract===
As a realistic poem with romantic characteristics, Bai Juyi's ''The Everlasting Regret'' tells the love story between Li Lung-chi(李隆基, an emperor in Tang Dynasty) and his beloved Yang Kuifei(杨贵妃, a concubine of the emperor). In addition, it has a unique literary aesthetics in which many of the sentences record the history in realistic details, so it has a profound significance for historical research, playing the role of complementing and interpreting history. This article, inspired by Chen Yinque's “mutual verification of poetry and history”, will analyze ''The Everlasting Regret'' from the perspective of history, and discuss it from three aspects: women's makeup and headgear, court banquet, and imperial palace and architecture. This will give us a more comprehensive and authentic look of the cultural life of the court in the Tang Dynasty.

===Keywords===
''Changhenge'' or ''The Everlasting Regret''; Tang Dynasty; court culture; mutual verification of poetry and history

===Introduction===
'''1.Research significance'''
Bai Juyi was a Chinese ancient realist poet. In many of his works, there are descriptions related to the cultural life of the Tang Dynasty court. These descriptions are not made up out of groundless rumor or supposition, but are from his careful observation and speculation on this kind of subject matter, which makes the descriptions appear meticulous and vivid. In this context, his poems not only carry aesthetic function, but also are of great historical significance. Among his masterpieces, "Changhenge", also known as ''The Everlasting Regret''(《长恨歌》), is a distinguished one, composed in realistic means with romantic characteristics, with a name of “a poetic masterpiece through the ages”.

''The Everlasting Regret'' is a long narrative poem, with 979 Chinese characters in total. It interprets Li Longji (also Tang Xuanzong) and Yang Yuhuan's love tragedy against the backdrop before and after the Anshi Rebellion（安史之乱） in the middle Tang Dynasty; meanwhile, it covers a variety of themes, such as eulogizing love, lamenting fate and admonishing Kings. The first part of ''The Everlasting Regret'' mainly describes Li and Yang's love story and the lavish and luxurious court life, implying an allegory of the emperor's adultery and mismanagement of the country. The second half is full of poignant and sympathetic description of Xuanzong's profound love for her, praising the constancy of their love. The whole poem adopts the realistic writing technique with romantic characteristics so that the narrative and lyric feelings complement each other, which has become the artistic feature of The Everlasting Regret, and also leaves an endless aftertaste and research space for the future generations. What’s particularly valuable is that it contains a lot of information reflecting Tang Dynasty court culture life details, and involves the depiction of characters, women’s dress and makeup, court architecture, music of court banquets and so on. In this sense, The Everlasting Regret as an unprecedented literary masterpiece unseen in ten centuries, is of great historical value in the study of court culture in the Tang Dynasty. (c.f: Yao Ronghua 2012,121-127)

'''2.Research background'''
China’s research on court culture has come to the fore for a long time. Throughout Chinese history, Tang Dynasty is a unique period when the aspects including culture, politics, economy, and diplomacy have registered very high achievements, symbolizing the golden age of China’s history. (The culture in Tang Dynasty represents the following features: first, the cultural system is inclusive and comprehensive, showing an increasingly high-level development; second, the culture of Tang Dynasty is very open; third, the Tang culture seemingly approaches the people, emphasizing the real world and not adhering to the ancient system. ) As a significant part of its culture, the court culture of the Tang Dynasty plays a complementary role. Therefore, understanding the court culture of the Tang Dynasty helps us to better comprehend the history of this dynasty.

Liu Zunming, a famous scholar from Hubei University, believes that court culture should be composed of material and non-material culture, and is the sum collection of lifestyles, ideologies and products created by the imperial aristocracy. Then the scope of court culture should include imperial architecture, politics, system, economy, religion, education, literature and art, lifestyles in court and so on.
In this context, many renowned scholars have studied court culture in the Tang Dynasty including the system of court diet, banquet music, eyebrow-painting, architecture, and so on. Zhang Yan conducted research on the system of court diet in the Tang Dynasty. His paper introduced the whole system of court diet from five aspects including its historical development, the supply and management of food materials in Tang Dynasty court, the court diet management institutions in Tang Dynasty (like Food Department, Guanglu Temple, Shangshi Bureau, and diet management institutions for the East Palace), the food system embodied in the court ceremonial activities and the bestowed dinning after the morning audience, and the characteristics of the system of court diet in the Tang Dynasty. In conclusion, the system of court diet was further embellished and perfected in the Tang Dynasty, which had a profound influence on the diet system of the later dynasties. Xu Shuqi, in A Study on the Music of Court Banquets in Ancient China in 2021, made a comparative analysis, through comparative research method, of the differences in music forms in the court banquets of past dynasties, and explored the development process of the music of ancient China’s court banquets. Tian Miao, in A Critical Exposition on the Development of Women's Eyebrow-painting in Tang Dynasty published in 2003, did a very detailed study of the characteristics of women's eyebrow makeup in different historical stages of the Tang Dynasty.

Concerning the poem Changhenge, many discussed whether it's a realistic or romantic one, and some argued whether it's a love story more than an allegorical one. At present, the academic circles have yielded fruitful results in the aspects of the composing purpose, artistic achievement, influence on later generations, and the situation of overseas dissemination. However, there are relatively few works on the analysis of court culture in Tang Dynasty based on the Everlasting Regret. The major works include Li Xiaojiao’s (李晓娇, 2020) Folkloristic Viewpoint for the Study of Song of Everlasting Regret; Deng Wenrui’s Reflections on Cultural Life in the Palace of Tang Dynasty Based on Everlasting Regret; Yao Ronghua’s “A Study of Song of Unending Sorrow and the Cultural Life of Palace in Tang Dynasty”, and “Research on the Poem “Changhenge” from the Perspective of Tang Dynasty’s Court Culture”, and so on. These works have made a detailed interpretation of the court culture of Tang Dynasty and the Everlasting Regret. But as the part of the court banquet in palace culture, they all neglected a very important part -- lychees. Lychees are Yang’s favorite fruit, which is too delicate to stand long journey. In today’s China, with developed science and technology, it is not difficult to eat fresh lychees; while in the Tang dynasty, it was not.
===Literature review===
With regard to the research on court culture in the Tang Dynasty from the perspective of the Everlasting Regret, there are some studies done by other researchers.

For example, Li Xiaojiao’s (李晓娇, 2020) Folkloristic Viewpoint for the Study of Song of Everlasting Regret elaborated on folkloric culture hiding in the Everlasting Regret. She introduced folkloric culture encompassing three respects: folkloristic costume, activities and Taoism of the Everlasting Regret. Inspired by Chen Yinque's(陈寅恪) method of “mutual verification of poetry and history”, her paper compared and verified the original text of the Everlasting Regret with relevant historical documents and artistic works of the Tang Dynasty, explored the folk elements in it, and tried to make a comprehensive analysis and research.

Deng Wenrui’s(邓文睿，2019) Reflections on Cultural Life in the Palace of Tang Dynasty Based on Everlasting Regret, from women's jewelry and hair accessories, women's makeup, and the Tang Dynasty spring outing in the Everlasting Regret, expounded that this poem has not only shown that cultural life of the court of Tang Dynasty, but also provides the basic theoretical material for the scholars to study the culture of Tang dynasty.

Yao Ronghua’s （姚榕华，2012）“A Study of Song of Unending Sorrow and the Cultural Life of Palace in Tang Dynasty”, and “Research on the Poem ‘Changhenge’ from the Perspective of Tang Dynasty’s Court Culture”, made even more comprehensive explanations of the cultural life of court of the Tang Dynasty. Yao, in his dissertation, also adopted Chen Yinque’s “mutual verification of poetry and history” to talk about his topic in six respects: in chapter 1, he talked about the hairstyle jewelry and the ornamental of hairpins in the poem; in chapter 2, he studied women’s makeup style of in Tang Dynasty; in chapter 3, he talked about the sleeve patterns of women’s dresses; then, he expounded the music and dance in the poem in the 4th chapter; he also elaborated court banquets and springtime excursion in Tang Dynasty; finally, he stressed the significance of the historical and cultural study of ’’the Everlasting Regret’’. At last, he pointed out: ’’the Everlasting regret’’, after all, is a long poem rather than a history book; it’s a work of art, not a historical record. His dissertation is of strong logicality and is well-argued and precisely reasoned.

These works have made a detailed interpretation of the court culture of Tang Dynasty and the Everlasting Regret. Thereby, on the basis of previous studies, my paper adds the transport of lychees, which are Yang’s favorite fruit, to confirm the poetry with historical materials, and outline the authentic and complete appearance of the cultural life of the palace in the turning period of the Tang Dynasty.

===Methods and Theories===
This paper adopted the literature research method and the theory of “mutual verification of poetry and history ”.

By the literature research method, a large number of relevant literature is collected through a variety of ways and channels. In the literature collection channels, the author draws support from CNKI, Baidu Scholar and Google Scholar, etc.; two main ways to search the literature are utilized, searching in light of keyword or subject, and reference. Moreover, the author in the search for literature with a clear direction. For example, the keywords of this article are "palace culture" or “court culture” and "The Everlasting Regret," so the author enters these two keywords to search the pertinent literature, selects the appropriate one to study, and also searches the literature listed in the references, to help the author form a clear and systematic understanding of the research topic.

The theory of "mutual verification between poetry and history" was first put forward by Huang Zongxi, and the academia unanimously recognized that Chen Yinque and other people made exemplary contributions to this theory. The reason that poetry and history can be each other’s "mutual evidence" is that poetry, as a literary form of expressing aesthetic emotion, can not be separated from the specific historical figures, time and space; the apprehension of poems depends on rich historical details. Mr. Chen, in his "Manuscript of the Investigation of Yuan’s and Bai's Notes and Commentary on Poetry", made an explanation of the " mutual verification between poetry and history ": first, using poetry to verify historical records or supplement historical information, namely, "to prove history with poetry"; second, explaining poetry by means of history, so as to obtain the complete meaning of the poetry, that is, "to explain poetry with history."

===Make-up and headgear in ''The Everlasting Regret''===
'''1. On eyebrow makeup'''
“That she outshone in six palaces the fairest face”（六宫粉黛无颜色）, “Until the Lady Yang was killed before the steed”（宛转蛾眉马前死）, “Willow leaves like her brows and lotus like her face”（芙蓉如面柳如眉） and “Eunuchs and waiting maids looked old in palace deep”（椒房阿监青娥老） these four lines depict the female makeup in the imperial court. In the first sentence, "Fendai"（粉黛） refers to beauties in the imperial palace except for Yang, because aristocratic women in the heyday of the Tang Dynasty often adorned their faces and eyes with makeup. However, the two words "fen"(粉) and "dai"（黛） have their own meanings respectively: "fen" is the powder used by ancient women to lighten their complexions; "Dai" is the brunet mineral used when drawing eyebrows, especially in ancient times. According to the differentiated shades, they could produce different eyebrow make-up like black eyebrows or emerald green ones. In this case, “dai” refers to the color of eyebrow make-up. The other three sentences describe eyebrow makeup from the aspect of eyebrow shape, reflecting the two most popular eyebrow makeup forms in the Tang Dynasty – “the willow-leaf shaped eyebrow”（柳叶眉） and “the moth eyebrow”（蛾眉）. The moth eyebrow was the most prominent eyebrow makeup in the Tang Dynasty. It is broad in shape, vaguely ethereal in outline, light and natural in color, and looks like the wings of a moth in appearance, hence the name. As can be seen from the name, the willow-leaf shaped eyebrow is a slender eyebrow makeup similar to willow leaves. It is slightly thick in the middle and tapers at both ends, which can increase the charm of feminine charm. Historical data did not record Yang wearing willow-leaf shaped eyebrows clearly, but from a host of Tang poetry and painting materials, it is easy to judge willow-leaf shaped eyebrows are one of the popular eyebrow makeup styles in the Tang Dynasty, and whether court ladies or ordinary girls are happy to draw it to present their dignified and beautiful amorous feelings. (c.f: Tian Miao 2003,108-112)

'''2.On headgear'''
The description of female jewelry in ''The Everlasting Regret'' can be seen frequently, such as " flowerlike face and cloudlike hair, golden-headdressed"（云鬓花颜金步摇）, " golden bird and comb with which her head was crowned "（翠翘金雀玉搔头） and " for him to carry back, hairpin and case of gold "（钿合金钗寄将去）. In these sentences, descriptions like “golden-headdressed” or “Zan”（簪）, " golden bird "（金雀）, "Jade headdress"（玉搔头）, "golden hairpin"（金钗）, " case of jewelry "（钿盒） and other things related to women's headgear. Women’s headgears in ancient China were used mainly for hairstyles, with its original function as hair constraint. With the development of society, the specification of women’s headgear became increasingly complex. Consequently, a new feature appeared: headgear was not only the embodiment of a girl well into her adulthood, a demonstration of wealth, and a sign of social status, but also a part of etiquette. There are four main types of headgears mentioned in The Everlasting Regret: Zan, Chai, Buyao, as well as Dianhe or cases of jewelry (inlaid with gold, silver and jewels).

'''2.1 Zan'''

Zan（簪） is the most antique and widely spread in ancient China, also the oldest appliance for hair constraint in China. In the early days, most of them were made of natural materials such as wood, bamboo, animal bone, stone, etc., with practical function in general. By the Tang Dynasty, due to the social function of Zan becoming more and more obvious, great progress had been made in materials selection, production technology and decorative design, etc., and Zan, made of jade, gold and silver, emerald green feathers, and shells, appeared. On top of the change in material, its decorative graphics have also seen great changes, more complex and delicate.

'''2.2 Chai'''

The main function of the Chai（钗） tends to be a decorative one, compared with Zan. Women decorated hairstyles with them in order to project their charm, and show off wealth and status, so the Chai in the Tang Dynasty became the most important headgear. A set of Chai often contains two pieces each, with symmetrical patterns, inserted in hair with one on the left and the other right. However, women in the Tang Dynasty often wore multiple Chai at the same time, and the number of them varied in light of the height of chignon. The higher the chignon was, the more Chai there would be. Unlike Zan, the foot of the Chai is divided into two sides, which are inserted into the chignon to fix hairstyle, and were called "Chai thighs". In The Everlasting Regret, the sentence “keeping one side of the case and one wing of the Chai" tells that Yang Yuhuan broke the golden Chai into two from the part of the Chai thighs, which well embodies the modeling characteristics of Chai thighs.

'''2.3 Buyao'''

Buyao（步摇） is another kind of traditional Chinese women's headgear, which is interpreted in an ancient book as: Buyao, with drooping beads over it, will shake the beads as a wearer is walking. Therefore, the name of "Buyao" is taken from the meaning of "shaking as stepping". The buyao vibrates with the steps of women, and the intertwining of beads, jade, gold and silver makes it appear colorful, which can best reflect the graceful bearing of women's vigor and vitality. By the Tang Dynasty, with the increasing prosperity of the social economy and the increasing extravagance and pomp, the etiquette symbolized in gold Buyao started to tamper among the aristocracy and gradually became popular among ordinary people. The popular shape of Buyao in the Tang Dynasty was like " a gold phoenix, with a bottom at below, a pin at the front, decorated with colorful jade beads shaking as stepping by."(Yao Ronghua,2012)

===Court banquets===
'''1. Banquets'''

In addition to embodying the deep love between Yang and Li， those two sentences "in revels as in feasts she shared her lord’s delight"（承欢侍宴无闲暇） and “drunk with wine and spring at banquet in Jade Tower”（玉楼宴罢醉和春） can also reflect the frequency of holding court banquets or banquets for all. Court banquet（宫廷宴会） generally refers to the feast held by the emperor for rewarding reasons, attended by officials at all levels and envoys from all over the world, in which court music, dance and acrobatics performances on a certain scale would be arranged. If it was on a larger scale, where even ordinary people may attend, it was called "banquet for all"（酺会）, normally lasting for several days. Rulers held banquets for all, also known as "bestowing banquets"（赐宴）, and the whole country was covered in huge hilarity in the banquet hall during the events. Both the aristocracy and the common people could find their freedom and happiness in the private banquet. Concerning the purpose of bestowing banquets, on the one hand, it was to satisfy the cultural needs of the people as well as seek cohesiveness from them; on the other, was to consolidate its feudal regime, demonstrate the rulers' authority and give benefits to the people. (Yang Guoyu,2016)

'''2. The exclusive affection and lychees'''

'''2. 1 The exclusive affection for Yang'''
The Everlasting Regret also says,
" In revels as in feasts she shared her lord’s delight,
His companion on trips and his mistress at night.
In inner palace dwelt three thousand ladies fair;
Her beauty served the night when dressed in Golden Bower
Or drunk with wine and spring at banquet in Jade Tower.
On her alone was lavished royal love and care. "
These sentences reflect the inseparable love between the Emperor and Yang. These descriptions, especially “on her alone was lavished royal love and care”, are not fabricated by personal imagination, or merely literary exaggeration, but can be tested through history. New History of the Tang Dynasty (《新唐书》) has a record of Yang like eating litchi: "Concubine Yang is fond of lychees, especially fresh ones. So the post station knights travel day and night, speeding up tirelessly, running thousands of miles. Without changing the flavor, lychees have been sent to the capital. " This record indicates that the Emperor gave orders to the national post system, which was originally used to pass state documents and administrative personnel back and forth, to transport fresh lychees for Yang, which is enough to prove the high status of Yang in the eyes of the emperor. No wonder Du Mu, a poet in the Middle Tang Dynasty, once said,
" Viewed from Chang'an, Mount Li seemed a piece of embroidery;
Countless gates opened one after another on a hill-top.
At a horse raising red dust the imperial concubine smiled;
No one knew it was for the litchi fruit it had brought. "
--Passing Huaqing Palace(1) from Du Mu

'''2. 2 Lychees '''
Everyone knows that Yang Kuifei likes lychees. But where did lychees be sent from and how were they transported to Chang 'an, the capital of Tang Dynasty?

Yan Gengwang, a prestigious Chinese historian, had compared the records of lychee transporting in the Tang dynasty with the Song Dynasty’s, and found an intriguing phenomenon: Tang people generally believed that litchi comes from Lingnan, while after the middle of the Northern Song Dynasty, it is believed that litchi comes from Fuzhou, Sichuan Province (now Fuling District, Chongqing Province). However, litchi is a delicate fruit with characteristics of the color changing in one day, the fragrance changing in two days, and the taste changing in three days. From Lingnan to Chang 'an is no less than five thousand miles. If computed in line with the fastest speed available in that dynasty, it is difficult to avoid taste change. However, it is only more than 2,000 miles from Fuzhou to Chang 'an. Therefore, Scholars Li Long and Cai Dongzhou considering many factors such as mileage, lychee varieties, preservation technology and Yang's lot, believe that Yang's favorite lychees mainly comes from Fuzhou. Due to Yang's affection, combined with the high appraisal from the respectable prime minister Zhang Jiuling, officials probably have tried to transport lychees grown in Lingnan to the capital. (Li Long and Cai Dongzhou, 2016, p. 5)

So what could be the delivery route of lychee in that dynasty? In light of Yan Gengwang's fourth volume "Tianbao Litchi Road" in his book "Traffic Map Examination of Tang Dynasty", we can roughly outline the route map of litchi transportation: Fuling--Wanzhou--Dazhou--Wanyuan--Xixiang--Yang County--Meridian Valley--Chang 'an. Scholars Wang Fei, according to historical records, combined with field investigation, determines the basic route of Litchi Road more specifically: Fuling-Dianjiang-Liangping-Dazhu-Daxian-Xuanhan -Pingchang County (Yan Kou village, Ma 'an village) --Wanyuan City (Ying Bei village, Ming Yang town in Miao Ya village, San Guan Chang town in Qin He village, Yudai village, Wei village)--Tongjiang County (Longfeng village, Hong Kou village, Jibo village)--then Wanyuan City again (Zhu Yu village, Hongqiao village) --Zhenba County, Dingyuan, Yue Jiulong Zhai (Chen’s Tan) Yang Jiahe, Si Shang, Luo Zhenzhai-- Ziwu Town in Xixiang County, into the Meridian Road, and ultimately arrived in Chang’an City. [涪陵——垫江——梁平——大竹——达县——宣汉 ( 大成乡瓦窑坝折入三桥、隘口、马渡) ——平昌县 ( 岩口乡、马鞍乡) ——万源市 (鹰背乡、庙垭乡名扬、秦河乡三官场、玉带乡、魏家乡) ——通江县 (龙凤乡、洪口乡、澌波乡) ——再入万源市 ( 竹峪乡、虹桥乡) —— 镇巴县，定远，越九龙砦 ( 陈家滩) 杨家河、司上、罗镇砦——西乡县子午镇，进入子午道，到达西安] The whole journey was more than 1000 kilometers, which was more reasonable.(Wang Fei, 2016, p.2-3)

Although the Everlasting Regret does not mention the word "lychee" at all, the poem speaks of the two's affection, so I have to mention it to testify to their love, which is exactly one of the forms of the research method “mutual interpretation between poetry and history ”.

===Palaces and architectures===
Among the names of palaces or places mentioned in the poem, some of which are authentic, while some are fictitious for artistic reasons.

“She bathed in glassy water of Huaqing Pool”（春寒赐浴华清池）, “ in lotus-flower curtain she spent the night blessed”（芙蓉帐暖度春宵”）, “her beauty served the night when dressed in Golden Bower ”（金屋妆成娇侍夜）, “drunk with wine and spring at banquet in Jade Tower”（玉楼宴罢醉和春） etc., these parts describe the Huaqing Pool, Golden Bower（Jinwu）, Jade Tower and other palaces or places served as living rooms for the imperial family. These descriptions have three functions: First, they describe the places where Tang Xuanzong and Yang Yuhuan dated and spent time together; Second, the poet describes the content of their life submerged in love, selecting some representative scenes, including bathing in Huaqing Pool, daily feasts and playing scenes; Third, as royal palaces, the poet has depicted the magnificence and glory of these architectures, in order to foil the noble identity of Tang Xuanzong and Yang Yuhuan as Emperor and Keifei(贵妃), and also render their love story.

In the sentences of " Knocking at the western gate of palace hall, he bade"（金阙西厢叩玉扃）, " days and months appeared long in the fairyland halls"（蓬莱宫中日月长）, "Jin Que" or “ Palace Hall”（金阙）, and "Penglai Palace"（蓬莱阁） both are palaces existing only in Chinese mythology, which are set off as the background for the appearance of this imperial concubine. Sentences "love and happiness long ended within the wall of Zhaoyang Palace"(昭阳殿里恩爱绝) and “on the seventh day of the seventh moon when none was near the Eternal Youth Palace(七月七日长生殿)” are still closely related to the theme of the whole poem -- love, indicating Yang’s unswerving love to Li. Among those two sentences, "Zhaoyang Palace" (昭阳殿)refers to the palace where they lived together during those years, while "Golden House"（金乌） and "Jade Tower"（玉楼） are also set off with the sentence " on the seventh day of the seventh moon when none was near the Eternal Youth Palace". These palaces witnessed their sweet love, but this love no longer existed. However, "Penglai Palace" in the poem implied that Yang's longing for Tang Xuanzong was everlasting and would never die away.

===Conclusion===
In summary, descriptions of women’s makeup and dressings, the cultural life of the court, and architecture in ''The Everlasting Regret'' were meant to reflect the love between the two, and show us what the history was. On the other hand, regarding this poem as part of the historical materials provides a significant perspective on historical research.

===Preferences===
*Yao Ronghua姚榕华.(2012).唐代宫廷文化视野中的《长恨歌》研究[Research on the Poem ''Changhenge'' from the Perspective of Tang Dynasty’s Court Culture].''南京师大学报''(社会科学版)Journal of Nanjing University (Social Science Edition)(06),121-127.
* Yao Ronghua姚榕华.(2012).《长恨歌》与唐代宫廷文化生活研究[A Study of ''Song of Unending Sorrow'' and the Cultural Life of Palace in Tang Dynasty](博士学位论文,山东大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CDFD1214&filename=1013140595.nh
*Yang Guoyu杨国誉.(2016).“开禁”还是“飨宴”?——汉唐北宋赐酺举措缘起、背景与施行动因的再探讨[On the Causes of the “Giving Drink Feast” Measure in the Han，Tang and Northern Song Dynasties]. ''北京社会科学'' (Social Science of Bejing)(12),4-12. doi:10.13262/j.bjsshkxy.bjshkx.161201.
*Tian Miao田苗.(2003).唐代妇女眉妆演变考论[A Critical Exposition on the Development of Women's Eyebrow-painting in Tang Dynasty]. ''西北大学学报''(哲学社会科学版)Journal of the Northwest University (Philosophy and Social Sciences Edition)(02),108-112.
*Li Long & Cai Dongzhou李龙 & 蔡东洲.(2016).杨贵妃所嗜荔枝贡地考辨[Exploration of the Provenance of the Tribute Litchi to Yang Guifei]. ''西南石油大学学报''(社会科学版)Journal of Southwest Petroleum University (Social Science Edition)(05),86-90.
*Wang Fei王飞.(2016).荔枝道与杜甫荔枝诗[Litchi Road and Litchi Poems of Du Fu ]. ''杜甫研究学刊''Journal of Dufu Studies(04),16-22.

===Terms and Expressions===
The Everlasting Regret 《长恨歌》
the Anshi Rebellion 安史之乱
eyebrow makeup 眉妆
headgear 头饰
the willow-leaf shaped eyebrow 柳叶眉
the moth eyebrow 蛾眉
golden-headdressed; Zan 簪
Chai 钗
Buyao 步摇
court banquet
banquet for all 酺会
bestowing banquet 赐酺
Huaqing Pool 华清池
Golden Bower（Jinwu）金屋
Jade Tower 玉楼
Jin Que or Palace Hall: 金阙
Penglai Palace：蓬莱阁

==英语笔译陈路瑶 Chen Luyao 202170081565==
<center>'''Ancient Chinese Values Handed Down Until Today'''</center>

<center>Chen Luyao</center>

===Abstract===
Values exist in every society, and with the development and progress of society, values will continue to change and progress. This process is very long. When we study the values of a certain group, we can not only understand the development history of this group, but also investigate the role of social, economic, political, cultural and other conditions that have caused changes in values. Based on the analysis of the development and changes of China's values in different periods, we can grasp the development direction of China's values. At the same time, we can learn from previous experience, take its essence, discard its dross, educate the younger generation with better values,and lead the development of Chinese society.

===Key words===
Ancient values; Development; Conditions

===Introduction===
This paper mainly discusses the ancient Chinese values that have been handed down to this day. It includes literature review and five main parts. The first part introduces the definition and origin of values. The second part classifies the values. According to the different communication objects, the values are divided into three categories: the values generated by the interaction between people, the values generated by the interaction between people and nature, and the values generated by the interaction between people and themselves. The third part expounds the main values from Xia, Shang and Zhou Dynasties to modern times. The fourth part is to screen the values mentioned above and summarize the retained values. The fifth part explains the influence of the values that have been spread to this day on Contemporary China.

===Literature Review===
At present, the research on Chinese values mainly has the following achievements: first, it discusses the basic theoretical issues such as the concept, basic content, basic characteristics, significance and ideological resources of Chinese values; second, it studies the practical issues such as the construction and dissemination of Chinese values. The main deficiencies in the study of Chinese values are: at the basic theoretical level, there are inconsistent definitions and content induction. Looking forward to the future, the study of Chinese values should focus on the deepening of basic theories, and at the same time, it should further understand the problems of the construction subject and the communication subject at the practical level.

From the current research results, the academic research on the basic theory of Chinese values mainly involves some of the most basic issues, such as concept definition, basic content, basic characteristics, significance and ideological resources. There is no consensus on the definition of Chinese values in the academic circles. Most researchers confuse Chinese values with Chinese cultural values, and only a few scholars define this concept from different angles. Luo Ping defines "Chinese values" from the perspective of significance and function, and believes that "Chinese values are a value system that reflects the spirit of the times, fully displays China's national image and reflects the soul of China's national soft power". Liu Minzhu defined "Chinese values" from the perspective of practical basis and theoretical origin, It holds that "Chinese values are the overall understanding of value relations formed by the Chinese people in the process of participating in the great practice of socialism with Chinese characteristics. They are a value system formed by the Chinese people based on the requirements of the times, practice and their own demands, and integrating many essence of socialist core values, Chinese traditional cultural values and western modern cultural values. They have the attributes of socialism and contemporary China". Chen Guofu defines "Chinese values" from the perspective of essence and function, and points out that "as an important part of socialist ideology with Chinese characteristics, Chinese values are not only the source of social theory, but also the driving force to promote economic and social development, but also conducive to highlighting the discourse power of socialism with Chinese characteristics."

===Methods and Theories===
This paper mainly adopts the literature research method in the writing process. Literature research method is to collect and analyze a large number of relevant literature through multiple channels. The author first puts forward the subject of this paper, designs the framework of the paper, then collects the literature, and finally compiles the review after the literature is sorted out. The literature method transcends the time and space constraints. Through the investigation of ancient and modern Chinese and foreign documents, we can study a wide range of social situations. This advantage is impossible for other investigation methods.

===Introduction===
'''1.The Introduction to Values'''

In modern society, 'values' is a common word. According to Marxism, values are the understanding, theory and doctrine of value, and the fundamental views of people on what is value and how to create value. Yanhui, a scholar, defines values as: values are the understanding of whether an object has value and how much value it has formed by individuals and organizations in a specific environment. In short, values are the cognition, understanding, judgment or choice made by people based on certain thinking senses, that is, a kind of thinking or orientation that people identify things and distinguish right from wrong, so as to reflect the certain value or function of people, things and things.

Values can be traced back to the written Xia Dynasty. At that time, the Chinese people gradually got rid of the savage lifestyle and emerged private ownership, followed by the concept of state and ruler. In general, the values of the Chinese people are influenced by the natural environment, cognitive level, scientific and technological level and other factors, and show a trend of progress and improvement. With the passage of time, the values inconsistent with China's social development gradually disappeared, while some values have been inherited for thousands of years. Values are characterized by stability and persistence, historicity and selectivity, and subjectivity. It plays a very important role in the orientation and regulation of people's own behavior, and determines people's self-awareness.

'''2.The Classification of Values'''

Chinese traditional values are different from the ancient Greek "truth-seeking" values, but a "goodness seeking" value focusing on the ethical relationship between people. The "good" here is manifested in paying attention to the realistic human relations, pursuing the harmonious coexistence of the realistic human relations, specifically advocating the harmonious coexistence between people and nature, and realizing the improvement and perfection of personal moral quality through self-cultivation.

Values are generated by the interaction between people and surrounding things. Specifically, it can be divided into two kinds: the values generated by the interaction between people, the values generated by the interaction between people and nature, and the values generated by the interaction between people and themselves.

===Contents in Different Periods===

In different periods, China has different values. The following introduces the background and reasons for the emergence of China's main values in five stages from three aspects.

'''1.Xia, Shang and Zhou Dynasties'''

The first is the values generated by interpersonal communication: women are required to maintain chastity.

In Chinese history, China belonged to the matrilineal society before the Xia, Shang and Zhou dynasties, and then changed into the paternal society, which lasted for thousands of years. The marriage form and female status in matrilineal society are determined by the level of productivity. The low level of productivity determines the division of labor between men and women. Women engaged in gathering can provide relatively stable means of living than men engaged in fishing and hunting. In addition, women are responsible for processing animal skins, grinding bone needles, sewing clothes and domesticating wild animals. With the development of productive forces, farming has become the main production activity, and men with strong physical strength gradually occupy a leading position in the production sector. The changes of the mode of production and lifestyle have shaken the material foundation of matriarchal society. At the same time, with the increase of products and uneven distribution, the gap between the rich and the poor arose, and the matriarchal clan public ownership was challenged. The differentiation of interests led to wars between groups, which strengthened the trend of male leaders' increasing power, status and wealth. Then they asked to change the tradition of lineage inheritance, that is, from female lineage to male lineage inheritance. At this time, the marriage and family system of monogamy and multiple concubines with paternal parents as the main body was gradually established. With the establishment of private ownership, in order to ensure that property is passed on to their own offspring, compulsory measures for women to maintain chastity have gradually emerged.

The second is the values generated by the interaction between man and nature: worship nature and revere nature.

In recent decades, archaeological data, documentary records, ethnological investigations and research results of related disciplines have been mutually confirmed and comprehensively analyzed, outlining a rough picture for the study of people's worship in ancient times. It is found that the God system of people in the Xia, Shang and Zhou Dynasties is a pluralistic and complex system. The worship of gods can be divided into natural God worship, ghost worship, totem worship and ancestor worship.

The earliest is the worship of nature. Nature is not only the giver and dependent object of human life, but also constantly brings various disasters to human beings. Because the ancients had a low level of understanding and could not correctly understand various natural phenomena, they had a sense of mystery, dependence and fear of natural gods. The ancients believed that there was a God behind everything. They were as conscious and thoughtful as people. These gods were omnipresent, mysterious and moody. They sometimes gave gifts and sometimes came disasters. They were the masters of human destiny. So the ancients regarded the sun, moon, stars, wind, rain, lightning, mountains, lakes, animals and plants as gods and worshipped them.

Finally, it is the values generated by the interaction between people and themselves: respecting morality and cultivating morality.

After the gradual formation of private ownership, the ruling tool of the state also appeared. But the worship of nature formed before this time is still deeply rooted. In order to gain more power, the rulers took measures to strengthen their status and required the people to follow certain self-cultivation concepts.

In order to prove the rationality of the regime, the rulers put forward the idea that "the emperor has no relatives, but morality is the auxiliary". As long as a ruler has virtue, heaven will give him rights, that is, endowments to virtue. Therefore, respecting and cultivating morality naturally became an important mission of social members in this period. So how to respect and cultivate virtue? The rulers took advantage of the situation and formulated the ethical norms of "respect for relatives" and "respect for respect" with the core idea of "respect for etiquette and performance, respect for ghosts and gods". Be close to the people you should be close to, and respect the people you should respect. The members of the society should follow the strict etiquette that conforms to their hierarchical status, so as to strengthen the monarchy, patriarchy and husband power, and sanctify the patriarchal concept of moral order and status hierarchy. In addition to solidifying class interests, from the perspective of governing the country and stabilizing the country, under the guidance of the consciousness of "respecting morality and cultivating morality", the people-oriented thought of "loving the people as a son" emerged as the parents of the people.

'''2.Spring and Autumn Period and Warring States Period'''

The first is the value of interpersonal communication: benevolence.

In dealing with the relationship between people, although there were many schools of thought and diversified values in this period, they came to the same goal through different paths, taking "heaven" as the root of "Virtue" and the real life of people as the focus of attention. Linking "heaven" with "Virtue" and "discussing virtue with heaven" were the ways for various schools of thought to prove the rationality of the values they advocated during this period. Mencius believed that "benevolence" was the necessary meaning of "good nature", while "good nature" was determined by "heaven". To achieve morality is to "know the heaven", "do the heaven" and "be worthy of the heaven". In order to persuade everyone to implement his value proposition of universal love, Mozi introduced the concept of "heaven" sanctions. The will of the emperor of heaven is that all people should love each other. If they practice universal love, they will be rewarded by heaven, otherwise they will be punished. Zhuangzi believed that "Virtue" means giving full play to self

However, the natural ability of nature, "Virtue" makes people human, and the only way to obtain "Virtue" is to conform to heaven. In addition to the view of heaven and man of "discussing heaven with virtue", various schools of thought in this period elaborated their concern for human beings from different ways. Confucius poured rich humanistic care into his thought of "propriety, filial piety and benevolence" and affirmed human dignity and value. Ritual is not only a form of life, but also a cultural phenomenon containing human nature and emotional needs. The thought of filial piety reflects the children's duty of serving their elders and their love for others. His benevolent thought of "benevolent, people also" expresses a high degree of concern for people themselves.

The second is the values generated by the interaction between man and nature: the unity of heaven and man.

In dealing with the relationship between man and nature, the ecological view of the unity of man and nature seems to have become the core value orientation of this period. Confucianism and Taoism have expounded this ideal in different ways. Confucius advocated that the moral code of interpersonal relationship "benevolence" should be applied to the field between man and nature. If man can love nature, his behavior will be good, otherwise it will be evil. At the same time, Taoism expressed the attitude of protecting natural resources with the idea that everything is the same and nothing is noble or inferior. Benevolence towards all things, the unity of heaven and man, starting from people's rational emotions, made the ecological protection thought in this period more active and conscious than the ecological concept of pursuing advantages and avoiding disadvantages and following the natural laws in the Xia, Shang and Zhou dynasties.

[[File:H B H A N.jpg]]

Finally, it is the values generated by the interaction between people and themselves: ideal personality.

"Ideal personality" of the national self-cultivation concept. During this period, the value concept of dealing with the relationship between people and themselves has made a breakthrough under the guidance of the humanistic spirit. All schools have put forward the concept of self-cultivation with the ideal personality as the goal, from the son of heaven to the common people, in order to make social members meet the requirements of "heaven" for people's "Virtue" cultivation. Confucius put forward the self-cultivation thought with "benevolence, righteousness, courtesy, wisdom and faith" as the core content, and advocated that individuals improve their personality cultivation through a series of self-education methods such as determination, diligent thinking and introspection. Mencius emphasized the main role of moral practitioners and learners, and advocated self-cultivation methods such as "being intentional, having few desires, nourishing qi, sharpening ambition, knowing shame, correcting mistakes, thinking sincerely, reflexively, loyal and forgiving". During this period, Taoism also put forward the concept of self-cultivation education, which was guided by the principles of imitating nature, practicing the harmony between nature and Taoism, embracing simplicity and truth, and being weak and indisputable, and followed the path of teaching without words, promoting moral education, promoting emptiness and quietness, and abandoning wisdom.

'''3.Qin and Han Dynasties'''

The first is the values generated by people's interaction: the three cardinal principles, namely, the monarch is the subject, the father is the son, and the husband is the wife.

"Three cardinal principles" refer to the three main ethical and moral relationships between people in feudal society, that is, "the monarch is the subject, the father is the son, and the husband is the wife". Han Fei, a representative of Legalist school, once talked about these three relations: "the minister is the king, the son is the father, and the wife is the husband. If the three go along, the world will be governed, and if the three go against, the world will be in chaos. This is the common way of the world. In the Ming Dynasty, the monarch, the virtuous minister, and the Buddha will change." Confucius also talked about the hierarchical relationship between the emperor and his subjects. In the Analects of Confucius, Yan Yuan said, "Duke Qi asked Confucius about governance. Confucius said to him, 'the emperor, his subjects, father and son.' the public said: good! Faith is like a king without a king, a minister without a minister, a father without a father, and a son without a son. Although there are millet, I will eat it. 'after clarifying the hierarchical relationship between the emperor and his subjects, father and son, and husband and wife, the society can be in order, and the country can be peaceful and harmonious. Dong Zhongshu's "three cardinal principles" thought obviously inherited the moral education thought of pre Qin Confucianism, and at the same time integrated the relevant thoughts of Legalists, and put forward the theory of the relationship between monarchs and officials that adapted to the feudal rule of the Han Dynasty, It also uses religious theology and the theory of yin and yang to demonstrate the rationality of the thought of "three cardinal principles": "the heaven is revealed for the king, and held by the officials. The Yang is born for the husband, and the Yin is helped by the woman. The spring is born for the father, and the summer is raised for the son. The autumn is a coffin for death, and the winter is a pain and funeral. The three cardinal principles of Wang Dao can be found in the heaven." "The righteousness of monarch and minister, father and son, and husband and wife is based on Yin and Yang. The monarch is Yang, and the minister is Yin; the father is Yang, and the son is Yin; the husband is Yang, and the wife is Yin. The vagina does nothing alone.

The beginning should not be dedicated, and the end should not be divided. It has both meanings. It is the reason why the minister owes both to the king, the son to the father, the wife to the husband, the Yin to the Yang, and the earth to the heaven. " According to the view that Yang respects Yin and is inferior to Yin in the theory of yin and Yang, in these three relationships, the monarch, father and husband are Yang, and the minister, son and wife are yin. Yin must be completely subject to Yang, so the minister, son and wife must also be subject to the monarch, father and husband. After Dong Zhongshu's demonstration, the thought of "three cardinal principles" has achieved the supreme status of being in harmony with the way of heaven, thus making the feudal autocratic concept of political power, monarchy and husband's power become a natural and inviolable creed, and its purpose is to make the hierarchical order of patriarchal society absolute and eternal. This set of theories, which is very naive today, played a role in maintaining the feudal autocratic rule under the historical conditions at that time.

The second is the values generated by the interaction between man and nature: the coexistence of traditional gods and newly created gods.

During this period, people had long-term contact with nature. Before this, people worshiped nature extremely, and then changed into the unity of heaven and man. In the Qin and Han Dynasties, the object and focus of people's worship changed again. People changed from worshiping natural gods to the supreme ruler, and then to some outstanding and representative figures. At this time, traditional gods and newly created gods coexist.

There are many gods inherited from the pre-Qin period, including various natural gods such as wind, rain, thunder and lightning related to agricultural production, various functional gods that protect people from old age and death, ancestral gods that shade future generations, as well as loyal gods who make unremitting efforts to consolidate the state power but eventually die of immorality The ancient sages and sages who have paid a lot of blood for the development of national culture and the progress of Chinese civilization, and the plague God who has brought serious threats to human production, life and health.

In addition to the traditional gods, many new gods appeared in the Qin and Han Dynasties, such as emperors such as Liu Bang, contemporary saints and sages represented by Xunli, loyal and virtuous men represented by Luan Bu and Liu Zhang, imaginary gods represented by Bao Jun and Shi Xianshi, and local ordinary gods introduced by local people. Such as emperor Gaozu of the Han Dynasty and Emperor Xuandi of the Han Dynasty can be regarded as symbols of their deification.

Finally, the values generated by the interaction between people and themselves: five constants, namely benevolence, righteousness, propriety, wisdom and faith.

"Wuchang" refers to the five moral concepts of "benevolence, righteousness, propriety, wisdom and faith", which are the moral principles that individuals should achieve. It reflects the moral principles of China's feudal autocratic society. Mencius discussed the "four ends" of human nature from the perspective of the original goodness, that is, "compassion, benevolence, shame, righteousness, respect, courtesy, right and wrong, wisdom. Benevolence, righteousness, courtesy and wisdom are not from the outside, but from the inside."

Dong Zhongshu's "three cardinal principles and five standing principles" has normative and mandatory characteristics compared with the ethics and moral concepts of the pre Qin period. For example, Confucius emphasized the mutual restraint of the morality of both sides when talking about the relationship between the monarch and the minister. "The monarch and the minister should be polite, and the minister should be loyal to the monarch." the monarch and the minister are equal, and the minister has a certain restrictive effect on the monarch, that is to say, the loyalty of the minister to the monarch is based on the courtesy of the monarch to the minister, otherwise the minister can not be loyal to the monarch. Dong Zhongshu's "three cardinal principles and five permanent principles" unilaterally emphasized the absolute obedience of the lower to the upper, which made the Confucian ethics and morality into a feudal hierarchical rule theory, which was mandatory, and its purpose was to maintain and strengthen the centralization of power. This has played a decisive role in the relationship between human relations and morality in the traditional Chinese society, and has a far-reaching impact on the Chinese people's ideas and interpersonal communication. This concept of hierarchy still affects the Chinese people's thinking and values, whether overt or covert, tangible or intangible, and affects the socialist democratic process. Its negative impact should be highly valued and should be clearly criticized and rejected.

'''4.Song, Yuan, Ming and Qing Dynasties'''

The first is the value of interpersonal communication: filial piety and universal love.

From the end of the feudal separatist regime of the Five Dynasties and Ten Kingdoms by zhaokuangyin in 960 A.D. to the establishment of the Song Dynasty, to the middle of the Qing Dynasty, moral education has developed rapidly in the history of more than 800 years. Both the content and the form of moral education are constantly developing and changing, showing unique characteristics. This is not an accident, but a certain historical inevitability.

The ethics education in feudal society has always been the top priority of its education. It "standardized the obligations of people to each other, and its purpose is to achieve the harmony of interpersonal relations". Therefore, the content of moral education advocated by moral education textbooks in the song, yuan, Ming and Qing Dynasties always put "filial piety" in the first place. Teach children to be filial to their parents, to love their brothers and sisters, to push themselves to others, not only to love and respect their parents and relatives, but also to respect other people, so as to "love all".

During the Ming and Qing Dynasties, the feudal autocracy was continuously strengthened and Neo Confucianism was constantly flourishing. The rulers needed to further strengthen the imprisonment of the people's thoughts, and the Confucian ethics became more and more rigid. In this way, the ethical principles of "filial piety, benevolence and righteousness" and "universal love for the people" became the focus of moral education. Therefore, the length of moral education textbooks in this period was reduced and shortened, However, the content of human relations education has not been reduced. Moral upbringing textbooks such as children's language and Di Zi Gui still retain this important educational content. They not only teach children to be filial to their parents and teachers, but also give specific guidance in their lives. Therefore, it can be seen that the educational content of "filial piety and universal love" occupied an important position and played an irreplaceable role in the moral education textbooks in the song, yuan, Ming and Qing Dynasties.

The second is the values generated by the interaction between man and nature: the use of nature.

Urban public gardens, which began to flourish and develop in the Song Dynasty, are the garden types that can best embody political economy, social culture and landscape aesthetics, and are most closely related to urban life and spatial form. As an important part of urban and rural space, public gardens affect the daily life of urban and rural residents and the composition of urban and rural spatial form. They are one of the important material carriers of China's historical landscape garden culture. Compared with the royal gardens and private gardens of the same period, urban public gardens not only embody the Confucian concept of "sharing happiness", but also, as the stage of daily life of all levels of society, show a close relationship with the corresponding development of social economy and folk culture, which is a subject worthy of attention in the history of cities and gardens.

The utilization of water in Song Dynasty also reached a new height. Water conservancy has been a national public project in China since ancient times, which also makes Chinese society branded as a water conservancy society. From the large-scale flood control and water conservancy projects for national security carried out by Dayu in ancient times, to Dujiangyan in Chengdu Plain, zhengguoqu in Guanzhong, Lingqu in Guangxi and Jiangnan canal completed only in the Sui Dynasty in the Qin and Han Dynasties, water conservancy projects before the Tang and Song Dynasties often focused on large-scale agricultural and transportation water conservancy projects at the national level. By the Tang and Song Dynasties, water conservancy projects were gradually combined with the process of urbanization, and urban water conservancy projects were generally rising. Scenic spots formed by suburban lakes such as Hanzhou West Lake, Fushun West Lake, Hangzhou West Lake, etc. had been praised by poets in the Tang Dynasty. Under the influence of the gradual maturity of the landscape culture and the popularization and secularization of cities, the water conservancy facilities in the Song Dynasty were more garden like than those in the Sui and Tang Dynasties, and had become a necessary measure for various water conservancy projects, thus becoming an important public garden carrier in various places, forming a number of famous cities for the construction of water culture gardens, such as Hangzhou, Suzhou, Yangzhou, Nanjing, Guilin, Ningbo, Jinan, Yingzhou, etc, It has become a mature era for the construction of urban water culture gardens in ancient China.

Finally, the values generated by the interaction between people and themselves: valuing morality; Let go of human desires and preserve natural principles.

The Chinese nation has always been famous for its civilization and morality, and has the reputation of "a land of etiquette". In the song, yuan, Ming and Qing Dynasties, moral education textbooks emerged in endlessly. They are part of Chinese traditional culture and the inheritance of traditional culture with "valuing morality" as the core, and have extremely important value. Because only by emphasizing the cultivation of the spirit of "filial piety, benevolence and righteousness, benevolence and love", can it be conducive to the cultivation of the concept of loving oneself and others; Only by attaching importance to the establishment of the concept of "determination and morality, diligence and honesty" can we strengthen moral education and improve the moral quality of the whole people; Only by attaching importance to the cultivation of moral concepts and the training of moral behaviors, can it contribute to the cultivation of social morality. In a word, the moral education textbooks in song, yuan, Ming and Qing Dynasties are of great benefit to inherit and carry forward the excellent Chinese traditional culture with "valuing morality" as the core, and to the construction of the spiritual civilization world of the Chinese nation, future generations and even the whole mankind.

'''5.Since the Founding of New China'''

The first is the values generated by interpersonal communication: collectivism weakened and individualism strengthened.

In 1972, under the leadership of Deng Xiaoping, China began to implement reform and opening up, and the socialist market economy was gradually established. In this context, the values of the Chinese people have quietly changed. With the establishment of market economy, the society has stepped into a stage of rapid development, and social competition is becoming increasingly fierce. People get rid of the psychology of relying on the collective society and become self reliant, so as to improve their own ability and personal competitiveness. "Natural selection, survival of the fittest" has become people's Creed. The awareness of self-worth was significantly enhanced. Market economy requires full affirmation and respect for personal material interests. Therefore, an atmosphere of respecting knowledge and talents has been formed, which has strengthened people's growing "self-awareness". In the process of pursuing value, they began to pay attention to their personal interests and roles, and asked to put "self" in its proper position.

The second is the values generated by the interaction between man and nature: protecting nature.

In the early stage of reform and opening up, due to the urgent need of economic development, we are still repeating the old road of "pollution first, governance later" and other capitalist countries. For this reason, it has brought about such environmental problems as the sharp reduction of forests, water, soil and air pollution, soil desertification and rocky desertification, and the ecological environment is almost on the verge of collapse.

With the increasing expansion of international exchanges, the impact of the introduction of international environmental protection ideas on China, the positive appeals of domestic scholars and the increasingly serious domestic ecological problems, our party's view of nature has also undergone new changes. Silent spring reminds people that they must re-examine the relationship between man and nature and choose a new ruler to measure the relationship between man and nature. In particular, the Research Report "our common future" published by the United Nations World Commission on environment and development in february1987 put forward the idea of "sustainable development". It warns people that we should guide people from simply considering environmental protection to effectively combining environmental protection with human development. This report has had a profound impact on our party.

As the report of the 18th National Congress of the Communist Party of China incorporated the construction of ecological civilization into the "five in one" overall layout of the cause of building socialism with Chinese characteristics and into the important construction content of a beautiful China and the Chinese dream, the construction of ecological civilization has further risen to the will of the party and the country, our party's view of nature has ushered in new development, and the status of nature has been further confirmed. After the theory and practice since the reform and opening up, the concept that nature is the foundation of human survival and development has gradually taken root in the hearts of the people. In particular, China has implemented real-time monitoring of air quality since December 2011, and released PM2.5 monitoring data in the air quality index of major cities, which constantly reminds people to pay attention to environmental issues. However, the consensus of the whole Party has not yet been formed, and the backward concept of "pollution before treatment" has not been completely eliminated. Therefore, General Secretary Xi has repeatedly warned the whole party on the issue of environmental protection We have no other choice, because we cannot follow the old path of development of the United States and Europe in building a modern country.

Finally, the values generated by the interaction between people and themselves: patriotism, dedication, honesty and friendliness.

Patriotism has always been a personal character emphasized by the Chinese nation since ancient times, and it is also a symbolic collective spirit of Chinese society. Putting patriotism in the first place of socialist core values at the individual level fully illustrates its importance. As early as 2000 years ago in the bookofsongs, a song "Guofeng · Qinfeng · Wuyi" firmly expressed the patriotic spirit of unity and common resistance to foreign humiliations.

Dedication is an important value requirement for citizens' personal behavior. As an important part of the core values at the individual level of our citizens, the development of the country and the progress of the society are inseparable from the working state of dedication. Dedication is to require individual citizens to have a serious and responsible attitude towards their work or career, to maintain a sense of dedication and responsibility in spirit, and to adhere to diligent learning and improve professional skills in practice. Dedication is not only an important value criterion for citizens to participate in social work, but also a basic professional ethics requirement for citizens.

Honesty is undoubtedly an important core value in any society. Perhaps it is because the integrity standards before and after the reform have changed. People often express their dissatisfaction and worry about the current integrity with a nostalgic mood and a critical eye. We must admit that the integrity issue in China is indeed in a difficult construction process. There is an essential difference between the political "honesty" in the planned economy period and the contractual "honesty" under the market economy system. "Honesty" is bound to be fragile in the transformation from the traditional relational society to the modern open society.

The last is kindness. As the core value goal at the personal level, friendliness is the basic criterion for dealing with interpersonal relationships. As a social moral code and value orientation, friendliness requires people in the society to treat each other with an open-minded and kind-hearted attitude. In reality, the driving force of market economy to maximize people's interests has transformed the traditional acquaintance society into an open stranger society, resulting in the alienation of interpersonal relations and the lack of friendliness in the society. With the continuous deepening of China's social reform and opening up, many unknown contradictions and conflicts will be touched. To maintain a harmonious social environment and eliminate conflicts, contradictions, estrangements and misunderstandings in human relations, friendship is an important guarantee.

===Take the Essence and Discard the Dross of the Values that Have Been Handed down to this Day===
The above part lists three values in the five main periods, among which the values of interpersonal communication have gone through the changes from "requiring women to maintain chastity" to "benevolence", to "three cardinal principles, namely, the monarch is the subject, the father is the son, and the husband is the wife", to "filial piety and universal love", and finally to "the collective interest is weakened and the personal interest is enhanced". The values of communication between man and nature have experienced the changes from "worshiping nature and fearing nature" to "the unity of heaven and man", to "the coexistence of traditional gods and newly created gods", to "using nature", and finally to "protecting nature". The values of people's communication with themselves have gone through "respecting morality and cultivating morality" to "ideal personality", to "five constants, i.e. benevolence, righteousness, courtesy, wisdom and faith", to "valuing morality; eliminating human desires and preserving natural principles", and finally to "patriotism, dedication, honesty and friendliness". After thousands of years of development, these values are generally developing towards science and in line with the trend of the times. In this process, backward values have gradually disappeared in the long river of history.

The first is the values generated by interpersonal communication. The values in this aspect show an overall trend of equality, and selfish individualism has been eliminated. The second is the values of communication between man and nature. Due to the deepening of man's understanding of nature, the feedback from nature and the development of philosophy, protecting nature has become the mainstream values. Finally, the values of communication between people and themselves, as a whole, are developing in the direction of improving self morality.

===Influence of Values that Have Been Passed down to the Present===
On the whole, Chinese values are based on Confucianism, which leads to many details. From the perspective of the values spread from ancient times to now, the values pursued by Confucianism still occupy the mainstream position.

First, let's look at the characteristics of the system form of Confucian core values. The core values of the Confucianists are based on the five cardinal principles and the three cardinal principles. The five cardinal principles are based on benevolence and propriety, and emphasize the unification of propriety with benevolence. Benevolence and propriety are closely linked with the value order and value norms of the three cardinal principles, and can complement each other in terms of theoretical connotation and form. As far as the systematic structure of the core values of Confucianism is concerned, the five permanent principles and the three cardinal principles respectively regulate the basic values of human social life from the two levels of universality and particularity, while sex, heaven and Taoism constitute the theoretical basis for its transcendence, and at the same time, the individual personality perfection implemented in the life values constitutes a universal and special, metaphysical and metaphysical Group order and individual pursuit are perfectly combined as a justice system, which closely conforms to the fundamental national conditions of the autocratic monarchy hierarchical society based on the traditional family standard in China. In this sense, the form of the Confucian core values system is worthy of our reference, which inspires us to make the core concepts more prominent and the justice system more compact in the construction of socialist core values.

Second, the characteristics of the specific content of the Confucian core values system. The core values of Confucianism have a huge and far-reaching impact on the traditional Chinese society, and are people's basic living standards and even the ultimate spiritual concern. Huang Daozhou, a great Confucian in the Ming and Qing Dynasties, died in the war against the Qing Dynasty. His dying blood book "the principles of justice will last forever. Heaven and earth know me, and my family will have no worries". It points out the way for the creative transformation and innovative development of Confucian core values. As the core values of Confucianism, the three cardinal principles and the five constant principles are more integrated with the ethical relations and political rule of reality, and their specific norms should be changed with the development of the times. The five constant principles reflect more universal value pursuit, and should be combined with the life style of modern society to transform their ideological connotation. The three cardinal principles and the five constant principles correspond to the birth of heaven, the integration of all things The core values of Confucianism, such as inner sage and outer king, are also valuable ideological resources for us to construct a new value philosophy and value ideal today.

===Conclusion===
In the new era, with the interweaving of socialist modernization with Chinese characteristics, world modernization and economic globalization, cultural diversity and cultural conflict and integration in the process of international exchanges have become one of the important characteristics of the world, and the people's needs for values are also increasing. Contemporary Chinese values are both generated and dependent on cultural self-confidence. They point out the direction for integrating and leading diversified social thoughts and various social consciousness, and also converge into a powerful force to promote social harmony. Through the necessary sublation and innovation, we can further enrich and expand people's cultural vision and spiritual realm. At the same time, in the face of today's international society with cultural differences and diverse values, enhancing the recognition and self-confidence of contemporary Chinese values is of great significance for coping with the challenge of global diverse values, improving China's cultural soft power and its discourse position in the international community.

===Reference===
Yan Hui 晏辉.(2009). 现代语境下的价值与价值观[Values in the modern context]. Beijing Normal University Press北京师范大学出版社.

Liu Caihong 刘彩虹.(2014). 当代中国社会价值观念变迁与人的全面发展[The changes of contemporary Chinese social values and the all-round development of human beings]. Inner Mongolia University内蒙古大学.

Lin Hongtao 蔺宏涛.(2016). 社会主义核心价值观的源流研究[Research on the origin of socialist core values]. Hunan University 湖南大学.

Zhao Fujie 赵馥洁.(2004). 论中国主体价值观念的起源[On the origin of the concept of value subject in China]. Journal of Humanities ''人文杂志'', 000(005), 46-52.

Wang Chuanman 王传满.(2008). 夏商周:贞节观念滥觞[Xia, Shang and Zhou Dynasties: the beginning of the concept of chastity]. Journal of Hubei University of Economics ''湖北经济学院学报'',6(4):4.

Li Qiuxiang 李秋香.(2015). 文化认同与文化控制:秦汉民间信仰研究[Cultural identity and cultural control: a study of folk beliefs in the Qin and Han Dynasties]. Henna University 河南大学.

Mao Huasong,Zhang Xingguo 毛华松,张兴国.(2016). 城市文明演变下的宋代公共园林研究[Research on public gardens in Song Dynasty under the evolution of urban civilization].Chongqing University 重庆大学.

===Terms and Expressions===
values 价值观

matriarchal society 母系社会

improve virtues 敬德修德

benevolence 仁

harmony between heaven and man 天人合一

ideal personality 理想人格

the three cardinal guides as specified in the feudal ethical code 三纲

the five constant virtues as specified in the feudal ethical code 五常

Be filial to elders and friendly to others 孝亲泛爱

individualism 个人主义

collectivism 集体主义

to build socialism with Chinese characteristics, the overall layout is a five in one process: economic, political, cultural, social and ecological progress 五位一体

patriotism 爱国

be dedicated to work 敬业

be honest 诚信

be friendly 友善

===Questions===
1.What three values are involved in this paper?

2.What is the overall direction of these values?

3.Has collectivism been strengthened since the founding of new China?

===Answers===
1.The values of interpersonal communication, the values of interpersonal communication with nature, and the values of interpersonal communication with oneself.

2.These values are generally developing in the direction of science and in line with the trend of the times.

3.Yes.

==英语笔译崔晓凡 Cui Xiaofan 202170081566==
<center>'''China Central Plain Culture'''</center>

<center>Cui Xiaofan</center>

===Introduction===

The Central Plain of China was the political, economic, cultural and transportation center of ancient China, as well as the place where North and South cultures collided in the country, so there is a saying that "the ancients compete for the Central Plain can only establish the world". Central Plain culture is the sum of material culture and spiritual culture based on the Central Plains region. It is the foundation and backbone of Chinese culture.

Broadly speaking, Central Plain culture is the general term for culture in the middle and lower reaches of the Yellow River. Geographically, it mainly takes Henan as the core and radiates outside to neighboring areas in the middle and lower reaches of the Yellow River. In ancient times, Yuzhou lived in Kyushu, known as Zhongzhou, also known as the Central Plain, including most of Henan Province. Therefore, the Central Plain culture mainly relies on Henan Province. In a restricted sense, Central Plain culture refers to Henan culture. The birthplace of the world's major civilizations, as we all know, is surrounded by the major rivers in its territory, and China has always called the Yellow River the "Mother River". The middle and lower reaches of the Yellow River are the birthplace of Chinese civilization and the cradle of the Chinese nation.

A great quantity of prehistoric cultural artifacts have been discovered in Henan, according to archaeology findings. Four of the eight ancient capitals of China are located in Henan, namely Zhengzhou, Anyang, Luoyang and Kaifeng. Among them, the last capital of the Xia Dynasty was built in Luoyang Yanshi, Zhengzhou in the middle of the Shang Dynasty, and Anyang in the late Shang Dynasty. The civilization of the Xia, Shang and Zhou three dynasties can be said to be the cradle of Chinese civilization. On this basis, hundreds of thought, especially Confucianism, Taoism, Mohism and other ideas, originated in the Central Plain and occupied an prominent position in China's centuries-old feudal ruling mentality, and has been continuously inherited and developed. Therefore, from the perspective of historical development, the main feature of the distinction between Central Plain culture and other regional cultures in China is that it is closely tied to Chinese culture and is the source of Chinese culture. Central Plain culture plays an extremely important role in the formation and development of the Chinese nation and Chinese culture.

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Conclusion===

===References===

===Terms and Expressions===

===Questions===

===Answers===

==英语笔译邓阳林 Deng Yanglin 202170081567==

<center>'''A type of verse popular in the Yuan Dynasty'''</center>

<center>Deng Yanglin</center>

===Abstract===
Yuan Qu is a literary form prevailing in the Yuan Dynasty, the wisdom of the Yuan scholars, including Zaju and Sanqu, and sometimes it specially refers to Zaju. It embodies unique characteristics in ideological content and artistic achievement and owns a status as important as that of the Tang poetry and Song poem.The three kinds of literatures have become three important milestones in the history of Chinese literature. Generally speaking, the objects depicted and written in Yuan Opera are not limited to beauty, ugliness, elegance and vulgarity and it shows a rich and broad expressive force. Different from Tang poetry and Song poem, Yuan Qu revealed the profound reality of the time in an alternative way, including extensive subjects, plain words, lively forms, fresh styles, vivid description, and changeable techniques. It often describes revolting against the political dictatorship, scolding the dark fighting glory of the society, and is full of the mood of resistance. This paper mainly consists of six parts including introduction, literature review, methods and theories, text and conclusion, aiming at introducing the development process, social value and artistic value of Yuan Qu, so as to gain insight into the social status quo and folk suffering at that time.

===Key words===
Yuan Qu；the Yuan Dynasty; Guan Hanqing; Zheng Guangzu; Bai Pu

===Introduction===
After Tang poetry and Song ci, Yuan Qu, which is a flourishing literature, has its unique charm. On the one hand, Yuan Qu inherits the elegant and graceful poetry. On the one hand, the society of the Yuan Dynasty placed the scholars in the position of "eight prostitutes, nine scholars and ten beggars", political monopoly and social darkness, which made the Yuan Song radiate the brilliance of fighting and showed the mood of resistance. The sharp point is directed at social malpractice, the society in which "people who do not read are the best, those who do not read are the best, and those who do not know things boast of their beauty", and the world in which "people are ashamed of their lives and do not see money". The works describing love in the Yuan Dynasty are also more aggressive and bold than the poems of the past dynasties. All these are enough to keep its artistic charm forever.
The rise of Yuanqu had a profound influence on the Chinese national poetry development, cultural prosperity and outstanding contributions. As other art flower, it is not only a scholar xu chi lines as handy tool, but also to reflect the yuan dynasty social life provides the people happy new art form it arises immediately showed exuberant vitality.
This thesis aims to study the four masters Guan Hanqing of Yuan Qu; Ma Zhiyuan; Zheng Guangzu; Bai Pu and his works to understand the development of Yuan Qu, so that readers can have a general understanding of the rise and fall of Yuan Qu, so that the unique artistic characteristics of Yuan Qu for the world to understand.

===Literature Review===
Pan Chaoqing and Tu Ping pointed out in On the Inheritance and Development of Yuan Opera to The Humorous Culture of Song Dynasty that Yuan Zaju inherited and developed the basic form of Song Zaju, developed into a relatively complete drama structure, and performed a variety of drama styles. Is different from other art forms, the key is rooted in drama guan mu structure of internal texture, the drama structure has been mature art form, will not easily change by conversion of aesthetic fashion, but also as a comic effect the structure of the fragment, as well as the flexibility to thrust in the drama structure, and can be organically integrated into the drama, As a plot factor to show conflicts and shape characters, the widely used "three branches of law" and the "teasing" mode of two people are typical representatives.

In the Development Background of Yuan Opera and its Special Language Phenomenon, Wang Qinghua points out that Yuan Opera is mainly composed of miscellaneous songs of Yuan Dynasty, supplemented by sanqu, which is the inevitable result of its rich and complicated language for the audience of all levels. When we appreciate yuan qu, we should not only understand the background of its language formation, but also pay attention to the regional dialects, common falsities and common features, which are of great benefit to us to appreciate yuan literary works better.

Li Sheng pointed out in The Development of Opera Criticism from the Evolution of the Four Masters of Yuan Opera that Strictly speaking, the so-called "four masters of Yuan Opera" are the "Guan, Zheng, Bai and Ma" four people assessed by yuan People. Their arrangement order is influenced by the drama theory of each era and their position changes, from which we can also see the development of drama theory. Generally speaking, it has experienced the smooth development of the heavy tone and rhyme. To stress the standard of melody and lyrics of the emotional "nature", and finally to pay attention to the script writing such a process. Today we look at the "four everybody", natural need not limited to, zheng, white and Ma Siren, Mr Tan Zhengbi wrote the biography of yuanqu six people slightly, he will be wang shifu and georgie also included, reflecting the view of his opera, but we don't need to in the "four everybody" wenxuan, but from another Angle to look at it, There must be something else in it.

===Methods and Theories===
This paper adopts the method of literature research.It mainly refers to the method of collecting, identifying and sorting out literature, and forming a scientific understanding of facts through literature research. Literature method is an old and vigorous scientific research method.
General process
The general process of literature method includes five basic steps, which are: putting forward a topic or hypothesis, research design, collecting literature, sorting out literature and conducting literature review. The proposed topic or hypothesis of literature method refers to the idea of analyzing and sorting or reclassifying relevant literature according to existing theories, facts and needs. The first step in research design is to establish research objectives. Research objectives are designed into specific, operable and repeatable literature research activities based on the subject or hypothesis in an operable definition, which can solve special problems and have certain significance.
The main advantages
(1) The literature method transcends the limitation of time and space, and can study a wide range of social situations through the investigation of ancient and modern Chinese and foreign literatures. This advantage is not possible with other survey methods.
(2) The literature method is mainly written survey. If the literature collected is real, it can obtain more accurate and reliable information than oral survey. Avoid all kinds of recording errors that may occur in oral investigation.
(3) Literature method is an indirect and non-interventional survey. It only investigates and studies various literatures without contacting the respondents or intervening in any reaction of the respondents. This avoids all kinds of reactive errors that may occur during the interaction between the surveyors and the respondents in the direct survey.
(4) Literature method is a very convenient, free and safe survey method. Literature investigation is less restricted by the outside world, so as long as the necessary literature is found, research can be carried out anytime and anywhere; Even if there is a mistake, it can be remedied through re-study, so its safety factor is high.
(5) Document method saves time, money and high efficiency. Literature survey is based on the achievements of predecessors and others, which is a shortcut to acquire knowledge. It does not require a large number of researchers or special equipment, and can obtain more information than other survey methods with less manpower, money and time. Therefore, it is an efficient survey method.

===Zheng Guangzu and Yuan Qu===
Zheng Guangzu was born in the early years of the Yuan Dynasty (1264 AD). His courtesy name was Dehui, han nationality, and he was a famous composer of zaju and sanqu in the Yuan Dynasty. He lived in Xiangling, Pingyang (xiangfen County, Linfen City, Shanxi Province today). We know from zhong Sicheng's Book recording Ghosts, a drama writer of the same period as Zheng Guangzu, that he studied Confucianism as his career in his early years, and later was appointed as an official of Hangzhou Road, so he lived in the south. He was "upright" and not good at communicating with officials, so they looked down on him. As you can imagine, his official life is very difficult. The beautiful scenery of Hangzhou and its clever singing girls constantly aroused his feelings. Zheng Guangzu was engaged in the creation of zaju all his life and devoted all his talents to this folk art, enjoying a high reputation in the art circle at that time. Lingling people all respected him as Mr. Zheng, his works through the dissemination of many Lingling people, had a wide influence in the people. He had a close relationship with the Lingren in Suzhou and Hangzhou. After his death, he was cremated by lingyin Temple in Hangzhou.
Zheng Guangzu, one of the "four masters of Yuan Opera", was deeply influenced by Wang Shifu for his plays depicting the love lives of men and women. Its " Mei Xiang cheated the Hanlin Fengyue" and "fan Qingsuqian Girl left the Soul" two works are obviously influenced by "Romance of the Western chamber", but the achievements are different. " Mei Xiang" can be called the failure of The Yuan Song, and "A Beautiful Girl Leaving her Soul" is a masterpiece. There are various reasons for this phenomenon, but one of the important reasons is that the author adopted two different attitudes when learning and inheriting the Romance of the Western Chamber: imitation and innovation. "Innovation is the soul of a nation's progress and an inexhaustible driving force for its prosperity... Innovation requires constant emancipation of the mind, seeking truth from facts and advancing with The Times." Therefore, we can also deduce that only innovation can literary works have the development of inheritance in the real sense. " Mei Xiang" in "set number, appearance, all ritual" West Wing ", predecessors make this evaluation is too strict, but basically in line with the reality. Because it does too much imitation of the "Romance of the Western Chamber" traces, and finally annihilated in the full bloom of the Yuan Qu garden. In contrast, the author of "A Beautiful Girl Leaving her Soul" is not satisfied with the existing achievements of "Romance of the Western Chamber", but made some new development and development to it, thus achieving the brilliant author and work.

===Guang Hanqin and Yuan Qu===
Guan Hanqing (about 1234 - 1300), original name unknown, word Han Qing, name Yizhai (also known as Yizhai, Yizhai Sou), Han nationality, jiezhou (now Yuncheng, Shanxi Province), also born in Dadu (now Beijing)and Qi Zhou (now Anguo, Hebei Province), etc. [6] Founder of Yuan Zaju, Together with Bai Pu, Ma Zhiyuan and Zheng Guangzu, guan Hanqing is the first of the four masters of Yuan Qu.
His life was rich in drama. There are more than sixty plays, most of them lost. His drama, tragedy, comedy, broad themes, deeply exposed the dark and decadent social reality of the Yuan Dynasty. His works "Dou E Yuan", "Save the Wind", "Wangjiang Pavilion", "Lu Zhailang" and "Shan Dao Hui" are all popular works. His "grows DouE case" is the best the most glorious yuan drama script, it is an outrage to the rulers of the yuan dynasty a campaign by the tragedy of the pure, good DouE, revealed the social usury exploitation, bullies, wandered and yuan dynasty official graft, proposes the crimes, tackling a social chaos of the yuan dynasty, the ugly nature of malformation and eat people.
In the long-term creation practice, he has formed a profound theme, rigorous structure, lively and vivid image, sharp language simple zaju characteristics. He is a writer with the most works and the greatest achievements in the history of Chinese drama.

===Ma Zhiyuan and Yuan Qu===
Ma Zhiyuan (c. 1250 -- 1321 -- autumn 1324), also known as Dongli, was a writer of opera, sanqu and essayist in the Yuan Dynasty. And Guan Hanqing, Zheng Guangzu, Bai Pu said the "Four masters of Yuan Qu".
Ma Zhiyuan was born in a rich and have the family of literacy, keen to obtain fame when he was young, once seemed to prince borjigin, real gold sing and so was the officer, probably due to the death of borjigin, real gold after towns in jiangsu and zhejiang provinces services officer, yuan zhen years after early early (1295-1297) participated in the "yuan zhen book will", later lived in hangzhou, He died in the first year of Zhi zhi (1321) to the first year of Taiding (1324).
In the aspect of opera creation, Ma Zhiyuan experienced the transformation from Confucianism to Taoism in music thought. In the creation of sanqu, he has the characteristics of rich and profound thought content and superb artistic skills, and in the creation of zaju, he has the tendency of sanqu and the beauty of the combination of virtual and reality.
Ma Zhiyuan received Confucian education from his childhood. He was full of poetry and books, studied the six arts, followed the rites and music, and had a special liking for the art of guqin. The Confucian rites and music thought played a major role in his early musical life. After middle age, with the change of his political career, Ma Zhiyuan's music thought underwent a transformation from Confucianism to Taoism. At that time, Ma Zhiyuan specialized in the creation of zaju and sanqu, whether it is to express feelings and lament the world sanqu, or the fairy Taoist zaju, reveal the obvious Taoist thoughts.
Confucian thought of rites and music

Scholars and literati in the feudal society learned the six arts from their childhood, and paid attention to the shaping of people by rites and music, that is, "flourishing in poetry, standing in rites, becoming and music" (" The Analects of Confucius · Taibo "), so as to cultivate their morality and cultivate their temperament, so as to prepare for the future "learning the arts of literature and martial arts, and being a good emperor" (" Pang Juan night walking maling Road "). Like many ancient scholars, Ma Zhiyuan received Confucian education at an early age and abided by Confucian ritual and music culture. He "lived up to his dreams at night and respected his teachers" and "buried himself in poetic rites and pottery feelings" (" Happy Spring Comes · Six Arts · Ritual "), but he had his own understanding of some problems in Confucian ritual and music culture. In terms of The Times, these understandings have a certain progressive significance, which is mainly reflected as follows:

① As for the influence of "Qin Music" on people, literatures such as Zuo Zhuan and Bai Hu Tong argue that "Qin music" can enlighten people's mind by regulating their morality, while fu Qin can enlighten people, but restrict the artistic and aesthetic function of guqin. As a traditional literati, Ma Zhiyuan respected and loved guqin and believed that music had the role of cultivating emotions, regulating moods and relieving depression, which was more comprehensive than Confucianism's emphasis on guqin ritual and music restraint, which was more in line with the characteristics of "guqin music" art and had certain significance.
② As for the influence of music on politics, as early as in ancient times, there was a saying of "the voice of subjugations". However, Ma Zhiyuan realized that music itself was not the bane of the country, but because the emperor was addicted to music and ignored government affairs, it would delay government affairs and lead to the country's demise. That is, the rise and fall of the feudal dynasty is mainly determined by personnel, not music itself.

Taoist thought of retreat
Like many scholars, in the case of full of scriptures without serve, Ma Zhiyuan to born road, specializing in opera creation, in drunk, the piano to express their own feelings and ambitions, the creation of lines as sigh the sanqu and immortal, tao in the drama reveals obvious Taoist thoughts, he prowled the of Confucianism. Its main performance is:

(1) In the suite "Happy Spring come · Six Arts", Ma Zhiyuan thinks that since the "long-cherished night and sleep" to comply with the ethics still did not get the desired success and fame, it is better to break with the world of honor and disgrace, even if only get a "wave name"; At the same time, Ma Zhiyuan repositioned the role of "rites", that "body latent poem rites" can be tao sentiment, and yearning for peng Ying, drunk life.

(2) in the suites, four pieces of jade, sigh the Ma Zhiyuan described himself to the change in temperature of disappointment and desire to escape from this world, reveal their searches and riches and honour after middle age to the life, view of music: "stay away from dust dry zhangs wave, big to carefree happy", and "fight for fame and wealth, riches and honour, is crazy", and "in the life all MoGang, at any time sent Sue gave birth to the". At the same time, in the disillusionment again and again, Ma Zhiyuan in his later years to live in seclusion, shengxian tao interest, thus creating a lot of fairy drama. Deeply influenced by Quanzhen Religion, his plays of immortals and Taoism often show his determination to convert to religion and his pure and distant music creation thoughts.

Creation of the genre
The ideological content is rich and profound

Ma Zhiyuan's thought of sanqu is rich in content, involving the themes of chanting history, sighing the world, retreat, boudoir and narration in the Yuan Sanqu, and each of his achievements has expanded the theme range of sanqu. Its main performance is:

(1) In his works, Ma Zhiyuan expressed his views on life, reality and history by evaluating the achievements and losses of the ancients, and repinned his mind. He paid more attention to the value of life, and returned to nature.

(2) About half of ma Zhiyuan's extant sanqu is a sigh for the world to return to work, these works set Ma Zhiyuan unrecognized lonely anger, unfulfilled ambitions of the sad, detached from the unrestrained in a body, full of generous and carefree feelings, a profound reflection of the social reality at that time.

(3) Ma Zhiyuan's boudoir song mostly write men and women's love, acacia separation of the bitter, think women complain women's aspirations, performance think women, lovers sincere feelings and the pursuit of happiness wishes, write deep, meticulous, vivid, vivid and no powder gas, no vulgar frivolous language. For example: "After parting, no one can hear from you. Every one I see, every one I see, because THEY say, 'If I do not believe you, your ears are not hot.'" Use shallow, instinctive color to be like the language of spoken language to apply colours to a drawing strongly to come out, it is no longer the sad wan of meek, lament, reflected the hero to love bold force beg, give a person with happy wet feeling, show the loyalty that pursues to love and affection.

In the creation of narrative long set, Ma Zhiyuan to text as music, the structure of prose magnificent into the song, such as the Yangtze River flowing thousands of miles, there are "Play a child · Borrow a horse", "Shao Biao · Zhang Yuyan cursive", "a flower · Chant Zhuangzong pleasure" and "collection of sages bin · Thinking" and other narrative long set of masterpieces. In these works, Ma Zhiyuan or outline the character's character characteristics, or describe the character's mood and situation, shaped a very vivid character image: love horse as life of the horse master, open mind Of Zhang Yuyan, only know to treat the pear garden zhang Yue Fu after the Tang Zhuang Zong, Jinshan Temple inscription of su Xiaoqing.

The artistry is highly accomplished
Ma Zhiyuan makes the song exquisite art, long in the psychological description, is good at using a variety of rhetoric, to achieve a high artistic realm, the language of sanqu is clear and natural, the characters are lifely. full of painting and style elegant, unrestrained, old and spicy, pure Juan, artistic conception, improve the artistic conception of sanqu. Its main performance is:

① There are paintings in the song. Ma Zhiyuan gives full play to the richness and freedom of sanqu language, and gives subtle and vivid descriptions of color, form and state of things, arousing readers' association and imagination, and forming a vivid picture. Ma Zhiyuan, on the one hand, to seize the main characteristics of the things, not do XiSuo describe when pictorial synthesis, but subtly capture the most striking a and spectacular moment, put scenery neatly in a picture in the space, make the music scene with the layers, strewn at random, to highlight the rendering, like a picture show in the sight of the reader, and leave sufficient imaginary space to the readers. On the other hand, Ma Zhiyuan makes use of extensive use of luxuriousness in sensory language -- according to incomplete statistics, there are nearly 100 words of color in Ma Zhiyuan's sans-music. Some of his works have five or six or even more than ten words of color in just a few dozen words. The use of these words makes Ma Zhiyuan's sanqu more vivid, more bright, more picturesque, and can also trigger readers' association.

② Colorful language. On the one hand, Ma Zhiyuan often uses very popular and clear spoken language in sanqu, and rarely uses rare characters. The language of Sanqu is full of distinct personality in accordance with the specific situation of his works, and presents different styles in different themes, with the characteristics of swaying and colorful, gorgeous and matchless. On the other hand, Ma Zhiyuan is also good at the former verse for his own use, easy to use, like inadvertently coincidence, no trace with rich literary talent, elegant and free characteristics. Such as the Tang Dynasty Su flavor "fifteenth night of the first month" in the "fire tree silver, star bridge iron lock open" two sentences into "according to the star bridge fire tree silver" (" Green Brother · December · the first month "); The "gold well under wutong leaf" in Zhang Ji's "Princess Of Chu" in tang Dynasty was transformed into "Gold well carved at the beginning of Wutong Leaf" (" Green Brother · December · July "). In Tang Dynasty Li Bai's "Send congratulatory guests back to Yue", "If mountain Yin Taoist priest meet, should write Huangting in exchange for white goose" was changed into "write Huangting in exchange, Taoist Goose return" (" Whistle Everywhere · Zhang Yuyan cursive ").

The tendency of Sanqu
Sanqu and zaju belong to different genres. Sanqu is a lyric poem in which the writer expresses his feelings directly, and the writer can speak freely. Zaju belongs to the drama of spokespersons in nature, and it is the basic requirement to write the characters' personalized language and lyrics. However, Ma Zhiyuan created zaju in the way of sanqu, which made his zaju have lyric poet's way of thinking and writing style under the coat of representative body, showing the tendency of sanqu. Its specific performance is as follows:

① The lyrical poetics of the way of speech. Throughout ma Zhiyuan's existing all drama know, Ma Zhiyuan's drama is not completely spokespersons, in the character of the aspect of extreme indifference, no matter how the identity of the character, its recitals and lyrics of the tone is absolutely different, its feelings are similar -- or express anger, or express the heart of hiding. Such as "the thunder jianfu memorial in the middle of the night," Zhang Gao don't cry of promotion, the west huashan Chen tuan high lie, Chen tuan lines, etc, on the surface is Zhang Gao inconsolable, Chen tuan's escape calm, in fact is Ma Zhiyuan borrow the characters of express their cynical of love and the feeling of death, and its main tendency in the genre, In the way of speech, there is an obvious tendency of sanqu, that is, the tendency of lyric poetry.
② The plot unfolds without drama. Ma Zhiyuan wrote plays in the form of sanqu, plot is not the main aesthetic goal he pursues, so in terms of the requirements of dramatic plot, Ma Zhiyuan's drama has the nature of non-dramatic plot development. First of all, from dramatic action, from conflict, especially the characters inner conflict of will and to achieve attractive drama, also should have concentrated the faltering, tension, features, while the drama Ma Zhiyuan mostly lack of fundamental conflicts, such as "the west huashan Chen tuan high lie," the play throughout the absence of conflict is actually a hypothesis; "Ma Danyang three degrees of any wind child" and "Lv Dongbin three drunk Yue Yang floor" in the conflict, one party is holding a decisive force, the other party is completely in the position of the decision, lack of "put the soul on the fire kao" inner tension. Second, in the development of drama action, character destiny happened sudden turn constitute the plot climax, emotional elicits the most turbulent time constitute the emotional climax, the shorter the distance between them, the stronger the drama inherent drama, the distance is zero can produce the strongest dramatic effect, and the characters in the Ma Zhiyuan drama actions lack of inner logic, After the climax of the plot, a whole fold of the length is used to render feelings, and it is difficult to find a clear climax, but the plot development is subject to the expression of feelings, leading readers and viewers to immerse themselves in the character's feelings and feel the stagnation of action. Finally, to the fourth fold to narrative, Ma Zhiyuan's drama highlights its action of artificial and far-fetched plot, snake feet repeatedly appear but no drama, with an obvious "spent force" problem, such as "Ma Danyang Three times as the Wind child" and "midnight Lei Hujian Fu Tablet" and other dramas, the fourth fold of the narrative is optional.
③ Focus on lyrical self-entertainment. The purpose of drama creation is nothing more than two, one is for entertainment, the other is to have some sustenance. Like the majority of drama writers, Ma Zhiyuan engaged in drama creation is to amuse himself first, entertaining people in the second. Because of their own experience, Ma Zhiyuan on apparent contradictions feeling to the deep, understanding of social problems from anger to negative bishi, therefore in the creation of drama put on their fantastic in the first place, to borrow a drama, reality of the line to amuse themselves, borrow the characters, to convey, experiencing the naivete of the zaju creation motive and leading tendency and description is not, Or to reveal social contradictions and express the sound of injustice; Or the performance of immortal tao, to express the heart of retreat.

The beauty of reality
The artistic conception of literary works usually forms a related virtual image in addition to the concrete and tangible real image, so as to produce the artistic effect of complete speech and infinite meaning. In Ma Zhiyuan's drama, the beauty of "the image outside the image" and "the scene outside the scene" comes from the beauty of time and space, the beauty of galloping imagination, and the beauty of peace and dilute. These three kinds of aesthetic feeling are in harmony with each other and form the aesthetic effect of virtual reality in Ma Zhiyuan's drama.

The structure of drama has the beauty of the interlacing of time and space. One of the aesthetic characteristics of traditional opera is the virtual life, which includes the simplicity of stage design rather than heavy work, the performance props are more virtual than real, the characters sing more lyrical rather than narrative. This form of performance determines the characteristics of traditional opera freehand style, that is, simple and indulgent writing to depict the character's charm temperament, although the lack of western drama will be true to life on the stage realism, but increased the sense of space in the stage tense and the depth of the character's emotional diachronic state. This kind of aesthetic feeling is particularly evident in Ma Zhiyuan's dramas with the background of the present world. For example, in "Lonely Wild Goose Han Palace Autumn", the sentence pattern of reciprocating shows the ups and downs of the Emotion of Emperor Yuan of The Han Dynasty, and turns into the lonely figure of Emperor Yuan of the Han Dynasty after Wang Zhaojun left. The second compromise of Jiangzhou Sima Blue Shirt tears gives readers a sense of unpredictable things by describing the time of rapid progress, and conveys the vicissitudes of human feelings particularly clearly.

The figure has the beauty of galloping imagination. In the characterization of Ma Zhiyuan's drama, the characteristics of yuan dynasty painting are vaguely revealed: a vast and profound imagination space is constructed in the straightforward and concise style of writing and ink. Such as in "broken dream gu Yan Han Palace autumn" in shaping wang Zhaojun's image, to set off wang Zhaojun's beauty, wang Zhaojun will be compared to the Emperor of Han dynasty "came to this makeup behind, yuan to broad cold temple Chang e in this month is bright", leave infinite imagination space for readers. In Ma Zhiyuan with mass-tone he prowled the drama, the image of the word and not often virtual to real, more with the lyrics makes the intercourse of mental characters, such as "west huashan Chen tuan high lie" in "crested wild take a Taoist priest, with the wind the bright moon two idle people" will come out of a put in the world, beyond the meta born of the spirit of temperament.

The image selection has the beauty of peace and dilution. In Ma Zhiyuan's drama, the four images of mirror, flower, water and moon often appear in interlacing and uneven contrast, sketching the inner mood of the protagonist with obscure qubi brush, and harmonizing with Ma Zhiyuan's romantic lyrical temperament:

"Mirror" for the beauty of sad and lingering, such as in "broken dream gu Yan Han Palace autumn", After the Emperor of Han Yuan saw off Wang Zhaojun, back to the luan, facing Wang Zhaojun left the object, to think of people, full of sorrow and hatred to the mirror come clean.

"Flower" is the beauty of the desolation of the late evening, and women have a close relationship, and Ma Zhiyuan often lament the good female character in the drama "car crush residual flowers, jade people on, blow flute; Did not meet the official baby, is several degrees add white hair "(" broken dream gu Yan Han Palace autumn"), to the drama in bad character of the female is often cursed "a old gentleman pushed in the suburbs, ah you wave woman niang hug others sleep. Don't kill to how also bo elder brother, don't kill to how also bo elder brother, contend as I dream zhou Gong high lie in three pole day "(" Lv Dongbin three drunk Yueyang tower").

The beauty of "water" as the airy flow in the drama of Ma Zhiyuan, overall planning and water's charm lies in its plays phrasing of stream of consciousness, such as "the thunder jianfu memorial in the middle of the night," the sense of water in the stream of consciousness is in the plot ups and downs, outsize plot, character big zhong rape, emotions like earlier, all the various elements of art to the extreme, It has a fascinating charm.

"Moon" is a beautiful and smooth beauty. In Ma Zhiyuan's drama, the image of the moon has a poetic personality of Taoism, creating a quiet and elegant realm and a degree of human color of Buddhism, creating the beauty in the smooth beauty of Zen.

===Bai Pu and Yuan Qu===
Bai Pu (1226 -- 1310 A.D.) was a native of Yuzhou (now Jiuxian County, Hequ County, Shanxi Province). His original name was Huan, and his courtesy name was Renfu and Taisu, also known as Mr. Langu [3]. He was a native of yuzhou (now the hequ area of Shanxi), a native of Nanjing Bianliang (now Kaifeng, Henan), and a native of Zhending, Hebei (now Zhengding). In the seventeenth year of the Yuan Dynasty (1280), he moved to Jiankang (now Nanjing, Jiangsu province). He has written 16 kinds of operas, including two extant ones, Wutong Rain and Wall Top Horse. Another "Sounds of Nature collection", received words for more than 200, followed by more than 40 sanqu. Together with Guan Hanqing, Ma Zhiyuan, Zheng Guangzu, known as the four Masters of Yuan Qu.

White stinkwood
Famous opera writer of yuan Dynasty. And Guan Hanqing, Zheng Guangzu, Ma Zhiyuan known as the "Four Yuan Qu." Bai Pu was born in a bureaucrat and scholar-official family. His father Bai Hua was jin Zhenyou three years (1215) jinshi, the official to the Privy Council judge, and his father Bai Ben was Jin Zhang Zong Tai and Jian Jinshi, who had done the county magistrate. His uncle died early, but had a poem name. White and Yuan Haowan father and son for family friends, close. The children of the two families often communicate with each other in poetry and prose.

Born in such a family, Bai Pu should have enjoyed leisure and leisure, reading and learning, in order to gain fame in the future. [5] His youth, however, was ravaged by war, and he spent his days with his family in terror and bewilderment. Soon after Bai Pu was born, the City of Nanjing Bianliang of the Jin Dynasty was surrounded by the Mongolian army. Bai Hua, who was in the center of the Jin Dynasty, was busy all day for the survival of the Jin Dynasty and had no time to take care of his wife, children and family. [6] In 1232, in the first year of Emperor Aizong's reign, the Mongol army attacked the city with tree guns. Emperor Aizong decided to leave the city north and go to Guide (today's Shangqiu, Henan province). Bai Hua had to leave his family in Bianjing and followed Emperor Aizong across the river. In March of the following year, bianjing city was destroyed, the Mongolian army column plundered the city, the ordinary people were killed, wealth was unprecedented looting. In the war, Bai Pu mother and son lost, fortunately, yuan Haowen was also in the city, just put him and his sister up, in chaos and famine to save his life. At the end of April, Yuan Hao-wen took bai Pu's sisters and brothers north across the River. They lived in Liaocheng and then resided in the Shogunate of Zhao Tian-xi, the magistrate of Guan Family (now Guan County, Shandong Province). Although Yuan Hao-ask is also the minister of the country, life is very hard, but he sees Bai Pu elder sister and younger brother as one's own, care to. Bai Pu was dying of the plague. Yuan Hao-wen held him in his arms day and night, but on the sixth day he sweated and recovered. Bai Pu was clever and clever, so he was fond of reading since childhood. Yuan Hao-wen cultivated him carefully and taught him to read and learn the classics and conduct himself, so that he received a good education when he was young.

Bai Pu's father, Bai Hua, surrendered to the Southern Song after the fall of the Jin Dynasty and became junzhou Tirou (Palpin officer). Soon, Bai Huasui went north to the Yuan Dynasty. In the ninth year of Emperor Taizong of Mongolia (1237), when Bai Pu was 12 years old, some fugitive ministers of The Bai Hua Kai Jin Dynasty came to Zhending and attached themselves to shi Tianze, a Mongolian general who was in Charge of Zhending. In the autumn of the same year, Yuan Haowen returned to Taiyuan from the Guan family and passed zhending. He sent bai Pu and his sister back to Baihua, so that they could be reunited after being separated for several years. When the father and son met, Bai Hua felt great joy. He wrote a poem called "Man Tingfang · Shiliezi Xin" to express his feelings at that time: "Light lu tai, generals pavilion, ten years in the middle of a dream. Short coat horse, see zhenzhou mountain again. Naehan was drunk, but the sarong is still tall and broad. Today, children in front of the lamp, floating happy to survive ". He is also very grateful to Yuan Hao-ask generation for the care of the children of the grace, had a poem thank yue: "gu me really become a bereaved dog, Lai Jun had to protect the nest."

As the north settled down, baek and his son settled down in Jinjeong. From then on, according to his father's request, he wrote poems and studied for the examination. He was very progressive in the study of law fu, and soon became famous for his ability to write good poems. At that time, Yuan Haowen, in order to write the history books of the Jin Dynasty, often visited The capital, so as to come and go to Zhending, concerned about his studies, every home, to guide him to the path of learning, a poem praised Bai Pu said: "Yuan Bai tongjia old, zhulang only ru xian." Encourage him to work hard and succeed in his career. However, the Mongolian ruler of the brutal plunder, so that bai Pu heart wounds difficult to recover, he is full of hatred of the Mongolian ruler, war and chaos in the mother and child, so that he often mountains everywhere sigh, more feel for the ruler's sad service. Therefore, he gave up the pursuit of fame and wealth in the official circles, and to the subogized people to adapt, to poetry as a special occupation, with the song vent their depression and dissatisfaction in the chest.

As she grew older and experienced more, she became more knowledgeable. Yuan Shizu zhongtong two years (1261), Bai Pu 36 years old. In April of that year, Yuan Shizu ordered the various xuanfu generals to recommend those who could take the examination for literary talents to be employed. Shi Tianze, who had been working as xuanfu generals in Henan Road, recommended Bai Pu to be an official, but he declined. He not only against shi Tianze recommended the idea, consciously inconvenient to stay in Zhending for a long time, to facilitate this year to abandon home south travel, but also to express his withdrawal depression, never official road determination. However, the feelings of his wife and son could not be cut off, and he often suffered from his own contradictory feelings and felt very painful.

Bai Pu first arrived at Hankou and then entered Jiujiang. At the age of 41, he returned north to Zhending, passing bianjing. After that, he went south again, traveling between Jiujiang and Dongting, and settled down in Jinling in 1280, the 17th year of the Yuan Dynasty. Around this time, probably due to the death of his first wife, he had returned to Zhending for the bereavement of his wife. On this occasion, someone suggested that he become an official in the Central Court, but he declined. Shortly thereafter, he returned to Jinling. From then on, he mainly traveled around Hangzhou and Yangzhou, south of the Yangtze River, until he returned to Yangzhou at the age of 81. After that, there was no trace of him.

===Conclusion===
Generally speaking, Yuan Qu is an extremely important milestone in the history of Chinese literature. Its development has experienced the initial stage of rise and the middle stage of prosperity, and its development is closely related to the style characteristics of the "four masters of Yuan Qu" : Guan Hanqing, Bai Pu, Zheng Guangzu and Ma Zhiyuan. They used different styles to describe the social scene and human conditions at that time from different angles of the society, and indirectly predicted the future trend of the society. Therefore, Yuan Opera is not only a work of art, but also a magnificent painting of the society of the time.

===References===
*Shan Jingzhen单敬珍. ''Zheng Guangzu in the View of Acceptance''接受视野中的郑光祖[D]. Hebei Normal University河北师范大学,2008.
*Zhang Wei张巍. ''On reclusive Culture in Ma Zhiyuan's Literary Works''论马致远文学作品中的隐逸文化[D]. Liaoning Normal University辽宁师范大学,2011.
*Li Sheng李昇Zhang Wei. ''Development of Opera Criticism from the Evolution of "Four Masters of Yuan Qu"''从“元曲四大家”的演变看戏曲批评的发展[J]. Journal of Jiangsu Radio,2010,21(02):44-47.
*Pan Chaoqing, Tu Ping潘超青,涂平. ''On the Inheritance and Development of Humor Culture in Song Dynasty by Yuan Qu''论元曲对宋代诙谐文化的继承与发展[J]. Drama Art戏剧艺术,2015(06):43-51.DOI:10.13737/j.cnki.ta.2015.06.005.
*Jiang Xingyu蒋星煜. ''The Generation and Development of the Four Masters of Yuan Opera''元剧四大家说之产生与发展 [ J] . Drama Art戏剧艺术, 1990( 1) :80-88.
* ''Collection of Works on Chinese Classical Opera：Volume 1''中国古典戏曲论著集成:第一册 [ M] . Beijing: China Drama Press北京:中国戏剧出版社, 1959.
*Zhong Sicheng钟嗣成. ''Ghost Book (four kinds)''录鬼簿 ( 外四种 ) [ M] . Shanghai: Shanghai Ancient Books Publishing House上海:上海古籍出版社, 1978.
*Li Kaixian李开先. ''Li Kaixian Collection: Volume 1''李开先集:上册[ M] . Beijing: Zhonghua Book Company北京:中华书局, 1959.
*''Collection of Works on Chinese Classical Opera: Volume 4''中国古典戏曲论著集成:第四册 [ M] . Beijing: China Drama Press北京:中国戏剧出版社, 1959.
*Wang Xueqi王学奇. ''Annotated Yuan Qu Selections: Volume 1''元曲选校注:第一册 [ M] . Shijiazhuang: Hebei Education Press石家庄:河北教育出版社, 1996.
*Wang Guo-wei王国维. ''History of Opera in Song and Yuan Dynasties''宋元戏曲史 [ M] . Shanghai: Shanghai Ancient Books Publishing House上海:上海古籍出版社, 1998.

==英语笔译高智慧 Gao Zhihui 202170081568==
<center>'''The History of Chinese Noodles'''</center>

<center>高智慧 Gao Zhihui </center>

===Introduction===
The earliest known noodles found in China can be dated back to 4 thousand years ago. They were found in archeological findings near the Yellow River in China. However, first concrete written records of noodles come from the time when Eastern Han Dynasty reigned between 25 and 200 AD. There are many stories about the origin of noodles. To a certain extent, noodles also reflect the cultural traditions and customs of China, which essentially means "human nature" and "worldly common sense". There are thousands of varieties of noodles in China, according to the classification of the shape of noodles, seasoning gravy, cooking craft, and so on. Many noodles have local characteristics. Noodles are accepted by people from all over the world. The industrial revolution and the development of the food industry have successfully transitioned the way we produce noodles, from a traditional handicraft industry to mass production using machinery. In addition, the invention of instant noodles and their mass production also greatly changed the noodle industry. In essence, noodles are a kind of cereal food, which is the main body of the traditional Chinese diet. It is the main source of energy for Chinese people and the most economical energy food. Adhering to the principle of making cereal food the main food, is to maintain our Chinese good diet tradition, which can avoid the disadvantages of a high energy, high fat, and low carbohydrate diet, and promote health. The importance of the status of noodles in the dietary structure of residents China and the health impact should not be ignored.

===The Origin of Noodles===
Mix water and flour and knead into a dough, you now have a plethora of prospects in the palm of your hands. Noodles are the epitome of versatility and flexibility, and it's this adaptable nature that has contributed to its rise as a world renowned food. Noodles are eaten as pho in Vietnam, chow-chow in Nepal, seviyan in India and many other permutations and combinations throughout the globe. While the popularity of noodles is a widely accepted consensus, its origin is still a prominently debated subject. There are numerous contenders who have claimed to be the creators of the Noodle. Italians profess that they are the pioneers of this plant based food, whereas the Chinese argue that they invented this culinary sensation. In this paper I will endeavor to trace the geneses of this cereal food and subsequently attempt to end the age old dispute surrounding it.

We begin our historical research in the East Asian country, China. Noodles are believed to have originated here, as "Bing" or cake in English, during the early rule of the Han Dynasty. They were then diversified by experimentation and the evolution of additional shapes and cooking methods. Noodles further gained cultural prominence via folklore related to "health, religion, economy" and with the emergence of Chinese superstitions. (Zhang Na and Ma Guansheng, 2016) However, due to recent archeological discoveries it's likely that noodles were around much prior to the rise of the Han Rule. Excavation sites have revealed that wheat grains and early production apparatuses existed from the early to late Neolithic period – an astounding ten thousand years before now. More tangible evidence, which testifies to the existence of Noodles well into the past, was unearthed in 1999. "Noodles discovered among relics at the Lajia archeological site in Minhe(民和) County, Qinghai Province". After scientists analysed the noodles and bowl of noodles found at the site through radioactive dating, it was disclosed that noodles were crafted and cooked four thousand years ago during the early Xia Dynasty. These archaeological findings thus provide us with physical evidence which date back to periods long before the present day. They reveal that the noodle has been closely interwoven into the Chinese society and their culinary practices for eons.

China has the most promising data to support its claim of being the inventors of this simple wheat and water based dough. The discovery of the noodle remains and bowl occurred two thousand years prior to Horace's mentions of Lagane, which means pasta. With its physical, archeological evidence predating even the written records of Italian, Arabic and Mediterranean pasta, it truly does make China victorious in the contention. However, even though China may be the site of the first instances of noodles and they may have introduced some countries like Japan and India to them, this doesn’t necessarily mean that they were the ones who introduced the rest of the world to it. Italians were enjoying pasta long before Marco Polo brought back the secrets of the Chinese noodle trade. As there is very little documented data and only a few preserved artifacts related to Italian pasta, it’s not right to make any broad claims about its beginning. It is also plausible that pasta developed spontaneously in China and Italy at different time periods. New evidence is bound to be unearthed at some point in the future, which will give more concrete and reliable sources with information about who introduced the Italians to the noodle.

===Ancient Records of Chinese Noodles===
There were various kinds of shapes for noodles, such as sheets and strips. Sheets of noodles are cooked by pulling the dough into sheets and cooking in a pot with boiling water. In the Wei, Jin, and Northern and Southern Dynasties, the shapes of the noodles gradually increased. Two special kinds of noodles, called shui yin (水引) and bo tuo (馎饦), were included in the book Qi Min Yao Shu or Essential Techniques for the Welfare of the People (《齐民要术》)in the middle ancient era. Shui yin is cooked by pulling the dough into strips as thick as chopsticks, cutting these into segments 30cm long, soaking in a dish of water, then pressing them into flat noodles shaped as a leek leaf and cooking in a pot with boiling water. Bo tuo is especially smooth and delicious. In the Sui, Tang, and Five dynasty periods, there were more varieties of noodles. With the increase of noodle varieties, the methods and techniques of cooking have been continuously improved. There was a kind of cold noodle with a unique flavor, called Leng tao (冷淘), which was appreciated by the great poet Du Fu, describing it “as cold as snow when gliding through the teeth (经齿冷于雪)”. There was another kind of noodle with full tenacity, referred to as “one of the seven wonderful health foods”, which has a saying “wet noodles can be used to tie the shoe”. In the Song and Yuan dynasty period, fine dried noodles appeared, such as pig and sheep raw noodles and vegetable raw noodles sold in Linan (临安) city during the Southern Song period. Until the Ming and Qing Dynasty, there were more varieties of noodles. In the Qing dynasty, five spicy noodles and eight treasures noodles were included in Xian Qing Ou Ji 《闲情偶寄》 by dramatist Li Yu (李渔). These two kinds of noodles were made of five and eight kinds of animal and plant raw material powder, respectively, and mixed into flour, which were considered as top grade noodles.

[[File:Qi shan minced noodles.jpg]]

===Stories of Noodles===
Food is not only a source of human nutrition, it also plays many roles in the aspects of religion and economy, etc. People use special food to celebrate important events and festivals, for instance, we eat sweet dumplings in the Lantern Festival, we eat traditional Chinese rice-puddings in the Dragon Boat Festival, we eat moon cakes in the Mid-Autumn Festival, and we eat dumplings in Spring Festival.

In the aspect of noodles, Chinese people have lots of customs, which essentially mean “human nature” and “worldly common sense” materialized in the noodles. At birthdays, people eat longevity noodles; at the time of marriage and moving into a new house people eat noodles with gravy (打卤面), which means flavored life; on the day of lunar February 2 “dragon head (龙抬头)”, people eat dragon whiskers noodles (龙须面) to look forward to good weather. We eat different noodles in different seasons and different festivals.

Famous noodles in China have a unique value of traditional culture. Seafood noodles (三鲜伊面) are also called dutiful son’s noodle (孝子面). According to historical records, Yi Yin’s (伊尹) mother was perennially sick and bedridden. So he made noodles with eggs and flour, and then steamed and fried these noodles. Even if he was not at home it was convenient for his mother to eat these nonperishable noodles. The noodles were added to a soup made with chicken, pig bones, and seafood. Under the tender care of Yi Yin, his mother soon recovered. This was the reason why seafood noodles are also called dutiful son’s noodles. The processing method of seafood noodles in ancient time was very similar to industrialized manufacturing methods of instant noodles in modern times.

Sichuan (四川) dandan noodles (担担面)are known to every family. In the old days, hawkers sold noodles on the street with a shoulder pole, giving the name dandan noodles. There was a pot and stove on the shoulder pole, which made it convenient to cook noodles with full seasoning at any time. The business philosophy of wholehearted customer service is the essence for dandan noodles to stay prosperous.

Qishan (岐山) minced noodles (臊子面) with special flavor, also called ashamed son noodles, also has a story in Shaanxi (陕西). Qishan minced noodles were originally called sister-in-law noodles (嫂子面). Previously, there was a poor scholar, whose parents died when he was young. He was raised by his elder brother and sister-in-law. In order to let him read books for fame, his sister-in-law made noodles for him. His sister-in-law was not only good at cooking noodles, but also good at making gravy with meat and vegetables. Oil sprinkled over chili was also mixed in noodles to increase appetite. Under the care of his sister-in-law, he passed the provincial civil service examination as expected under the old Chinese examination system. Therefore, it was also called sister in law noodles. Later, many people followed the example of cooking noodles to seek fame for their children, but repeatedly failed. Feeling shame for their son, the noodles were also called ashamed son noodles, which was pronounced as sào zi in Chinese.

Guangxi (广西) vinegar-pepper old friend noodles (老友面) has a story about friendship. Once upon a time, there was a Zhou teahouse where a customer drank tea almost every day. For a few days, the teahouse owner Zhou found the regular customer did not come to tea. Out of concern for an old friend, he went to visit him. He discovered that the old friend was sick. The shopkeeper quickly made a bowl of vinegar-pepper noodle soup with sautéed garlic and fermented black beans and sent the noodles to his friend. The old friend ate the noodles in a sweat and then recovered. So vinegar-pepper noodles have another name old friend noodles.

Another famous type of Chinese noodles is the Crossing-the-Bridge noodles(过桥米线), which is a rice noodle soup from the Yunnan Province. Crossing-the-Bridge noodles also has an interesting story associated with it. The story described a boy who was ordered by his father to study for the Imperial Exams in the cottage of an island, and the boy was not allowed to leave the island until his studies were completed. Since the island was far away from his house, and the story took place in the coldest months of the year, all the meals that the family cook had cooked for the boy would become cold and unpalatable when the meals reach the boy. After being troubled by this problem for a long time, the cook finally came up with an idea and invented a new type of noodle dish, Crossing-the-Bridge noodles, by adding an extra layer of hot chicken broth and chicken fat to the noodle soup. According to the story, the noodle was invented to have the capability of keeping warm for a long time under cold winds and temperatures, so that when the cook brings the noodle soup across the bridge to the boy who was studying for the imperial examinations, the noodle soup would still be hot and warm enough to eat. “ ‘It is too hot!’ he said, and began laughing. ‘I know,’ said the cook, nodding happily. ‘It is the fat that keeps out the wind, the cold, and the bad spirits. Now that you have the nourishment you need, learning will come naturally and gracefully.’ The boy ate the delicious soup with a hunger that he did not know he had as he watched the chef skipping like a child across the bridge back to his kitchen.” Therefore, Crossing-the-Bridge noodles reflected the cleverness and mastery of the cook in cooking, as well as the love and care he had for the boy, and the passion he had for pleasing people with his food.

===The Classification of Noodles===
There are thousands of varieties of noodles in China, according to the classification of the composition of noodles, the shapes of noodles, and the different gravy seasoning. The main compositions of noodles are wheat and rice. Most kinds of noodles are made of flour (the powder made from wheat). There is also another special composition of noodles: rice noodles (米线). Rice noodles are frequently seen in Southern style cooking, such as Yunnan province: over-the-bridge rice noodles. In addition, noodles can be classified according to the thickness: they can be as thick as chopsticks or as thin as hair, such as the dragon beard noodles. Some can be classified according to the how they are made, such as hand-pulled noodles (拉面), shaved noodles (刀削面), and so on. They can also be classified according to the seasoning, such as Beijing fried bean sauce noodles (北京炸酱面) and Shandong noodles with gravy (山东打卤面). Others are classified according to cooking crafts, such as noodles mixed with scallion, oil, and soy sauce (葱油拌面), noodles with quick-fried eel shreds and shelled shrimps (虾爆鳝面), and so on.

China has a vast territory and abundant resources and mainly can be divided into the following areas: East China, Southern China, Central China, North China, Northwest China, Southwest China, Northeast China, Hong Kong, Macao, and Taiwan areas. There are also some local characteristic noodles. In East China, there are Shanghai noodles in superior soup (上海阳春面), Nanjing small boiled noodles (南京小煮面), Hangzhou Pian Er Chuan noodles (noodles with preserved vegetable, sliced Pork, and bamboo shoots in soup) (杭州片儿川面), Wenzhou vegetable raw noodles (温州素面), Zhenjiang pot noodles (镇江锅盖面), Shandong Fushan hand-pulled noodles (山东福山拉面), Suzhou Su style soup noodles (苏州苏式汤面), Fuzhou line noodles (福州线面), and Anhui flat noodles (安徽板面). In Southern China, there are Guangzhou wonton noodles (广州馄饨面). In Central China, there are Wuhan hot noodles with sesame paste (武汉热干面). In North China, there are Beijing fried bean sauce noodles, Shanxi shaved noodles (山西刀削面) and noodles with braised string bean (豆角焖面), Hebei dragon whiskers noodles (河北龙须面) (saute fine noodles with shredded chicken), fine dried noodles, sesame paste noodles (麻酱面), and Neimenggu braised noodles with string bean (内蒙古焖面). In Northwest China, there are Xinjiang pulled noodles (新疆拉条子), Shanxi oil-splashing noodles (陕西油泼面), Biángbiáng noodles (Biángbiáng 面), a type of noodle popular in the cuisine of China's Shaanxi Province, and serofluid noodles (浆水面), Henan stewed noodles (河南烩面), steamed noodles (蒸面), and Lanzhou hand-pulled noodles (兰州拉面). In Southwest China, there are Guizhou noodles with pig’s blood and internal organs (贵州肠旺面), Sichuan dandan noodles (四川担担面), bean curd pudding noodles (豆花面), zhazha noodles with chili oil hot pepper and pork-bone soup (渣渣面), burning noodles from Yibin (宜宾燃面), longevity noodles and bedding noodles (铺盖面). In Northeast China, there are Jilin cold noodles (吉林冷面). In Taiwan, Hong Kong, and Macao, there are Hong Kong strained noodles (捞面), rickshaw noodles (车仔面) and shrimp roe noodles (虾子面), southern Taiwanese-style noodles (担仔面), and clam noodles (花蛤仔面). Noodles are usually eaten as a staple food in or to the north of the Yellow River Valley, but eaten as breakfast in the southern region.

There are also some kinds of representative noodles. Beijing fried bean sauce noodles are a traditional Chinese food, popular in Beijing, Hebei, Tianjin, and other places. Beijing fried bean sauce noodles are cooked in the following way: first prepare the fresh-cut vegetables, blanch and set aside; next, put minced meat stir-fried with scallion, ginger, garlic, and soybean paste in hot oil; then boil the noodles and scoop them up, pour sauce on them; lastly, mix with the vegetables.

Lanzhou hand-pulled noodles, also known as one of the top ten Chinese noodles, are Islamic-style snacks in the Gansu Province. The noodles have special characteristics: “soup clear like mirror, the strong scent of cooked meat, thin noodles”. The noodles also have a set of standards: “clear (clear soup), white (white radish), red (red pepper oil), green (green coriander and garlic bolt), and yellow (yellow noodles)”. Locally, people named them “beef noodles”.

===The Industrialization of Noodle Production===
Since the advent of noodles, although the culture and heritage of the craft are different in various areas, noodles were always processed in a manual way. With the development of the industrial revolution, it realized the transition from a traditional handicraft industry to machine mass production. In the 1850s, machine-made noodles appeared in the market for the first time, and are still in use. At present, China is the world's largest consumer of noodles; the annual consumption and production value are amazing. Data showed that from 2007 to 2012, China's sales value of noodles increased from 8.6 billion yuan to 20.26 billion yuan. In recent decades, it can be said that the advent and development of instant noodles brought the greatest impact.

As early as before the invention of instant noodles, in the ancient East and West, there have been similar processing methods: noodles were boiled first, then fried with hot oil, and finally served with soup. In ancient China, there were similar noodles called Yi noodles (伊面). According to legend in the Qing Dynasty, Yi bingshou (伊秉绶) gave a banquet to celebrate his mother's birthday at home. There were so many guests that the rushed chef mistakenly put the cooked egg noodles into the boiling pan. Without an alternative solution, the chef scooped up these noodles, then fried them in hot oil, and finally served with soup. Guests unexpectedly praised the noodles, so the cooking craft has been handed down. In the early days, Yi noodles was written on the packaging of instant noodles.

In 1958, Taiwanese–Japanese Momofuku Ando (安藤百福) invented the instant noodles as fast food, and created a revolution in the world's eating habits(Zhao,2015,24). At that time one had to wait in line for a long time to eat a bowl of noodles, so he invented the convenient instant noodles. After the invention, Momofuku Ando also founded Nissin food company (日清公司) to sell chicken soup hand-pulled noodles (鸡汤拉面). The initial price was 35 yen. Imitation products immediately appeared which resulted in price competition. Ando soon realized that it was necessary to regulate the market, in order to maintain the reputation of the new products. In 1960, he won the lawsuit about the copyright of instant noodles, and registered the chicken soup hand-pulled noodles trademark in the 2nd year. In 1964, Ando founded Japan Hand-Pulled Noodle Industry Association and transferred the patent to the industry. Ando said that the purpose of this move was to expand the industry, so as to provide cheap instant noodles to the residents.

The Nissin food company started looking more actively for opportunities abroad after the invention of instant noodles. In 1963, it first cooperated with South Korea Miyaki food company (三养食品). In 1968, it once again cooperated with the international food company in Taiwan to launch the chicken soup taste instant ramen. At the beginning, the market of instant ramen with Japanese formula was not good. After adjusting the sauce and the noodles, it became the best-selling product in Taiwan. Most customers buy it as snack food.

According to official data of the World Association of instant noodles, since 2009 China's total consumption of instant noodles has been ranked first in the world. In 2013 the total consumption of instant noodles in the world reached a total of about 105.59 billion bags, while China ranked first for the total consumption of 46.22 billion bags, the per capita consumption reached 34 packets.

===The Nutritional Composition and Health of Noodles===
The basic raw material for making noodles is flour. Therefore, its main nutrients are basically the same as flour, including protein, carbohydrates, minerals, and low fat. Taking the ordinary fine dried noodles found in the market for example, 100 g fine dried noodles contain 10.3 g protein, 75.6 g carbohydrates, just 0.6 g fat, 129 mg potassium, 18.45 mg sodium, 11.8μg selenium, and so on.

Noodles are classified as cereal foods. Cereal food is the main body of the traditional Chinese diet, the main source of energy for the human body, and also the most economical energy food. With the development of the economy and the improvement of life, Chinese people tend to eat more animal food and oil. An authoritative survey found that in some of the more affluent families, the consumption of animal food has exceeded the consumption of cereal food. Animal food contains more energy and fat, but less dietary fiber, which is not conducive to the prevention and treatment of some chronic diseases. A report on the status of nutrition and chronic diseases of Chinese residents showed that the daily fat intake of Chinese residents was too much, providing more than 30% of the total dietary energy, while a deficiency of calcium, iron, vitamins A and D, and some other nutrients still existed(2015). Adhering to the principle of “making cereal food the main food”, the purpose is to maintain our Chinese good diet tradition, which can avoid the disadvantages of a high energy, high fat, and low carbohydrate diet. Therefore, the importance of the status of noodles in the dietary structure of the residents in our country and their health impact should not be ignored.

In the process of making noodles, eggs are added. Therefore, noodles contain the nutritional content of eggs, with the amount of nutritional content depending on the amount of added eggs. Protein amino acid composition of eggs is the closest to the needs of the human body with very high nutritional value. Eggs contain between 10% and ∼15% fat with 98% of the fat found in egg yolk; egg white contains very little fat. The fat in egg yolk is easily digested and absorbed and also contains a high content and full range of vitamins, including all the B vitamins, vitamin A, vitamin D, vitamin E, vitamin K, and trace amounts of vitamin C. Therefore, adding eggs can improve the nutritional value of noodles.

Salts are added in the process of making noodles. Excessive salt intake will increase the risk of high blood pressure. A report on the status of nutrition and chronic diseases of Chinese residents showed that the daily intake of salt was 10.5 g /d in 2012; however, the daily recommended intake of salt is 6 g/d according to Dietary guidelines for Chinese Residents and 5 g according to the World Health Organization. It is worth noting that the prevalent rate of high blood pressure for adults aged ≥18 years was 25.2% in 2012. This is an increase when compared with 2002 (rate was 18.8%). Therefore, food companies should try to reduce the addition of salt as much as possible.

In addition to the health impact of the original nutritional composition of noodles, we should also pay attention to the health impact of the cooking craft and other related factors.

Gravy: in order to improve the taste, people often eat noodles with gravy. Some kinds of gravy contain fat and salt. For example, fried bean sauce noodles contain more fat and salt. In order to avoid an increase in the risk of chronic diseases, we should add less gravy when eating noodles.

Ingredients: when cooking noodles, we can add eggs, vegetables, and other ingredients, so as to make noodles achieve the principle of “food diversification”, and promote health for people.

Instant noodles: the seasoning packet in instant noodles contains more salt, so we should add half a packet of seasoning when eating instant noodles, in order to reduce salt intake.

===Terms and Expressions===

soup cake 汤饼

Wei, Jin, and Northern and Southern Dynasties 魏晋南北朝

Qi Min Yao Shu or Essential Techniques for the Welfare of the People 《齐民要术》

fine dried noodles 挂面

pig and sheep raw noodles 猪羊庵生面

vegetable raw noodles 素面

five spicy noodles 五香面

eight treasures noodles 八珍面

longevity noodles 长寿面

noodles with gravy 打卤面

dragon whiskers noodles 龙须面

dutiful son’s noodle 孝子面

dandan noodles 担担面

minced noodles/ ashamed son noodles 臊子面

sister-in-law noodles 嫂子面

vinegar-pepper old friend noodles 老友面

Crossing-the-Bridge noodles 过桥米线

rice noodles 米线

hand-pulled noodles 拉面

shaved noodles 刀削面

Beijing fried bean sauce noodles 北京炸酱面

noodles mixed with scallion, oil, and soy sauce 葱油拌面

noodles with quick-fried eel shreds and shelled shrimps 虾爆鳝面

Shanghai noodles in superior soup 上海阳春面

Nanjing small boiled noodles 南京小煮面

Hangzhou Pian Er Chuan noodles (noodles with preserved vegetable, sliced Pork, and bamboo shoots in soup) 杭州片儿川面

Wenzhou vegetable raw noodles 温州素面

Zhenjiang pot noodles 镇江锅盖面

Shandong Fushan hand-pulled noodles 山东福山拉面

Suzhou Su style soup noodles 苏州苏式汤面

Fuzhou line noodles 福州线面

Anhui flat noodles 安徽板面

Guangzhou wonton noodles 广州馄饨面

Wuhan hot noodles with sesame paste 武汉热干面

Shanxi shaved noodles 山西刀削面

noodles with braised string bean 豆角焖面

Hebei dragon whiskers noodles (saute fine noodles with shredded chicken) 河北龙须面

sesame paste noodles 麻酱面

Neimenggu braised noodles with string bean 内蒙古焖面

Xinjiang pulled noodles 新疆拉条子

Shanxi oil-splashing noodles 陕西油泼面

serofluid noodles 浆水面

Henan stewed noodles 河南烩面

Guizhou noodles with pig’s blood and internal organs 贵州肠旺面

Sichuan dandan noodles 四川担担面

bean curd pudding noodles 豆花面

zhazha noodles with chili oil hot pepper and pork-bone soup 渣渣面

bedding noodles 铺盖面

Jilin cold noodles 吉林冷面

Hong Kong strained noodles 捞面

rickshaw noodles 车仔面

shrimp roe noodles 虾子面

southern Taiwanese-style noodles 担仔面

clam noodles 花蛤仔面

===References===
*Zhang Na,Ma Guansheng 张娜，马冠生.(2016).Journal of Ethnic Foods.

*Zhao Guanghui 赵光辉(2015).“被饥饿催生”的方便面的故事 [The story of instant noodles created by hunger].中国农资J China Agric,(28),24.

*National Health and Family Planning Commission Disease Prevention and Control Bureau 国家卫生健康委员会.(2015).《中国居民营养与慢性病状况报告(2015年)》Report on the Status of Nutrition and Chronic Diseases of Chinese Residents.

===Questions===
1.Which country is considered to be the inventor of noodles?

2.The first concrete written records of noodles can be dated back to which dynasty?

3.What are the representative noodles in the Gansu Province?

4.What is the basic raw material for making noodles?

===Answers===
1.China.

2.Eastern Han Dynasty.

3.Lanzhou hand-pulled noodles.

4.Flour.

==英语笔译何丽娜 He Lina 202170081569==

<center>'''Ancient Chinese Civilization--the Archaeological Ruins of Liangzhu City'''</center>

<center>He Lina</center>

===Introduction===
The Archaeological Ruins of Liangzhu City(良渚古城遗址)(ca. 3300-2300 BC),is located in the middle and lower reaches of the Yangtze River in China, and belongs to the late Neolithic archaeological culture. According to archaeological findings, the Liangzhu site is characterized by its exquisite jade, stone and black pottery craftsmanship which embody its social etiquette system, early urban planning and large-scale engineering construction as well as its social organization system, and the world's earliest large-scale plowed rice farming and early specialization of handicraft industry. (Zhou Yin,Wu Jin,2004:2) In addition, as a representative site of large prehistoric settlements in East Asia in the history of human civilization, the Liangzhu Site in China was approved for inclusion in the World Heritage List on July 6, 2019. This article will make a brief introduction and the summary in some aspects from geography, archaeological discovery, heritage elements of the Liangzhu ancient city ruins, the value of the heritage and the protection and inheritance of Liangzhu cultural sites, to further explore the extensive and profound influence of Liangzhu culture on Chinese civilization.

===Geographical Position===
[[File:0bf13104dc8815737bfc080cc8e01e5.png]]
Liangzhu Culture is located in the middle and lower reaches of the Yangtze River around Taihu Lake （太湖）which are in the southeast of China, and its distribution area is very broad. Its central settlements are clustered in Liangzhu Site, Liangzhu town（良渚镇） and Pingyao Town（瓶窑镇）, Yuhang District（余杭区）, Hangzhou city（杭州市）, Zhejiang Province（浙江省）. Its geographical coordinates are 119°56 '40 "~120°03' 228" EAST longitude, 30°22 '36 "~30°26' 17" north latitude, with a subtropical monsoon climate.(Liangzhu Archaaeological Site)

In terms of topography, Hangzhou is located in the junction zone between low hills which are stretching branches of Tianmu Mountain(天目山) and Hangzhou-Jiaxing-Huzhou Plain(杭嘉湖平原), the biggest accumulation plain in Zhejiang Province. And the whole plain is covered with river channels ,which is very suitable for rice cultivation and has convenient water conservancy and transportation.

[[File:R-C_(6).jpg]]

The site distribution area is just situated in the northwest of Hangzhou, enjoying the advantages of its natural geographical location. It is located in the alluvial plain in the transition zone between hills and plains, surrounded by mountains in the west, north and south, with some isolated hills scattered inside.

===Archaeological Findings===
In 1935, He Tianxing(何天行), a native of Hangzhou, made an investigation in the area where Liangzhu Site is seated and discovered a black pottery plate inscribed with ceramic inscriptions. Later, more than 100 cultural relics were discovered successively, and he wrote one of the earliest archaeological reports in China: Stone Tools and Black Pottery in Liangzhu Town, Hangzhou County. His discovery was the prelude to the archaeological culture of Liangzhu Culture. On this basis, after a year of arduous investigation, Shi Xingeng（施昕更） from The West Lake Museum in Zhejiang Province carried out several archaeological excavations near Liangzhu Town in 1936, and collected a number of prehistoric remains characterized by black pottery. In 1938, he published the book: Liangzhu: Preliminary Report on the Site of Black Pottery in the Second District of Hangzhou County. Their discovery caused a stir in Chinese academic circles, which greatly promoted the study of Yangtze Civilization and the development of fledgling Chinese archaeology. In 1959, Xia Nai(夏鼐), a researcher of the Institute of Archaeology, Chinese Academy of Social Sciences, officially named these findings Liangzhu Culture. (Zhou Yin,Wu Jin,2004:11-14)

After that, until the 1980s, a large number of sites were successively discovered in the Taihu Basin（太湖流域） around the middle and lower reaches of the Yangtze River. However, these sites were very scattered, and archaeologists' understanding of these sites was still in the initial stage on which the archaeologists only focused on single sites and failed to form an overall understanding.

From 1986 to 2006, with the excavations of Fanshan Royal Tomb (反山王陵)(1986) and Yaoshan Tomb（瑶山墓葬） (1987), many exquisite jade articles representing high status were unearthed, which made a major breakthrough in archaeology of Liangzhu site and gradually formed the concept of "Liangzhu Site Group". In 2007, the ruins of the ancient city were discovered. Later, the outer city of Liangzhu ancient City was preliminarily confirmed in 2010. After 5 years, Zhejiang Provincial Institute of Cultural Relics and Archaeology discovered and confirmed a large water conservancy system outside the ancient city. (Wang Ningyuan 2016:106)

With the efforts of the archaeological staff over the years, the ancient city of Liangzhu has been clearly shown to the world bit by bit, and the value of Liangzhu culture in the academic world has also been rising, exerting a world-class influence.

===subtitle 3===

===Subtitle 4===

===Subtitle 5===

===References===
Zhou Yin,Wu Jin周膺、吴晶(2004).''中国5000年文明第一证：良渚文化与良渚古国''[The First Evidence of The 5000-Year Civilization of China: Liangzhu Culture and Early State of Liangzhu].Hangzhou: Zhejiang University Press浙江大学出版社.
良渚遗址官网[Liangzhu Archaeologial site].https://www.lzsite.cn/classinfo.aspx?classid=1

===Terms and expressions===

===Questions===

===Answers===

==英语笔译胡良明 Hu Liangming 202170081570==
<center>'''A Study of the English Translation of Chu Ci by Xu
Yuanchong Under Three Beauties Principle'''</center>

<center>Hu Liangming</center>

===Abstract===
Qu Yuan’s ''Chu Ci'' is the first collection of romantic poetry in China, which has a very important position in the history of Chinese literature. In the middle and late 19th century, with the constant contacts and communication between China and foreign countries, domestic and foreign translators began to study and translate the ''Chu Ci'' and produced many indepth works. This thesis takes the English translation of ''Chu Ci'' by Xu Yuanchong as the research object, takes the Three Beauties Principle as theoretical basis, uses contrastive method, literature research and text analysis method, and analyses the English translation of ''Chu Ci'' by Xu Yuanchong from three aspects: beauty in sound, beauty in form and beauty in sense. It is found that Xu Yuanchong used rhetorical devices such as onomatopoeia, repetition, simile, personification and so on to reflect Three Beauties Principle in the process of translating ''Chu Ci'' into Chinese. The study can promote[?] the translation of Chinese classical literature by translators at home and abroad, thus promoting[?] the cultural exchange between China and foreign countries, and embody the advantages of Chinese literary theory in ancient Chinese ancient translation, which has an important[?] guiding role for future literary translation.

===Key words===
Chu Ci, Xu Yuanchong, Three Beauties Principle

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译黄琼 Huang Qiong 202170081571==
<center>'''Bamboo Weaving in Yiyang Hunan'''</center>

<center>Huang Qiong</center>

===Abstract===
Yiyang has a subtropical monsoon climate with high temperatures, cold winters and hot summers, and abundant precipitation. Bamboo mostly likes warm and humid climates, and Yiyang has abundant rainfall and heat, which is an ideal ecological environment for bamboo to grow, thus it is also known as the “Bamboo Capital of China”. Bamboo has always been a representative cultural image in China, which not only contains rich cultural values but also its artistic and economic values. Yiyang has a history of bamboo weaving for hundreds of years, and its bamboo products have long been famous, among which “Xiaoyu Bamboo Weaving Art” is a representative list of national intangible cultural heritage projects, and local bamboo products cover all aspects of production and life. This article not only introduces the art of bamboo weaving but also focuses on the process of weaving bamboo mats as an example to show the charm of Bamboo weaving.

===Key words===
Yiyang, bamboo weaving, Xiaoyu Bamboo Weaving Art, bamboo mat

===Literature Review===
Yiyang bamboo weaving art is a relative minority topic. More than 60 journals and papers can be found by searching "Yiyang Bamboo" on CNKI, but there are only a few articles, and the general research is not very in-depth. With "Yiyang Bamboo Weaving" as the keyword search, a total of 9 journals, and 13 papers are found. Zhang Jiang Shiqin's Research on the Development of Bamboo Culture Industry in Yiyang describes the development context, environment, current situation, and strategies for promoting the bamboo culture industry. Luo Fen's Research and Development of Yiyang Bamboo Weaving Art mainly introduces Yiyang bamboo weaving art, comprehensively uses various research methods, through sorting out Yiyang traditional bamboo weaving art, tries to put forward good solutions to the existing problems and follow-up development of Yiyang bamboo weaving. Jiang Xiangdong's Inheritance and Development of Hunan Traditional Bamboo Weaving, based on the actual situation of the development of Hunan traditional bamboo weaving, put forward several countermeasures such as "government support", "intensive management" and "talent training", which has practical guiding significance for the inheritance and development of Hunan traditional bamboo weaving art. Domestic research on Yiyang bamboo weaving art is very limited, there is no foreign paper on Yiyang bamboo weaving. Use "China Bamboo weaving" as the keyword to find literature on Google Scholar. The literature writers are all Chinese with few foreigners studying Bamboo weaving art, let alone Yiyang Bamboo weaving art. In addition, it is difficult to find any further theoretical works on Yiyang bamboo weaving. Moreover, the research on the bamboo weaving art in Yiyang is not comprehensive enough, and there is no in-depth discussion on the characteristics and causes of the bamboo weaving art in Yiyang.

===The Introduction to Bamboo weaving and its History===
Bamboo is always an important part of Chinese culture, and literati have often used it as imagery to express their high-minded sentiments. Bai Juyi said in ''The Annals of Bamboo Cultivation'': "The root of bamboo is firm, which is to establish the nature of bamboo. When a gentleman sees this nature of bamboo, he thinks of being upright and selfless, and not to be attached to the influential. When a gentleman sees the heart of bamboo, he thinks of accepting all useful things with an open mind. When a gentleman sees its knot, he thinks of refining his character and being consistent, no matter when things are going well or when he encounters danger."(竹性直，直以立身；君子见其性，则思中立不倚者。竹心空，空以体道；君子见其心，则思应虚受者。竹节贞，贞以立志；君子见其节，则思砥砺名行，夷险一致者。) In China, bamboo is both upright and steadfast in character, and also has a verdant and attractive posture, and has been loved by the literati since ancient times, along with plum blossoms and pine trees are known as the "Three Friends of Winter"(岁寒三友). The pine symbolizes evergreen; the bamboo symbolizes the way of a gentleman and the plum symbolizes pure. In addition to bamboo as cultural imagery, bamboo itself has great value. Bamboo has a long history of being used in architectural art. Bamboo buildings are houses of ordinary people. Southwest minorities such as the Dai nationality(傣族) still live in bamboo buildings. The Dai bamboo building is mainly made of bamboo, and the walls are also woven from bamboo, which has high air permeability, so the ventilation of the house is good. Bamboo can also be used as musical instruments. Traditional Chinese musical instruments such as flute（笛子）, xiao(箫 a vertical bamboo flute), sheng（笙 thirteen bamboo tubes of different lengths）, zheng(筝 the ancient Chinese traditional plucking instrument), erhu（二胡 a two-stringed bowed instrument with a lower register than jinghu） are inseparable from bamboo. Word-formation of these instruments shows that they are related to bamboo(⺮，汉字的偏旁部首，读作“竹字头”). A famous calligrapher of the Jin Dynasty, Wang Xizhi, wrote in the ''Preface to the Orchid Pavilion'': "Seated by the bank of brook, people will still regale themselves right by poetizing their mixed feelings and emotions with wine and songs, never mind the absence of melody from string and wind instruments."(It is the translation of Lin Yutang 林语堂：虽无丝竹管弦之盛，一觞一咏，亦足以畅叙幽情) Thus, since ancient China, bamboo has been used to refer to music.

The art of bamboo weaving in China is also popular, and Hunan Yiyang is also a city with a cultural heritage of bamboo art. Bamboo weaving art reflects the wisdom and value of the working people. With the development over hundreds of years, the craft is more and more advanced, not only embodies the essence of Chinese traditional handicraft but is also an important carrier of Hunan culture. In ancient times, restricted by economic conditions and transportation, ancient people could only use local materials to make tools needed for daily life. The origin of bamboo weaving can be traced back to the Neolithic Age. The Neolithic Age refers to the last phase of the Stone Age in archaeology, beginning about 10,000 years ago and ending from 5,000 to 2,000 years ago. During the Gaomiao culture of Hunan province, which dates back to more than 7,000 years ago, a bamboo mat was placed under the skeleton of a female body. There is no visual difference between this bamboo mat and today's bamboo mat products, but it has been charred (Jiang Xiangdong 2019, 146) More than 6,000 years ago, traces of bamboo weaving were found on cultural relics unearthed from Tujiatai site in Nanxian county （a county in Yiyang）during the Daxi Culture period（Pan & Tan 1994, 34）The Daxi culture dates from about 4400 to 3300 BC. The discovery of Daxi culture reveals a regional cultural heritage in the middle reaches of the Yangtze River, which is dominated by red pottery and contains colored pottery. Bamboo handles for spears were unearthed from the tomb sites of the Warring States Period. Yiyang bamboo weaving became a trade in the Ming Dynasty and was exported in the Qing Dynasty. The Yiyang Museum also displays bamboo products from the Qing Dynasty, including bird cages, baskets, and so on. In the old days, farmers used to make baskets of bamboo to carry things, make hats to hide from the sun and wind and rain, make backpacks to carry farming things, and bamboo fans made of bamboo became a tool for farmers to avoid the summer heat and keep cool. In summer, after a hard day’s work, farmers lie on top of the deck chair made of bamboo, shaking the fan, chasing away mosquitoes, listening to the cicadas, looking at the moon overhead, and chatting with neighbors. These show that Yiyang bamboo weaving has a long history.

[[File:Ancient Bamboo pruducts.jpg]] [[File:Room made of bamboo.jpg]]

===Yiyang' s Natural Environment and Bamboo===
Yiyang, a prefectural city under the jurisdiction of Hunan Province, is located in the central and northern part of Hunan province, on the south bank of Dongting Lake(洞庭湖). It has been a fertile "land of fish and rice"（鱼米之乡） in the south of the Yangtze River since ancient times. Yiyang has a humid subtropical continental monsoon climate with generally high temperatures, cold winters and hot summers, and abundant precipitation year after year. It rains a lot in July and generally has low sunshine throughout the year. The average annual temperature is 16.1℃-16.9℃, sunshine 1348 hours to 1772 hours and rainfall is 1230mm to 1700mm, which is suitable for growing crops. Yiyang's climate and ecological environment are very suitable for the growth of bamboo. Yiyang is rich in Phyllostachys heteroclada（水竹）and phyllostachys pubescens （楠竹）. Phyllostachys heteroclada has excellent elasticity and toughness, fine texture, and enjoys a cool and humid environment with excellent water absorption performance and a cool bamboo body. It is an excellent material for weaving various living and production appliances. Phyllostachys pubescens can be used to weave all kinds of utensils and crafts, branches as brooms, and young bamboo as raw materials for paper.

Yiyang has abundant bamboo resources. Taojiang County(桃江) is under the jurisdiction of Yiyang City of Hunan Province, known as the township of Bamboo. According to reports from Hunan province in recent years, Yiyang's bamboo forest covers an area of 2.36 million mu(about 177333 hectares）（Mu is a unit of land area under the municipal system in China. One mu is about 666.667 square meters. Fifteen mu equals one hectare）, and its rich bamboo resources support the development of the local bamboo industry. In 2020, the output value of the bamboo and bamboo industry in Taojiang County reached 12 billion yuan, and 200,000 farmers engaged in local bamboo production and processing（Wen, Xiong & Hu 2022, 44）, which shows how important bamboo is in the production and life of Yiyang people.

[[File: Bamboo Sea of Taojiang.jpg]]

There are different types of bamboo weaving art developed in Yiyang. According to the form, bamboo weaving can be divided into three-dimensional weaving, plane weaving, and mixed bamboo weaving（Guo Jie 2011, 90）. For example, the bamboo mats and fans commonly used by workers are plane weaving. Some bamboo baskets, bamboo boxes, and bamboo hats are woven in three dimensions. Whether it is flat or three-dimensional weaving, it requires a high level of skill and patience to complete beautiful bamboo weaving work.

Xiaoyu Bamboo Art(小郁竹艺) is an excellent traditional handicraft in Yiyang and is a representation of the development of Yiyang's bamboo industry. Xiaoyu Bamboo Art ware is beautiful in shape and fine in workmanship. In 2006, Xiaoyu Bamboo Art was listed in Hunan Province’s first batch of intangible cultural heritage protection lists. It was selected into the third batch of the National Intangible Cultural Heritage protection list in 2012. According to UNESCO, Intangible cultural heritage is traditional, contemporary, and living at the same time. It does not only represent inherited traditions from the past but also contemporary rural and urban practices in which diverse cultural groups take part. Intangible cultural heritage is not merely valued as a cultural good, on a comparative basis, for its exclusivity or its exceptional value. It thrives on its basis in communities and depends on those whose knowledge of traditions, skills, and customs are passed on to the rest of the community, from generation to generation, or to other communities. Intangible cultural heritage includes oral traditions and forms of expression; performing arts; social practice, ceremony, and festival activities; traditional crafts, and so on. Xiaoyu Bamboo Art belongs to the traditional handicraft so it is a kind of intangible cultural heritage. As one of Yiyang’s three national intangible cultural heritages, it can be seen that Yiyang has devoted a lot of effort to build the bamboo brand.

However, with the development of science and technology and the progress of people's living standards, more and more traditional handicrafts have gradually disappeared, and there are fewer and fewer craftsmen. Even Xiaoyu Bamboo art is facing development difficulties. How to inherit and develop bamboo weaving art is worth thinking about.

[[File: Xiaoyu Bamboo Art.jpg]]

===The Procedure of Bamboo Weaving--Bamboo Mat as an example===
Because Yiyang bamboo weaving products are numerous, due to the limitation of space, the following is a brief introduction to the weaving process of the bamboo mat. Yiyang is hot and humid in summer, and the bamboo mat woven with bamboo strips has always been a traditional antidote to the heat. As early as during the reign of Emperor Yuanshun (元顺帝 1333-1370), the people of Yiyang began to weave bamboo mats with Phyllostachys heteroclada（水竹）as raw materials, with a history of more than 600 years（Liu & Liu 2014, 98）. A handmade mat in Yiyang can be sold for around 800 to 1,500 yuan. This kind of bamboo mat is placed on top of the sheets in summer and is very cool. Every night before going to bed, it needed to wipe with hot water to absorb heat as the water evaporates. When people lie down on the bamboo mat, sweat is absorbed by the bamboo, then body temperature will drop and the bamboo becomes more warm and cool. The longer the bamboo mat is used, the better the heat dissipation performance is. With the use of time getting longer and longer, the surface of the bamboo mat is getting smoother and darker. The bamboo mat that has not been used at the beginning is yellow, and gradually becomes red, and finally becomes dark brown. A good mat will last 20 or 30 years without deterioration. Such durable bamboo mats cannot be made without excellent bamboo materials and meticulous workmanship by craftsmen. Although bamboo mat is a kind of flat weaving, it also requires a lot of skills. A series of steps are required to process the raw material before the product can be woven.

[[File:instruments.jpg]]

The first is choosing which bamboo to use as raw material. As mentioned above, there are many Phyllostachys heteroclada and phyllostachys pubescens in Yiyang, so these two kinds of bamboo are generally used. One reason is that this kind of bamboo is abundant, widely distributed, easily transported, and grows relatively quickly compared with other kinds of bamboo, making it easy to use materials. Second, this kind of bamboo is tough, not easy to break, and has high compressive strength, which is very suitable for use as bamboo weaving material. The bamboo mat in Yiyang is usually bamboo that has grown for 3-5 years, and the fiber of such bamboo has been finalized. The growing environment of water bamboo also affects the quality of bamboo. Phyllostachys heteroclada growing on the hillside has a dense texture, while Phyllostachys heteroclada growing near the lakes and fields has a loose texture. Although bamboo prefers wet and damp conditions, it cannot be processed if it grows with little or no sunlight. Selecting raw materials is also an art.

Secondly, after selecting the raw material, the bamboo should be fully soaked to make it shrink, and after soaking, the bamboo should be dried, and only after fully drying can the bamboo be treated. Generally, it takes a few days of exposure to dry the bamboo, but since it rains a lot in the summer in Yiyang, it usually takes a little longer. If want to shorten the work period, workers should look at the weather forecast in advance.

After the bamboo is dried, the knotted part of the bamboo needs to be scraped off, which is a step called Juan Jie（卷节）. It means that after selecting the right bamboo, the bamboo is initially treated with a gimlet knife（蔑刀）. First, the craftsman scrape off the protruding parts of the bamboo joints so that they are as flat as possible against the bamboo wall.

The middle of the bamboo is not unobstructed; there are bamboo joints inside the bamboo that also need to be removed. This step is called Qu Jie(去结)。The next step is to scrape the green surface of bamboo（刮青）. Bamboo woven products are usually yellow or dark red in color, not the green color of the bamboo surface. The layer of greenish skin on the outside of the bamboo is called bamboo green(竹青). The yellow part on the inside of bamboo is called bamboo yellow（竹黄）. The craftsman uses a knife to scrape the green off the outer layer of the bamboo. It is important to scrape the green from the top down so that the bamboo skin is not damaged. Scraping the green is a technical task; if the scraping is deep, it will affect the beauty and durability of the bamboo, while if the scraping is shallow, the residual green will also affect the beauty. In addition to this reason, there is another reason for scraping the green. The surface of the bamboo may leave spots, and removing the bamboo green can also remove the spots. There are also differences in the hue of the bamboo surface due to the age and growing environment of the bamboo, and most craftsmen choose to remove the bamboo green in order to unify the hue, although this step is very hard and time-consuming.

[[File:Gua Qing.jpg]] [[File:Bamboo sticks.jpg]]

The next step is called Qi Jian(起间). The craftsman uses a cleaver to split the bamboo in half, and on top of that, he keeps splitting it in half until it reaches the desired width. This ideal width depends on the bamboo sticks(竹篾 Zhu Mie). Bamboo sticks, called Mi Pian Zi in the Yiyang dialect, are thin strips of bamboo, which are the basic material for bamboo weaving, and with which the artisan can begin to weave. There are two types of bamboo sticks: thin sticks and thick sticks. The difference between thin and thick sticks is mainly in width, followed by thin sticks that are softer and more delicate, with better smoothness and comfort. After that, it is necessary to split the sticks(分蔑). Specifically, each section of bamboo is split into three parts: a surface layer, a middle layer, and an inner layer. The craftsman has to divide the bamboo into three layers, which are only about one millimeter thick, which tests the craftsman's experience and skill.

The next step is San Fang（三防）. This is to prevent mold, moths, and cracking. By doing San Fang, bamboo mats can be preserved and used for decades. Bamboo is prone to mold and attracts pests at the right temperature and moderation, resulting in poor quality bamboo. Mildew and insect infestation can also hinder the beauty of bamboo weaving. There are also many ways to prevent insects in bamboo. Physical methods include a high-temperature method, chemical methods include steaming, soaking, and smoking. In addition to preventing mold and insects, it is also necessary to prevent the bamboo sticks from cracking, for example, there is the pressurization method. The bamboo material is subjected to external forces that can eliminate internal forces and prevent cracking. Generally, the artisan puts the divided bamboo sticks into a pot and steams them in boiling water for about an hour. After the high temperature steaming, it can prevent insects and mildew, and also increase the softness of the bamboo for the next weaving step.

Then the artisan should dye the bamboo sticks. The dyeing of bamboo sticks is an extremely important process in the manufacturing process of bamboo weaving. Heat is used to increase the dyeing speed. The addition of surfactants to the dyeing solution(染液) is an effective means of improving the dyeing effect by giving it higher adsorption and surface activity. Dyeing solution composition, dyeing time, room temperature, and moisture content of the bamboo sticks all affect the dyeing effect of the sticks（Ref. Sun Delin, Liu Wenjin & Yao Wenliang 2012, 9）.In addition to dyeing with solution, workers can also dye the main material with hot oil. The dried bamboo material is placed inside the hot oil at 200 degrees Celsius. The bamboo material taken out appears purplish red. Bamboo dyeing is a very complicated procedure, and the color is unpredictable every time. Since each layer of fiber is different, this can lead to uneven absorption of the solution and differences in the resulting dyeing effect. The consistency of the color is the basis for the artistic effect of bamboo weaving. Inconsistencies in the color of the sticks affect the presentation of the bamboo weaving.

All the steps before weaving have been completed and the bamboo sticks are ready. Bamboo mats have nearly 20 working procedures, and each square meter weighs 470 grams above. Generally, bamboo mats are arranged with 14 or 16 sticks per 3.3 centimeters, and the high-quality products are 18 ~ 24 sticks. Bamboo mats can be woven into patterns such as phoenix tails, plum blossom scenes, interlocking locks, flowers and birds, insects and fish, figures, landscapes, paintings, and other patterns(Su Wei 2010, 7). The pattern of ordinary household bamboo mats looks like the Chinese character "ren"(人). This highly regular weaving technique is relatively simple. The next bamboo stick can be hidden under the previous bamboo stick so that the surface of the bamboo mat is smooth and flat. In addition, this style is also convenient for bamboo mat maintenance.

Weaving techniques are also very rich. There are two main weaving methods of the bamboo mat in Yiyang:Tiao 2 Ya 2 (挑2压2) and Tiao 3 Ya 3(挑3压3). Tiao 2 Ya 2 (挑2压2) means that the two sticks are on top and the two stricks are on the bottom, which is the most commonly used and delicate method of bamboo mat weaving. Tiao 3 Ya 3(挑3压3) means 3 bamboo sticks on top and 3 bamboo sticks on the bottom. Few people use this method at present(Liu & Liu 2014, 100). A good craftsman weaves a bamboo mat that is durable. Everything must be measured as if it had been.

Now let's introduce t bamboo mat with a “人” pattern, which is woven in the way of Tiao 2 Ya 2 (挑2压2). Start from the middle part of the right triangle on one side of the mat. The starting part is about five cun wide（寸, a unit of length, five cun about 16 centimeters）, and the length is about one meter in the right direction. When weaving the main part, the craftsman uses a bamboo board to press the whole starting part and sits cross-legged on the mat, picks up the sticks from both sides to the middle at the same time with both hands, then picks up the sticks with his index finger and put them into his palm. After all of them are picked up, pick up the bamboo board with the right hand and put it under the picked sticks, then put in the sticks to be woven, and knock them hard and evenly. Repeat this step. When most of the bamboo mat is finished, the artisan twists and closes the edges of the mat（扭边和收边）. The four sides of the mat are dipped in water to prevent the bamboo sticks from breaking, and then the reverse side of the sticks is twisted to 360 degrees to cover the sticks below. The craftsman squats barefoot on top of the mat, cuts the twisted sticks, leaving only one cun long, and sets the front sticks at a 30-degree angle into the back sticks, finishing one by one by pressing two. After closing the edge, insert the closed sticks into the seam of the mat, and arrange them in order, without overlapping and without breaking.

[[File:Bamboo mat.jpg]] [[File:Weaving.jpg]]

This technique is actually very complicated, and it usually takes 4 or 5 days for an old craftsman to finish weaving a cool mat. If a new man learns to weave bamboo mats, many mistakes will be made, such as wrong patterns, and he may even get injured. Nowadays, there are fewer and fewer men who know how to weave bamboo mats because there are technical requirements, not everyone can weave well, and fewer and fewer people are willing to spend time learning how to weave. The development and inheritance of the Yiyang bamboo mat are the results of thousands of years of polishing and perfecting.

===Conclusion===
Chinese bamboo weaving products have a long history, the production skills are very exquisite, and gradually to the direction of elegant art. Traditional bamboo weaving is the precious wealth of Chinese culture, but under the strong impact of industrial civilization, the status of handicrafts has been greatly inferior. At present, the Yiyang bamboo products processing level is still in the primary stage, and there is no high technology content. Most of them are made by hand, and a low production rate has always been a problem. Even though machine production is now vigorously developed, the quality of products is difficult to match that of hand weaving. The shape and color of bamboo products in Yiyang are slightly inadequate. The price of bamboo crafts is relatively low. There is a lack of good brands and few high-grade artworks that combine the advantages of product decoration effect, practical efficiency, innovation ability, and art appreciation in one. The art of bamboo weaving in Yiyang has survived thousands of years of weathering and it has been quite difficult to survive(Luo Fen 2013, 42). We need to research and develop new techniques, develop new ideas, pioneer and innovate on the basis of inheriting traditional handicrafts and do a good job of modernizing and transforming the art of bamboo weaving. First of all, set up a bamboo art industry association, organize and plan bamboo art expositions, and regularly host bamboo culture seminars, which can promote exchanges between bamboo weaving artists, bamboo weaving enthusiasts, and bamboo weaving researchers, and can also play a propaganda role. Second, increase the training of talents. We can introduce advanced technology from domestic and foreign places where the art of bamboo weaving is better developed, send Yiyang’s bamboo weaving artists and processing and production personnel to other regions to learn modern science and technology, or give appropriate financial subsidies to bamboo weaving inheritors. Yiyang bamboo weaving is an extremely representative traditional craft of Yiyang. It is also an indispensable part of our Chinese cultural treasures. The preservation and protection of Chinese traditional crafts is the top priority.

===References===
* Guo Jie 郭杰.(2011). 浅谈益阳竹编工艺[A Brief Discussion on Yiyang Bamboo Weaving Technology].''现代交际'' Modern communication,(06):90.
* Jiang Xiangdong 姜向东.(2019).湖南传统竹编的传承和发展[Inheritance and Development of Hunan Traditional Bamboo Weaving].''艺海'' The Sea of Art(01),146-149.
* Liu Yingwu & Liu Lang 刘英武 & 刘浪.(2014).茅竹湖水竹凉席装饰特征与制篾工艺探析[The Analysis of Decorative Features and Bamboo Sheet Technology of Maozhu Lake Bamboo Mat]. ''装饰'' Decoration (07),98-100.
* Luo Fen 罗芬.(2013).益阳竹编艺术的研究与开发[Research and development of Bamboo weaving art in Yiyang]湖南师范大学 Hunan Normal University
* Pan Yuehui & Tan Guoming 潘茂辉,谈国鸣.(1994).南县涂家台早期新石器时代遗址调查报告[Investigation report on the Early Neolithic site of Tujiatai, Nanxian County]. ''湖南考古辑刊'' Journal of Hunan Archaeology (00),34-43.
* Su Wie 苏伟.(2010). 益阳水竹凉席[Yiyang's Bamboo Mat]. ''湖南农业'' Hunan Agriculture (02),7.
* Sun Delin, Liu Wenjin & Yao Wenliang 孙德林,刘文金 & 姚文亮.(2012).竹篾染色工艺的优化研究[Optimization of Bamboo Sticks Dyeing Research].''包装工程'' Packaging engineering (05),9-12.
* Wen Aihua, Xiong Yanhui & Hu Dehe 文爱华,熊艳辉 & 胡德合.(2022).把乡里笋竹做成“世界宝宝”[Make Bamboo Shoots into "World Babies"]. ''湖南农业'' Hunan Agriculture(01),44-45.
* Xu Wei 徐薇.(2012).益阳小郁竹艺工艺与文化研究[Study on the Craft and culture of Yiyang Xiaoyu Bamboo Art] 湖南师范大学 Hunan Normal University.

===Terms and Expressions===
1. 竹编 bamboo weaving
2. 竹篾 bamboo split
3. 水竹 Phyllostachys heteroclada Oliver
4. 毛竹 Phyllostachys edulis
5. 亚热带季风气候 subtropical monsoon climate

===Questions===
1. What is the climate type of Yiyang?
2. What is the National Intangible Cultural Heritage of Yiyang?

===Answers===
1. subtropical monsoon climate
2. Xiaoyu Bamboo Weaving art

==英语笔译邝雨琪 Kuang Yuqi 202170081572==
<center>'''Chinese Mooncake Culture'''</center>

<center>Kuang Yuqi</center>

===Abstract===

===Key words===

===Introduction===
Chinese moon cake is the representative food of the Mooncake Festival, or more commonly known as Mid-Autumn Festival. It is a kind of round cookie with various fillings and different artistic patterns on the surface, depicting the legends of the festival and conveying auspicious meanings. During the festival, people sacrifice these cookies to the moon as offerings, eat them for celebration and present them to relatives and friends for good wishes. ......
===I ===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===II ===

===III ===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.
===Terms and Expressions===

===Questions===

===Answers===

==英语笔译黎溢佳 Li Yijia 202170081573==
<center>'''On Gender Discrimination in Chinese'''</center>
===Abstract===

===Key words===
'''Language; Cultural Factors; Gender Discrimination; Chinese'''
===Introduction===

==英语笔译李思敏 Li Simin 202170081574==

==英语笔译李思源 Li Siyuan 202170081575==

<center>'''Chinese Lantern Culture'''</center>

<center>Li Siyuan</center>

===Introduction===
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.

===The origin of Chinese Lantern civilization and typical kinds===
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony.
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories.
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.

===Some common cultural implications of Chinese lantern===

Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.

===The symbolic significance of lanterns in film and television works===
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.
===References===
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.
===Terms and expressions===
Calligraphy lanterns书法灯笼
Paper-cut lanterns 剪纸灯笼
Lantern Festival 元宵节
Spring Festival 春节
carrier 载体
auspiciousness 吉祥
reunion 团圆
bumper harvest 五谷丰登
Zhao Jun Out of the Frontier 昭君出塞
the fifteenth day of the first month of lunar year 正月十五
The Legend of Zhen Huan 甄嬛传

===Questions===
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?
===Answers===
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.

==英语笔译李婷 Li Ting 202170081576==
<center>'''Language Culture in Chinese Cuisine Names'''</center>

<center>Li Ting</center>

===Introduction===
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.

===Looking at Chinese Cuisine Names through Linguistics===
'''1. Meanings of Cuisine Names'''

In terms of the meanings of cuisine names, they can be briefly divided into the following three types:

The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182)

The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)

The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)

[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]

'''2. The Naming Methods of Dish Names'''

The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:

'''2.1 Named after Ingredients and Cooking Methods'''

This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on.

Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )

'''2.2 Freehand Naming'''

Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)

[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]

'''2.3 Named after a Person or a Place'''

There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154)

In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)

[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]

'''2.4 Named after Historical Allusions'''

Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)

[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]

'''2.5 Named after Numeral Abbreviations'''

Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )

'''2.6 Named after Animals and Plants Names'''

People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )

[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]

Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )

'''2.7 Named after Precious Metals and Jade'''

Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )

[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]

'''2.8 Named after Auspicious Words'''

In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)

'''3 Rhetorical Devices in Cuisine Names'''

When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.

'''3.1 Figure of Speech'''

The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)

[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]]

These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.

'''3.2 Hyperbole'''

Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.

'''3.3 Allusion'''

The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)

'''3.4 Personification'''

Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.

===The Cultural Connotation of Chinese Cuisine Names===
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.

'''1. The Good Meanings and Visions in Cuisine Names'''

Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.

'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names'''

Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)

In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.

'''3. Regional Features in Cuisine Names'''

There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.

The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)

The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)

Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)

===The Psychological Functions of Chinese Dish Names===
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.

It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)

The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)

In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)

===Conclusion===
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.

===References===
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.

* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.

* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188.

* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.

* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.

* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.

* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.

* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.

===Terms and expressions===
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁

The Braised Turtle in Brown Sauce：红烧甲鱼

Cold Noodles with Chicken Shreds：鸡丝凉面

Mapo Tofu：麻婆豆腐

Shrimp with green Vegetable：翡翠虾仁

Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子

Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙

Cut: 切 chop：剁 split：劈 scrape：剔

Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥

Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤

stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌

Corn Meatballs：玉米肉丸

Sweet and Sour Fish：糖醋鱼

Fried Shrimps with Tomato Sauce：茄汁虾仁

Diced Chicken with Cashew Nuts：腰果鸡丁

Diced Chicken with Green Pepper：辣子鸡丁

Pork Shreds with Fish Seasoning：鱼香肉丝

Steamed Perch：清蒸鲈鱼

Braising Carp with Soy Sauce：红烧鲤鱼

Quick-frying shredded Mutton with Scallion：葱爆羊肉丝

Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条

Pork Cooked with Green Chili：辣椒炒肉

Scrambled Egg with Tomato：番茄炒蛋

Hairy Crabs：大闸蟹

Golden Coin-shaped Scallops：金钱干贝

Sour and Hot Diced Chicken：酸辣鸡丁

Sweet and Sour Ribs：糖醋排骨

Cola Chicken Wings：可乐鸡翅

Braised Meat Balls in Brown Sauce：红烧狮子头

Tai Chi Shaped Taro：太极芋头

Stewed Assorted Delicacies：全家福

Wishful Bamboo Shoots：如意笋

Wen Si Tofu：文思豆腐

Dongpo Meat：东坡肉

Peking Duck：北京烤鸭

West Lake Fish in Vinegar Sauce：西湖醋鱼

Zhijiang Fried Duck with Varied Ingredients：芷江鸭

Meat in Tomato Sauce：乾隆樱桃肉

Murrel with Fresh Vegetables：将军过桥

Changban Slope：长坂坡

Two Winter：二冬

Three Delicacies：三鲜

Three Shreds：三丝

Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗

Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁

Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参

Fried Magnolia Slices：炒玉兰片

Fried Bamboo Shoots Slices：炒笋片

Salted Pork in Jelly：水晶肴肉

Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋

Jade and White Jade, Shrimp with green Vegetable：翡翠白玉

Mirror Box Tofu：镜箱豆腐

Squirrel-shaped Mandarin Fish：松鼠鳜鱼

Shrimp Ring with Green Vegetable：翡翠虾环

Golden Eggs：金钱蛋

Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝

Farewell My Concubine：霸王别姬

Chicken Slices with Hibiscus：芙蓉鸡片

Scallops with Hibiscus：芙蓉干贝

Clams with Hibiscus：芙蓉青蛤

The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕

The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡

Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠

Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠

Crusade against daddy：早生贵子

Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅

The Sacred Family of the Confucian Mansion：孔府衍圣公

Siraitia Grosvenorii：罗汉果

Prajna Dishes：般若菜

Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴

Yin and Yang Fish：阴阳鱼

Heaven and Earth Eggs：乾坤蛋

Mutton eaten with hands：手抓羊肉

Sweet and Sour Pork：咕咾肉

Pearl Bean Curd：珍珠豆腐

Golden Prawn：金钱明虾

Crispy Duck：脆皮八宝鸭

Spiced Beef：五香牛肉

Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会

Full of Prosperity：满园春色

===Questions===
1.How many naming methods are mentioned?

2.Who is the Four-Joy Meatballs associated with?

3.In the Chinese cuisine names, what is hibiscus often used to refer to?

===Answers===
1.Eight.

2.Zhang Jiuling

3.Egg white.

==英语笔译李欣 Li Xin 202170081577==

==英语笔译李颖 Li Ying 202170081578==

==英语笔译李媛 Li Yuan 202170081579==

==英语笔译李梓婕 Li Zijie 202170081580==
<center>'''Confucius Institutes'''</center>

<center>Li Zijie</center>

===Introduction===
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese.
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.

===Overview of Confucius Institutes===

===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===

===Analysis of the Current Situation of Confucius Institutes (Case Study)===

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answer===

==英语笔译梁思婷 Liang Siting 202170081581==

==英语笔译廖诗韵 Liao Shiyun 202170081582==

==英语笔译刘唱 Liu Chang 202170081583==
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory
--Taking League of legends as an Example'''</center>

<center>Liu Chang</center>

===Abstract===
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===Key words===
Skopos Theory; Game Translation; League of Legends

===Introduction===
(1)Research Background

With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material.

(2)Brief Introduction to League of Legends

League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.

(3)Purpose and Significance of Game Translation

As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.

===Literature Review===
(1) Review on Research of Skopos Theory of Translation

Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”
There are four stages of the development of the Skopos Theory of Translation:
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).

(2)Review on the Research of Game Translation

With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011).

(3)Summary

The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.

===Methods and Theories===
(1)An Introduction to Skopos Theory

Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text.
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.

(2)Basic Rules of Skopos Theory

(2.1)The Skopos Rule

In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15).

(2.2)The Coherence Rule

Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator.

(2.3)The Fidelity Rule

The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose.

(3)Summary

After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.

===Translation Under Skopos Theory===
(1)Translation Under Skopos Rule

LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals.

Example 1:

Original version: Xayah, Rakan

Chinese version：霞、洛

In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.

Example 2

Original version: Here’s a tip and a spear behind.

Chinese version: 一点寒芒先到，随后枪出如龙。

In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player.

(2)Translation Under Coherence Rule

The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: the outlaw

Chinese version: 法外狂徒

Nick name: 男枪

The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player.
Example 2:

Original version: The Deceiver

Chinese version: 诡术妖姬

In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.

(3)Translation Under Fidelity Rule

The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: Monkey King

Chinese version: 齐天大圣

In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.

Example 2:

Original version: The fist of Shadow

Chinese version: 暗影之拳

In this case, the translator just uses the literal translation to translate the title, also there is
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.

===Mistranslation in League of Legends===
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.

(1)Mistranslation Against Skopos Rule

In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.

Example 1:

Original version: Minotaur

Chinese version：牛头酋长

In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.

Example 2:

Original version：The Lady of Clockwork

Chinese version: 发条魔灵

In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.

(2)Mistranslation Against Coherence Rule

During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.

Example 1:

Original version: The might of Demacia

Chinese version: 德玛西亚之力

In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.

Example 2:

Original version: The Defender of Tomorrow

Chinese version: 未来守护者

In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.

(3)Mistranslation Against Fidelity Rule

During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.

Example 1:

Original version: The Rabble Rouser

Chinese version: 酒桶

In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.

Example 2:

Original version: The Hexplosive Expert

Chinese version: 爆破鬼才

In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.

(3)Summary
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.

===Conclusion===
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style.
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===References===
Chesterman, A. Readings in Translation Theory[M]. Helsinki: Oy Finn Lectura Ab. 1989.

Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.

Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.

Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.

Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.

Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.

Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.

Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.

Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.

Vermeer, H. Skopos Theory of Translation[M]. 1996.

Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.

Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.

Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.

Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.

Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.

Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.

Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.

Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.

Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009.

Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.

==英语笔译刘乐乐 Liu Lele 202170081584==

==英语笔译刘双英 Liu Shuangying 202170081585==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===Subtitle2===
===Subtitle2===
===Conclusion===
===References===

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insuffcient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===
Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, The Three-Body Problems, has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Literature Review===

===Methods and Theories===

===1. Chinese Science fiction===

1.1 Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her Frankenstein, published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and 20,000 Leagues Under the Sea, The Mysterious Island and Captain Grant's Daughter are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include The Time Machine, The First Man on the Moon and When the Sleeper Wakes. Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (Han Song, 2010: 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic Around the World in Eighty Days (then titled《八十日环游记》in Chinese translation) (Guo Yanli, 1998: 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel From the Earth to the Moon and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (Jiang Qian, 2007: 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by Five Weeks in the Balloon and wrote The Moon Colony, one of the earliest science fiction novels in China. In 1905, Xu Nianci published The New Mr. Fallo Tan, which was actually a sequel to the German Mr. Fallo Tan. Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. From Earth to Mars, written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as Science Fiction World, which was founded in 1979, and Science Fiction Ocean, which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (Kong Qingdong, 2003: 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (Wang Xueming, Liu Yi, 2015 : 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's Wandering Earth, The three-body problem, and Supernova Era, Hao Jingfang's Beijing Folding, Han Song's High Speed Rail, and Subway. After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''Dissemination of Chinese Contemporary Literature'''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===

===Key words===
Chinese Contemporary Literature; dissemination; Yu Hua; Liu Cixin

===Introduction===

===Dissemination of Chinese Contemporary Literature in Different Regions===

===Dissemination of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present). In the first stage, Chinese contemporary literature translated to English-speaking countries focused more on social and political aspects than on literary aspects. In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak. Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than propaganda; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and market. The English-speaking world and Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin'''</center>

<center>Liu Zhen</center>

===Introduction===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. It is sometimes referred to by the Chinese as "the father of Chinese music" or "the instrument of the sages." The Guqin is a very quiet instrument, with a range of about four octaves, and its open strings are tuned in the bass register. Its lowest pitch is about two octaves below middle C, or the lowest note on the cello. Sounds are produced by plucking open strings, stopped strings, and harmonics. The use of glissando—sliding tones—gives it a sound reminiscent of a pizzicato cello, fretless double bass or a slide guitar. The qin is capable of over 119 harmonics, of which 91 are most commonly used. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

===Origin===
According to legend, the qin, the most revered of all Chinese musical instruments, has a history of about 5,000 years. The legendary figures of China's pre-history—Fuxi, Shennong and Huang Di, the "Yellow Emperor"—were involved in its creation. Nearly almost all qin books and tablature collections published prior to the twentieth century give this story as the factual origin of the qin. The qin is mentioned in Chinese writings dating back nearly 3,000 years, and related instruments have been found in tombs from about 2,500 years ago. The exact origin of the qin is still a subject of historical debate.

===Development History===
The ancient form of the qin was short (almost a third of the size of a modern qin) and probably only played using open strings. This is because the surface of these early qins where not smooth like the modern qin, the strings were far away from the surface, which was engraved, and did not have markings for the harmonic positions.

Based on the detailed description in the poetical essay "Qin Fu" (琴赋) by Xi Kang (223–262), the form of the qin that is recognizable today was probably set around the late Han Dynasty. The earliest surviving qin in this modern form, preserved in both China and Japan, have been reliably dated to the Tang Dynasty. Many are still playable, the most famous perhaps being the one named "Jiuxiao Huanpei" 《九霄环佩》, attributed to the famous late Tang dynasty qin maker Lei Wei (雷威). It is kept in the Palace Museum in Beijing.

In 1977, a recording of "Liu Shui" (流水) (Flowing Water, as performed by Guan Pinghu, one of the best qin players of the twentieth century) was chosen to be included in the Voyager Golden Record, a gold-plated LP recording containing music from around the world, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecrafts. It is the longest excerpt included on the disc. In 2003, guqin music was proclaimed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.

===Construction and Strings===
According to tradition, the qin originally had five strings, representing the five elements of metal, wood, water, fire and earth. Later, in the Zhou dynasty, Zhou Wen Wang (周文王) added a sixth string to mourn his son, Bo Yihou (伯邑考). His successor, Zhou Wu Wang, added a seventh string to motivate his troops into battle with the Shang. The thirteen hui (徽) on the surface represent the thirteen months of the year (the extra 13th is the 'leap month' in the lunar calendar). The surface board is round to represent Heaven and the bottom board flat to represent earth. The entire length of the qin (in Chinese measurements) is 3 chi, 6 cun and 5 fen (三尺; 六寸;五分); representing the 365 days of the year (though this is just a standard since qins can be shorter or longer depending on the period's measurement standard or the maker's preference). Each part of the qin has meaning, some more obvious, like "dragon pool" (龙池) and "phoenix pond" (凤沼).

Until the Cultural Revolution, the guqin's strings were always made of various thicknesses of twisted silk (丝), but since then most players have used modern nylon-flatwound steel strings (钢丝). This is partly due to the scarcity of high quality silk strings and partly due to the newer strings' greater durability and louder tone.

Silk strings are made by gathering a prescribed number of strands of silk thread, then twisting them tightly together. The twisted cord of strings is then wrapped around a frame and immersed in a vat of liquid composed of a special mixture of natural glue that binds the strands together. The strings are taken out and left to dry, before being cut into the appropriate length. The top thicker strings (strings one to four) are further wrapped in a thin silk thread, coiled around the core to make it smoother. According to ancient manuals, there are three distinctive gauges of thickness that one can make the strings. The first is taigu (Great Antiquity) which is the standard gauge, the zhongqing (Middle Clarity) is thinner, whilst the jiazhong (Added Thickness) is thicker. According to the Yugu Zhai Qinpu, zhongqing is the best.

Although most contemporary players use nylon-wrapped metal strings, some argue that nylon-wrapped metal strings cannot replace silk strings for their refinement of tone. Furthermore, nylon-wrapped metal strings can cause damage to the wood of old qins. Many traditionalists feel that the sound of the fingers of the left hand sliding on the strings is a distinctive feature of qin music. The modern nylon-wrapped metal strings were very smooth in the past, but are now slightly modified in order to capture these sliding sounds.

Traditionally, the strings were wrapped around the goose feet (雁足) but a device has been invented, which is a block of wood attached to the goose feet, with pins similar to those used to tune the guzheng protruding at the sides, so one can string and tune the qin using a tuning wrench. This is helpful for those who lack the physical strength to pull and add tension to the strings when wrapping the ends around the goose feet. However, the tuning device looks unsightly and many qin players prefer the traditional manner of tuning; many also feel that the strings should be firmly wrapped around the goose feet so that the sound may be "grounded" into the qin.

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译龙翰良 Long Hanliang 202170081589==
<center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center>

<center>Long Hanliang</center>

===Abstract===

At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)

As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)

This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)

===Key words===

Chinese culture; Teaching Chinese as a second language; Cultural Exchange

===Introduction===

As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)

The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)

Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)

===Overall Design===
The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)

To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)

Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)

This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)

Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)

Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)

The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)

Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)

Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)

For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)

For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)

Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)

Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK.
Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)

The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)

The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)

The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)

===Test Assessment===
The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)

Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)

The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)

The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)

Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)

The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)

In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)

1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)

2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)

3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time.
At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)

Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)

As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)

===Means and methods===

Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)

After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)

Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)

We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)

One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)

For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)

First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)

For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)

This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)

The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)

There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)

The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)

However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)

Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)

===Textbook Compilation===
1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)

(1) Practicality

Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)

The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)

It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)

The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)

(2) Knowledge

The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)

Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)

(3)Scientificity

1. To teach standardized and common Chinese characters

The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)

The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)

In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)

2. The organization of teaching content should conform to the law of language teaching

The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)

The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)

The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)

(4)Interest

Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)

Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)

In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)

In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)

===Classroom Teaching===

Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)

This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)

The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)

The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)

Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)

In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)

The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)

It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)

Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)

At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：

1. Respect each other among different cultures and adhere to the principle of cultural equality.

2. Disseminate the essence of culture and avoid clamoring for attention.

3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)

In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)

===Training of TCSL Teachers===

With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

1. modern Chinese knowledge

Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

2. linguistic knowledge

The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

3. cultural knowledge

Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

4. foreign language knowledge

Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

===Conclusion===

After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)

===References===

Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.

Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.

Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.

Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)

国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm

===Terms and expressions===
Classroom teaching 课堂教学

HSK 中国汉语水平考试

Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）国家汉办

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区

mahjong 麻将

chow mein 炒面

===Questions===
1.What are the four links of the whole process and teaching activities of second language teaching?

2.When was HSK officially implemented?

3.What is the most important link of teaching activities among the four links of teaching activities?

4.What are the principles of spreading Chinese culture in Chinese education abroad?

5.What types of HSK exams are there?

6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?

===Answers===
1.Overall design, textbook compilation and selection, classroom teaching and achievement test.

2.The Chinese Proficiency Test (HSK) was officially implemented in 1990

3.Classroom teaching

4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.

Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.

Ⅲ. Handle sensitive issues properly and maintain national dignity.

5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).

6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.

==英语笔译罗姚林 Luo Yaolin 202170081590==
<center>'''Different Local Dialects in China'''</center>

<center>罗姚林 Luo Yaolin</center>

===Introduction===
Chinese dialects are branches of the Chinese language. The "Law of the People's Republic of China on the Common State Language and Script", promulgated on October 31, 2000, established Mandarin Chinese as the national language. During the development of Han Chinese society, there have been different degrees of differentiation and unification, thus making the Chinese language gradually produce dialects. There are various dialects of modern Chinese, and they are distributed over a wide area. The differences between modern Chinese dialects are phonetic, lexical, and grammatical, and the phonetic aspects are particularly prominent. Some domestic scholars believe that most dialects and common languages have certain phonological correspondence patterns, and many similarities in vocabulary and grammar, so they are not independent languages. Foreign scholars believe that people in each dialect area cannot talk to each other, so they are very independent languages, especially the dialects in Min language. Based on the characteristics of the dialects, the history of their formation and development, and the results of dialect surveys, the dialects of modern Chinese can be divided.

===the Origin of Chinese Dialects===

===Different Features of Dialects in China===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译马艳焕 Ma Yanhuan 202170081591==
<center>'''An overview on the study of Chinese folk stories '''</center>

<center>马艳焕</center>

===Abstract===
Shandong is a famous city of traditional culture with a long history. The traditional culture with local characteristics such as Dongyi culture and Qilu culture has left a valuable spiritual heritage for Shandong, in which folktales are loved by the people. The type of folktales roughly includes "myths", "legends", "stories" and so on, including natural change myths, hero myths, historical figures legends, religious figures legends, fairy legends, mountains and rivers legends, specialty legends, ghosts, foxes and spirits, animal stories, life stories, witty character stories and so on. This article will give an overview of the folk stories of Shandong Province, including the content of the story, the cultural and educational value carried by the story, the enlightenment to future generations, and so on.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592==
<center>'''Cultural Factors Behind the Spring Festival Travel Rush in China'''</center>

<center>聂薇</center>

===Introduction===
Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)

This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)

With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)

The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)
===The evolution of the Spring Festival travel rush===
As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)

In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)

(i) The difficulty of travelling during the Spring Festival in ancient times

Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)

In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)

Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem ''Longing for Going Back Home in the New Year'', “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)

(ii) The difficulty of travelling during the Spring Festival in modern times

The term "Spring Festival travel rush" was first used in 1980 by the ''People's Daily''. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)

With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)
===Cultural factors behind the Spring Festival travel rush in China===
The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)

(i) Confucian culture

In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)

The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)

It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)

The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)

In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)

A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, ''The Divine Child'', says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)

But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)

This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)

(ii) ceremonial culture

In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)

During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)

The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)

Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)

(iii) institutional culture

One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)

The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)

(ⅳ) the concept of family-and-nation

In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)

In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)

However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)

As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)

Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
===Way of relieving pressure from the rush===
Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
===The prevalence of the Anti-Spring Festival travel rush===
In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)

On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)

But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)

On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)

Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
===Conclusion===
No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)

The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)

Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)

The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)

It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)

The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)

Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)
===Terms and expressions===
Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）

The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

the system of urban-rural regional segregation：城乡区域隔离制度

the household registration system：户籍制度

the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
===References===
*Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29.
*Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33.
*Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82.
*Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36.
*Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87.
*Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
===Questions===
1.How long does the Spring Festival travel rush usually last?
A.30 days
B.40 days
C.50 days
D.60 days

2.Which one of the following group is not the main reason that results to the rush?
A.Migrant workers
B.Students
C.Those planning to visit relatives
D.Tourists

3.Which one of the following cultures is the main factor that encourages family reunion?
A.Confucian culture
B.Taoist culture
C.Buddhist culture
D.Christian culture
===Answers===
1.40days

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

<center>'''Chuanjing Work Songs'''</center>

<center>Sun Lijun</center>

===Introduction===

Work song, nicknamed haozi(号子) in Chinese, is a kind of folk song that is created and sung by the working people in the process of production, bearing a direct relation with the manual work. And the contents of Chuanjiang work songs are rich and colorful, the representative works are Kuixing Tower(《魁星楼》), Giant Turtledove(《大斑鸠》), Lanlong Work Song(《懒龙号子》) and so on. Moreover, work song truthfully reflects the labor conditions and the mental appearance of the boatmen, emerging as an indispensably organic part in those workers' life. Chuanjiang work song, as one kind of work songs, is a traditional folk music originated in the Southwest China, mainly in Sichuan Province and Chongqing Municipality just as its name implies. And Chuanjing work song is a form of folk singing, led by a labor singer and accompanied by a crowd of boatmen in order to unify action and rhythm. It is a song of life cast by blood and sweat of those boatmen when they are struggling with the dangerous shoals and rapids, which is indicative of the working people's hardworking and their courageousness. Affluent in cultural connotations and charismatic in language art, Chuanjiang work song is the crystallization of the labor and wisdom of people living in Sichuan and Chongqing, which demonstrates the unsophisticated nature and tenacious will of them, possessing very high cultural value. However, as time goes on, great progress has been made in science and technology and outstanding improvements have been achieved in raising people's material living conditions, thus there is no need for them to struggle to meet the basic needs. It is not an age of necessities nowadays though, with the acceleration of modernization, Chuanjiang work song has lost its material carrier of its existence and is slowly withdrawing from the stage of history. On May 20th, 2006, with the approval of the State Council of the People's Republic of China, Chuanjing work song was listed as the First Batch of National Intangible Cultural Heritage, and only after then it's protection and inheritance were gradually given attention by all parties, namely all walks of life and the rescue of this intangible cultural heritage became imminent. While just as a common saying goes, "Rome was not built in one day", the protection and inheritance of Chuanjiang work song are not an easy task, which needs massive investment of manpower, physical and financial resource. Mostly attracted by new high-tech products, many modern youngsters don’t have the least idea to understand and learn the Chuanjiang work song, not to mention that a sea of young people have never heard of Chuanjiang work song, which is a pity. Hence, there is a problem that still remains to be solved, that is how to raise youngsters' interests in and willingness to know more about Chuanjiang work song so as to better protect and inherit the endangered Chuanjiang work song.

===The History of Chuanjiang Work Songs===

Chuanjiang work song, which enjoys a long history and is unique among the work songs in Sichuan and Chongqing which is called Bashu area for short, is not only diverse in forms but also rich in contents.
From the Perilous Journey to the Land of Shu, which was composed by Li Bai, one brilliant and great poet in Tang Dynasty, we can tell that Bashu area had an extremely rugged landscape. "The westbound road to Shu, so steep, steeper than Heaven! I plod my way, step by step, sign after sign", these two lines from this poem Perilous Journey to the Land of Shu especially project a vivid picture for us to imagine and illustrate how peculiar and precipitous the Bashu area is since the ancient time! And Bashu area is crisscrossed by rivers and canals with more than 90 rivers and streams of various lengths, in addition to this, the overlapped peaks rise one above the other in Bashu area, inviting traffic inconveniences for this region. Hence, the cargo circulation and passenger transportation all were carried by wooden boats in the ancient time. According to some archaeological discoveries, the Neolithic stone anchors and the tracker's tome figures, which were excavated along the banks of the Yangtze River running through Bashu area, are the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song in Bashu area(Wu Mingshi, 2011:34-42).
However, it was around the middle of Qing Dynasty that the work songs gradually were on the upgrade. And the Chuanjiang work song was the fruit of those industrious boatmen's hardworking and life. According to the water potential and the depth, currents as well as other characteristics of the rivers, the dangers of reefs and submerged rocks to boats, the leader of those boatmen then created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen's rowing and pulling. And this is how Chuanjiang work song was produced. While after the founding of the People's Republic of China, the government began to set about the business of the regulation of inland waterway navigation, therefore rivers and lakes in the Chuanjiang River Basin were destroyed by explosions to the submerged reefs and rocks in order to dredge the rivers and build waterpower stations. So these turbulent rivers and treacherous shoals that inspired boatmen to sing work songs have been a thing of the past. As the motor ships gradually replaced the wooden boats, the old shipping industry lost its competitiveness and living space little by little. The figures of the boatmen of the old days who swept over the rapids and dangerous shoals and climbed the rocks while towing a boat are gradually vanishing from people's sight in modern times, what's more, the appealing sound of the Chuanjiang work songs is fading away, resulting in the adverse conditions faced by Chuanjiang work songs. And scholars in the academic circles generally believe that Chuanjiang work song is cultural treasure in the history of waterway transportation along the Yangtze River and its existence reflects the indomitable fighting spirit, heroic spirit and humorous traits of character of the working people in the Chuanjiang River Basin when in face of a hostile environment. Such kind of intangible inheritage culture is supposed and deserves to be protected well, carried forward and promoted well in order to make Chinese culture and language splendid and glorious.

===The Features of Chuanjiang Work Songs===

===The Geographical Distributions of Chuanjiang Work Songs===

===The Inheritance of Chuanjiang Work Songs===

===The Translation of Chuanjiang Work Songs===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594==
<center>'''The Influence of Chinese Traditional Philosophy in Contemporary Times'''</center>

<center>仝雨梦</center>

===Introduction===
Chinese traditional philosophy sprang up around the time of the Shang and Zhou Dynasties (1600 B.C.--- 256 B.C.), took shape at the end of the Spring and Autumn Period (770 B.C.--- 476 B.C.), and flourished during the Warring States period (475 B.C.--- 221 B.C.) when a hundred schools of thought were already competing. Developing for more than 3,000 years, Chinese traditional philosophy has long been an integral part of Chinese culture. Up to 1949, its development history can be broadly divided into three stages. First, the period of slavery and the period of transition from slavery to feudalism. Second, the period of feudalism. Third, the period of transition from feudalism to socialism. The philosophy of the first two stages is known as ancient Chinese philosophy. And the last is called modern Chinese philosophy.

===The Evolution of Chinese Traditional Philosophy===

===The Representative Schools of Thought===

===The Influence in Contemporary Times===

===Conclusion===

===References===

===Terms and Expressions===

===Questions===

===Answers===

==英语笔译童略雅 Tong Lueya 202170081595==

<center>'''A Brief Analysis of the Influence of Artificial Intelligence on Translators'''</center>

<center>Tong Lueya</center>

===Abstract===
The Internet, big data, artificial intelligence and other information technologies in the digital age have brought profound changes to the development of human society. Of course, translation is also affected without exception. Artificial intelligence is quietly changing the process of translation and the identity of the translator. Over recent decades, AI has developed rapidly and has been widely used in various fields. It has become the inevitable trend of social development. As a special human activity, translation has developed from the early mechanical machine translation to the current computer-aided translation (CAT), which is the embodiment of the integration of artificial intelligence technology and translation, and more and more people hold that this technology will replace manual translation. Based on the current development of AI and translation technology, this paper will explore the influence of the AI on translators, and then attempt to give some suggestions to them, so as to make full use of artificial intelligence to lead the development of translation and form a good situation of complementary advantages and mutual benefit.

===Key words===
Artificial intelligence; translator; influence; machine translation

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译庹树梅 Tuo Shumei 202170081596==
<center>'''Translation and Dissemination of Chinese Fairy Tales in the English-speaking World'''</center>

<center>Tuo Shumei</center>

===Abstract===

Chinese fairy tales are a literary style created by ancient Chinese people in the process of working life through long-term social practice. It is a literary style with a strong and distinctive national character, and is a bright and dazzling pearl in the treasury of Chinese culture. Internally, it is a source of cultural confidence, and externally, it is a channel for overseas readers to understand Chinese history, culture and society. Nowadays, with the increasingly frequent cultural exchanges between China and foreign countries, the English translation of Chinese mythological stories can help foreign readers better understand Chinese customs and traditions, and deepen their understanding of Chinese culture. Therefore, in order to tell Chinese stories and spread Chinese voices well, it is indispensable to tell Chinese Fairy Tales, spread Chinese mythological imagination and explain Chinese mythological wisdom.
The first chapter of this paper analyzes Chinese Fairy Tales from the perspective of its translation status and strategies in the English-speaking world. The second chapter analyzes Chinese Fairy Tales from the perspective of its dissemination in the English-speaking world and their dissemination strategies. Chapter 3 analyzes Chinese Fairy Tales from the perspective of how to improve its translation and dissemination in the English-speaking world. Chapter 5 analyzes Chinese Fairy Taliesin the English-speaking world from the point of view of its translation and dissemination significance.
===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译王思琪 Wang Siqi 202170081597==

==英语笔译王亚娟 Wang Yajuan 202170081598==

<center>'''Filial Piety in China'''</center>

<center>Wang Yajuan</center>

===Introduction===
Filial piety has been a trait of the Chinese nation since ancient times and has been passed down from generation to generation. As the core concept and main feature of traditional Chinese ethics, filial piety has long been enjoying priority and regiment to other qualities in the political and cultural life of traditional Chinese society. China's patriarchal social system predestines filial piety to go through a process from a religious ethic of ancestor worship to a family ethic and then to a political ethic. (Xiao Longhang 2006)
Since the pre-Qin period, monarchs have advocated respect for the elderly and used filial piety to educate the people; thinkers from various periods have put forward their ideas about respect for the elderly and have written books to preach them. In feudal society, when the system was highly prosperous, filial piety was closely linked to politics and became a criterion for selecting talents; in modern society, filial piety has also been given a new meaning in the modern era. (Fan Yan 2016) This article will focus on the origin and development of filial piety in China, analyze the cultural values and limitations of filial piety, and briefly compare and contrast filial piety in China and the West, aiming to give an analysis of the development of filial piety in China.

===The Evolution of Filial Piety in China===

===The Values and Limits of Chinese Filial Piety===

===Comparison of Chinese and Western Filial piety===

===Conclusion===

===Terms and Expressions===

===References===

===Questions===

===Answers===

==英语笔译肖冬晴 Xiao Dongqing 202170081599==
<center>'''On Verbal Humour in Chinese Sketch Comedy from the Perspective of Violating Cooperative Principle'''</center>

<center>Xiao Dongqing</center>

===Abstract===
As a common linguistic phenomenon, verbal humour is an important part of our daily communication. Grice’s cooperative principle is one of the major principle of pragmatics which is ubiquitous in people’s daily conversations. Therefore, it could provide a new perspective from which we analyse verbal humour. Chinese sketch comedy, also known as Chinese Xiaopin, is an art commonly performed by a group of comic actors or comedians presenting a series of short, amusing scenes called “sketches”. This thesis intends to work out the mechanisms of verbal humour in Chines sketch comedy from the perspective of violation of cooperative principle. It reveals in this special art form the violation of quantity maxim, quality maxim, relation maxim as well as the manner maxim in the process of analysing and proves that the violation of cooperative principle could avoid taking verbal humour at face value and arouse deeper thinking about this topic.

===Key words===
Verbal humour; Chinese sketch comedy; cooperative principle

===Introduction===
Humour plays an important role in people’s daily conversations. As a kind of lubricant of verbal communication, it creates an easy and comfortable environment, provides a happy and relaxing atmosphere and helps bring interlocutors closer. Researches and studies on this topic at home and abroad could date back to as early as the 4th century B.C. when the ancient Chinese poet Qu Yuan composed “There in front of me remains nothing but vastness and silence(眴兮杳杳，孔静幽默)” in his masterpiece ''The Nine Elegies'', meaning vastness.

However, the “humour” this paper talks about is the one transliterated by Lin Yutang. At home, researches on humour have greatly progress since the 1980s. Li Lanping (2002) believes that there are intrinsic connections between the principles in pragmatics and the triggering of humour. She discussed the relationship between the two parts under the guidance of the basic principles of pragmatics and the theory of conversational implicature. Yang Ting (2020), on the other hand, analysed the linguistic phenomenon of humour to further decipher the mechanism of it from the perspective of phonetics, semantics, pragmatics, contexts, figures of speech and logic of languages respectively. Ge Lingling (2011) focused on the translation of humour texts from the perspective of verbal humour so as to figure out the translation pattern of texts of this kind.

Abroad, researches on humour are multidisciplinary, involving anthropology, psychology, sociology, linguistics, semiotics and artificial intelligence which are ultimately centred on superiority theory, release theory and incongruity theory. For instance, Charles Gruner explained that wonder is an essential element of humour and that there is always a “winner” and a “loser” in humourous contexts. Freud the representative figure of release theory analysed the mechanism of humour from the perspective of psychoanalysis and divided jokes into intentional ones and unintentional ones(Cai Hui, Yin Xing, 2005:5). Kant was said to be the first to denote humour from the perspective of incongruity theory who pointed out that humour comes from a sudden twist from expectation and the inaccessibility of it(Cai Hui, Yin Xing, 2005:5).

There are studies concentrating on the mechanism of humour in comedy. For example, Dang Fengxiao and Cheng Xiongyong(2021) studied on the humourous language in sketch comedy from the perspective of speech act theory while Wei Ya'e studied the sketch comedy presented by Mahua Funage using logic rules. Looking across the border, Adesoye Ronke Eunice (2018) investigated humour and how it is achieved using phonological processes. Parashar Poorva and Tewari Paul (2020) analysed the humour in The Lonely Island and tried to work out its essence as well as how absurdism and stupid comedy provides insight into millennial and internet psychology. Alex Clayton (2020) studied humour from the perspective of rhetoric through vivid, highly readable analyses of individual sketches.

From all the above, it’s clear that the studies on humour are basically centred around linguistics, literature and figures of speech while researches abroad are involved with more disciplines ranging from anthropology to AI. What’s worth mentioning is that although humour was first brought forward in China, researches on this topic went through a far longer history in the west which could date back to the ancient Greek times. Meanwhile, researches on verbal humour in Chinese sketches are rare. Therefore, it’s necessary to work further on this subject. This thesis will adopt the cooperative principle to analyse the relationship between verbal humour in Chinese sketches and the violation of the principle in which the theoretical basis of cooperative theory, its classification as well as the detailed analysis of its four kinds of violation in Chinese sketch comedy will be covered.

===Cooperative Principle===
Conversational implicature as the core principle of pragmatics theory was first proposed by Oxford philosopher Herbert Paul Grice. Grice noticed that in daily conversations people do not say thing directly but tend to imply them. He believes that there is some regularity in conversation. “Our talk exchanges do not normally consist of a succession of disconnected remarks, and would not be rational if they did. They are characteristically, to some degree at least, cooperative efforts; and each participant recognizes in them, to some extent, a common purpose or set of purposes, or at least a mutually accepted direction.”(Herbert Paul Grice, 1975:45) In other words, we seem to follow some principle like the following: “make your conversational contribution such as is required, at the stage at which it occurs, by the accepted purpose or direction of the talk exchange in which you are engaged.”(ibid.) And this principle is known as COOPERATIVE PRINCIPLE, or CP for short.

To further specify the CP, Grice introduced four key categories of maxims, namely quantity maxim, quality maxim, relation maxim and manner maxim, each of which contains several specific maxims and sub-maxims. In simple terms, quantity maxim is to be informative, quality maxim is to be truthful, relation maxim is to be relevant and manner maxim is to be clear. These describe specific rational principles observed by people who follow the cooperative principle in pursuit of effective communication. Therefore, applying the maxims is a way to explain the link between utterances and what is understood from them.

Yet the use of terms such as “principle” and “maxims” does not mean that the CP and its maxims will be followed everywhere. Despite the wide use of CP in daily conversations, people would more often than not violate these principles in actual communication. When basic communication is interfered, it’s common for people to notice the violation of CP. As a result, the hearer has to make efforts to figure out the implicature so as to understand what the speaker means. Conversational implicature, in fact, is the direct cause of humour. Speaker only violates CP to achieve a sense of humour when the hearer manages to interpret the conversational implicatures under the surface and enjoys the pleasure brought by humour.

===Chinese Sketch Comedy===
Chinese sketch comedy first gained popularity after the Spring Festival Gala in 1984 when comedian Chen Peisi presented “eating noodles” on stage with his partner Zhu Shimao. Since then, this art form embodying acting and setting on stage sprung up like mushrooms across China and underwent refinement after years of development. Famous sketch comedians include Chen Peisi, Zhao Benshan, Fan Wei, Guo Da, Pan Changjiang, Song Dandan and so forth. The advent of the millennial witnessed the flourishing of this artistic form in which passionate performances of the younger generation, with Shen Teng, Ma Li, and Jia Ling taking the lead, engaged with great enthusiasm and produced a series of humourous yet educational works.

'''3.1 Historical origin'''

Chinese Sketch comedy got its name from art schools and performing groups. In the performing art community, the single or group performance which creates a simple scene through body and language is dubbed as “sketch comedy”, an event originally adopted to examine the basics of students of performing arts when teachers threw a topic during an interview and students were required to respond to that on the spot.

As a form of performance about small things in people's daily lives, Chinese sketch comedy has inherited qualities, and developed from other forms of comedy, such as stage play, xiangsheng, errenzhuan and comic drama and is generally believed to originate in the 1980s. Normally, sketch comedy revolves around just one topic, but with a lot of action and lively language. With the help of the promotion by the annual Spring Festival Gala, Chinese sketch comedy became a very popular artistic form in China. The first sketch comedy in China was“eating noodles” (in 1984) which was performed by Chen Peisi. Classic Chinese sketch comedy includes “Blind Date” performed by Zhao Benshan and Huang Xiaojuan in 1989, “The Adventures of Migrant Worker” led by Gong Hanlin and Zhao Lirong in 1996 and “Selling Crutches” by Zhao Benshan and Fan Wei in 2001, etc. Famous comedy groups in operation are DEYUNSHE initiated by Guo Degang, Mahua FunAge best known for its member Shen Teng, Big Bowl Entertainment led by Jia Ling, Zhao Benshan and his students, and Shanghai Xiaoguo Culture started by Li Dan, in which Mahua FunAge, Big Bowl Entertainment and Xiaoguo are still active on screen taking up sketch comedy, the Zhao’s team play “partially” for its fans in China’s northeast and DEYUNSHE mainly focus on passing on crosstalk to the next generation for the audience.

'''3.2 Features of Chinese Sketch Comedy'''

Chinese sketch comedy is sharp and witty, with simple plots, which represents as the most fundamental character that distinguish itself from other forms of art and performance. It may not be as sophisticated as other stage performances such as drama and opera, but it is able to render to its audience wisdom and thought-provoking perceptions based on its witty dialogue wrapped up in humour.

Chinese sketch comedy is also an art form that is highly narrative. As many of the topics are directly taken from the life of the people living in the grassroot, it appeals to all ages and entertains people from all works of life. Stories are the fundamental part of sketch comedies which are presented by the characters and the development of the plot interwoven with hookers of suspense, surprise and sudden changes.

Laughter is what sketch comedy aims to achieve ultimately. As the embodiment of stage play, xiangsheng, errenzhuan and comic drama, the modern sketch comedy manages to give the strengths of the artistic forms into full play with the help of modern technology, throwing humourous verbal “packages” consecutively and smoothly to the audience in the hope of eliciting ecstasy from them.

After giving a brief explanation of the theoretical basis and development of Chinese sketch comedy, the following chapter is to elaborate and exemplify the mechanism of humour in specific cases from the perspective of violation of CP in its four key categories, namely the violation of quantity maxim, quality maxim, relation maxim and manner maxim.

'''3.3 Classifications of Chinese Sketch Comedy'''

Chinese sketch comedy could be divided into different types with different names in accordance with the changing measurements. For example, from the size and scale of the art, Chinese sketch comedy could be classified into two types: multi-act ones and one-act ones. When looked from the perspective of the era of its theme, it could be divided into historical and modern ones. However, if it is categorised according to the effects of its artistic expressions, there are three kinds of Chinese sketch comedies, namely tragedy, comedy and tragicomedy.

===An Overview of Cooperative Principle Violation in Chinese Sketch Comedy===
As the kind of sketch comedy presented on stage are plenty, the cases this thesis is to select and analyse are mainly to taken from the ones presented by Mahua FunAge and Big Bowl Entertainment. Here is the detailed analysis of the comic dialogues:

'''4.1 Verbal Humour Resulted from Violation of Quantity Maxim'''

Quantity maxim requires that the contribution is as informative as required. In other words, the contribution should not be more informative than is required. However, this maxim is often violated in daily conversation when too much or incomplete contributions are made, which is especially common and humourous when it comes to sketch comedy jokes. For example:

Hao Jian: Oh my god! Are you feeling alright? Where did you hurt?

The old lady (lying on the road groaning): Oh, my elbow! Oh, my kneecaps! And my waist! None of them are painful!

The example above is taken from “To Help or not to Help”(《扶不扶》) in the Spring Festival Gala in 2014. In the opening part of the comedy, Hao the biker was intended to get his broken bike repaired after a car accident. On the way to the repair shop, an old lady with memory problems accidentally slipped on the ice and fell at the back of his bicycle, mistaking him to be the one who knocked her down. In this dialogue, the old lady was expected to answer where was painful. However, she adopted a funny “elimination” method carrying a bunch of irrelevant body parts as her reply. By creating a surprise contrary to what most of the audience would tend to presume, conversations of this kind produce a comic effect by violating quantity maxim.

Here is another case taken from “Making Friends”(《投其所好》) played in 2015:

Official: Is it true that you loved playing ping-pong in your spare time at your department?

Hao Jian(interrupts): I apologise. It was me being too playful. I now see that I was wrong and I swear that I’ll never play ping-pong again! If I were to commit it again, I would have my hands cut……

This satirical sketch comedy focused on the social phenomenon of “making friends” through bribery in order to get things done. In the part mentioned, what the official intended to do was to persuade Hao to practise more and try to be proficient in table tennis so as to flatter the new boss. However, Hao misunderstood the official. Instead of giving a “yes” or “no” to the question, he added up many remarks and even made an oath. It was the violation of quantity maxim in his clumsiness that made this part of acting hilarious.

'''4.2 Verbal Humour Resulted from Violation of Quality Maxim'''

Quality maxim requires the interlocutors to be sincere and talk about true things. It has two sub-maxims, namely “do not say what you believe is false” and “do not say that for which you lack adequate evidence.” But in real life, this maxim is also often violated by people who tries not to hurt other people’s feelings or who with special intensions. Here is an example from “The Real and Fake Teacher”(《真假老师》) made its debut on the stage of the Spring Festival Gala in 2018:

Teacher: Nice to meet you, Madam, I’m Xiaoming’s head teacher, Ms Jia.

Cleaner: You too! I’m Xiaoming’s mother, Jia (the surname ‘Jia’ and fake are homophones in Chinese. Here the cleaner accidentally blurted it out).

Teacher: Excuse me?

Cleaner: I mean, my family name’s also Jia.

Teacher: But I remember Xiaoming’s parent is called Wang Guixiang(apparently a girl’s name)…

Cleaner: And that’s his father.

Teacher: Zhang Xiaoming actually had a father named Wang Guixiang?

Cleaner: You see, we are from a quite complicated family…

In China, it is a tradition to name the child after the surname of one of the parents, normally that of the father. In this example, the cleaner tried to make a cover-up for her accident alleging the girlish name Wang Guixiang(meaning the fragrance of sweet-scented osmanthus) which has nothing to do with Xiaoming’s last name, belongs to the boy’s father. By stating consciously something fake one after another, the cleaner created a sense of humour.

Here is another example violating quality maxim from “Happiness of Today”(《今天的幸福》):

Wife: Tell me a little bit about your father please, baby.

Hao Jian: My dad is a huge success in the future! You know what, he even gets his name on the ''Fordes'' list!

Husband (poking Hao, whispering): It’s Forbes!

Hao Jian: Oh, right! Forbes made it later, too. Yet he still can’t hold a handle to my dad…

"Happiness of Today" was a sketch comedy inspired by the time-travelling drama and TV series such as “Palace”(《宫》) and “Treading on Thin Ice”(《步步惊心》). In this scene, Hao Jian was asked to play the son of the wife of his friend who travelled all along from the future back to the present to reassure the “mother” who’s in labour and mitigate her prenatal syndrome. In this example, Hao Jian was making up something that was clearly not true to humour his pregnant “mother”. What made this dialogue even more funny was his lack of knowledge about the “Forbes list” and the clumsy cover-up he made after correct hints from his partner.

'''4.3 Verbal Humour Resulted from Violation of Relation Maxim'''

Relation maxim is not only one of the most important maxims of the pragmatics theory, but also a protocol with which should be complied by all. It requires speakers to talk about things which are relevant to the topics. Violation of this maxim could bring about humour as well. The following examples are also taken from the sketch comedy “The Real and Fake Teacher”:

Xiaoming: You see, I am a high school student. Recently I have made some mistakes at school and my teacher is about to conduct a home visit. But the thing is, my parents are currently working abroad and I’m afraid my teacher be here at any minute, so I was wondering if you could, er, wow, that’s a little embarrassing…

Cleaner: Oh, I see. When will she arrive?

Xiaoming: She’ll be here at 10:00.

Cleaner: I’ll finish my job at 9:50 sharp.

In this example, what the student meant was to ask the cleaner to pretend as his mother so that there would be a parent present for the coming home visit. However, the cleaner misunderstood him and gave an irrelevant reply to the request. In this way, humour was generated.

Here is another example taken from this episode concerning the violation of relation maxim:

Teacher: You see, school education won’t do without the help of family education. After all, family is the place where goodness starts. These are the words of the famous educator Sukhomlynsky. I’m sure you must know about him, don’t you?

Cleaner: Eat… eat an apple, please.

In this case, the teacher quoted a motto from Sukhomlynsky, an influential educator from the Soviet Union to remind the “mother” the important role family and family education plays in a child’s development. However, the cleaner obviously had no idea of the educator and didn’t know how to respond. To avoid awkwardness and break the silence, she had only to hand the teacher an apple and divert her attention. In doing so, laughter was elicited from her irrelevant behaviour.

'''4.4 Verbal Humour Resulted from Violation of Manner Maxim'''

Unlike the three maxims above which focus on the contents conveyed in the process of talking, manner maxim mainly concentrates on the way how things are expressed. Its sub-maxims include to avoid obscurity of expression, to avoid ambiguity, to be brief and to be orderly. But this maxim is often violated in real life, too. Below is an example taken form the comedy “Happiness of Today” (《今天的幸福》) presented in the Spring Festival Gala in 2012:

Wife: My dear, what do you do then?

Hao Jian: (to the husband, whispering) Ah? Daddy, I don’t think we talked about this before …

Husband: Never mind. Just make up one! As if your mother were a master of the names of jobs.

Hao Jian: I scrub (the husband poking him)…wash…bathe…I study the epidermis of human beings!

Wife: Oh, you are a doctor then!

Hao Jian: You see, I specialise on ''dirt-ology''.

In this comedy, Hao was actually a bather whose main job was to help scrub and wash the dirt off the customers in a public bathhouse. When his “mother” asked him about his job, he described it in an obscure way and even coined a term to sound more professional. His words apparently violated the manner maxim, yet it is the obscurity that made the dialogue funny.

The second example in this section is another one taken from “The Real and Fake Teacher” about job inquiry:

Xiaoming’s father: What on earth do you do, Miss?

Teacher: Well, I can tell you with great proud that I am a gardener!

Xiaoming’s father: Gardener? Then why don’t you water the flowers outside right away?

The mechanism of humour in this example works a little bit differently from the one mentioned in the first place. Instead of using some obscure term to explain what she does, the real teacher Ms Jia selected the word “gardener” with dual meanings to make a self-introduction. Apparently, the package proved to be a success regarding Xiaoming’s father’s misunderstanding.

Here is another example taken from Jia Ling’s autobiographical sketch comedy “Hi, mom!” (《你好，李焕英》)debuted on the stage of “Comedy General Mobilisation”(《喜剧总动员》) in 2016. “Hi, mom!” was a play in which the heroine Jia Ling travelled through space and time to the 1980s to spend some time with her mother who had passed away in a car accident in the 21st century. In the prologue where the two heroines made their first appearance, here comes their dialogue:

Li Huangying: Come on, go inside and stay a while with your grandma!

Jia Ling: I can’t!

Li Huanying: What do you mean you can’t? She loves you a lot! How could you say such hurtful things?

Jia Ling: Because she can’t stop sewing my ripped trousers!

In the example above, Jia used ambiguity in her reply to her mother’s question. It was not until the viewers watch further that they found out why the granddaughter would be so reluctant when it comes to her grandma’s sewing trousers, an act that was supposed to seem loving and caring----it was about the contradiction in aesthetic taste between generations. In this way, Humour comes along with the explanation.

===Conclusion===
Humour plays an important part in people’s daily conversation which conveys abundant cultural connotations. Grice’s cooperative principle as the core of pragmatics, is also a guiding principle according to which people converse. Once CP is violated, pleasure in humour which comes along with it could be felt. As an artistic form playing an important role in modern China, Chinese sketch comedy has been entertaining its audience of all ages with its funny plots and packages embedded in verbal humour. This thesis selected the sketch comedy performed by Mahua FunAge and Big Bowl Entertainment on the stage of Spring Festival Gala as its corpus and studied the mechanism of verbal humour under the guidance of Cooperative Principle. It has been found that to a large extent, it is the violation of quantity maxim, quality maxim, relation maxim and manner maxim that generated the humour in sketch comedy. As an integral part of Chinese sketch comedy, verbal humour was created through constant violation of Cooperative Principle and its maxims.

However, limitations are inevitable as a result of time and the limited knowledge of the writer. Moreover, as the theories on linguistics are becoming increasingly abundant, analysis about verbal humour should be made from different perspectives and with diversified texts as well. Only through this process could verbal humour and its mechanism be further understood and Cooperative Principle further applied in research and studies.

===References===
*Adesoye Ronke Eunice (2018). Phonological distortion as a humorous strategy in Folarin Falana’s comedy skits[J]. The European Journal of Humour Research, 6(4): 60-74.

*Clayton , A. (2020). Funny How? Sketch Comedy and the Art of Humor. Horizons of Cinema, State University of New York Press.

*Dang Fengxiao，Cheng Xiongyong (2021). Analysis of Humorous Speech Act in the Skit Help or Not Help[J]. International Journal of Education and Management, 6(1).

*Grice, H.P.(1975). ''Logic and Conversation''[M]. New York: Academic Press.

*Parashar Poorva, Tewari Parul (2021). Locating humour in Absurdism and comedy in millennial humour[J]. Comedy Studies, 12(1): 65-74.

*Yao Xiaomin, Song Liya.Verbal(2019). Humour in English Jokes from the Perspective of Violation of Cooperative Principle[J]. Harbin: Northeast Forestry University.

*Cai Hui, Yin Xing 蔡辉, 尹星. (2005). 西方幽默理论综述研究[A Review of Western Humour Theory]. 外语研究Foreign Language Research(01):5-8+15.

*Ge Lingling 戈玲玲. (2011). 论幽默文本中本源概念的翻译模式——基于汉英双语平行语料库的研究[On the Pattern of Translating Alien Sources in Humourous Texts—— A Study Based on a Chinese-English Bilingual Parallel Corpus]. 外语学刊Foreign Language Research(01):117-122.

*Hu Zhuanglin 胡壮麟. (2017). 语言学教程[Linguistics: A Course Book]. Beijing: Peking University Press北京: 北京大学出版社.

*Li Lanping 李兰萍. (2002). 语用原则与英语幽默[On Pragmatic Principles and English Humour]. 天津外国语学院学报Journal of Tianjin Foreign Studies University(02):32-36.

*Wei Ya’e 魏亚娥. (2022). 幽默的产生与逻辑规律的违反——以沈腾春晚小品为例[The Generation of Humour and the Violation of Logic Law -- A case Study of Shen Teng's Spring Festival Gala]. 今古文创 JinGu Creative Literature(02): 95-97.

*Xu Jie, Zeng Xianmo 徐洁, 曾贤模. (2020). 以言致笑——从言语行为理论视角解析小品《扰民了您》中的幽默[Laughter through Words -- An Analysis of Humour in You Are Disturbing from the Perspective of Speech Act Theory]. 汉字文化Sinogram Culture(23):22-24.

*Yang Ting 杨婷. (2020). 认知视角下的言语幽默分析——以“生活大爆炸”为例[An Analysis of Verbal Humour from a Cognitive Perspective: A Case Study of ''The Big Bang Theory'']. Shaanxi: Shaanxi Normal University陕西师范大学.

===Terms and expressions===
Chinese sketch comedy 小品

Cooperative Principle 合作原则

quantity maxim 数量原则

quality maxim 质量原则

relation maxim 关系原则

manner maxim 方式原则

Spring Festival Gala 春节联欢晚会

packages “包袱”

sweet-scented osmanthus 桂花

===Questions===
1. What are the maxims of Cooperative Principle?

2. What’s the name of the first sketch comedy in China?

3. How do you categorise Chinese sketch comedy?

===Answers===
1. There are four maxims in total, namely quantity maxim, quality maxim, relation maxim and manner maxim.

2. The first sketch comedy in China is “eating noodles” played by Chen Peisi and Zhu Shimao in 1984.

3. Chinese sketch comedy could be divided into different types with different names in accordance with the changing measurements. For example, from the size and scale of the art, Chinese sketch comedy could be classified into two types: multi-act ones and one-act ones. When looked from the perspective of the era of its theme, it could be divided into historical and modern ones. However, if it is categorised according to the effects of its artistic expressions, there are three kinds of Chinese sketch comedies, namely tragedy, comedy and tragicomedy.

==英语笔译肖佳莉 Xiao Jiali 202170081600==
<center>'''The Various Schools of Thought and Their Exponents During the Period from Pre-Qin Times'''</center>

<center>Xiao Jiali</center>

===Abstract===
The Spring and Autumn period and warring States period is a very bright history in Chinese history, and a hundred schools of thought contend in such an era. Many scholars and schools of thought have emerged in this era, and these thoughts have had a very far-reaching impact on later generations. Zhuzi refers to the representatives of Guan-tzu, Lao-tzu, Confucius, Zhuang-tzu, Mozi, Mencius, Xun-tzu and other academic thoughts in the pre-Qin period, while Baijia refers to the representatives of Confucian, Taoist, Mohist, famous, Legalist and other academic schools. The hundred schools of thought are the general name of the pre-Qin academic thought figures and factions.So why was the Spring and Autumn and warring States period the coruscating period of all schools of thought in the pre-Qin period? This period basically laid the foundation of Chinese traditional culture or Sinology, and since then there have been almost no major breakthroughs or achievements.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译谢晓莹 Xie Xiaoying 202170081601==
<center>'''The Acrobatic Fighting in Peking Opera'''</center>

<center>Xie Xiaoying</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译熊嘉玲 Xiong Jialing 202170081602==
<center>'''Yue Opera'''</center>

<center>Xiong Jialing</center>

===Abstract===
Yue Opera, an important local opera in China, is one of the five types of Chinese opera. From the original "Chinese Folk Rap"（落地唱书）, it has developed into the second most popular opera in China and is one of the first batch of national intangible cultural heritage. Therefore, Yue Opera plays a very important role in China's art field. This article will give a general introduction to Yue Opera. The first is a brief introduction to the general situation of Yue Opera; In the first chapter, the author will introduce the historical origin and development of Yue Opera. In the second chapter, the author will focus on the introduction of the performance characteristics of Yue Opera, including its singing voice, role of business and so on; In the third chapter, the author will talk about the value of Yue Opera, such as its cultural value, social value and so on. The fourth chapter will mention the inheritance and development of Yue Opera. As one of Chinese operas, Yue Opera has a long history and rich cultural connotation. In today's cultural diversity and economic globalization, it can promote the spread of traditional Chinese culture to let the world see and hear Yue Opera.
===Key words===
Yue Opera;traditional Chinese culture;Chinese opera
===Introduction===
Yue Opera (Yueju in Pinyin) is the second largest opera genre in China, and some scholars consider it to be "the largest local opera genre". It is also one of the five major Chinese opera genres (Peking Opera, Huangmei Opera, Yue Opera, Pingju opera and Henan Opera). Originated in Shengzhou, Zhejiang province, prosperity in the whole country, spread to the world, it has experienced a historical evolution from male to female Yue Opera.In the development, it absorbed the elements of kunqu opera, drama, Shaoxing opera and other operas. It is called "Chinese opera" abroad. It is also known as "the most popular local opera".
Yue Opera is long in lyric, mainly singing, beautiful voice, real and moving performance, beautiful and elegant, with the spirit of jiangnan. Most of them are based on the theme of "talents and beauties", and there are various artistic schools. There are as many as 13 recognized schools. It was mainly popular in Shanghai, Zhejiang, Jiangsu, Fujian, Jiangxi, Anhui and other southern regions, as well as most northern regions such as Beijing and Tianjin. In its heyday, professional troupes existed all over the country except xizang, Guangdong, Guangxi and a few other provinces and autonomous regions. (Qian Hong, edited by the editorial board of Chinese Yue Opera Canon，2006)

Yue Opera is also the first batch of national intangible cultural heritage list. Among the modern emerging operas in China, the Yue Opera bred from the regional culture and modern art of the Yangtze River Delta is undoubtedly the most influential. Once upon a time, "Liang Shanbo and Zhu Yingtai" produced by "Shaoxing Women's Literary Opera" and "Shaoxing Women's Opera" were popular in Shanghai. The heroic deeds of the ten Sisters of Yue Opera, represented by Yuan Xuefen, against the bullying of the dark forces shocked the Chinese cultural circle; After the founding of the People's Republic of China, With the help of the movie a Dream of Red Mansions, Yue Opera became a national hit. Premier Zhou Enlai took the film liang Shanbo and Zhu Yingtai as one of new China's diplomatic means to promote the Opera overseas.(Liu,2022)
===The Historical Origin of Yue Opera===
Shengzhou, The Birthplace of Yue Opera

Yue Opera is one of the five major operas in China and the second largest in China at present. Yue Opera is called "the second in China" in terms of the number of performances and social popularity. In terms of its performing arts history and popular areas, it is probably far inferior to kunqu opera and Huangmei Opera. Due to language limitations, it is mainly popular in Jiangsu, Zhejiang and Shanghai. Yue Opera is generally spread in Shanghai, Zhejiang, southern Jiangsu and other places which are usually said wu language area. So Yue Opera is still a typical local opera. It originated from Shengzhou of Shaoxing in Zhejiang Province, which is the shengzhou city of Shaoxing in Zhejiang Province today. It is evolved from local folk songs and formed by absorbing the characteristics of Kunqu opera and Shaoxing opera in the development process. Shengzhou, the birthplace of Shaoxing opera, has been attracting celebrities from all sides to visit with its unique charm since ancient times. The beautiful scenery here, surrounded by beautiful mountains, with a long history, and its unique dynamic temperament, has created a unique charm and beauty in Shengzhou. The enchanting natural scenery has given here the magic charm, attracting the high sages and celebrities in succession to enjoy the scenery, leaving many immortal chapters spread through the ages for the later generations. With the growing popularity of folk poetry and lyrics, shengzhou people who are good at singing have integrated songs into their lives. Versatile shengzhou people thus became the original creator of Yue Opera art, Shengzhou has also become a fertile soil for the birth of Yue Opera art.

The Real Birth of Little Choir, the Predecessor of Yue Opera

From the year of 1906 , Yue Opera entered the stage role playing period. Therefore, it can be regarded as the origin of Yue Opera as the identity of opera. However, the little choir did not come into being suddenly, nor did it start out dressed up for the stage. From the xianfeng period in the 1850s and 1860s, it went through decades of embryonic stages. In terms of art classification, Chinese Folk Rap does not belong to opera, but to quyi. Therefore, it can not be called the "predecessor" of Yue Opera, but its original form of performance.

The origin of Chinese Folk Rap is that when farmers were resting in the fields after work, many people would compose and sing ditty that could reflect the aspirations of the common people, which always aroused the praise of farmers and gradually spread among them. The last few popular songs, everyone can sing. Researchers on the history of Yue Opera generally believe that the sign of the emergence of Chinese Folk Rap is that Jin Qibing and others began to sing Buddhist songs and folk tunes in front of rich households in the nearby countryside in order to make a living.(Pan,2009)

The early Chinese Folk Rap performers did not completely break away from agriculture while singing Chinese Folk Rap. For many performers, farm work is the main thing to support their families and is the job left to them for generations. It is unimaginable for them to completely break away from farm work. Therefore, during the spring ploughing season from January to February and March, the artists went back to their hometown in Sheng County to work on their fields. Qian Jingsong, Li Shiquan, Gao Binghuo and other artists who had been invited to the "stage" in Yuhang and Yuqian (now part of Lin 'an) talked with the villagers about their debut experience, which aroused the interest of many villagers. They urged artists to do the same at home. Guangxu period (1906) on the qingming Festival on the third day of march in the lunar calendar, on the vacant lot of dongwang village in Sheng County, the village civilian used rice barrel, the door panel set up the stage, invited many artists coarsely-dressed up to sing the Chinese Folk Raps, unexpectedly caused a stir in the countryside, attracted people from many villages to watch. The popularity of this form of singing book in the village even exceeded the artists' expectations.(Edited by Cultural and Historical Data Committee of Shengxian CPPCC,1992)

So they began to think about organizing theater groups to put on more scripted performances, and they came up with a low-key and elegant name for the form: Little Choir". In general, such performance formula has met the basic conditions of opera, so many researchers have always regarded this performance as the origin of Yue Opera. Stage at this time, not only clothing is very simple, Musical Instruments are also very simple. Although the form of "Little Choir" is primitive, the singing is monotonous, and the costumes are simple, but this pioneering move alone is enough to leave a brilliant first in the history of Yue Opera.
Since the birth of the "Little Choir" in Sheng County, it has spread quickly to the surrounding areas. As a literature and art originating in country life, it is not surprising that it first established itself in the country. At the same time, it is constantly exploring transformation, slowly infiltrating into the city,
After 1907, the "Little Choir" has been all over Athens County, and gradually to the neighboring Xinchang, Shangyu, Shaoxing, Yuyao, Fenghua and other places spread, both in the village and the town theater, where are warmly welcomed. For example, in Xinchang, only three or five years after the first contact with the "Little Choir", the number of newly established local opera troupe has reached 30 or 40 classes.

Performing in the countryside, the troupe must suffer from displacement. Therefore, it is always the ideal of the troupe to perform in a city with a large population, both male and female. Large and medium-sized cities for "Little Choir", is always tempting. On the one hand, large and medium-sized cities have strong consumption capacity and can obtain higher economic benefits. On the other hand, the fact that "Little Choir" can establish itself in big cities is the recognition of "Little Choir" by higher-level audiences, which is a kind of honor.(Pan,2009)

Shaoxing Civil Opera Period

In 1922, the development of Shaoxing Opera entered a new historical stage, that is, the Period of "Shaoxing Civil Opera". Because "Little Choir" was born in Shengzhou, which is subordinate to Shaoxing Prefecture, and the content of "Little Choir" is more focused on family ethics and love, so it is called "Shaoxing Civil Opera". Shaoxing Civil Opera period is the mature stage of the development of Yue Opera. It can be divided into two periods. In the early stage, there are all male actors, so it is called Shaoxing Civil Opera Male Troupe; in the later stage, there are mixed performances of male and female actors, and the transition to female troupe is called Shaoxing Civil Opera Female Troupe.

The Period of Women's Improvement in Shaoxing Civil Opera

In the history of The development of Yue Opera, the outbreak of the Anti-Japanese War is an important dividing line. Before this, Shaoxing Civil Opera, which was dominated by male classes, was in its heyday, with famous actors concentrated in Shanghai and female classes flourishing, but the activity area was mainly in Zhejiang. Although there were female classes in Shanghai, most of them were mobile, so their status was not high and their influence was limited in the whole Cultural pattern of Shanghai.

In the late 1930s, after the outbreak of the Anti-Japanese War, a large number of female classes came to Shanghai for development and rose rapidly. At the same time, male classes declined sharply and were soon replaced by female classes, gradually forming a kind of operas featuring all-female performances. Almost all the famous actors and drama companies were concentrated in Shanghai. The social and cultural environment of Shanghai has provided rich nutrition for the progress of Yue Opera art, promoted the reform of Yue Opera in the new environment, and provided a rare historical opportunity for its rapid development.

"New Yue Opera" Period

The reform of Yue Opera, which started in October 1942, opened up a new era in the history of Yue Opera and had a profound influence on the establishment of the form and style of Yue Opera. The "new Yue Opera" rising in the wave of reform in this period is obviously different from the original women's Yue Opera in terms of repertoire, music, stage image, deconstruction and operation mechanism of troupe. During the period of "New Yue Opera", Yue Opera achieved rapid development. A group of young actors, such as Yuan Xuefen, Yin Guifang, Fan Ruijuan and Fu Quanxiang, became the representatives of the new generation of Yue Opera.

The Development of Yue Opera After Liberation

After the founding of the People's Republic of China in 1949, under the leadership of the Communist Party of China, opera art began to enter the process of planned, deployed and focused reform, and Yue Opera also began to adapt to the new era of profound reform. In the early 1950s, a drama reform movement was launched nationwide. During this period, professional drama troupes in Shanghai and Zhejiang carried out the work of "Three reforms" to different degrees successively, which brought new changes to the appearance of Yue Opera. In March 1955, Shanghai Theatre was formally established, gathering a large number of professional talents with high artistic quality in the field of yue Opera, such as editing, directing, acting, music, beauty and so on.

The Revival of Yue Opera in the New Period

The "Cultural Revolution" that began in 1966 severely destroyed Yue Opera. After the end of the "Cultural Revolution", especially after the third Plenary Session of the eleventh Central Committee of the Communist Party of China in 1978, Yue Opera began a comprehensive revival in a new period, ushering in a new spring in the development history of Yue Opera

Under the influence of historical conditions, the revival of Yue Opera started from the modern opera performed by men and women. In 1977, the Shanghai Yue Opera reenacted the drama with a co-performance of male and female and was a great success, setting off the wave of the revival of Yue Opera. Soon after that, Shanghai Film Studio made "Xiang Lin's wife" into the first color widescreen style art film of Yue Opera and screened it in the whole country, re-expanding the influence of Yue Opera in the whole country. Traditional and historical operas have also been resumed, and women's Yue Opera has gained recognition and new vitality.
In 2006, on the 100th anniversary of the birth of Yue Opera, it was listed in the first batch of national intangible cultural Heritage list with the approval of The State Council. The future of Yue Opera will be more brilliant.

===The Performance Characteristics of Yue Opera===
First, the selection of materials for the Yue Opera plays is mainly based on the love and marriage stories of ancient talents and beauties. Such as Liang Shanbo and Zhu Yingtai, Jia Baoyu and Lin Daiyu, Fan Li and Xi Shi, Lu You and Tang Wan and so on. These stories have long been written and interpreted into various literary and artistic works and passed down from generation to generation among the people. After these stories were compiled into The Yue Opera, the artistic atmosphere of the story and the tragic color of the characters were enhanced, giving people a more vivid and profound impression.

Second, the music of Yue Opera is good at showing the feelings of young men and women. The singing style is based on the "Chinese Folk Rap" of Wuyue water town in the south of Yangtze River, absorbing the folk music of Sheng County. After Yuan Xuefen and lute zhou Baocai cooperation, so that the opera singing form a gentle lingering lyric style.

Third, the performances of Yue Opera are vivid, natural, elegant and moving. They are full of beauty and talent in the south of the Yangtze River, especially the performances of young girl's role, which combine the scholarliness of scholars with the beauty of young girls. The principle of "virtuality" and "stylization" and the aesthetic pursuit of "symbolism" and "freehand style" formed in the long-term artistic practice of Chinese opera performance have provided a theoretical basis for the formation of the performing art of young women in Yue Opera, so that female actors can play male roles without being restricted by their own gender. Under the guidance of virtual drama and freehand brushwork principle, the female students can not completely imitate the performance of men and force the unity of actors and roles, actors can use stylized performance to look at the male roles in the drama from the perspective of women. What she interprets is not the man in real life, but the man in the woman's mind, that is, the man that the woman idealizes, the man that the woman plays to the audience. This is just like the plum blossom and bamboo painted by Chinese painters in traditional Chinese paintings. They are not plum blossom and bamboo in nature, but plum blossom and bamboo in the artist's mind. Of course, the course of this success is not follow one's inclinations, is not subject to any condition, also need actors themselves have a certain external conditions and mental qualities, such as the tall figure, elegant temperament, generous demeanor, etc., so as to better shape the character image, conveys the verve of male role. Various schools of Yue Opera have blossomed.

Fourth, the stage presentation of the Yue Opera is fresh and elegant, which is often refreshing. The makeup of Yue Opera has absorbed the methods of drama and film, and is characterized by being close to nature, fresh and elegant, rather than exaggerated and colorful. Based on the paintings of ancient ladies in costume, the costumes are changed from complex to simple and gorgeous to clear and beautiful with the characteristics of simplicity and clarity. The scenery is simple and lively, the combination of virtual and real, with the performance of the actors, making full use of modern sound and light technology, giving people an immersive artistic feeling.(Liu,2022)

===The Value of Yue Opera===

Cultural Value

Cultural creation is based on traditional culture and under the influence of modern culture, absorbing new tunes, new choreography, new themes, new talents and new music of modern culture to generate a new round of cultural wave and a "new culture" that is different from the past and more adaptable. Yue Opera is "rich in expressive force, plain and smooth melody, fresh and beautiful with local flavor". It has beautiful melody, graceful and touching pronunciation, beautiful appearance but not coqueness. Both civic and military opera have their own strengths, and it is different from the softness and beauty of Peking Opera. It has a very high viewing value, which is why in recent years, Yue Opera has gained more and more audience's love, causing more and more attention. This is the cultural creation value of Yue Opera.(Jin,2012)

From the point of view of Marx's theory of literature and art, all arts (including literature, calligraphy, architecture, painting, opera, etc.) are the reflection of people's lifestyle and cultural psychology in a particular era and region. In the field investigation, we found that most of the people who adhere to Yue Opera are the older generation, because it used to be a part of their life, carrying their joys and sorrows, and relying on their understanding of life. Yue Opera touches the softest part of the heart of a generation in a casual way at some point. These cultural memories, no matter joyful, sad, beautiful or ugly, will become a kind of cultural nutrition and melt into the bones and blood of the whole regional culture and even the national culture, giving us reasons and directions to move forward. This is the cultural creation value of Yue Opera.This is the cultural inheritance value of Yue Opera.(Yang,2021)

Social value

Yue Opera originated in Shengzhou, Zhejiang province, China, so it is easy to explain why all the people in Shaoxing and Shengzhou can hum it and find pleasure in it. Obviously, in the region where It originated and developed, It has become a topic of conversation among the masses after dinner. In the folk, people are also used to organizing various performances and singing competitions of It to enrich their amateur cultural life. Therefore, in the traditional cultural matrix of Yue Opera, there is a kind of aesthetic value called social value, which has laid a solid foundation for extensive social communication among the masses. Therefore, Yue Opera gradually became a social means, which was of great significance in promoting social harmony and stability. Of course, with the continuous expansion of the overseas market of Yue Opera, it is also playing an important role in developing sino-foreign relations, consolidating sino-foreign friendship and realizing the combination of Chinese and foreign culture and art.(Jin,2012)

The Entertainment Value of Yue Opera.

As a unique type of traditional culture, History and culture have endowed it with a unique development environment, unique artistic charm, which make It a popular art form among the public. From the emergence and development of Yue Opera to its prosperity and growth, its entertainment value has been accompanied by it. Yue Opera can not only give people visual and auditory satisfaction, but also give the audience great psychological satisfaction, so as to relieve the pressure for the masses and delight the masses physically and mentally. A large number of excellent Plays of Chinese traditional Yue Opera, such as Butterfly Lovers and Peony Pavilion, brought people spiritual sustenance and was one of the important ways for people to interest their heart and soul at that time. For example, the twists and turns of the Story, the beautiful love story and the artistic stage design of the Yue Opera Peony Pavilion not only relieved people's living pressure, but also promoted people's self-cultivation.(Ye,2016)

The above research on the value of Yue Opera shows that this local opera has strong charm and development potential. Thus, we can see the reasons behind the "centennial brilliance" and strong influence of Yue Opera. Yue Opera has rich cultural value, including cultural creation value and cultural inheritance value. Shaoxing Opera also has certain social communication value, which can be called a social means. Yue Opera not only promotes social harmony, but even plays a great role in promoting the spread of Chinese culture and cultural exchanges. In addition, Yue Opera has its entertainment value. In daily life, it has enriched the lives of ordinary people and provided them with certain spiritual sustenance, which is of great significance.

===The Inheritance and Development of Yue Opera===
Yue Opera is one of the most important local operas in China. It has developed into the second most popular opera in China from the original Chinese Folk Rap. However, with the popularization of TV, the establishment of cinemas and the continuous expansion of the Internet, the influx of pop songs, European and American blockbusters and the change of modern people's value orientation, the traditional Yue Opera has been plunged into unprecedented crises. In today's era of vigorously protecting intangible cultural heritage and building a new socialist countryside, how to protect, inherit and develop folk Yue Opera is not only related to the survival of the opera itself, but also an important topic of "intangible cultural heritage" protection, as well as an important content to be studied in mass cultural work.(Zhang,2010)

Review the Inheritance Status of Yue Opera

Through visits to local cultural departments and literature review, we know that the performance of Yue Opera is faced with fewer and fewer audiences, and the troupe cannot survive. The number of professional Yue Opera troupes has decreased from more than 260 in the 1950s and 1960s to less than 35 now. Most folk yue troupes mainly cover the rural market, but because the market is small, they can not get a greater development. However, under the influence of various cultural and entertainment activities, the audience is mainly around 40 years old, and the younger generation is less interested in it. It can be seen that the audience of Yue Opera rarely come from the youth group, and the audience of Yue Opera is increasingly aging. Although Shengzhou is the birthplace of Yue Opera, its inheritance and development are not good. In terms of relic buildings, the original buildings about Yue Opera are very rare, and the original birthplace of Yue Opera for women can only be found in the only small village. The exhibition stand protecting the original Yue Opera props is also in disrepair and covered with dust. In terms of museums, most of the objects in the museum are restored by later generations. Props, costumes, Musical Instruments and singing stage are re-made by later generations.(Yang,2021)

Problems Faced by the Development of Yue Opera

From the early 1980s to the present, the significant reduction in the number of Yue Opera troupe is the primary problem facing the development of Yue Opera. In the early 1980s, there were seven professional Yue troupes and two professional folk Yue troupes in Jiaxing, while in the mid-1980s, there were only two professional yue troupes. Secondly, from the city to the countryside, the audience of Yue Opera is getting smaller and smaller, and the performance market is getting smaller and smaller. In the past, a company could put on a new play for two or three months. Now it can only put on two or three performances. The audience's enthusiasm for watching Yue Opera has also declined significantly. The third problem facing the development of folk Yue Opera is talent. The performance of Yue Opera has high requirements for talents. It not only requires actors to have beautiful looks and a loud voice, but also to be able to perform. Generally speaking, a good actor can play a role on the stage, no ten or five years is not out, that is to say, one minute on the stage, ten years of work off the stage. Now there is a shortage of talent in the field of Yue Opera. Fourth, repertoire creation is increasingly contracted. In the mass culture system, Yue Opera also received unprecedented cold. At present, cultural centers and art centers around the country mainly focus on the creation of music, dance and fine arts, and there is little interest in the Yue Opera of traditional Chinese opera. There are also few full-time cadres of Yue Opera of drama. In some cultural centers at the county level, full-time cadres of Yue Opera no longer exist.

The Reason Why Yue Opera Faces Confusion

Confusing in today's Yue Opera face of reason is various, but the main reason is that with the change of society and the continuous improvement of living standards. The broad masses of TV and home theater has been gradually into the people, families, people's interest constantly updated, more diverse cultural needs, and a variety of popular songs have taken young people's life. Culture is diverse, Yue Opera was gradually forgotten; Secondly, the propaganda of Yue Opera is not enough. Although the traditional Yue Opera has been quite popular with the masses, the propaganda is far less than that of Peking Opera in the whole country, which causes the dilution of Yue Opera in people's mind. The third is the lack of new strength of Yue Opera. Since the 1990s, fewer and fewer young people like Yue Opera, even fewer professional Yue Opera actors, and now the children basically do not even know what Yue Opera is; Fourth, the operating mechanism of the troupe is not working. It is far from enough for the professional troupe to rely on the financial allocation from the government alone. They have to perform outside to increase their income. (Zhang,2010)

Thoughts on Inheritance and Innovation of Yue Opera

1. Intensify Efforts to Cultivate Professional Yue Opera Actors

In the early 1950s, the period when Yue Opera flourished and developed was also the period when a large number of Art masters of Yue Opera came out. They internalized the art of Yue Opera into their lives, and their personalities and drama forms reached a harmonious unity, which became the highest condensation mode of Yue Opera art. Even when people at that time recalled the development of Yue Opera, the names of a large number of Yue Opera actors first appeared in their mind. Therefore, training a number of young actors to carry forward the Yue Opera with independent artistic life will be the first condition for Yue Opera to obtain its new development.

2. Intensify the Creation of Scripts for Yue Opera

In particular, the audience should choose the most concerned good subject matter, in the spread of "Butterfly Lovers", "Xianglin Sister-in-law" and other classic bridge based on the new culture and people's appeal, innovation. If shaoxing opera wants to get enough attention and attention in the contemporary era, it must have scripts that can reflect the values of The Times and express the demands of the people as a guarantee. This should give enough care and attention to the playwright, establish a long-term mechanism to stimulate and protect their creative enthusiasm.

3. Innovate the Promotion Method of Yue Opera

In the past, the art of Yue Opera was born as a kind of market culture of residents, but now, as a cultural heritage, Yue Opera is gradually transforming from popular culture to elegant art. Therefore, when it comes to effectively dealing with the cultural watch and spiritual breakout of Yue Opera, the first thing we need is to adjust our mentality towards the cultural phenomenon of Yue Opera. We do not advocate the Yue Opera itself directly to change to become a new culture, but should be advocated through the way of improvement and innovation make Yue Opera culture gradually in the masses of the people has the characteristics of a new era of traditional culture, such as development "Yue Opera" series of gen, create IP with Yue Opera character animation image, using new media communication way, Through a number of new channels, such as "live streaming of Internet celebrities", "school-enterprise cooperation" and "star endorsing", the new culture serves the traditional culture of Shaoxing opera and spreads the melody of Yue Opera among a wider social group. (Yang,2021)

===Conclusion===
As a traditional Chinese culture, Yue Opera has its own unique appreciation value. In today's multicultural world, we cannot abandon our traditional culture. We should try our best to inherit and carry forward our traditional culture, so that they can adapt to the changes of The Times and keep pace with The Times. But at the same time retain the traditional culture, let the world hear the voice of China.
===References===
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*Liu Wenfeng刘文峰(2022). 扬长补短，再创辉煌——关于越剧传承发展的思考[Develop Strengths and Complement Weaknesses to create Brilliance -- Reflections on the Inheritance and Development of Yue Opera]. 中国非物质文化遗产China's Intangible Cultural Heritage(01): 35-39.
*Pan Yuqi潘玉琪(2009). 越剧的诞生、发展及其人文背景研究（1906-1949）[Study on the Birth, Development and Cultural Background of Yue Opera (1906-1949)].复旦大学Fudan University.
*Qian Hong, edited by the editorial board of Chinese Yue Opera Canon钱宏主编，《中国越剧大典》编委会编著(2006)．《中国越剧大典》[The Grand Ceremony of Chinese Yue Opera]．杭州市：浙江文艺出版社、浙江文艺音像出版社Hangzhou: Zhejiang Literature and Art Publishing House, Zhejiang Literature and Art Audio and Video Publishing house.
*Yang Ruyuan杨汝远(2021). 论非遗文化在现代化进程中的守望与传承——以越剧为例[On the Watch and Inheritance of Intangible Cultural Heritage in the Modernization Process -- Taking Yue Opera as An Example]. 汉字文化Sinogram Culture(06): 175-177.
*Ye Haixiong叶海雄(2016). 越剧传统文化基质和审美价值探讨[Discussion on Traditional Culture Matrix and Aesthetic Value of Shaoxing Opera]. 戏剧之家,Home Drama(06): 52.
*Zhang Peiying张配英(2010). 浅论民间越剧的传承与创新[On the Inheritance and Innovation of Folk Yue Opera]. 大舞台Great Stage(10): 79.
*Edited by Cultural and Historical Data Committee of Shengxian CPPCC嵊县政协文史资料委员会编(1992)﹐《越剧溯源》[The Origin of Yue Opera]. 浙江人民出版社Zhejiang People's Publishing House(5): 23

==英语笔译颜媛 Yan Yuan 202170081603==

<center>'''An Analysis of Chinese Humor Language from the View of Formal Repetition'''</center>

<center>Yan Yuan</center>

===Abstract===
Multidisciplinary by nature,the study of humor has been approached from various perspectives,such as philosophy ,psychology,linguistics ,literature,sociology and anthropology.However,the previous research ,though somewhat comprehensive ,hasn't yet generated systematic and thus convincing theories concerning the definition,the working mechanism of humor as well as its linguistic expressions.A unanimous viewpoint is still in question.Whereas,the awkward situation has been reversed to some extent with the publication of the first academic works tackling Chinese humors ''The Linguistics of Humors'' by Professor Hu Fanzhu in 1987,which serves as an impetus for growing interest in and ensuing waves to the studies of humors .It's worthwhile to note that the works itself lays the way for future and further research and thus plays a milestone-like role.In this study we tried to study Chinese Humor language from the view of formal repetition without consideration of language units of all levels in traditional linguistics.Kinds of formal repetition are listed and given restrictions on it.
===Key words===
Formal Repetition; Chinese ; Humor Language
===Introduction===
Humor has always been an interesting topic in both ancient and modern times, and many people have studied the phenomenon from different perspectives,such as aesthetics,sociology ,psychology,linguistics,philosophy,etc.Theories about humor can also be described as a lot.Humor can be expressed in many different ways, in a dramatic way(comedy),in a pictorial way(cartoons), in a musical way, etc.Language, as a vehicle for the expression of human thought and ideas, is of course an important way and factor in constituting humor, and thus linguistic humor.Language is a complex system in which everything is based on relationships, and there is no such thing as a system of language system.The complexity of the language system is ,of course , a resource that can often used for humorous language. Humorous language is generated under certain conditions through certain linguistic elements and their relationships with each other.The current research on humor language in China is very one-sided and inadequate,mostly staying in the area of rhetorical patterns, words and the techniques of humor language formation,without a comprehensive, three-dimensional and explanatory study.In view of this,in this thesis we are interested in finding out the connection between the elements of the language system and their interrelationships with humor,i.e.,what forms or relationships are humorous?What forms or relationships are humorous and under what circumstances?In this way, we break the one-sidedness of the original research and think further about the study of humor language, deepen our understanding of the "surface structure"and "deep structure"of humor language , and identify some patterns between linguistic forms and humor language. It is an important reference for us to further understand the mechanism of humor language production and even the application of humor language.
===Literature Review===
As we are known,language is the most important communication tool for human being , though which people known the world and perceive it."The act of language , though not the whole state of human existence,is the basic state of human existence."(Qian Guanlian.2005) Heidegger said,"Man dwells in the dwelling built by language.Humor is also distinguishing feature of human beings (Nash,1985).Human beings mostly express humor through language, which can be divided into two man categories:oral language and written language. The spoken language is the basis of the written language, and the written language is only the expression of the spoken language.Therefore,humor can also be related to language through these two media,and the specific product is the general form of oral language humor,such as comedy ,skits and so on(Of course,they also include the body language of certain performs).Another form of expression is to record humorous scenes or stories in the form of words to make readers laugh,such as humorous stories in newspaper and magazines, humorous novels and so on. From this point of view, we can say that the relationship between language and humor is that language is the basis and the tool og humor.And without language, there would be no humor(except silent behavioral humor). This close relationship can be seen from the research history of language and humor.The research on the relationship between them has a long history and rich achievements.The study of humor has traditionally been concentrated and dominated within the disciplines of psychology,philosophy,and sociology. It was not until the the late 1970s that the study of humor in linguistics took its place and gained attention.Traditional linguistic studies of humor point out that humorous elements in oral jokes are more stable and explicit in phonological terms than in written jokes, and that linguistic humor arises when the first level of linguistic symbols(i.e., phonological or written units) moves to the second level(i.e.,the communicative system).This has led to a number of research approaches , such as ambiguity, which is prevalent in many humorous texts and can be divided into phonological-lexical ambiguity, semantic-pragmatic ambiguity,etc.
Since the publication of the first academic book titled ''Humor Linguistics'' in China, the study of humor linguistics in China has been exciting.Chinese scholars have studied humorous language,especially Chinese humor language, from perspectives.Mr.Hu Fanzhu's ''Humor Linguistics'' is the first linguistic book in China that systematically studies humor.Starting from a review of the history of laugh and the theory of "laugh" in China and the west.The book proposes that humor is a spiritual phenomenon with three levels,namely:humor in the broad sense is comparable to ludicrousness, humor in the normal sense refers to ludicrousness that appeals to reason,and the humor in the narrow sense specifically refers to humor that contains intellectual lightning and generosity, a sense of spirituality and life.The book was published and had a great impact on the academic world.A large number of similar books have been published, but it can be said that they basically do not deviate from the technical lines and research ideas outlined by Mr. Hu in that book.
According to incomplete statistics , in terms of published papers, we searched for 22 articles on the Chinese journals with the keywords "humor language"; 5 articles with the keyword " language humor";15 articles with the keywords "speech humor" ;9187 articles were searched by the keyword "humor". In terms of published monographs , in addition to "Humor linguistics", subsequent monographs on humor language or humor include Gua Tian's ''Humor Language Operations''
'',Gong Weicai's ''Humor Language Art'', Li Junhua's ''Humor Language'',Sun Shaozhen's ''Fundamentals of Humor'' and ''Fifty Methods of Humor Defense'' and so on. In terms of outstanding master's theses ''on China Journal Online'', there are 15 master's theses with humor language as the topic or keywords.
===Methods and Theories===

===Humor and The Definition of Humor===
'''1.1The origin and definition of humor'''
What is “humor”？There are many different answers to this question.People have interpreted and explained humor form a variety of perspectives, each with their own insights.However , it is a little known fact that the word “金数”is a foreign word in Chinese .The word “humor” in Chinese can be traced back to more than 200 years ago to the“Where silence and quietude reign” in “Longing for Changsha , The Nine Elegies，The Song of Chu”.Wang Yi notes，“Confucius is very good.As poetry written,“Confucius interpreted the word "默" as silence.The mountains in the south of the Yangtze River are high and the wild is very clean, and there is no voice in the desert.”In ''Shih Chi'',“默”（silence) is protrayed as "墨"(Chinese ink).It can be seen that at that time,the word "默"（humor） meant silence.Since then,the basic meaning of "默"(Humor) has not changed for more than 2,000 years.For example, Li Bai,a great romantic poet in Tang Dynasty,wrote in Song of River in Farewell to Cen zhengjun ,"And yet it is worrying to live alone in such a lonely place ."If we consider the meaning of the word "humor", that is , as an aesthetic category we want to study.It is an exotic and a foreign transliteration word in Chinese.In the last century,Mr.Lin Yutang was transliterated from English "Humor" .The reason why Mr.Lin transliterates "幽默" with the word "humor" is to consider their implied meaning(or instant impression meaning) and morpheme association color.Therefore, we can say that humorous words are both transliterated words and free translated words.Since then,the word "幽默" in modern Chinese has gradually deviated from its original meaning， that is , it no longer means "silent", but points to the meaning of humor.According to the related works published in China, there are definitions of humor as follows:

Humorous style is one of the key rhetoric style in Chinese......Humor is the use of language conditions to show the humorous interest in things.It is characterized by a light-heartedness and cheerfulness.It is based on " truth"

Humor is a rhetorical technique.

Humor is a spiritual phenomenon. This spiritual phenomenon has a broad sense,a common sense. There are three levels of humor.Humor in the broad sense is comparable to ridiculousness ,such as comic, witty ,gagging,funny......Humor in the narrow sense refers to the layer of spiritual phenomenon that is most aesthetically valuable.Humor in the conventional sense is a mental phenomenon that has an appeal to the "ridiculousness " of reason.

Humor,like the comedy we see in our daily life,is created for a purpose to make people langh.

From the above definition of humor,we ca know how complicated its definition is, different viewpoint are different.This in itself shows its complexity as an object of study , and we can simplify it without getting entangled in the complexity of the definition.Based on the above viewpoints, we are more inclined to Hu Fanzhu's understanding and definition of humor in his monograph ''Humor Linguistic'' , that is , humor is a spiritual phenomenon, which can be divided into three levels:broad sense,ordinary sense and narrow sense.To sum up, in this paper we can define humor as laughable, that is, having the effect of inducing laughter.
'''1.1.1 The definiiton of humor language'''
From the abpve definition of humor, we know that humor is a multidisciplinary research topic,people from philosophy,psychology,sciology,linguistics,literature and many other aspects of the phenomenon of humor research.This thesis mainly studies the humor language, and the so-called humor language is "created by the use of various elements of language vaiation humor.In dynamic terms, it is the atmosphere in which language is used,or a style of language;in static terms, it is a fuzzy collection of linguistic variants, or an aggregation of ways.”（Hu,1987)From this definition,we can draw the following two conclusions:firstly,humor language must be related to linguistic symbols,humor that dose not use linguistic symbols as a carrier is not within the scope of this study,such as Ding Cong's cartoons and mime act are certainly funnny, but they are not humor language; second , humor language shuld be created by the variation of linguistic elements, not just by the narration of language of language symbols.It is necessary to distinguish between humor expressed in language and humor created by language:
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译杨心怡 Yang Xinyi 202170081604==

==英语笔译杨紫微 Yang Ziwei 202170081605==
<center>'''Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theory of "San Hua"'''</center>

<center>Yang Ziwei</center>

===Abstract===
Classical Chinese poetry is a gem of Chinese traditional culture. As for the translation of classical Chinese poetry, Mr. Xu Yuanchong is one of the most influential translator of classical Chinese poetry, and his translated works have been unanimously recognized and highly praised by many people at home and abroad. With more than 60 years of translation experience, he has summed up a set of translation theories of his own, which can be summed up in ten words in Chinese as “美化之艺术，创优似竞赛”. This paper mainly focuses on the analysis of the application and embodiment of the mainly translation theories-- the method of "San Hua" (equalization, deepenization and generalization) in Xu Yuanchong's translation of Tang poetry.

===Key words===
Xu Yuanchong; “San Hua” ; Tang poetry

===Introduction===
For a long time, translation has been playing an important role as one of the means to promote cultural communication and communication. The translation of many literary works has also achieved high achievements, but the translation of poetry has been mediocre, and it is difficult to produce high-quality translations, especially for the translation of ancient Chinese poetry. Mr. Xu Yuanchong, a modern translation master, has been engaged in literary translation for more than 60 years and has translated numerous works. His focuses on the English translation of ancient Chinese poems and has formed the method and theory of poem translation in rhyme form. In translation, he emphasized the subjectivity of the translator, the creativity and artistry of translation, and innovated and developed the translation theories of his predecessors. He believed that the translated works could not only convey the beauty of the original text, but even surpass it. In particular, his translation theory of "the art of beautification" has proved to be successful in the English translation of ancient Chinese poems. This paper focuses on the application of Xu Yuanchong's theory of "San Hua" in the translation of Tang poetry, and analyzes and explores its role and expression effect in the translation of ancient Chinese poetry into English. This thesis consists of four main parts, we will learn a lot about the previous study of translation of Tang poetry, the introduction and application of the method of "San Hua" in the translation of Tang poetry as well as the value and influence of Xu Yuanchong's translation theories. The purpose of the thesis is to search for realizing the beauty in form, sense and sound as well as making readers and translators themselves comprehend, enjoy and take delight in reading translation of Chinese classical poetry.

===Literature Review===
In the past research, people focused on the analysis and exploration of the three aspects of beauty of Xu Yuanchong, therefore, the analysis and research of another theory-- "San Hua" is a field that few people pay attention to. In this thesis, I focus on the analysis and application of the method of "San Hua" in the translation of Tang Poetry. Then in the dissertation of A Study On Xu Yuanchong As A Translator （2006）written by Chen Youyang, he introduce the source and definition of the method of "San Hua" which originates from Qian Zhongshu's "the realm of sublimation". In the Literature and Translation (2016) of Xu Yuanchong, it explains the method of "San Hua" in details and gives some examples to demonstrate its application of equalization（等化）、generalization（浅化） and deepenization（深化）. In addition, it analyzes the relationship between the method of "San Hua" and the three aspects of beauty as well as the "San Zhi". "San Hua" is the method to achieve beauty in sound, sense and form, what's more, it produces the translation works that bring joy and pleasure to readers. Now that my thesis stresses on the analysis of Tang poetry through the method of "San Hua", then I should learn clear about the features and categories of Tang poetry. In the article The Discussion of English Translation of Tang Poetry (1994), Gao Yukun analyzes the characteristics and development of Tang poetry translation and he holds that Chinese classical poetry are translatable. Academic journals of Su Lin and Wang Chengcheng, both of them analyze the significance of the expression of the beauty in sense through the method of "San Hua". Since there are culture–laden words and allusions that are difficult to translate, the proper application of "San Hua" cam help us deal with it well. Then I introduce several Tang poems translated by Xu Yuanchong to illustrate the detailed application and appreciation through the method of "San Hua".
In conclusion, the method of "San Hua” is applied in literary and poem translation frequently and many translators praise it. Although sometimes in order to realize the three aspects of beauty, it causes some disputes in the accuracy and faithfulness of translation works, it makes great contributions to the translation field and spread of Chinese culture. Thus, the thesis will pay more attention to the analysis, application and appreciation of translation of Tang poetry through "San Hua" to get a clearer and deeper understanding of the translation method.

===Methods and Theories===
Research method: Literature analysis.
By reading journal articles data online and entity books such as "beautiful suffocation of tang poetry", the selection of classic poetry translation works explore the analysis theory of "three concrete application as well as the significance of the translation method, to explore the untranslatability phenomenon in ancient Chinese poetry and the translator's clever translation method in Chinese and English is how to build a bridge; At the same time, it studies the value and function of the "three Modernizations" translation theory in translation and cultural transmission.
Theories: "San Hua"--Equalization,deepenization and generalization.

===Subtitle 1===
The Previous Study on Translation of Tang Poetry at Home and Abroad

The Tang dynasty is one of the most prosper dynasties in Chinese history. At that time, the development of Tang poetry has reached the highest level and left Chinese people a large number of valuable assets. Tang poetry possesses a very significant position in Chinese culture.

The ancient poetry of the Tang Dynasty are mainly five–or–seven–character regulated verse（五言或七言诗）. There are also two kinds of modern poetry, one is called quatrains（绝句） and the other is called metrical verse（律诗）. What's more, the quatrains and the metrical verse have five characters and seven characters respectively, so there are basically six basic forms of Tang poetry: five-character ancient style poem, seven-character ancient style poem, five-character quatrains, seven-character quatrains, five-character metrical verse, and seven-character metrical verse. Ancient poetry requires a wide range of rhymes: in a poem, the number of sentences can be more or less, the chapter can be long or short, and the rhyme can be changed. However, modern poetry has strict requirements on rhyme and disciplines of metre: a poem has a limited number of sentences, that is, the quatrains consist of four sentences while the metrical verse of eight sentences. The rhyme schemes or level and oblique tone of the words in each line has a certain regularity, and rhyme cannot be converted. It also requires the middle four lines to be antitheses. The style of ancient poetry is handed down from previous generations, so it is also called gufeng or ancient style. And modern poetry has a strict meter, so some people call it metrical poetry.
The forms and styles of Tang poetry are colorful and innovative. It not only inherited the Han and Wei folk songs, Yuefu tradition, and greatly developed the style of free verse; It not only inherited the five and seven ancient poems of the previous generation, but also developed into a long epic narrative; It not only expanded the use of five-character and seven-character forms, but also created modern poetry with a particularly beautiful and neat style. It pushed the artistic characteristics of the harmony of syllables and the refinement of words to an unprecedented height, and found a most typical form for the ancient lyric poetry, which is still particularly popular with the people. However, due to the strict metrical restrictions in modern poetry, the content of the poem is easily fettered and cannot be created and played freely, which is a great defect brought by its advantages and creates troubles for its translation as well.

It is a hard work to produce high–quality and beautiful translation work of Tang poetry. Since there are not only various themes and styles in Tang poetry, but also allusions, numerals, images, phonetic words, customs, natural scenery, place names and etc. All of these pose greater troubles for translating Tang poetry. Therefore, different translators hold different views in translating Tang poetry and they have their own translation theories.

Since 80s century, there are lots of English versions of Tang poetry, such as Poetry and Prose of Tang and Song, which is translated by Yang Xianyi and Gladys, Xu Zhongjie's New Translations of Two Hundred Tang Poems, Wu Juntao's Translation of Du Fu's Poetry, Xu Yuanchong's New Translation of Three Hundred Tang Poems and Selective Translation of Li Bai's Poems, Zhang Tingchen and Bruce M.Willson's Translation of One Hundred Tang Poems and Weng Xianliang's Translation of Classical Chinese Poetry. In early times, some people thought that poems can not be translated. P.B.Shelly and R.Frost were supporters. Frost said that poetry is what gets lost in translation (Gao,1994). An Austrian philosopher, R. Jakobson believes that poetry is strictly untranslatable (Gao,1994). Although there were such opinions, most people believed that poems are translatable and many translators have explored and formed new translation theories. In addition, E.A. Nida's equivalent effect and functional equivalence theories support that poems can be translated because of language regularity. Among them, some hold to translate poems with English metrical verse, such as Xu Yuanchong and Wu Juntao; while others use free verse on poetry translation, such as Weng Xianliang and Wang Shouyi. Because of intricate features of Tang poetry, translation work is difficult to realize its original beauty in form, sound and sense at the same time, so the former pays much attention to maintain the beauty in form, sound and sense and pursues to realize the combination of sense and form, and the latter emphasizes the importance of sense and seek to reproduce the meaning of the original poem and convey the true feelings of the poet, but sometimes it lost the original beauty of rhyme and sound. As L. Wittgenstein said, "translating from one language to another is doing a ma-thematic task. And translating an emotional poem into another language is like addressing a ma-thematic problem..., which can be solved but lack of a systematic method" (Gao Yukun,1994,22). The French translator, Le Marquis d'Henvey–Saint–Denys also wrote in the preface of his translation work Collection of Tang Poetry in 1862, "Poem translation is taking great risk and it is also hard and painful, because we found that those true beauties lie in the poetry can not be expressed in any foreign language."

No matter what translation theories they use, all of them believe that the translation of poetry is an art. Under the guidance of Yan Fu's translating standards--faithfulness, expressiveness and elegance, they have been trying to achieve the beauty in form, sound and sense. Xu Yuanchong, who has been translating Chinese classical poetry for more than 60 years, made great contributions to the translation field and had remarkable achievements.

===Subtitle 2===
Main Ideas of Xu Yuanchong’s Literature Translation Theory

2.1 An introduction to Xu Yuanchong

Xu Yuanchong was born in Nanchang, the capital city of Jiangxi province in 1921. He graduated from the Department of Foreign Languages of Tsinghua University in 1943. He entered the Institute of Foreign Literature of Tsinghua University in 44 years and then went to Europe to study. After returning to China, he served as a professor of English and French in foreign languages schools in Beijing, Zhangjiakou and Luoyang. He has been a professor of international culture at Peking University since 1983. He has been teaching the course Translation and Appreciation of Ancient Chinese Poetry at Tsinghua University since 1999. Xu is a famous translator in our country and is called the only expert in translating classical Chinese poetry into English and French verse. He has been nominated for the Nobel Prize in Literature. Xu's business card reads "the only person who translates poetry into English and French". He advocated "Dare to be the first in translation studies", and was regarded as a crazy talent in the field of translation. "I used to like to go my own way by myself, I still like to go my own way by myself, and I will continue to like to go my own way by myself." This is the last thing Xu said to everyone.

Xu's 42 works are all translated works, except for a memoir--Remembrance of the Past, and three works on translation theory--The Art of Translation, On Chinese Verse in English Rhyme, and On Literary Translation. These translations can be divided into four categories. One is Chinese-English translation, including 22 titles such as 600 Ancient Chinese Poems, 300 Immortal Chinese Poems, The Book of Songs, Romance of the Western Chamber, and Selected Poems of Mao Zedong. The second is the Chinese translation, which includes 150 Poems of the Tang and Song Dynasties and 100 Selected Lyrics of the Tang and Song Dynasties and so on. The third type is the Chinese-English translation, including Dryden's All for Love, Scott's Quentin Duward and so on. The fourth category is French-Chinese translation, including Hugo's Selected Plays, Stendhal's Red and Black and other eight kinds. Among them, the most striking is that he translated the literary masterpieces of the past 3,000 years into English and French verse and published them one by one, which has initially outlined the development of verse in the history of Chinese literature. It can be called a great feat in the field of translation. Among his works, 300 immortal Chinese poems, published by the British Penguin Publishing Company, is listed in its "Penguin series". Mr. Xu Yuanchong is the first Chinese to publish translated books in this world famous publishing house.

In 2010, Xu Yuanchong was awarded the "Lifetime Achievement Award in Translation Culture" by the Translators Association of China. On August 2, 2014, Xu Yuanchong won the Northern Lights Award for Outstanding Literary Translation, one of the highest awards in the international translation circle. He is the first Asian translator to win this award.

2.2 A Detailed Introduction to the Method of “San Hua”--Equalization, Deepenization and Generalization

As we have mentioned that the beauty of sense is hard to reach, and these measures can help us to improve our translation capability and learn to deal with translation problems in a appropriate manner. These three measures are methodologies of translation. Xu was inspired by Qian Zhongshu's theory of " the realm of sublimation" and came up with the free translation methods.

Equalization aims to achieve the equivalence between the source language and the target language, and it can only be used when the surface meaning and the deep meaning of a poem are the same. It includes word formation, syntactic transfer, affirmation and negation and allusion transplantation, etc. For instance, Xu Yuanchong translates “孤山寺北贾亭西，水面初平云脚低”into " West of Jia Pavilion and north of Lonely Hill, Water brims level with the bank and clouds hang low". The translation of place names is consistent with the original work. This sentence belongs to literal translation and it is easy to understand. Another sentence“树深时见鹿，溪午不闻钟”is translated into " In the thick woods a deer is seen at times, Along the stream I hear no noonday chimes". It also uses the method of equalization and realize the functional equivalence.

Deepenization refers to the fact that when there are differences between English and Chinese in the process of translation, the expression of the source language and the target language is not consistent, it is necessary to complete the unspoken content in the source language in the translation, so that the target reader can understand it. This method mainly includes amplification, creating something out of nothing, splitting translation or adding some content in the translation that is not explicitly stated in the original text but has this meaning. Here are examples of Xu's translation of Tang poems:

(1)白雪却嫌春色晚，故穿庭树作飞花。
But white snow dislikes the late coming vernal breeze,
It plays the parting flowers flying through the trees.

In the translation, the words " dislikes, plays and flying" show us the lovely and brisk white snow with the personification. It expresses the poet's avid expectation for spring with the help of flying snowflakes.

(2)随意春芳歇，王孙自可留。
Though fragrant spring may pass away,
Still here's the place for you to stay.

This translation explicitly convey the deep meaning of the sentence. Although the spring is gone, but the autumn scenery is better. The poet is willing to stay. He likes to return to nature, loves the landscape and advocates quiet and pastoral life. It shows the poet's noble feelings and the pursuit of his ideal life.
In contrast to " deepenization", there are contents involving different cultures in the two languages. Sometimes it is not easy to translate directly, so we need to use a certain method, such as subtraction, to delete the culture-heavy contents in the original text and replace them with more general and understandable contents.

(3)相见时难别亦难，东风无力百花残。
It’s difficult for us to meet and hard to part；
The east wind is too weak to revive flowers dead.

In this translation, it omits the word “百”which has no influence on the meaning expression. In this way, Xu also maintains the beauty in form and sound. What's more, the word "flowers" has involved the meaning of hundreds of flowers. This is what we call subtraction, which is one of the methods of generalization.
Among them, deepenization is the best way to show us the beauty of sense. It is the high standard of literary translation and generally the translation work supersedes the original one. Thus, it is regarded as creation.
In the translation of Tang poetry, we have to be clear that which method we should use in the process of translation to achieve the three aspects of beauty, especially the beauty in sense. The ultimate goal of translation is to produce high–quality translation works which are better than the original ones.

===Subtitle 3===
The Analysis and Appreciation of Xu's Translation of Tang Poetry through the Method of “San Hua”
In this part, we will study Xu Yuanchong's translation methods of “San Hua” deeply and know more about their use in translation of Tang poetry.

3.1 An analysis of Happy Rain on a Spring Night through the Method of “San Hua”

春夜喜雨
（唐）杜甫
好雨知时节，当春乃发生。
随风潜入夜，润物细无声。
野径云俱黑，江船火独明。
晓看红湿处，花重锦官城。

Happy Rain on a Spring Night
Du Fu
Good rain knows its time right,
it will fall when comes spring.
With wind it steals in night;
mute, it wets everything.
Over wild lanes dark cloud spreads;
in boat a lantern looms.
Dawn sees saturated reds;
the town's heavy with blooms(Xu Yuanchong,2020,32).

This poem describes the poet's happy and brisk feelings to see the spring rain. It was written in the spring of 761 (the second year of Shangyuan). After a period of exile, Du Fu finally settled down in Chengdu, Sichuan Province due to the drought in Shaanxi Province and began a relatively stable life in the middle of Sichuan Province. When he wrote this poem, he had been living in a cottage in Chengdu for two years. He personally cultivated, planted vegetables and flowers, and socialized with farmers. He had a deep love for spring rain, so he wrote this beautiful poem describing the rain on a spring night that moistens everything.

Spring rain knows to adapt to the season. When all things germinate and grow, accompanied by the spring breeze, spring rain secretly in time to come at night to nourish all things silently. The country path and the clouds in the sky hide in the darkness, the lights of the fishing boats on the river are particularly bright. Till dawn, I saw that drizzle had moistened red flowers, which made them more charming. And beautiful flowers are full of Jin Guan City.
At first, from the perspective of the beauty in three aspects, this is a five–character metrical poem and every sentence is divided into two parts. The first part includes two syllables and the second part includes three syllables. When translated into English, there are five syllables in each sentence and the first part includes two or three syllables and the second part includes three or two syllables. Moreover, the first and second sentences rhyme and so do the third and fourth sentences in both original and translation works. These show the beauty in form and sound. With regard to the expression of beauty in sense, it is not hard to know that the title and the whole poem basically used equalization(等化) so that it is easy for us to understand. In the first sentence, in order to maintain the end rhyme, Xu reversed the order of words "when spring comes" but translated it into "when comes spring". The words "good rain" express the poet's love to spring rain, which sets the general tone for the poem. And in the second sentence, he used "steals" to describe the falling rain which adopted personification and presented us a lively and dramatic picture. He also reversed words in the sentence of "mute, it wets everything", such kind of inverted sentences also seen in the second and third lines. The clouds are spreading the sky gradually indicates the upcoming of the very rain. And "looms" also reveals the carefulness of Xu's word selection. Because of the sullen weather and distance, the light from a lantern in a boat is weak and flickering due to the wind, so he chose the word "looms". Besides, words like "saturated" and "heavy" are appropriate choices. As for “锦官城”, he just translated it into "the town", which is the use of generalization(浅化) that omitted the explanation to allusion.
As a whole, by means of the “San Hua”, readers can understand the poem without any difficulty and they can also feel the poet’s true feelings. Meanwhile, the choice of words, lengths of sentences and rhymes are pleasing to read and the meaning of the poem as well as the poet's true emotion are showed in the translation work. We can not only feel the poet's excited and surprised mood but also appreciate the musical beauty of the poem through reading it, which means this translation let readers enjoy and love it.

3.2 An analysis of The Sad Zither through the Method of “San Hua”

锦瑟
(唐）李商隐
锦瑟无端五十弦，
一弦一柱思华年。
庄生晓梦迷蝴蝶，
望帝春心托杜鹃。
沧海月明珠有泪，
蓝田日暖玉生烟。
此情可待成追忆，
只是当时已惘然。

The Sad Zither
Li Shangyin
Why should the sad zither have fifty strings?
Each string, each strain evokes but vanished springs:
Dim morning dream to be a butterfly;
Amorous heart poured out in cuckoo’s cry.
In moonlit pearls see tears in mermaid’s eyes;
From sunburnt jade in Blue Field let smoke rise.
Such feeling cannot be recalled again:
It seemed lost even when it was felt then(Xu Yuanchong,2020,124).

It is one of the most significant poems of Li Shangyin. From the title -- the Sad Zither, we can know that the main focus of the poem is "sad".

This poem has been variously annotated. Some people thought it was a mourning work, some thought it was patriotic, and some thought it was deploring with sighs for all his talent, and others thought it was a description of missing the poet's maid Jin Se. But most people agreed with the first idea.
In Xu's translation, most poems use the end rhyme and so does this. From the structure of the poem, we can see that forms of the original and translated works are the same. In regard to the full expression of its meaning, we can analyse it one by one sentence. The first couplet expresses the poet mourns for the lost golden years which we can see from words “思华年”, he translated “华年”into "springs" instead of "golden years" for the beauty of sound by means of generalization. Moreover, as the beginning of a year, spring represents vitality, energy and beauty which is like the most valuable years of people and expresses the poet cherish the golden years greatly. And "vanished springs" uses deepenization which told us that his golden years were lost forever and he was very regretful. Going forward, the second and third sentences include many allusions which is the most difficult task to deal with. The second couplet uses an allusion from Zhuangzi. It says that Zhuangzhou dreamed that he was a butterfly when he woke up from his dream, he found that Zhuangzhou was still there and he did not know where the butterfly was going. The poet took this as a metaphor for the beautiful situation he indulged in when he was young. “望帝春心托杜鹃”comes from a legend that in the late Zhou Dynasty, Shu monarch Du Yu abdicated and retired from public life, but he was unfortunately died. After death, his soul into the cuckoo, crying sadly and moving people's hearts. The poet used the story to convey his hatred and also the ardent miss for his wife. In Xu's translation, he did not translated these allusions directly into "Zhuangsheng" or "the emperor Wang", but omitted the subject. This is the adoption of generalization which avoids complicate and unnecessary explanation of allusions. Then he used the word "dim" actually showed the poet's confusion and melancholy, and "amorous heart" indicated the emperor Wang as well as the poet himself and the word "cry" expressed his sorrow for the vanished golden years and his dead wife directly. In this translation, Xu directly expresses the poet's true feelings which is hid in allusions, it is the method of specification in deepenization. In the third couplet, “沧海月明珠有泪”refers to the tears of mermaids that can turn into pearls. The poet combines the moon beads and tears into a hazy wonderland, expressing a kind of complex feelings of dis-consolation, which includes both the love for its high and clear, and the sadness for its cold and loneliness. And “蓝田日暖玉生烟”refers to the phenomenon that the jade mountain of Blue Field is often illuminated by the sun and the essence of the beautiful jade in it is rising gradually, which is as fine as hair from a distance, but nothing at all from a close look. The poet took advantage of the ideal scenery with high aesthetic meaning to express a kind of regret that can not be close to noble spirits. It is the same as the third allusion. Different from the second couplet, the first half of the third sentence roughly explained what the allusion talked about to readers while the second half used literal translation. If not understand these allusions, it will be hard for us to make it clear that what the poet want to express. Therefore, the proper translation of allusions is really formidable. The last couplet conveys the poet's grief and regrets again but it is much stronger than before. “可待成追忆”was translated into " cannot be recalled again" by Xu Yuanchong, which used negation translation in equalization. In fact, it emphasized that the beautiful days and loved ones were gone for good and it was too late to redeem for him. The word "lost" was tantamount to “惘然”that revealed the inner world of the poet. Xu had not translated“当时”into "when it was felt then" instead of “at that time”, which also belongs to the specification in deepenization, he described the feelings of the poet in details and made it clear to readers.

So from this piece of work, we can get to know that how difficult to deal with allusions properly because of the cultural differences between China and foreign countries. In my opinion, Xu did a really remarkable work. Through his translation, we can not only feel the beauty in form, sound and sense of the Chinese version, but also learn to make full use of the method of “San Hua” to help us understand its main idea and the poet's emotions. Particularly the translation of allusions that eliminates the tedious and unnecessary explanation of them which foreigners can not understand, and maintains the original beauty in form and expresses the important things involved in them as well.

3.3 An analysis of The Mourning Day through the Method of “San Hua”
清明
（唐）杜牧
清明时节雨纷纷，
路上行人欲断魂。
借问酒家何处有，
牧童遥指杏花村。

The Mourning Day
Du Mu
A drizzling rain falls like tears on the Mourning Day；
The mourner' heart is going to break on his way.
Where can a wine shop be found to drown his sad hours?
A cowherd points to a cot' mid apricot flowers(Xu YUanchong,2020,160).

The first line of the poem points to the natural conditions in which the poet is exposed, such as the time and weather. Tomb-sweeping day is one of the big festivals of the tang dynasty on which people will hold family reunion, visit a grave, outing, and attend various activities. Du Mu did not see the sun in the Qingming Festival in Chizhou（池州）, but only drizzle. The second sentence turns from the perspective of objective to the subjective, focusing on the poet's emotional world. He saw passers-by on the road were busy mourning their dead loved ones, and he felt very sad and grieve. In the third sentence, the poet's feelings mingled with scenes. He was very sad when traveled in the rain. The rain wet his clothes and the weather was chilly. Then the poet sought to drown his sorrows in wine, so he asked the way. The last line tells us to whom the poet asks for directions. "A cowherd points to a cot' mid apricot flowers" brings the reader into a completely new realm, which is completely different from the previous melancholy and misery. The cowherd's warm and sweet voice, distant apricot flowers blooming like brocade, the spring is in the air, and the wine flag at the village head is fluttering. The first two lines of the poem create a sad and sentimental picture, while the last two lines show a vivid and lively one, which is contrasted and interlaced with each other. It also shows us the change of emotions of the poet.

First and foremost, from the three aspects of beauty, Xu still adopts the end rhyme. The number of words in every sentence varies by only one or two, so from the perspective of form, the whole poem is relatively neat after translation.

Then what matters most is the adoption of the method of “San Hua” in the expression of the beauty in sense. Firstly, the title “清明”was not translated into "Pure Brightness Day" or "the Qingming festival", but "the mourning day" because the poem mainly talks about the scenes and poet's feelings on mourning relatives on this very day. And for target readers, especially foreigners, they do not understand what is the Qingming festival or Pure Brightness Day and what people do on this day. Comparatively speaking, " the mourning day" makes the main idea of the poem clear and it is also in line with the original meaning. Therefore, in this poem, Xu mainly used the method of deepenization. In the first sentence,"a drizzling rain" depicts the features of spring rain which is not thick and fast. "Fall like tears" is not showed in the original work, but it is implicated in the sentence. The falling rain is like mourners' tears on their way to visit their dead loved ones. Xu excavates and expresses the implicit meanings of the original text, which eases the burden to fully understand the poem. Then “路上行人” actually do not "pedestrians" or "travelers", but "mourners". Because on the mourning day, those people were engaged in paying respect to the dead and they hurried on the road due to the rain. Xu translated “欲断魂” into "heart is going to break" which belongs to free translation and expressed the mourner's deep sorrow. In the third line, "wineshop" points out that the poet wants to drink down his sorrow, and "drown his sad hours" makes it clear and touching. In the original text, there is also not the purpose why the poet looks for a wineshop, but Xu's translation reveals everything. It belongs to specification and amplification. The last sentence is the answer to the question before--There is a wineshop mid apricot flowers. If let us translate“杏花村”, it could be "apricot village". But after thinking twice, we will notice that it could not be an apricot village, but a cot hid among the apricot flowers which is more appropriate and beautiful. On the whole, through reading Xu's The Mourning Day, we tapped the implicit meaning of every sentence out. And in this English version, Xu directly expressed the poet's heartfelt sorrow, dis-consolation and gratification. In reading this poem, we sympathize with the poet, mourn with him, and find comfort in the discovery of a wineshop hidden in an apricot flowers.

In conclusion, through the analysis and appreciation of the three poems translated by Xu Yuanchong, we further understand the use of his translation methods ”San Hua” in poetry. In general, equalization and deepenization are used frequently in poetry while generalization is mostly used to deal with allusions and etc.
Generally speaking, to reverse the disadvantages of the target language, we can use the generalization method to make readers understand the text. Striving for the same high quality of translation as the original work, we can use the equalization method to make readers appreciate it. Developing the advantage of translation and make it surpass the original text, we can use the deepenization method to make readers admire it. This is Xu's skopos theory of literary translation.

===Subtitle 4===
The Influence of Xu's Translation Theories
As an expert of translation, Xu Yuanchong forms his own systematic translation theories which are applauded by most people. And these theories are clearly showed in every piece of his work. We have to admit that his translation theories indeed shed new lights on translation and make tremendous contributions to the exchange between Chinese and foreign cultures. His translation work not only let Chinese people enjoy the foreign literary works in a fresh manner, but also present the original beauty of Chinese literature to foreigners. Under the guidance of his specific translation theories, we get a clearer map to translate poetry, novel and etc.
Xu Yuanchong's translation theories “美化之艺术”is combined by extracting one word from predecessors' translation theories. It is based on their experiences and his own translation practice for more than sixty years. He inherited and developed these theories and explained them explicitly. Firstly, He believed that "elegant" no longer means quaint in today's world, but elegance or beauty. Xu said:"According to my own translation practice, I think Yan Fu's 'faithfulness, expressiveness and elegance' can be understood today as 'faithfulness to the original content, smooth translation form and giving play to the linguistic advantages of the translation.' "In my opinion,'faithfulness, expressiveness and elegance' can be understood as 'faithfulness, expressiveness and excellence'. Excellent is to give full play to the advantages of the target language, which is to use the best way of expression of the target language with words of beautiful meaning, sound and form, in other words, 'excellent' is' beautiful '." Secondly, he explains the relationship between science and art, translation words and taste or styles, truth and beauty with simple formulas. Xu says:" Chinese poetry often has multiple meanings with endless aftertaste, while English poetry expresses the literal meaning." Thus, the western science school put forward the theory of "equivalence", "equivalence of function", "equivalence of effect" and literal translation theories. Because the meaning is greater than the words, the Chinese school of art puts forward the theory of free translation and spiritual resemblance, giving play to the advantages of the target language, that is to say, the translator can not only translate all the contents of the original text but also contents are not showed in the original text. Therefore, the formula for literary translation is 1+1>2. Thirdly, he advocates literary translation should create beauty, so he proposes the advantage theory. The translation of cultural allusions is the most difficult. Literal translation cannot preserve beauty even if it can preserve truth. But if we adopt free translation, even if it can be beautiful, it is often hard to avoid distortion. A true translation can make readers comprehend it; a beautiful one can readers enjoy it, and a translation that preserves both truth and beauty will delight the reader. Therefore, the translation of poems should preserve the beauty of the original poems with as little distortion as possible. Since literary translation is an art and literary works are about people, so they have to be fascinating and exciting. If we only pursue truth without paying attention to beauty, it may be not a beautiful work, so the beauty of it is more significant than the truth.

===Conclusion===
Xu is a very confident, talented and prolific translator with strong character and innovative spirits in the translation field. He has a special calling card; in it there are two phrases "over sixty books published in China and aboard,the one and only person translated series of Classical Chinese poetry into English and French." In another calling card reads "without the title of academician, but he excels an academician; translated over one thousand classical Chinese poems to Europe and America". His translation theories and practices gained a wide range of recognition at home and abroad. Reading his translation of Tang poetry is an enjoyment. Nowadays, there are still many translators and translation theorists support his translation theories, particularly three aspects of beauty and the method of “San Hua”. Looking at the translation of Tang poetry in history, Xu Yuanchong's translation makes our eyes shine. The beauty of classical Chinese poetry, which is thought could not be translated, came to life in his writing. Under the guidance of the beauty in form, sound and sense, translators adopt approaches of equalization, generalization and deepenization to pursue their goals of letting readers comprehend, appreciate and even admire their translations.
Although some of his translation theories are still controversial and questioned by some translation staffs, as the saying goes:" There are spots even on the sun", this does neither affect his lofty status in the translation field, nor does it negate his great contribution to the inheritance and dissemination of translation field and culture. Mr. Xu Yuanchong devoted his whole life to the cause of translation and the pursuit of beauty. He spent most of his life summarizing his valuable translation experience and forming his own translation theory system, which is helpful for us to further understand translation and further practice it. His works let us appreciate the local conditions and customs of foreign countries, but also bring foreigners to enjoy the beauty of classical Chinese poetry. In this paper, we studied Xu's mainly translation theories and cited several Tang poems to illustrate his translation methods. Through the analysis of his works, we get a clearer picture on the use of his translation theories, and we also know more about the defects of his translation which casses our reflection. After all, translation theory system can not be completed in one day. It requires us to explore and improve it through trial and error.

===References===
*Chen Youyang(2006). A Study On Xu Yuanchong As A Translator. Fuzhou University.
*Duan Min(2003). A Study On Xu Yuanchong As A Translator. Sichuan University.
*Hu Xiaoyin(2003). On the Translation and Reception of Tang Poetry in Britain and The United States. Sichuan University.
*Wang Peng(2008). A Study of Xu Yuanchong's Poetry Translation Thoughts. China University of Petroleum.
*Xu Xiufeng(2006). On the Aesthetic Transference of Poem Translation (From Chinese to English)––Xu Yuanchong's Thought on Poem Translation. Ocean University of China.
*Zhu Lin(2004). A Study of Xu Yuanchong’s Translation Theories and Practice. Guangxi Normal University.
*Gao Yukun 高玉昆(1994).论唐诗英译[On the English translation of Tang Poetry].国际关系学院学报[Journal of the Institute of International Relations],(4).
*Lu Su, Xu Yuanchong 陆苏,许渊冲(2020).美得窒息的唐诗[Suffocating Tang Poetry].湖北：长江文艺出版社[Hubei:Changjiang Literature and Art Publishing House].
*Su Lin 苏琳(2020).“变通”译唐典音美意深远——从“三化论”角度看唐诗中典故的英译[The Translation of Allusions in Tang Poetry from the Perspective of "San Hua"].四川职业技术学院学报[Journal of Sichuan Vocational and Technical College],30(2):73~77.
*Qian Zhongshu 钱钟书(1981).林纾的翻译[Translation by Lin Shu].北京：商务印书馆出版社[Beijing: The Commercial Press].
*Xu Yuanchong 许渊冲(2016).文学与翻译[Literature and Translation].北京：北京大学出版社[Beijing: Peking University Press].
*Xu Yuanchong 许渊冲(2006).翻译的艺术[The art of translation].北京：亚洲传播出版社[Beijing: Asia Communication Press].

==英语笔译张国浩 Zhang Guohao 202170081606==

<center>'''The Influence of Electronic Language on Chinese Language and Culture in the Internet Age'''</center>

<center>Zhang Guohao</center>

===Abstract===

Language is the most important communication tool and the carrier of culture. Language itself is also a cultural phenomenon. The Chinese nation has a long history of thousands of years, and its language and culture are an indispensable part of Chinese traditional culture. With the development of electronic network and information technology, electronic language is also booming under this background. Electronic language is the product of the times. It has both positive and negative effects on Chinese language and culture. Starting with the analysis of the emergence and characteristics of electronic language, this paper focuses on the positive and negative impact of electronic language on Chinese traditional language and culture in the new media era, and further puts forward a series of measures to protect Chinese traditional language and culture.

===Key words===

New media; Electronic language; Language culture

===Introduction===

With the development of current information technology and network technology, a large number of electronic languages, also known as network languages, have appeared on the Internet. And they have increasingly penetrated into people’s daily life with the development of the Internet. Electronic languages reflect the current hot social issues, and have the characteristics of simplicity. With the increase of electronic languages, it is bound to have a certain impact on Chinese traditional language and culture. Electronic languages have both positive and negative effects on Chinese traditional language and culture. While expanding the vocabulary of modern Chinese, some vulgar and malicious electronic languages are eroding the traditional Chinese language and culture. How to make electronic language and Chinese traditional language and culture coexist harmoniously in the new media era is a topic that is worth studying and discussing. This paper will introduce the background of electronic languages, the characteristics of electronic languages and the impact of electronic languages on Chinese traditional language and culture, and explore measures to protect Chinese traditional culture in the new media era.

===The Electronic Language in the New Media Era===

'''1.1. The Emergence of Electronic Language in the New Media Era'''

After three technological revolutions, the new media era has finally arrived. With the rapid development of the Internet, the momentum of new media in people’s lives is also growing. And the electronic language that followed became one of the most important parts of it. Today, under the circumstance of the new media era, electronic language has developed with the development of the network. The continuous development of society has made the traditional language unable to meet people’s spiritual needs. People are now facing a colorful language world on the computer screen. While lamenting people’s strong adaptability, we have to say that this is the result of the transformation of the media. The media carrier has to decide the trend of culture. When we look at the characteristics of electronic language in the era of fresh media, it is not difficult for us to have such results.

'''1.2. The Definition of the Electronic Language'''

Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on. It was born in the electronic media and developed with the popularity of the network. Electronic language is participated by the public and can not be separated from the carrier of electronic media. It passes between the instructors of electronic media. Compared with the traditional language, there is no classical version of the electronic language because the electronic media has only appeared for a few decades. Therefore, the grammar and word order of it do not seem to conform to the traditional language norms.

'''1.3. The Characteristics of Electronic Language in the New Media Era'''

1.3.1 Electronic language is the combination of written language and spoken language.

According to different media, language can be divided into written language and spoken language. Written language has very restrictive grammar rules, a standard punctuation system and a very strong logic. With no intuitive feeling like spoken language, written language has a deterrent to people and help to form people’s rigorous rational thinking. However, spoken language is very flexible, and is not stick to one pattern. It has the characteristics of immediacy and transience, which makes spoken language not as easy to store and popularize as written language. There is a confrontation between written language and spoken language inadvertently, and this confrontation has been eased in today’s new media era. Electronic language acts as such a bridge. Electronic language not only has the expression environment of written language, but also has an obvious tendency of colloquialism. Whether it is online chat, forum post or mobile phone short message, it is not completely the same as the traditional expression. Since electronic language requires users to type what they want to say on the screen, and requires the receiver to browse the information through their eyes, so it has obvious characteristics of written style in this way. However, it is also influenced by the colloquial style, so there is obvious mutual penetration from both sides. Generally speaking, electronic language is a kind of colloquial written language, which fully integrates the two types to serve its own needs.

1.3.2 Electronic language is pictorial and vivid.

In the new media era, the recipients of electronic media can not learn the rich body language of the communicator from the electronic screen, but they can get some information by some vivid dynamic expressions sent by the messenger. People often use various symbols on the keyboard to create a lot of very vivid and humorous facial expressions to express their body language at that time, in which there is almost no difference between happiness and sadness in real life. These electronic languages are very interesting on the electronic screen and often make people laugh, which instantly shorten the distance between the information sender and the receiver. Through these vivid cartoon symbols which are different from words, the communicator penetrates parts of the meaning he wants to convey, making the virtual electronic media full of reality and immediacy. As a result, many relaxing and humorous electronic languages have emerged. They are not only humorous, but also easy to understand. This kind of relaxing and humorous style caters to the needs of modern people to relax their body and mind, so that the tense young generation can speak freely. When facing a boring topic, they can also discuss with each other in a humorous tone, which undoubtedly brings an unparalleled happy experience to the users of new media.

1.3.3 The expression of electronic language depends on the context and its meaning is vague.

Context refers to the speech environment, which includes both linguistic factors and non-linguistic factors. Contextual factors such as context, time, space, situation, object, and discourse premise, are all related to the use of words. Context includes specific time, specific space, specific scenes, specific characters and so on. Electronic context mainly refers to some new media such as electronic bulletin boards and e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Electronic context mainly refers to some new media such as e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Therefore, electronic language is bound to be misunderstood without a big context. The context of electronic language has always been open, allowing everyone to join freely. Different media will produce different languages. Electronic language is generated with the arrival of the new media era and will develop with the continuous development of the new media. The characteristics of electronic language are inseparable from the convenience of transmission, fast replication and various presentations of new media. Therefore, with the continuous development of new media, the era of electronic language has come.

1.3.4 Electronic language is highly dependent on network information technology media.

The intelligent terminals represented by computer, electronic information technology and Internet technology have created electronic language and the unique paralanguage of electronic language such as emoji, which not only makes up for the lack of body language such as expressions, movements and moods of language users, but also makes electronic language form multiple forms of expression, such as structured, semi-structured and unstructured forms. At the same time, network information technology has built a platform for the use of electronic languages, such as various forums, QQ groups, micro-blogs, We Chat and other virtual spaces, so that spoken or written languages and other different types of languages and dialects communicate with each other. Without the network information technology, the electronic language cannot exist. This technology also breaks the limitation of traditional spoken and written language, making the electronic language a super language without the limitation of time, space and region. Therefore, the modern information technology with computer, communication, network and electronic technology as the core is the material basis for the generation and use of electronic language.

===The Influence of Electronic Language on Chinese Traditional Language Culture===

The new media era is a multilingual society, so there is an obvious language-mixing phenomenon in electronic language. In electronic language, there is no absolute authority and anyone can speak freely, which makes the electronic language have a strong vitality and a huge impact on the traditional Chinese language and culture.

'''2.1 The Positive Influence'''

2.1.1 It can promote the development of Chinese language and culture

The electronic language has a variety of changes. Its simple, fast and vivid features not only meet the needs of the new media era, but also give people a fresh and lively feeling. Any language in the world is constantly updated and developed in use. Language innovation is an extremely important factor and a manifestation of vitality of a language. Without innovation, there is no development of language. Denying innovation and resisting innovation are equal to killing the vitality of a language. With the continuous development of electronic language, a large number of new words have emerged and the number of loanwords have increased. And with the extensive use of lettered words and numerals, Chinese vocabulary has been greatly enriched and developed. In the aspect of pronunciation, we use some homophonies to replace some Chinese words. For example, now we use “酱紫”to replace “这样子”. In terms of grammar, electronic language does not adhere to traditional grammar, which enriches and transforms the grammar system, and distorts conventions. In addition, electronic language has accelerated the demise of some old words. This series of characteristics makes the Chinese language fully nourished and breaks the barriers to knowledge. As a result, Chinese language spreads rapidly. At the same time, it adds the fun and color of people’s lives, making cultural exchanges unprecedentedly free and prosperous.

2.1.2 It can promote the transformation of reading methods.

In the era of new media, electronic language is constantly innovating and changing. With the continuous progress of technology, people’s reading methods are changing. Today’s electronic media reading is basically replaced by “hypertext” and “hyperlink”. People can read everything related to the text by clicking on links one by one, which is much more convenient than before. This way also satisfies people’s psychology of seeking knowledge and curiosity. In addition, with the popularization of high-tech products such as mobile phones and tablet PCs, mobile reading begins to prevail. People’s reading is no longer confined to a place. Through these new media, people can easily read anytime and anywhere, which generally improves the reading efficiency.

'''2.2 The Negative Influence'''

Firstly, the emergence of electronic language may make Chinese traditional language and culture be in danger of dating. Chinese traditional language and culture is the summary of experience of the continuous development of the Chinese nation. And it is also the national spirit gradually condensed in the long-term social practice. The language culture full of the fine tradition of the Chinese nation not only provided great power for the development of the Chinese nation in the past, but also will play an important role in the future of the Chinese nation. However, in today’s new media era, young students are the main users of electronic media. Since they are particularly sensitive to new things and electronic language has the characteristics of convenience, rapidity and image, it has a fatal attraction for young students who like to pursue new things. While they continue to create electronic language, they also continue to penetrate electronic language into their own lives, which makes Chinese traditional language and culture more and more distant from them. If things go on like this, it will inevitably lead to the dating of Chinese traditional language and culture, and make the future of traditional language and culture bleak.

Secondly, the trend of vulgarization of some electronic language has produced cultural garbage. In the new media era, electronic language constantly pursues individuality and innovation. However, there are also some shortcomings. The virtuality and obscurity of the network make it easy for both sides of the dialogue to relax or even unbridled in their communication, which results in the uncivilized electronic language. Some electronic languages abuse other people or even carry out personal attacks with rude words and dirty words, losing the minimum civilization. And information surplus will produce information garbage, making people consume more time to filter the information. This is a manifestation of information pollution. All these phenomena will seriously affect people’s normal life order. Nowadays, the vulgarization trend of electronic language is becoming more and more serious, and it begins to penetrate into the traditional media. If it is not guided as soon as possible, our traditional language and culture will be destroyed.

Thirdly, electronic language does not conform to grammatical norms. Since electronic language does not conform to grammatical norms and blindly pursues novelty and convenience, it violates Chinese language norms in many ways. Some typos and words and phrases with misinterpreted meanings will have a negative impact on the education of Chinese language. Although these nondescript languages are novel, their damages to Chinese or other languages are obvious. Adolescents are extremely sensitive groups and are willing to accept new things. However, their ability to generally distinguish between right and wrong is not strong. Therefore, in the process of learning, it is easy for them to be affected by these electronic languages, which makes them easy to develop bad habits of not using standard words and standard expressions. As a result, it is detrimental to the learning of traditional language and culture, and their appreciation ability will be decreased.

Fourthly, electronic language can form linguistic generation gap and cause communication difficulties. Electronic language represents a certain type of language and culture in the new media era, and has been widely used in the new media era. It continues to penetrate into the life of the young generation pursuing fashion. In this specific new media language environment, electronic language has its significance. However, when it leaves this specific environment, it will no longer become a tool for people to communicate with each other. If people do not understand it, it will hinder normal communication between people. In terms of the communication effect of a language, this generation gap misleads the communication between the communicator and the receiver, and has a great impact on the traditional language and culture. Many electronic languages cause generation gap between parents and children. Due to the non-standard use of language, parents often don’t know what their children mean. The gap between the two generations is hard to erase. Now, coupled with the novel electronic language, the generation gap between the two generations is bound to deepen and the communication between them will become more and more difficult.

===Measures to Protect Chinese Traditional Language and Culture===

First of all, the government should introduce relevant laws and regulations to regulate electronic language. The support of the government is like a beacon, which can guide Chinese traditional language and culture to a bright road. In this aspect, China has also made some attempts, such as popularizing Mandarin Chinese nationwide, which is not only the necessary measures to facilitate communication, but also can effectively regulate the Chinese language so as to promote effective dissemination of Chinese language and culture. In addition, in the aspect of creating a good new media environment, the role of national laws and regulations cannot be replaced by other methods. This kind of compelling force can guide the development of electronic language towards the right path. While standardizing itself, it will also promote the traditional language and culture and electronic language to absorb the advantages of each other, learn from each other, and finally achieve a win-win situation.

Secondly, the government should popularize the education of Chinese traditional language and culture. Education has always been the foundation of people’s livelihood. Improving education has no harm to the spread of traditional language and culture. In order to strengthen the proportion of Chinese studies and standardized the use of Chinese language in compulsory education, teachers should pay attention to the cultivation of students’ traditional language accomplishment. High school period can’t pay more attention to the science education but to grasp both sides. In addition, it is necessary to popularize quality education and improve the overall quality of students from all aspects in order to lay a good foundation for entering university. In the university curriculum, we should add the curriculum of Chinese traditional language and culture and the comparative appreciation of Chinese language and culture with other countries, especially in western countries. In this way, we can increase students’ appreciation ability, so that the majority of students can feel the charm of Chinese traditional language and culture, deepen the understanding of Chinese traditional language and culture in the process of comparison with other countries, and make more efforts to protect our traditional language and culture. Many attempts have been made in folk such as the rise of modern private school. Although there is a conflict with the law of compulsory education, but its spirit of exploration should be affirmed and supported.

Thirdly, we need greater efforts to enhance the development of traditional media. Under the pressure of new media, traditional media has a trend of decline. Newspapers are in danger of dying out in the new media age; book sales are also declining year by year. Although journals have entered the digital age, the cultural capacity of them is not high and the transmission channel is not unblocked. If all of these are not solved in time, the consequences will be serious. Moreover, traditional media is an excellent way to spread traditional language and culture. Therefore, it is necessary to continuously explore the new advantages of traditional media and learn advantages from other media, so as to make the traditional language and culture flourish in the traditional media.

Fourthly, The media should hold more programs about traditional culture. The traditional language and culture should be consciously or unconsciously integrated into the program, so that the audience can get spiritual sublimation. Traditional cultural programs may have low viewing rate due to their monotony and slow rhythms. This requires the media director to find a way. In this regard, CCTV’s ''Lecture Room'' is a good example. It integrates traditional language and culture into the program in a novel and unique way. It not only spreads Chinese traditional language and culture to the audience, but also leads to an active atmosphere and increase the attraction. As a result, the viewing rate will naturally be higher. In recent years, the film about traditional language and culture is also very popular. The film Confucius and Sacrifice have achieved good earnings. These films show the charm of Chinese traditional style to the world, and have a great significance for the inheritance and development of traditional language and culture. The media therefore has a long way to go in this regard.

Fifthly, we need to speed up the construction of websites that can inherit Chinese traditional language and culture. In the new media era, with the rapid development of science and technology, electronic language is also sweeping the whole network. How to open up a new world of Chinese traditional language and culture in this new field has attracted more and more attention. From my perspective, it is very important for us to adhere to our own principles in the virtual network. In order to protect the traditional language and culture and resist the invasion of electronic language, we must first make the traditional language itself become strong. It is a good choice to run a website that can inherit Chinese traditional language and culture. The website we want is not a pile of meaningless electronic language, but to carry forward the development of Chinese traditional language and culture. This is a spirit that needs to be firmly observed. There is no doubt that if all of these are truly achieved, it will be of great significance to the standardization of language.

===Inheritance and Innovation of Chinese Traditional Language and Culture through New Media Means===

The above measures are general protection measures for Chinese traditional language and culture. With the continuous development of the new media era and the continuous innovation of science and technology, we need to learn to use the means of new media to protect and inherit Chinese traditional language and culture. This part takes cultural TV programs as an example to discuss how to use TV cultural programs to effectively inherit traditional language and culture.

In recent years, TV cultural programs have become increasingly popular. Under this background, many TV media have participated in the creation of traditional cultural TV programs. The explosive and hot broadcast of TV cultural programs can not only give full play to the communication function of TV programs, but also realize the role of TV program communication in promoting traditional language and cultural spirit. Therefore, how to maintain the original intention of traditional cultural heritage of TV cultural programs is the main purpose of its development. At the same time, through the continuous optimization of the content of the program, it realizes the effective dissemination of traditional language and culture, and thus plays a good role in promoting the construction of a harmonious society.

The first thing is to innovate the program content so as to inherite our excellent language and culture. As a kind of mass media, TV has its own artistic variability. This is mainly because television provides a lot of communication channels, and also shows the diversity of traditional cultural content in the process of inheriting traditional language and culture. Therefore, television should be the main channel for inheriting traditional language and culture. When disseminating knowledge, TV cultural programs also choose higher quality traditional language and culture and realize the inheritance of high-quality traditional language and culture through the continuous innovation of communication forms, thus showing the vitality of traditional language and culture and the responsibility of mainstream media. As early as 2016, the State Administration of Radio made a new deployment for the innovation of radio and television programs. At the same time, it also guided radio and television stations at all levels to actively do a good job in building cultural self-confidence, encouraged radio and television stations to actively innovate, so as to lay a good foundation for the prosperity and development of socialism and high-quality traditional language and cultural programs. It also constantly promotes the effective integration between television media and traditional language and culture. The innovation and creation of excellent TV cultural programs can not only realize the inheritance of traditional language and culture, but also guide young people to actively undertake the main task of inheriting traditional language and culture, which provides reliable support for traditional culture education. At the same time, young people can be striven to be the promoter of traditional language and culture. Students have a certain leading ability and exemplary role. They can not only show the cultural confidence of contemporary young people through the program and enhance the educational function of traditional culture, but also accumulate traditional language and culture in the process of continuous exploration.

Secondly, television should improve the program structure so as to undertake the educational function. With the advent of the information age, there has been an ideological collision between various cultures, which has also affected the traditional consumption concept. With the rapid development of modern information technology, television, as an important cultural industry, plays an important role in cultural communication and transmission of Chinese cultural ideas. Under the background of cultural infiltration, China should actively publicize traditional language and culture and take it as the key content of its soft power development. Cultural strength is an important factor for the prosperity of a nation. TV cultural programs should actively enhance their comprehensive strength in the process of its development. At present, the diversified world culture is booming and the culture of various countries are infiltrating each other. The national cultural soft power plays a major role in the world development competition. TV media should actively undertake the task of spreading the traditional language and culture of the Chinese nation, and take TV cultural programs as the main way to enhance the development of national cultural soft power. In addition, the content of traditional language and culture spread by TV media should also have unique characteristics and highlight the advantages of traditional culture. Only by strengthening the dissemination of traditional language and culture can we lay a good foundation for the future development of China. At the same time, we can also spread the high-quality traditional cultural spirit for young people so that 5000 years of brilliant treasures can be inherited and carried forward. As an important carrier of socialist core values, television should realize the arduous task of carrying forward traditional culture, accelerate the popularization and inheritance of Chinese traditional language and culture and guide teenagers to correctly understand excellent traditional language and culture so as to realize the effective penetration of socialist core values. Although the Internet has had a great impact on the media, and also made the cultural communication have a new direction and mode, the television communication media still occupy a dominant position and should take the responsibility of the mainstream media. Therefore, TV cultural programs should take full use of the advantages of TV media, choose innovative communication methods, fully display the characteristics of traditional language and culture through the optimization of communication content. With the assistance of Internet media, we can inherit and carry forward traditional language and culture, and promote the sustainable development of traditional language and culture in the era of new media.

On the other hand, cultural TV programs should enrich their forms and highlight characteristics of Chinese language and culture. TV cultural programs should actively use the interactive mode of all media. Many TV cultural programs in their production process are integrated with variety show forms to attract audience attention. In addition to the traditional on-site interaction, TV programs should also actively mobilize the participation and interaction of off-site audience in the new media era. In addition, we should also actively enrich the stage manifestation of TV programs. Through the effective application of modern data technology, high-tech elements can be added to the broadcast of TV programs, so that the audience can be immersive and close the distance between traditional language and culture and them. Especially with the continuous improvement of people’s aesthetic level, the design of TV cultural programs should actively innovate the stage design, show the charm of cultural programs under the support of high-tech forces, and build a dynamic artistic space.

===Conclusion===

In a word, Chinese language and culture has a long history, which has made great contributions to the progress of human civilization. The inheritance of traditional Chinese language and culture needs our continuous efforts. In the new media era, the electronic language is characterized by humor and vague context, which makes it a double-edged sword. Therefore, it will also have an impact on the traditional language and culture in the process of its development, which has both positive and negative sides. This requires the state and society to actively guide the electronic language. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language. It is believed that electronic language can coexist peacefully with traditional language and culture and develop together through continuous efforts of all parties in the near future. At the same time, in the new information age, the mainstream TV media should actively take full advantages of new media, increase the dissemination of traditional language and culture through media integration, improve the national cultural soft power, and shoulder the arduous task of inheriting culture. In addition, we should also actively create original program content with our own characteristics. Under the influence of traditional language and culture, we should increase the communication effect through the form of media integration, so that the influence of traditional language and culture can be fully displayed.

===References===
*Cheng Liang, Yan Fuping 程亮，颜复萍. (2010). 新媒体时代传统文化的传播特征与对策研究 [Research on the Communication Characteristics and Countermeasures of Traditional Culture in the New Media Era]. ''中华文化'' Chinese Culture (04) 118-121.
*Cao Xue 曹雪. (2008). 电子传播时代的媒介复古 [Media Retro in the Era of Electronic Communication]. Linfen: Shanxi Normal University 山西师范大学.
*Duan Huining 段慧宁. (2019). 电视文化类节目对中国传统文化的创新传播——以《国家宝藏》为例 [The Innovative Dissemination of Chinese Traditional Culture by TV Cultural Programs——Taking ''National Treasureas'' an example]. ''传播力研究'' Research on Transmission Competence 3(22) 5-6.
*Feng Wei 冯薇. (2012). 试析网络语言对现代汉语的冲击与影响 [A Brief Analysis of the Impact of Network Language on Modern Chinese]. Guangzhou: South China Business College, Guangdong University of Foreign Studies 广东外贸大学南国商学院.
*Gao Ling 高凌. (2021). 新传播环境下电视人文节目如何传播传统文化 [How TV Humanities Program Spread Traditional Culture in New Communication Environment]. ''记者摇篮'' Journalist Cradle (11) 123-124.
*Huang Xiaoqin, Huang Huang 黄小琴，黄璜. (2011). 中国传统文化传播的绿色传播策略 [Green Communication Strategy of Chinese Traditional Culture Communication]. ''新闻与传播研究'' Journalism & Communication (11) 14-15.
*Lv Hongzhou 吕红周. (2010). 语言特征 [Linguistic Features]. ''外语学刊'' Foreign Language Research (09) 48.
*Luo Yingxia 罗英侠. (2007). 论网络语言对汉语言文化的影响 [The Influence of Network Language on Chinese Language and Culture]. Luoyang: Henan University of Science and Technology 河南科技大学.
*Xin Ke, Wang Lingling, Wang Lei 辛科，王玲玲，王磊. (2009). 浅析网络语言对中国语言文化的冲击 [A Brief Analysis of the Impact of Network Language on Chinese Language and Culture].''消费导刊'' Consume Guide (02) 08-10.
*Xu Miaomiao 许苗苗. (2009). 电子语言——创新结构与跨界应用 [Electronic Language——Innovative Structure and Transboundary Application]. ''文艺研究'' Literature and Art Studies (10) 99-106.
*Zhu Qinghe 朱清河. (2011). 跨文化传播视角下中国传统文化智慧 [Chinese Traditional Cultural Wisdom from the Perspective of Intercultural Communication] ''陕西师范大学学报'' Journal of Shaanxi Normal University (03) 143-151.

===Terms and Expressions===

*电子语言 electronic language
*文化垃圾 cultural garbage
*粗俗化 vulgarization
*普通话 Mandarin Chinese
*素质教育 quality-oriented education
*现代私塾 modern private school
*《百家讲坛》 Lecture Room
*《孔子》 Confucius
*《赵氏孤儿》 Sacrifice
*广电总局 the State Administration of Radio

===Questions===

*1. What is the definition of the electronic language?
*2. The expression of electronic language depends on the context and its meaning is vague. (T/F)
*3. Why is the viewing rate of traditional culture programs low?
*4. Adolescents are not extremely sensitive groups and are not willing to accept new things. (T/F)
*5. What are important measures to guide the healthy development of electronic language?

===Keys===

*1. Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on.
*2. T
*3. Traditional cultural programs may have low viewing rate due to their monotony and slow rhythms.
*4. F
*5. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language.

==英语笔译张姣玲 Zhang Jiaoling 202170081607==
<center>'''The comparison of the translations of Li Bai’s poem Changgan Xing(Ezra.Pound's Version and Xu Yuanchong's)'''</center>

<center>Zhang Jiaoling</center>

===Abstract===

As one of the representatives of Traditional Chinese culture, poetry and its English translation are favored by literati. Li Bai's masterpiece Changgan Xing has been translated by many Chinese and foreign scholars. This paper makes a comparative study of Ezra Pound's and Xu Yuanchong's translations under the guidance of functional equivalence theory, and finally points out the translation steps that should be followed when translating poems under the guidance of this theory.

===Key words===

Comparison; ChangGanXing; Ezra Pound; Xu Yuanchong; Functional Equivalence

===Introduction===

As a literary genre, poetry is rich in thoughts, emotions and imagination, with refined language and beautiful rhyme, and particularly strong imagery. The translation of poetry not only requires accurate reflection of the original content and its imagery, but also requires the translation to be consistent with the original in form and style. When it comes to Chinese poetry, especially Romantic poetry, one can easily associate it with the Poet Immortal Li Bai. He wrote more than 1000 poems throughout his life, which occupy an important position in the development of Chinese classical poetry. His poems is wild and unrestrained, dashing and bold, thus leaving a deep impression on readers. Li Bai's life was unusual in that he revered freedom, loathed the worldly officialdom, and lived his own life. His romantic life provided material for his poetry, and he left many masterpieces in the history of Chinese poetry. It is noteworthy that it was his rich life experiences that had a profound influence on his poetic creation. The poem Changgan Xing is a household Yuefu poem written by Li Bai. The whole poem is written in the form of a merchant woman living in Changganli self-talking, recalling her loving past with her husband and expressing her undying love for her husband in another country. The poem mainly describes the merchant woman’s memory of her and her husband’s innocent childhood, then their wonderful married life, and the protagonist’s endless missing of for her husband after his departure.

Xu Yuanchong is a professor at Peking University and a renowned translator. He has been engaged in literary translation for more than 60 years, and his achievements are so high that he was awarded the Aurora Borealis Prize for Outstanding Translation of Literature in 2014, one of the highest awards in the international translation community. He has been publishing his translations since 1956, and his major works include The Songs of Chu, Three Hundred Tang Poems, and Three Hundred Song Lyrics. Mr. Xu Yuanchong's translation works have promoted the exchange between Chinese and Western cultures and brought outstanding Chinese literary works to the world, especially his translations of classical Chinese poems. In addition, he put forward a series of translation theories, which enriched the traditional Chinese translation theory and promoted the development of translation studies. Mr. Xu Yuanchong's translation theory is mainly based on his "Three Beauties" principle, which holds that "the beauty of meaning means that translated poems should touch the reader's heart as much as the original poems do; while the beauty of sound is that they should have pleasant rhythm as the original poems have; and the beauty of form means that the translated ones should maintain the form of the original poem as much as possible.” Mr. Xu once talked about the relationship between the "Three Beauties" in his article on translating poems: "the beauty of meaning" is the most important, "the beauty of sound" the second, and "the beauty of form" is even less important. (Xu Yuanchong, 1979).

Ezra Pound (1885-1972), a leading representative of 20th century imagist poetry, was also a major founder of British and American modernist poetry. Both a poet and a translator, Pound translated many Confucian classics as well as classical Chinese poems. In 1915, Pound published his English translation of an ancient Chinese poetry anthology, Cathay, which was immediately received by Western society as "one of the best ten or so American poems of the 20th century”. Jeff Twitchell says, "Before Pound, China had no literature worthy of her name popular in English-speaking countries." (Jeff Twitchell, 1992) Pound's idea of poetry creation greatly influenced his idea of translation. Pound advocated translation without emphasizing fidelity to the meaning of the original text; what he sought was to reproduce the details and imagery of the original text in the translation. Imagery is the soul of the poetry translation, without which the translation of poetry would be meaningless.

This paper takes Li Bai's Changgan Xing as the object of study and compares and analyzes Pound's translation “TheRiver-Merchant’s Wife: a Letter” and Xu Yuanchong's translation “Ballad of a Trader’s Wife” under the perspective of Eugene Nida’s functional equivalence theory.

===Methods and Theories===

The term "dynamic equivalence" was first proposed by Eugene Nida in his 1964 book Toward A Science of Translating, emphasizing that "the relationship between receptor and messageIn such a translation (dynamic equivalent translation) one is not so concerned with matching the receptor-language message should be substantially the same as that existed between the original receptors and the message"(1964:159). In The Theory and Practice of Translation, Nida proposed that "Translating consists in reproducing in the receptor language the closest natural equivalence of the source-language message, first in terms of meaning and secondly in terms of style." (Nida & Taber 1982: 74). By the end of the 1980s, Nida replaced "dynamic equivalence" with "functional equivalence" in order to emphasize the concept of "function" and to avoid the misunderstandings of "dynamics" by some people, emphasizing that translation is a form of communication focused on reproducing the original language. Functional equivalence requires "not only the equivalence of the content of the message, but also, as far as possible, the equivalence of the form.” Nida clearly states that "the closest natural equivalence" is used to reproduce the original message. In the early 1990s, "functional equivalence" was further divided into two categories including the maximal level of equivalence and the minimal level of equivalence; the former is defined as “The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did" , which is the highest level pursued by the translation, while the latter is stated as “The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it”.(Nida 1995:224;1993:118) The highest level of functional equivalence is an ideal state, which is rarely achieved in texts other than those with little aesthetic value of factual information. The lowest level of functional equivalence is more realistic, and any translation below this level is unacceptable (Nida, 1993: 118). A good translation always lies somewhere between the two levels (Nida, 1995). The theory of "functional equivalence" is flexible, and there is considerable diversity between the highest and lowest levels. Compared with other translation theories that focus on a single theoretical criterion, the "functional equivalence theory" allows for diversity in the translation process. Translators have more autonomy to "deal with some of the problems of variability in different texts, of significant differences between readers, and of differences in the use of translation for research, for publicity, for pleasure, etc." (Nida, 1996: 114).

===On the level of word===

First, from the translation of the title, Xu Yuanchong translated it as "Ballad of a Trader's Wife", while Pound translated it as "The River-merchant's Wife: A Letter". Both of them are translated by understanding the whole poem, rather than simply translating it as "Changgan Xing". This is because the whole poem is mainly about the woman's longing for her husband through the description of various imagery. Such a translation is also closely related to the context in which the poem was composed. In the middle and lower reaches of the Yangtze River and the Han River valley, business was flourishing back then, and cities were prosperous with frequent trade contacts, and merchants were running their businesses from region to region. The wives of merchants had to wait and miss their husbands at home. Xu Yuanchong's and Pound's translations are all appropriate in this respect.

Every word in Changgan Xing is carefully chosen as it describes the merchant wife's longing for her husband. As words are the smallest unit in poetry, they are nevertheless the first step in translating poetry. In the first six sentences of this poem, Li Bai described the growth of two children, depicting the happy childhood of a boy and a girl playing merrily, leaving readers a good memory of the protagonist and her husband, and creating a pair of innocent and lively children images.

妾发初覆额，折花门前剧。
郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: While my hair was still cut straight across my forehead：
I played about the front gate：pulling flowers.
You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people：without dislike or suspicion.

Xu Yuanchong’s version: My forehead barely covered by my hair：
outdoors I plucked and played with flowers fair.
On hobby horse you came upon the scene：
around the well we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Analyzing the translation of these sentences, it is easy for us to see that Pound only tried to express the meaning of the original poem, while Xu tried to make the translation more like the original poem. In the first line, Pound chose the word "still" to emphasize the time and state, making the translation closer to the original. As for the understanding of the two’s playground, Pound translated it literally as "front-gate", while Xu chose "outdoors", the same thing was meant with their different choice of words. Then concerning the understanding and illustrating of an ancient toy made of bamboo, Pound chose "bamboo stilts," which is less faithful but easier for foreigners to understand, while Xu chose the word "hobby horse," which is easy to understand for the Chinese, but not so easy for foreigners. The word "bed" in modern times has a different meaning than it does in ancient times, so Pound chose "seat", while Xu chose "well" according to his understanding. In the last sentence, Li Bai described the friendship between two children, and Pound chose "two small people" to indicate their childhood, while Xu's "children twain" is a further explanation, which is more faithful to the original poem as it shows the happy sporting and innocent friendship between the boy and the girl.

These two lines delicately depict the shyness and sweetness of the newly married.

十四为君妇，羞颜未尝开。
低头向暗壁，千唤不一回。

Pound’s version: When I was fourteen: I married my master.
I never laughed: and I was shy.
I lowered my head and looked at the wall.
I had never looked back at one thousand calls.

Xu Yuanchong’s version: When I was fourteen：I became his bride.
I often turned my shyness face to the side.
I hung my head on the dark wall：
and I refused to answer his call.

In the translation of these two sentences, Pound chose to use "my master" to explain the meaning of "husband" to expresses the wife's respect and obedience to her husband, which is very appropriate for the time. Compared with Xu's choice of "he", "my master" seemed to be more appropriate. As for Pound's choice of the phrase "one thousand calls", it clearly showed the girl's shyness and her respect for her husband. Taking the fact that the girl is only 14 years old, and they live in a feudal society, so Pound's choice of words was very appropriate. As for Xu's choice of "dark wall", he actually misunderstood the original meaning, so his choice of words seemed to be inferior.

The following two sentences indicate the wife’s worries about her husband's business trip, showing her genuine concern and love for her husband, creating a heavier atmosphere for the reader.

十六君远行，瞿塘滟滪堆。
五月不可触，猿声天上哀。

Pound’s version: At sixteen years old：you leave：
you go to a distant place：in a swirling whirlpool.
You’ve been away for five months.
The monkey made a sad voice on the top of his head.

Xu Yuanchong’s version: When I was sixteen years old： he went far away：
through three Canyon covered with rock gray.
In the ship crash： when the spring flood was rising：
The crying in Gibbons seemed to come from the sky.

Pound chose to translate these two verses indirectly. The biggest problem with his translation is the misunderstanding of five months. In the original poem, Li Bai meant May. While Xu wisely skipped the time marker and used only phrases to express the time.

门前迟行迹，一一生绿苔。
苔深不能扫，落叶秋风早。
八月蝴蝶来，双飞西园草。
感此伤妾心，坐愁红颜老。

Pound’s version: You’ve dragged your feet when you go out.
Now：the moss are green：
different moss：too deep to clear them!
In autumn the leaves fall early in the wind.
The pairs of butterflies have turned yellow on
the lawn of the Western Garden in August.
They hurt me. I’m getting old.

Xu Yuanchong’s version: Now the green moss in front of our door are slight;
his footprints：hidden：can no longer be seen.
The moss cannot be washed away：the dense leaves will grow：
and when the wind blows： the leaves will fall early.
The yellow butterflies in the autumn will pass two on the
grass on the west side of the garden.
The scene would break my heart：
and I was afraid to sit alone：
and my cheeks would fade.

In these next four lines, in Li Bai's description, the protagonist was touched by the scene she saw and then fell into a constant state of anxiety. The description of the scene gives the reader an immersive experience as well. Pound's translation of these four lines also created a more vivid picture than Xu's. In order to show worry and fear, Pound chose the word "hurt" to imply the double meaning, referring to both psychological and physical injuries. The protagonist's mourning showed her helplessness as a feudal woman. Xu's choosing of "cheeks" and “fade” was even better, because women's cheeks are like roses which only shine their beauty in youth, while fading indicated her growth and fear of growing old.

===On the level of sentence===

In the translation process, when the translator has decided and embellished the words to be used, they must also take the entire sentence pattern into account.

郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people: without dislike or suspicion.

Xu Yuanchong’s version: On hobby horse you came upon the scene：
around the wall we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Through analysis, it is easy to see that Pound used different syntactic techniques, such as "playing" to express two actions at the same time, while Xu only used simple past tense to imply the time, which is slightly inferior.

The last two lines of the poem express the protagonist's hope and deep love for her husband, and her wishes of him coming home early and promises that she will meet him not far from home.

早晚下三巴，预将书报家。
相迎不道远，直至长风沙。

Pound’s version: If you are coming down through the narrows of the river Kiang：
please let me know beforehand.
And I will come out to meet you as far as Cho-fu-sa.

Xu Yuanchong’s version: O when are you to leave the western land?
Do not forget to tell me beforehand!
I’ll walk to meet you and would not call it far
Even to go to Long Wind Beach where you are.

By comparing the two translations, Pound used "If you are coming down" to express the wife’s longing for her husband; Xu chose direct words to show what the wife wanted to say to her husband, creating a more vivid scene. For readers, Xu's inner monologue is more touching than Pound's.

===On the level of culture===

1.Translation of Idioms and Allusions. There are two idioms and two allusions in the overall content of Changgan Xing. They are "青梅竹马（Qingmei Zhuma）" and "两小无猜（Liangxiaowucai）"; "抱柱信（Baozhuxin）" and "望夫台（Wangfutai）". The cultural interpretation of "Qingmei Zhuma": Qingmei refers to green plum; Zhuma is a bamboo pole played by children as a symbol of horse. It describes the innocence and playfulness of young children. Now it refers to the intimacy between men and women when they were young. Pound obviously failed to interpret the cultural meaning of it, and mistook it for the boy stepping on bamboo stilts and playing horse, which is a ridiculous mistranslation in Chinese readers’ eyes, but fills English readers with a surprised and fresh feeling and making them impressed on how romantic the young boys and girls in ancient China were! This unintentionally became his punch line. Professor Xu Yuanchong's translation cleverly replaces the "Zhuma" in the original poem with the "hobby horse", a common childhood game tool, so that English readers can easily appreciate the true meaning of the innocent game of boys and girls in the original poem according to their own life experience. This not only preserves the real intention of the original poem, but also makes it easy to be understood by English readers. It may seem to be unfaithful to the original poem in the surface, but in fact it is an evocative interpretation of the classical Chinese culture contained. In addition, "around the well" is even more impressive, vividly depicting the happy scene of boys and girls chasing and playing in the courtyard and by the well.

The allusion "Baozhuxin" is from Zhuangzi, a man named Weisheng made an appointment with a woman to met under a bridge, Weisheng arrived first, and suddenly the water rose, he kept his promise and refused to leave, so as a result, he was drowned while holding to the pillar of the bridge. Since then, people used "Baozhuxin" as a metaphor for keeping faith with love. "Wangfu tai" is taken from the Southern Dynasty Liu Yiqing’s The Book of Ghost Stories: there is a stone resembling a woman in Beishan, Yangxin County, Wuchang; Legend has it that: in the past, there is a chaste woman, her husband joined the army to save their country, so the woman together with their weak son bid farewell to him to this mountain, standing there lookout and turned into a stone, therefore got the name of “Wangfutai”. This is an allusion used to describe a wife missing her husband, or to describe the utmost sincerity. These two lines mainly express the wishes of the merchant woman to her husband, who should remember the vow he made on that day and never leave her and adhere to their love, so that the merchant woman will never have to climb up the mountain to look at her husband’s direction. These two lines contain both the wife to her husband's entrust as well as her hidden worry for him. Pound failed to translate these two allusions, and delivered a weak transformation in the cultural dimension. Xu Yuanchong's translation adopted the domesticating method, as he avoided a direct translation of the allusions but managed to convey the spirit of the allusions: that is men should keep their promises.

2.Translation of rhetorical devices. Figures of speech are used to express the true feelings of the protagonist. Therefore, translators must pay attention to the translation of those devices. The use of simile, metaphor, personification and other figures of speech are prominent features of Li Bai's poems. Both Pound and Xu Yuanchong are flexible in dealing with exaggeration in this poem, which can also reflect the translator's skills in choosing appropriate sentence patterns in translation. The change of words or sentence patterns will affect the feeling of translation, so the artistic conception of the original poem must be taken into consideration by the translator.

===Conclusion===

This paper mainly studies two translated versions of Changgan Xing. One is Pound's interpretation and translation. , because Pound himself knew little about Chinese as well as about Chinese historical background. Pound, American poet and literary critic, is a representative of the magist. He is one of the leading figures of postsymbolism. From the study of the Chinese classical poetry and the Japanese haiku, he put forward the theory of “poetic imagery”, and made great contributions to the study of Eastern and Western poetry. Pound does not understand Chinese. The Chinese classical poetry can be translated because he got Earnest Fenollosa’s private manuscript. Pound chooses 19 Chinese classical poems and translates them into English, including Li Bai’s Changgan Xing. Pound’s translation of Li Bai’s works has already been the second interpretation, which can cause misunderstanding to the poem. Although Pound’s translated poem has enjoyed a high popularity in the western literature and is named as one of the excellent translations, it has some obvious mistakes, which deserve our attention and discussion. The other translator is Xu Yuanchong, an expert in translation of the classical poetry, who has published numbers of works of translation and translation theories. As a representative of the imagist movement, Pound is very fond of imagist poetry which especially emphasizes the hazy beauty. Therefore, the interpretation of concrete words is not taken very seriously. In order to pursue the creation of hazy beauty, Pound’s interpretation of Li Bai’s poetry damages the poetic mood and rhythmic beauty of the original poem. And Pound himself also explained that he was eager to pursue the image of the poem and did not blindly interpret the meaning of poem but to grasp more details and compress the author’s thoughts and feelings. As the first translator to win the Aurora Borealis Prize for Outstanding Translation of Literature, one of the highest awards in the international translation community, he has made great contributions to Chinese literary translation. In his translation career, Mr. Xu not only translated a large number of Chinese and Western cultural classics, but also wrote several books on translation theory. In particular, his views of "Three Beauties" (beauty of sound, meaning and form) and "Three Perfections" (equalization, simplification and deepening) in poetry translation have been gradually accepted by the translation community. In particular, his principle of "Three Beauties" has been regarded by many scholars as the criterion for judging poetry translation. In Xu Yuanchong’s opinion, “to preserve the beauty in sense we may use the method of ‘paraphrase’ (free or liberal translation); to preserve the beauty in sound, we may use the method of ‘imitation’ (or adaptation); to preserve the beauty in form, we may use the method of ‘metaphrase’ (or literal
translation)” (2006: 131).
Different translations have distinctive styles. In the process of translation, complete equivalence with the original is not advocated. The translator's aim is to satisfy the needs of readers, not to cater to them. Choosing how to translate the original text is actually a balancing process between the target language and the source language. When translators try to translate some works, they can be guided by functional equivalence in order to be faithful to the original text. For functional equivalence to be achieved in poetry translation, the following steps need to be followed: The first step is to understand not only the literal meaning of the original text, but also the implied meaning of it, so as to achieve functional equivalence in poetry translation. The second step is to use one’s own words to express, to translate the allusion properly, and also to choose the appropriate rhetoric. Only in this way can the translation be easier to understand for its receiver.

===Terms and Expressions===
Changgan Xing; TheRiver-Merchant’s Wife: a Letter; Ballad of a Trader’s Wife: 《长干行》

"Three Beauties" (beauty of sound, meaning and form)：“三美”（音美，意美，形美）

"Three Perfections" (equalization, simplification and deepening)：“三化”（等化，浅化，深化）

functional equivalence theory：功能对等理论

Eugene Nida：尤金·奈达

Toward A Science of Translating：《翻译科学探索》

The Theory and Practice of Translation：《翻译理论与实践》

Zhuangzi：《庄子》

The Book of Ghost Stories：《幽明录》

the Aurora Borealis Prize for Outstanding Translation of Literature：“北极光”杰出文学翻译奖

poetic imagery: 诗学意象

===Questions===

1.What are the main methods adopted by Pound in his translation?

2.What are the main methods adopted by Xu Yuanchong in his translation?

3.Since there are many mistranslations in Pound’s version of Chang Gan Xing, is it ok for us to draw the conclusion that Pound’s translation is inferior than Xu’s?

4.Is it possible for us to find the best or a precisly equivalent translation of the original poem?

===Answers===

1.Free translation and domestication.

2.A combination of literal translation and free translation, domestication and foreignization.

3.No, it’s not. Different translations have distinctive styles. Pound’s translation has its own merits and demerits and so has Xu’s translation.

4.It is almost impoosible for us to find a precisly equivalent translation since there are always something untranslatable because of the cultural differences, and it is also difficult for us to choose the best version that everyone agrees on as each has one’s own standards.

===References===

*Eugene A. Nida. Toward a Science ofTranslating. Leiden: Brill, 1964.

*Eugene A. Nida. and C. Taber. The Theory and Practice of Translating. Leiden: Brill,1969.

*Wu Min Hua. Xu Yuanchong as a Touchstone for Ezra Pound’s Translation of Tang Poetry[J]. Comparative Literature: East & West,2021,5(1).

*Li Xingyuan,李幸原.生态翻译学视域下《长干行》三个英译本比较研究[A Comparative Study of Three English Versions of Changgan Xing from the Perspective of Ecological Transliteration][J].海外英语[Overseas English],2020(08):22-24.

*Zhang Yuan,张媛.《长干行》两个英译本的对比赏析[A Contrastive Appreciation of Two English Versions of Changgan Xing][J].延安职业技术学院学报[Journal of Yan 'an Vocational and Technical College],2019,33(06):57-60+73.DOI:10.13775/j.cnki.cn61-1472/g4.2019.06.018.

*Xu Yifan,许昳凡.目的论视角下《长干行》文化意象翻译研究——以埃兹拉·庞德译本为例[A Study on the Cultural Image Translation of Changgan Xing from the Perspective of Skopos Theory: A Case Study of Ezra Pound's Translation][J].作家天地[For Writers],2019(19):32-33.

*Liao qian, Luo Dijiang, 廖倩,罗迪江.许渊冲“三美”翻译原则和庞德创意翻译理论对比研究——以李白《长干行》为例[A Contrastive Study of Xu Yuanchong's "Three Beauties" Translation Principle and Pound's Creative Translation Theory -- A Case Study of Li Bai's Changgan Xing][J].牡丹江大学学报[Journal of Mudanjiang University],2018,27(12):103-105.DOI:10.15907/j.cnki.23-1450.2018.12.029.

*Tian Dong,Xiaolin Lin. Attitude in Appraisal Theory: A Comparative Analysis of English Versions of Changgan Xing[J]. International Journal of Comparative Literature and Translation Studies,2018,6(1).

*He Chunfang, Shi Huihui, 何春芳,石慧慧.论庞德对李白《长干行》的文化误译[On Pound's Cultural Mistranslation of Li Bai's Changgan Xing][J].湖北经济学院学报(人文社会科学版)[Journal of Hubei University of Economics:Humanities and Social Sciences][,2017,14(08):110-113.

*Zhang Qiaoping, 张巧平.诗学视域下李白《长干行》两英译本的对比研究——以庞德、许渊冲译本为例[A Comparative Study of the Two English Versions of Changgan Xing by Li Bai from the Perspective of Poetics -- A Case Study of the Two Versions by Pound and Xu Yuanchong][J].发展[The Development],2017(01):89-90.

*Han Lizhao, 韩立钊.《长干行》三个英译本的对比解读[A Contrastive Interpretation of the Three English Versions of Changgan Xing][J].西藏民族学院学报(哲学社会科学版)[Journal of Xizang Minzu University(Philosophy and Social Sciences Edition)],2015,36(03):138-141.

*Yang Meiru, 杨梅如.解析《长干行》的两个英译文本——基于许渊冲的“文化竞赛论”[An Analysis of Two English Translations of Changgan Xing -- Based on Xu Yuanchong's "Cultural Competition Theory"][J].考试周刊[Kao Shi Zhou Kan],2014(78):8-10.

*Wang Shanmei, 王善美. 功能对等视角下许渊冲与庞德英译中国古典诗歌之比较研究[A Comparative Study of Xu Yuanchong's and Pound's English Translations of Classical Chinese Poetry from the Perspective of Functional Equivalence][D].青岛大学[Qingdao University],2014.

==英语笔译张瑞 Zhang Rui 202170081608==
<center>'''An analysis of honorifics between Chinese and English'''</center>

<center>张瑞 Zhang Rui</center>

===Abstract===

The purpose of this paper is to study the use of honorifics in modern languages and the expressions of politeness in address forms. In this paper, English and Chinese are selected to study the corresponding expressions by means of data collection and analysis. The results show that the use of honorifics is influenced by language habits, cultural backgrounds, social changes and other aspects, and the development direction of honorifics is explored.

===Key words===
Honorific; personal pronouns; Comparison
===Introduction===

1.1 Background of research

In recent years, with the background of globalization, international communication and cross-culture contact has become an essential part in the modern world. When communicating with others, the question “How do I want to be addressed” might come to the mind. Languages, seen as human culture relics, have their own features that embody different customs in different societies. In everyday life, the use of language is an essential part which enables us to express, receive and communicate ideas as well as massages. Among different functions of languages, honorifics stand apart from other functions. Even though there are various forms of honorific used in different languages, the existence of honorifics serves one very purpose: to express your respect to others. The use of honorifics changes from one culture to another culture and different usages of honorifics in different languages deserve our attention.

1.2 Aims of research

Different honorifics have different meanings and are used for different purposes. Honorifics have developed along with the language itself. Theories that are used in the study of honorific include Language typology and linguistic anthropology theories.
Thus, in the following part, I’d like to illustrate the development of honorifics, similar and different uses of honorifics and the cultural connotations that honorifics indicate. Besides, the relationship between politeness and honorifics will be discussed.

===Literature Review===

2.1 Theoretical Framework

Moravcsik (2013) claims that Language typology aims to describe and explain the common properties and the structural diversity of the world's languages. Goals and tools for language typology are the key points, on which the author had put most attention and efforts to introduce and illustrate. And the author focused more on the similarities of different languages when looking into language patterns.

The key question raised is that: What is the reason for their differences and for their similarities? To find out the reasons, the author put his attention more on the similarities and differences in vocabularies, word structures, and word orders. By comparing the similarities of vocabularies, three reasons— shared historical origin, language contact and shared cultural environment (supported by respectful person pronouns)—are discussed. Then, the author talks about language types and universals with the examples of different word orders and sentence structures, and introduced the definition of language typology—the study of typologically and universally shared features of languages.

Another focus point is different kinds of statement types and corresponding statements. Statement types differ in mainly three aspects. First, the author gives the examples of alveolar nasals with the illustration of examples of food stores. Crosslinguistic statements are existential and universal. Existential statements tell us results under different language conditions. Based on universal statements, they differ in modality (absolute universals and statistical universals) and the universe they pertain to (unrestricted universals and implicational universals). Statistical statements are about probabilities: it is not only possible that the next language that you encounter has a particular feature – it is said to be probable. Absolute universals in turn are about certainties: they say that the next language you look at will have a particular feature. Difference between unrestricted universals and implicational universals lies in the relationship between implicans and implicatum as well as their complexity.

According to the relationship between terms, we can label the three implicational types: paradigmatic, syntagmatic and reflexive universals. According to their complexity, there are single implicans and/or implicatum and complex implicans and/or implicatum.

When it comes to language samples, we cannot inspect all languages. The reason for that is we cannot know what future languages will be like. Secondly, we don’t know about all the languages which have existed throughout human history. Thirdly, even with today’s extensive data bases, no linguist can consult all descriptions that are available. Thus, Matthew Dryer’s theory aims to find out a universally valid tendency based on genetic groups, geographic groups and measure of universal tendencies.
The type of a language influences the way it express meanings (金立鑫, 2006). For example, inflected languages, such as English, changes meanings by changing word forms, while isolating languages, such as Chinese, use isolated words to express special meanings.

2.2 Honorifics

Honorifics are one way we express our honor or respect to others. They are in both spoken or written languages. Different words are used to express different level of honorific. Honorifics are a simple language mechanic that allow us to express esteem or respect for the person we are speaking to. Most languages use honorifics up to some extent. But at the same time, in many languages, the need to use honorifics dissipates when we know someone well. For example, some languages like English consider it acceptable to address a senior without any title.

There are situations where one generally uses an honorific outside of official environments.

David (2013) surveys the use of honorifics in a variety of languages illustrate the forms of honorifics vary in different languages. According to the author, honorifics refer to the addressee, the utterance referent and the bystander of the discourse. How we make use of honorifics determines categories of honorifics. In most cases, we change words we use on occasions where we are supposed to revere others, so that we can communicate better. That means honorifics are lexically different. The use of honorific varies based on the situations. With different individuals’ status being expressed, there are three main types of honorifics.

The first type of honorifics is the addressee honorific, which aims to indicate the social status of the individual spoken to, or the hearer. Addressee honorifics express the social status of the person being spoken, which are normally higher than that of the speakers. Besides, people may use honorifics to show his politeness to the hearers, even though their social statuses are equal. For instance, honorifics in Javanese are involved in this type. And the contents of the conversations don’t matter.

The second type of honorifics is the referent honorific, which is used to express the status of the one being spoken about. Addressee honorifics change forms of words, while referent honorifics are marked by the lexicon. In some Indo-European languages, there is another second person pronoun used to express respect, such as tu/vous in French, or du/Sie in German, siz in Turkish, thee in Middle English. In Chinese the similar variation is 你/您. For example,

German Du isst Sie essen.
French Tu manges Vous mangez.
You eat.

The T-V distinction contains the terms T-form and V-form. The idea introduced by Brown and Gilman (1960) that the use of T-V distinction was governed by power and solidarity. The T-form refers to the Latin tu, the singular pronoun indicating informality. The V-form refers to the Latin vos, plural pronoun that indicates respect and formality. By choosing a different form of pronouns, relative social status of the speaker and the hearer is shown. However, in modern English this variation has disappeared.

Another type is the bystander honorifics, which express the status of someone who is nearby, but not participating in the conversation (the overhearer). This is the rarest form of honorifics, which is mostly seen in aboriginal languages in Australian languages—the "mother-in-law languages". In these languages people change their speeches when there are in-law or other tabooed relatives’ presence. The lexicon, morphology and phonology are all affected.

As far as I am concerned, the existence of honorifics results from the differentiation of communities and societies across the world. Honorifics are seen as an embodiment of speakers’ or hearers’ social status. On the other hand, the choices of honorifics also depend on whether it is formal or informal.
Chinese scholar 孙芮乔 (2019) takes English and Chinese honorifics as examples, illustrating the politeness strategies that honorifics follow. Face-saving viewing by Brown,P. and Levinson,S (1987) refers that all qualified social adults attaches importance to their face, which consists of positive(to be praised) and negative(not to interrupt others) faces. The politeness strategy thus follows these two aspects.

Honorifics have experienced a very long history. The use of honorifics might vary in different language. But the purpose seems to be clear: to contact with other social individuals more comfortably and efficiently.

2.3 Linguistic anthropology

Linguistic anthropology is one of the branches of anthropology. Unlike linguistics which is the scientific study of the language, linguistic anthropology gives its attention more to language as it relates to socialization and culture. Linguistic Typology analyzes, compares and classifies languages according to their common structural features and forms.
Tasks and aims of linguistic anthropology includes a) the classification of languages, i.e., the construction of a system to order natural languages on the basis of their overall similarity; b) the discovery of the mechanism of construction of languages, i.e., the construction of a system of relationships, a 'network' by means of which not only the obvious, categorial mechanisms of language can be read but also the latent ones.

According to Pier Paolo Giglioli (1990) in "Language and Social Context," anthropologists study the relationships between worldviews, grammatical categories and semantic fields as well as the influence of speech based on socialization and personal relationships, and the interaction of linguistic and social members and communities.

Another scholar Wierzbicka (1997) demonstrates that every language has its key concepts and that these key concepts reflect the core values of the culture. Further, she argues that within a culture-independent analytical framework one can study, compare, and even explain cultures to outsiders through their key concepts.

According to Alessandro Duranti (1997), linguistic anthropology is the study of language as a cultural resource and speaking as a cultural practice. As an interdisciplinary study of language, it covers interdisciplinary fields of language and puts its focus especially on the effects given by the different usages of language in society. Constitutive social acts represent the social orders that people follow interpsychological (between individuals) and intrapsychological (in the same individual). linguistic anthropology specializes in the questions and topics that are at the core of anthropological research, politics of representation, the constitution of authority, cultural contact and social change, etc. The author attached importance to the culture and language diversity theories, giving the idea that “What used to be thought of as outside of language is now more and more often seen as part of language”. In the following chapters, the author illustrated Meaning in linguistic forms Speaking as social action, Conversational exchanges and Units of participation.

The author introduced ethnographic methods. That means committed to traditional ethnographic methods including participant-observation and work with native speakers, linguistic anthropologists obtain local interpretive glosses of the communicative material they record. Otherwise, they also use elicitation techniques similar to those employed by typological linguists who are interested in grammatical patterns. Recently, these methods have been combined with new forms of documentation of verbal practices developed in such ﬁelds, like urban sociolinguistics, discourse analysis, and conversation analysis.

Duranti introduces linguistic anthropology as an interdisciplinary field that studies language as a cultural resource and speaking as a cultural practice. B discussing about linguistic diversity, grammar in use, the role of speaking in social interaction, the organization and meaning of conversational structures, and the notion of participation as a unit of analysis., the theories or methods of linguistic anthropology are introduced.

One example given by the author about the standards of acceptability is that pauses and overlaps are used to interpret what is going on. And these re-starts, cut-offs as well as other corrections that speakers make of their own talk. The author noticed that the position of the corrected item is typically at the word which leads to the new topic.
In the joint work of Zdenek, S., James M, S., & Nobuko, A. (2012), it is mentioned that society and culture are key elements that differs linguistic anthropology from linguistic. Linguistic anthropologists study language in its cultural framework and think about the rules for its social use. In this way, linguistic anthropology is defined as the study of language in its biological and sociocultural contexts. An obvious difference between linguistic and linguistic anthropology is that those who study linguistic anthropology have never isolated language from social intercourses but have in interdependence with cultural and social structure.

According to the author, the method that linguistic anthropologists commit to is participant observation—observe the day-to-day activities in the field places. And then, the author analyzed speech sounds, sentence as a link to social behaviors and nonverbal communications such as emotions and feeling. From chapter 3 to chapter 10 the author focused on the different aspects of language itself. In the following chapters, cultural elements were introduced to elaborate how language shapes communication and influences culture.

One example is the salespeople’s pronunciation of r-sound in New York City. The researcher, Labov who later gathers examples in a supermarket, assumed that salespeople in large department stores were likely to borrow prestige from their customers and hypothesized that “salespeople in the highest-ranked store will have the highest values of (r); those in the middle-ranked store will have intermediate values of (r); those in the lowest-ranked store will show the lowest values”, which was proved to be true. That means language reflects personal identity.

Christine Jourdan (2006) takes language as a tool of thought and perception and discussed how language influences our perception of the world.

Linguistic anthropology solves the problems such as how to collect language data and how language influences the understanding and perception of human societies. It aims at the actual use.

===Methodology===

3.1 Collection of examples and data

To compare different languages, we need a great number of data as well as examples. As loads of examples are gathered, the first problem that gets in the way is that: what are the most typical examples that we can use to support the theories? The subject of this paper is honorifics of languages: English and Chinese. Most examples were collected from actual use of languages including living honorifics that are used nowadays and ones that are in limited use or are already ‘dead’. To compare different examples, we need not only those we are using but also ones that appeared in the history and later were abandoned. Attentions are also put to clearly support the theories. The examples as well as terms are obtained from dictionaries, grammar books or Internet.

3.2 research questions

1) In different languages, the standards in choosing most proper words are quite different. Still, it shouldn’t be neglected that there are similar or even same forms of honorifics used in the different languages. So, here comes the first question: What are the culture connotations that differentiate the various uses of honorifics?
2)Languages in the same culture groups share many similarities. But as languages develop, uses of honorifics may go on separate ways. In the following part, I’d like to discuss: what are the elements that have made languages formed their own expressions and rules?
3) As we are studying and analyzing existing samples, it is also important that we get our eyes on the future: In which direction may honorifics develop? What are the development patterns of honorifics?

To sum up, by gathering, comparing and analyzing data and examples in different languages, the author focuses on above questions.

===Honorific examples in English and Chinese===

Nationality, language and religion—these are the elements that influence people of certain cultures. As languages reflect nationality, so do honorifics. Even though there may be as many forms of honorifics as languages, the very purpose is basically the same—express respect and communicate in a better way. It reflects the relationship between the speaker and the listener. Moreover, the use of honorifics shows difference in social status, distance as well as in occasions.

To compare different languages, we need a great number of data as well as examples. Most examples were collected from actual use of languages including living honorifics that are used nowadays and ones that are already ‘dead’. To compare different examples, we need not only those we are using but also ones that appeared in the history and later were abandoned. Attentions are also put to clearly support the theories.

4.1 English honorifics

In Modern English, honorifics are also frequently used. However, its honorific terms are relatively few compared with languages like others. Usually, a man is cited as Mr. and a woman Miss. By prefixing a person’s name could we express our respect to the listener. Such prefixes include: Mr, Mrs, Miss, Ms, Mx, Sir, Dr, Lady or Lord as well as titles or positions—President, General, Captain, Father, Doctor,etc. In Table 1 are some English honorifics that are frequently used.

Neutral Male Female
Mx Master Miss/Mrs
M Mr Ms
Gentleman Ladies
Sir Madam/Ma’am
Sire Dame
Lord/Baron Lady
Fr: (Father)
Br: (Brother) Sr: (Sister)
His/her Excelency
His/her Honour

Linguistically, there are basically three types of honorific terms in English: honorifics. that prefixes immediately a person’s name (Mr., Ms.); honorifics denoting the honored person's occupation (Doctor, Father); some honorifics completely replace a name or occupation, as "Sir" or "Ma'am", or "Your Honor”. Subordinates will often use honorifics as punctuation before asking people of higher status a question or after responding to an order: "Yes, sir" or even "Sir, yes, sir."

Based on the actual uses, there are common tiles, formal titles, and religious titles. Common titles, such as Mr., are frequently used in daily life. These honorifics don’t put too much emphasis on one’s social status. Their classifications are based on the natures of hearers—ages and genders. For formal titles, the difference of social status does make a difference. By addressing someone with his academic or professional titles, both politeness and respect is achieved. Under some circumstances these appellations are necessary. For example, “John Bercow, Speaker, Britain's First Commoner (that's an honorific for the class conscious of you out there), was greeting and welcoming his new intake in Portcullis House. He is master of this domain."(Simon Carr, "My Ill-Tempered Encounter With the Speaker." The Independent, May 12, 2010)

Affected by religions like Christianity, Judaism, Islam and Buddhism, there are also relevant terms for believers to express their respect in special situations. In some religious organizations, members follow certain religious orders where appellations also follow some rules. Here is an example from Bible:

But when you pray, go into your room, close the door and pray to your Father, who is unseen. Then your Father, who sees what is done in secret, will reward you.

Matthew 6:6
As we can see, English honorific terms mostly belong to the referent honorific and the bystander honorific, which means English users express their respect to the ones they are talking to and talking about in a direct way.

4.2 Chinese honorifics

Etiquette, one of characters that has been valued in Chinese’s society, reflects special features of Chinese culture. Choices of honorific terms or titles are an important element in the proper observation of etiquette. The history of Chinese honorifics could be divided by New Culture Movement into two periods: honorifics in Classical Chinese and in vernacular Chinese. There are general four types of honorifics: Respectful Language(employs modified words or substitutes called respectful vocabulary that convey a sense of respect for the addressee), Humble Language(Language employs modified words or substitutes called humble vocabulary that convey a sense of self-deprecation and humility for the speaker), Indirect Language(employs words called indirect vocabulary - e.g., euphemisms that are used to hide or beautify an otherwise unfortunate event or action.), and Courteous Language(employs specific words or phrases that have courteous and praising connotations intended to flatter the addressee). Most honorific appellations belong to the range of Respect Language and Humble Language, which will be talked about.

In Classical Chinese, the difference of social status and classifications breeds respectful and humble forms in the use of language. The honorific system is quite complex. A large number of fields, including pronoun substitutes, modified nouns, proper nouns, and pronouns, modified verbs, honorific adjectives, honorific idioms, and honorific alternatives for other neutral or deprecating words, indicate its complicacy. During a conversation or when writing a letter, using proper appellations is necessary. Speakers always employs humble terms to indirectly beautify the listener and respectful terms to directly for the same purpose.

Speaker（I, me） Listener（You）
某公
在下足下
先生
君侯
For example,
“某为医一生，未尝见此，君侯真天神也！” —《三国演义》第七十五回
As one indicates someone or something that is not present in the conversation, he would prefix XX with following prefixes and suffixes.
(the bystander honorifics)

Praise degradation
贵~（noble）鄙~（humble）
尊~（Respected）贱~（lowly）
令~（excellent）舍~（my/our）
贤~
~公

With the promotion of vernacular Chinese, New Culture Movement in China further hastened the demise of the traditional Chinese honorific system. In modern China, those terms representing traditional monarchy have been outdated in the history. Instead, salutations, such as 亲爱的/尊敬的/敬爱的, are frequently used in speeches and letters. Other appellations, according to one’s social position (老师，科长，处长)，age or gender (大伯，大婶，大爷) convey respect to the listener. The second person pronoun“您”and variants such as“您老人家”are also another form of honorifics in modern China.

===Comparison===

As time goes by, languages are changing initiatively or passively. Even though most languages do not look like its original forms, the inner spirits of the way languages used could somehow pass down with history. When it comes to honorifics, both eastern and western languages conform to that. Whether it is English or Chinese, honorifics in different periods of time reflected the specifically social conditions and social background of its time.

Nowadays, based on the above examples of these languages, we can find that concerns about elements like gender, age or the degree of intimacy. Thus, the use frequency, word choices, attitudes, classifications, existence basis and development levels vary greatly from each other. In the process of communications, languages, seen as the reflection of cultures, may have different methodologies. One of them is the use of honorific terms. Even though languages differ from each other in many ways, we can still find something common when honorific terms are employed. Nowadays, contacts between nations have never been so convenient and frequent. During the conversations, people would like to take certain methods to express ways in crosslinguistic communications. For example, the term Mr. /Miss. Is always welcome. There were also counterparts of the term Mr./Miss which were not used in their languages. So, it is international communication that has somehow contributed to the transformation of certain languages.

As far as I am concerned, two key elements are showing respect and avoiding taboos. The earth is seen as a small village where members can exchange different ideas though convenient technologies. Still, it comes first how we can communicate better and more effectively, how we can be respected by those from another culture? Face with these problems, language users may have increased their tolerance for wrong usages in their languages and tried to avoid taboos. In the following part, I would like to illustrate some points during the study.

5.1 T-V distinction

Of more than ninety languages, there is a different form of second personal pronoun to deliver formality. Such phenomenon is called T-V distinction, which is named from the Latin pronouns tu and vos. Originally in Latin, two terms differ only in singular/plural use. The idea introduced by Brown and Gilman (1960) that the use of T-V distinction was governed by power and solidarity. A powerful person to use a T-form but expect a V-form in return.

Take English and Chinese as examples. In Modern English, there is no such variation. The pronoun you is used both in formal and informal situations. And its function of showing respect towards addressee is not that clear as its counterparts in German or French. However, back in Middle English, the second person pronouns thou and ye conformed to the distinction, as T form (thou) was used by people with higher social status to lower ones and V form (ye) is used by people with lower social status to higher ones. But over time that was considered polite to use the formal meaning in more and more contexts until the informal meaning was lost. Besides, T form was used within lower classes, when addressing God and when the addressee was not absent. and V form was also used by upper-class members when talking to each other. Such usage was believed to have come into effect with imitation of French among Norman French nobility. Later as other pronouns demised in Modern English, leaving you as V singular and plural pronoun. English was discarded from T-V languages.
In modern Chinese, this distinction shows as 你/您. Its V form (您), however, didn’t exist in Middle Chinese when it was in Tang Dynasty. Later in Yuan Dynasty, it appeared in the form of 恁, which worked as second person plural pronoun in vernacular language. With Beijing dialect taking -們 as plural, the plural function of 您 was decaying as honorific function was accepted in the second half period of Qing Dynasty. As vernacular Chinese promoted across the country, the honorific 您 was accepted as out-of-date personal pronouns were abandoned.

As we can see, English and Chinese went on the separate ways on T-V distinction: while Chinese created a new word and changed its semantic functions, English deprived the word of its respective meaning. However, these changes ended up in the same direction.

Under the rule of feudalism for more than two thousand years, Chinese had developed the concept and psychology of distinguishing the dignity from the inferiority and the order of the nobleness deep in mind (蔡红艳, 2015). Influenced by Confucianism, Chinese people associate language communication with morality and ethics, and regard rhetoric as an important means to regulate interpersonal relationship. Complicated honorific systems and terms are just the evidence for that. Nowadays, the word 您 has taken the place of traditional appellations used at feudal times. In western culture, which values individualism democracy and equality, s seen as a tool to extend individual influence.

Simplification of the distinction reflects the pragmatism of English users. Today they generally indicate formal address by using a salutation and last name.

5.2 Development trend of Honorifics

In the modern society where feudal systems were discarded and different forms of democracy system were established in most countries, languages have also changed a lot. In the above discussion, we have talked about some elements that affect the use of honorifics. Based on that, we may find out some points of how honorifics develop in the next step.
The essence of honorifics is the recognition of different personalities. The change of honorific represents the change of how people view diverse personalities. In most countries, there are different kinds of social hierarchy, which offered social basis to the existence of honorifics. Social status, therefore, is the only standard for the use of honorifics, which has the supremacy and was matched with the feudal systems. Therefore, although the addressee character who possessed a higher social status was not respected by the speaker, he must use the honorifics with high respect blindly according to the social rules and principles at that time. The speaker, with a lower social status, was deprived of the basic personality as a man. Compulsory social standards directly influenced the use of the language. On the contrary, the existence of modern honorifics bases on the consciousness of social equality and mutual respect among people, emphasizing the respect for each other's personality, which is adapted to the modern social system. As social systems shifted from feudalism to democracy, people no longer use honorifics involuntarily in the process of communication. Instead, according to the relationships with each other, they would judge whether to use honorifics based on the degree of respect other, the contents as well as the environment. The voluntary use of honorifics follows the process of equalization of personalities. In this way, honorifics no longer serves traditional hierarchy, as people pay more and more attention to mutual respect, mutual recognition and equal personality. But that doesn’t mean extreme equality among people, which ignores the difference of age or ability.

The objects of using honorifics are no longer limited to people with social status in feudal system. The use of honorifics depends on the individual's judgment as well as the situation at that time. To whom honorifics are used, what honorifics are supposed to be used, what levels of respect one should present, all of these matters conforms to the specific circumstances. In this way, as honorifics changed from status use to social use, their functions are correspondingly changing. For language users, social characters honorifics, which contributes to the better communication, are increasing prominent. The number of people who study and use honorifics has increased dramatically. Honorifics have become an essential part of work and social life. It can be seen from this that the subject and object of using honorifics have been extended to all social members, and the purpose of using honorifics is mainly to serve as a "lubricant" for dealing with interpersonal relationships. The function and applicability of their use have changed qualitatively. In this way, the objects of honorifics are gradually used by lower classes that once was ignored.

Since the new social ideological basis of the existence of honorifics - mutual respect, basic personality equality has been deeply rooted in the minds of the people, honorifics are really freed from the shackles of the former absolute honorifics and identity honorifics, and develop towards the direction of relative honorifics and social honorifics. At the same time, in this process, people's ideological activity is greatly improved, and they should always use their proper honorifics according to different environments and different objects they face. However, with the popularity of honorifics, the semantic meaning of honorifics has turned upside down - the mutual change from high to low, from low to high, that is, the functional usage of honorifics has changed, which has appeared some sprouts in today's new trend of honorifics, and even some have been widely used. One of the main reasons for the emergence of the new expression of honorifics is the establishment of a new social ideology - basic personality equality and mutual respect.

Following the trend of economy development and globalisation, honorifics would focus more on the function of facilitating communications instead of distinguishing different ranks in a society. As far as I am concerned, honorifics are going to simplify itself: traditional honorific titles were abandoned while there might be new forms of honorifics which are easily accepted by large members.

===Conclusion===

As the clock ticks, languages are also changing. The change of languages follows the change of those who use the language. As we invent a word, abandon a word, or transform a word, the underlying changes of the language are going on. When something new appears, we give it a new word. When something old is no longer needed, we keep it in the vault. With small changes happening, the language might look like something different compared with its original forms. Through the study we can find that honorifics are used in many languages.
Here are my conclusions:

Firstly, in different languages, the appellation systems differ in scale. Languages such as Chinese have more complex appellations systems than western languages. The reason for the difference lies in the different historical political and cultural structures. They also differ in methodologies. The English language prefers to using different words to express respect while the Chinese language adds prefixes. Another difference between honorific expressions lies in the existence of self-depreciation terms, which shows different attitudes towards modesty that eastern cultures highly valued. The forms of address ale in a dynamic course，differ from period to period and vary from one situation to another.

Secondly, with globalization and international communication pushing forward, the appellation systems might be affected by another language. In different languages there might be some similar expressions that spread between nations. We can find honorific titles in a language and their counterparts in other language. As cultures are spreading across the world, religions for instance, we can find similar religious titles in related languages. Thoughts or new ideas from other countries may also influence one’s honorifics. Such as the appellation 先生 in Chinese, which was used to address teachers, now is commonly used to address other males— just like Mr. in English.

Thirdly, it is true that honorifics convey respect. But as learning a second or third language is welcomed by more and mor people across the world, individuals from a language without a complex honorific system would have difficulty learning a language with a complex honorific system. Besides, in translation honorifics might be a tough part. Whether to use honorifics or not actually reflects the conflict between cultures.

We may predict the development trend of honorifics. Even though expressions of honorifics in different languages are diverse, many languages are gradually simplifying themselves, as a result of economic development, political changes or mentalities changes. Honorific changes happen normally after social changes. The influence and restrictions between language and culture are two-way. This kind of relationship requires us to study honorifics as a social and cultural phenomenon, to put it under the broad social and national cultural background and to analyze problems and find rules. Certain changes of language contain rich national cultural connotation, condensing the cultural characteristics of national world outlook, philosophy, thinking mode, concept mentality, religious belief, folk custom and folk sentiment, aesthetic interest, etc., which is worth the future research.

===References===

Brown, P., & Levinson, S. (1987). Politeness: Some Universals in Language Usage. Cambridge: Cambridge University Press.

David, A. (2013). Honorifics: Types, Data, and Importance for Linguistic Theory. Frankfurt a.M.

Duranti, A. (2013). Linguistic anthropology. Cambridge: Cambridge University Press.

Giglioli, P. (1990). Language and Social Context. New York: Penguin Books.

Moravcsik, E. (2013). Introducing language typology. Cambridge: Cambridge University Press.

Jourdan, C., & Tuite, K. (2006). Language, Culture, and Society: Key Topics in Linguistic Anthropology. Cambridge: Cambridge University Press.

Zdenek, S., James M, S., & Nobuko, A. (2012). Language, culture and society: an introduction to linguistic anthropology. Boulder: Westview Press.

Cai Hongyan 蔡红艳.(2015).浅谈汉语敬语及英汉尊敬表达方式差异.[The differences between Chinese honorific and English-Chinese respectful expressions]. 南京：江苏经贸职业技术学院.

Jin Lixin 金立鑫.(2006).什么是语言类型学.[What is language typology]. 上海：上海外语教育出版社.

Sun Ruiqiao 孙芮乔.(2019).礼貌策略与敬语表达.[Politeness strategies and honorific expressions]. 大连：大连外国语大学.

==英语笔译赵宇翔 Zhao Yuxiang 202170081609==

<center>'''Zhao Yuxiang: Dunhuang Frescoes In Contemporary China'''</center>

<center>赵宇翔Zhao Yuxiang</center>

===Abstract===

===Key words===

===Introduction===
''' Introduction On Mogao Grottoes'''
''' Introduction On Dunhuang Frescoes'''
===The origin of Dunhuang civilization ===
''' The Origin of Mogao Grottoes'''
''' The Origin of Dunhuang Frescoes'''

===Dunhuang Frescoes Are Enjoying New Life: Taking the Skins in Honor Of Kings As Examples===
''' Yu Jian Fei Tian (Meet A Flying Apsaras)'''

''' Yu Jian Shen Lu (Meet A Fairy Deer)'''

''' Yu Jian Hu Xuan (Meet A Huxuan Dancer)'''

===The Future Inherence And Development Of Dunhuang Frescoes ===

=== Terms and expressions ===

=== Questions ===

===Answers ===

==英语笔译郑冬琴 Zheng Dongqin 202170081610==
<center>'''A Study on the Influence of Sino-German Cultural Differences on International Business Negotiation and Its Countermeasures'''</center>

<center>Zheng Dongqin</center>

===Abstract===
In 1972, China and Germany formally established diplomatic relations. Since then, trade exchanges between the two countries have become more frequent and the diplomatic relation has become closer. With the continuous improvement of China's opening up to the outside world, a large number of economic and trade exchanges have been carried out between China and Germany. In recent years, through the efforts of both governments, Germany has gradually become one of China's most important trading partners. However, "ten miles of different wind, a hundred miles of different customs". First of all, international business negotiation belongs to the field of economic activity, and also, it is a cross-cultural communication activity involving various cultural factors. Cultural differences between countries are often one of the most prominent obstacles in international business negotiations. In this thesis, the author studies and analyzes the impact of cultural differences on Sino-German international business negotiations from the following aspects: values, communication style, verbal and non-verbal behavior, dietary habits, corporate culture and fulfillment of contract. In view of the objective facts of the cultural diversity of the world, this thesis mainly discusses the cultural differences between China and Germany by means of illustration and comparative analysis, and then puts forward some useful countermeasures in order to provide some reference for negotiators to overcome some unnecessary barriers to negotiation.

===Key Words===
China; Germany; cultural differences; international business negotiation; influence; countermeasures

===Introduction===
In the era of highly developed economic globalization, the economic policies, political attitudes and cultural factors are playing an increasingly important role in international affairs and daily exchanges between different countries and regions. And among these main factors, culture is often a factor that cannot be underestimated. Because the success or failure of intercultural communication is determined by culture to a large extent. Fortunately, nowadays, we have a more open and inclusive world. Although there are some obvious or subtle distinction among different cultures, we are still able to carry out some effective international communication activities.
In October 1972, Germany and China formally established diplomatic relations. Since then, the exchanges between the two countries have been generally smooth in all aspects. For example, the leaders of China and Germany met at the UN General Assembly. In addition, the two countries frequently conducted high-level state visits and carried out various economic consultations. Especially since China's accession to the World Trade Organization, the trade exchanges between Germany and China has developed rapidly. Furthermore, in 2013, the Chinese government proposed "the Belt and Road" Initiative. With the development and promotion of this initiative, extensive cooperation and exchanges have been carried out between China and many other countries. In this case, China's foreign trade has reached a new level. Moreover, the China-Europe Railway Express has also greatly promoted the economic exchanges between Germany and China. Besides, in the last few years, the United States has launched a trade war against China, which has dramatically reduced the volume of trade transactions between China and the United States. To a certain extent, it has also created more opportunities for Sino-German trade transactions.
As an important trading partner of China, Germany often needs to conduct business negotiations with China. However, it is not easy to successfully reach the negotiation goal due to the complexity of international negotiations. They involves foreign policies, economic strategies and cultural differences. As we all know, the special negotiations with different modes of thinking and behaviors are more challenging than general negotiations. Whether we can correctly understand and deal with the cultural differences between China and Germany is crucial to the success of the negotiations. So negotiators need to master some useful business negotiation skills. They also should try to cultivate their keen awareness of cross-cultural communication. Only when they pay attention to the commonalities and differences between different cultures can they understand others better and communicate more effectively in cross-cultural activities, so as to promote the success of international business negotiations.

===Definition of Culture and Intercultural Communication===
1.1 The Definition of Culture

Regarding the definition of culture, different scholars hold different views. If we consider it in a narrow sense, culture refers to the behaviors, habits, traditions or beliefs peculiar to a particular region or organization. However, if we regard it as a broad concept, culture is considered to be the way of life of a country or a nation. It includes customs, religious belief, political system, science and technology, language and other elements. Culture is usually considered to be a broad concept in international business negotiations. Generally speaking, it refers to the modes of thinking and behaviors and the values of a country or a nation, which affects people’s social style to a great extent. It also embodies the characteristics of a particular social group. Due to the specific history and tradition, different countries or regions have developed their own cultural characteristics and cultural models. Due to the differences in traditional habits, value system and social styles, we can find that there are some trade frictions in Sino-German business negotiations.

1.2 The Definition of Intercultural Communication

"Communication between native speakers and non-native speakers, or between any people who are different in terms of language and cultural background, is called cross-cultural communication."(Zhuang Enping, 2004:8)In essence, it refers to the direct verbal communication between two parties. What it studies includes the differences in value orientation, way of thinking, language norms, customs and habits and so on, and it involves not only in-depth theoretical analysis, but also practical application. And only in this way can it better serve the intercultural communication activities.

===Concept and Characteristics of International Business Negotiation===
2.1 Concept of International Business Negotiation

"International business negotiation is a process of consultation. It involves two or more negotiators who are from different countries and represent different interests. They are meant to conclude a transaction with each other."(Salacuse.J.W, 1991:40) As we all know, there are inevitable conflicts of economic interests in negotiation. If negotiators are unable to reduce trade frictions and settle disputes, it will be very difficult for them to conclude a transaction in the end. In essence, international business negotiation belongs to a kind of cross-cultural communication activity. Therefore, culture plays an important role in international business negotiations. In a word, in foreign trade activities, we need to recognize the close relationship between culture and international business negotiation.

2.2 Characteristics of International Business Negotiation

2.2.1 Being Closely Related to National Policies

Essentially, international business negotiation is an international communication activity, which is closely related to national policies. Generally speaking, international business negotiation involves at least two countries or nations. Different countries or nations have different national policies. For example, a product is allowed to be sold in one country, but it may be explicitly prohibited in another country. From this we can see that national policies vary among many countries and affect economic activities to a large extent. Therefore, in international business negotiations, negotiators are supported to be very familiar with their own country's national policies. At the same time, they also need to have a basic understanding of the national policies of other countries and abide by a series of laws and rules governing foreign trade and economic relations, which can greatly help reduce unnecessary trade frictions.

2.2.2 Being Much More Complex

Negotiators who come from different countries and regions have different cultural backgrounds, values, ways of thinking, ways of behavior, languages and personal habits. Therefore, in the face of an unfamiliar cultural environment, it is inevitable that there will be some communication barriers and different opinions between negotiators, which will easily produce conflicts of interest and unpleasant phenomena in the negotiation process. At last, it will make the negotiation environment more complex. So it will be more difficult for both parties to come to an agreement.

2.2.3 Being both Conflicting and Cooperative

International business negotiation is a process of conflict and cooperation. If the interests of both sides are exactly the same, there is no need to negotiate. So it is normal that there are conflicts of opinions and interests between the two parties. International business negotiation, in fact, is a process of reducing differences through consultation so that the interests and objectives of both parties tend to converge and finally reach an agreement. If disputes escalate and differences widen, it is easy to lead to the breakdown of the negotiations. Therefore, it is very important for both parties to seek common ground while reserving differences in order to gain mutual benefits.

===The Embodiment and Causes of the Cultural Differences between China and Germany===

3.1 Difference in Values

"In the process of international business activities, time is an important concept worthy of our attention. However, people's view of time varies greatly since there are cultural differences between different nations."(Wang Tianwen,Wang Shimin, 2008:39) Germans are strictly punctual, doing only one thing at a time. The plans they made were highly binding. Even if things do not end within a specified period of time, they must stop without affecting the next arrangement or keeping the next person waiting. What's more, they think being punctual is a kind of basic courtesy as well as a sense of responsibility. If someone don't be punctual, it not only wastes the time of both parties, but also is a lack of honesty of someone. On the contrary, Chinese people tend to do many things at the same time or many people do the same thing together. They emphasize multiple participation and better completion of tasks. In most cases, people get along very well. Generally speaking, Chinese people have a more flexible schedule or plan, which does not emphasize that everything should be in accordance with a fixed schedule or a strict plan. Chinese people don't like to make appointments because they think plans can be changed depending on specific circumstances. Instead, they prefer to visit at any time. In most cases, even if an appointment is made in advance, the visitor may not come.

Due to the totally different modes of thinking between Chinese and Germans, people tend to have opposing or misunderstanding views on things. “The individualism＆collectivism dimension describes the extent to which the society is organized around individuals or the group.”(Xue Qi, 2006:6)The ideological core of Chinese culture is collectivism. The Chinese believe that everyone is not a separate individual, but an individual living in a social group. No matter what they do, they should follow the principle of collectivism, stick to the collective wisdom and give full consideration to the collective common interests. Otherwise, people will not be able to live in society and community, and may even be abandoned by society and group. In conclusion, it is obvious that Chinese people are more talkative and are fond of participating in various social activities. They often get together with relatives and friends, and attach great importance to the harmony of the group. In German culture, the basic unit of society is not the collective but the individual, and people attach great importance to the existence and achievement
of the individual. German culture also does not emphasize the maintenance of collective harmony and consensus of opinion. They tend to pay more attention to the expression of their personal opinions when considering problems, and will not easily make concessions even when they disagree with others. Moreover, Germans, who are deeply influenced by individualism, prefer to be quiet and alone, enjoying a good time by themselves. They think that frequent socializing is a waste of time.

3.2 Difference in Communication Style

"In order to better explain and show the diversity of world culture, the American anthropologist Edward T. Hall proposed the concept of high and low context culture."(Fan Lei,Fan Weiwei, 2001:148) As we all know, China and Germany are classified as two totally different contextual cultures. China is known as a high-context country. Chinese people attach great importance to the role of context in interpersonal communication. They often express their thoughts and feelings in a very implicit and euphemistic way. This makes it difficult for others to quickly understand what the speaker is really trying to express. While Germany is a typical low-context country, people usually express their views and true feelings directly and clearly. And they seldom say some nonsense or crack a joke that is irrelevant to the topic. This inevitably gives the impression that Germans are serious and difficult to approach. Therefore, different contextual cultures influence communication styles to a great extent.

In addition, the Chinese and Germans have completely different attitudes to the concept of face, which largely affects their communication styles. As is known to all, Chinese people prefer to attach great importance to their so-called honor and reputation. In interpersonal communication, they will feel very embarrassed and disgusted if others directly say something negative or rejecting. Because in their opinion, it is a kind of inconsiderate and damaging behavior of others' reputation. In Germany, people don't care much about so-called face. They do not express their thoughts and opinions in a roundabout way. Hence, sometimes it is easy to offend others unintentionally.

3.3 Difference in Verbal and Non-verbal Behavior

German, as a typical Germanic language, of course belongs to the Indo-European language family. Each language has its own characteristics. And accuracy is one of the labels of German. German has many prescribed sentence structures and grammatical rules, which are naturally reflected in its expression patterns. Germans often use words such as "have to" and "must", which tends to give people the impression of being rigid and arrogant. In fact, it is a manifestation of German conscientiousness and preciseness. There are also many words in German that require foreigners to understand their usage environment and idioms in detail so as to accurately understand the real intention of the other party. However, Chinese belongs to the Sino-Tibetan language family, which has rich and profound connotations and flexible and diverse sentence patterns. “Chinese people tend to speak in a euphemistic way, which usually gives people the impression of humility.”(Tong Fang, 2006:58) When expressing opinions, Chinese people are fond of adopting the mode of induction, explaining the reasons first and then drawing a conclusion. The Germans, on the other hand, prefer the deductive method, which states the conclusion first and then puts forward the reasons.

We also need to pay attention to nonverbal behavior because it is a critical part in intercultural communication. It consists of various gestures, body movements, eye contact and so on. The meanings of these behaviors may be quite different in different cultures. Therefore, negotiators should have a good command of different non-verbal signals of their own nations and other nations. Otherwise, it would be easy for them to misunderstand these signals, and then they may not be aware of the mistakes. In Germany, for example, silence signifies approval. While in China, the embodiment of politeness and respect to others is given priority. Therefore, people do not express their disagreement or dissatisfaction directly. If someone remains silent for a long time, he may disagree with something. In addition, Chinese people also like to use eyes and expressions to show their attitudes. So it is also important to learn to observe the changes of Chinese people’s expression.

3.4 Difference in Dietary Habit

Speaking of the dietary habit, we know that people from different countries and regions have different dietary habits. To be specific, Chinese people prefer to eat rice and drink tea while Germans prefer bread, noodles and coffee. In addition, Chinese people adopt the dinner party system.They believe that eating is not just to replenish the body's energy needs. What is more important is to meet people's spiritual and emotional needs through dinner. Eating in groups and chatting together can strengthen relationships with friends and family. In Germany, people prefer separate meals. Even though many people sit at the same table, everyone eats their own food and there is little interaction. In addition, by the way, the wine culture of China and Germany are distinctly different. Chinese people have the habit of toasting and encouraging people to drink in order to show the host's hospitality. If the guests enjoy drinking the wine provided by the host, the host will be wonderfully happy. In Germany, there is no such habit. Germans are used to drinking beer, usually alone, in a do-it-yourself way.

3.5 Difference in Corporate Culture

The outstanding characteristic of German enterprise culture is to pay attention to the cultivation of ability and solve the actual problems. Each employee is given sufficient space to think freely. It can greatly improve the quality and problem-solving ability of the participants. Another very important task of German corporate training is to let employees identify with the values of the company. As is known to all, German enterprises always put product quality in the first place. They believe that there are no both good and cheap products, only good or bad ones. Most German products are famous for their quality and become world-famous brands. However, Compared with the German enterprise culture, China's enterprise culture pays much more attention to the form of corporate culture. In this way, it naturally ignore the true connotation of corporate culture. Influenced by traditional culture, Chinese enterprises attach great importance to the paramount power of leaders and the harmonious relationship between teams.

3.6 Difference in Fulfillment of Contract

"In 1980, Hofstede put forward a four-dimensional model of national culture in The Effect of Culture. After the four dimensions, he put forward the fifth dimension, which is called the long-term orientation and short-term orientation."(Geert Hofstede, 1984:82)Specifically, long-term orientation is a type of behavior that fosters and encourages the pursuit of future returns. China is a long-term oriented country. Managers of Chinese enterprises pay attention to the development prospects and future profitability of the enterprise. And they are willing to make great efforts for achieving long-term goals. However Germany is a short-term oriented country. Germans are more concerned with the current profits of companies. When the adverse factors in economic activities increase, they will hold the attitude of uncertainty avoidance. In a word, as for international business negotiation, Chinese and German negotiators have very different views on the fulfillment of contract.

===The Impact of Cultural Differences between China and Germany on Negotiation===
4.1 Impact on Communication

First of all, in terms of verbal communication, due to the existing different cultural traditions of different countries, Chinese people are very roundabout. But Germans are straightforward. In the eyes of Germans, however, euphemism is not sincerity but pretence. “Chinese people always need to think again and again when they make decisions. To the Germans, this is a sign of indecision. Germans often bristle at such behaviour.”(Lin Zhengqi, 2016:40)Sometimes, the two sides of a negotiation have very different understandings of the same thing. For example, "dragon" is a mascot in all ages in China. It mainly stands for happiness and good luck. In Germany, however, it is an evil monster and is generally believed to bring misfortune to people.

When it comes to non-verbal communication, what i want to mention is body language. Different body languages deliver different messages. Sometimes, in different situations, even the same body language can convey completely different meanings. For example, Chinese people are used to nodding their heads repeatedly in conversation. People nodding their heads in different situations conveys different messages, such as encouragement, hesitation and agreement. Germans, on the other hand, often regard a nod as simply agreement. Therefore, in the process of international business negotiations, negotiators are easy to misunderstand the body language, which reduces the possibility of successful negotiations to a large extent.

4.2 Impact on Negotiation Mode

The mode of thinking of Chinese is totally different from that of Germans. The way of thinking of Chinese is subjective. They often attach great importance to the humanities and interpersonal relationship, which makes Chinese people be in the hope of making friends with foreigners before negotiations. They think that many problems are easier to solve if they have a close relationship with others. While Germans are objective in their thinking. They attach more importance to issues rather than relationship. Besides, they devote themselves to dealing with problems in a rational and efficient way. As a result, they don't want to take the time to build relationships before doing business. In the business negotiation, there will be some misunderstanding between the two countries. For example, Germans may make a bad impression on Chinese. In this way, Chinese would think that the Germans are so indifferent and serious that it is difficult to contact with them. While on the other hand, Germans may hold the idea that Chinese people are fond of cottoning up with others. As a result, both sides will think the other is insincere. Thus, there is little possibility of continuing negotiations.

4.3 Impact on Decision-making

Chinese and Germans have different values orientation, which will certainly affect the negotiators' behavior. Generally speaking, Chinese attach great importance to building an excellent negotiating group. And they have a strong sense of hierarchy and collectivism. Each person in the group is responsible for specific task, and there must be irreplaceable chief leader. In contrast, Germans emphasize individuality. Members of the group respect each other's views. In short, they are more inclined to show the independent personality of each individual. In international business negotiations, if cultural difference is not realized, it may well be impossible to carry on the negotiation successfully at the very beginning.

4.4 Impact on the Signing of the Contract

Influenced by the traditional Chinese culture, Chinese people are more inclined to pay much more attention to the feelings of others. And in their opinion, it is very important to build harmonious interpersonal relationships. Even in the process of international business negotiations, in order to maintain the good economic partnership that has been established, the Chinese sometimes take the initiative to make compromises and concessions to the terms of the contract. In the choice between emotion and law, they often choose the heartwarming emotion rather than the severe law. For them, rigid laws tend to damage the relationship between people, so it is worth doing a little harm to their own interests to maintain a harmonious relationship. However, for the Germans, the choice of emotion and law is just the opposite of the Chinese. They believe that rules and laws are the basis for settling the matter, so they often write almost all the details into the contract explicitly. “In case of breach of contract, compensation or return of goods must be made in strict accordance with the contract. ”(Chen Zhaoyang,Chen Jingliang, 2007:2)It is precisely because of the two different attitudes that there is a potential risk that the negotiation will break down during the signing of the contract.

===Countermeasures to Reduce the Impact of Sino-German Cultural Differences on Negotiation===
5.1 Recognizing the Existence of Cultural Differences

As we all know, the existence of cultural differences cannot be changed. So it is very important to overcome the cultural differences and reduce the conflicts in negotiations. There is no doubt that the recognition of the cultural diversity of the world is the premise of a correct understanding of cultural differences. "First of all, we should have a sense of identity with our own national culture. At the same time, it is necessary to respect the culture of other nations."(Dou Weilin, 2014:24) In international business negotiations, the excellent negotiators are supported to recognize and respect cultural differences in the first place. And then, they should try their best to adapt to it. Furthermore, it is essential that negotiators have a tolerant attitude towards cultural differences. Of course, striving for "common ground while reserving differences" is not the same as fully absorbing other cultures. One should hold a moderate view of foreign culture rather than totally tolerate or ignore it. Therefore, it is very important to respect the etiquette, customs and taboos of various countries and nationalities for a successful negotiation.

5.2 Making Adequate Preparations before the Negotiation

As the saying goes, "Opportunity favors the minds that are prepared". If the negotiators want to be in the active position in the negotiation, they must make full preparations in advance. Only in this way, the negotiators can deal with the various adverse situations that may appear in the negotiation process, and finally achieve the success of the negotiation.To be brief, the preparation for the negotiation includes the background of the negotiation, the purpose of the negotiation, the differences that may be encountered during the negotiation, the agenda, alternative plans and concession strategies and so on. The negotiation background includes negotiation place, negotiation time, negotiation expectation, scene layout, the number of participants and so on. Compared with the monoculture, the preparation of international business negotiation is more complicated because of the intercultural factor. As a result, different countries have different views on these issues. Before the negotiation, the negotiators should have a comprehensive understanding of the partners' expectations, customs, negotiation means and so on. For example, the Chinese and the Germans have very different notions of time. For the Germans, time is money, and they are very efficient when negotiating. In China, by contrast, the Chinese like to cement a partnership through brief chats before the negotiations begin.In a word, sufficient preparations before a negotiation can greatly improve the possibility of a successful negotiation.

5.3 Respecting Each Other's Customs

Custom is a very important concept. It is passed down over a long period of time. It has the characteristics of relative stability, variability and spontaneity. And custom is also the external embodiment of the lifestyle and values of a particular group of people. It includes modes of production, ways of life, manners and beliefs. Compared with the external elements of culture, such as language, body language and behavior, customs are more subtle and complex. If we are not careful enough, we may offend others unintentionally.Therefore, before international business negotiations, negotiators should have a full understanding of the customs of each other in order to avoid accidentally offending others. In the process of negotiation, it is especially important to respect the customs of each other. It can create a more harmonious atmosphere for negotiators to achieve the success of negotiations.

5.4 Eliminating Conflict through Effective Communication

In the cross-cultural negotiations, the two sides from different cultural modes often have communication barriers due to cultural differences. Negotiators must master the necessary cross-cultural negotiation skills to overcome the communication barriers in cross-cultural negotiation.Generally speaking, in international business negotiations, the following communication barriers are the most common. The first obstacle may be caused by the misunderstanding of speech expression, translation error, and even the meaning of a word or phrase. For example, Chinese people think red represents good luck, happiness and enthusiasm. In Germany, red is associated with evil, radicalism and brutality. The second obstacle is caused by different ways of expression. It is affected by negotiators' professional habits, professional knowledge and understanding ability. For example, most Chinese people speak tactfully, and they usually don't express their true intentions. In this case, negotiators need to communicate effectively to avoid some unnecessary conflicts. The third obstacle is caused by the psychological factors of the negotiators. It includes attitudes, biases, and negotiation experience.In short, in the negotiation, especially in the cross-cultural negotiation, negotiators should try to overcome the above three communication barriers. Therefore, negotiators can manage to avoid some unnecessary problems and troubles. If they are confronted with obstacles and difficulties, they need to break the deadlock through effective communication.

===Conclusion===
Due to the impact of a variety of uncertain factors, there is a more complex and changeable negotiation environment in international business negotiations. So it is very important to enhance sensibility of cultural differences, which can help to create more favourable conditions for effective communication and cooperation.
In view of the cultural differences between Germany and China, this thesis mainly compares Chinese culture with German culture, and then analyzes and explains the reasons for the differences. In addition, this paper adopts lots of cases to study and discuss the impact of cultural differences on business negotiations.Finally, it puts forward some specific coping strategies. Looking at the existing research results on this topic, it is not difficult to find that most of the previous scholars paid more attention to the study of business negotiation principles and skills, while ignoring the role of culture. However, this paper find that culture has great significance for the success of business negotiations.But I know there are some shortcomings in this thesis. For example, because cultural difference is a comprehensive concept, it's impossible for me to give examples one by one and conduct comprehensive research and analysis in this thesis. Therefore, I think that future scholars can make further analysis and research on this topic from other aspects so as to promote the improvement of this issue.

===References===
*Hofstede,Geert.(1984).Cultural Dimensions in Management and Planning. Asia Pacific Journal of Management(2)81-83.
*Salacuse,J,W.(1991).Making Global Deals: Negotiating in the International Marketplace. Boston: Houghton Mifflin Harcourt.
*Tong,Fang.(2006).Negotiation:the Chinese Style. Journal of Business & Industrial Marketing(1)58-60.
*Chen Zhaoyang,Chen Jingliang 陈朝阳,陈京亮.(2007).浅谈中德商务谈判差异[The Differences between Chinese and German Business Negotiations].商场现代化Mall Modernization(12)1-2.
*Dou Weilin 窦卫霖.(2014).跨文化商务交流案例分析[Case Studies on Cross-cultural Business Communication].Beijing:University of International Business and Economics Press对外经济贸易大学出版社.
*Fan Lei,Fan Weiwei 范蕾,樊葳葳.(2001). 跨文化交际失败实例分析及启示[Analysis of the Failure of Intercultural Communication and Its Implications].外语教育Foreign Language Education(1)148.
*Lin Zhengqi 林正奇.(2016).中德商务谈判文化差异案例的跨文化视角分析[A Cross-cultural Perspective Analysis of the Case of Cultural Differences in Sino-German Business Negotiations].华东理工大学硕士学位论文Master's Thesis of East China University of Science and Technology.
*Wang Tianwen,Wang Shimin 汪天文,王仕民.(2008).文化差异与时间观念的冲突[Cultural Differences and the Conflict of Time Concepts]. 学术研究Academic Research(7)37-39
*Xue Qi 薛琦.(2006).文化差异对中德商务谈判者谈判风格的影响[The Influence of Cultural Differences on the Negotiation Style of Chinese and German Business Negotiators].对外经济贸易大学硕士学位论文Master's Thesis of University of International Business and Economics.
*Zhuang Enping 庄恩平.(2004).跨文化商务沟通案例教程[Case Study of Intercultural Business Communication].Shanghai:Shanghai Foreign Language Education Press上海外语教育出版社.

===Terms and Expressions===
*high-level state visits 高层国事访问
*high context culture 高语境文化
*low context culture 低语境文化
*ten miles of different wind, a hundred miles of different customs 十里不同风，百里不同俗
*the Belt and Road Initiative “一带一路”倡议
*the China-European Railway Express 中欧班列
*Theory of Face 面子理论
*individualism＆collectivism 个体主义&集体主义
*Indo-European language family 印欧语系
*Sino-Tibetan language family 汉藏语系
*the dinner party system 聚餐制
*the individual dining system 分餐制
*four-dimensional model of national culture 民族文化的四维模式
*long-term orientation and short-term orientation 长期导向和短期导向

===Questions===
*1.Which of the following countries belongs to typical high-context culture?
A.China B.Canada C.German D.America
*2.Which of the following countries belongs to typical low-context culture?
A.China B.Japan C.North Korea D.German
*3.Which of the following countries are long-term oriented and short-term oriented countries respectively?
A.China and German B.Canada and China C.German and Canada D.America and German
*4.Which of the following countries takes the theory of face very seriously?
A.German B.UK C.China D.America
*5.When did Hofstede propose the four-dimensional model of national culture?
A.In 1979 B.In 1980 C.In 1981 D.In 1982

===Answers===
*1.A
*2.D
*3.A
*4.C
*5.B

==英语笔译钟青 Zhong Qing 202170081611==
<center>'''论文标题'''</center>

<center>Zhong Qing</center>

===Abstract===

The ''History of Imperial China'' is a series of general histories of China edited by Canadian historian Timothy Brook, which was published in Chinese by China's CITIC Publishing House in 2016. This article collects the administrative terms of each dynasty in the History of Imperial China, and explores the translation methods of them. There are a total of 201 administrative terms, spanning the six stages of the Qin and Han Dynasties, the Southern and Northern Dynasties, the Sui Dynasty, the Tang Dynasty, the Yuan and Ming Dynasties, and the Qing Dynasty. According to the statistics, % of the Chinese administrative terms use the word-for word translation method, % subtraction, and % amplification. It is found that in the same book, the same administrative term has different translations, badly affecting readability and coherency. In addition, many administrative terms are rendered into the counterpart in the foreign official system, which may be misleading to the reader. By analyzing the translation strategies of the administrative terms in the ''History of Imperial China'', this paper intends to fill some gaps in the study of English translation of administrative terms, and to provide reference for the translation of administrative terms in the English translation of Chinese works in the future.

===Key words===
''History of Imperial China''; Administrative Terms; Translation Strategy; Consistency

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文.
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译周皓熙 Zhou Haoxi 202170081612==

==英语笔译周哲 Zhou Zhe 202170081613==
<center>'''Confucian Teaching Thoughts'''</center>

<center>周哲 Zhou Zhe</center>

===Abstract===
The rise of the philosophic schools began with the practice of private teaching. So far as modern scholarship can determine, Confucius was the first person in Chinese history thus to teach large numbers of students in a private capacity, by whom he was accompanied during his travels in different states. According to tradition, he had several thousand students, of whom several tens became famous thinkers and scholars. The former number is undoubtedly a gross exaggeration, but there is no question that he was a very influential teacher, and what is more important and unique, China’s first private teacher. His ideas are best known through the Lun Yü or Confucian Analects, a collection of his scattered sayings which was compiled by some of his disciples.

===Key words===
Confucian teaching thoughts; kindness; The Analects of Confucius

===Introduction===
Ancient Chinese education is part of the brilliant and diverse ancient Chinese culture, the foundation on which it has been sustained and developed, and the driving force behind its constant innovation. It was passed down from generation to generation through ancient Chinese education. The school education, social education, family education and education in all kinds of craftsmanship were the guarantee of the continuity and development of all kinds of ancient Chinese culture, without which it would have been difficult to create, perpetuate and develop ancient Chinese material and spiritual civilization.

During the Western Zhou dynasty, there was not only a national school but also a country school, which gradually formed a systematic education based on ritual, music, archery, royalty, calligraphy and mathematics. During the Spring and Autumn and Warring States periods, private schools began to develop as a new form of educational organization, and a number of masters emerged, such as Confucius, Mo Zi, Mencius and Xun Zi, who shone with their wisdom.
Ancient Chinese education is a humanistic one. It takes the cultivation of a gentleman as the sole purpose and focuses on teaching people virtue and wisdom rather than mere knowledge. It attaches particular importance to moral education and virtue cultivation, emphasizing moral integrity, ethics and lofty spirituality, advocating the development of ambition, and highlighting a sense of moral responsibility. It also promotes the spirit and broad-mindedness. China has gradually formed a long-term and profound educational tradition, starting from Confucius and Mencius, Lao Zi and Chuang-Tzu, and down to Song and Ming philosophy, all paying special attention to self-cultivation by attaching great importance to inspiring students’ self-awareness and initiative, to be persistent in their determination, to refrain from excessive indulgence and to do self-examination and good deeds, and to be subtle and prevent the gradual corruption. In this way, a series of principles and methodologies of moral education and cultivation with unique Chinese characteristics have been gradually developed.
===Characteristics of Confucian Teaching Thoughts===
In general, ancient Chinese educational thought, broadly speaking, has the following distinctive features.

First, there is the comprehensive view, that is, the big view of education. Ancient Chinese educators recognized early on that education is a subsystem of the larger system of society as a whole, and that many educational problems are essentially social problems that must be examined and solved in the context of the entire social system. In turn, the solution of educational problems would inevitably promote the development and progress of society as a whole. For example, Confucius attached great importance to education and regarded population, wealth and education as the three major elements of "statehood". From the idea of "The root of a state is in the family. Mencius", he attached importance to the education of family ethics and social morality "filial piety, brotherhood, loyalty and faith". He saw the important role of education in governing the state and stabilizing the social order. This idea of placing education at the forefront of governing the state and the people, and seeing the moral cultivation of the individual and the improvement of social morality as the basis for governing the state and stabilizing it, is very profound. The Book of Rites and Learning summarizes the role of education in sixteen words: "To build a state and rule the people, teaching is the first thing to do" and "To transform the people into customs, it must be learned". The role of education encompasses two interrelated aspects: one is to cultivate the various talents needed by the state, and the other is to form a good social moral style. This is a summary of the function of education as outlined and summarized by Chinese philosophers, which is still relevant today.

The second is the dialectical view, that is, the unity of opposites. Ancient Chinese educators emphasized the need to give priority to moral education, while not neglecting the role of intellectual education. For example, Confucius said: "A wise man devotes his attention to what is essential in the foundation of life. When the foundation is laid, wisdom will come. ", "If he (a young man) has time and opportunity to spare, after the performance of those duties, he should then employ them in literary pursuits. " (Analects Xue Er); and at the same time he says: "First there is the mere love of morality: that alone, without culture, degenerates into fatuity."(Analects Yangguo), ""I cannot say," replied Confucius, "if he could be called a moral character."" Dong Zhongshu also said, "If one is benevolent but not wise, one loves but does not distinguish; if one is wise but not benevolent, one is wise but does not do." This is the ancient Chinese view of the unity of morality and wisdom: moral education and its practice come first, followed by intellectual education; moral education is carried out through intellectual education, and intellectual education mainly serves moral education; there is an interdependence and interpenetration between moral education and intellectual education, between "practicing oneself with shame" and "learning from literature" There is a relationship of interdependence and interpenetration between moral education and intellectual education, and between "acting with shame" and "learning from literature". The same is true of moral education. There is also a relationship of unity and opposition between the understanding of moral concepts, the establishment of moral beliefs and the practice of moral behavior. The relationship between teaching and learning, and between teacher and student, is both contradictory and unified, as revealed in everything from the Book of Learning to Han Yu's Teacher's Discourse.

The third is the inner view, which emphasizes the inner moral function and self-awareness of the subject of inspiration. Ancient Chinese education inspires the inner self-consciousness of each person and puts forward a set of principles, requirements and methods of "being human", so that people can get the pleasure of "being human" from it. "It is a set of principles, requirements and methods of being human, from which one can derive the pleasure of being human and express the noble spiritual pursuit of human beings. Unlike Western Christianity and Indian Buddhism, ancient Chinese education is not "sinful education" but "joyful education"; it does not rely on religious beliefs and prayers, and does not advocate leaving society and the family, but emphasizes accumulating moral and good deeds in school, family and daily life, and strengthening self-cultivation. Instead of relying on religious beliefs and prayers, it does not advocate leaving society and family, but emphasizes accumulating moral and good deeds in school, family and daily life, strengthening self-cultivation, i.e., this shore is the other shore, "the highest and the middle way". Ancient Chinese educational thought emphasizes the ability to be self-aware of values in one's heart, to introspect, to reflect on oneself, to be prudent, to cultivate oneself, to perfect oneself, and to seek harmony between the human order and the cosmic order. Its quest for the source of value is inward rather than outward, not listening to the call of God or waiting for the revelation of Buddha. The emphasis on inspiring inner enlightenment and trusting in the inner power of the subject is a very important feature.

===Ancient Chinese Confucianism in Teaching and Learning===
Ancient Chinese educators have accumulated and summarized a wealth of teaching experience and have put forward many valuable ideas and insights into teaching theory, teaching principles and methods, and the requirements for teachers. These ideas not only arose in ancient times thousands of years ago is rare and valuable, but also today still shine with wisdom and are rich in enlightening educational significance. It is the essence of our traditional educational thinking and a major contribution to the world's treasure house of educational thought.

1. Teaching according to the material, inspiration and guidance

One of the best recognized traditional teaching ideas is "teaching to the students according to their abilities". Confucius remarked, "You look at how a man acts; consider his motives; find out his tastes. What the student does, what the student experiences, and what the student's interests are. For students not only "But now, when I want to judge of a man, I have to look at what he does in his life as well as listen to what he says.", but also "But when he has retired, on examining into his life and conversation I find he has been able to profit by what I have said to him." (Analects For the Government), i.e. examining the student's words and actions in private after class to get a full picture of the student's characteristics and reality. He knows the character traits of his students well, sometimes analyzing them in terms of their strengths, sometimes in terms of their weaknesses, and sometimes making comparative analyses of different students. He is able to target the different character traits of the students and follow their advice, instead of preaching in a uniform manner. Sometimes the students asked the same question, but he gave different answers. A disciple, the intrepid Chung Yu, asked if he might at once carry out into practice any truth which he had learnt. "No." answered Confucius. "You have the wishes of your parents and of your old people at home to consult. How can you take upon yourself to carry at once into practice what you have learnt?" Another disciple on another occasion asked the same question. Afterwards another disciple ventured to enquire of Confucius why he gave two totally different answers to the same question.

"That is because," answered Confucius, "the one man is too diffident, I therefore said that to encourage him; the other man, however, is too forward; Therefore I said that to pull him back. Confucius also advocated different teaching according to the level of intelligence of the student: "Confucius remarked, "You may speak of high things to those who in natural qualities of mind are above average men. You may not speak to those who in natural qualities of mind are below average men."" (Analects Yongye)

Mencius inherited and exerted Confucius' idea of teaching according to students' abilities and emphasized the variation of teaching methods. In conclusion, ancient Chinese educators believed that there were differences in students' personalities and that each student's natural endowments were different, so teaching methods should also vary from person to person. They opposed the use of a model to bind students, but advocated the development of each student's personality through education. In terms of teaching methods, ancient Chinese educators paid special attention to inspiration and guidance to develop the intellectual potential of each student. Confucius then went on to say: "In my method of teaching, I always wait for my student to make an effort himself to find his way I also make him find his own illustrations before I give him one of my own. bearing of a subject in one direction and found that my student cannot himself see its bearings into other directions, I do not then repeat my lesson." " (Analects Shu Zi)

2. Learn from the past, learn and think

The first words of the Analects are those of Confucius: "Confucius remarked, "It is indeed a pleasure to acquire knowledge and, as you go on acquiring, to put into practice what It is indeed a pleasure to acquire knowledge and, as you go on acquiring, to put into practice what you have acquired."" (Analects Xue Er) He also said, "Confucius remarked, "If a man will constantly go over what he has acquired and keep continually adding to it new acquirements, he may become a teacher of men.""(论语-为政) Zhu Xi explained in his Four Books Collected Commentaries, "The old one, what he has heard of the old; the new one, what he has The new one, the present one. The words learn to be able to practice the old heard at times, and every time there are new gains."

Only by repeatedly learning and practicing can we firmly grasp what we have learned; only when we have become proficient in what we have learned and have integrated it, can we learn from the past and know the future, and explore the unknown from the known. This kind of thinking, which attaches importance to learning from the past without neglecting the exploration of new knowledge, is still inspiring today.

On the issue of dealing with the relationship between learning and thinking, ancient Chinese educators mostly advocated the combination of learning and thinking and the importance of learning and thinking together. Confucius remarked, "Study without thinking is labor lost. Thinking without study is perilous." (Analects of Confucius Weizheng) He advocated that study and thinking should go hand in hand, but should be based on study. But it should be based on study: "Confucius on one occasion remarked, "I have spent a whole day without taking food and a whole night without sleep, occupied with It was of no use. I have found it better to acquire knowledge from books."" (Analects Wei Ling Gong) He also emphasized the need to think on the basis of study: "Confucius remarked, "A man who does not constantly say to himself, 'What is the right thing to do?' I can do nothing for such a man."
" (Analects Wei Ling Gong). Xunzi inherited this idea from Confucius. He also said, "I have tried to think all day long, but I am not as good as what I have learned in a moment." He also asked that, on the basis of learning, one should "ponder in order to pass on" (Xunzi Persuading Learning), that is, to integrate what one has learned through thinking activities.

3. Make Steady progress Incrementally

Ancient Chinese educators generally valued the principle of gradual teaching. The students of Confucius praised him for his "good enticement in a gradual manner" (Analects of Confucius Zihan). On the one hand, he believed that teaching was a process of natural development, and that it should be self-improving, not lax or interrupted; on the other hand, it should not be impatient or prostrated. He said, "The gentleman's ambition is not to attain the Way without becoming a chapter." He compares the order of advancement in learning to flowing water, "not without a surplus of subjects", and "he who advances sharply, retires quickly" (Mencius On the Exhaustion of the Mind). Mencius also used the natural growth of seedlings as a metaphor for the process of education. On the one hand, he advocated plowing with all one's might and opposed indulgence; on the other hand, he opposed weeping seedlings to help them grow and rushing to success.

The "way of learning" proposed in the Book of Learning is also against "dilly-dallying". It says: "Those who are good at asking questions are like attacking hard wood, and those who are easy first are followed by their programs, and when they have been long, they say (get off) each other to solve them. Those who are not good at asking are the opposite. He who is good at asking questions is like a bell; if he knocks on a small one, he will make a small sound; if he knocks on a large one, he will make a large sound; if he is subdued, he will make his sound. Those who do not answer questions well do the opposite. This is the way to advance in learning. "This is the principle of gradual progress in teaching.

Zhang Zai believes that the teaching process "should not be slow, but should not be hasty. Because the difficulty of the material and the development of the student's body and mind are "gradual", which requires teaching must also adhere to the principle of "gradual", not dilly-dallying and teaching. Zhu Xi even more clearly put forward the "step by step and progressive, familiar with the reading and fine thinking" teaching ideas. He said: "gentleman teach people in order, first pass to the small near, and then teach to the large far", "such as mountain climbing, people more to the high place, do not know since the low place do not pay attention to, the end of the reason to the high place". He stressed that teaching should be insisted on from near and far, from easy to difficult, from shallow to deep, from concrete to abstract, from known to unknown. Zhu Xi also said: "the sages teach people, the lower learning up to, in an orderly manner, so engaged in the middle of it, and the important, about and not alone, no delusion over the sloppy drawbacks. Today's scholars of the word are mostly opposed to this, so its high fell into the empty illusion, the low drowned in hearing and seeing, and despairingly do not know where they will return to. He thinks that if one does not first engage in lower learning but deludes oneself to reach the top, one is prostrated, and then one is reduced to empty illusion; if one engages in lower learning but does not seek to reach the top, one is drowned in hearing and seeing. In the former case, one is impatient to advance without following a sequence, and in the latter case, one is not advancing despite following a sequence, both of which will waste energy and fail to achieve the goal. He believed that only by learning in a gradual and orderly manner and according to one's ability could one make steady progress.

In conclusion, ancient Chinese educators have realized that the accumulation of knowledge and the growth of intelligence is a gradual process, and it is impossible to finish it all in one go. They emphasized that teaching should pay attention to stages and rhythm, and should follow the natural course of events, which is in line with objective laws.

4. Kindness helps save mistakes

The idea of teaching for long goodness and saving mistakes was put forward in the Book of Rites Book of Learning. The Book of Learning says: "There are four failures of the scholar, which the teacher must know. When a man learns, he may lose much, or he may lose little, or he may lose easy, or he may lose stop. These four are not the same as the heart. He who knows his heart can then save it from its failures. He who teaches is also the one who grows good and saves his failures." This is to say, in the learning process, some students are greedy for more and more, too complicated and do not seek to understand; some students are too narrow in knowledge, holding on to the residue of the queue; some students are not focused on learning, shallow taste; some students are stagnant, afraid of difficulties and retreat. These four types of problems reflect the different psychological states of students towards learning, teachers only understand these psychological states, in order to help students overcome these problems in a targeted manner. Teachers must grasp the specific situation, take advantage of the situation, and be good at both promoting students' strengths and overcoming their weaknesses.

Many and few, easy and difficult are not fixed, and gains and losses can be transformed into each other. Wang Fuzhi said in the Book of Rites, Volume 18: "Although many, few, easy, and stop have their own faults, the many are convenient for the extensive, the few are easy to specialize, the easy are brave to act, and the stop is safe in its order, and each has its own good; to save its faults, it is good at carrying on." Although many, few, easy and stop have their own faults, they also contain certain positive factors. Teachers should observe their students comprehensively, understand the dialectic of teaching, and, according to the "difficulty of learning" and the "beauty and evil" of their "qualifications", explore, cultivate, and This is to make up for the shortcomings of the students, and to save them from their mistakes. This is the idea of making up for the shortcomings, and of saving the shortcomings from the good.

The Book of Rites and Learning also explicitly puts forward the idea of teaching each other. It says: "Although there are excellent dishes, we do not know their purpose if we do not eat them. Even though there is a supreme way, we do not know its goodness without learning. It is because learning is then knowing the inadequacy, teaching is then knowing the difficulty. Knowing inadequacy, one can then reflect on oneself; knowing difficulty, one can then strengthen oneself. Therefore, it is said: teaching each other also. The "Tuijin" says: "Learn and learn half. This is what it means!" Here is a profound exposition of the contradictory relationship between "teaching" and "learning" and the interdependence and mutual promotion of each other. Teaching benefits from learning, and learning improves day by day because of teaching. Teaching can help learning, and in turn, learning can help teaching, which is called "teaching and learning". "Teaching and learning" implies not only a unified relationship between teaching and learning, but also a mutually reinforcing and complementary relationship between teachers and students on an equal footing.

5. Teach by example, respect teachers and love students

Ancient Chinese educators, based on their experience in educational practice, put forward various requirements for teachers, and leading by example and teaching by example is one of the important ones.

Confucius said, "If one's body is right, one does not follow orders; if one's body is not right, one does not obey orders." "If you can't correct yourself, how can you correct others?" (Analects of Confucius Zilu) Here he emphasized the importance of "teaching by example", correcting oneself and others. He also said, "If you do not speak to a man who can speak to him, you will lose him; if you do not speak to him, you will lose him. Those who know do not lose people and do not lose words." (The Analects of Confucius Wei Ling Gong) He advocated the use of both "teaching with words" and "teaching without words" in teaching, using "teaching with words" if it is possible to use "teaching with words", and using "teaching with words" if it is not possible to use "teaching with words", that is, influencing and educating students through hints or one's own daily behavior. There is a certain psychological basis here. Confucius said, "I want to have no words", and he believed in the power of "teaching without words".

Xunzi proposed: "There are four teacher techniques, and Bo Xi is not with it. A strict teacher who is scrupulous can be a teacher; a teacher who is a senior citizen who believes can be a teacher; a teacher who recites and does not offend can be a teacher; and a teacher who knows the subtleties and discusses can be a teacher." (Xunzi Zhi Shi) He believed that a teacher must have four conditions (not including extensive knowledge): first, the teacher must have dignity and be able to make people respect him; second, the teacher must have high prestige and rich teaching experience; third, the teacher must have the ability to teach in an organized and systematic way and not violate the teacher's instructions; fourth, he must know the subtle theories and be able to explain them clearly. The Book of Learning also sets strict requirements for teachers, considering high moral character and academic excellence as essential for teaching and education, as well as the mastery of correct teaching methods and principles.

Yuan Hong, a Jin dynasty scholar, said in "The Records of the Later Han Dynasty The Chronicle of Emperor Ling": "A teacher of scripture is easy to meet, but a teacher of men is difficult to meet." It can be seen that the standard of "human teacher" is not only to impart knowledge, but also to be a teacher of others. This is the excellent traditional educational thinking of ancient China.

Ancient Chinese educators also advocated that students respect their teachers and teachers love their students, establishing a good teacher-student relationship. Confucius loved his students and cared about their moral and academic improvement, as well as their lives and health. He was happy to see the progress of his students; he often helped them when they were poor; he visited them when they were sick; and he was very sad when they died. He established a deep friendship with his students. Confucius said; "If you love, can you not work? If you are loyal, can you not teach?" (Analects of Confucius Xianwen) He also said: "Two or three sons think that I am hidden? I have nothing to hide from you. I have no line and I do not share with the two or three sons. (Analects of Confucius Shu-i) Confucius had "no selfishness and no concealment" for his students, and he had unlimited expectations: "The future generation can be feared, how can we know that the future generation will not be the present?" (Analects of Confucius Zihan). He also believed that when a righteous cause needed to be taken up, the younger generation should be bold enough to go forward and take responsibility, even in front of their own teachers, without having to be humble, "when benevolence does not let the teacher go" (Analects Wei Ling Gong). The students of Confucius admired Confucius for his high morality, profound knowledge, and good teaching. Yan Yuan said, "If you look up to a person who is high, you will learn from him. If you look ahead, you will not be able to follow. The master was good at enticing people, and he taught me with literature and rituals, and I could not stop. Since I have exhausted my talent, as if there is a stand-alone Zhuoer. Although I want to follow him, the last thing I want to do is to do so." (Analects of Confucius Zihan) After the death of Confucius, the students built a house next to his tomb and kept mourning for three years, weeping bitterly when they parted. Tzu Kung could not bear to leave, so he stayed alone for another three years. He said, "The inaccessibility of Confucius is like the inaccessibility of heaven. (The Analects of Confucius Zihan) The student expressed his infinite nostalgia and admiration for Confucius.

Mozi also emphasized respect for teachers and love for students in his educational practice, and Mozi's teachers and students were able to live and die together and share the hardships. Mozi and his students "took fur and brown as their clothes, took crawling as their clothing, and never rested day and night, taking self-hardship as their ultimate goal" (Zhuangzi The World). The students followed Mozi "to the fire and to the edge of the sword, not to be deterred from dying", and this teacher-student relationship was gradually built up through life and death and common suffering.

Xunzi to whether the "valued teacher heavy Fu" to the height of the rise and fall of the country to understand, and advocate students over teachers. He said: "When a country will rise, the teacher will be valued but not the teacher; ...... when a country will fall, the teacher will be despised but not the teacher." (Xunzi Ontario) He believed that students not only have the relationship of inheritance of knowledge and learning to their teachers, but also bear the responsibility of surpassing the wisdom of their predecessors and advancing the academic level. He said in figurative language: "Learning cannot be done. Green, taken from the blue and green in the blue; ice, water for which and cold in the water." This shows that there is no end to learning, and that it is the law of academic development that "the blue is better than the blue".

Some educators of the Song Dynasty were also models of respect for teachers and love for students. Hu Aigong, on the one hand, advocated "strict teacher-disciple manners"; on the other hand, he also advocated deep affection and cordial relationship between teachers and students. He treated all students as his sons and brothers, and they respected him as their father and brother. Roy Cheng was so kind and friendly that students often felt "like sitting in the spring breeze and harmony" when they got along with him. Cheng Yi, on the other hand, is stern and rigid, some students see him sitting in meditation and dare not be alarmed, waiting in the door until the snow is more than a foot deep, leaving a "Cheng door standing snow" of the good story. Zhu Xi once criticized the shortcomings of the indifferent relationship between teachers and students in government schools, "teachers and students see each other, indifferent as people walking on the road". He carried forward the spirit of Confucius "teach people tirelessly", follow the good advice, tireless, have deep feelings for students. His pupil Huang You said in his "Acts of Zhu Zi": "Zhu Zi's lectures on the classics, through the ancient and modern world, were often given until midnight. Although the disease is detached, to the students asked to discern, it is removed from the body of the disease, a day without lectures, is tense often thought worried." Reflects the sentiments of a great teacher. Zhu Xi's requirements for students is strict, but not passive precautions, but positive guidance, do not focus on the form of the provisions of the provisions, but rather to inspire students to consciously comply. Enthusiastic teaching, the method proper, in order to deepen the teacher-student friendship, close teacher-student relationship. These experiences of Zhu Xi, which contain universal laws, reflect the fine tradition of respecting teachers and loving students in the history of ancient Chinese education, and are often praised and drawn upon by later generations.

===Conclusion===
Compared with foreign education, ancient Chinese education has these characteristics: it is not mechanical and dull, but flexible and varies from person to person and from time to time; it is not subdivided and detailed, but comprehensive and integrated; it is not merely teaching knowledge and technology, but the unity of morality and wisdom; it is not detached from teachers and students and disconnected from education and life practice, but teaching and learning together and integrating education into life practice; it is not pivoted on the system of knowledge, but on It is not a pivot on the system of knowledge, but on life, and aims at the building and cultivation of the human style from generation to generation.

===References===
*Mao Lirui(1985-1988), Shen Gouqun, eds. General History of Chinese Education. Shandong; Shandong Education Press

*Sun Peiqing(1992), ed. History of Chinese Education, Shanghai: East China Normal University Press

*Wang Bingzhao, Guo Qijia, Liu Huahua, He Xiaoxia, Gao Qi(1994). A Concise History of Education in China (Revised). Beijing; Beijing Normal University Press

*Guo Qijia(1998). Ancient Chinese Schools. Beijing: The Commercial Press

==英语笔译朱丽娟 Zhu Lijuan 202170081614==
<center>'''Eco-awareness in Traditional Chinese Culture'''</center>

<center>Zhu Lijuan</center>

===Abstract===
The traditional culture of the Chinese nation is brilliant,which contains many profound ideas of ecological civilization and ecological development. These thoughts not only provided the moral foundation for the continuous development of Chinese civilization for five thousand years, but also provided the theoretical premise for the sustainable development of modern ecology and ecological civilization construction. Confucianism, Taoism and Buddhism occupy a very prominent position in Chinese traditional culture and have the greatest influence on later generations. This paper mainly discusses the ecological thoughts of Confucianism, Taoism and Buddhism, so as to provide value guidance for properly handling the relationship between man and nature.

===Key words===
Ecological thoughts;Confucianism;Taoism;Buddhism

===Subtitle 1===
1. Harmony between man and nature.

The core of ecological thought in Chinese traditional culture：Integration of nature and human. The ecological thoughts in ancient China gestate in the traditional culture. Confronted with the ecological problems which bothers the whole mankind, people surprisingly discover that the Chinese ancient philosophy has provided enormous enlightening accomplishments for the problem, or it contains the creative principles to cope with such contradictions and conflicts when we are pondering and searching for the solutions to the crisis, which is the wisdom of "Correspondence between Heaven and Human." "Correspondence between Man and Nature" is an elementary proposition of Chinese traditional philosophy. It is not only a basic spirit of China's traditional culture, but also is the optimal plane pursued by Chinese culture.On the one hand, the word "heaven" refers to "the vast nature," and it also refers to "the highest principle" and "the highest power." On the other hand, the word "unity" attaches importance to the process of a harmonious and unified status, which refers to the state of harmony between man and nature.

The ideology of "Integration between man and nature" lasted for more than 2,000 years, which was publicized, explained and developed by most ancient philosophers and became the basic style of Chinese culture and even Oriental culture. According to Ji Xianlin, a master of oriental culture, "harmony of heaven and mankind" is an elementary form of China's culture and this ideology is concentrated expression for the philosophy in oriental culture. This thought has established the foundation of ancient China philosophy, and it has exerted far-reaching influence on development of traditional culture. It is not only worth carrying forward, but also related to the future of mankind. "Harmony between man and nature" is regarded as a consistent ideological tradition in Confucianism. Confucius as "Yi Zhuan," once said,"Anciently, when the sages made the Yi, it was with the design that (its figures) should be in conformity with the principles underlying the natures (of men and things), and the ordinances (for them) appointed (by Heaven). With this view they exhibited (in them) the way of heaven, calling (the lines) yin and yang; the way of earth, calling (them) the weak (or soft) and the strong (or hard); and the way of men, under the names of benevolence and righteousness. (According to the book Yi Zhuan, there is a contribution made by Confucius: He regarded heaven, earth and man as three resources and regarded them as natural laws, which were finally used to establish an orderly world system. )

In addition, the contribution made by Mencius lies in his mode of mind and nature, completely showing your mind so that you know your nature and heaven. For Meng Zi, people do not need to know their mind or heart, but only show or appear completely in your spirit so that they can recognize human nature and the heaven. Dong Zhongshu believes that There is a natural order to things. Only by following such guidelines in order to achieve the integration between man and nature. Zhang Zai accepted the idea of the universal nature of heaven, and for the first time combined these two parts. As mentioned tree types of knowledge from Zhang Zai: the knowledge from seeing and hearing;the knowledge based on virtue;the knowledge from sincerity. Xunzi believes that Heaven has its seasons; Earth its resources; and Man his government. This, of course, is why it is said that they "can form a Triad." When man abandons what he should use to form the Triad yet longs for the benefits that result from the Triad, he suffers from delusion! The concept of "harmony between man and nature" is also expressed in Xunzi's viewpoint, which expresses the ecological concept of harmony between man and nature.

Similarly, Taoism advocates "Harmony between heaven and man." Laozi first expressed the ideology of "Correspondence between man and nature". He proposed that Man law the law of the heavens, France Road, Imitation of Nature. Zhuangzi also believes that not to receive (as evils) the inflictions of Heaven is easy; not to receive (as benefits) the favours of men is difficult. There is no beginning which was not an end. The Human and the Heavenly may be one and the same. Based on Taoist view, harmony between man and nature is the key for all things in nature to maintain its differences, but also to realize a comprehensive and coordinating relationship between humna and nature. Any destruction of nature will lead to the destruction of the relationship between man and nature, which is opposed by Taoism.

To sum up, the thought of "harmony between man and nature" is the main line of thought running through the main schools in ancient China. "Harmony between man and nature" contains different levels of content, and different philosophical schools and philosophers have different views on it. For example, Taoism pays more attention to "nature" and Confucianism pays more attention to "humanity". However, the basic meaning of this thought is the internal unity of man and nature. The concept of "harmony between man and nature" has undergone a long process of development and it complex in its content. however, it embodies the profound understanding of the relationship between man and nature in traditional China culture. Therefore, the concept of "harmony between man and nature" is the core of ecological thought in traditional Chinese culture.

===Subtitle 2===
2.Taoism thought of the nature law.

Taoism is one of the main schools in the history of ancient Chinese philosophy, which contains rich ecological thoughts. F. Capra, a contemporary humanistic physicist, once said, "As far as I am concerned, among the traditional schools of philosophy that contend with a hundred schools of thought, Taoism provides the deepest and most perfect ecological wisdom. It emphasizes that in the process of natural circulation, all phenomena and potential of individual and society are basically the same." With Laozi and Zhuangzi as the representatives, Taoist philosophy systematically discusses the relationship between heaven and man. The believes in nature is the quintessence of Taoism, and this concept has established the strong foundation for a rich ecological thought.

In Taoism, "Tao" is the beginning and nature for the whole world. The basic, eternal principle of the universe that transcends reality and is the source of being, non-being, and change. Laozi proposed that Tao gives birth to one, and one gives birth to two, and two gives birth to three and three gives birth to all things. What's more, he also pointed out the myriad things under the heavens are born of being, being is born of non being. That is to say, the Too of Tao-ism is the unitary "that" from which springs the production and change of all things in the universe.In other words, people and everything in the universe, everything and on everything, the reason things are unified into the same to my heart.The relationship between "one" and "ten thousand" is not only the relationship between mother and son, but also the relationship between unity and diversity. As the foundation of the existence of all things, "one" represents "nature", where "nature" represents the whole nature. In other words, all things are an integral part of nature, and man is also a thing in all things, that is, a part of nature.

It was the first time that Laozi explicitly put forward the "nature" in the history of philosophy in China, where he discussed the relationship between man and nature. "Man laws the land, the land laws the sky, the sky laws the Tao, and the Tao laws the nature. There were three means of the nature in Taoism: one was the natural in nature, the second was spontaneousness and own so, the third was nature in the life meaning.That is to say, human beings should take "Tao" as the law, because it is the basis of the existence of all things in the world. According to Lao Tzu, everything in nature, including human life, is the result of creation of nature, which is naturally generated and has no master, which is the basic meaning of "Tao follows nature. In Taoism, man is a part of nature.The movement and change of all things in nature are regular.Tao, heaven, earth and man all exist naturally. They exist and move according to the nature of nature, and are constantly changing. Laozi believes that human behavior should conform to nature and follow the operation law of all things in nature. "Knowing often means knowing, not knowing often, making mistakes and being fierce". That is to say, it is wise to act according to the laws of all natural things. If you don't act rashly according to the laws of all natural things, you will inevitably lead to danger. Taoism believes that since man was born in the process of "Tao" giving birth to all things, man should follow the example of heaven and earth, adopt an attitude of conforming to nature to all natural things, and "dare to do things to assist the nature of all things", that is, "inaction". "Natural inaction" is the direct embodiment of "Tao follows nature". Taoist "inaction" does not mean inaction, but does not deliberately act recklessly or force arbitrarily. Therefore, Laozi emphasized that we should do things in an inaction manner, so as to achieve the effects of "doing nothing" and "doing nothing" in nature and human life.

In a word, "Tao follows nature", as Taoist thought and Taoist doctrine, contains rich ecological thoughts, which has important ecological significance in today's deteriorating ecological environment.

===Subtitle 3===
3. Anthropocentrism.

Confucian culture represents the mainstream of Chinese traditional culture, in which the ecological thought about the relationship between man and nature is a very important aspect. Confucianism has always valued man's position in all natural things, but it does not have rich and clear ecological thoughts similar to Taoism. Confucian ecological thoughts are often combined with their theory of caring for heaven, earth and man, thus forming a unique mixture of ecological thoughts with both anthropocentrism and natural centrism. Some outstanding thinkers of ancient Chinese Confucian school put forward many precious ecological thoughts from the study of interpersonal relationship, and formed a relatively complete ecological ideological system. They advocate that man is a part of nature, and man is similar to all things in nature, so man should adopt a obedient and friendly attitude towards nature, and seek harmony between man and nature as the ultimate goal.

Man is a part of nature and a product of nature, which occupies a very special position in nature. It can be said that the most important role of man in nature is "counselor's education". The Doctrine of the Mean expounded the unity of man and nature earlier: "Only the sincerity of the world is to do its best; If you can do your best, you can do your best; If you can do your best, you can do your best; If you can do your best, you can cultivate the towering land; If you can cultivate the towering land, you can participate with heaven and earth. "(Chapter 22) That is to say, only by adhering to the principle of sincerity can we give full play to our good nature; Only by giving full play to one's good nature can one influence others and give full play to their good nature; Only by giving full play to the good nature of all people can we give full play to the good nature of all things; Give full play to the good nature of all things, and you can participate in the cultivation of all things in heaven and earth. People are in contact with everything in nature anytime and anywhere, and treat things with honesty, which is the fundamental attitude to deal with the relationship between people and things. To treat things with sincerity means to respect, sympathize with, love and understand all things, and promote the growth and development of all things by the way of cultivating heaven and earth, instead of using, controlling and destroying all things as external things unrelated to life.

Mencius expounded the relationship between man and nature with the moral category of "sincerity". He pointed out: "Honest body has a good way, don't know about good, don't be honest with its body. It is a sincere person, and the way of heaven is also; He who thinks honestly is the way of man. ". ("Mencius Li Lou") That is to say, he has taken "sincerity" as the theoretical goal of the unity of man and nature. How can people achieve sincerity to achieve the realm of sincerity? Mencius pointed out: "Those who do their best know their nature. If you know its nature, you will know the sky. Save your heart and raise your sex, so things are also ". (Mencius devotes himself to it) is a process of "devoting himself to it", "intellectuality" and "knowing heaven". Mencius' theory of devotion, understanding and knowing heaven advocates achieving the goal of sincerity and realizing the harmony and unity between man and heaven through moral cultivation. Therefore, Mencius put forward that "everything is prepared for me", that is to say, the fundamental principles of everything in the world exist in people's nature, and they only need to be brought into full play. The Doctrine of the Mean also emphasizes the importance of human cultivation, and holds that as long as human efforts are made, the highest point of human nature can be reached and the work of cultural education can be realized. Therefore, the Doctrine of the Mean points out: "Secondly, music can be sincere, sincerity is shape, shape is writing, writing is clear, Ming is moving, movement is changing, change is changing, and only sincerity in the world can be changed. "(Chapter 23) The process from" music "to" energy "is not only a process of self-improvement of human nature, but also a process of dealing with the relationship between man and all things; It is not only a process of achieving" energy ", but also a process of" counselor's education ". Xunzi also proposed: "When the day comes, the land has its wealth, people have their governance, and husbands are called able to participate. "(Xunzi's Theory of Heaven) That is to say, people in heaven and earth have their own functions. Only by understanding the differences between people in heaven and earth can we achieve the realm of" participating with heaven and earth ".

When people reach the realm of "sincerity", they will naturally be able to cultivate all things, which is called "counselor". The Doctrine of the Mean says: "So sincere interest-free. Endless is long, long is micro, micro is far away, far is thick, and thick is clever. Beat thick, so the load is also; Clever, so the cover is also; Far away, so things are also. Strive for thick land, smart sky, long and boundless. In this way, you can't see the chapter, change without moving, and do nothing. "(Chapter 26) That is to say, only when heaven and earth are thick and long-standing can they cover all things; Only when the way of heaven and earth is sincere and interest-free can everything be produced. When people reach the realm of "sincerity", they can achieve everything like heaven and earth, and help to cultivate heaven and earth, which is the greatness of human nature.

===Subtitle 4===
4.Buddhist:equality of all beings.

Buddhism, as one of the world famous religions, has a long history, is extensive and profound, and has abundant documents, including many valuable ecological thoughts. After Indian Buddhism was introduced into China, Chinese Buddhists combined the essence of Indian Buddhism theory with the theory of Chinese traditional philosophy and re-elucidated and innovated philosophical thoughts. Chinese Buddhism contains a large number of ideological portrayal of natural ecology and spiritual ecology, and contains rich ecological theories, which is an important link and resource between Chinese traditional culture and ecology.

Equality of all beings is a basic concept of Buddhism. As an important concept of Buddhism, "sentient beings" expresses the core idea of Buddhism about the symbiotic relationship between human beings and other living bodies, human beings and nature. Buddhism divides everything in nature into two categories: Things with emotion and life, such as people and animals, were originally called "sentient beings" and later called "sentient beings"; Things without emotion, such as vegetation, tiles, mountains and rivers, etc., are called "ruthless beings". With the advancement of history and the influence of Chinese traditional culture, the content of "sentient beings" has continuously expanded its extension, and has been promoted from the initial "sentient beings" to cover both sentient and ruthless universe. Buddhist "equality" can be divided into four levels: Equality between all beings and Buddha, equality between people, equality between people and animals, equality between affection and ruthlessness. That is to say, all things in the universe, namely Buddha, man, animals, plants and inorganic matter, are equal.

In Chinese Buddhism, Tiantai Sect, Huayan Sect and Zen Sect all believe that all sentient beings have Buddha nature. Zen believes that not only sentient beings have Buddha nature, but also low-level life such as ruthless vegetation has Buddha nature. Ji Zang pointed out in Volume 3 of Mahayana Metaphysics: "According to the right, according to the right, all living beings have Buddha nature, then vegetation has Buddha nature. Therefore, not only all living beings have Buddha nature, but also vegetation has Buddha nature...... Therefore, if all living beings become Buddhas, all vegetation will become Buddhas. "That is to say, all phenomena in nature are in the causal relationship of interdependence and mutual restriction, and all life is an organic part of nature. Without nature, life cannot exist. The so-called "green bamboo is full of Dharma body; Gloomy yellow flowers are nothing more than Prajna", that is to say, flowers, trees, birds and animals all have Buddha nature, so we must care for every grass and tree in nature and build an interdependent, harmonious and free environment.

Buddhism believes that life is very precious to human beings and all animals and plants that can't talk. Human beings become masters of nature because of their superb thinking ability, but they can't harm other things. As small as dust, as large as the universe, and all living beings are in the same life flow, and "all living beings have Buddha nature", all things may reach the highest level and comprehend Buddha nature. Buddhism's concern for life is most concentrated in the compassion of all living beings. Compassion is the foundation of Buddhism and Taoism. "Compassion is the greatest in all Buddhism" (Great Wisdom Theory). In Buddhism's view, "harmony with happiness" is called "kindness", and "pulling out bitterness" is called "sadness". It teaches people to be merciful to all life. "Great kindness is happy with all sentient beings, and great compassion pulls out all sentient beings' sufferings" (Great Wisdom Theory). The former means giving happiness to all people and creatures, while the latter means pulling out the pain of all life.

===Conclusion===
Therefore, we can sum up the traditional culture of the ecological thinking inherent in the characteristics possessed.

First of all, The traditional China culture of ecological thought boasts deep the philosophy of "life." The "God" is the Word of God. "Yi" play to the thought of Confucius, said: "It's easy. " He said,"The great virtue of heaven and earth is born." Life is the growth of all things, is to create life. Life, is born and born, create and create. The meaning of the word is that the world takes "life" as its way and "life" as its virtue. Later generations of Confucian thinkers inherited this idea from Confucius and the Yi Zhuan, emphasizing that human benevolence and kindness originated from "the heart of heaven, earth and creatures." Thus,"life" refers to "benevolence," and "life" is good. In the Song Dynasty, Zhou Dunyi said,"Heaven gives birth to all things with yang and makes all things with yin." Life is benevolence; success is righteousness. " Cheng Yi of Song Dynasty said,"The nature of life is benevolence." Zhu Xi of the Song Dynasty said,"Benevolence is the vitality of heaven and earth." "It's the end of the world. " Therefore, the "benevolence" advocated by Confucianism is not only to kiss and love people, but also to extend from kissing and loving people to loving all things in heaven and earth. Because people and the universe, belong to a big life world. Mencius said,"To be close to one's family is to be kind to the people; to be kind to the people is to love things." Zhang Zai of Song Dynasty said,"People are my compatriots, and things are my friends." (All the people of the world are my brothers, and all the things in heaven and earth are my companions.) Cheng Ying of the Song Dynasty said,"Man and heaven and earth are one thing." He also said,"The benevolent takes the heavens and the earth and all things in them as one." "Benevolent and all things." Zhu Xi said,"All things in the world are one." So a lot. These words are said, people and all things are the same, is equal, so people should put the love to the universe.

A letter from Zheng Banqiao, a great painter in Qing Dynasty, fully expressed this thought of Confucianism. Banqiao said in the letter, the heavens and the earth, an ant insect, Xinxin love to read, this is the heart of the day. "The heart of God is the heart of God." So he said he was most opposed to "cage birds." "I want to entertain, he in prison, what feeling what reason, and must bend the nature of things to suit my nature!" Is the Wolf butch, that is, put them far away, don't let them harm human beings, people also have no right to any killing. Man and all things, so people and all things are equal, people can't think of themselves as the master of all things. This is the Confucian concept of great benevolence. Banqiao then and he said, really love birds will be a variety of trees, make a bird bird home. When I wake up in the morning, there are birds chirping. The birds are very happy, and so are the people. This is called "each has his own day." The so-called "each suitable for its day," is that all things can be in accordance with their natural nature to survive. In this way, as the same kind of people and all things also can get real happiness, get the greatest aesthetic feeling.

Secondly, associated with the consciousness of ecological philosophy and ecological ethics, there is also a kind of ecological aesthetics consciousness in China traditional culture. Ancient China thinkers believe that nature (including human beings) is a life world, the universe contains up life, business, this kind of life, business is the most worth watching, people in this kind of viewing, experience the state of man and all things, to get great spiritual pleasure. Cheng Ying said: "The business of all things is the most impressive." The "business of all things" is a favorite of the Song and Ming scholars. "I like to see the grass in front of the window." Asked why he didn 't, he said: "I don't know what you mean." He also said,"Observe the biological meteorology of heaven and earth." Zhou Dunyi experienced from the growth of grass in front of the window that there is a kind of "business" in heaven and earth, which is shared by "me" and all things. The experience gave him a kind of happiness. Cheng fish, always, and said: "I want to see you." He also likes to watch the newly hatched chickens, because the young chickens are lively and lovely, which can best reflect "business." He has a poem to describe their own happiness: "All things are content to watch quietly, and the four seasons are happy with people." "The clouds are light and the wind is light near noon, and the flowers follow the willows across Maekawa." He experienced the "business" between man and all things, experienced the harmony between man and nature, and obtained a kind of happiness. This is the "joy" of the "benevolent."

Finally, this ecological consciousness of "loving and thinking" and "business" of observing all things in heaven and earth is clearly reflected in ancient China literary and artistic works. Ancient China painters emphasized the expression of the "vitality" and "business" of all things in the world. Dong Qichang, a painter of the Ming Dynasty, said that the reason why painters live long is that "there is nothing but vitality before their eyes." In the Song Dynasty, Dong Di emphasized in the postscript to Guangchuan Painting that the artist's painting must be "born from business and obtained naturally." The painter Zhu Yunming said,"Or say: 'Plants are heartless, how can they be intentional?' I don't know that there is a kind of business between heaven and earth. The creation is wonderful, and it is as wild as it is indescribable. " So the king of Qing Dynasty is the painting fish tactic said: "The fish must be lively to get its swimming image." "I admire his happiness leisurely and agree with others." China painters never draw dead fish, dead birds, Chinese painters of flowers, birds, insects, fish, are up, business is abundant. The image world of flowers, birds, insects and fish of China painters is a life world in which human beings and all things in the world are integrated, which embodies the ecological consciousness of Chinese people.

The same is true China ancient Chinese literature.The poems of Tang and Song Dynasties show the beauty of flowers, birds, trees and people.Such as "swallows fly in the mud, mandarin ducks sleep in the warm sand.""I'm a friend of the mountain birds and flowers. "(Du Fu)"Men and birds are not in disorder, and animals are mutually close."(Wang Wei)"A pine and a bamboo are true friends, and a mountain bird and a mountain flower are good brothers."(xin qiji) some poems filled with gratitude to the nature, such as du fu "peach":"Gao Qiu always gives the poor people real life, and his eyes are still full of flowers when he is old."That is to say, the nature (here is the peach tree) not only for people to life necessary food items, and give a person with aesthetic enjoyment.This is a very profound thought.In the qing dynasty great writer pu songling's novel "liao zhai zhi yi" also runs through the consciousness of the people and the universe.The beauty of "liao zhai zhi yi," is the beauty of man and all things.The poetry of "liao zhai zhi yi," is one of the people and all things of poetry.In this literary work, flowers and trees, birds and animals insect fish can translate into a beautiful girl, and love with people.For example, the two girls in "Xiangyu" are the peony and winter resistance of the Qing Palace at the foot of Laoshan Mountain, one is Xiangyu and the other is crimson snow."The winter is two feet long, the peony is more than ten feet tall, and the flowers are bright like brocade."The breeze and the qing dynasty palace reading Huang Sheng love each other, crimson snow and Huang Sheng for friends.Only to infamy, there is a tourist saw white peony, love, just dig it move home.White peony so dead.Huang Sheng is very sad, as "crying flower poem" 50, every day to the peony growth chanting.Then Jiang Xue almost died. The Taoist priest of Xiagong Palace wanted to cut down the tree to build a new house. Fortunately, Huang Sheng stopped him. Later, the peony grew again. Huang Sheng dreamed of Xiangyu. Xiangyu asked Huang Sheng to water her with a glass of water every day. From then on, Huang Sheng added more and more irrigation. The flower bud grew fatter and fatter. The next year, a flower bloomed. The flower was as big as a plate. There was a little beauty sitting in the pistil. "In a flash, it floated down, and the Xiangyu also." From then on, the three of them lived a happy life. Later, Huang Sheng became seriously ill. He said to the old monk: "In the future, there will be red buds growing under the peony, and I will be the one who puts out five leaves." In the second year after Huang's death, there will be fat buds protruding from the fruit. The old Taoist priest irrigated it diligently. For three years, it was several feet tall, but it did not bloom. After the old Taoist priest died, his disciples did not care for it and cut it off when they saw it did not bloom. As a result, the white peony soon withered and died. Then, Nai Dong also died. These image worlds created by Pu Songling are full of love for the life between heaven and earth. It shows that man and all things belong to a big life world, that man and all things-one, life and death together, solidarity. This is what people now call "ecological beauty,""ecological beauty" is "man and all things one" beauty.

This kind of ecological consciousness in China traditional culture embodies the universal values of all mankind today, which is full of modern implication. To sum up, Chinese traditional culture contains rich and profound ecological thoughts. These thoughts have always been respected by scholars at all times and in all countries, so it is of great practical significance to explore and carry forward Chinese traditional ecological thoughts for the construction of ecological civilization in China.

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语口译段小蝶 Duan Xiaodie 202170081615==
<center>'''Chinese Movies Going Global'''</center>

<center>Duan Xiaodie</center>

===Abstract===
With the acceleration of China's economic and social development and the process of globalization, the going global of culture has become one of the unecessary parts of China's construction in the new era. China's cultural transmission is achieving remarkable results in many aspects, such as foreign trade and exchanges of culture, And China's position in international societies is becoming prominent, and China's voice is gradually gaining attention. However, at the same time, the difficulties that have emerged when Chinese culture has gone out cannot be ignored; the international competitiveness of cultural products is weak, the concept of international dissemination is unscientific, there is a lack of a reasonable system of evaluating results, and there is still a certain distance between the overall situation and the goal of a culturally strong country. As a kind of cultural medium, the film has become an important value carrier under the globalization, and is an important link and key to the cultural outflow; the cultural outgoing movement has also created a platform and opportunity for the international dissemination of the film.
The international spread of literature and film helps the enhancement of the soft power of Chinese culture. Therefore, under the perspective of cultural outgoings, from the microscopic point of view, through the interpretation of chinese film cases and the analysis of the experience of other countries' films and television, we can sum up the development status of international transmission of Chinese television and film, and put forward countermeasures and suggestions for the overseas broadcast of Chinese films and television, which have great practical significance and research value.
===Key words===
Chinese Movies; Culture Going Global; Countermeasures and Suggestions
===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语口译方楚晗 Fang Chuhan 202170081616==
<center>'''Bullet Screen in Chinese Online Video Sites'''</center>

<center>Fang Chuhan</center>

===Abstract===

===Key words===

===Introduction===
“Bullet screen”, or “dan'mu” in Chinese, is an emerging new feature on online video sites in China and Japan, which allows real-time comments from viewers to fly across the screen like bullets. Mostly used for virtual nods and zingers, this “social viewing” feature is phenomenally popular with the younger crowd.
===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语口译胡雯雯 Hu Wenwen 202170081617==

<center>'''Chinese Baijiu Culture'''</center>

<center>Hu Wenwen</center>

===Abstract===
Chinese Baijiu can be compared with wine in France, but it is made of rice. We have a long history of Chinese Baijiu, which develops with our own culture. And more importantly, we have cultivated a kind of special culture about Baijiu on the table.

===Key words===

===Introduction===
Baijiu is one of the main beverages in Chinese people's life. China has a long history of baijiu making, with a wide variety of famous bajiu spreading with a good reputation at home and abroad. Yellow rice wine is one of the earliest baijiu in the world. About 3000 years ago, in the Shang and Zhou dynasties, the Chinese people created the liquor koji double fermentation method and began to brew a large amount of rice wine. Chinese Baijiu has permeated the entire 5000 year history of Chinese civilization. It plays an important role of literary and artistic creation, cultural entertainment, food and cooking, health care and other aspects in Chinese people's life.
Chinese Baijiu culture is an important part of Chinese food culture. Wine is one of the most ancient foods of mankind. Its history almost began with the history of human culture. Since the emergence of baijiu, as a material culture, baijiu has a variety of forms. Its development process is synchronized with the history of economic development. Baijiu is not only a kind of food, but also has spiritual and cultural value. As a kind of spiritual culture, it is embodied in many aspects, such as social and political life, literature and art, and even people's attitude towards life, aesthetic taste and so on. In this sense, drinking is not just drinking but also drinking culture.
As to drinking etiquette, Chinese people pay attention to people with whom they drink . It depends on who they drink with and what they want, to be more specific, the atmosphere of drinking; drinking etiquette reflects the respect for drinkers. Who is the host ? Who is the guest? What about the fixed seats and toast sequence for them respectively. When toasting, you should start from the host. If the host doesn't finish, others are not qualified to propose a toast. If you mess up the order, you will be punished. The toast must start from the most distinguished guest. Your container must be full when toasting, which also shows respect for the person you drink with. The younger generation should take the initiative to toast the elders, which is the same for the juniors and superiors, and we also regard‘ bottom-up’ as a sign of respect.
When we talk about purpose of drinking，Chinese baijiu is often used as a tool. People drink for pursuing something they hope for other than alcohol itself. Green plum baijiu is used to prove who is a hero; Beimoting is used to eliminate all the worries within you; The Seven Sages singing wildly in the bamboo forest and drink to seek refuge in spirit. In the eyes of Chinese people, baijiu is more used as a tool for communication. Therefore, there is a lack of scientific and systematic theoretical analysis and evaluation of baijiu itself in Chinese baijiu culture, and more attention is paid to the wonderful effect brought by drinking baijiu.

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语口译黄天琪 Huang Tianqi 202170081618==
<center>'''Marriage Culture in China'''</center>

<center>Huang Tianqi</center>

===Introduction===
Marriage is something related to all of us. It is the start of family and kinship. Most of our life will be spent within a marriage. And an unhappy marriage will ruin many things. This starts by lowering the quality of our life, threatening the quality of our children’s life, and then forming a family without happiness and warmth. Eventually, this will have a bad impact on the harmony of the society. Judging from all these, we can see that how important marriage is to our life and society. Besides, marriage represents not only a union between couples, but also a union of two families. In the past, marriage was often arranged by parents, while today’s young people prefer to choose spouse that they love by themselves. However, it is still common that parents hold sway over the marriage of their children. Marriage culture is a part of social culture, which can reflect people’s mentality and views towards marriage in a particular period. In the following, marriage system, wedding customs, and dissolution of marriage will be covered.

===Marriage System===
From the earliest group marriage to monogamy, marriage system has become increasingly rigorous, which is conducive to ensuring family stability and social peace. China went through primitive society, slave society, feudal society, modern society, and it is now contemporary society. The characteristics of marriage system in each period are distinctive. From the evolution of our marriage system we can see that each change has been in line with the change in the political and economic system. The marriage system is a guarantee of social stability, and the main evolutionary history includes the following periods.

Group Marriage

Under this marriage system, a group of men and a group of women are married to each other. The specific forms of the group marriage are not necessarily the same between different regions and races, and even differ greatly. The process of its development has not been simultaneous throughout history. Group marriage showed itself in China as a natural and chaotic situation where people lived in groups without social obligations. At that time, no constraints were imposed on the interaction between men and women. There were no clear and fixed spouse, no restrictions on elders and children, and no concept of parents or siblings.

Consanguineous Marriage

With the development of human history, people gradually differentiated themselves from each other and formed different groups or tribes. Soon, blood relation became the identification standard. At that time, parents and children have blood relation were not allowed to marry each other, while siblings could. This is what we called consanguineous marriage. This kind of marriage were recorded in ancient Chinese literatures as legends. For example, Fengsu Tongyi describe that Fuxi and his sister Nüwa married each other and lived together.

Sub-Consanguineous Marriage

The main difference between sub-consanguineous marriage and consanguineous marriage is that consanguineous marriage only prohibited intermarriage between the parents and their children, while sub-consanguineous marriage also prohibited marriage between siblings of the same generation. The most important feature of the sub-consanguineous marriage system is that brothers can share a wife and sisters can share a husband, but the "wife" or "husband" must be someone from another clan. Sub-consanguineous marriage facilitated the natural selection of marriage partners, which is significant for improving the quantity and quality of the population.

Dual marriage

Dual marriage refers to the marriage between adult men and women from different clans in a long or short period of time, which is not stable. Under this marriage system, the spouses are not married for love, but for personal interests and needs. People usually obtain a spouse through exchanges of goods or forceful competition.

Monogamy

Monogamy means that when two people are married to each other, they can only maintain this marriage with each other for the rest of their lives, or at any period in their lives. Under this system, no one may have two or more spouses at the same time, and people’s marriage is more stable and can last longer. Monogamy is the result of the development of material and spiritual civilization. This marriage system is also more progressive and reasonable.

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Wedding Customs===

===Dissolution of Marriage===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.
===Terms and expressions===
Group Marriage 群婚

Consanguineous Marriage 血缘婚

Fengsu Tongyi 《风俗通义》

Fuxi 伏羲

Nüwa 女娲

Sub-Consanguineous Marriage 亚血缘婚

===Questions===
===Answers===

==英语口译兰绮 Lan Qi 202170081619==

<center>'''Chinese Panda Diplomacy'''</center>

<center>Lan Qi</center>

===Introduction===

Gift-giving is a common courtesy in diplomatic activities. And this kind of diplomatic culture has a profound history. Via exchanging gifts, a cordial and friendly bond can be built upon two countries. Diplomatic gifts are not only limited to some still-life items, but also can be some living creatures, such as animals. China has a history of presenting panda as a diplomatic gift to forge diplomatic relations with other countries, which is known as Chinese Panda Diplomacy. Panda, listed as an endangered species in 2008 and a vulnerable species in 2016, is endemic to China. It’s the national animal or say, national treasure of China. It is recorded that panda diplomacy can date back to the later Tang Dynasty when Emperor Wu ever gave two pieces of skin of pandas as a gift for foreign envoys. And after the founding of People’s Republic of China, China has been carrying out diplomatic activities through giving panda as gifts, lend panda to other countries for traveling exhibitions or signing commercial leases of pandas to show friendliness. In the 26 years from 1957 to 1982, China gave a total of 23 pandas to 9 countries. Panda, as a national treasure of China, has served as a messenger of friendship abroad many times and has made indelible contributions to the development of friendly relations with foreign countries.

===Origin and History of Chinese Panda Diplomacy===

====Panda as a gift====

Animals play an important role in China's diplomatic activities. As early as the Yongle period of the Ming Dynasty, Zheng He brought back many "qilin" (giraffes) from the African continent on his way to the West, which was called "qilin diplomacy". These giraffes were transported to China as tribute from African countries, and although they were not "gifts" in the modern sense of diplomacy, they fully illustrate the phenomenon of using "animals" as a medium to express messages in national exchanges. At that time, the Ming Dynasty was strong and the African continent was still very primitive, so the "giraffes" represented the awe and dependence of a weak country on a strong country. In modern society, animals can be found everywhere in diplomacy. In the early years of New China, China befriended the Soviet Union under a "one-sided" foreign policy. Between 1954 and 1959, the Beijing Zoo exchanged animals with the Soviet Union's State Zoo, and in 1957, China gave the giant pandas Ping Ping and An An to the Soviet Union. This "animal diplomacy" reflected China's quest to consolidate the Soviet-led socialist camp in the 1950s and its desire to receive assistance and support from the Soviet Union as a means of countering the U.S. blockade.(Zhang Enming, 2018,66-70) Vietnam, which is in the same socialist camp as China, also gave two Asian elephants to China in 1953. These two elephants had participated in the Vietnam War, so in addition to the usual diplomatic rituals, the two elephants also implied Vietnam's gratitude for China's support in the war.There is also a close animal exchange between China and North Korea. Since 1959, African lions, South China tigers, and Korean leopards have been gifts exchanged between the two countries. Behind these gifts are the development strategies of the two countries and the complex game of international relations. Whether it is the "Korean leopard" of North Korea or the "Asian elephant" of Vietnam, the animals chosen in animal diplomacy are all national protected animals that can represent the image of the country and have certain profound connotations at the same time. In China's cultural context, the panda is naturally the most appropriate choice.

"Panda diplomacy" begins with Wu Zetian. In recorded history, on September 18th, in 685 AD, the first year under the reign of Wu Zetian, the Chang'an palace guards and two animal handlers clustered round two tall, spacious and red-colored cages and set off from Chang'an on a stagecoach, sailing eastward. They went to Yangzhou, boarded a sea ship, and accompanied the Japanese envoys to Japan. This time, Wu Zetian gave two "white bears" and 70 furs to Emperor Tenmu of Japan. The "white bears" here are actually giant pandas. Westerners first heard about giant pandas from the French missionary Arman David. David was the first Westerner to study the wildlife of China in 1869, when David traveled across the ocean to give a panda specimen as a gift to the French Natural History Museum. This was the first panda to be welcomed in the West. Although only a specimen, this masterpiece of the creator was the first panda in the West. driven by panda fever, many people began to travel to China in search of pandas. (Lin He,2010,6-17)

Technically speaking, the first time giant panda served as the highest-level national gift was in 1941 when the Song sisters, Song Qingling and Song Meiling presented a pair of pandas to the United States as a token of appreciation for their relief of Chinese refugees.After the founding of New China, giant panda became an important gift for the country's diplomacy. In the modern era of friendship between China and foreign countries, pandas are treated like "heads of state" when they arrive as a national gift.(Xie Jianping,2021,93) China's most famous "panda diplomacy" dates back to 1972, when President Nixon's visit to China. Premier Zhou Enlai announced at a banquet to welcome President Nixon. Premier Zhou Enlai announced at a banquet to welcome President Nixon that giant pandas Lingling and Xinxin would be given to the United States. The "Panda Diplomacy" laid a solid brick for China to open its doors and go global.And in September 1972, when diplomatic relations were established between China and Japan, China decided to present two pandas. On November 4th , 1972, a grand ceremony was held in Ueno Park in Tokyo to accept the gift. At the ceremony, the Japanese director said, "This pair of pandas is the best gift from the Chinese people to the Japanese people, and November 4 is a symbol of friendship between the people of Japan and China." Between 1957 and 1982, China gave 23 giant pandas to nine countries: the Soviet Union, North Korea, the United States, Japan, France, the United Kingdom, Mexico, Spain and Germany. Britain, Mexico, Spain and Germany.(Sun Jiahua, Xia Jun, 2005,51)By the 1970s, giant pandas were sent around the world by China, and "panda diplomacy" reached its peak.

Here is a list of the giant panda as a national gift.

{| class="wikitable"
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | '''Date of gift'''
| style="height:40px; width:200px; text-align:center;" | '''Giver'''
| style="height:40px; width:200px; text-align:center;" | '''Name of Giant Panda'''
| style="height:40px; width:200px; text-align:center;" | '''Recipient'''
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | November 9,1941
| style="height:40px; width:200px; text-align:center;" | Republic of China
| style="height:40px; width:200px; text-align:center;" | Panda
| style="height:40px; width:200px; text-align:center;" | United States Joint Committee for the Relief of Chinese Refugees
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | November 9,1941
| style="height:40px; width:200px; text-align:center;" | Republic of China
| style="height:40px; width:200px; text-align:center;" | Pandi
| style="height:40px; width:200px; text-align:center;" | United States Joint Committee for the Relief of Chinese Refugees
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | May 1946
| style="height:40px; width:200px; text-align:center;" | Republic of China
| style="height:40px; width:200px; text-align:center;" | Lianhe(Union)
| style="height:40px; width:200px; text-align:center;" | The United Kingdom
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1957
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Pingping
| style="height:40px; width:200px; text-align:center;" | Soviet Union
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1958
| style="height:40px; width:200px; text-align:center;" | The Beijing Zoo
| style="height:40px; width:200px; text-align:center;" | Jiji
| style="height:40px; width:200px; text-align:center;" | Austrian animal trader: Heini Demer
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1959
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Anan
| style="height:40px; width:200px; text-align:center;" | Soviet Union
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | NO.1
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | NO.2
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Lingling
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Sanxing
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Dandan
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | April 1972
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Lingling
| style="height:40px; width:200px; text-align:center;" | The United States
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | April 1972
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Xingxing
| style="height:40px; width:200px; text-align:center;" | The United States
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | October 1972
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Lanlan
| style="height:40px; width:200px; text-align:center;" | Japan
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | October 1972
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Kangkang
| style="height:40px; width:200px; text-align:center;" | Japan
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | December 1973
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Yanyan
| style="height:40px; width:200px; text-align:center;" | France
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | December 1973
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Lili
| style="height:40px; width:200px; text-align:center;" | France
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | April 1974
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Jiajia
| style="height:40px; width:200px; text-align:center;" | The United Kingdom
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | April 1974
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Jingjing
| style="height:40px; width:200px; text-align:center;" | The United Kingdom
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | September 1975
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Yingying
| style="height:40px; width:200px; text-align:center;" | Mexico
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | September 1975
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Beibei
| style="height:40px; width:200px; text-align:center;" | Mexico
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | September 1978
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Shaoshao
| style="height:40px; width:200px; text-align:center;" | Spain
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | September 1978
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Qiangqiang
| style="height:40px; width:200px; text-align:center;" | Spain
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1980
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Huanhuan
| style="height:40px; width:200px; text-align:center;" | Japan
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | November 1980
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Tiantian
| style="height:40px; width:200px; text-align:center;" | West Germany
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | November 1980
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Baobao
| style="height:40px; width:200px; text-align:center;" | West Germany
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1982
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Feifei
| style="height:40px; width:200px; text-align:center;" | Janpan
|} (From: 熊猫外交_百度百科 (baidu.com) )

Due to the deterioration of the panda's living environment and the fear that the very limited number of giant pandas in China was dwindling, China stopped the purely political mode of gift to foreign countries after 1982, and many countries have invited Chinese pandas to "visit" them in various ways, and China has also organized dozens of "Giant Panda Visiting Missions". During the Los Angeles Olympics, the International Olympic Committee invited a pair of Chinese pandas to go on display. During this period, however, China's gift of pandas was limited at home, such as Hong Kong and Taiwan. In fact, as early as 1988, the mainland had expressed its intention to send pandas to Taiwan. In March 2001, the mainland was ready to send pandas to Taiwan, and the then executive president, John Chang, said positively in the Legislative Yuan that "if it is in line with the Washington Convention, we certainly welcome it. However, there was no follow-up, and the panda's visit to Taiwan became an empty talk again. If we follow the model of the United States, Japan and other foreign countries and "lease" pandas to the mainland, Taiwan will not only need to set aside a huge budget of tens to millions of dollars each year to provide the mainland with funds for research and improvement of panda habitat, but the lease will be "country-to-country", which would turn into a lease from the mainland to Taiwan, and Taiwan would become a foreign country, which did not meet the political requirements.It was not until 2005 that the two sides of the Taiwan Strait decided to adopt an "animal exchange and breeding conservation program", whereby the Taipei Muzha Zoo and the Wolong Reserve in Sichuan would exchange animals between the two sides of the Taiwan Strait, avoiding the highly sensitive political controversy. However, the Taiwan authorities, led by Chen Shui-bian at the time, refused to accept the gift of pandas to Taiwan on the grounds that it had political significance. On Dec. 23, 2008, the mainland gifted giant pandas Tuan Tuan and Yuan Yuan to Taiwan finally arrived in Taipei without incident. From 1988 to 2008 2008, the pandas' journey to Taiwan took a total of 20 years.(Lin He,2010,6-17)

====Panda Touring and Leasing====

In 1982, in response to a global call to protect endangered animals, the government of the People's Republic of China announced that it would stop giving pandas abroad starting in 1982. This marked the end of "panda diplomacy" under the traditional political gift model. But a new model, panda leasing, emerged.

During the 1984 Olympic Games in Los Angeles, China temporarily loaned two pandas, Yongyong and Ying Xin, from the Beijing Zoo to the Los Angeles Zoo for a three-month tour to show China's support for the Los Angeles Games. This was the beginning of the giant panda tour abroad. Since then, giant pandas from various zoos in China have been traveling abroad for as short as a few months or as long as a year.

Giant panda touring exhibitions are an activity that can be both politically charged and commercially beneficial. For example, the aforementioned tour at the Los Angeles Zoo during the Los Angeles Olympics was a largely diplomatic event, while the subsequent exhibition at the San Francisco Zoo was a distinctly commercial loan. The traveling exhibition brought considerable economic benefits to the zoos and other institutions where the giant pandas were housed, but it also affected the reproduction and development of the pandas to some extent.

After the mid-1990s, various measures taken to address the problems caused by commercial leasing have greatly reduced the opportunities for giant pandas to go on tour abroad, essentially ending the trend of mainly adopting the touring approach to panda diplomacy. However, in rare and exceptional cases, there are still those who go abroad for short periods of time to conduct diplomatic activities. For example, when the International Olympic Committee held its 112th plenary session in Moscow, Russia, in 2001 to decide on the host country for the 2008 Olympic Games, China sent giant pandas Benben and Wenwen to Moscow as cultural ambassadors to support China's bid.

====Joint Research on Giant Panda====

In the early 1990s, a growing number of environmental groups resisted giant panda leasing. In 1994, two pandas from the Chengdu Research Base of Giant Panda Breeding went abroad for the first time as "research and exchange ambassadors" to the Shirahama Safari Park in Japan. Since then, many zoos around the world, including Wakayama in Japan, Seoul in Korea, and Atlanta and Washington in the United States, have begun long-term cooperative research with China. On September 12, 2007, the State Forestry Administration announced that "China would no longer give pandas to foreign countries, but could still conduct cooperative research with foreign countries. But apparently, the "panda diplomacy" did not come to an end. Instead, China's "panda dance" has gone further and further.

On November 28, 2009, the Chinese giant panda Wang wang and Funini arrived in Australia. This was the first time that Chinese pandas set foot in Oceania. According to the 1975 Convention on International Trade in Endangered Species, foreign zoos can only acquire pandas on a lease basis, in the name of scientific research. At present, China has started cooperative research on giant panda breeding, physiology and other aspects with nine zoos in five countries. The number of giant pandas involved in cooperative research is 30. Among the 24 pandas that went abroad in the pas, only five offspring are still alive, including one from Japan and Germany and three from Mexico. They are still transmitting the friendship of the Chinese people together with the pandas that have gone abroad on lease or in scientific cooperation.
(Lin He,2010,6-17)

==="Giant Panda" as a medium and symbol in International Communication===

People are mediums because they can generate and transmit information. Animals, which have long been known to human culture at all levels, are also mediums. Although animals cannot directly produce human "verbal messages," they can convey a wealth of information through their biological characteristics and the cultural context they carry. Thus, the panda has been promoted from a symbolic "diplomatic gift" to a "diplomatic medium" with a diffuse message in diplomatic activities. The "panda medium" was born. Since the animal is the medium, the message conveyed by the "panda medium" itself is also worth interpreting. The "panda symbol", as an energetic reference, naturally evokes our imagination of the "panda" animal and the range of impressions and connotations it generates.

In terms of the emotions embedded in the form of communication, traditional linguistic symbols are often used in international communication activities to make serious and politically significant statements. Whether it is a logical formal document or a poetic letter, it is labeled as "politicized", with an emotional undertone of gaming and mediation behind it. The "panda symbol" is an effective way to reconcile the audience with emotions from multiple senses. When people watch videos of "cats and dogs" on social media, they are often so enthralled by the appearance and sound of the "cute" creatures that they let go of their guard and engage in pure emotion. The popular "panda" has also conquered audiences in such a communication process. It can be argued that China's international communication activities, in which the national ideology is embedded in the "panda symbol", are not only more subtle and secretive in form, but also more acceptable to the public. Such communication is often invisible and more profound.

From the audience's point of view, the content of international communication through the medium of language and writing requires a certain level of literacy. A "knowledge gap" is created on top of the language barrier, causing greater disruption to communication. The "panda medium" is able to build a bridge over the gap, and as the threshold for understanding the "panda symbol" is lowered, audiences with lower literacy levels are also included, further expanding the audience base for China's foreign communications.The image of "panda" is naive, gentle and lovely. In international communication, this animal image conveys the message of "peace" and "friendship". Today, in the face of Western "threat theory" and "suspicion theory", the "panda symbol" undoubtedly represents the value of China's peaceful rise. At the same time, the "black and white" color covering the panda is reminiscent of the Chinese "Taiji" symbol, which contains the Chinese idea of "harmony" and a deep cultural temperament. This symbolic feature is good for constructing a national image and eliminating stereotypes. In addition, as an endangered species, the panda has received worldwide attention for its conservation, and China's protection of the panda is well known. Out of its love for the panda as an animal itself, as well as universal ecological values, China's conservation work for the giant panda has been praised and recognized globally. This has further enhanced China's standing in the international community and won wide recognition among global citizens. The "panda symbol" provides opportunities for China's foreign communication activities. In China's international communication activities, the panda has crossed the language barrier, established a good national image, and earned China a reputation. The "panda medium" has opened up new ideas for the study of international communication channels.

As an important medium in diplomatic activities, giant panda has the following four positive effects on China's international communication.

1. Building a good national image
For a country, a good national image not only enhances national cohesion, improves the country's recognition and credibility in the eyes of the public, but also helps the country to carry out international affairs in the international community. The "Giant Panda" can leave a deep first impression on the audience. It is so delightful that many people who do not know China can instantly fall in love with this "cute" animal and learn about China. The panda itself becomes a symbol of China in the minds of other citizens, which helps the international community to understand China as a "cute" and "peaceful" country, which plays an important role in building a positive national image.

2. Creating communication topics
The existence of the "panda medium" creates a middle ground for China's diplomatic activities with other countries and creates communication topics. Topics such as "panda conservation and research," "panda habits," and "newborn pandas" etc. can trigger discussions in the social media of different countries. When common topics occur, communication between countries becomes possible.

3. Creating economic value
Just like the "Kung Fu Panda" movies on Hollywood, the giant panda as a medium can give rise to related cultural industries and many cultural products. The development of cultural industries not only drives the popularity of cultural symbols in the world, but also increases the country's international communication power. The global popularity of Disney movies has not only created huge commercial value, but also impressed people with the success of the American movie business, as well as the understanding of American culture. The "giant panda" medium is expected to open up a new cultural industry through which Chinese culture can go global. This will create economic value while increasing cultural influence, which will be a double benefit. Of course, the development of cultural industries needs to be kept in moderation, and excessive commercial development will be counterproductive.(Zhao Lijun, 2017,15-19)

===Problems in Panda Diplomacy===

"Panda diplomacy" has indeed played an important role in China's diplomatic activities, but there are also many problems, making it to play its role as a diplomat.

1. Political misinterpretation
No matter how cute the panda is, the image of China behind it is not accepted and recognized by everyone. The "panda" cannot conquer everyone, so the practice of "panda diplomacy" has certain limitations. The sharp ideological struggle has led many political parties and political elites in many countries to perceive the cultural connotation of the "panda" symbol and interpret it as a cultural invasion. As a result, there are constant media reports reminding people that "pandas are after all carnivores" and "the bite force of a panda is no weaker than that of a brown bear". These statements are contrary to the image of the panda that China is trying to create, trying to remind people of the other side of the "panda symbol". The "panda medium" itself does not have strong explanatory power or tendencies, so audiences' interpretations are often easily influenced by the rhetoric. When political bias intentionally misinterprets the panda image, it can also be portrayed as a beast with a bloody mouth. The connotation of the "panda symbol" at this point will bring negative communication effects.

2. Single content will cause aesthetic fatigue
The "panda symbols" on the Internet is still based on the daily life of pandas and lacks artistic processing and cultural connotation. Such a single content presentation is likely to cause aesthetic fatigue among audiences. Unlike various cats and dogs , pandas have a more fixed and single form, so it is difficult to refresh the image in the public's mind. Once the audience finds the "panda image" boring, it will be difficult to raise interest and the communication effect will be weakened.

3. Over-commercialization and dissipation of public interest
The popularity of panda-related products stems from the public's love for the panda image on the one hand, and from smart marketing tactics on the other. The public's interest in the panda image is a direct motivation for them to buy peripheral products. When commercial companies take advantage of the "panda fever" to over-market, people are inevitably suspicious of the panda image and even question whether the cute panda image is originally a scam by the business. As a unique animal in China, overseas people associate "Chinese businessmen" with "panda marketing". When interest is dissipated, not only will the panda industry suffer, but the international influence of the "panda symbol" will also decline, which will directly affect China's international communication power.(Lan Jianfeng, 2020, 96-100)

===Solutions===

1. Refine the connotation of the symbol to reduce political misinterpretation
In order to reduce the misinterpretation and misinterpretation of the "panda symbol" by political forces, China should extract the core connotation of the "panda symbol" in its international communication behavior and amplify the connotation of "peace" and "cuteness" so that audiences will have a positive cognitive association with it.

2. Enrich the content of communication
In order to break the monotony of the "panda symbol", it is necessary to add more cultural connotations. We should combine other elements of Chinese culture with the panda and deepen the processing of cultural creation, not only to show panda's behavior in nature as a living creature, but also to raise it to the level of a cultural symbol so that the panda symbol can have a wider cultural value.

3. Moderate exploitation of commercial value
As a national treasure of China, the "panda" has a high commercial value, but if it is over-exploited without restrictions, it will lead to a negative impression of "panda products" and also make the symbol of "panda" be labeled as as "expensive". Therefore, the commercial development of panda products should follow the laws of economics, tap into both its commercial value and cultural value.(Lan Jianfeng, 2020, 96-100)

===Conclusion===

China has used different media in its international communication activities. "Panda diplomacy" allows the animal "panda" to be taken out of the picture and become a medium. The "panda medium" refers on the one hand to the panda animal, which is able to express messages through its own form and movements, and on the other hand to the abstract concept of "panda", behind which lies the "and culture" and "Meng" culture. The "panda medium" is also a reflection of the highest ideals we expect from the development of media technology in real life. The "panda symbol" is a strategically important element of international communication. The "panda symbol" constitutes the deeper meaning of the "panda medium" and is transmitted through the "panda medium". "The panda symbol overcomes the barrier of "language symbols" in international communication, and uses concrete images and the perception of the five senses to share more meanings and evoke more resonance. From the initial gift of giant pandas, to their subsequent lease, cooperation in research, and then to their visits as emissaries, pandas are in fact a microcosm of China's diplomacy's gradual progress toward confidence and maturity. "Panda diplomacy" is a way for China to exercise its soft power, and pandas have gradually become a metaphorical animal for China in the Western media. The Chinese themselves, for their part, have come to associate the panda The Chinese themselves, too, have made the panda and this metaphor an important cultural promotion.(Fu Lan, 2019,61) As goodwill ambassadors, pandas have traveled around the world, playing a role that human diplomatic envoys cannot, and greatly improving relations between China and the rest of the world. "Panda diplomacy" is just a miniature experiment in China's international communication activities today. The "panda medium" and the "panda symbol" are also just a novel attempt in the foreign communication strategy. We look forward to seeing the "panda medium" play an even greater role in the international communication in the future, and we look forward to seeing more forms of "mediums" emerge, so that China's international communication power can continue to improve and the Chinese story can be told better.

===References===

[1]浮澜.熊猫“外交官”[J].新湘评论,2019(04):61.

[2]林禾,余里.中国“熊猫外交”揭秘[J].传承,2010(04):16-17.

[3]蓝剑锋.中国国际传播活动中的“媒介”与“符号”——以“熊猫外交”为例[J].今传媒,2020,28(12):96-100.

[4] 孙佳华，夏俊．“熊猫外交”的秘密往事［J］．政府法制，2009( 21) : 51．

[5]谢建平.“熊猫外交”始于武则天[J].文史天地,2021(01):93.

[6]赵丽君，郑保卫．国家形象视角的“熊猫外交”研究［J］．新闻爱好者，2017(12) :15－19．

[7]张恩铭．简述 20 世纪 50 － 70 年代中国的动物外交活动［J］．惠州学院学报，2018，38( 4) : 66 － 70．

===Terms===

Giant Panda 大熊猫

Panda Diplomacy 熊猫外交

Tang Dynasty 唐朝

Emperor Wu/ Wu Zetian 武则天

Emperor Tenmu (日本）天武天皇

Kung Fu Panda 功夫熊猫

===Questions===

1. When does the "Panda Diplomacy" begin ?

2. What roles giant pandas have played in China's international communication ?

3. What are the problems in panda diplomacy ?

4. How to deal with the problems in panda diplomacy ?

===Answers===

1. It begins with Wu Zetian.

2. It helps build a good national image and creates communication topics and economic value.

3. It may trigger political misinterpretation. And its single content will cause aesthetic fatigue. Moreover, over-commercialization may dissipate public interest

4. Refine the connotation of the symbol to reduce political misinterpretation; Enrich the content of communication; And make moderate exploitation of commercial value

==英语口译李丹 Li Dan 202170081620==
<center>'''''Differences of Tea Culture between China and the UK'''''</center>

<center>Li Dan</center>

===Abstract===

The British afternoon tea, with various ingredients such as sugar and milk, is popular all over the world and is completely different from the traditional Chinese tea. But there is in fact a connection between the two. The English afternoon tea was developed after the introduction of Chinese tea to the UK and its localisation. Originated in China, it was first used as a medicinal herb, and was later influenced by Confucianism, Taoism and Buddhism, resulting in a distinctive Chinese tea culture. Tea was introduced to Europe in the 16th century, and many countries began to consume it, except for the long-established Britain which established a British tea culture distinct from that of China, changing not only its native way of life, but also influencing the spiritual life of its citizens. However, instead talking about the similarities between the two, the author is just going to focus on the differences. Chinese tea and the British tea vary in types, utensils, etiquettes, which is overt, yet they are also quite different in their development and philosophies. After that the reasons behind them would be discussed. In doing so, the paper intends to deepen the understanding of both, and to make reflections on how to pass on traditional Chinese culture.

===Key words===
tea culture; traditional Chinese culture; differences

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语口译李立飞 Li Lifei 202170081621==
<center>'''Memes in China'''</center>

<center>李立飞</center>

===Abstract===
This paper discusses the distinctive features of memes in China in the context of digital culture. As China is a more politically complicated country and has a totally different mindset compared with Western countries, memes in China are usually closely related to every Chinese citizen's life, rather than only confined to a certain circle (such as video games and anime). In this paper, I will analyse Chinese memes in 3 dimensions: Geng(梗), Biaoqingbao（表情包）, and Guichu（鬼畜）, which represents text, picture and video respectively.

===Key words===
memes; digital culture; netizen

===Introduction===
A meme is an idea, behavior, or style that spreads by means of imitation from person to person within a culture and often carries symbolic meaning representing a particular phenomenon or theme. A meme acts as a unit for carrying cultural ideas, symbols, or practices, that can be transmitted from one mind to another through writing, speech, gestures, rituals, or other imitable phenomena with a mimicked theme. Supporters of the concept regard memes as cultural analogues to genes in that they self-replicate, mutate, and respond to selective pressures. In the vernacular discourse of netizens, the phrase “Internet meme” is commonly applied to describe the propagation of content items such as jokes, rumors, videos, or websites from one person to others via the Internet. According to this popular notion, an Internet meme may spread in its original form, but it often also spawns user-created derivatives. .....
===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语口译莫雨婷 Mo Yuting 202170081622==

<center>'''Chinese Animal Symbolism'''</center>

<center>Mo Yuting</center>

===1.1 Introduction===

Since ancient times, people started living with the existence of animals. Due to different geological environments, cultural backgrounds, customs, and religions, the symbolic meanings of animals vary in different countries. Animal symbolism evolves with languages and cultures. According to Claire Kramsch: “On one hand, language as an integral part of human being permeates his thinking and way of viewing the world, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps permeate the culture, and the changes in language uses reflect the cultural changes in return.” (Claire Kramsch, 1998).

In the past, China was an agricultural society in which animals played an important role in people’s daily life. Some animals have been tamed by human beings, while others are still wild animals. For different animals, Chinese people have different attitudes and emotions. And many symbolic meanings of animals will show up in myths, fables, fairy tales, proverbs, idioms and etc.

The earliest Chinese animal symbolism could date back to the Western Zhou period (1046-771BC). The Book of Songs, one of the earliest anthologies of verse in China, used various animals, such as horses, rats, fish, birds, etc., to narrate stories and express emotions. These animals are given different symbolic meanings.
Animal symbolism evolves with Chinese culture, and it takes the Chinese language as a carrier. Chinese people are very familiar with the 12 animal zodiac, and some of the 12 animal symbolic meanings have changed with time. It shows a strong relationship between symbolic meanings and Chinese culture. In addition, many Chinese idioms will use animal symbolism to express different meanings. For instance, the Chinese four-character idiom “龙腾虎跃” (spirited dragon and dynamic tiger) shows a positive meaning, while “贼眉鼠眼” (people with furtive eyes) has a negative meaning. This article will focus on the 12 animal symbolism in the Chinese zodiac and animal symbolism in Chinese four-character idioms and show more details by giving more related examples and pictures.

===1.2 Animal symbolism in Chinese zodiac===

The origin of the Chinese zodiac is related to Chinese people’s animal worship. According to the ancient artifacts, a complete zodiac system appeared before the Qin Dynasty. The earliest literature recording the same 12 zodiacs as today’s was Lunheng (《论衡》) written by Wang Chong, a philosopher and writer active during the Han Dynasty.

Rooted in Chinese people’s daily life, language, culture, and custom, the 12 animals of the Chinese zodiac have unique symbolism and cultural connotations. (Ma Dan 2006, 1) The symbolic meanings of the 12 zodiac animals differ in terms of their characteristics and different cultures. They are also influenced by the changes in people’s ideas and ideologies. One animal may have more than one symbolic meaning, it can be positive or negative, and these meanings will also change with time.

===1.2.1 Rat===

The Chinese zodiac begins with the rat. Rat is not a good sign in Chinese culture. According to the ancient folk story “Great Race”, the kindhearted Ox carried the Rat and the Cat across the river because they couldn’t swim. However, the Rat was cunning and tricky. As the Ox was about to reach the other side of the river, the Rat pushed the Cat into the river, jumped off the Ox, and rushed to the Jade Emperor. It becomes the first sign in the Chinese zodiac and the Ox second. People usually associate negative meanings with rats because they look ugly, live in dirty places, and always steal food. They also ruin farmers’ crops and destroy the environment. Thus, in China, the mainstream is that the symbolic meaning of rats is negative. Chinese people will use some words or idioms including the character “rat” to abuse others or to describe those people who have bad habits.

===1.2.2 Ox===

The symbolic meanings of the Ox are complicated and depend on different contexts and situations. For most Chinese people, the Ox symbolizes those people who are tall, strong, hard-working, and patient without complaints (Ma Dan 2006, 3). The reasons for the positive symbolism of the Ox may lie in the history and development of Chinese agriculture. China has been an agricultural society for a long time, and oxen are an important tool of production and a common form of transport (Liu Shanshan 2014, 15). Oxen are large and strong, they can work the whole day for farmers. In some contexts, the symbolic meaning of the Ox can be negative. People will describe those who are stupid, poor, or with low social status by using the symbolism of the Ox.

===1.2.3 Tiger===

Tiger is a symbol of justice and braveness. In Chinese culture, tigers are regarded as the kings of the animal world. Chinese people show their reverence for tigers. Earlier in the Spring and Autumn period, people in Chu State(楚国) conveyed deep reverence for tigers, which was reflected in the totem of tigers in Chu culture. Ancient Chinese regarded tigers as a kind of mysterious animals, some minorities even took tigers as the incarnation of God (Liu Shanshan 2014, 16). Today, tigers still have positive symbolic meanings in Chinese culture, which can be referred to people who are excellent and brave with great talents or people who are healthy, spry, and strong.

===1.2.4 Rabbit===

Rabbits are quiet, docile, and agile. In Chinese culture, rabbits symbolize activeness, flexibility, and quick movement (Shi Juanzhi, He Ling 2011, 1). Chang’e and the Jade Rabbit are well known to Chinese people. In Chinese folklore, the Jade Rabbit plays an important role in making the elixir. Thus, the image of the Jade Rabbit symbolizes health and longevity. Rabbits are also used to describe fleeting times. Apart from these positive symbolic meanings, there are some negative symbolic meanings of rabbits. For example, Chinese people will describe those people who are timid and cunning by using some words or idioms (Ma Dan 2006, 3).

===1.2.5 Dragon===

Dragon is the only mythological sign of the Chinese zodiac. It is a unique animal full of Chinese characteristics. Chinese people’s worship of dragons is deeply rooted. In ancient times, people believed that the Dragon King controlled the weather and rainfall. They regarded floods as a bad sign indicating that the Dragon King was in a rage, so they built many Dragon King temples to appease the Dragon King and pray for good weather and better harvests.

In Chinese culture, the dragon is an honorable and noble animal symbolizing power and right. Especially in feudal society, the emperor believed that he was the son of the dragon. His people and servants used words such as “龙体”(dragon’s body, means the emperor’s health),“龙袍”(dragon robe, means imperial robe),“龙椅”(dragon throne, means the emperor’s chair) to describe things related to the emperor (Liu Shanshan 2014, 18).

In addition, Chinese people are known as the Descendants of Dragon. In people’s daily life, many words and idioms including the symbolism of dragons are used to describe great things and outstanding talent. For example, a famous Chinese idiom says: “望子成龙，望女成凤”, which is frequently used by many parents who hold high hopes for their children. It means parents hope their children will have a bright future.

===1.2.6 Snake===

The snake has always been portrayed in a negative image in Chinese culture. It is a kind of cold-blooded, vicious, and greedy animal, which usually terrifies human beings. In Chinese mythology, the Classic of Mountains and Seas, also known as Shan Hai Jing (《山海经》), records nine types of snakes that can make various strange noises. The appearance of snakes always signifies misfortune (Song Zhima 2009, 2). Thus, Chinese people always associate snakes with bad things or villains.
In some cases, snakes still have positive symbolic meanings. Chinese people use the four-character idiom “灵蛇之珠” to praise graceful and flowing calligraphy (Liu Shanshan 2014, 19). In Chinese mythology, Nüwa, the mother goddess with a human face and snake body, creates human beings. Thus, snakes also signify power, immortality, and exuberant vitality in Chinese culture (Song Zhima 2009, 2).

===1.2.7 Horse===

Horses are large and sturdy animals with patience and stamina. In ancient times, the horse was an important means of transport and a kind of military resource (Liu Shanshan 2014, 20). They were closely related to a country’s military and people’s lives. In the Tang Dynasty, Han Yu, a Chinese historian poet, philosopher, politician, and one of the Eight Great Prose Masters of the Tang and Song, wrote Discourse on Horse (《马说》). In this discourse, Han compared gifted talent to swift horses, and the talent of scouts to Bole. This is the origin of the Chinese words “千里马（swift horse）” and “伯乐（Bole, talent of scout）”. The two words are still used today.

In Chinese culture, horses usually have positive symbolic meanings. Some Chinese characters are used to describe battle scenes, like “千军万马” (a big army includes many soldiers and horses). People also refer to horses as those people who make great contributions to the country or wise men (Liu Shanshan 2014, 20).

===1.2.8 Goat===

Goats are lovely and gentle animals, but they are also very timid. In Chinese culture, whether the symbolism of goats is positive or not depends on different situations. But in most cases, the symbolic meanings of goats are negative. In Chinese, the sheep is often used to describe those people who are weak, helpless, and vulnerable (Liu Shanshan 2014, 21). For example, Chinese people always use the four-character idiom “羊入虎口”(a lamb in a tiger's den) to describe weak people in a dangerous circumstances. It compares weak people to goats. Another famous idiom frequently used by Chinese people is “亡羊补牢，为时已晚” (mend the fold after the sheep is lost), which comes from the Annals of the Warring States. It means it’s too late to do something.

Notes: The Chinese character “羊” is a general word, which can be expressed by different English words like goat, sheep, and lamb.

===1.2.9 Monkey===

Speaking of the monkey, Chinese people are very familiar with the character: Monkey King, or Sun Wukong. Monkey King is a legendary mythical figure best known in the book: Journey to the West（《西游记》）, one of the Four Great Classical Novels. He has unique powers and a spirit of rebellion and defiance, and he is the symbol of pursuing freedom (Zhao Leping 2018, 40-41). In Chinese culture, monkeys signify people who are bright, smart, and humorous.

However, in modern society, the symbolic meanings of monkeys are not always positive. In some cases, people associate monkeys with naughty children who are noisy and like playing tricks. In addition, people usually use the four-character idiom “尖嘴猴腮” to describe people with pointed mouths and thin angular faces.

===1.2.10 Rooster===

The rooster is the tenth sign of the Chinese zodiac. It is a common animal with a long history and various connotations. The Chinese character “鸡” appeared on the oracle bone script written 8,000 years ago. In traditional Chinese culture, dragon and phoenix are mythological animals, while the rooster is a kind of special fowl. In the past, people would raise chickens in their farm yard. Chicken and eggs were important agri-products. Roosters usually crow when the sun rises, so they signify diligence and prophecy. They are also known as “messengers of the sun”.

Nonetheless, the symbolic meanings of roosters are not always positive. In ancient times, the rooster was the sign of a bad omen. People would use “偷鸡摸狗” to describe thieves, or “牝鸡司晨” to describe women who seize power (Liu Shanshan 2014, 21-22).

===1.2.11 Dog===

In Chinese culture, the image and connotation of dogs have dramatic changes. In modern society, people like dogs. Many people believe that dogs are loyal animals that are people’s best friends. Some people raise pet dogs and treat them as their companions. In some cases, dogs even become a member of a family. Today, Chinese people’s attitudes towards dogs are greatly influenced by western countries (Liu Shanshan 2014, 22).

However, in ancient times, people’s attitude towards dogs was totally different. In the past, dogs played an important role in guarding the doors, so people regarded them as their servants. In traditional Chinese culture, people usually associate dogs with derogatory meanings. For example, the four-character idiom “狼心狗肺” is used to describe people who are despicable and shameless (Liu Shanshan 2014, 22). In addition, the famous two-part allegorical saying “狗拿耗子，多管闲事” is used to criticize those who like sticking their noses into other people’s businesses (Ma Dan 2006, 12).

===1.2.12 Pig===

China has a long history of raising domestic hogs. Pigs are very common but useful animals in ancient China. They are fat, have big ears and short legs, and grow very fast. And pork is a kind of delicious food. Thus, in the past, raising pigs was an important means of livelihood for farmers. They could earn money from it, so in ancient times pigs symbolized wealth and fertility.

But in Chinese culture, most symbolic meanings of pigs are derogatory. The cultural connotation of pigs is similar in both China and western countries. People always relate pigs to bad things. Pig is the symbol of laziness, greediness, ugliness, and stupidity (Ma Dan 2006, 5). The typical character based on the pig which is best known in China is Pigsy, also known as Zhu Bajie in the book Journey to the West.

===1.3 Animal symbolism in Chinese Mythological Stories===

After introducing the animal symbolism of the Chinese zodiac, this article will continue to introduce and explain animal symbolism by taking more Chinese four-character idioms as examples. Chinese animals, animal symbolic meanings, and four-character idioms are large in numbers with various types. Thus, this part will be mainly divided into two parts: the animal symbolism in Chinese mythological stories and fables.

===1.3.1 Animals in Chinese Mythological Stories===

Mythological animals play an important role in Chinese culture. These animals do not exist in reality, but they have rich cultural connotations. In ancient times, people couldn’t explain some natural phenomena in a scientific way, so they associate these phenomena with some animals and deify them. Thus, animals such as birds, dragons, and turtles in many Chinese mythological stories signify good fortune, and they have different magic powers. Dragon, Phoenix, Qilin, Turtle, and Pixiu (貔貅) are five famous Chinese mythological animals bringing good fortune. This part will focus on introducing the first three animals, their images and characteristics, and their symbolic meanings in Chinese culture.

===1.3.2 Dragon===

As mentioned before, the dragon is the fifth sign of the Chinese zodiac. The origin of the dragon dates back as early as 8,000 years ago. It is a mythological animal with a long body, two horns, and numerous scales (Mao Huijun 2016, 1). The image of the Chinese dragon was roughly established in the Shang and Zhou Dynasties. In the Han Dynasty, Yinglong became the symbol of feudal imperial power, which was a winged dragon in ancient Chinese legend. As the Classic of Mountains and Seas recorded, Yinglong had the main characteristics of later Chinese dragons: the power to control the sky and the noble mythical status (Xiao Congrong 2021, 92-93). Since the Tang and Song Dynasties, the image of the Chinese dragon symbolizing imperial power was changed into the wingless Yellow Dragon in modern times.

In Chinese culture, dragons usually have positive symbolic meanings. In imperial society, dragons signified supreme power and were identified with the Emperor of China, also known as “真龙天子” in Chinese. Today, dragons still can be used to describe those excellent people or talent. For example, the Chinese four-character idiom “人中龙凤” (the dragon and phoenix) or “人中之龙”(the dragon) is used to praise outstanding people with good personalities who are different from common people. In addition, dragons also appear in some idioms such as “游云若龙” (floating clouds look like flying dragons) to describe smooth and delicate calligraphy.

===1.3.3 Phoenix===

In Chinese, “凤” is the name of female phoenixes, and “凰” refers to male phoenixes. Similar to dragons, phoenixes are mythological animals. They play an important role in Chinese traditional culture and usually have positive symbolic meanings. The earliest origin of the phoenix dates back to the Stone Age. Among the existing Chinese classical books, The Book of History (《尚书》) was the first one to record stories of the phoenix (Ainiwajiang Kuerban 2021, 7). In the first mythological book The Classic of Mountains and Seas, it recorded that the phoenix was one kind of magic birds and described the image of the phoenix: it was an animal having colorful feathers with different patterns on its head, wings, back, and chest (Yuan Ke 1998, 75).

In Chinese culture, the phoenix symbolizes beauty, good fortune, happiness, and peace. People always associate the phoenix with the dragon, both of which are noble mythological animals. For example, the four-character idioms “凤凰来仪” and “龙凤呈祥” both refer to auspicious omen. In imperial society, the dragon signifies the Emperor and the phoenix refers to the Empress. Until today, its positive connotation still exists. People use “凤凰于飞” (a female phoenix and a male phoenix fly into the sky) to describe couples who deeply love each other (Ran Shugui 2012, 2). People also associate the phoenix with the Qilin because they are rare and precious. Thus, the phoenix also symbolizes excellent people or good things that are rare and precious, and “凤毛麟角” (the feather of a phoenix and the horn of the Qilin) is a common idiom used to express that meaning.

===1.3.4 Qilin===

Those who are interested in Chinese culture may be very familiar with the dragon and the phoenix, but not so familiar with Qilin (also known as Kylin). Qilin is a hooved chimerical creature in Chinese mythology. The earliest article recorded the Qilin was Book of Rites: The Conveyance of Rites. The name of the Qilin first appeared in The Classic of Mountains and Seas (Xu Xiujuan 2003, 3). Qilin generally has Chinese dragon-like features: similar heads with antlers, eyes with thick eyelashes, manes that always flow upward, and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse (Liscomb, Kathyln 2016, 341-378).

Similar to the dragon and phoenix, Qilin is a symbol of auspicious omens in Chinese culture. Ancient people believed that it could bring good fortune. As for people with relatively high social status, they would put a pair of Qilin statues in front of their gates so as to keep away from bad luck and maintain good fortune.
Furthermore, Qilin plays an important role in Confucianism. According to Chinese mythology, Qilin is a kind of docile animal which represents auspiciousness, harmony, and graciousness. Many Confucian classics such as Spring and Autumn Annals (《春秋》) and Book of Rites recorded stories about Qilin (Ma Laiping 2021, 5). Those unique qualities of Qilin stay in line with the philosophies of Confucianism. Thus, the image of Qilin is deeply related to Confucianism.

In modern society, people still associate Qilin with good luck and fortune. For example, the four-character idiom “麟凤一毛” means that good things regardless of their sizes have been collected. In addition, Qilin is frequently used to describe outstanding people, especially men. For instance, “天上麒麟”(Qilin in the sky) is used to praise others’ sons who are gifted in literature (Ran Shugui 2012, 2).

===1.4 Animal sybolism in Chinese Fables and Four-character Idioms===

===1.4.1 The Origin of Chinese Fables===

Before cutting to the chase, a brief introduction will be given to Chinese fables. The word “寓言” (fable) first appeared in the book Zhuangzi (《庄子》). Ancient books recorded that Chinese fables existed in the late Spring and Autumn Period. During this turbulent period, fables were usually used to exhort the emperors by telling them lively stories (Zheng Wenjun 2014, 8). Bao Yanyi, a professor who specializes in ancient Chinese and researches related to fables, explains the definition of fables in Yu Yan Ci Dian (《寓言辞典》, a dictionary about Chinese fables): fable is a literary genre composed by fictional stories. It aims to let people understand moral saws by learning these stories. So it tells that a fable is usually composed of a fictional story, simple and short words, and philosophies.

===1.4.2 Chinese Fables & Four-character idioms===

With the development of Chinese culture and language, some famous fables have been passed down from generation to generation. In order to remember and convey the meanings of these fables, people shortened these fables and turned them into four-character idioms. In general, four-character idioms are concise, but with profound meanings and connotations. Some of them can be understood literally, while others can hardly be understood unless people know the history and origins (Zheng Wenjun 2014, 9).

===1.4.3 Animal symbolism in famous Chinese four-character idioms===

===1.4.3.1 “对牛弹琴”(play the heptachord before an ox)===

Dating back to the Warring States Period (475-221 BC), the story was related to a famous musician named Gong Sunyi who played the heptachord well. At that time, people enjoyed his performance and respected him. One day, Gong Sunyi came to a suburb. Coincidentally, he saw an ox grazing on the grass, so he decided to play heptachord on a whim before it. However, the ox was indifferent to his great performance and continued eating grass. He tried to play different music to impress the ox but in vain. At last, when he was making animal sounds, the ox responded to him, raised its head, and wagged its tail (Yang Yu 2017, 240).

This is the origin of the Chinese idiom “对牛弹琴”. It tells a simple truth: people should not explain something profound to someone stupid, or people should have different responses to different people (Zheng Wenjun 2014, 9). In this story, the ox has a negative symbolic meaning, which refers to those who are stupid and illiterate. In western culture, there are some similar idioms to express the same meaning like casting pearl before swine or talking to a brick wall.

===1.4.3.2 “老马识途”(an old horse knows the way)===

The idiom relates to a historical event, which was recorded in the book Han Feizi (《韩非子》). During the Warring States Period (475-221 BC), Qi State was ready to fight with Shanrong (山戎), a nordic ethnic group frequently attacking Yan State. When the army headed to the destination, it was in Spring. After winning the battle, it was in Winter and the landscape had been greatly changed. The army of Qi State was lost in the forest on their way back home. Guan Zhong (管仲), the Prime Minister of Qi State, thought for a while and found a solution. He believed that old horses were familiar with the route, so he asked soldiers to unleash the reins of several old horses and let them lead the way. Finally, they found the right way and came back to their country (Zheng Wenjun 2014, 9).

As mentioned above, the symbolic meanings of horses are usually positive. This allusion compares the old horse to a man with rich experience who can take a leading role in a group especially when the group is in some difficult situations.

===1.5 References===

[1] 北京周报网（2013）《中国文化中的蛇》

[2] Ran Shugui冉淑贵. (2012). 成语中动物意象符号及其形成原因

[3] Zhang Shu 张树. (2019). 汉语动物成语研究

[4] Ma Dan 马丹. (2006). 论汉语成语中十二种生肖动物的象征意义及其教学

[5] Shi Juanzhi 史娟芝, He Ling 贺玲. (2011). 中国生肖动物词汇的象征含义及其翻译

[6] Liu Shanshan 刘姗姗. (2014). 汉语十二生肖动物类成语研究

[7] Song Zhima 宋志玛. (2009). 谈《山海经》中的蛇形象

[8] Zhao Leping 赵乐屏. (2018). 《西游记》孙悟空形象研究

[9] Miao Huijun 苗慧君. (2016) 英汉动物词汇象征意义对比

[10] Xiao Congrong 肖聪榕. (2021) 探究中华龙纹设计的历史流变

[11] Ainiwajiang Kuerban 艾尼瓦江·库尔班. (2021) 中国民间文学凤凰形象的符号意义及其在当代的传承与发展研究

[12] Yuan Ke 袁珂. (1998) 中国神话大词典

[13] Xu Xiujuan 许秀娟. (2003) 麒麟文化的变迁与中外文化交流发展的关系

[14] Liscomb, Kathyln. (2016) The Zoomorphic Imagination in Chinese Art and Culture

[15] Lv Fulun 吕复伦. (2011) 麒麟及其文化

[16] Ma Laiping 马来平. (2021) 儒家文化视域中的麒麟文化探究

[17] Zheng Wenjun 郑文珺. (2014) 动物寓言成语与对外汉语教学

[18] Yang Yu 杨雨. (2017) 国学知识问答录

===1.6 Terms and expressions===

The Book of Songs 《诗经》

12 animal zodiac/Chinese zodiac 十二生肖

spirited dragon and dynamic tiger 龙腾虎跃

people with furtive eyes 贼眉鼠眼

dragon’s body 龙体

dragon robe 龙袍

dragon throne 龙椅

parents hope their children will have a bright future 望子成龙，望女成凤

The Classic of Mountains and Seas 《山海经》

Discourse on Horse 《马说》

a big army includes many soldiers and horses 千军万马

a lamb in a tiger's den 羊入虎口

mend the fold after the sheep is lost 亡羊补牢，为时已晚

Journey to the West 《西游记》

sticking one’s nose into other people’s businesses狗拿耗子，多管闲事

The Book of History 《尚书》

Book of Rites: The Conveyance of Rites 《礼记·礼运》

Spring and Autumn Annals 《春秋》

Zhuangzi 《庄子》

Han Feizi 《韩非子》

play the heptachord before an ox/casting pearl before swine/ talking to a brick wall 对牛弹琴

an old horse knows the way 老马识途

===1.7 Questions===

1. When did the earliest Chinese animal symbolism appear?

2. Who wrote the earliest literature Lunheng (《论衡》) recording the same 12 zodiacs as today’s?

3. From which ancient folk story, we can know that the Rat exceeds the Ox and becomes the first sign of Chinese zodiac?

4. Why Chinese people in ancient times built many Dragon King temples?

5. What are the five famous Chinese mythological animals bringing good fortune?

6. Which book recorded the earliest article about Qilin?

7. The story of “对牛弹琴” happened in which period?

8. What is the connotation of the four-character idiom “老马识途”？

===1.8 Answers===

1. It appeared in the Western Zhou period.

2. Wang Chong.

3. Great Race.

4. Because they wanted to appease the Dragon King and pray for good weather and better harvests.

5. Dragon, Phoenix, Qilin, Turtle, and Pixiu.

6. It was Book of Rites.

7. It happened in the Warring States Period.

8. It means a man with rich experience can take a leading role in a group.

==英语口译彭慧璇 Peng Huixuan 202170081623==

<center>'''Foot Binding in China'''</center>

<center>Peng Huixuan</center>

===Introduction===

Foot binding, a custom of breaking and tightly binding the feet of young girls in order to change their shape and size, persisted in China for a millennium. Feet altered by foot binding were known as lotus feet, and the shoes made for these feet were known as lotus shoes. The different sizes of feet are different levels of "lotus", feet longer than four inches are called “iron lotus”, those about four inches are called “silver lotus”, and those shorter than three inches are “gold lotus”. In late imperial China, bound feet were considered a status symbol and a mark of feminine beauty.

There are various views on when foot binding began, including the Xia dynasty, Shang Dynasty, Spring and Autumn period, Sui dynasty, Five Dynasties and Ten Kingdoms period, and Song Dynasty. According to the scholar Gao Hongxing’s book “The History of Footbinding”, foot binding began in the late Northern Song Dynasty and entered its heyday in the Ming and Qing Dynasties. (Gao, 1995:1) Later, the popularity of foot-binding spread to women of all social ranks. After the overthrow of the Qing Dynasty, Sun Yat-sen officially banned foot-binding. During the May Fourth Movement, foot-binding became the target of the revolutionary movement, with many denouncing the destruction and oppression of women by foot-binding. After the founding of New China, foot binding was completely abolished, and Chinese women were completely liberated from that.

In this article, the author provides further details on the history and specific process of foot binding. At the same time, the reasons for foot binding will be further discussed in detail, including cultural and social factors. In addition, the paper will describe the impact of foot binding on Chinese women, on China, and on the world in general. Finally, the views on foot-binding will be mentioned, as well as traditions similar to foot-binding in other countries, such as the Victorian corset and their impacts.

===Origin and History of Foot Binding===

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

===Practice of Foot Binding===

===Reasons of Foot Binding===

===Impacts of Foot Binding===

===Views and Interpretations of Foot Binding and Similar Practice in Other Countries===

===Conclusion===

===References===

[1]高洪兴. 缠足史[M]. 上海文艺出版社, 1995.

===Terms and expressions===
iron lotus铁莲
silver lotus银莲
gold lotus金莲

===Questions===

===Answers===

==英语口译时友洁 Shi Youjie 202170081624==
<center>'''Makeup Revolution in Ancient China'''</center>

<center>Shi Youjie</center>

===Introduction===
Makeup involves dressing and grooming in terms of its broad sense, while in a narrow sense, it refers to the makeup on one's face. By applying cosmetics, a particular feature of the face will be highlighted to be more charming. In ancient China, makeup is generally called “粉黛（fen dai）”，“打扮（da ban）”，“容妆（rong zhuang）”, and in most circumstances, females tend to makeup more than males. Ancient China has witnessed a clear process of evolution about makeup, in which women's makeup in different dynasties will be mainly displayed and analyzed in this paper.
Throughout history, only a few words about makeup has remained owing to the traditional preference of ancient Chinese. On the one hand, the history book prefers to narrate a male with his story of nobility, virtue or great success, or record events of historic importance, leading to a shortage of details about public daily lives, not to mention the makeup. On the other hand, the ancient Chinese artists root for preserving the essence and aroma rather than the details and forms of a painting. This is why modern archaeologists have found it difficult to investigate ancient Chinese makeup. As hard as it may be, some types of makeup in different dynasties can be accessed by a small number of records.
Despite a few historical sources, to learn the evolution of make is still significant, for it is not only the aesthetics but also the national context of ancient China that is behind the makeup. Analysis of ancient Chinese in a visual aspect is only scratching the surface, while the economic, political and cultural background that makeup mirrors is worth studying further.
Many of the unearthed artifacts about makeup can be traced back to prehistoric times at the earliest, which allow us to study makeup customs such as body painting, tattooing, ear piercing, etc at that period. But it was not until the Western Han and Eastern Han Dynasties that the makeup culture was formed with a standard aesthetic appreciation. Subsequently, distinctive aesthetic preferences were bred in Wei, Jin, Northern and Southern Dynasties, the Sui and Tang dynasties, and the Song, Yuan, Ming and Qing dynasties respectively.
This paper will focus on makeup preferences in four major times: prehistory, the Western Han and Eastern Han Dynasties, the Sui and Tang dynasties, and the Song, Yuan, Ming and Qing dynasties, with an aim to provide insights about the integration between makeup and historical background.
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===References===

===Terms and expressions===

===Questions===

===Answers===

==英语口译伍佳惠 Wu Jiahui 202170081625==

<center>'''Chinese Dragon Culture'''</center>

<center>Wu Jiahui</center>

===Introduction===
The Chinese dragon, also known as long, loong, or lung, is a legendary creature in Chinese mythology, Chinese culture, and Chinese folklore as a whole. For thousands of years, the dragon has permeated all aspects of Chinese society, becoming a cultural cohesion and accumulation. The dragon has become a symbol of China, a symbol of the Chinese nation, and a symbol of Chinese culture. To every Chinese descendant, it carries national emotions.

The creature can be found in the mythology of many ancient cultures, but nowhere else in the world is the creature quite so revered as in China. The Chinese dragon is a benevolent creature that delivers fertilizing rain to the earth. Strength, good luck, and awe-inspiring might are the spiritual meanings of the dragon. The oriental dragon is widely regarded as a spiritual or supernatural sign of heavenly power. As a result, it has long served as the emperor’s symbol.

The Chinese dragon is easily identified by its long serpentine body which is usually wingless, and its anthropomorphic face with beards. The dragon is considered the most auspicious year sign, so the image is embroidered on the robes of emperors, portrayed in the most valuable materials, such as gold jewelry and jade sculptures. In addition, it has endless references in performing arts and literature.

Generally speaking, the dragon was everywhere in ancient China and looms as large nowadays in the Chinese psyche as ever.

===Subtitle 1===

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===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语口译夏晶 Xia Jing 202170081626==

<center>'''On Differences of Table Manners between China and West'''</center>

<center>Xiajing</center>

===Abstract===

===Key words===

===Introduction===
Manners are different in every country. Some manners that we consider are polite in China are not necessarily polite in other countries. We are more familiar with the dining separately in the West and dining together in China. Chinese people advocate the values of collectivism, so Chinese people like to eat together that the table atmosphere in China is lively and harmony. And the Chinese hosts like to serve the dishes for their guests. But in the West, as western philosophy tends to focus on individualism and personal development, individualist values predominate in western countries. So, people just like to eat the food on their plate. What’s more, it is not a mistake although western people can’t understand the way we serving dishes to guests. This is just a cultural difference between China and West.
Likewise, table manner culture is a part of the diet culture, and the difference between Chinese and western cultures. Sometimes, different etiquette is an important reason of misunderstandings between different cultures, leading to the failure of intercultural communication. Learning the differences and the origin of table manners between China and the West in the aspect of various religions belief, values and cultural connotations, not only can enhance the understanding of the target language culture, but also can perform well during cross-cultural communication, so as to avoid the misunderstanding caused by improper behavior or manner. In addition, communication etiquette becomes more and more important as the bridge and ties to link communication among people. Avoiding abruptness and rudeness, which ensure the activities of diplomacy can successfully. Therefore, understanding table manners habits and characteristics is of great importance to promote the development of Chinese diplomacy.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
Sizhi Xiong. The Mystery of Chinese Diet. [M] Henan. Henan people press. 2014.

==英语口译向师琦 Xiang Shiqi 202170081627==
<center>'''The Collision between Confucian Culture and Chinese Modernist Literature'''</center>

<center>Xiang Shiqi</center>

===Abstract===
As the traditional political culture of China, Confucianism permeates all aspects of Chinese national thought, behavior and political life. While influencing Chinese political culture, Confucianism is also constantly being combined with the most popular culture of the times. As the most dominant culture in China today, Chinese modernist literature is merging and colliding with Confucian culture. This paper aims to examine the connotations of Confucianism and Chinese modernist literature in political culture and to analyze the positive and negative influences of Confucianism on the fusion of Chinese modernist literature. It is hoped that the study will enable people to understand, inherit and carry forward the excellent Confucian culture, thereby further improving the overall quality of the nation and enhancing the effectiveness of ideological and political education.

In Chinese history, Confucianism has been the official guiding ideology of feudal society since Emperor Wu of the Han Dynasty adopted Dong Zhongshu's advice to "dismiss a hundred schools and revere only Confucianism". As the mainstream of traditional Chinese culture, Confucianism has played a pivotal role in the history of feudal China for over 2,000 years and has had an immeasurable impact on shaping the national character and spirit of the nation. Exploring the collision between Confucianism and modern Chinese culture is of great theoretical and practical significance to the development and construction of modern Chinese culture.

As the backbone of ancient Chinese thought and culture, traditional Confucianism has always occupied a dominant ideological position from the two Han dynasties to the Ming and Qing dynasties. At the same time, the values advocated by Confucianism became the core values of traditional society. It is therefore of great importance to study the collision between Confucian culture and modern Chinese culture.
===Key words===
Confucian culture; Chinese modernist literature; political culture; national comprehensive quality; ideological and political education
===Introduction===
Confucian culture is a cultural school with Confucianism as its guiding ideology. Confucianism was created by Confucius in the Spring and Autumn Period, who advocated blood relations, social achievements, self-cultivation and moral rationality. Its central ideas are forgiveness, loyalty, filial piety, fraternal respect, courage, benevolence, righteousness, propriety, wisdom and faithfulness. In the new era of socialism with Chinese characteristics, inheriting the essence of Confucian culture plays an important role in promoting China's socialist modernization. The inheritance of Confucian culture can effectively promote the five-pronged construction of China's political, economic, cultural, social and ecological civilization. Each of us should be the disseminator of excellent traditional culture and contribute to the great rejuvenation of the Chinese nation.

In the course of the development of Confucian culture, how to integrate modern Chinese literature with it is significant. Based on this, a large number of scholars and research institutions have carried out research and analysis on it. The earliest scholars who studied the integration of Confucian culture and contemporary modern culture were Japanese scholars. Japanese scholars believed that the role of traditional Confucianism itself was limited and that it should be interrelated with the culture related to modernization. Korean scholars believed that Confucianism lies in the development of contemporary culture. The influence of Confucianism on politics and the corresponding political spirit should be fully considered. American scholars made a full study and analysis of the integration of Confucianism and modern culture, mainly from the past, modern and corresponding values, pointing out the profound connotation of Confucianism and Confucianism. Want to change in the evolution of modern society and its corresponding role.

As China's traditional political culture, Confucian culture runs through all aspects of China's national thinking, behavior and political life. Confucian culture influences Chinese political culture while it is also constantly combined with the most popular culture of the times. As the most mainstream culture in China today, Chinese modernist literature is blending and colliding with Confucian culture. The purpose of this paper is to study the connotation of Confucian culture and Chinese modernist literature in political culture and to analyze the positive and negative effects of Confucian culture on the integration of Chinese modernist literature. Through this study, we hope that we can make the people understand, inherit and carry forward the excellent Confucian culture, so as to further improve the overall quality of the people and enhance the effectiveness of Ideological and political education.

This essay aims to explore the collision between Confucianism and modern Chinese culture. The structure of this paper is as follows:
The second section of this paper will specifically analyze the contemporary value of Confucianism. In the third section of this paper, I will introduce the combination of Confucianism and modern Chinese literature. In the third section, I will give some ways to realize the value of excellent Confucian culture in Chinese modernist culture. The next part will illustrate the contemporary insights from Confucian culture. And in the final part, I will make a brief summary of this paper.

===The Contemporary Values of Confucianism===
For our country, Confucianism is the hallmark of Chinese culture, as well as the unique spiritual symbol and soul of China, which under its own characteristics can make China stand among the nations of the world. In the current multicultural context, various cultures are flooding into China and impacting Chinese culture. If China does not have its own culture, especially Confucianism, then China will have lost its soul. For this reason
The leaders of the country also attach great importance to culture and have been close to Confucianism three times in one year, considering the study of Confucius and Confucianism to be "an important way to understand the historical origins of the spiritual world of Chinese people today".

For schools, Confucian culture is conducive to the realization of the ideological and political education objectives of universities, as Confucian culture advocates such moral cultivation methods as "self-reflection" and "prudence", which are in line with the standards of socialist successors required to be cultivated by the ideological and political education objectives of universities. At the same time, Confucian culture is also conducive to the formation of a correct worldview, and outlook on life and values, helping university students to fully understand their responsibilities and missions; secondly, Confucian culture can enrich the content of ideological and political education in universities, combining Confucian culture with ideological and political education in universities, allowing university students to achieve the purpose of patriotic education through the understanding, appreciation and analysis of Confucian culture, and enhancing Finally, Confucianism culture has certain significance for the teaching concept of colleges and universities. Teachers should respect students, pay attention to them, try to explore the bright spots in their bodies, and at the same time constantly promote students' self-education so that they can see their own value.

Personally, society as a whole is gradually modernizing, but at the same time this has brought about some problems for mankind. In addition to the often mentioned environmental problems between man and nature, there are also problems between man and man, such as the alienation of man, the lack of morality and the confusion of life. Confucian culture is an excellent culture with rich connotations and abundant wisdom, which can give full play to its own characteristics and provide valuable guidance and direction to solve these problems of people.

===The Combination of Confucianism And Chinese Modernist Culture===
The Confucian culture was combined with political systems, political relations and certain economic bases within a certain period, which in turn led to the formation of the corresponding political culture. In the course of its historical development, Confucianism has been the dominant ideology of traditional Chinese political culture. We can see that Confucian culture has changed in connotation accordingly from ancient times to the present day, but its corresponding development has a historical inheritance. Confucian culture followed the idea of "harmony" in its early emergence, followed the idea of putting people first and emphasizing "people" in the course of its historical development, and in its later years, it emphasized the idea of "applying knowledge to the world and learning from it", stressing the unity of knowledge and practice. In terms of political culture, Confucianism emphasizes the idea of integrity in politics. It emphasizes that the moral quality of politicians and the ability of saints should be raised to a certain level. It emphasizes that the upper class of the state should have the awareness of the people.
In the course of its continuous development, Confucianism has continued to merge with contemporary culture. Its corresponding basic characteristics are mainly manifested in the following three points.
As the dominant culture of modern Chinese culture, modern Chinese literature represents contemporary Chinese thought and influences, to a certain extent, people's daily behavior and habits. In some important cultural and literary works, it even represents the dominant thought of the era. Contemporary mainstream modern Chinese literary culture emphasizes the same core values as Confucianism. The values of benevolence, righteousness, propriety, wisdom and trust permeate people's daily lives while guiding their habits and daily behavior.
The collision between contemporary Chinese modernist literature and Confucianism is conducive to the better dissemination and development of Chinese political culture in three main ways, corresponding to the following:
1) Promoting education in worldview
The integration of ideas is conducive to a better grasp of Marxism, further promoting people's worldview education and helping them to establish a correct worldview. The integrated Confucian culture embodies simple materialism and dialectics, which has much in common with the core ideas of Marxism.

2) It is conducive to improving life outlook education
It is conducive to helping educators to develop a correct outlook on life and helping people to develop a "selfless" outlook on life, as well as a view of life in the service of the people.

3) Promotes education on collectivism
It is conducive to helping people develop a sense of family and country, a sense of subordination of individual interests to national, social and collective interests, and a collective consciousness that "the rise and fall of the world is the responsibility of the individual".

===Ways to Realize the Values of Excellent Confucian Culture in Chinese modernist Culture===
In terms of the integration and collision of excellent Confucian thought with contemporary Chinese literature, the methods and relevant details of realizing the value of excellent Confucian thought in Chinese modernist culture are as follows.

(1) Consciously accepting the influence of excellent Confucian culture and improving personal moral cultivation
The corresponding details are mainly reflected in the need to improve the ability to discriminate, cope with the impact of cultural diversity, practice excellent culture, achieve the unity of knowledge and action, internalize the value connotation of culture in the heart, to externalize the value connotation of excellent Confucian culture in action, and to advocate the practice of Confucian cultural thought in study, life and work. I would like to combine it with contemporary Chinese culture.

2) Emphasis on school education, allowing Confucian culture to enter schools
Its concrete measures are mainly reflected in entering primary school campuses to play an enlightening role, entering secondary school campuses to play an inculcating role, and entering university campuses to play a guiding role.

3) Use social power to create an educational atmosphere
Adhere to academic taste, classics to the masses and popularize Confucian culture. Enterprises should incorporate excellent Confucian culture and promote a correct view of interests. Enterprises should combine Confucian culture with contemporary cultural products and integrate relevant Confucian culture into the institutional and spiritual culture of the enterprise. In terms of cultural popularization, the power of parks and grassroots mass organizations can be used to popularize Confucian culture.

===Contemporary Insights from Confucian Culture===
(1) Incorporate the essence of Confucian culture into the ideological and political education of university students

Confucian culture has important inspirations for the ideological and political education of contemporary university students. The Confucian culture emphasizes the need to establish ambitious aspirations. Confucius said: "The three armies can be more handsome, but a man cannot take away his will. During university studies, students should set up ambitious ideals, study diligently, strive to build a solid foundation of theoretical knowledge, enrich their skills in practical exercises, improve their skills to serve the people and strive for the communist cause for the rest of their lives. At the same time, students should pay attention to cultivating the quality of being helpful to others, and be good at helping their classmates to answer questions and solve problems in their studies. The excellent Confucianism, such as "loving people with benevolence" and "restoring rituals to oneself", should be introduced into the ideological and political education of students, and we should practice them in our study life. To become a good youth of the new era. Finally, contemporary students should also adhere to the principle of honesty, as no one can be established without trust. There are many other essences in Confucian culture, which should be incorporated into the ideological and political education of students.

(2) Promote the integration of excellent Confucian culture into the contemporary economic development of China

Confucian culture advocates faith, and in contemporary society, faith means being honest and trustworthy and not deceiving others. Only in this way can we create a good business and consumer environment and implement the concept of honesty in all aspects of production, management, exchange and consumption, so as to speed up the healthy flow of economic activities and create more wealth for the people. In reality, all major merchandising platforms must operate in good faith, abide by their principles, put consumers first and provide them with the best services to achieve steady and rapid economic growth.
In reality, all major merchandising platforms should operate with integrity, abide by their principles, put consumers first and provide them with the best services, achieve steady and rapid economic growth and realize common prosperity for all people at an early date. As for Confucianism, we should remove the essence of the culture, remove the falsehoods and preserve the truth, effectively promote the integration of good Confucian culture into the construction of the contemporary Chinese economy, and contribute to the achievement of high-quality and sustainable development of the Chinese economy.

(3) Promote the core values of socialism and disseminate the essence of Confucian culture

The core values of socialism in the new era are "wealth and strength, democracy, civilization, harmony, freedom, equality, justice, rule of law, patriotism, respect for work, honesty and friendliness". There are many similarities with the Confucian culture, for example, there are also similarities between "the people are precious" and "democracy", as Mencius also emphasized: "The people are precious, the community is second, and the ruler is light. There is a degree of similarity, albeit a difference in degree, with today's emphasis on full respect for the subjectivity of the people and the promotion of their democracy. "Ritual" is consistent with civilization in that it emphasizes the need for people to live in peace and be courteous in dealing with others and building a harmonious socialist society. It requires people to treat each other with honesty and integrity in daily life and to exercise self-discipline. "Justice" and "rule of law" are a transcendence of "benevolence" and "righteousness", and it can be seen that the core values of socialism are similar to the essence of Confucianism. In promoting the core values of socialism, we should combine them with the essence of Confucian culture, promote advanced socialist culture and advance the construction of socialist modernization in China.

(4) Strengthen education on gratitude and build a harmonious socialist society

Education on gratitude is very important for the development of society. Thanksgiving education mainly includes: "filial respect for parents, respect for teachers, love for others, love for the motherland, and gratitude for nature." Respect for teachers means respecting teachers in academic life, humbly accepting their advice and striving to improve oneself to become even better. Loving others means having a loving heart and treating those around you with kindness. We should also love our country, which is a great land in which we are growing up healthy and strong, and cherish it and be grateful to it. Learn to be grateful to nature, live in harmony with nature, respect the laws of nature, act in accordance with objective laws, and strive to build a harmonious socialist society. The ideas of filial piety and fraternal brotherhood emphasized in Confucian culture are similar to gratitude education. In contemporary society, only when a person learns to be grateful can he or she go farther and higher. If we all learn to be grateful, then society will certainly become more harmonious.

(5) Advance the ecological conservation and build a beautiful China

The ancient sages of China emphasized the "unity of heaven and man", which means that the relationship between man and nature should be well coordinated to achieve a harmonious co-existence between man and nature. In Confucianism, man and nature as a whole must be in a relatively stable state, and both "too much" and "not enough" will result in an ecological imbalance, thus disrupting both. In Confucianism, man and nature as a whole must be in a relatively stable state. Without ecological balance, the evolution of life and mankind would be unsupported. If ecology flourishes, civilization will flourish; if ecology fails, civilization will fail. To build an ecological civilization, we must take the carrying capacity of the resources and environment as the basis, the laws of nature as the guideline, sustainable development and harmony between man and nature as the goal, and firmly follow the path of civilized development with development in production, prosperity in life and good ecology, so as to build a beautiful China.

===Conclusions===
Generally speaking, Confucian cultural values have existed for thousands of years and have been the source of their longevity in the construction of family and state culture into a dualistic structure of family and state, shaping the Chinese people's traditional virtues of hard work, and respect for the elderly and love for the young. This is constructive and the path to the construction of core socialist values. The Chinese people's traditional virtues of hard work, respect for the old and love for the young have been shaped by the dual structure of the family and the state. Therefore, a sound institutional mechanism for the construction of core socialist values should be established to ensure that the core socialist values are The Chinese people's traditional virtues of hard work, respect for the elderly and love for children has inspired the construction of socialist core values. The core values of socialism should play a leading role in the construction of culture in China.

The transmission of traditional Confucian culture needs to be passed on and innovated from generation to generation. And a nation without innovation and change can hardly stand in the forest of the world's nations. Confucianism is not only the source of strength of contemporary Chinese culture, but also the core of the traditional culture and national spirit of the Chinese nation, and an important basis for our next generation to establish themselves in the world and build socialism. The development of individuals and nations needs to be rooted in the soil of culture and draw on its nourishment.

===Questions===
1. What are the central ideas of Confucian culture?

2. When was Confucianism created?

3. Where did the earliest scholars who studied the integration of Confucian culture and contemporary modern culture come from?

===Answers===
1. Forgiveness, loyalty, filial piety, fraternal respect, courage, benevolence, righteousness, propriety, wisdom and faithfulness.

2. Japan.

3. The Spring and Autumn Period.

===References===
*[1]张奇.儒家文化的传承及其当代启示[J].边疆经济与文化,2021(05):110-112.
*[2]徐茜妍.试论传统儒家文化的现代价值[J].汉字文化,2021(11):194-195.DOI:10.14014/j.cnki.cn11-2597/g2.2021.11.086.
*[3]勾宇威.论新时代育人理念对优秀儒家文化的借鉴与发展[J].高校马克思主义理论教育研究,2021(04):122-128.
*[4]董雅华.论儒家文化的价值重估与传承[J].天津师范大学学报(社会科学版),2016(02):27-32.
*[5]邓雨巍,陈立勇.从传统到当代:儒家文化与铁人精神的时代关联[J].长江丛刊,2020(32):1+10.
*[6]张珊.儒家文化价值观的构建路径及其当代启示[J].现代交际,2020(19):218-220.
*[7]邹广胜.儒家文化的当代反思[J].中央社会主义学院学报,2019(02):81-88.

==英语口译向望 Xiang Wang 202170081628==
<center>'''Fandom Culture in China'''</center>

<center>Xiang Wang</center>

===Introduction===

A fandom is a subculture composed of fans characterized by a feeling of empathy and camaraderie with others who share a common interest. It can grow around any area of human interest or activity. Fandom culture, or the so-called "fanquan" culture, refers to online youth communities that coalesce around shared obsessions with celebrity idols. Fanquan, literally meaning "fan circles," are highly organized groups of passionate, loyal fans who voluntarily use their time, money and expertise to make their idols, usually budding pop singers or actors, as popular and influential as possible. China has seen a meteoric rise in fandom culture in recent years.

===The Evolution of Fandom Culture===

===Comparison of Fandom Culture between China and Other Countries===

===The Impact of Fandom Culture===

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语口译徐舞 Xu Wu 202170081629==
<center>'''The Analysis Of "Chi+O"'''</center>

<center>Xu Wu</center>

===Abstract===
The structure of "Chi + object" widely exists in Chinese, and studies on this kind
of phenomenon emerge in an endless stream. The word "Chi" ranks 105th in the top
8000 words and 77th in the 4000 words commonly used in daily life. Therefore, it is of
typical significance to choose the verb "Chi" with object as the research object. Based
on the research results, this paper attempts to make a comprehensive and multi angle
investigation and research on the phenomenon of "eat" with object through corpus data
statistics. This paper mainly discusses the phonetic distribution, semantic types and
deep semantic structure of the object after "Chi". Finally, it comes to the conclusion:
from the phonetic point of view, the object is mostly monosyllabic and disyllabic; From
the perspective of word meaning, food objects are the first; From the perspective of
deep semantic structure, patient object is still the most typical type of object. Secondly,
by summarizing the diachronic changes of "Chi" with object, we find that the types of
object increase after "Chi". The reasons include the change of word meanings, cultural
influence, network development and so on.

===Key words===
Chi; Object

===Introduction===
"Chi"(eating) has a crucial impact on human life. Its purpose is not only to maintain life, but also to meet people's spiritual needs, and it has become a manifestation of people's enriching life. In Chinese, there are multiple "Chi" structures to describe people's experiences, expressing their inner feelings and thoughts, the semantic and syntactic features of which can always be predicted from the constituent terms. This phenomenon has attracted many scholars to conduct a lot of research on the structure of "Chi" from different perspectives. In modern Chinese, "Chi", as a transitive verb, appears frequently, and it is usually followed by objects, which is also very complicated. Therefore, it has certain scientific value to choose this topic for research.

===Literature Review===
Through extensive reading and material analysis, the following research directions can be summarized.

1.Analysis from the Perspective of Verb-Object Semantic Relationship Classification

Different scholars hold different views on the semantic relationship of verb-object collocation. Xu Wenhong (2001) believes that verbs, nouns and adjectives usually appear after "Chi". At the same time, he divided the "O" in the "Chi+O" structure into abstract and concrete nouns, and then divided concrete nouns into categories such as place, object, method, and tool. Guo Jimao (1998) believes that in order to carry out the semantic analysis of the verb-object relationship, we should firstly distinguish between the definite object and the non-specified object. Fan Xiao (2006) believes that typical objects and atypical objects should be distinguished. Typical objects often appear in verb-object phrases, such as subject objects and result objects. The relationship between these verb-object phrases is the relationship between the verb and the following object. relationship, such as "Chi" and "He"(drink), while atypical objects such as manner objects and instrumental objects are not common.

2.Analysis from the perspective of cultural linguistics

Wen Suolin (1994) believes that many things and concepts in Chinese are used with "Chi", which reflects the characteristics of traditional Chinese culture and psychology. Xie Xiaoming and Xiong Jinxing (2006) studied the cultural characteristics of common verbs such as "Chi" and "He" with objects based on the differences of national civilization, local products, and characteristics of folk culture.

3. Analysis from the perspective of English and Chinese

Wang Yingxue (2009) expounded the metaphors related to the action of "Chi" in Chinese and English, and compared the similarities and differences between "Chi" and "He" in English and Chinese. Hao Ran (2010) compared the differences of eating and drinking verbs at the cultural level, listed 21 eating and drinking verbs and their corresponding English vocabulary, and summed up the cultural similarities and differences of Chinese and English eating and drinking verbs. Ding Xiaoyu (2015) analyzed the syntactic structure and characteristics of "Chi" in English and Chinese in terms of syntactic generation, and came to the conclusion that English expressions adopt a grammatical passive structure.

4. From the perspective of teaching Chinese as a foreign language

Liu Hongyun (2013) proposed corresponding teaching strategies by analyzing the structure of "Chi+ O". However, since the article focuses on analyzing "Chi + O" from a cultural point of view, and regards this collocation as an idiom for teaching, the teaching plan proposed on this basis is debatable. Li Liye (2017) explained the reasons for choosing "Chi" and "He" verbs as the research objects, and also classified the verbs while conducting etymological analysis respectively.

5. From the perspective of metaphor and metonymy

Xie Xiaoming (2002) took "Chi" and "He" as a case study from the perspectives of dialect, Putonghua and classical Chinese. It mainly discusses the influence of metaphor and metonymy on the change of verb meaning from the perspective of cognition. Jia Yanzi and Wu Fuxiang (2017) conducted lexicalization and categorization research on the concepts of "Chi" and "He" in Chinese, and explained the motivation from the perspective of metaphor and metonymy. The phenomenon of "Chi" and "He" followed by unconventional objects is regarded as the semantic extension of "Chi" and "He".

===Research Significance and Corpus Sources===

"Chi" is the most basic way of human behavior, and it is a high frequency verb in modern Chinese. Therefore, it is typical to choose the situation of "Chi + O" as the research object. Based on the research results, this paper hopes to pave the way for the overall research by examining the situation of "Chi + O", and bring some new inspirations to the research in this direction. At the same time, in the process of research, the necessary research and discussion are carried out on the theoretical issues involved, and efforts are made to obtain theoretical gains. The final conclusions can make the research of modern Chinese characters develop in a deeper and updated direction.
This paper uses the Media Language Corpus of Communication University of China. Through the statistics of the Media Language Corpus of the Communication University of China, 25,429 corpora were obtained, and 13,096 corpora that met the requirements were obtained after screening.

===The syllable distribution of "Chi" with object in modern Chinese===

1.Syllables
Voice is ubiquitous, and people are inseparable from voice in the process of daily oral communication. Voice is the material shell of language symbols, a product formed by the development of human society, and a convention. Speech includes several units of different sizes such as phonemes, syllables, etc. Among them, the unit of speech that is most easily perceived by the human ear is the syllable. Syllable is the most natural structural unit in speech, to be precise, syllable is the smallest unit that can be freely combined segment structure unit [1]. In Chinese, a syllable often corresponds to a Chinese character. According to the number of syllables, words can be divided into single-syllable words, two-syllable words, three-syllable words and so on. The following will count and analyze the syllable distribution of the object after "Chi" according to the corpus data.

2.Statistics
Enter the word "Chi" in the corpus and we will find 25429 records. Among them, there are 13,096 records with the object of "Chi". After summarizing, it is found that the syllables with the object after "Chi" are more diverse, such as the one-syllable object "difficulty", "suffering", "melon", etc.; "breakfast", etc.; objects with three syllables such as "ice cream", etc.; and even objects with four or more syllables, as shown in the following table:

Syllable Type Total Percentage
Monosyllable 7128 54.43%
Two-syllable 4736 36.16%
Three-syllable 1006 7.68%
Four-syllable 144 1.24%
Four or more syllables 58 0.49%<math>Insert formula here</math>

3.Conclusion
There are various types of objects after "Chi", including monosyllabic, two-syllable, three-syllable, four-syllable and even five-syllable and so on. Among them, the frequency with single syllable is the highest, accounting for more than 54% of the total. Specifically, The more commonly used collocations include "Chi Ku"(endure hardship), "Chi Gua"(eat melon) etc., most of which are abstract nouns that are subject objects and express results. The two-syllable object ranks second, accounting for 36% of the total. The more commonly used collocations include "Chi Da Can"(eat a substantial meal), "Chi Huo Guo"(eat a hot pot), "Chi Di Bao"(receive a subsistence allowance), etc. , which covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, with three syllables such as "Chi Banlangen"(take a medicine), "Chi Qiaokeli"(eat chocolate). In addition, there are objects with four syllables and above, such as "Chi Da Yu Da Rou"(eat a substantial meat); five syllables such as "Chi Fan Shi Zhi Fang Suan"(eat trans fatty acids) and so on. According to this rule, the syllables of the object after "Chi" can be expanded infinitely according to its name, such as "Chi Qiaokeli Bingjilin"(eat chocolate ice cream) with a six-syllable object.

===The word meaning distribution of "Chi" with object in modern Chinese===

1.Word meaning

"Word meaning" can be divided into two categories, one is conceptual meaning, the other is color meaning, which is divided from the perspective of content. Conceptual meaning reflects the content of objective things, which is objective and cannot be changed according to people's subjective guesses; on the contrary, color meaning is more subjective, such as emotional meaning [2]. From a conceptual point of view, word sense types include food, place, tool, and so on. In the following, from the perspective of conceptual meaning, statistics and analysis of the object after "Chi" will be carried out.

2.Statistics

According to the corpus data statistics, the word sense types of the object after "Chi" are mainly concentrated into five categories, namely tools, food, places, abstract nouns and common sayings. Here is a special description of the category of abstract nouns, which mainly includes four types: one is typical abstract nouns such as "power" and "bitter"; the second is adjective words such as "fragrance" and "spicy"; the third is Words with symbolic meanings such as "soft rice", "free rice"; fourth, some phenomena and activities, such as "subsistence allowances" and so on. The above is the author's classification criteria, and the specific distribution is shown in the following table:

Word Meaning type Total Percentage
Tool 440 3.37%
Food 10736 81.99%
Place 24 0.19%
Abstract noun 1680 12.84%
Colloquialism 210 1.61%<math>Insert formula here</math>

3.Conclusion

There are many types of word meanings with objects after "Chi", especially with the development of the times, the scope of which has been expanded. By summarizing and summarizing, according to the different meanings of words, its objects can be divided into the above categories. According to the chart, it can be seen that the object of food is the most frequently used, accounting for more than 80% of the total. The second is the use of abstract nouns, accounting for more than 12% of the total. Specifically, it includes four types: one is typical abstract nouns as objects, such as "difficulty", "hardship", etc.; the other is some adjective objects, including"eat spicy"; The third is some symbolic words, such as "Chi Ruan Fan"(live relying on one’s wife); the fourth is some social activities or phenomena as objects, including "Chi Di Bao"(live by receiving a subsistence allowance), "Chi Fang Zu"(make life by rent). The third is the object of tools, which accounts for only 3.37%, including "Chi Zhuo"(people eat around a table). From here we The evolution of language can already be seen. The least proportion of the total is the location noun, which is less than 1%, but it has obvious characteristics of the times, such as "Chi Can Guan"(eat at restaurant) and so on. There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, such as "Chi Ding Xin Wan"(feel relieved), etc. The frequency of use is not high in comparison, only accounting for the total number of 1.61 percent.

===The semantic structure of "Chi" with object in modern Chinese===

1.Semantic structure

According to Xing Fuyi, the meaning of language is semantics. People will have a certain understanding of external objective things, and semantics is the result of expressing this understanding formed in the mind in the form of language. From this, we can deduce that the semantic structure refers to the semantic relationship between the language units hidden in the structure [3]. Starting from the semantic relationship of verb-object, objects can be divided into receiver objects, result objects, source objects, instrumental objects, source objects, location objects and so on. The following will stand in this perspective, classify and summarize the objects after "Chi".

2.Statistics

As mentioned above, from the perspective of deep semantic structure, the objects after “Chi” in the corpus can be divided into many types, such as subject objects, location objects, result objects, source objects, reason objects, and tool objects. Among them, there are four major categories of objects in terms of statistics, including objects of reception, objects of location, objects of results and objects of tools. The specific distribution of these four categories of objects is shown in the following table:

Object type Total Percentage
Recipient object 10792 82.41%
Object of place 212 1.62%
Result object 1472 11.24%
Instrumental object 836 4.73%<math>Insert formula here</math>

(3)Conclusion

According to the statistical data, it can be found that the frequency of use of the subject object after "Chi" is the highest, accounting for more than 80% of the total. The classification situation is consistent. The second is the result object, that is, some words that express the result, and some also have the part of speech of adjectives, such as "Chi Jin"(be surprised or shocked), "Chi Ku"(suffer) and so on. The proportion of place object and tool object is relatively low, at 1.62% and 4.73% respectively. Some typical collocations include "Chi Shi Tang"(eating in the cafeteria). To sum up, from the perspective of the phonetic distribution of objects after "Chi", monosyllabic words are the most frequently used, followed by two-syllable objects, and objects with three or more syllables are relatively low; From the perspective of lexical type, food objects are the most frequently used, followed by abstract nouns, tool objects are the third, and place nouns are the least frequently used. From the deep semantic structure analysis, the use frequency of the subject object after "Chi" is the highest, the most typical of which is the food object, followed by the result object, and the proportion of the location object and the tool object is relatively low.

===Reasons===
Among the diachronic changes of "Chi" with objects, one of the most notable features is that the number of object types has increased, from the original subject object to other types such as tool object, location object and so on. The reasons include cultural influence, network development and changes in word meaning. From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" various expressions to express inner feelings and evaluation of objective things, which also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of online buzzwords has also penetrated into the “Chi+O", thus promoting the evolution of "Chi +O".

===Conclusion===

The culture of the Han nationality is rich and colorful, and "Chi + O" is one of the language structures widely used in society. On the basis of the existing research results, through the statistical corpus data, this paper makes an all-round and multi-angle sorting and analysis of the phenomenon of "Chi" with an object.

First of all, from the perspective of the phonetic distribution of the objects after "Chi", monosyllabic words are used most frequently, accounting for more than 54%; disyllabic objects are the second, accounting for 3%. Sixteenth, it covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, and according to this rule, the syllable of the object after "Chi" can be expanded infinitely according to its name.

Secondly, from the perspective of the lexical type of the object after "Chi", the object of food is the most frequently used, followed by the use of abstract nouns. The third is the object of tools, and the least is the noun of place. We can see from these two categories but have obvious characteristics of the times, such as "Chi Shi Tang"( eat at canteen) . There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, and the frequency of use is not high in comparison, accounting for only 1.61%. It can be seen that the word meaning of the object after "Chi" is diverse, and it has exceeded the type of object that the original meaning of "Chi" can bring, reflecting the flexibility of language.

Finally, from the deep semantic structure analysis, the use frequency of the subject object after “Chi” is the highest, and the most typical one is the food object. The second is the result object, the proportion of place object and tool object is relatively low.
By summarizing the above conclusions, and comparing the characteristics of objects with objects after "Chi" in different periods, we have drawn a significant conclusion that the number of types of objects after "Chi" has increased. The analysis shows that the reasons include cultural influence, network development and word meaning changes.

From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" It also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of network buzzwords has also penetrated into the "Chi + O" structure, thus promoting the evolution of "Chi +O".

===References===
[1]Shi Feng石锋, Liu Zhangcai刘掌才.汉语作为第二语言的语音教学问题[Problems in Phonetics Teaching of Chinese as a Second Language][J].天津师范大学学报(社会科学版),2021(02):1-9.

[2]Wang Xinqing王新清.从文化和认知视角看汉语“吃”的隐喻[The Chinese metaphor of "eat" from the perspective of culture and cognition][J].湖南广播电视大学学报，2014(02):22-25.

[3]Cao Xianghua曹向华.论汉语动宾类惯用语语义认知机制与类型[On the Semantic Cognitive Mechanism and Types of Chinese Verb-Object Idioms][J].河北科技大学学报(社会科学版),2020,(01):77-83.

===Terms ans Expressions===
Chi+O 吃+宾语 phonetic distribution 音节分布 semantic types 词语义类型 deep semantic structure 深层语义结构 recipient object 受事宾语 metaphor 隐喻

metonymy 转喻 Media Language Corpus of Communication University of China中国传媒大学媒体语言语料库 conceptual meaning 概念义 color meaning 色彩义

===Questions===
Where does the word "Chi" rank in the top 8000 words that are used most frequently?

How many types can word meaning be divided into and what are they?

What’s the main reasons why the number of object types after “Chi” increased?

===Answers===
It ranks 77th.

Two types. They are conceptual meaning and color meaning.

They are cultural influence, network development and changes in word meaning.

==英语口译张静芝 Zhang Jingzhi 202170081630==

==英语口译张旻丰 Zhang Minfeng 202170081631==

==日语笔译曹梦然 Cao Mengran 202170081632==

==日语笔译胡梦琪 Hu Mengqi 202170081633==

<center>'''Huangmei opera'''</center>

<center>Hu Mengqi</center>
===Introduction===
Huangmei opera, formerly known as Huangmei tune, tea - picking opera, originated from Huangmei, Hubei province, and developed in Anqing, Anhui Province.
Huangmei Opera, together with Beijing Opera, Yue Opera, Pingju Opera and Henan Opera, is known as the "Five Major China Operas." It is also one of the main local operas in Anhui Province. There are also professional or amateur performing groups of Huangmei Opera in Hubei, Jiangxi, Fujian, Zhejiang, Jiangsu, Hong Kong and Taiwan, which are widely welcomed.
Huangmei opera is a kind of opera which is formed and developed gradually by folk song, Yangge, Tea Song, pick-tea lantern dance and flower - Drum tune, which precedes the countryside and then enters the city. It has absorbed the factors of Han opera, Chu Opera, Gaoqiang opera, tea - picking opera, Peking Opera and many other operas, and gradually formed its own artistic characteristics.
Huangmei Opera's singing is simple and smooth, with bright and quick lyric, good at expressing emotions. The performance is simple and meticulous, famous for its authenticity and vivacity. A song Fairy Couple makes Huangmei opera popular in the north and south of the river, and has a high reputation overseas.

===Development===
The development history of Huangmei opera was roughly divided into three stages:
The first stage was from the end of Qianlong in Qing Dynasty to around the Revolution of 1911. The tunes produced and spread to the three provinces of Anhui, Hubei and Jiangxi were influenced by the local opera performances and combined with some folk arts, gradually forming some small operas. Further development led to the complete story of the operas. From the Reign of Emperor Kangxi and Emperor Qianlong of the Qing Dynasty to the reign of Emperor Guangxu, the traditional repertoire was very rich, and artists could perform more than 200 plays. Among them, many were based on Huang Mei's real people and real events, such as Dacidian and Cross the Jieling and so on; Some were the People's dissatisfaction with class oppression, the disparity between the rich and the poor, and their yearning for a free and beautiful life at that time. Such as Buckwheat story, Fairy Couple and so on; Some also showed the life segments of rural workers, such as Spinning cotton yarn, Selling bucket basket and so on.
The second stage was from the Revolution of 1911 to 1949. At this stage, Huangmei Opera gradually became professional and moved from the rural stage to the urban stage. After Huangmei opera entered the city, it was co-organized with Peking Opera, and was influenced by Yue opera, Yang Opera, Huai Opera and Pingju Opera from the North in Shanghai, which changed greatly in both the content and form of the performance. In addition to the arrangement and transplantation of a number of new plays, the music has also carried out a preliminary reform of the traditional singing, and the content was more understandable.
The third stage is from 1949 to now. After the founding of the People's Republic of China, Huangmei opera has been rapidly restored and developed. Anhui Province Huangmei opera troupe was established in Hefei in 1953. Thirteen counties in Anqing area have also set up professional troupes. In 1954, Huangmei opera Fairy Couple participated in the East China Opera observation and performance conference and was successful. The play was also made into a film twice, causing a sensation at home and abroad. A number of newly created and adapted outstanding plays such as Emperor's Female Son-in-Law and Hillock of Sand have been staged one after another. In Hong Kong and Macao, there was a prosperous scene of Huangmei opera sung in Mandarin and Cantonese. Decades after the liberation of huangmei opera has created a large number of outstanding actors, in addition to have outstanding contributions to huangmei opera singing art Yan Fengying, Wang Shaofang older generation of artists, such as young and middle - aged actors such as Ma Lan, Han Zaifen also won the audience's attention and love.

===Features===
'''Tune''':Huangmei Opera's singing style belongs to the plate - Type variation, which has three major tunes: Coloratura, Choi Tune and Main Tune. Coloratura is mainly used in small operas, the melody is simple, beautiful and cheerful, with a strong atmosphere of life and folk song minor color; Choi tune‘s melody is cheerful, has been widely used in the Coloratura small operas. The main tune is commonly used in the traditional original opera of Huangmei opera, which is divided into flat words, fire attack, two lines and three lines, among which flat words is the most important singing tune in the original opera, with serious, solemn, beautiful and generous melody. Huangmei opera is known for its lively lyricism, simple, fresh exquisite and moving singing, with rich expressive force, and easy to understand, easy to popularize, loved by the masses around. In the musical accompaniment, the early Huangmei opera by three people to play the drum, cymbals, small gongs, big gongs and other percussion instruments, at the same time to participate in the vocal accompaniment, known as "three strokes and seven singing." After the founding of the People's Republic of China, Huangmei opera formally established the accompaniment system with Kao-hu as the main instrument.

'''Types of Roles''':After the performance of the whole opera, the types of the roles gradually developed into the lead, the female lead, the painted face, the old lead and clown. Although there is a division of types in the profession, few people specialize in one profession. After the 19th year of the Republic of China, Huangmei opera troupe often performed with Hui and Beijing Opera troupe. Due to the need of performing plays, there appeared some new roles, but they were not fixed. At that time, the Huangmei troupe was mostly semi - Professional, with only 12 people in general. Due to the small number of people in the troupe, when performing the whole opera, it was often an actor who has to play several roles. Therefore, in Huangmei opera, although the roles in the opera are standardized, the actors do not have strict branches.

'''Dress and makeup''':The costumes of Huangmei opera are the continuation of the traditional costumes of the Han nationality, but most of them were in the Tang, song and Ming dynasties. Compared with Beijing Opera costume, it is less colorful, gorgeous and coquettish, more elegant and beautiful, natural and meaningful, forming a romantic period of its own. Huangmei opera makeup heavy eyebrows. Different from Beijing Opera's thick ink description of the eye outline, gorgeous face, Huangmei opera costumes pay attention to Halo dye, pay attention to the charm, similar to the ancient lady's light makeup, true and simple. For example, the young lead’s eyes rises, eyebrow peak slightly gathered, elegant and beautiful; the female lead eyes with feelings, looking forward to between, natural a stretch of billows romance in them.

===Current situation of the development ===
Huangmei Opera has gone through a lot of difficulties from its origin to its development. It is not easy to be loved and recognized by the public and successfully listed in the first batch of national intangible cultural Heritage list approved by The State Council on May 20, 2006. However, Huangmei Opera is also facing severe difficulties and crises both in the inheritance and development at home or the transmission and export abroad.

'''Domestic problems of Huangmei Opera''':First, there is a shortage of students majoring in opera in art colleges： "Opera industry should be able to withstand loneliness. In today's society, people are becoming more and more impetuous, and fewer and fewer people are willing to learn opera. At the same time, the depressed opera market has led to low wages and made many people reluctant to study opera." Although the local government has invested a lot, Huangmei Opera colleges and universities still face practical problems such as fewer students and employment difficulties for graduates. When considering future employment prospects, many Huangmei Opera lovers will choose majors with wider employment channels, resulting in a serious shortage of students majoring in Huangmei Opera.
Second, the construction of professional courses needs to be strengthened: Professional colleges are limited by resources and funds, as well as performance venues, personnel integration, follow-up costs, return on investment and other restrictive factors, and it is difficult to build professional practice and training platforms for students by their own strength, which affects the construction of relevant majors. Opera performance is a very practical art, and there are few opportunities for students majoring in Huangmei Opera to participate in large-scale performances. Only some excellent students can get the practice opportunity to perform on stage, which affects the educational effect of Huangmei Opera to a certain extent. Some art students unilaterally think that performing skills and vocational skills are the first, and cultural courses are only secondary courses, or even redundant. They focus on professional skills and performance training, and do not pay enough attention to the learning of cultural courses.
The third is the professional teachers to grow: Because of the financial support, their scale and supporting policies and reasons, related colleges and universities currently facing the teacher education level is not high, through teachers, inadequate protection of the professional guidance, age, levels of structural imbalances, Huangmei Opera teacher talent construction in local colleges need to be strengthened. Due to regional economic conditions, material benefits, academic research platforms and other objective reasons, it is difficult for local undergraduate universities to introduce high-level professionals.

'''Abroad problems of Huangmei Opera (Take English-speaking countries as an example)''':First, the difficulties in the translation of Huangmei Opera scripts mainly focus on the rhythm of lyrics, sentence style and translation of padding syllables. In the process of script translation of Huangmei Opera, if the above language features of script lyrics cannot be translated flexibly, the beautiful singing style and profound cultural connotations of Huangmei Opera will be difficult to convey to foreign audiences.
The second is the controversy over the use of Huangmei Opera translation. The academic circle has not reached a consensus on whether the translation of Huangmei Opera should be used as lyrics or subtitles. Different purposes directly affect the strategies adopted in translating scripts into English. If it is directly used in English singing, in addition to factors such as the rhythm of the lyrics, it is necessary to consider the equivalence of the pinyin of the script lyrics and the syllables of the English lyrics, so as to match the rhythm of the accompaniment, which undoubtedly greatly increases the difficulty of English translation. If it is only used for subtitle, the problem of syllable equivalence is not considered, but how to present subtitle in actual performance is a big problem. Simultaneous interpretation is bound to affect the audience's hearing effect, and rolling English subtitles on the stage will interfere with the audience's line of sight. These problems can’t be properly solved, which is also an important reason why Huangmei Opera can’t open the market in foreign countries.
The third is the acceptance of Huangmei Opera by foreign audiences. Compared with the language-centered forms of western operas, Huangmei Opera relies more on singing, costumes, dancing and music. This huge difference in the form of expression is bound to affect the cultural acceptance of Huangmei Opera. If we blindly cater to the cultural acceptance mentality of the Western audience and change the performance form of Huangmei Opera, it will lose its charm. How to improve the foreign audiences‘ acceptance of Huangmei Opera while retaining its unique charm as far as possible is a long-term proposition to be faced in English translation of Huangmei Opera.

===Solutions and Summary===
There are many things we can do to address these development challenges.

'''Solutions to domestic problems''': Increase support for Huangmei Opera education: Relevant departments should continue to increase input in manpower, finance, material and other aspects of Huangmei Opera art education, strive to break the limitations of performance venues and practice, and build a more scientific new mode of artistic talent training. Anqing, where Huangmei Opera is popular, has a good cultural foundation and humanistic concept of Huangmei Opera. Art colleges and universities should make full use of their cultural resources, establish cooperative relations with other schools at all levels, implement policies such as exemption of examinations for majors and tuition subsidies, and ensure high-quality students to enter the inheritance field of Huangmei Opera. Colleges and universities should set up art appreciation courses of Huangmei Opera, show cultural characteristics of Huangmei Opera, effectively inherit local opera culture, and train students' artistic sentiment and artistic style of discovering, appreciating and loving beauty.
Innovating the teaching form of Huangmei Opera: The basic artistic accomplishment of opera performers is a compulsory course of Huangmei Opera and other opera education, and it is also the most basic and important link of traditional opera teaching practice. In the art teaching of Huangmei Opera, theory teaching should be combined with the creation and arrangement of opera fragments to improve the basic skills and professional skills of actors. Innovating classroom teaching content, enhancing students' perception of artistic beauty and appreciation of opera culture, and comprehensively improving the performance skills of opera major students; Professional teachers should lead students out of the classroom, visit the daily rehearsals and professional performances of the troupe, enter the park and other places, and join the Huangmei Opera ticket club, feel the strong atmosphere of the folk Huangmei Opera, so as to enhance the appeal of opera culture; Using multimedia and other modern technological means; Set up online course selection system, create wisdom classroom, combine with opera theory teaching research results, improve the practical effect of course teaching.
Integrating opera culture gene into campus culture construction: Colleges and universities should give play to the important role of student organizations and associations in the inheritance of traditional opera, encourage opera societies to actively carry out opera culture activities, promote and inherit opera culture. Professional colleges and universities can build characteristic campuses full of cultural elements of Huangmei Opera and create a rich atmosphere of opera culture by building buildings with elements of Huangmei Opera, designing cultural signs of Huangmei Opera in the campus landscape, promoting Huangmei Opera art with propaganda boards and electronic screens, etc. "At the same time, using appropriate media to spread the practice of inheriting Huangmei Opera, an intangible cultural heritage, will greatly enhance the effectiveness of inheritance. The use of media can make the spread of cultural characteristics become more prominent, cultural identity is easier.

'''Solutions to foreign problems''': The translation of the cadence, sentence style and backing words of Huangmei Opera needs to be flexible. In the process of English translation, it is appropriate to adopt the domestication translation method, or alternative methods such as Rhyme, alliteration or assonance. The style of the sentence carries the beauty of the melody of Huangmei Opera. In the process of English translation, it is also appropriate to adopt the domestication translation, referring to the English poem foot. Such as iambic foot, trochaic foot, anapaestic foot, dactylic foot and meter (tetrameter and pentameter) to realize the change of the lyrics of Huangmei Opera. A large number of interlining words exist in the lyrics of Huangmei Opera. Although they have no real meaning, they reflect the psychological emotions of the characters and cannot be translated. In the process of English translation, transliteration, annotation and other means should be used as appropriate to retain the rhyming effect of the script lyrics of Huangmei Opera to the maximum.
Clarify the auxiliary position of Huangmei Opera translation in the process of external communication. The charm of Huangmei Opera lies in its singing and beautiful stage form. In order to successfully spread the culture of Huangmei Opera, the key lies in making foreign audiences intuitively feel the audio-visual charm of Huangmei Opera performance. The translation of Huangmei Opera can remove language barriers for foreign audiences to appreciate it better, but it cannot change the auxiliary role of Huangmei Opera translation in the external communication of Huangmei Opera culture. After leaving the stage, the culture of Huangmei Opera was translated into English as a general literary work, and the external dissemination of Huangmei Opera became rootless water. Therefore, the translation of Huangmei Opera should be used as subtitles rather than lyrics for performances. There are two situations when the translation of Huangmei Opera is used as subtitle. One is to record the Huangmei Opera repertoires into audio and video products or upload them to video websites. In this case, English or bilingual subtitles are required. Another kind is in view of the Huangmei Opera
Troupe live performances, the situation is more complex, because both in the stage provides electronic English subtitles or provide simultaneous interpretation for overseas audience, is bound to affect the audience's visual and sound effects, the most feasible way is before the performance, to provide the audience play introduction and translation of manual, not lost in the audience as much as possible in the plot, In order to enjoy the stage performances of Huangmei Opera Troupe.
Formulate a long-term plan for English translation and external communication of Huangmei Opera. In essence, the English translation of Huangmei Opera belongs to the act of "translation". Under the current national conditions of "cultural power" and "going out" of Chinese opera, there is an urgent demand to promote the traditional excellent culture of China. However, in the process of external communication of Huangmei Opera, the nature of blending from "marginal culture" to "central culture" determines that its cultural acceptance is not high in the early stage of communication. For nearly half a century, the "going out" project of Chinese opera, which has been adhering to the "faithful" translation, has achieved little effect in the overseas market, which also indicates that the translation and external dissemination of Huangmei Opera will be a long and tortuous process.

'''summary''': In general, as an important cultural heritage, huangmei Opera has the obligation to make efforts for its survival and development, whether it is the government, the society, the troupe itself or the general public.

===References===
[1]Li Li李莉.安徽黄梅戏场域的历史变迁与审美特质[Historical changes and aesthetic characteristics of Anhui Huangmei Opera field ] [J].安庆师范大学学报(社会科学版),2022,41(02):28-31.

[2]Ding Aihua丁爱华,Zhu Jun朱军.黄梅戏英译：现状、问题与对策[Present Situation, Problems and Countermeasures of Huangmei Opera ] [J].北京印刷学院学报,2021,29(S2):70-72.

[3]Chen Changwen陈昌文,Sheng Xia盛霞.新世纪以来黄梅戏发展缺憾与策略思考[The shortcomings and strategies of Huangmei Opera development since the new century ] [J].安徽理工大学学报(社会科学版),2021,23(05):42-46.

[4]Wei Hong魏泓.生态系统观下黄梅戏英译研究[A study on the English translation of Huangmei Opera from an ecosystem perspective ] [J].重庆第二师范学院学报,2021,34(01):42-46.

[5]Sheng Xia盛霞.安徽民歌对传统黄梅戏的影响[The influence of Anhui folk songs on traditional Huangmei Opera] [J].安庆师范大学学报(社会科学版),2020,39(04):102-106.

===Terms and expressions===
Huangmei opera 黄梅戏
pick-tea lantern dance 采茶灯（舞）
flower - Drum tune 花鼓调
Fairy Couple 《天仙配》
three roles opera 三小戏
three strokes and seven singing 三打七唱
Dacidian 《大辞店》
Cross the Jieling 《过界岭》
Buckwheat story 《荞麦记》
Spinning cotton yarn 《纺棉纱》
Selling bucket basket 《卖斗箩》
Emperor's Female Son-in-Law 《女驸马》
Hillock of Sand 《砂子岗》
Yan Fengying 严凤英
Wang Shaofang 王少舫
Ma Lan 马兰
Han Zaifen 韩再芬
plate - Type variation 板式变化体
Coloratura 花腔
Choi Tune 彩腔
Main Tune 主调
flat words 平词
fire attack 火攻
two lines 二行
three lines 三行
cymbals 钹
small gongs 小锣
big gongs 大锣
percussion instruments 打击乐器
vocal accompaniment 帮腔
kao-hu 高胡
the lead, the female lead, the painted face, the old lead and clown 生旦净末丑
the first batch of national intangible cultural Heritage list 第一批国家级非物质文化遗产名录
padding syllables 衬词
Rhyme 押韵
Alliteration 头韵
assonance 类韵
domestication translation 归化译法
foot 音步
iambic foot 抑扬格
trochaic foot 扬抑格
anapaestic foot 抑抑扬格
dactylic foot 扬抑抑格
meter (tetrameter and pentameter) 格律（四音步和五音步）
transliteration 音译法
notation 注释法

===Questions===
1. How many stages are Huangmei Opera divided into? What are the corresponding periods?
2. According to the field investigation, where is the origin of Huangmei Opera?
3. List two representative works and artists of Huangmei Opera respectively.

===Answers===
1. The development history of Huangmei opera was roughly divided into three stages: The first stage was from the end of Qianlong in Qing Dynasty to around the Revolution of 1911. The second stage was from the Revolution of 1911 to 1949. The third stage is from 1949 to now.
2. Anqing, An hui Province.
3. Fairy Couple, Emperor's Female Son-in-Law; Yan Fengying, Han Zaifen.

==日语笔译张白鹭 Zhang Bailu 202170081634==
<center>An Analysis of Chinese Translation of Modern Japanese Literature</center>

<center>Zhang Bailu</center>

===Abstract===
There are great similarities between China and Japan in the history of modern development. Before the 100-day Reform and before the Meiji Restoration, Both China and Japan went through periods of isolation. Then they opened their doors under fire from western powers. In order to meet the challenge of the West, the two countries reformed their systems and launched enlightenment movements in ideology. In this process, there has always been a great deal of continuous translation of Western books. Translation activities provide a strong impetus for the modernization of China and Japan, and translation culture is an important part of the modern culture of the two countries, which provides us with the necessity of research. This paper takes the translation of Natsume Soseki, Ryunosuke Akutagawa and Yasunari Kawabata as the research object, and summarizes the main ideology of modern China reflected in their translation.From the research process, we can find out how the selection of translation objects and texts is influenced by the mainstream ideology.
The translated texts mainly focus on the novels of the three writers, to understand the reasons for the changes in the content and attitude of translation studies in different periods in modern China, and to explain the reasons in detail in terms of ideology. Soseki Natsume and Ryunosuke Akutagawa were among those who changed their translation topics in modern Chinese translation studies of Japanese literature. This paper studies the translation and introduction of the two from the period before and after the May 4th Movement and the reform and opening up. Kawabata Yasunari is the first Japanese writer to win the Nobel Prize for Literature. The study of his translation and introduction is of great significance not only to translation studies, but also to the study and grasp of major Asian literary schools and ideologies.
===Key words===
Translation Activities;Japan;Ideology

===1 Introduction===
The introduction of Natsume Soseki (1867-1916) was first introduced by Zhou Zuoren. In his article "The Development of Japan Fiction in the Past Thirty Years," he argued that Natsume Soseki advocated "low wandering taste" and "abundant literature." "The History of the Literary Revolution":"The novel of nature, where the novel must touch the life; Shu-Shih said that what is not touched is also fiction, as well as literature. And why is it so urgent? We can enjoy life slowly and calmly. " However, the translation of Natsume Soseki's novels is Lu Xun's earliest. Published in 1923,"modern Japan stories" chose two short stories of Soseki Natsume, one is "hanging picture," the second is "Mr Clay cob." The two novels have a strong tendency of prose. Although these two works are not important works of Natsume Soseki, but Lu Xun's translation, in the translation of works of Soseki, is groundbreaking. Natsume Soseki's fame, and all of his creation of the most outstanding novel, is Zhou Zuoren mentioned "we are a cat"(a translation of "I am a cat"). It is doubtful whether the work was published in an official translation in the 1920s. In 1936, Zhou Zuoren wrote an article, entitled "<I am a cat>," are reviewed in detail "I am a cat," and explains the difficult translation. The first anthology of Natsume Soseki's works translated and published in China is Natsume Soseki Collection selected by Zhang Kebiao. The book was published in 1932 by Shanghai Kaiming Bookstore. Adduction medium-length decimal "boys," short works "the Tower of London" and "the preface to the head of a dog than the tail of a Lion. Translation before ZhangKeBiao wrote "about Soseki Natsume" translation of the preface. This translation sequence introduces Natsume Soseki's life, thoughts and creation in detail. The introduction of these situations is mainly based on Natsume Soseki's early creation. The "Edo-citizen" character of Natsume Soseki is emphasized, and the creation ideas of "light and free taste,""margin" and "low wandering taste" are advocated.
Akutagawa Ryunosuke (1892 - 1927) was a representative figure of the New Intellectualism School, an important school in the history of modern Japan literature, and one of the several first-class writers in Modern Japanese Literature. In the ten years from the late 1920s to the 1930s, there were more than 20 China translations of Akutagawa Ryunosuke's novels (including a small amount of prose and essays), and seven translations were published, accounting for one fifth of Akutagawa's novels. It can be said that most of Akutagawa's good works have been translated and introduced. The earliest translation of Akutagawa Ryunosuke works is Lu Xun. In 1921, Lu Xun published the translation of "Nose," which is the first novel of Akutagawa translated in China and one of the most wonderful works of Akutagawa Ryunosuke. When LuXunYi out of his Dragon interface after two novels, until 1927, five or six years, no longer appear his Dragon interface works of translation. Akutagawa's suicide in 1927 had a great impact on the Japanese literary world, and the China literary world was also shaken, which became an opportunity for China to translate a large number of Akutagawa's works in the next few years.
Kawabata Yasunari (1899-1972) is a famous Japan writer, the winner of the Nobel Prize for Literature in 1968. Kawabata published as early as 1926 for the Izu dancer, began in 1935 published masterpiece "snow country." But before the 1980 s, Kawabata translation only Fan Quan in 1942 out of the "article"(Shanghai Fudan publishing house), it is a pity that the translation has been difficult to find, the total bibliography during the period of the Republic of China and so on also not description, translation of what title is unknown. In 1968, Kawabata won the Nobel Prize for Literature, fame at home and abroad in Japan. However, it was during the so-called "Great Proletarian Cultural Revolution" in China that it was impossible to respond properly to Kawabata Yasunari's award. Until the 1980s, Kawabata Yasunari's works were ignored by the literary translation circle in China. In the early 1980s, Kawabata Yasunari's translation became a hot topic in the translation of Japan literature in China. Old translator Han Shi girder and Ye Weiqu, Yue-Mei Tang first began to translate Kawabata's works. Later, new translators appeared for six consecutive years to study and translate Yasunari Kawabata's works such as Ancient Capital and Thousand Cranes, and they all had translations. By the 1990s, the "Japan literature craze" that had been in full swing in the 1980s had generally cooled down, but the translation and publication of Kawabata Yasunari's works remained in full swing.

===2 the Translation of Natsume Soseki===
In the history of Japan literary translation in China, Natsume Soseki's works have always been valued. After the reform and opening up, Natsume Soseki's translation and introduction were translated and published in large quantities. Previously translated works, such as "I am a cat,""brother,""grass pillow" and so on, have appeared six new translations.
Liu Zhenying's translation of I Am a Cat is an elaborate work and a representative work in his life's translation literature. In addition, Liu Zhenying wrote a preface of more than 10,000 words for the translation, which shows that his understanding of I am a Cat and Natsume Soseki has changed compared with before. He no longer treats I am a Cat from the perspective of "critical realism," but focuses on the unique features of the work, discussing and analyzing the humorous, funny and humorous aesthetic features of I am a Cat; He also stated that he did not agree with Hu Xue's view that I Am a Cat was "a self-criticism of petty bourgeois intellectuals" in his essay "Natsume Soseki's Life, Times and His Satires," and that such a view did not understand the true meaning of humor and satire through the mouth of the intellectuals in his works.
1930-1960 S Natsume Soseki's translation, focused on "I am a cat,""a""grass pillow" and other early works; In the 1980s-1990s, the focus of the topic selection began to shift to the middle and late period, and a series of important works of Natsume Soseki in the middle and late period were translated and published successively. The most important of his works are his two long trilogies. The "pre-trilogy" Sanshiro (1908), Since Then (1909) and The Door (1910); The "post-trilogy": After the Vernal Equinox (1912), Pedestrians (1912), and Heart (1914). Natsume Soseki's first trilogy, centered on love and family, describes the inner longing, loss and anguish of petty bourgeois intellectuals. The former trilogy has changed a lot in style compared with the lively and witty early works such as I Am a Cat and Brother. Brush strokes on the inner world of the characters, the story of the work and narrative also played down. The "post-trilogy" further focuses on psychological description, and in a sense they can be regarded as a kind of psychological novel. The third part of the "post-trilogy" is "Heart." When hefinds out that his friend k is also in love with her, he proposes to her first. k committed suicide soon. "Sir" and miss married life is happy, but when he learned that k because of the friendship and love of despair and suicide, he has a deep sense of guilt. He analyzed his own egoistic behavior and psychology, realize oneself and his uncle is a kind of person, others property shudder, eventually committed suicide due to unbearable pain. From the perspective of morality and conscience, the author makes a penetrating analysis and criticism of human's egoism nature in line with the moral Creed of "putting heaven to private affairs." In his later works, Heart is the highest level of art, and some scholars even regard it as the representative work of all his works.
Concentrated published wash stone works in the middle and late, is the Hunan People's Publishing House and Shanghai Translation Publishing House. In 1982, 1983, Hunan People's Publishing House published de-Wen Chen translation of "three or four lang""from then on" singles; In 1984, Hunan People's Publishing House published the first and second volumes of Chen Dewen's translation of Selected Novels of Natsume Soseki, among which the first volume received the trilogy of "Sanshiro,""From then on,""Door" and so on. Shanghai Translation Publishing House in 1983, 1984 and 1985, has published the Japanese literary translator Shu-Wen Wu (born in 1943) translation of "three or four lang""later" and "door"; In 1988, the Shanghai Translation Publishing House combined the three works into a single book entitled "Love Trilogy," which was published as one of the "Japan Literature Series" of the publishing house. This is a high quality translation. Wu Shuwen's translation, language color, age, beautiful and smooth. Particularly commendable is in front of the translation, the crown has three having substance in speech of the preface. A is Wu Shuwen himself wrote the "first-generation sequence"
, The second article is written by Liu Zhenying from look on coldly to rebel, the third article is written by Lv Yuanming the anguish of the pressure. The three articles analyze and expound the meaning and connotation of Soseki's works from different angles, which not only help readers understand Natsume Soseki's works, but also add a strong academic atmosphere to this translation.
Natsume Soseki in his later years, there are two important works, namely the autobiographical novel "the grass." The title "The Way" contains the meaning of "waste time." "Light and shade" is the last work of wash stone, the author failed to finish the book died. The book also appeared in two versions, one is the channel of literature and art publishing house in 1985 Lin Huaiqiu, Liu Jieren translation of "bright and dark"; One is the 1987 Shanghai Translation Publishing House in ray translation of "light and shade."
In this way, most of the works of Natsume Soseki's life (especially novels) have been translated into Chinese. Only the novel "corn poppy grass"(1907) and so on a few important works, no translation for various reasons. ("The Chinese language" is used in the translation of the Chinese language, which is very difficult to translate.) The general readers in China can basically understand the broad and profound "Shushi Literature" systematically by means of the translation.

===3 the Translation of Akutagawa Ryunosuke===
The earliest translation of Akutagawa Ryunosuke is Lu Xun's Nose. "Nose" is written by an ancient monk oversize long nose. Monk for his long a deformity of long nose and times by others laugh at, the heart is very painful, when he learned from China, finally put the nose short some time, but more explicit laughed at by others. Later, long nose back to the original state before treatment, the monk has the feeling of relief, thought: This time no one laugh at me again. This novel profoundly reveals the people designed to other people's misfortune for happy dark selfish psychology, reflects the people in the dilemma of the society. The full text is only more than four thousand words, written refined implicative, impeccable. Lu Xun at the same time in front of the translation attached titled "<nose> translator note" essay, I'm afraid that is China's first article introduces his Dragon interface. It is said that "The Japan are a very popular writer. Most of the themes used in his works are uneasiness after hope has been achieved, or feelings when uneasiness is being felt. " He added,"I am not satisfied with him about these two things. One is the multi-purpose old material, sometimes close to the translation of the story; Second, the atmosphere of the veteran is too strong, easy to make readers unhappy. " In the same year, Lu Xun and the "Rashomon" translation. Rashomon is a story about a servant who is fired by his master and has no other way to go, taking shelter under the gloomy and decadent Rashomon while considering whether to "starve to death or become a robber." She saw an old woman on the rostrum of Rashomon, in order to make a wig sold dead hair is pulled out. Servant think it is too ugly, come forward to stop. The old woman said,"If you don't do it, you will starve to death," which made him determined to become a robber. He kicked down the old woman, stripped the old woman's clothes, and roared off. This novel profoundly reveals the survival of the selfish instinct, people in the delicate decomposition between justice and crime. Although Lu Xun's attitude towards Akutagawa's "historical novels" is still appreciative, his "dissatisfaction" and criticism still exist. He believes that Akutagawa's novels are "too experienced," meaning that Akutagawa's novels are too philosophical and philosophical, giving people a profound and experienced sense of being a philosopher or transcending mortals. Lu Xun's novels is the purpose of enlightenment, is to transform China's backward national character, and not like his creation as a means to explore the true meaning of life, the pursuit of artistic life. For his type of abstract philosophy to explore, Lu Xun is clearly able to shrug off.
After LuXunYi out of his two novels, until 1927, five or six years didn't appear again his Dragon interface works of translation. After Akutagawa committed suicide, it is wonderful that from 1927 to the early 1940s, when he committed suicide, it was the climax period of China translation and introduction of Akutagawa Ryunosuke's works. In July 1928, Shang Yihe edited the translation of "his Dragon interface stories" published by Beijing Mandarin society. This is the first collection of Akutagawa Ryunosuke's works published in China in the 1920s and 1930s. Translator Shang Yihe had studied in Japan, after returning to China in 1925 constantly translated Japanese literature. "Akutagawa Ryunosuke Collection of Stories" is also Tang Yihe's first translation. The translation of the selected works and "novel monthly" in the "Akutagawa Ryunosuke album" selected items are not repeated, some novels-such as "spider silk"--is quite distinctive masterpieces. "Spider silk"(and "spider silk") in full only two thousand words, based on Buddhist stories. The novel still shows people's absolute self-interest instinct, but also a strong fatalism.
The translation of Akutagawa Ryunosuke continued to be valued after the reform and opening up. The first published is the old translator LouShiYi translation of the Akutagawa Dragon interface novel eleven, published by Hunan People's Publishing House in 1980. The book received translation of the title has "rashiomon""hell change""in the death of the people""old plain light sound honour" Akiyama figure "" the Mang Bush "gratitude""Fu's chastity "" sixth Princess "" play Samadhi,"a total of 11 short works. These novels were translated by Lou Shiyi during the special historical period from April to June 1976. Lou Shiyi translated Akutagawa Ryunosuke's works in a special period when the political environment was very dangerous. He was surprised that also can be published. Lou Shiyi's translation of Akutagawa's works under this circumstance became the first translation of Akutagawa Ryunosuke published after the reform and opening up. Most of the works, except Rashomon and Akiyama, were not translated during the climax of Akutagawa's translation in the 1930s, and were first translated by Lou Shiyi. Among them,"the jungle" and "hell" belong to all the works of Akutagawa Ryunosuke the most representative works. LouShiYi hundreds of novels in his, choose such works, is a aesthetic vision.
Akutagawa Ryunosuke is one of the Japan writers who have the most readers in China. Due to his strong philosophical works, writing techniques, superb novel skills, it is not easy for ordinary readers to deeply understand. But in the literary accomplishment higher readers, his works are very popular. In the 1980s-1990s, many articles about Akutagawa Ryunosuke were published in academic journals. Some textbooks and monographs on Japan literature history and Oriental literature history included monographs or special sections to describe Akutagawa. However, compared with the studies of Natsume Soseki, Kawabata Yasunari and Mishima Yukio, the study of Akutagawa Ryunosuke in China is a little cold and cheerless, and there is no special biography or research works.

===4 the Translation of Kawabata===
The translation of Kawabata Yasunari quickly became a hot spot in the translation of Japan literature in China in the early 1980s. 1985 was a bumper year for Kawabata Yasunari's translation. This year, a total of seven or eight Kawabata works translation, including Han Shi girder, Jin Fuyi, Shanghai Wenyi publishing house "ancient capital," Guo to shun, Shaanxi People's Publishing House "Thousand Cranes," Tang Yuemei translation, foreign literature Publishing house "dancer," Ye Weiqu translation, People's Literature Publishing House "Kawabata novels," etc.
As an active translator of Japan literature after the 1980s, Ye Weiqu made a positive contribution to the translation and dissemination of Kawabata Yasunari's literature in China. In the 1990s, he edited four series of Kawabata Yasunari's works.
Kawabata's works were translated and published continuously on a large scale and in a large density, which is unprecedented in the history of Japan literary translation in China in the 20th century. Kawabata life most of the works, have the Chinese translation. These translations promote the spread of Kawabata Yasunari among China readers and contribute to the prosperity of translated literature in China. At the same time, they also clearly show that the translation of Japan literature in China has entered the era of commercialization and marketization after the reform and opening up, especially after the 1990s. This in the translation of Kawabata works mainly as follows: Some books of the subject design of cross repetition, the same work many people translation, a variety of translation, the same kind of (article) translation is packaging, repeated published many times there are a lot of.
Kawabata Yasunari's persistent high fever in China is a cultural phenomenon worth studying. There are about three reasons:
First, the Nobel Prize for Literature and its winner's reverence and worship psychology, is quite popular in the readers and the literary world. The notion that a "Nobel Prize winner" is equal to a "world-class writer" is not fully substantiated in logic and fact, but is widespread in feeling and impression. As the second winner of the Nobel Prize in Literature in Asia, Kawabata Yasunari is more rare and valuable than many winners in Europe and America, which can arouse the recognition, attention and resonance of China readers at the level of "Oriental Literature."
Second, Kawabata Yasunari in contemporary Japan, is one of the biggest hot spots of literary studies, although different critics and researchers controversial, but on the whole is very high. There are a lot of articles, books and materials to study Kawabata Yasunari. This kind of situation cannot but affect the translation and introduction of Kawabata Yasunari in China.
Third, Kawabata's works, with strong Japanese national style, in the literature type, writing, meaning and so on various aspects has the specificity, is a great literary writing, literary research and literary criticism, rare text.
Due to the works of Sichuan side from the fine point of the pen, no Western literature classical literature and profound, so readers will not produce down to read the sublime feeling; And because of his work only write feeling and feeling, no absurd conception of Western modernism literature and philosophical speculation, and therefore does not feel deep to read. After reading it, only a little bit of "feeling" and emotional appeal are left. However, if you want to use logical, theoretical language to summarize and promote the "feeling" and emotional appeal, will feel very difficult. At this moment will realize that he did not read Kawabata. Kawabata Yasunari's works have a deep relationship with the traditional Japan literature and traditional aesthetic culture. His works are mostly through the description of love and sex between men and women, to show his Japan "human feelings," Japanese "feeling" and Japanese "beauty consciousness." In order to understand the Japanese "beauty" in Kawabata Yasunari from the perspective of Japan traditional culture and aesthetics, the China General readers must study and explain it by scholars and critics. And kawabata works mostly involved prostitute (e.g.,"snow country"), incest and incest consciousness (e.g.,"thousand cranes""mountain sound"), sexual perversion and sexual delusion (e.g.,"sleeping beauty""one arm"), such as the content of the hong DE, decadent, in sexual morality is strict in China to understand these things, is a culture of the diaphragm. How to look at these works, also insist on critics and researchers to guide the reader.
Kawabata Yasunari's translation and introduction also had a certain impact on the creation of Chinese writers. In contemporary Japan writers, Kawabata is probably only one of the most China writers attaches great importance to the people. Although Kawabata as an authentic Japan writer and difficult to imitate, but after all, he can give writers provide a possible reference. Even some writers because reading Kawabata and took to the road of writing.

===Conclusion===
No matter which Japan writer is studied, translated and introduced, the final achievement belongs to translated literature. "Translation" is different from "foreign literature," then, further said,"foreign literature history" is different from the "translation of literature history."
All kinds of books and textbooks published in China, such as the history of foreign literature (such as the history of United Kingdom literature and the history of Japan literature), the history of regional literature (such as the history of oriental literature and the history of European literature), or the history of literature in general (such as the history of world literature and the history of foreign literature), are all based on the historical facts of foreign literature and the works of writers and writers. They use China to tell, but it is about the original, rather than translation. When we use Chinese to describe "other culture" and "other literature," this is itself a generalized "translation" phenomenon. And we use Chinese writing of foreign literature but ignored the translator and translation of this link, in an attempt to go beyond the translation and directly face the original. And the vast majority of readers of literary history and foreign literature, they can't also don't have to read the original, what they read, is the translation of literature. This is our various "foreign literature" encountered contradictions and embarrassment. In addition, over the past century, China's translation works, has accumulated tens of thousands of kinds. Translations account for more than a third of all published literary books. For such a large amount of cultural and literary wealth, now the general "foreign literature" works but not also can not put them into the scope of research and discussion. However, it is difficult for ordinary works on the history of China Literature to fully and comprehensively display the rich contents of translated literature. This means that translated literature is an independent branch of literary studies, and the history of translated literature should be one of the three major fields of literary history studies, which are juxtaposed with the history of foreign literature and the history of China Literature. The history of foreign literature, the history of China Literature and the history of translation literature constitute a complete knowledge system of literary history.
The study of translated literature and its history in China is still weak. There are many reasons for this situation. There are political, cultural, and literary ideas. It is a common practice to regard "translated literature" as "foreign literature," which is the primary reason for restricting the study of translated literature and the history of translated literature.
Secondly, an important issue in translating literature is the choice of translation. Generally speaking, the history of translation literature should first be the history of famous works. As for non-famous works and non-famous translations, they can be regarded as a general "phenomenon" in the history of translation literature. Generally speaking, the historical status of the translation is determined by three conditions. First, the original is famous masterpieces, this is a prerequisite to determine the status of translation. Second, the translator is famous. A translator is regarded as a famous translator, first of all, because of his accurate and reliable grasp of the topic of translation, and secondly, the reliability of the quality of translation. Third, among the famous translation, the first translation and particularly important. First translation, means to fill the blank, and fill the blank itself has its historical significance. Of course, this is not to say that the translation is not important. However, in the sense of filling in the blank, the second translation cannot replace the first translation.
To study the phenomenon of "translation" of Japanese literature in China, i.e. the so-called translation activities of Japanese literature, is to understand the history of communication between the Chinese and Japanese nationalities with complicated relations since ancient times, and the differences between nationalities can also be revealed from different literary works and ideologies. To grasp the ways of understanding and accepting different cultures by predecessors, to promote communication between nationalities, and to provide a new vision for the future development of China and Japan.--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 13:08, 22 June 2022 (UTC)

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==朝鲜语笔译刘安莉 Liu Anli 202170081635==
<center>'''China's Network literature IP'''</center>

<center>Liu Anli</center>

===Introduction===

Network literature refers to the newly produced literary works, quasi - literary texts and network artworks containing some literary elements, which take the Internet as the exhibition platform and communication medium, and express themselves by means of hypertext connection and multimedia deduction.Among them, the network original works mainly.Network literature is produced with the popularization of the Internet.IP is the abbreviation of "Intellectual Property" in English, meaning "intellectual property" in Chinese.In today's people often say that "IP adaptation,""literature IP" in the "IP" has already exceeded the original meaning of the word. In recent years, the rise of a new word "network literature IP," the meaning of the summary is the network of popular literary works through adaptation, processing, and ultimately into a series of TV series, movies, online drama, stage drama and other derivative products. In short, the most talked about "network literature IP" form is the mutual conversion between literature and film and television. In recent years, The popularity of a large number of online literature IP drama adaptations has made the public pay special attention to online literature IP dramas. Due to the high topic degree, attention degree and large audience, commercial capital has also begun to pay attention to the adaptation market of "Network literature IP."

===Internet literature IP popularity===
By the end of December 2021, the total number of online literature users in China has reached 502 million, an increase of 41.45 million compared with the same period last year, accounting for 48.6% of the total number of Internet users, and the number of readers has reached the highest level in history. According to the Assessment Report on the Adaptation Potential of Network Literature IP Film and Television Drama in 2019-2020（《2019—2020年度网络文学IP影视剧改编潜力评估报告》） released in February 2021, the total output value of downstream cultural industry driven by online literature IP in the first two years accumulatively exceeds CNY 1 trillion. As an important way of industrialization of network literature, film and television drama is the most intuitive form of shaping China image and telling Chinese stories. "In 2021, network literature provides more high-quality and rich content and innovative and diversified forms for film and television drama creation, and gives birth to several head dramas and phenomenon-level hits, becoming the protagonist of film and television drama adaptation. "According to Douban's（豆瓣） Baidu（百度） index ranking of 2021 series, the TOP 20 list includes 12 works adapted from online novels, such as "My Heroic Husband （赘婿）,""SWORD SNOW STRIDE （雪中悍刀行）,""Shangyang Fu（上阳赋）,""You Are My Glory（你是我的荣耀）" and "RATTAN （司藤）," covering comedy, fantasy, history, metropolis and other subject areas. In the maoyan（猫眼） research institute to this year's drama market observation data, Net article IP change screenwriter in the hot list TOP 10 occupies 8 seats, Big production drama as high as 80% of the proportion reflects the net article in the content development potential. Adapted from the novel of the same name network drama "My Heroic Husband "（赘婿） Feature film effective broadcast up to 4.849 billion; Adapted from the novel of the same name, "Soul land"（斗罗大陆）has been broadcast more than 4.3 billion times by the end of the game, ranking No.1 in the bone flower popularity list for 27 consecutive days.
Network literature has not only made remarkable achievements in film and television adaptation, but also provided users with an "amplification effect" of IP content through all-round and all-link operations such as animation, audio, short drama, offline travel and derivatives. The linkage of different art forms has contributed to the breaking of the circle of multi-form output of network literature. Among the 114 new animation dramas for teenagers launched throughout the year, There are 72 IP adaptation works. According to the " 2020- 2021 China Online Audio Industry Research Report" of Ai Media Consulting（艾媒咨询的《2020—2021年中国在线音频行业研究报告》）, 86.2% of users prefer to listen to IP audio content when the audio column types are close to each other. Take the IP adaptation audio works of Yuewen Group（阅文集团） in 2021 as an example, not only the themes of the works are diversified, covering fantasy, suspense, romance, science fiction, immortal chivalrous, games, cities, history, light novels and other categories, but also the number of clicks in the whole year reached 12 billions.

===The Background of IP Adaptation of Network Literature===
There are three points: the development of network technology, the increase of audience demand and the drive of film and television interests.
First of all, the emergence and prosperity of the Internet, so that people's way of life has undergone tremendous changes, but also greatly promoted the development of network literature. The development of network technology has enriched the channels and ways for people to obtain information and entertainment. More and more literary creators choose to share their works and create by using the network platform. People pay more and more attention to network literature, and the creation of network literature is more and more open, free and vigorous. At the same time, the film, TV series and other industries keep up with the pace of the times, reform the production mode, for the network literature IP adaptation provides a good opportunity.
Secondly, the network literature works spread fast, spread wide range, convenient and interesting, deeply loved by the majority of network users. According to the popularity of network literature and network literature IP discussed above, we can feel the great demand for network literature works and IP adaptation works of network literature.
In addition, compared with the original script, the adaptation cost of network literature works is lower, with fans, in the selection of works, adaptation, topic effect and a series of processes, each link will bring huge attention, can bring considerable economic benefits to the works and film and television industry. The advantages of these interests also drive the development of network literature and network literature IP adaptation.

===Characteristics of IP Adaptation of Network Literature===
rich in subject matter types
The network literature develops rapidly, the creator base is big, the work type is rich, contains the ancient and modern, Chinese and foreign. The film and television works adapted from network literature include costume dramas, such as Empresses in the Palace（甄嬛传）, Ruyi's Royal Love in the Palace （如懿传）, Shangyang Fu（上阳赋）, etc., modern dramas such as You Are My Glory（你是我的荣耀）, The King's Avatar （全职高手）, RESET （开端）, etc., non-realistic themes such as Love and Redemption （琉璃）, Fights Break Sphere （斗破苍穹）, RATTAN（司藤）, etc. These works include various styles, which can meet the needs of audiences of all ages and different hobbies. In the development of film and television industry, the traditional original script and old-fashioned plot have been difficult to attract the audience's attention, while the bizarre and novel network learning provides a variety of choices, so a large number of different types of network literature works have been adapted into film and television works, or good response.
Stable audience
Now people's living standards generally improve, in the pursuit of material life, the spiritual world also has a certain pursuit. A good literary work is loved by readers because of its ups and downs of plot and distinct personality of characters, which meets people's spiritual needs. With the rapid development of Internet technology and the increasing popularity of mobile devices, more and more people are reading through mobile phones. Network novel because of small, convenient, cheap, can be anywhere at any time in the mobile phone to watch and other characteristics and widely liked by netizens. For example, novels such as Empresses in the Palace（甄嬛传）, The King's Avatar （全职高手）, The Journey of Flower（花千骨）, and Treading On Thin Ice（步步惊心） are all works of great concern on the Internet. The development of online literature has gradually flourished, and the reading volume of online novels has become higher and higher, resulting in a fixed fan base. To adapt to film and television, it is inevitable to find actors to play. These star actors also have a fixed fan base, which provides guarantee for the audience rating. Some well-known stars often have 70 - 80 million fans. A random Weibo post had hundreds of thousands of reposts, and the fan effect they generated was very large. The higher the attention, the higher the value.

===Problems in IP Adaptation of Network Literature===
Copyright disputes and plagiarism disputes

The IP film and television adaptation of network literature is the use of literary works by film and television producers, which may lead to disputes. Copyright involves the authorization, adaptation, sale and consumption of literary works. The consideration of copyright is an important reason for many film and television adaptations. In 2019,"Better Days "(少年的你）once appeared at the forefront of public opinion because of plagiarism, and in December 2020, Jing M.Guo's "The Yin-Yang Master: Dream Of Eternity "（郭敬明的《晴雅集》）plagiarism incident was boisterous, even caused more than 100 film and television people's boycott. Network literature review threshold is low, and the IP adaptation fever has made some people more profit-seeking psychology, in the process of creation or adaptation only ratings theory, only flow theory, thus falling into copyright disputes or plagiarism disputes. The copyright transaction is chaotic and the definition of copyright is vague, which will affect the word-of-mouth and dissemination of works, thus bringing resistance to the adaptation of network literature IP film and television.

Severe cuts, poor plot coherence

The profit channel of online literature is mainly its serial presentation and fan reward. In order to obtain greater economic benefits, the number of words in a work often reaches millions or even tens of millions. In terms of film and television drama policy, in 2019, the State Administration of Radio and Television stipulated: The shooting and production of TV dramas and online dramas shall not exceed 40 episodes, and the creation of short dramas within 30 episodes shall be encouraged. Under this policy, "NOVOLAND:EAGLE FLAG （九州缥缈录）,""They Are Flying（飞行少年）" and other TV series urgently changed the number of episodes, the film and television industry ushered in a big change. It is not advisable to delay the plot and inject water into the content, but the IP screenwriter of network literature will be separated from the original work, and serious deletion will also lead to problems such as incoherent plot and plot loopholes. How to balance the quality and integrity of the network literature IP film and television adaptation is a big problem. At present, the common practice of film and television investment institutions to choose network literature is click rate and ranking list, and the top 10 network literature in click rate is almost a novel, narrative rhythm is slow, involving many characters. To select the essence of the original work within the limited number of episodes is a big test for the ability of the screenwriter and director, which is also the main reason why it is difficult to realize the film and television adaptation of the network novel "Stellar Transformations（星辰变）."

blindly follow the trend, the emergence of mechanical reproduction of the era of works of art

Under the background of pan-entertainment era, the charm of literature withers, and the artistry appears vulnerable to the commercial challenge. Literature and film and television belong to the same category of art and should have literary and aesthetic value. The paid reading of network literature leads to excessive commercialization of the subject matter and content of online literature, blindly catering to the market, and light weight. The absence of literariness has laid hidden dangers for the sustainable development of IP film and television adaptation of network literature. Although network literature is an important way for mass entertainment, However, if the market still blindly follow the wind, excessive entertainment as the direction of literary creation and film and television adaptation, the IP film and television adaptation of network literature will stagnate after a short prosperity, and finally perish.

===IP adaptation strategy of network literature===
enhance copyright awareness

Since 2016, the state has promulgated a series of copyright protection schemes to prohibit infringement and plagiarism, and the quality of the people has also increased accordingly. Payment schemes have also reduced the occurrence of plagiarism and piracy. For some relatively mature network literature works, can carry on the appropriate adaptation, should be reasonable, accord with the fact logic, rather than blindly pursue the topic, the explosion point, create some completely illogical plot, lead to the film and television drama quality is low, the quantity is reduced, the type homogeneity.
It is a win-win process to adapt network literature into film and television works, which can not only promote the development of network literature, but also make the film and television industry flourish. While pursuing their own interests, the producers of film and television dramas should respect the law and the intellectual property rights of the original works, and realize mutual benefit and win-win results within the legal scope. We should not only resolutely crack down on infringement, but also enhance people's awareness of safeguarding their rights. Individuals should also strengthen their legal awareness in their lives, fight bravely in the face of infringement and learn to safeguard their rights. With the joint efforts of the state, society and individuals, the network literature industry will certainly have a more healthy and green development, and the film and television industry will also receive more attention.

for high-quality production

Although literature and film and television belong to two different artistic categories, exquisite content is the common magic weapon for both to win. Only by understanding the characteristics of content creation and narrative structure of both, and developing a set of interactive production mode through integration and reconstruction, can we lay a solid foundation for the successful combination of the two. One is the conversion of IP content from text to image. First of all, the film and television adaptation should be logical, and the adaptors should choose and reconstruct the literary works properly. Secondly, the plot of the picture should be reasonably exaggerated. Especially in the film and television adaptation of fantasy and ghost themes, we should appropriately enlarge the characteristics of characters, so as to make the original characters more plump and fit their identities. Thirdly, we should improve the professionalism of production, expand the audience scope on the basis of stabilizing the original fans, and meet the double expectations of literature and film and television audiences. The second is the reconstruction of space-time narrative in film and television adaptation. In time, film and television can be through the lens, elements, the picture mosaic so that people have emotional resonance. In space, the network novel to text symbols as the main carrier of construction environment background, and television writers can use sound and picture language so that the audience intuitive perception, but also can be a novel space for replacement, displacement.

Focus on value delivery

The Internet is a free creation, highly virtual space, so inevitably there will be some vulgar and violent content. TV producers adapted network literature is the most critical step in the choice of the content of the work and the theme of sublimation. Adapting network literature works into mainstream values of the film and television works, not only can successfully pass the review, more important is to rectify the excessive pursuit of online readers 'preferences, modular writing caused by commercial drawbacks, For example, in the process of adapting THE Longest Day In Chang An（长安十二时辰） into a film and television play, on the one hand, it recognizes the spirit of women's inspiration, focusing on the description of Tan Qi（檀棋）'s independence and rational love; On the other hand is the respect for traditional culture, the play's clothing, props, architecture, etiquette, customs and so on are the screenwriter read a large number of books, rigorous and sophisticated results. The play's strong sense of national responsibility and the spirit of family and country is also advocated by today's society to carry forward the mainstream values, greatly enhanced people's cultural consciousness and confidence. Network literature film adaptation in the dissemination process should also make full use of the dissemination platform. Network novel dissemination platform is the novel website, The communication platform of film and television drama is television and cinema. Under the background of media convergence, the adaptation of network literature IP can try new paths, such as inserting film and television pictures and videos into literary works; In the process of film and television play broadcast to provide original novel links; In the chatter, fast hand and other new media broadcast wonderful clips, call on the audience to participate in the creation of film and television drama, decide the trend of the plot by themselves, etc. In a word, the network literature IP film and television adaptation has become the new trend of the times, in order to make this new phenomenon have sustainable vitality, we must grasp the profound connotation of the theme, give play to the value guiding role of the film and television drama.

===Conclusion===
The popularity of film and television adaptation of network literature IP shows that the IP industry chain on the market is becoming more and more mature. With strong content advantage and huge market capacity, network literature has become an important engine of cultural industry. Network literature and film and television, animation, games, audio books, derivatives development and other fields of extensive linkage, the formation of the whole cultural industry chain, creating considerable economic benefits. In addition, the network literature plays an increasingly important role in the overseas dissemination of China culture. In recent years, there have been numerous overseas "fans" of China online literature, and the "sea fever" of Chinese online literature has become a global cultural phenomenon. In just a few years, the overseas dissemination mode of China online literature has been continuously upgraded, completing the evolution from content to mode, from region to world, from output to linkage, and taking solid and powerful steps in disseminating Chinese culture, displaying China's image and promoting mutual learning among civilizations. The film's main feature is "strong storytelling, strong character creation, and strong camera sense." "The hardcore of online fiction is telling a good story. Network literature stories should not only have waves, ups and downs, soul-stirring conflicts and open-minded bridges, but also have certain scarcity and strong identification. In addition, the shell of the story plot must be able to connect with the current social reality and the public psychology, and generate empathy with more audiences before it can become the head IP. "
With a good story and a good text, we still need to go through the two barriers of adaptation and production. To adapt the network literary works into film and television, we should fully respect the original works, and can't be quite different from the original works in terms of story plot and characterization. At the same time, we should conform to the development and changes of the times, add new popular elements to make the stories and characters more full. Network literature, film and television production should have a sense of quality and the spirit of the craftsman, presenting excellent script, well-made, excellent interpretation, the value of positive excellent works. In the shooting process, to the actor selection and clothing, makeup, props on the heart, but also pay attention to the network literature behind the values and reality fit. Network literature film and television production to coordinate the interests of all parties. In the network literature IP film and television drama adaptation tide, the emergence of a lot of market and public praise double recognition of high-quality works, but there are also plagiarism imitation, shoddy, follow the wind pile up and other phenomena. To this, on the one hand for piracy and infringement of the crackdown can not relax, to pass legislation and other measures, in the identification of infringement, punishment and compensation and other aspects of efforts; On the other hand, it is necessary for all parties in the IP industry chain to "cherish their own feathers," take the creation of high-quality content as the initial intention, coordinate the interests of creators, platforms, investors, producers and other parties, gradually improve the operation and supervision system, and create a healthy environment for the sustainable development of the industry chain.

===References===
Zhu Kaige朱凯歌,Xu Lu吕璐.论网络文学IP改编的现状与发展[On the Current Situation and Development of IP Adaptation of Network Literature][J].2020（10）:167-168.

Mao Tengfei毛腾飞.解读网络文学IP改编的成功之道[Analysis the Successful Way of IP Adaptation of Network Literature][J].新闻研究导刊，2016（10）:295.

Mu Xiangxiang母翔翔.IP改编电影发展现状及反思[The Development Status and Reflection of IP Adapted Films][J].电视指南，2018（13）:52.

Li Zijia李子佳.热播网络文学改编剧改编策略研究[Research on the Strategy of Adapting Popular Network Literature to Screenplay][J].四川戏剧，2020（6）:130-133

Jiang He江河.网络文学影视改编的发展及应对[The Development and Countermeasures of the Adaptation of Network Literature and Film][J].新闻传播，2020（20）:90-91

===Terms and expressions===
network literature网络文学

IP adaptation IP改编

copyright protection 版权保护

mainstream values 主流价值观

My Heroic Husband 赘婿

SWORD SNOW STRIDE 雪中悍刀行

Shangyang Fu 上阳赋

You Are My Glory 你是我的荣耀

RATTAN 司藤

Soul land 斗罗大陆

Yuewen Group 阅文集团

Empresses in the Palace 甄嬛传

Ruyi's Royal Love in the Palace 如懿传

The King's Avatar 全职高手

RESET 开端

Love and Redemption 琉璃

Fights Break Sphere 斗破苍穹

The Journey of Flower 花千骨

Treading On Thin Ice 步步惊心

Better Days 少年的你
The Yin-Yang Master: Dream Of Eternity 晴雅集

NOVOLAND:EAGLE FLAG 九州缥缈录

They Are Flying 飞行少年

Stellar Transformations 星辰变

THE Longest Day In Chang An 长安十二时辰

===Questions===
1.What is network literature?

2.Please summarize the background of the IP change in network literature.

3.What are the characteristics of IP adaptation of network literature？

===Answers===
1. Network literature refers to the newly produced literary works, quasi-literary texts and network artworks containing some literary elements, which take the Internet as the exhibition platform and communication medium, and express themselves by means of hypertext connection and multimedia deduction.

2. There are three points: the development of network technology, the increase of audience demand and the drive of film and television interests.

3. Rich in subject matter types ;Stable audience.

==朝鲜语笔译王思佳 Wang Sijia 202170081636==

===Introduction===
Nanyue longevity culture culture is a wonderful flower growing on the land of Nanyue. It is the epitome and representative of Chinese longevity culture, and also a beautiful scenery line famous at home and abroad. In the ancients 'view, Nanyue was not a mountain, but a god, which decided the life span of each dynasty, controlled the country's chaos, natural disasters and agricultural prosperity, that is to say, the rise and fall of the country depended on it. Nanyue is regarded as secular Shoushan. Everyone has a good desire to pursue happiness, health and longevity. In ancient , the important way form people to express their desire was to worship Nan Yue,the Longevity Mountain which was called "Jugaku" ,and it was the result of the convergence and integration of different pursuits and ideals of ancient people. The folk custom of Nanyue longevity is formed and developed in the specific natural and historical cultural environment, with distinct local characteristics. It takes "Jugaku" as the background, celebrates longevity, praying for longevity and congratulating life as the content, and adopts the forms of sacrifice, holding Dharma meeting, facing the mountain and holding birthday wine, etc., forming a unique and colorful folk custom. This folk custom has been passed down from ancient times to the present, with both inheritance and development and innovation. It is a gorgeous flower on the laurel of Nanyue longevity culture.
===The origin of Jugaku===
Nan Yue is also known as the "Jugaku," which is an ancient legend in the history of China. According to legend that before the warring states period, the society will spread a saying: The stars in the sky correspond to the things on earth one-to-one.The stars in the sky are divided into "twelve degrees," and the countries and states on the earth are also divided into "twelve fields." The changes of light and shade of the stars in the sky predict the changes of human things and the good and bad of people's destiny. The seven stars in the sky are shaped like a giant bird, called "Suzaku". One of which is named Zeng（轸）, corresponding to Chu（楚） and Jingzhou（荆州） on the ground. In the Han dynasty this statement is more concrete, the sky has a star of changsha that corresponds to the changsha county on the ground. In the Tang Dynasty, some people linked the change of the brightness of the Changsha star with the longevity of people and the prosperity of their descendants. The Changsha star was in charge of the longevity of the human world. If the star was bright, people's longevity would be long and their descendants would flourish. Because the Hengshan Mountain belonged to Changsha County in the Qin Dynasty and Changsha State in the Han Dynasty, and its main body was made of granite, which had a solid and long-lasting natural character, people called it "Jugaku." From then on, it became a holy mountain and its social status became higher and higher.
First of all, it is regarded as the custody god of the country. In the ancients , Nanyue was not a mountain, but a god, which decided the lifespan of each dynasty, controlled the country's chaos, natural disasters and agricultural prosperity, that is to say, the rise and fall of the country depended on it. Therefore, from the Tang Dynasty to the Qing Dynasty, the supreme rulers of the past dynasties were very awed by Nanyue Mountain and regarded it as the guardian god of the country. It is said that Emperor Huizong of the Northern Song Dynasty wrote the word "Jugaku" on the Yellow Emperor Rock of Jinjian Peak of Nanyue Mountain, indicating that Nanyue Mountain was the "Longevity Mountain" of the country. Emperor Kangxi（康熙） of the Qing Dynasty sent envoys to offer sacrifices to the Nanyue Temple and wrote inscriptions on the temple to explain its historical origins and merits. It is said that Emperor Yongzheng（雍正）, a shrewd and thrifty man, had forbidden the construction of temples at a large cost. When he heard that the Nanyue Temple was to be repaired, he regarded Shouyue as the god of protecting the country and approved the repair by the court. In addition, the people of all ages hoped for peace and social stability.
Second, it is regarded as a religious shrine.Of the five mountains of China, only the Southern Mountain was located in Jiangnan.The mountain qingfeng - xiangguang fracture tall and straight, beautiful scenery, quiet environment, two major religions in ancient China ------ Taoism and Buddhism, have come to these tasks and seek development.The mountain has "Qingyutan Fudi（青玉坛福地）“，”Guangtiantan Fudi（光天坛福地） and so on. So it is also known as the "Shoushan." Therefore, it is an ideal place for people to convert to Taoism, cultivate true and refine Tao in order to achieve immortality. Buddhism also calls Nanyue the birthplace of the two branches of Buddhism. Dharma is inherited all over the world. The two jungles , Nantai(南台) and Fuyan(福严) are known as the "source of the world's Dharma" and the "court of the world." Nanyue God is also a Buddhist God. There is a special hall dedicated to the worship of Fuyan and Longevity. In addition, Yanfeng Temple（雁峰寺）, the first peak of Nanyue, also has a native new Buddha - Buddha Amitayus. Therefore, Nanyue is a holy place of Buddhism and a paradise for worshipping Buddha.
Third, it is also regarded as secularist Shoushan. Everyone has a good desire to pursue happiness, health and longevity. The ancient people express the desire of the important way or form, is to make a pilgrimage to Nan Yue.People makes a pilgrimage to the Nanyue, often combined with filial piety, mostly praying for their parents. The Ten Wish Songs(十愿歌) passed down through the ages reflect this characteristic. Of course, there are also those who pray for their own longevity. For example, some emperors sent envoys to the mountain on their birthdays or when they were suffering from serious illness. People prayed for both longevity and blessing, but they put praying for longevity first, because there is no longevity, and there is no way to talk about happiness. Therefore, people used to call the Nanyue Mountain "Shoushan."
In short, the South Mountain is called "Jugaku," which is the result of the convergence and integration of different pursuits and ideals of ancient people. When this kind of social pursuit and ideal under the condition of also cannot be free to know and realize, can only be transformed into a beautiful legend, give people with spiritual comfort and satisfaction.
===The Mystery of Longevity of Nanyue People===
It is no doubt that Jugaku can bless people longevity, which is a kind of hope and good wishes of people, however, Jugaku's people is longevity, it is indisputable fact. According to statistics, the average life expectancy of the ancient people in our country is less than forty years old, seventy is one of the few old.And people who live in the mountain, enjoy life over the age of seventy, numerous similar cases. According to the "YueZhi (岳志)" 's record, jin dynasty Wei Huacun (魏华存) enjoy life of eighty-three years old, In the Liang dynasty Liao Chong (廖冲) lived more than one hundred years old; In the Tang Dynasty Sima Chengzhen lived more than 90 years old. And so on.People who are now living in the mountains, the elderly are more. According to 1999 statistics, Nanyue Mountain's Yuelin Township, has 2064 people, of which 70 - 79 - year-old 123 people, 80 - 89 - year-old 65 people, 90 - year-old three people, is really worthy of the name of the elderly area. So, Shouyue people the mystery of longevity where it?
First, the mountain plant coverage rate is high, the scenery pleasing to the eye, the air is fresh, the temperature is pleasant. Nanyue is known as the "Five Mountains of Unique Beauty." Its mountains are beautiful. Vegetation covers almost all the peaks, ridges and valleys. The mountains are green, as if they are a green ocean. It has beautiful scenery, luxuriant forests and bamboos everywhere, flying springs and dysprosium, and attractive natural and cultural landscapes. It is especially famous for its "four wonders" all over the world. Therefore, it is widely said that "when returning from Huangshan Mountain, you don't look at the mountains, and when returning from Nanyue Mountain, you don't look at the mountains." Its pleasant temperature, Sheng Department, the mountain hot Xiren, while the mountain breeze blowing, the day to wear long - sleeved clothes, at night to cover thin quilt. People live here, such as home fairyland, beautiful environment, fresh air, mood stretch, its life naturally higher.
Second, There are clear springs everywhere in Nanyue, the water quality is good, most of the food people eat from the mountains, not contaminated. Here mountain belt Collins, clear spring all over. According to the load, the mountain famous springs have ZhuoXi Spring(卓锡泉), tiger Spring(虎跑泉), White Turtle Spring(白龟泉), Wan Xian Spring(万仙泉), Guandao Spring(万仙泉), heart washing Spring(洗心泉), crystal Spring(碧泉), Ziqi Spring(紫气泉), lazy residual Spring(懒残泉), general Spring(将军泉), lion Spring(狮子泉), Suo Luo Spring(娑罗泉), Sun Spring(太阳泉), Jade sand Spring(玉砂泉), etc. Jade sand Spring is located on the top of the mountain, where the water flows through a large rock (known as the "broken rock source(断石源)"). Sun spring in ZhuRongFeng(祝融峰), is located in the unique top, water should be insufficient, however, this spring Mimi flow day and night, through one thousand never dried up, daily water for thousands of people to drink. These springs are pure, sweet and refreshing. Long - term drinking can make people live longer. Therefore, people call the mountain stream formed by the confluence of many springs on the mountain "Shoujian." In addition, the food, vegetables, fruits and tea eaten by people living on the mountain are generally produced from the mountain and have not been polluted. Edible wild fruits and plants are good natural foods and are beneficial to human health. It is recorded that Chen Chongzheng, a famous celebrity in Nanyue Mountain of Northern Song Dynasty, only drinks clear spring water or eats melon spring every day. He is over 80 years old and "walks like flying" on the mountain. The reason why he is so healthy is that he has good drinking water and food.
Third, nanyue specialty, some have strong body fitness, add in the effect of life. As the saying goes, a party of soil and water to generate a unique property. Nanyue specialty variety, wide range of uses, some are rare medicinal herbs, some are food and fruit with special efficacy.Lingzhi (Ganoderma lucidum), also known as "red ganoderma" by Nanyue people because of its reddish brown cover, has the function of replenishing vital essence, strengthening bones and muscles, and is mainly used for treating diseases such as fatigue, palpitation and insomnia.Nanyue ganoderma lucidum, top grade, is the world as the god of life.Polygonatum sibiricum is sweet and mild in nature. It is beneficial to the middle warmer, calming the five internal organs, benefiting the spleen and bones, benefiting the heart and lung, dredging the bones and muscles, and eliminating rheumatism. Kiwi fruit, commonly called "rattan pear," is a wild fruit in Nanyue Mountain. Its skin is brown, and its flesh is light green. It has high nutritional value. Its medicinal effect is mainly used to quench thirst, relieve fever, help digestion, cure diarrhea, and lower urinary tract infection. In addition, the mountain also produces medicinal materials such as angelica dahurica, radix bupleuri, poria cocos, rhizoma arisaematis, baiyao, schisandra chinensis, fructus momordicae, angelica sinensis, and caulis sinomenii, as well as cloud tea, bamboo rice, fragrant rice, Arhat taro and other products. Long - term people living in the mountains, it is easier to pick these herbs, but also easy to eat these products with special efficacy; In addition, the mountain hard production and living conditions, caused the people strong physique, it's for nanyue life high and create the conditions.
===Nanyue Longevity Folklore===
The folk custom of longevity in Nanyue is formed and developed under the specific natural and historical cultural environment, with distinct local characteristics. It takes "Jugaku" as the background, celebration , prayer and celebration as the content, and adopts the forms of sacrifice, holding Dharma meeting, facing the mountain and holding birthday wine, forming a unique and colorful folk custom. This kind of folk custom has been passed down from ancient times to the present. It is not only inherited, but also developed and innovated.
Worship Nanyue. Nanyue is generally held in October of the lunar calendar every year. It is said that this time is the birthday of Nanyue Saint Emperor (also known as Nanyue God), and the sacrificial ceremony is very grand.Specification has always been very high, to be held by the court authorized and afford or designated host.Ceremonies procedures, offerings, quantity and display, the priest knelt down etiquette, etc., the court has expressly provided.Offering sacrifices to the mountains is not only for the celebration of the longevity of the Nanyue Saint Emperor, but also for the country and the people.Cooperate with sacrifice, generally organized a grand folk activities, religious activities and cultural and sports activities, such as religious law will be held, the public organization dragon dance team and play a lion.In accordance with the drama, folk stories to carry out cross - dressing parade, the ancient town of four streets and Kuixing Temple Pavilion stage performances, martial arts performances, etc., the audience for a long time up to tens of thousands of people. Merchants took the opportunity to publish the market, trading is very active. October 6 to 10, 2000, Hengyang City, Hengshan held here in the Chinese Longevity Festival and temple fair. Most of the traditional folk activities retained, but also added the Chinese Longevity Tripod inauguration ceremony, public sacrifice Nanyue Shengdi Fa Hui, high - altitude tightrope walking challenge,"the world Nanyue, The fireworks evening party and other large - scale activities set four Guinness World Records, with more than 300,000 domestic and overseas tourists. The economic and trade negotiations and the signing of the contract for the utilization of foreign capital amounted to 120 million US dollars. It was a colorful and eye - catching occasion.
Pilgrimage to Nanyue.It is also known as the "South Mountain Incense," which means that people pray for longevity, disaster elimination and blessing. Every year from the middle of July to the end of September, commonly known as the "South Mountain Fragrance Period," pilgrims from all over the world come to worship. Pilgrims in rural areas, they are in droves, less than a dozen people, more than hundreds of people, head red towel, chest hang sachets, mouth sing the yue song. Some still uniform clothing, neat queue, action to listen to password, just like trained troops.There are many forms of pilgrimage.Have to burn incense, incense in hand, with sweet bursa, knee with cotton or cloth, each line into a few steps (generally divided into three steps, five steps, seven steps, nine steps), then knelt down and worship.The old from the door, has been to worship to ZhuRongFeng.And hungry incense burning, on the way back and forth pilgrimages can't eat, can only drink water.They usually wore green clothes and straw sandals. In their rucksacks, they carried a small ladle to scoop up spring water for drinking on the road. From the first to the fifteenth day of the eighth month of the lunar calendar, the peak period of pilgrimage is sometimes as many as 100,000. The streets, temples, hotels and shops are crowded everywhere. The market is extremely prosperous. On both sides of the street, in front of and behind the temple, there are rows of shops and stalls, all kinds of small and exquisite handicrafts and tourist souvenirs, local famous products, specialties and foreign commodities. In the past, pilgrims to Nanyue Mountain were all on foot, some of which had to travel hundreds of miles, and all the temples and temples along the way had to be burned and worshiped. Even if they traveled day and night, it would take half a month to go back and forth. Now, most of them take modern means of transportation, some even rent special cars, usually three to five days is enough. Since the 1990s, the number of burning incense and starving incense has gradually decreased, and pilgrims have taken into account the increase in sightseeing besides pilgrimage.
Worship Shou Buddha.Prevailing in the first peak back to the wild goose peak wild goose peak temple. Legend has it that the life of the Buddha lay family name is zhou, Jin Zhen, chenzhou in tang dynasty, was born in the lunar February 8. 16 becoming a monk, ZongHui, enjoy life of one hundred and thirty-nine. Ming and Qing dynasties, and reincarnation for monks, in tin wild goose peak temple, to pass on one's experience, wild goose peak temple to build longevity Buddha hall as a memorial. Every year, on the eighth day of the second month of the lunar calendar, a grand Dharma meeting is held in the temple. Men and women from all over the world gather in Yanfeng Temple to celebrate the life of Buddha and pray for their families. In front of the temple, a stage is set up to sing opera, or a martial arts contest is set up to attract the audience. The merchants outside the temple have a market, and the market is crowded with people. It is commonly called "rush on February 8." In the 1940s, when the Japanese invaders invaded Hengyang, the temple on the peak was destroyed by Japanese artillery fire, and the custom of "praying to Buddha" ceased. In the 1980s, the Longevity Buddha Hall was rebuilt. On this day every year, although there is no city on the peak, there is an endless stream of pilgrims and tourists. Do Longevity wine.Hengyue people value everyone's birthday.Every tenth birthday is called "Dasheng(大生)", which is celebrated with birthday wine.People who turn 60 years old is called "sexagenarian," and from then on, every tenth birthday is called "Shoudan(寿诞)" and needs to be solemnly organized to celebrate birthday. Relatives and friends to go to congratulate, send birthday presents, generally like birthday plaque(寿匾), birthday couplet(寿联), birthday noodles(寿面), cloth, etc. On birthday plaque, screens and couplets, there are many auspicious folk words: "Happiness is as immense as the Eastern Sea, and longevity is as great as the Southern Mountain." In the poem,"Southern Mountain" originally refers to the mountain in the south. Later, some people think that "Southern Mountain" refers to the Southern Mountain, so it has become a common sight in the local area. In addition, relatives also need to send birthday peaches, that is, rice cakes are made into peach shapes, with red dots on them. When the couple is still alive, they wish "double longevity" and the gifts are increased. The host family should sign to thank the guests. In the evening of birth, noodles are usually served.
===Conclusion===
Nanyue Jugaku Culture involves a wide range of aspects, in the system and customs are also involved. In today's fast-paced life, we urgently need the Nanyue longevity culture to guide us. We need such thoughts to promote the harmonious development of human and society. Nanyue longevity culture is the foundation of Chinese health preservation. We should Promote and inherit such excellent culture.
===References===
[1]Wu Changyun 吴长云.(2001).南岳与寿文化[Nanyue and longevity culture ].湖南文史Hunan literature and history (02):72-73.
[2]Cao Yiyun 曹译匀.(2011)对南岳文化景观的解读[Interpretation of the cultural landscape of Nanyue].旅游纵览Travel Overview (12):96-97.
[3]Zhou Wei 周巍.(2002).寿岳说寿[Shouyue Shuo Yue].新闻天地News World (06):35-37.
[4]Li Chengxiu 李程秀.(2020)南岳寿文化的现代养生价值研究[Study on Modern Health Preservation Value of Jugaku Culture in Nanyue] .文化创新比较研究A Comparative Study of Cultural Innovation (07):43-44.
[5]Han Xia 韩霞.2017.中国寿文化与道教思想略论[China Judaku Culture and Taoist Thought].人文天下Humanistic world (05):38-41.
===Terms and expressions===
寿岳 Jugaku
朱雀 Suzaku
寿山 Shoushan
法嗣 Dharma
无量寿佛 Buddha Amitayus
寿佛 Shou Buddha
花甲之年的人 sexagenarian
===Questions===
When the “Worship Nanyue” event starts？
What is the secret of Nanyue people's longevity?
Which religions have come to Nanyue to seek refuge and development?
===Answers===
It is held in October of the lunar calendar.
Fresh air, pleasant climate, good water quality; health strong body; medicinal material that improve health and prolon life.
Taoism and Buddhism.

==朝朝鲜语笔译徐盖 Xu Gai 202170081638==
<center>'''Jiangxi Nuo'''</center>

<center>Xu Gai</center>
===Introduction===
Nuo culture, in which Nuo dance, also known as ghost play, is the oldest dance of entertaining gods in Han nationality, which worships gods, dances ghosts, drives away plagues and avoids diseases. "Nuo" is a social and cultural phenomenon with strong religious and artistic color, which has a long history and is widely popular in the Han nationality. It originated from the natural worship, totem worship and witchcraft consciousness of the ancestors of the Han nationality. The ancient ancestors lived and multiplied in conquering nature. Their desire for survival needed the help of religious ideas to surpass themselves, so they created the witch Nuo culture.Jiangxi Nuo, is an important part of Chinese Nuo. Nuo is a cultural phenomenon that spirits chase ghosts and pray for disaster. Jiangxi Nuo is a part of Chinese Nuo, which has the characteristics shared by Chinese Nuo. However, Jiangxi Nuo is a regional Nuo culture, and it has experienced thousands of years of accumulation and inheritance, forming a distinctive feature of unique search.

===The origin of Jiangxi Nuo===
Jiangxi Nuo, also known as Gan Nuo, is an important part of Chinese Nuo. It is well-known at home and abroad for its long history, primitive form, rich varieties and its own cultural system. It is called the "living fossil" for studying the development of Chinese and even human civilization. Jiangxi Nuo, rich and thick, began in the early Han Dynasty, and for more than 2,000 years, Nuo has never stopped. Nuo dance, which entertains people, was born out of the ancient Nuo ceremony, and it is more common in many rural areas, especially in Nanfeng and Shangli counties, which can be called the living fossil of Chinese Nuo culture. According to statistics, since the end of the Qing Dynasty, there are more than 150 Nuo classes in Nanfeng County, which not only retain the Nuo temples in the Ming Dynasty and the ancient Nuo ceremonies, but also spread more than 80 traditional programs and more than 2000 kinds of Nuo masks, with more than 2000 existing Nuo artists. Lixian County has been known as "a general in five miles, a god in ten miles" since ancient times. Now there are more than 20 ancient Nuo temples in Ming and Qing Dynasties, which inherit more than 50 percent of the classical Nuo dance. There are more than 400 kinds of ancient Nuo masks and more than 20 mask carvers.

===The distinctive features of Jiangxi Nuo===
Jiangxi Nuo preserved the primitive ancient Nuo ritual completely. The "Nuo Dance" in Shiyou Village, Nanfeng County is the remains of the extremely rare ancient Nuo ritual in China. In addition to its scale, it is eye-catching similar to the basic aspects of the palace Nuo in the Han Dynasty in Hanshu Yiwenzhi. Pengze county Laowuwan's "beating wild cats" is full of the meaning of ancient villagers' exorcism, and it is a kind of epidemic-fighting ceremony with religious significance, which is rare in today's Chinese exorcism culture.

Jiangxi Nuo has a traditional character and rich categories. After thousands of years of secularization and entertainment, a considerable part of Nuo in China has died out, and some of it has been transformed into a cultural form with Nuo culture. Jiangxi Nuo has always maintained the tradition of taking masks as the core of all activities. In Nuo activities, Nuo masks are not only the image code or artistic makeup, but also the soul of these activities. They still enjoy people's awe and admiration, even though they are engaged in Nuo dances and operas. The variety of Jiangxi Nuo is also rare in Chinese Nuo culture. In terms of its nature, it can be divided into Nuo sacrifice and Nuo art; From the aspect of expression, there are three types: open Nuo, closed Nuo, literary Nuo and martial Nuo. In terms of artistic mining, there are "Nuo Opera" and "Nuo Dance" which complement each other. It is because of this richness that Jiangxi Nuo can keep its life and vitality in the long course of social development. Jiangxi Nuo has formed its own cultural system and occupies a place in folk culture. In the course of its development lasting for thousands of years, Jiangxi Nuo has constantly adapted itself to the development of the times, absorbed nutrition from Buddhism, Confucianism and Taoism, and gradually formed a Jiangxi Nuo culture system which includes beliefs, specific sacrificial ceremonies, sacrificial sites, and Han folk customs and cultural activities influenced by Nuo. For example, Jiangxi Nuo has no divine spectrum, but it has a sacred Nuo temple. Nuo sacrifice is just a primitive religious ceremony without any precepts, but there are still laws and regulations that believers must abide by; Nuo Sacrifice has no philosophical thought necessary for any religion, but it draws ideas such as cause and effect, loyalty and righteousness from Buddhism and Taoism. Jiangxi Nuo is not a mature religion, and there are no scriptures, but there are still Liao prayers that have been formed and handed down from generation to generation. It is particularly noteworthy that after a long period of secularization and entertainment, Jiangxi Nuo has formed its own unique art, that is, Nuo dance, Nuo opera, and the carving and making of Nuo masks. Among them, mask making has surpassed the significance of religious sacrifice and become a striking Han folk handicraft, just as the European church choir has become a folk chorus art. Jiangxi Nuo has spread all over Jiangxi in history, and it is relatively concentrated in the half-moon zone from Wuyuan in the east to Pingxiang in the west, among which Nanfeng, Le 'an and Guangchang in Fuhe Valley are the most concentrated areas in Jiangxi Nuo. In addition, Xiushui, Wanzai and Pengze also have Jiangxi Nuo activities. The Nuo temples in Pingxiang and Nanfeng are dedicated in time, and they are not lonely.

===Nuo mask===
Chinese Nuo culture includes Nuo temples, Nuo masks, Nuo dances, Nuo operas, Nuo symbols, Nuo costumes, Nuo weapons and other complex whole, including anthropology, ethnology, folklore, religion, drama and many other aspects. Nuo mask is an important part of Nuo culture. It is used in Nuo ceremony, Nuo dance and Nuo opera. There are many kinds of Nuo masks in Jiangxi with different shapes, all of which are carved by willow and camphor wood, and then painted and painted, showing rough simplicity and magnificent Zhuang Dian. Pingxiang Xiang Dong Nuo Mask is an excellent folk traditional sculpture with a long history. East Hunan is under the jurisdiction of Pingxiang, the coal capital of the south of the Yangtze River, and is the west gate of Jiangxi. The surviving Nuo mask carving in xiangdong district originated from the Qing Dynasty, was passed down from Taizhang, Hunan Province, and has been handed down for three generations. It inherited the techniques of Nuo mask carving in the Song Dynasty, with mature technology, simple and delicate carved masks and complex craftsmanship, which is a rare cultural heritage in China's carving field.In 2006, Pingxiang Xiangdong Nuo Mask was listed as the first batch of national intangible cultural heritage list with the approval of the State Council.

===Nuo dance===
Nuo dance is a traditional dance in Jiangxi Province. Nuo dance is a kind of folk dance widely spread around the world, which has the functions of exorcising ghosts, fighting epidemics and offering sacrifices. It is the dance part of Nuo ceremony, and it is usually performed from the New Year's Day to the 16th day of the first month. Pingxiang Nuo dance footwork has the cultural style of Chu witch, the dancers' movements are bold and unrestrained, and their posture is full of shock; Enjoying Nuo dance is divided into three genres: "having fun", "playing the ancient drama" and "rolling Nuo God". It performs for nothing and is good at martial arts. Wuyuan Nuo dance is simple and vivid, and its performance forms can be divided into solo dance, duet dance, trio dance and group dance. Jiangxi Nuo dance integrates totem culture, Taoist culture, folk culture and other connotations.

===Conclusions===
There are still many introductions about Jiangxi Nuo. Jiangxi Nuo is like this. It comes from the people and returns to the people. In this process, firewood and fire were handed down from generation to generation, blooming in Ganpo and spreading all over the world. It is ancient, carrying the continuation and expectation of thousands of years of culture; It is also sacred and awesome.

===References===
[1]Xu Qun徐群 .论赣傩的文化特征及赣傩舞的表达 [On the Cultural Characteristics of Jiangxi Nuo and the Expression of Jiangxi Nuo Dance ] [[J ] .时代文学（下半月），2009 (2 ) :207 - 208.
[2]Liu Juan刘卷 .赣傩艺术视觉审美特征研究[Research on the Visual Aesthetic Characteristics of Jiangxi Nuo Art] [J ].湖南医科大学学报 :社会科学版，2009(5) :186 -187.
[3]Fu Hongling 付红玲，Wang Qi王琦 . 江西萍乡傩舞艺术特征初探[On the Artistic Features of Jiangxi Nuo Dance][J ].艺海， 2011(4) :90-91.

===Terms and expressions===
Nuo culture 傩文化 Gan Nuo 赣傩 Nuo Mask 傩面具 Nuo temples 傩庙

===Questions===
1.When did Jiangxi Nuo begin? How many years ago?
2.Why did ancestors create Nuo culture?What was their purpose?
3.When was Pingxiang Xiang Dong Nuo Mask listed in the first batch of national intangible cultural heritage list?

===Answer===
1.Jiangxi Nuo began more than 2,000 years ago in the early Han Dynasty.
2.Their desire for survival needed the help of religious ideas to surpass themselves, so they created the witch Nuo culture.
3.In 2006

==朝鲜语笔译徐文慧 Xu Wenhui 202170081639==
<center>'''The “scholar's four jewels”'''</center>

<center>Xu Wenhui</center>
===Introduction===
The"scholar's four jewels"are unique calligraphy and painting tools in China, namely writing brush, ink, paper and inkstone. Brush, ink, paper, inkstone commonly known as the "scholar's four jewels", its name originated from the Northern and Southern Dynasties, since the Song Dynasty, it refers to xuan brush (Xuancheng, Anhui), Hui ink (She County, Anhui), xuan paper (Jing County, Xuancheng, Anhui), she inkstone (She County, Anhui) and so on. As the essence of Traditional Chinese culture, the scholar's four jewels have been accumulated and deposited for thousands of years, and their cultural connotation has been recognized by people more and more, and their value has far exceeded its own function. For example, When CAI Yong wrote‘Bi Fu' in the Eastern Han Dynasty, he endowed the "integrity" of the brush and the "roundness" of the brush with imago features beyond the function of the brush.
Chinese calligraphy is a profound art with a long history. It has entered the door of the palace of art as early as the Qin and Han Dynasties, and has become an indispensable artistic treasure in Oriental history, and developed into a broad and profound knowledge. Calligraphy is not only an important part of Chinese culture, but also a symbol of the characteristic cultural spirit of the Chinese nation. "To do a good job, you must sharpen your tools." The unique artistic flavor of Chinese calligraphy is inseparable from the "scholar's four jewels" spread through the ages, and it is with brush, ink, paper and inkstone that the myriad forms of calligraphy can be depicted. Even a highly skilled calligrapher, sometimes encountered tools "do not go well", can only be overjoyed, frustrated. Today, brush, ink, paper and inkstone have been included in the national intangible cultural heritage list, jointly promoting the development of calligraphy art. (Zhao 2021:28)

===Origin and history===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

===Features===

===The charm of The “scholar's four jewels”===

===Conclusions===

===References===
赵悦.在文房四宝中感受书法的魅力,2021.09, 28

===Terms and expressions===

===Questions===

===Answer===

==外国语言文学 Akira Jantarat 202121080009==
<center>'''The emergence of new linguistic forms in Chinese (neologisms)'''</center>

<center>Akira Jantarat</center>
===Abstract===
===Key words===
Chinese, New linguistic, Neologisms

===Introduction===
Language is important to humans because in addition to being a tool for communication It is also a tool for learning and developing human thinking. It is also a tool for transmitting culture and occupation as well as enhancing the unity of people who speak the same language. Language is a symbolic system that functions as a tool of social communication, consisting of sound, vocabulary, and grammar. "Vocabulary is the most important component of language" (Chenyuan, 2000, p.209)

"Neologisms" are new words or phrases. It's a popular word that was created. or adapted for use in daily life but has not yet been officially recognized. Nevertheless, The more modern the vocabulary, the more people are interested. And "Neologisms" include not just new words, it also new constructional patterns, newly innovated in parts of speech (David Crystal, 1996, 73) Nowadays, technology plays a huge role in the daily life of people of all genders and ages. As a result, words or sentences are spoken in Simplified Chinese become a dynamic vocabulary. and are constantly evolving into new words. No matter what language, when old words are not enough to satisfy the need for expression After something new is born, society or person will have an impulse to make words quickly, to be used in the memorization process, or the process of summarizing the main characteristics of things. And when a new word is accepted and widely used in society, that word will become an old word.

Therefore, the objective of this study is to study the factors for the emergence of a new linguistic form in Chinese or “Neologisms in Chinese”.The study of phenomena created by human society It is very important to Chinese linguistic researchers and social researchers. And also a matter that should not be ignored, because we are about to enter a decade that has changed from the original.

===Literature Review===
Nowadays, the number of words that we use in our daily life is increasing. The research of new words is becoming more comprehensive and systematic as well. Researching new vocabulary by researchers has resulted in many new words being enriched and increasing awareness of the importance of language. At the same time, many linguistic researchers have taken into account and researched the factors and emergence of new words. This reflects the importance of research on the factors of lexical formation intensified. Here's a summary and an introduction to previous research.

'''Definition of a new word'''

Wang (1992) explains that although the current definition of the new term captures the characteristics of the new word from different angles, The nature of creating new words will consist of "Reconstruction, new borrowing, new meaning and new use" of new words.

Lu (1984) pointed out that Some new words and new meanings might be new. But some words are not very new. But it's just an omission from the general dictionary.

'''The birth of a new word in Chinese'''

Hongyin Tao's research titled Chinese language in a global context provided information that Language as a symbolic system is often determined by internal and external factors. Factors outside language such as social identity, culture, tradition, progress, creativity, technology, and conservation. and also said In the context of globalization, English is often seen as a hegemony language. English is growing in popularity to communicate over the Internet. This is one of the results that has enabled China to create a more modern economy, society, and culture and keep up with the evolution of the world.

===Methods and Theories===
===Background===
'''Definitions of Neologisms'''

A neologism is a relatively recent or isolated term, word, or phrase that may be in the process of entering common use, but that has not been fully accepted into mainstream language. (James M. 2006) Neologisms are often driven by changes in culture and technology. (McDonald, 2005) Neologisms are mostly spread through mass media exposure (Sayadi, 2011), such as Facebook, Twitter, WeChat, Television, etc. Generic brand name designations such as "可乐" for Coca-Cola or "五G" for 5G are spread through popular uses, which have been updated by the media.These terms also express the concept or a concept, that is used instead of explaining certain events or situations that are difficult to explain, to make it easier to understand, and show the culture, concepts, and values of present people.

===Impact===
Language and social structure are in a co-change state, which is a major change in society since the reform and opening of the country. Which makes new words grow, even more, no matter, that society and culture are constantly changing. Because human needs are endless, the change will be fast or slow depending on the factors involved. Whether it is the level of education of people in social communication and changes over time Language and society belong together. must always go together If society changes language, it changes. it is related This is due to the factors that cause change, such as discovery, conflict, competition, and social and cultural change. Can be summarized as follows.

'''language and society'''

The language change is not abrupt, but gradually, the change is caused by the presence in many aspects, one of which is the society in which the language Existing profound changes in social life are manifested in aspects such as politics, economy, culture, education, health care. Science and technology, new things are constantly emerging, new ideas and new ideas. It continues to encourage new vocabulary. (Han Xiaoyu,2011)

Liu Xiaohong (1998) and Liu Lanmin (2005) mention the motivation for word formation and factors affecting word formation which will be divided into 2 aspects. First, the "internal factors" of language, namely pronunciation, grammar, meaning, and word formation. And the second side is external factors of a language, such as the social and geographical environment including the purpose and motivation of word-formation.

Language is the most important human tool. The language used is one of the human conditions for building society. Comparing modern and ancient China, we can see that the vocabulary is richer and the forms of words and sentences are more diverse as well, the development of society will play a role as a historical witness of the language. Communication between different societies will promote language development as well. ()

'''cultural surge'''

society and culture It is inseparable. It is like a coin with two sides. Each society has a different culture and language. The cultural exchange of society occurs only when communication and transmission are communicated through the use of mediums, it is the language, and at the same time, both culture and language support and develop each other. Language reflects the nature of the nation, not only contains the history country's culture but also the way of life and the way people think. The influx of foreign cultures into China whether western culture or cultures from neighboring countries all affect the existing traditional culture. Of course, that affects the language as well. and giving rise to new languages in China Which will be divided into the following points:

-western culture-

China's great openness to the outside world began during the Yuan Dynasty. Openness brought the winds of Western science into China, and the westward journey of Genghis Khan and Kublai Khan has opened the door of western culture to China and has an effect on the present day. ()

And we cannot deny that Western culture is now a very popular culture in China or Asia, whether in sports, food, or even music. Therefore, the arrival of the West that used English for communication has resulted in some words in Chinese being developed in the form and writing style. However, when everyone realized and understood the meaning thus resulting in a common understanding, for example, New Chinese characters with homophones such as “克隆” pronounced kelong (Clone) 、 “台风” pronounced taifeng (typhoon) 、"榴莲" pronounced liulian (durian) 、"跑酷" pronounced paoku ( Parkour). () And the words that take from abbreviations and Pinyin characters written in characters and not Chinese characters, such as "五G手机"、"ATM"、"HSK" (Simplified of Hanyu shuiping kaoshi, which means Chinese language standard test), etc., and include to the words that are used in everyday life such as "哈哈" (haha) 、"AA制" (Algebraic Average)、 "巧克力"（Chocolate）、"比特币"（Bitcoin）, etc.

English mania in Chinese educational institutions, combined with the rapid development of technology, is the driving force of the modernization of the world. This has resulted in an increase in English rates in China. Can we decide what country this word comes from? Yes, it is challenging, Because the cultures have been mixed until it becomes common for us to use English or words that are adapted from English in everyday life.

-Eastern culture-(Korea)

The Korean wave emerged from a globalized world with borderless communication. Through K-pop cultural products such as music, TV series, movies, novels, cartoons, and animation. The South Korean government has supported the policy of promoting the industry in the entertainment sector. As a result, the Korean trend quickly gained popularity. Due to the freshness that is the choice of the world market It also makes people around the world more interested in the story of the Korean nationality. The success of this K-pop Contributed to the popularity of Korean, especially among young people. As a result, the Korean language is accepted and taught widely and rapidly in many countries.

In China, more young people watch Korean dramas. And use more of the Korean language in daily life such as（“오빠” read oppa, Chinese “欧巴”）mean brother 、（“습니다“ read seubnida, Chinese“思密达” ）mean I did, etc.

'''The Development and communication through technology'''

Since China's reform and opening up, the technology world has also developed. Currently, the forms of computer communication are more diverse. For example, Email SMS or 微信 Wechat、qq、微博 Weibo, which is the media most used by Chinese teenagers to communicate through a typed format on a computer or mobile phone.

According to Beijing Zhiyan Kexin Consulting's analysis of the size and usage rate of instant messaging users in China in 2021. Indicate that at present instant messaging has impacted people's lives and jobs. And that message's influence will be extended in the future. Now, instant messaging has become the most popular. Internet applications among Chinese netizens，on June 2021, the instant messaging usage rate in China was 97.3%.()

This means access to technology is a high proportion of the Chinese population. And the advancement of technology has spread to all people with mobile phones. This is not only now but also in the future and technology or social media affects the spread of new words that are added to everyday life. Several researchers have commented on this happening.“Media publishing and distribution play an important role in the cross-regional popularity of languages and words. And the advent of the Internet age has accelerated the spread of the new Internet term.”（Han Xiaoyun, 2011）

“The essence of the rapid growth of new words is the development of society and the advancement of time. Thousands of households are familiar with new words that are rapidly gaining popularity. and the modern media technology represented by the network is indispensable.”()

For example, the most common Chinese words "木有" muyou for "没有" meiyou means 'have not'， "神马" shenma for "什么" shenme means 'what', or "给力" geili. , the original meaning was 'give power', now usually ‘cool, awesome, exciting’. It also uses numbers or letters to communicate instead of words, such as "886" for "拜拜了" which mean ‘bye-bye‘， or even in mobile games that are popular trends in 2021 such as "YYDS" is the most popular word in 2021. The original meaning is "eternal god", which originated from the mouth of "Shan Niruo", the LOL anchor of League of Legends. one buzzword of the year. "()

There is also "Barbie Q" is “BBQ” Babecue, means ‘barbecue’. The top gaming master on Douyin was beaten to death by his opponent. After he spoke the “Barbie Q” word in the live broadcast, “Barbie Q” now has another unique meaning “apocalyptic”. Or even “GG” that is not the meaning of brother (“哥哥” gege) but is “Good Game”. When the losing side is over, "GG" congratulates the opponent using "GG", which means “Good Game”. However, as the word GG becomes more and more used in China, the winner has shifted from congratulation. There was a bit of mockery, so today's GG has another meaning like 'You are done', etc. This is an example of how the Internet affects the spread or evolution of new words. Live broadcast Affects the occurrence of increasing vocabulary in daily life. And this might be creative or it could be a language disaster.

'''National Language'''

Language development is greatly affected by economic development. And areas with economic development in addition to financial growth New things and new ideas are also increasing. Sometimes, there dont have enough languages that can meet the needs of users. Therefore it is necessary to borrow some existing words. in different regions as a shortcut to the formation of new words. For instance, Beijing, Guangdong, Shanghai, Hong Kong, and Taiwan, are considered political and cultural centers. including the economic city of the country, It's not surprising that new neologisms have emerged in these regions and have influenced other regions of China.()

===Conclusion===
===References===

==比较文学与跨文化研究 Mahzad 202021080004==
Chinese Mythology and its Impact on Chinese Cinema

Chinese mythology incorporates a wide range of folklore, history, and religious belief across numerous time periods and people, including the present day. Many of these myths are intricately bound to philosophy, religion, tradition, and society.
Also, it has been one of the richest sources for Chinese artists and writers to draw upon over the centuries.

Journey to the West is considered to be one of the most important books in Chinese history, and traditional artwork commonly features legendary figures, such as the Five Emperors or the Eight Immortals.

==英语语言文学 Mimi 2020GBJ002301==
Chinese modern literature

20220630 Culture

2022-06-25T06:47:17Z

Chen Luyao: /* Contents in Different Periods */

[https://bou.de/u/wiki/Chinese_Language_and_Culture_2022|Back to course homepage]

==英语笔译卞王倩 Bian Wangqian 202170081563==
<center>'''Europeanized Chinese and Cultural Factors Behind it'''</center>

<center>卞王倩</center>

===Abstract===
Europeanized Chinese language is directly originated from translation, and first appeared in the translation of scriptures by western missionaries in China in the early 18th century. Translation activities in the late Qing dynasty and Modern Vernacular Chinese Movement and New Culture Movement in 1915 contributed to the Europeanization of the Chinese language. Europeanized Chinese language is mainly manifested in the fact that Chinese has been influenced by English via translation, and thus shows the characteristics of English word formation from the lexical level and syntactic level. In terms of cultural factors behind it, the literary translation boom at the end of the Qing Dynasty and the beginning of the Republic of China promoted the formation of a “western paradigm” in Chinese writing; during the May Fourth Era, scholars rejected traditional literature and favored foreign literature, while advocating the Europeanization of translations; after May Fourth, translators pursued a literal translation style in translating foreign literary works to retain the heterogeneous character of foreign language, mainly English. In terms of the effect, Europeanized Chinese language can be divided into benign Europeanization and malignant Europeanization, the former being the positive and the latter negative. In fact, the malignant Europeanized Chinese language has long been criticized by literary scholars and critics in China, but nowadays, against the backdrop of increasingly close cultural exchanges between China and western countries, a fresh look at the Europeanized Chinese language will bring us new inspiration.

===Key words===
'''Europeanized Chinese; Cultural Factors; Literary Translation, Modern Vernacular Chinese Movement; New Culture Movement'''

===Introduction===
This paper mainly discusses Europeanized Chinese language and its cultural factors. It consists of a literature review and three main parts. The first part is a cases analysis of Europeanized Chinese language, that is, specific examples are given here to illustrate nine elements of Europeanized Chinese language, which are: abuse of subjects and passive voice as well as longer modifiers in a sentence and longer sentences, the former four being counted from the syntactic level; abuse of nouns, conjunctions, articles, pronouns and “的”, the latter five being discussed from the lexical level. The second part is the classification of Europeanized Chinese language, malignant Europeanization and benign Europeanization respectively. Most of the nine elements in the first part can be included as malignant Europeanization, while for benign Europeanization, four types are introduced here, they are more disyllabic words, the multi-class and class shift of words, conjunctions and adverbs that makes sentences’ logic clearer and loanwords, which all remind us of the positive effect of cultural exchange in a certain background. The third part, also the last part, explains what leads to the Europeanization of the Chinese language: one is the importation of strong western culture, and the other is the Chinese language being in a transition around the May Fourth period, both contributing to the Europeanized Chinese language.

===Literature Review===
According to Yu Guangzhong, a great scholar in modern China, Europeanized Chinese language was massively introduced during the May Fourth period, when the Modern Vernacular Chinese Movement was initiated and the vernacular Chinese came to take place of the classical Chinese as the language mainly used by the literary field and New Culture Movement significantly popularized the vernacular Chinese that was later used by the ordinary people. In the beginning, new-born vernacular Chinese was actually not mature, so such famous scholar and reformist as Lu Xun advocated the introduction of western language forms, especially of English, into the new-baby vernacular Chinese so as to transform it by enriching this new form of language featuring simplicity and being easily understood. In fact, this can be seen as a cultural interchange, to which translation is the best bridge. As a result, translation has emerged as the main source of Europeanized Chinese language, which is mostly seen in translated works. (Wang Li, 1954: 209). Moreover, literary translation contributed to the majority of the formation of Europeanized Chinese language. Accordingly, Europeanized Chinese language initially often existed in translated foreign works and the literary circles and therefore was often appeared in many works by some famous writers and literary men.

As a result, the vernacular Chinese came to carry many characteristics of English in terms of expression forms. The scholars during that period and later were no doubt hit by this wave, there being famous essayists Zhu Ziqing, Zhou Zuoren, Yu Pingbo and master of Chinese culture Qian Mu (Si Guo, 2002: 88). Put it specifically, their works, especially proses, all presented prominent Europeanized features in the use of words and sentence structures, which include the abuse of the abstract nouns, indefinite articles, owner pronouns, conjunctions, prepositions and the increasing loanwords and passive voice and long attributive modifiers and so on, which were often seen in English compared with Chinese. Some literary critics, therefore, criticized the use of Europeanized elements in the Chinese language ruining the independent identity of Chinese and its purity and distinctions and even led to the falling of Chinese. This is eventually reduced to what Yu Guangzhong called “Malignant Europeanized Chinese” (Yu Guangzhong, 2014: 129). In contrast, benign Europeanized Chinese is often seen in high-quality works by excellent writers or translators who have been proficient in both Chinese and any other foreign language.

Actually, Europeanized Chinese language not only presents the negative side as has been mentioned above but also carries the positive side. Foreign languages forms and expressions in Chinese have greatly enriched the treasury of Chinese, making it a multi-genres language and thus a distinctive national language. What’s more, it is the result of Sino-foreign exchanges and the reflection of the great impact of cultural factors. As China opens up wider to the outside world, Europeanized Chinese language is no longer abrupt and intolerable. Instead, it comes to be an integral part of the modern Chinese language and gets increased in popularity among international learners.

However, as Yu Guangzhong stressed, benign Europeanized Chinese is a good tool for those able masters, while the rest or most of the translators or translation learners are dealing with malignant Europeanized Chinese language and thus produce awkward Chinese and Chinese translations. And this impact extends to modern times and the field of translation. Europeanized expressions in Chinese are often seen in modern Chinese translation students and even professional translators. In this respect, this is what this writing aims for: to clarify the Europeanized Chinese language and find out its cultural factors. it’s hoped to bring some inspiration for how to correct this mistake and relieve the negative consequences of Europeanized Chinese after this concept and phenomenon is realized and made clear.

===Section One Cases Analysis of Europeanized Chinese Language===
As has been mentioned before, Europeanized Chinese Language can be found in Europeanized features in the use of words and sentence structures(Peng Xuan, 2003: 88), mainly in terms of the syntactic level and lexical level.
The Europeanization seen from the syntactic aspect can be evidenced by the frequent use of subject, long modifiers and passive voice in a sentence and longer sentences and more judgment sentences.

'''(1)More Subjects in a Sentence'''

As we all know, Chinese has been seen as a parataxis language while English a hypotaxis language(Dong Xiaobo, 2013: 156). That is to say, Chinese is logically implicit, and is not closely tied by all conjunctions, even the subjects in Chinese sentences are often not a must, as it unfolds around some certain theme. In contrast, English is logically explicit, and often forms a close sentence structure by means of all complete sentence components and conjunctions and so on, especially a subject that almost is never absent. But as the Chinese came to get Europeanized and carry the features of English, more subjects can be seen in the sentences worked out by some famous writers.

Example 1我在康桥时虽没马骑，没轿子坐，却也有我的风流，我常常在夕阳西下时骑了车迎着天边扁大的日头直追。（徐志摩，《我所知道的康桥》）

Example 2脊背微俯，双手松松拢住车把，他活动，利落，准确；看不出急促而跑得很快，快而没有危险。（老舍，《骆驼祥子》）

From Example 1 and Example 2, we can see Chinese is loosely organized and thus contains many clauses. Example 1 and Example 2 both have a personal subject, “I” and “he” respectively. But compared with Example 1, Example 2 is more in accordance with the features of Chinese expression, that is, simplicity, straightforwardness and subject omission. To put it specifically, the same personal subject was used three times in Example 1, while the figure is one in Example 2, which depicts a skillful coachman as the hero clearly.

'''(2)Longer Modifiers in a Sentence'''

Example 3 那些自骗自的相信不曾把他们自己的人格混到著作里去的人们，正是被那最谬误的幻见所欺的受害者。（周作人，《文艺批评杂话》）

Example 3 vividly shows how long an attributive modifier could be. Of course, we never deny there are modifiers or modified clauses in Chinese, but not those awkward ones. For Example 3, a more Chinese version could be as follows:

Example 4 有些人自己骗自己，相信不曾把自己的人格混到著作里去，这种人实在是被那谬误的幻见所欺。（王力，《中国现代语法理论》）

Compared with Example 3, Example 4 transformed such a long attributive into two descriptive clauses, providing a smooth and natural premise for the following conclusion “这种人……”.

'''(3)Passive Voice in a Sentence'''

Despite a thematic language, Chinese has seen a more active voice in its writing unless there is a necessity or intention to emphasize some information or to describe something unsatisfied or unwanted. (Wang Li, 1954: 340) English, instead, usually prefers passive voice in expression, and so the major information that is placed at the beginning of a sentence as the subject is well emphasized. As a result, Europeanized Chinese language is dotted with “被”, a Chinese character marking a positive voice.

Example 5 昨天捉着的嫌疑犯，经警察局证明无罪，已被释放了。

For the suspect, his release is never a bad thing or unwanted. Therefore, “被” in this sentence can naturally be deleted, so we get: 昨天捉着的嫌疑犯，经警察局证明无罪，已经释放了。

There are many other similar examples:

a.English expression b.Europeanized translation with “被” c.Natural Chinese

a.Be murdered or killed b.被害 c.遇害

Be buried 被埋葬下葬

Be regarded as 被视为算是、算得上

Be guided 被领着有人领着

Be passed 被通过予以通过

Be protected 被保护受到保护

Be entrusted 被委托受人之托、受到委托

Be reduced 被处于……（某种不好的境地）沦为

Be reported 被报道据报道

So we can see that translated Chinese with “被” is totally influenced by English expressions with positive voices, which can be changed into active voice via translation and thus tend to be more authentic and acceptable for Chinese.

'''(4)Longer Sentences'''

Given the difference between Chinese and English, the same information will be expressed in simple and short sentences in Chinese due to its less use of conjunctions, while organized and relatively complicated ones in English via conjunctions or prepositions. But as the Europeanization spread in Chinese, longer sentences are emerging.

Example 6 我这本书只预备给一些“本身已离开了学校，或始终就无从接近学校，还认识些中国文字，置身于文学理论、文学批评，以及说谎造谣消息所达不到的那种职务上，在那个社会里生活，而且极关心全个民族在空间与时间下所有的好处与坏处”的人去看……

According to this long sentence, the major part is “I’m writing this book for those who…”. It will never mind if there is a long sentence that serves as an attributive clause after “who” in English, but it will be never the way a Chinese writes by inserting a long long attributive clause inside a sentence with a simple structure. So Yu Guangzhong criticized it as the “aftermath of malignant Europeanization”.
From the perspective of vocabulary, the Europeanization of the Chinese language can be seen from the abuse of abstract nouns, indefinite articles, owner pronouns, conjunctions, prepositions and the increasing number of loanwords and so on.

'''(5)Noun Plague'''

One of the distinct differences between Chinese and English lies in the fact that Chinese is a dynamic language as it favors verbs, while English a static one as it is rich in abstract nouns and prefers practicing nouns (Dong Xiaobo, 2013: 67).
Example 7 It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.
This famous line comes from Pride and Prejudice written by Jane Austen, and could be a convincing example of the generous use of nouns in English. Not only literary texts. As a result, the Europeanization of the Chinese language directly leads to the popularity of nouns among Chinese scholars and talents.

One is the increased affixes in Chinese. For words ending with the suffix “-ism”, “主义” is coined in Chinese; for words ending with the affix “anti”, “反” is created in Chinese. So we get 科学主义(scientism)爱国主义(patriotism)、形式主义(to practice formalities for formalities’ sake)、反帝反封建(anti-imperialism and feudalism)、反倾销(anti-dumping) and so on. Second is a growing number of loanwords, mainly nouns. 谷歌 translated from Google and推特 from Twitter; 可口可乐 from Coca-Cola and 瑞幸 from Luckin; 福特 from Ford and 粉丝 from fans; 辉瑞from Pfizer and 新型罐装病毒 from Covid-19, etc., all of those words have been known to Chinese and even used in their daily life. Third, stiff translation transplanting of abstract nouns in English results in the presence of such suffixes of Chinese noun phrases as “度”（-th or -ity）, “性(-ity or -ce)”, “化(-ize)”, “感(-ness)”, which are often seen in “相关度(relativity)” “宽度(width)” “可能性(possibility)” “重要性(importance)” “现代化(modernization)” “挫败感(sadness)” “幸福感(happiness)” and so on.

'''(6)Abuse of Conjunctive Words'''

As it is stressed before, Chinese sentences are loosely organized, as it uses few conjunctive words. But in English, all kinds of conjunctions and prepositions both contribute to the close structure of sentences. Affected by such an impressive feature, the Chinese is unavoidably getting assimilated.

For example, 和 is translated from and; 而且 from what’s more or moreover; 然而、但是、可是 from but; 因此、于是、结果 from therefore or as a result; 倘若、如果、要是 from if; 在……中、里 from in or on; 对于……、关于……、就……而言 from as for, with regard to or in terms of. According to Wang Li (1954: 352), there were really no some of those conjunctive words, but Europeanized Chinese language took advantage of some verbs in traditional Chinese to create such responses, and finally get what we have been universally using today.

Example 8 宝玉说丫头们不会放，自己放了半天，只起房高，便落下来了。急得宝玉头上的汗都出来了。

These two lines are chosen from Cao Xueqin’s A Dream of Red Mansion, and lively depict Precious Jade’s poor skills at flying kites and consequent anxiety. But this information is conveyed in even two sentences that have been cut, and with few conjunctive words used.

'''(7)Abuse of the Articles'''

The articles are often used before nouns in English sentences, and can be classified into the definite article “the” and indefinite articles “a” and “an”. Once being translated into Chinese, they can be “这个” "那个”“一个” and “一种”. But in fact, there is no responding words in Chinese, so such expressions as “一个” and “一种” will never be a Chinese ones. But in Europeanized writing, such touch is everywhere to see. It can be said, wherever there is an indefinite article in English, there will always be a “一个”“一种” in Chinese. (Wang Li, 1954: 378)

Example 9 一个有钱的单身汉一定想要一个老婆，这是一条举世公认的真理。

This sentence is translated from Example 7, which is a good example that the articles are universally used before nouns in English. But it will never be a good translation as presented in Example 9 if we preserve those articles. The problem lies in that the Chinese use them little or never. In contrast, the version by Sun Zhiyi, a famous Chinese translator, is short and pithy, more Chinese most importantly:

有钱的单身汉总想要娶位太太，这是一条举世公认的真理。

English articles are seen not only in translated Chinese, but also in the Chinese works that were written by those writers affected by western philosophy and English grammar.

Example 10 但一个人要写他最心爱的对象，不论是人是地，是多么使他为难的一个工作？（徐志摩《我所知道的康桥》）

According to Si Guo(2002: 90), the two “一个” used in this sentence is never better than no use of them, even the second “一个” is a wrong use. Despite the wrong use, isn’t the sentence without superfluous articles more enjoyable for readers:

但人要写他最心爱的对象，不论是人是地，是多么使他为难的工作？

'''(8)Abuse of Pronouns'''

Here Europeanized Chinese language caused by personal pronouns and adjectival possessive pronouns is discussed here. Firstly, we have to make it clear that, the vernacular Chinese during May Fourth Period came to use personal pronouns in a frequent and general manner. But before that, “他” (he in English) could be the only choice. In English, however, personal pronouns are so diversified: first person singular “I”, first-person plural “we”, second person singular and plural “you”, for third-person singular, “he” is used to refer to man, “she” refer to woman, and “it” refers to inanimate objects or any living creatures except for humans, and their common plural “they”. So are adjectival possessive pronouns: my, your, his, her, its and their. Such rich expressions are once introduced, they will definitely affect the Chinese. As a result, “我”(I in English) “他”(he), “她”(she), “它”(it), “我们”(we) and even “他们”“她们”“它们” and “我们的”“我的”“他的”“她的”“它的”“他们的” and so on, all have joined the Chinese language.

Example 11 我们的祖母，我们的母亲的少女时代已无从想象了，因为即使是想象，也要凭藉一点亲切的记亿。我们的姊妹，正如我们，到了一个多变幻的歧途。最使我们怀想的是我们那些年青的美丽的姑姑，和那些快要消逝了的闺阁生活。何其芳，《哀歌》

He Qifang was an excellent poet and essayist in the 1930s literary circle in China and was just as famous as Xu Zhimo. This extract consists of three sentences, in which the writer should use the personal pronoun two times and the adjectival possessive pronoun four times. This is unimaginable. The same problem also appears in Zhu Ziqing’s Rush.

Example 12燕子去了，有再来的时候；杨柳枯了，有再青的时候；桃花谢了，有再开的时候。但是，聪明的，你告诉我，我们的日子为什么一去不复返呢？——是有人偷了他们罢：那是谁？又藏在何处呢？是他们自己逃走了罢：如今又到了哪里呢？

我不知道他们给了我多少日子，但我的手确乎是渐渐空虚了。

According to Yu Guangzhong, firstly, the abuse of pronouns in this part leads to a confusing reference; secondly, the third “他们” is indeed groundless, as we failed to find what it really referred to in this context.

'''(9)Abuse of “的”'''

The Chinese character “的” is generally placed after the adjectives in Chinese to form their unique suffix. And with its help, the adjectives can be used as the noun modifiers, along with the noun, forming the subject or attributive in a sentence; as the predicate placed at the end of a judgment sentence; or frankly as a noun to denote one’s identity or career.

Example 13 鲁镇的酒店的格局，是和别处不同的。（鲁迅，《孔乙己》）

The wine shops in Luchen are not like those in other parts of China. (Yang Xianyi)

For the Chinese sentence of example 13, the subject “酒店的格局” consists of a noun and an adjective as its modifier and is modified by a noun modifier with a suffix “的” to denote the wine shop’s location and where this story begins. And its predicate is an adjective ending with “的”. In general, it is a judgment sentence with “的” playing three roles. But it’s worth our attention that the translation from Yang Xianyi contains no adjective. So we can conclude that, for English, it can rely on all kinds of sentence components to form the modifiers to support and enrich the whole sentence, and even a list of adjectives arranged in a sentence will never look weird. But for Chinese, such coordinated modifiers as a list of adjectives in a sentence is tolerable but is never a good way to convey the same information as that in English.

Example 14 She had such a kindly, smiling, tender, gentle, generous heart of her own.

a. 她是厚道的、乐观的、温柔的、和蔼的以及大度的。

b. 她心地厚道，为人乐观，性情温柔，待人和蔼，气量又大。

So according to how Chinese is organized and Chinese expressions, for Example 14, translation b is always better than translation a, because the abuse of “的” is not what Chinese favors. However, the fact is that, even in modern times, affected by English grammar and poor ability to freely use Chinese, many translation learners, with the writer herself included, will often have the difficulty in avoiding using “的” too much while organizing the sentence in Chinese. Just as Yu Guangzhong (2014: 60) commented, “unfortunately, Chinese and the knowledge of Chinese literature have been the weak spots of those students in colleges of foreign languages, where most translation talents are cultivated.” It couldn’t be right anymore.

===Section Two Classification of Europeanized Chinese Language===
In fact, there is no clear classification of Europeanized Chinese language. But Yu Guangzhong, Si Guo and Jin Shenghua and other respectable experts all referred to this problem in their works, and explicitly called them examples of Europeanized Chinese language “malignant Europeanization”. Accordingly, they also approved the positive sides of the Europeanization of the Chinese language, which here is called “benign Europeanization.”

Let’s first come to malignant Europeanization. It is also called “servile Europeanization” (Si Guo, 2001: 99) Of course, such a saying is aimed at some cases of malignant Europeanization. That is, some awkward Chinese expressions are produced, as we stressed before, due to disqualified translators or writers who fail to get rid of the restriction of English texts and grammar. This is the relatively objective reason. But for another, the Europeanization of Chinese texts is some group’s progressive choice due to their applauding or blind imitation for English and its grammar. This is what we call “servile Europeanization”. Anyway, malignant Europeanization has caused a negative impact on translation and Chinese, blocking translators from producing high-quality translation works and writers from producing native and special works of all fields.

So what are the examples of malignant Europeanization of the Chinese language on earth? Actually, 9 aspects from the perspective of syntactic and vocabulary respectively listed above could be almost included in the category of malignant Europeanization. These problems are lingering now so that generations of Chinese are often unable to produce totally Chinese works. Especially for those students who major in English and are devoted to translation, they are exposed to such an environment where real and pure Chinese is far from their needs and in turn produce strange and unsatisfactory translations but fail to get the point of the problem. So for malignant Europeanization, we all should realize it on our own initiative and correct such problems while engaged in our translation practice.

Given the Europeanization of the Chinese language is the result of cultural exchange, there must be some positive impacts. So benign Europeanization is sure to emerge and has come to be integral of the Chinese.

Benign Europeanization can be seen from such aspects as follows:

'''(1)More Disyllabic Words'''

Classical Chinese is a monosyllabic language. As the vernacular Chinese was introduced and got popularized, disyllabic words were followed. And translation from English has promoted this trend and greatly increased the bank of Chinese vocabulary.
One is synonymous disyllabic words, such as 资本、权利、甜蜜、解放、活动。The other is disyllabic words evolved from monosyllabic words, such as 情感、丰富、健康、工作、旅行。

'''(2)The Multi-class and Class Shift of Words'''

In terms of word formation, the multi-class and class shift of words are distinctive features of English and other European languages. (Liu Zhengbing, Ding Yuanyuan, 2020: 21) Naturally, Europeanized Chinese language has caught this feature. For example, “科学”“迷信”“精神” in Chinese can serve as nouns and adjectives; “明白”“团结”“亲近” can be used as verbs and adjectives; and “便宜”“方便”“麻烦” even can be regarded as noun, verb and adjective respectively in different contexts. The diverse word classes, therefore, determine the flexible shift of word class according to specific contexts. As a result, the use of words is more flexible and Chinese expressions are more various.

'''(3)Conjunctions and Adverbs Make Logic Clear'''

Despite featuring being loosely organized, the Chinese have to rely on a certain number of conjunctions and adverbs to make clear or explicit the logic in their professional texts that are not as easy and understandable as the general texts. So the introduction of rich conjunctions and adverbs in English is not always a bad thing. Instead, it will make professional writing more friendly to its layman readers.

'''(4)Importation of Loanwords'''

A great many loanwords come to China as the exchange between China and western countries is increasingly close. With translation, more and more newcomer loanwords are known to Chinese people and are playing an important role in their daily life. For example, many smart acronyms are universally used by the Chinese when they refer to or describe something, such as WTO in trade, CCTV in media, PK or KO in game and so on.
In conclusion, although malignant Europeanization is more discussed and gets more criticism, benign Europeanization shouldn’t be overlooked. According to Yu Guangzhong, benign Europeanization is usually seen in first-class translation works and outstanding writings, as for the translators and writers involved, Europeanized Chinese can be flexibly used to better serve their translation or writing. The excellent is the minority. So there is still a long way for us most translators or translation learners to go.

===Section Three Cultural Factors Responsible for the Europeanization===
'''(1)Importation of Western Culture'''

Since the early Republic of China, western culture was imported in large quantities through English and translation. The disparity in the political situation at that time determined that western culture was in a strong position, and also determined that the Chinese people were more possibly forced or active to accept the western culture. At the same time, under the influence of the current philosophy of “create the knowledge and serve the society”, literary translations emerged in the late Qing, with the translation of novels playing an important role (Wang Hongzhi, 2000: 43). In this translation boom, in order to take into account the reading needs of the general public, the language used in translated novels was not only the classical one, but also the vernacular one, or a mixture of classical and vernacular. (Lin Yanmei, 2011: 51) Later, the concept of translated literature tended to preserve the heterogeneous elements of western literature that were different from Chinese literature, thus gradually forming a “western paradigm” of literary translation, and the influence of western literature and western culture on the language of translation or Chinese at that time had to have been penetrated into Chinese grammar and syntax.

'''(2)Chinese Language was in a Transition'''

During the New Culture Movement, the classical language had become rigid and failed to meet the needs of the times, while the development of the vernacular Chinese was still in its infancy, immature and limited in its ability to be used for expression, and therefore it entails further growth. At the same time, at the beginning of the New Culture Movement, various literary leaders advocated new literature and opposed traditional Chinese literature, and favored foreign literature. And the movement advocators in general (Qian Xuantong, Lu Xun, Fu Sinian, Zhu Ziqing, etc.) believed that western languages were more accurate than Chinese and thus advocated extreme Westernization or Europeanization, especially in the area of writing. During the May Fourth period, calls for total Europeanization was also made. As a result, the tide of Europeanization in the Chinese language was raging, and the Europeanization of translations even was a fashion.

The vernacular Chinese movement of the late Qing Dynasty, together with China's inherent tradition of the vernacular Chinese, led to the growing engagement of literary translation in vernacular Chinese (Deng Wei, 2010: 72), and the tendency to Europeanize the language of the translated literature became more and more obvious. Facing such a landscape, translators pursued the literal translation technique, which was the most direct technical reason for promoting Europeanization; and the original works were designed to imitate western grammar to achieve the effect of Europeanization.

To conclude, the Europeanization of the Chinese language is the result of joint efforts of the literary translation boom in the early Republic of China, the Modern Vernacular Chinese Movement and the New Cultural Movement. They are exactly the cultural factors behind this phenomenon.

===Conclusion===
In fact, Europeanized Chinese is a new and diverse literary style that has gradually formed since the New Culture Movement and late May Fourth Movement, and it encompasses simple and well-formed classical Chinese and orderly-organized English, and friendly and natural vernacular Chinese. Its influence continues to this day.

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==英语笔译曹姣 Cao Jiao 202170081564==
<center>'''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example'''</center>
<center>'''从诗歌视角浅谈唐朝宫廷文化——以《长恨歌》为例'''</center>
<center>曹姣CaoJiao</center>
===Abstract===
As a realistic poem with romantic characteristics, Bai Juyi's ''The Everlasting Regret'' tells the love story between Li Lung-chi(李隆基, an emperor in Tang Dynasty) and his beloved Yang Kuifei(杨贵妃, a concubine of the emperor). In addition, it has a unique literary aesthetics in which many of the sentences record the history in realistic details, so it has a profound significance for historical research, playing the role of complementing and interpreting history. This article, inspired by Chen Yinque's “mutual verification of poetry and history”, will analyze ''The Everlasting Regret'' from the perspective of history, and discuss it from three aspects: women's makeup and headgear, court banquet, and imperial palace and architecture. This will give us a more comprehensive and authentic look of the cultural life of the court in the Tang Dynasty.

===Keywords===
''Changhenge'' or ''The Everlasting Regret''; Tang Dynasty; court culture; mutual verification of poetry and history

===Introduction===
'''1.Research significance'''
Bai Juyi was a Chinese ancient realist poet. In many of his works, there are descriptions related to the cultural life of the Tang Dynasty court. These descriptions are not made up out of groundless rumor or supposition, but are from his careful observation and speculation on this kind of subject matter, which makes the descriptions appear meticulous and vivid. In this context, his poems not only carry aesthetic function, but also are of great historical significance. Among his masterpieces, "Changhenge", also known as ''The Everlasting Regret''(《长恨歌》), is a distinguished one, composed in realistic means with romantic characteristics, with a name of “a poetic masterpiece through the ages”.

''The Everlasting Regret'' is a long narrative poem, with 979 Chinese characters in total. It interprets Li Longji (also Tang Xuanzong) and Yang Yuhuan's love tragedy against the backdrop before and after the Anshi Rebellion（安史之乱） in the middle Tang Dynasty; meanwhile, it covers a variety of themes, such as eulogizing love, lamenting fate and admonishing Kings. The first part of ''The Everlasting Regret'' mainly describes Li and Yang's love story and the lavish and luxurious court life, implying an allegory of the emperor's adultery and mismanagement of the country. The second half is full of poignant and sympathetic description of Xuanzong's profound love for her, praising the constancy of their love. The whole poem adopts the realistic writing technique with romantic characteristics so that the narrative and lyric feelings complement each other, which has become the artistic feature of The Everlasting Regret, and also leaves an endless aftertaste and research space for the future generations. What’s particularly valuable is that it contains a lot of information reflecting Tang Dynasty court culture life details, and involves the depiction of characters, women’s dress and makeup, court architecture, music of court banquets and so on. In this sense, The Everlasting Regret as an unprecedented literary masterpiece unseen in ten centuries, is of great historical value in the study of court culture in the Tang Dynasty. (c.f: Yao Ronghua 2012,121-127)

'''2.Research background'''
China’s research on court culture has come to the fore for a long time. Throughout Chinese history, Tang Dynasty is a unique period when the aspects including culture, politics, economy, and diplomacy have registered very high achievements, symbolizing the golden age of China’s history. (The culture in Tang Dynasty represents the following features: first, the cultural system is inclusive and comprehensive, showing an increasingly high-level development; second, the culture of Tang Dynasty is very open; third, the Tang culture seemingly approaches the people, emphasizing the real world and not adhering to the ancient system. ) As a significant part of its culture, the court culture of the Tang Dynasty plays a complementary role. Therefore, understanding the court culture of the Tang Dynasty helps us to better comprehend the history of this dynasty.

Liu Zunming, a famous scholar from Hubei University, believes that court culture should be composed of material and non-material culture, and is the sum collection of lifestyles, ideologies and products created by the imperial aristocracy. Then the scope of court culture should include imperial architecture, politics, system, economy, religion, education, literature and art, lifestyles in court and so on.
In this context, many renowned scholars have studied court culture in the Tang Dynasty including the system of court diet, banquet music, eyebrow-painting, architecture, and so on. Zhang Yan conducted research on the system of court diet in the Tang Dynasty. His paper introduced the whole system of court diet from five aspects including its historical development, the supply and management of food materials in Tang Dynasty court, the court diet management institutions in Tang Dynasty (like Food Department, Guanglu Temple, Shangshi Bureau, and diet management institutions for the East Palace), the food system embodied in the court ceremonial activities and the bestowed dinning after the morning audience, and the characteristics of the system of court diet in the Tang Dynasty. In conclusion, the system of court diet was further embellished and perfected in the Tang Dynasty, which had a profound influence on the diet system of the later dynasties. Xu Shuqi, in A Study on the Music of Court Banquets in Ancient China in 2021, made a comparative analysis, through comparative research method, of the differences in music forms in the court banquets of past dynasties, and explored the development process of the music of ancient China’s court banquets. Tian Miao, in A Critical Exposition on the Development of Women's Eyebrow-painting in Tang Dynasty published in 2003, did a very detailed study of the characteristics of women's eyebrow makeup in different historical stages of the Tang Dynasty.

Concerning the poem Changhenge, many discussed whether it's a realistic or romantic one, and some argued whether it's a love story more than an allegorical one. At present, the academic circles have yielded fruitful results in the aspects of the composing purpose, artistic achievement, influence on later generations, and the situation of overseas dissemination. However, there are relatively few works on the analysis of court culture in Tang Dynasty based on the Everlasting Regret. The major works include Li Xiaojiao’s (李晓娇, 2020) Folkloristic Viewpoint for the Study of Song of Everlasting Regret; Deng Wenrui’s Reflections on Cultural Life in the Palace of Tang Dynasty Based on Everlasting Regret; Yao Ronghua’s “A Study of Song of Unending Sorrow and the Cultural Life of Palace in Tang Dynasty”, and “Research on the Poem “Changhenge” from the Perspective of Tang Dynasty’s Court Culture”, and so on. These works have made a detailed interpretation of the court culture of Tang Dynasty and the Everlasting Regret. But as the part of the court banquet in palace culture, they all neglected a very important part -- lychees. Lychees are Yang’s favorite fruit, which is too delicate to stand long journey. In today’s China, with developed science and technology, it is not difficult to eat fresh lychees; while in the Tang dynasty, it was not.
===Literature review===
With regard to the research on court culture in the Tang Dynasty from the perspective of the Everlasting Regret, there are some studies done by other researchers.

For example, Li Xiaojiao’s (李晓娇, 2020) Folkloristic Viewpoint for the Study of Song of Everlasting Regret elaborated on folkloric culture hiding in the Everlasting Regret. She introduced folkloric culture encompassing three respects: folkloristic costume, activities and Taoism of the Everlasting Regret. Inspired by Chen Yinque's(陈寅恪) method of “mutual verification of poetry and history”, her paper compared and verified the original text of the Everlasting Regret with relevant historical documents and artistic works of the Tang Dynasty, explored the folk elements in it, and tried to make a comprehensive analysis and research.

Deng Wenrui’s(邓文睿，2019) Reflections on Cultural Life in the Palace of Tang Dynasty Based on Everlasting Regret, from women's jewelry and hair accessories, women's makeup, and the Tang Dynasty spring outing in the Everlasting Regret, expounded that this poem has not only shown that cultural life of the court of Tang Dynasty, but also provides the basic theoretical material for the scholars to study the culture of Tang dynasty.

Yao Ronghua’s （姚榕华，2012）“A Study of Song of Unending Sorrow and the Cultural Life of Palace in Tang Dynasty”, and “Research on the Poem ‘Changhenge’ from the Perspective of Tang Dynasty’s Court Culture”, made even more comprehensive explanations of the cultural life of court of the Tang Dynasty. Yao, in his dissertation, also adopted Chen Yinque’s “mutual verification of poetry and history” to talk about his topic in six respects: in chapter 1, he talked about the hairstyle jewelry and the ornamental of hairpins in the poem; in chapter 2, he studied women’s makeup style of in Tang Dynasty; in chapter 3, he talked about the sleeve patterns of women’s dresses; then, he expounded the music and dance in the poem in the 4th chapter; he also elaborated court banquets and springtime excursion in Tang Dynasty; finally, he stressed the significance of the historical and cultural study of ’’the Everlasting Regret’’. At last, he pointed out: ’’the Everlasting regret’’, after all, is a long poem rather than a history book; it’s a work of art, not a historical record. His dissertation is of strong logicality and is well-argued and precisely reasoned.

These works have made a detailed interpretation of the court culture of Tang Dynasty and the Everlasting Regret. Thereby, on the basis of previous studies, my paper adds the transport of lychees, which are Yang’s favorite fruit, to confirm the poetry with historical materials, and outline the authentic and complete appearance of the cultural life of the palace in the turning period of the Tang Dynasty.

===Methods and Theories===
This paper adopted the literature research method and the theory of “mutual verification of poetry and history ”.

By the literature research method, a large number of relevant literature is collected through a variety of ways and channels. In the literature collection channels, the author draws support from CNKI, Baidu Scholar and Google Scholar, etc.; two main ways to search the literature are utilized, searching in light of keyword or subject, and reference. Moreover, the author in the search for literature with a clear direction. For example, the keywords of this article are "palace culture" or “court culture” and "The Everlasting Regret," so the author enters these two keywords to search the pertinent literature, selects the appropriate one to study, and also searches the literature listed in the references, to help the author form a clear and systematic understanding of the research topic.

The theory of "mutual verification between poetry and history" was first put forward by Huang Zongxi, and the academia unanimously recognized that Chen Yinque and other people made exemplary contributions to this theory. The reason that poetry and history can be each other’s "mutual evidence" is that poetry, as a literary form of expressing aesthetic emotion, can not be separated from the specific historical figures, time and space; the apprehension of poems depends on rich historical details. Mr. Chen, in his "Manuscript of the Investigation of Yuan’s and Bai's Notes and Commentary on Poetry", made an explanation of the " mutual verification between poetry and history ": first, using poetry to verify historical records or supplement historical information, namely, "to prove history with poetry"; second, explaining poetry by means of history, so as to obtain the complete meaning of the poetry, that is, "to explain poetry with history."

===Make-up and headgear in ''The Everlasting Regret''===
'''1. On eyebrow makeup'''
“That she outshone in six palaces the fairest face”（六宫粉黛无颜色）, “Until the Lady Yang was killed before the steed”（宛转蛾眉马前死）, “Willow leaves like her brows and lotus like her face”（芙蓉如面柳如眉） and “Eunuchs and waiting maids looked old in palace deep”（椒房阿监青娥老） these four lines depict the female makeup in the imperial court. In the first sentence, "Fendai"（粉黛） refers to beauties in the imperial palace except for Yang, because aristocratic women in the heyday of the Tang Dynasty often adorned their faces and eyes with makeup. However, the two words "fen"(粉) and "dai"（黛） have their own meanings respectively: "fen" is the powder used by ancient women to lighten their complexions; "Dai" is the brunet mineral used when drawing eyebrows, especially in ancient times. According to the differentiated shades, they could produce different eyebrow make-up like black eyebrows or emerald green ones. In this case, “dai” refers to the color of eyebrow make-up. The other three sentences describe eyebrow makeup from the aspect of eyebrow shape, reflecting the two most popular eyebrow makeup forms in the Tang Dynasty – “the willow-leaf shaped eyebrow”（柳叶眉） and “the moth eyebrow”（蛾眉）. The moth eyebrow was the most prominent eyebrow makeup in the Tang Dynasty. It is broad in shape, vaguely ethereal in outline, light and natural in color, and looks like the wings of a moth in appearance, hence the name. As can be seen from the name, the willow-leaf shaped eyebrow is a slender eyebrow makeup similar to willow leaves. It is slightly thick in the middle and tapers at both ends, which can increase the charm of feminine charm. Historical data did not record Yang wearing willow-leaf shaped eyebrows clearly, but from a host of Tang poetry and painting materials, it is easy to judge willow-leaf shaped eyebrows are one of the popular eyebrow makeup styles in the Tang Dynasty, and whether court ladies or ordinary girls are happy to draw it to present their dignified and beautiful amorous feelings. (c.f: Tian Miao 2003,108-112)

'''2.On headgear'''
The description of female jewelry in ''The Everlasting Regret'' can be seen frequently, such as " flowerlike face and cloudlike hair, golden-headdressed"（云鬓花颜金步摇）, " golden bird and comb with which her head was crowned "（翠翘金雀玉搔头） and " for him to carry back, hairpin and case of gold "（钿合金钗寄将去）. In these sentences, descriptions like “golden-headdressed” or “Zan”（簪）, " golden bird "（金雀）, "Jade headdress"（玉搔头）, "golden hairpin"（金钗）, " case of jewelry "（钿盒） and other things related to women's headgear. Women’s headgears in ancient China were used mainly for hairstyles, with its original function as hair constraint. With the development of society, the specification of women’s headgear became increasingly complex. Consequently, a new feature appeared: headgear was not only the embodiment of a girl well into her adulthood, a demonstration of wealth, and a sign of social status, but also a part of etiquette. There are four main types of headgears mentioned in The Everlasting Regret: Zan, Chai, Buyao, as well as Dianhe or cases of jewelry (inlaid with gold, silver and jewels).

'''2.1 Zan'''

Zan（簪） is the most antique and widely spread in ancient China, also the oldest appliance for hair constraint in China. In the early days, most of them were made of natural materials such as wood, bamboo, animal bone, stone, etc., with practical function in general. By the Tang Dynasty, due to the social function of Zan becoming more and more obvious, great progress had been made in materials selection, production technology and decorative design, etc., and Zan, made of jade, gold and silver, emerald green feathers, and shells, appeared. On top of the change in material, its decorative graphics have also seen great changes, more complex and delicate.

'''2.2 Chai'''

The main function of the Chai（钗） tends to be a decorative one, compared with Zan. Women decorated hairstyles with them in order to project their charm, and show off wealth and status, so the Chai in the Tang Dynasty became the most important headgear. A set of Chai often contains two pieces each, with symmetrical patterns, inserted in hair with one on the left and the other right. However, women in the Tang Dynasty often wore multiple Chai at the same time, and the number of them varied in light of the height of chignon. The higher the chignon was, the more Chai there would be. Unlike Zan, the foot of the Chai is divided into two sides, which are inserted into the chignon to fix hairstyle, and were called "Chai thighs". In The Everlasting Regret, the sentence “keeping one side of the case and one wing of the Chai" tells that Yang Yuhuan broke the golden Chai into two from the part of the Chai thighs, which well embodies the modeling characteristics of Chai thighs.

'''2.3 Buyao'''

Buyao（步摇） is another kind of traditional Chinese women's headgear, which is interpreted in an ancient book as: Buyao, with drooping beads over it, will shake the beads as a wearer is walking. Therefore, the name of "Buyao" is taken from the meaning of "shaking as stepping". The buyao vibrates with the steps of women, and the intertwining of beads, jade, gold and silver makes it appear colorful, which can best reflect the graceful bearing of women's vigor and vitality. By the Tang Dynasty, with the increasing prosperity of the social economy and the increasing extravagance and pomp, the etiquette symbolized in gold Buyao started to tamper among the aristocracy and gradually became popular among ordinary people. The popular shape of Buyao in the Tang Dynasty was like " a gold phoenix, with a bottom at below, a pin at the front, decorated with colorful jade beads shaking as stepping by."(Yao Ronghua,2012)

===Court banquets===
'''1. Banquets'''

In addition to embodying the deep love between Yang and Li， those two sentences "in revels as in feasts she shared her lord’s delight"（承欢侍宴无闲暇） and “drunk with wine and spring at banquet in Jade Tower”（玉楼宴罢醉和春） can also reflect the frequency of holding court banquets or banquets for all. Court banquet（宫廷宴会） generally refers to the feast held by the emperor for rewarding reasons, attended by officials at all levels and envoys from all over the world, in which court music, dance and acrobatics performances on a certain scale would be arranged. If it was on a larger scale, where even ordinary people may attend, it was called "banquet for all"（酺会）, normally lasting for several days. Rulers held banquets for all, also known as "bestowing banquets"（赐宴）, and the whole country was covered in huge hilarity in the banquet hall during the events. Both the aristocracy and the common people could find their freedom and happiness in the private banquet. Concerning the purpose of bestowing banquets, on the one hand, it was to satisfy the cultural needs of the people as well as seek cohesiveness from them; on the other, was to consolidate its feudal regime, demonstrate the rulers' authority and give benefits to the people. (Yang Guoyu,2016)

'''2. The exclusive affection and lychees'''

'''2. 1 The exclusive affection for Yang'''
The Everlasting Regret also says,
" In revels as in feasts she shared her lord’s delight,
His companion on trips and his mistress at night.
In inner palace dwelt three thousand ladies fair;
Her beauty served the night when dressed in Golden Bower
Or drunk with wine and spring at banquet in Jade Tower.
On her alone was lavished royal love and care. "
These sentences reflect the inseparable love between the Emperor and Yang. These descriptions, especially “on her alone was lavished royal love and care”, are not fabricated by personal imagination, or merely literary exaggeration, but can be tested through history. New History of the Tang Dynasty (《新唐书》) has a record of Yang like eating litchi: "Concubine Yang is fond of lychees, especially fresh ones. So the post station knights travel day and night, speeding up tirelessly, running thousands of miles. Without changing the flavor, lychees have been sent to the capital. " This record indicates that the Emperor gave orders to the national post system, which was originally used to pass state documents and administrative personnel back and forth, to transport fresh lychees for Yang, which is enough to prove the high status of Yang in the eyes of the emperor. No wonder Du Mu, a poet in the Middle Tang Dynasty, once said,
" Viewed from Chang'an, Mount Li seemed a piece of embroidery;
Countless gates opened one after another on a hill-top.
At a horse raising red dust the imperial concubine smiled;
No one knew it was for the litchi fruit it had brought. "
--Passing Huaqing Palace(1) from Du Mu

'''2. 2 Lychees '''
Everyone knows that Yang Kuifei likes lychees. But where did lychees be sent from and how were they transported to Chang 'an, the capital of Tang Dynasty?

Yan Gengwang, a prestigious Chinese historian, had compared the records of lychee transporting in the Tang dynasty with the Song Dynasty’s, and found an intriguing phenomenon: Tang people generally believed that litchi comes from Lingnan, while after the middle of the Northern Song Dynasty, it is believed that litchi comes from Fuzhou, Sichuan Province (now Fuling District, Chongqing Province). However, litchi is a delicate fruit with characteristics of the color changing in one day, the fragrance changing in two days, and the taste changing in three days. From Lingnan to Chang 'an is no less than five thousand miles. If computed in line with the fastest speed available in that dynasty, it is difficult to avoid taste change. However, it is only more than 2,000 miles from Fuzhou to Chang 'an. Therefore, Scholars Li Long and Cai Dongzhou considering many factors such as mileage, lychee varieties, preservation technology and Yang's lot, believe that Yang's favorite lychees mainly comes from Fuzhou. Due to Yang's affection, combined with the high appraisal from the respectable prime minister Zhang Jiuling, officials probably have tried to transport lychees grown in Lingnan to the capital. (Li Long and Cai Dongzhou, 2016, p. 5)

So what could be the delivery route of lychee in that dynasty? In light of Yan Gengwang's fourth volume "Tianbao Litchi Road" in his book "Traffic Map Examination of Tang Dynasty", we can roughly outline the route map of litchi transportation: Fuling--Wanzhou--Dazhou--Wanyuan--Xixiang--Yang County--Meridian Valley--Chang 'an. Scholars Wang Fei, according to historical records, combined with field investigation, determines the basic route of Litchi Road more specifically: Fuling-Dianjiang-Liangping-Dazhu-Daxian-Xuanhan -Pingchang County (Yan Kou village, Ma 'an village) --Wanyuan City (Ying Bei village, Ming Yang town in Miao Ya village, San Guan Chang town in Qin He village, Yudai village, Wei village)--Tongjiang County (Longfeng village, Hong Kou village, Jibo village)--then Wanyuan City again (Zhu Yu village, Hongqiao village) --Zhenba County, Dingyuan, Yue Jiulong Zhai (Chen’s Tan) Yang Jiahe, Si Shang, Luo Zhenzhai-- Ziwu Town in Xixiang County, into the Meridian Road, and ultimately arrived in Chang’an City. [涪陵——垫江——梁平——大竹——达县——宣汉 ( 大成乡瓦窑坝折入三桥、隘口、马渡) ——平昌县 ( 岩口乡、马鞍乡) ——万源市 (鹰背乡、庙垭乡名扬、秦河乡三官场、玉带乡、魏家乡) ——通江县 (龙凤乡、洪口乡、澌波乡) ——再入万源市 ( 竹峪乡、虹桥乡) —— 镇巴县，定远，越九龙砦 ( 陈家滩) 杨家河、司上、罗镇砦——西乡县子午镇，进入子午道，到达西安] The whole journey was more than 1000 kilometers, which was more reasonable.(Wang Fei, 2016, p.2-3)

Although the Everlasting Regret does not mention the word "lychee" at all, the poem speaks of the two's affection, so I have to mention it to testify to their love, which is exactly one of the forms of the research method “mutual interpretation between poetry and history ”.

===Palaces and architectures===
Among the names of palaces or places mentioned in the poem, some of which are authentic, while some are fictitious for artistic reasons.

“She bathed in glassy water of Huaqing Pool”（春寒赐浴华清池）, “ in lotus-flower curtain she spent the night blessed”（芙蓉帐暖度春宵”）, “her beauty served the night when dressed in Golden Bower ”（金屋妆成娇侍夜）, “drunk with wine and spring at banquet in Jade Tower”（玉楼宴罢醉和春） etc., these parts describe the Huaqing Pool, Golden Bower（Jinwu）, Jade Tower and other palaces or places served as living rooms for the imperial family. These descriptions have three functions: First, they describe the places where Tang Xuanzong and Yang Yuhuan dated and spent time together; Second, the poet describes the content of their life submerged in love, selecting some representative scenes, including bathing in Huaqing Pool, daily feasts and playing scenes; Third, as royal palaces, the poet has depicted the magnificence and glory of these architectures, in order to foil the noble identity of Tang Xuanzong and Yang Yuhuan as Emperor and Keifei(贵妃), and also render their love story.

In the sentences of " Knocking at the western gate of palace hall, he bade"（金阙西厢叩玉扃）, " days and months appeared long in the fairyland halls"（蓬莱宫中日月长）, "Jin Que" or “ Palace Hall”（金阙）, and "Penglai Palace"（蓬莱阁） both are palaces existing only in Chinese mythology, which are set off as the background for the appearance of this imperial concubine. Sentences "love and happiness long ended within the wall of Zhaoyang Palace"(昭阳殿里恩爱绝) and “on the seventh day of the seventh moon when none was near the Eternal Youth Palace(七月七日长生殿)” are still closely related to the theme of the whole poem -- love, indicating Yang’s unswerving love to Li. Among those two sentences, "Zhaoyang Palace" (昭阳殿)refers to the palace where they lived together during those years, while "Golden House"（金乌） and "Jade Tower"（玉楼） are also set off with the sentence " on the seventh day of the seventh moon when none was near the Eternal Youth Palace". These palaces witnessed their sweet love, but this love no longer existed. However, "Penglai Palace" in the poem implied that Yang's longing for Tang Xuanzong was everlasting and would never die away.

===Conclusion===
In summary, descriptions of women’s makeup and dressings, the cultural life of the court, and architecture in ''The Everlasting Regret'' were meant to reflect the love between the two, and show us what the history was. On the other hand, regarding this poem as part of the historical materials provides a significant perspective on historical research.

===Preferences===
*Yao Ronghua姚榕华.(2012).唐代宫廷文化视野中的《长恨歌》研究[Research on the Poem ''Changhenge'' from the Perspective of Tang Dynasty’s Court Culture].''南京师大学报''(社会科学版)Journal of Nanjing University (Social Science Edition)(06),121-127.
* Yao Ronghua姚榕华.(2012).《长恨歌》与唐代宫廷文化生活研究[A Study of ''Song of Unending Sorrow'' and the Cultural Life of Palace in Tang Dynasty](博士学位论文,山东大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CDFD1214&filename=1013140595.nh
*Yang Guoyu杨国誉.(2016).“开禁”还是“飨宴”?——汉唐北宋赐酺举措缘起、背景与施行动因的再探讨[On the Causes of the “Giving Drink Feast” Measure in the Han，Tang and Northern Song Dynasties]. ''北京社会科学'' (Social Science of Bejing)(12),4-12. doi:10.13262/j.bjsshkxy.bjshkx.161201.
*Tian Miao田苗.(2003).唐代妇女眉妆演变考论[A Critical Exposition on the Development of Women's Eyebrow-painting in Tang Dynasty]. ''西北大学学报''(哲学社会科学版)Journal of the Northwest University (Philosophy and Social Sciences Edition)(02),108-112.
*Li Long & Cai Dongzhou李龙 & 蔡东洲.(2016).杨贵妃所嗜荔枝贡地考辨[Exploration of the Provenance of the Tribute Litchi to Yang Guifei]. ''西南石油大学学报''(社会科学版)Journal of Southwest Petroleum University (Social Science Edition)(05),86-90.
*Wang Fei王飞.(2016).荔枝道与杜甫荔枝诗[Litchi Road and Litchi Poems of Du Fu ]. ''杜甫研究学刊''Journal of Dufu Studies(04),16-22.

===Terms and Expressions===
The Everlasting Regret 《长恨歌》
the Anshi Rebellion 安史之乱
eyebrow makeup 眉妆
headgear 头饰
the willow-leaf shaped eyebrow 柳叶眉
the moth eyebrow 蛾眉
golden-headdressed; Zan 簪
Chai 钗
Buyao 步摇
court banquet
banquet for all 酺会
bestowing banquet 赐酺
Huaqing Pool 华清池
Golden Bower（Jinwu）金屋
Jade Tower 玉楼
Jin Que or Palace Hall: 金阙
Penglai Palace：蓬莱阁

==英语笔译陈路瑶 Chen Luyao 202170081565==
<center>'''Ancient Chinese Values Handed Down Until Today'''</center>

<center>Chen Luyao</center>

===Abstract===
Values exist in every society, and with the development and progress of society, values will continue to change and progress. This process is very long. When we study the values of a certain group, we can not only understand the development history of this group, but also investigate the role of social, economic, political, cultural and other conditions that have caused changes in values. Based on the analysis of the development and changes of China's values in different periods, we can grasp the development direction of China's values. At the same time, we can learn from previous experience, take its essence, discard its dross, educate the younger generation with better values,and lead the development of Chinese society.

===Key words===
Ancient values; Development; Conditions

===Introduction===
This paper mainly discusses the ancient Chinese values that have been handed down to this day. It includes literature review and five main parts. The first part introduces the definition and origin of values. The second part classifies the values. According to the different communication objects, the values are divided into three categories: the values generated by the interaction between people, the values generated by the interaction between people and nature, and the values generated by the interaction between people and themselves. The third part expounds the main values from Xia, Shang and Zhou Dynasties to modern times. The fourth part is to screen the values mentioned above and summarize the retained values. The fifth part explains the influence of the values that have been spread to this day on Contemporary China.

===Literature Review===
At present, the research on Chinese values mainly has the following achievements: first, it discusses the basic theoretical issues such as the concept, basic content, basic characteristics, significance and ideological resources of Chinese values; second, it studies the practical issues such as the construction and dissemination of Chinese values. The main deficiencies in the study of Chinese values are: at the basic theoretical level, there are inconsistent definitions and content induction. Looking forward to the future, the study of Chinese values should focus on the deepening of basic theories, and at the same time, it should further understand the problems of the construction subject and the communication subject at the practical level.

From the current research results, the academic research on the basic theory of Chinese values mainly involves some of the most basic issues, such as concept definition, basic content, basic characteristics, significance and ideological resources. There is no consensus on the definition of Chinese values in the academic circles. Most researchers confuse Chinese values with Chinese cultural values, and only a few scholars define this concept from different angles. Luo Ping defines "Chinese values" from the perspective of significance and function, and believes that "Chinese values are a value system that reflects the spirit of the times, fully displays China's national image and reflects the soul of China's national soft power". Liu Minzhu defined "Chinese values" from the perspective of practical basis and theoretical origin, It holds that "Chinese values are the overall understanding of value relations formed by the Chinese people in the process of participating in the great practice of socialism with Chinese characteristics. They are a value system formed by the Chinese people based on the requirements of the times, practice and their own demands, and integrating many essence of socialist core values, Chinese traditional cultural values and western modern cultural values. They have the attributes of socialism and contemporary China". Chen Guofu defines "Chinese values" from the perspective of essence and function, and points out that "as an important part of socialist ideology with Chinese characteristics, Chinese values are not only the source of social theory, but also the driving force to promote economic and social development, but also conducive to highlighting the discourse power of socialism with Chinese characteristics."

===Methods and Theories===
This paper mainly adopts the literature research method in the writing process. Literature research method is to collect and analyze a large number of relevant literature through multiple channels. The author first puts forward the subject of this paper, designs the framework of the paper, then collects the literature, and finally compiles the review after the literature is sorted out. The literature method transcends the time and space constraints. Through the investigation of ancient and modern Chinese and foreign documents, we can study a wide range of social situations. This advantage is impossible for other investigation methods.

===Introduction===
'''1.The Introduction to Values'''

In modern society, 'values' is a common word. According to Marxism, values are the understanding, theory and doctrine of value, and the fundamental views of people on what is value and how to create value. Yanhui, a scholar, defines values as: values are the understanding of whether an object has value and how much value it has formed by individuals and organizations in a specific environment. In short, values are the cognition, understanding, judgment or choice made by people based on certain thinking senses, that is, a kind of thinking or orientation that people identify things and distinguish right from wrong, so as to reflect the certain value or function of people, things and things.

Values can be traced back to the written Xia Dynasty. At that time, the Chinese people gradually got rid of the savage lifestyle and emerged private ownership, followed by the concept of state and ruler. In general, the values of the Chinese people are influenced by the natural environment, cognitive level, scientific and technological level and other factors, and show a trend of progress and improvement. With the passage of time, the values inconsistent with China's social development gradually disappeared, while some values have been inherited for thousands of years. Values are characterized by stability and persistence, historicity and selectivity, and subjectivity. It plays a very important role in the orientation and regulation of people's own behavior, and determines people's self-awareness.

'''2.The Classification of Values'''

Chinese traditional values are different from the ancient Greek "truth-seeking" values, but a "goodness seeking" value focusing on the ethical relationship between people. The "good" here is manifested in paying attention to the realistic human relations, pursuing the harmonious coexistence of the realistic human relations, specifically advocating the harmonious coexistence between people and nature, and realizing the improvement and perfection of personal moral quality through self-cultivation.

Values are generated by the interaction between people and surrounding things. Specifically, it can be divided into two kinds: the values generated by the interaction between people, the values generated by the interaction between people and nature, and the values generated by the interaction between people and themselves.

===Contents in Different Periods===

In different periods, China has different values. The following introduces the background and reasons for the emergence of China's main values in five stages from three aspects.

'''1.Xia, Shang and Zhou Dynasties'''

The first is the values generated by interpersonal communication: women are required to maintain chastity.

In Chinese history, China belonged to the matrilineal society before the Xia, Shang and Zhou dynasties, and then changed into the paternal society, which lasted for thousands of years. The marriage form and female status in matrilineal society are determined by the level of productivity. The low level of productivity determines the division of labor between men and women. Women engaged in gathering can provide relatively stable means of living than men engaged in fishing and hunting. In addition, women are responsible for processing animal skins, grinding bone needles, sewing clothes and domesticating wild animals. With the development of productive forces, farming has become the main production activity, and men with strong physical strength gradually occupy a leading position in the production sector. The changes of the mode of production and lifestyle have shaken the material foundation of matriarchal society. At the same time, with the increase of products and uneven distribution, the gap between the rich and the poor arose, and the matriarchal clan public ownership was challenged. The differentiation of interests led to wars between groups, which strengthened the trend of male leaders' increasing power, status and wealth. Then they asked to change the tradition of lineage inheritance, that is, from female lineage to male lineage inheritance. At this time, the marriage and family system of monogamy and multiple concubines with paternal parents as the main body was gradually established. With the establishment of private ownership, in order to ensure that property is passed on to their own offspring, compulsory measures for women to maintain chastity have gradually emerged.

The second is the values generated by the interaction between man and nature: worship nature and revere nature.

In recent decades, archaeological data, documentary records, ethnological investigations and research results of related disciplines have been mutually confirmed and comprehensively analyzed, outlining a rough picture for the study of people's worship in ancient times. It is found that the God system of people in the Xia, Shang and Zhou Dynasties is a pluralistic and complex system. The worship of gods can be divided into natural God worship, ghost worship, totem worship and ancestor worship.

The earliest is the worship of nature. Nature is not only the giver and dependent object of human life, but also constantly brings various disasters to human beings. Because the ancients had a low level of understanding and could not correctly understand various natural phenomena, they had a sense of mystery, dependence and fear of natural gods. The ancients believed that there was a God behind everything. They were as conscious and thoughtful as people. These gods were omnipresent, mysterious and moody. They sometimes gave gifts and sometimes came disasters. They were the masters of human destiny. So the ancients regarded the sun, moon, stars, wind, rain, lightning, mountains, lakes, animals and plants as gods and worshipped them.

Finally, it is the values generated by the interaction between people and themselves: respecting morality and cultivating morality.

After the gradual formation of private ownership, the ruling tool of the state also appeared. But the worship of nature formed before this time is still deeply rooted. In order to gain more power, the rulers took measures to strengthen their status and required the people to follow certain self-cultivation concepts.

In order to prove the rationality of the regime, the rulers put forward the idea that "the emperor has no relatives, but morality is the auxiliary". As long as a ruler has virtue, heaven will give him rights, that is, endowments to virtue. Therefore, respecting and cultivating morality naturally became an important mission of social members in this period. So how to respect and cultivate virtue? The rulers took advantage of the situation and formulated the ethical norms of "respect for relatives" and "respect for respect" with the core idea of "respect for etiquette and performance, respect for ghosts and gods". Be close to the people you should be close to, and respect the people you should respect. The members of the society should follow the strict etiquette that conforms to their hierarchical status, so as to strengthen the monarchy, patriarchy and husband power, and sanctify the patriarchal concept of moral order and status hierarchy. In addition to solidifying class interests, from the perspective of governing the country and stabilizing the country, under the guidance of the consciousness of "respecting morality and cultivating morality", the people-oriented thought of "loving the people as a son" emerged as the parents of the people.

'''2.Spring and Autumn Period and Warring States Period'''

The first is the value of interpersonal communication: benevolence.

In dealing with the relationship between people, although there were many schools of thought and diversified values in this period, they came to the same goal through different paths, taking "heaven" as the root of "Virtue" and the real life of people as the focus of attention. Linking "heaven" with "Virtue" and "discussing virtue with heaven" were the ways for various schools of thought to prove the rationality of the values they advocated during this period. Mencius believed that "benevolence" was the necessary meaning of "good nature", while "good nature" was determined by "heaven". To achieve morality is to "know the heaven", "do the heaven" and "be worthy of the heaven". In order to persuade everyone to implement his value proposition of universal love, Mozi introduced the concept of "heaven" sanctions. The will of the emperor of heaven is that all people should love each other. If they practice universal love, they will be rewarded by heaven, otherwise they will be punished. Zhuangzi believed that "Virtue" means giving full play to self

However, the natural ability of nature, "Virtue" makes people human, and the only way to obtain "Virtue" is to conform to heaven. In addition to the view of heaven and man of "discussing heaven with virtue", various schools of thought in this period elaborated their concern for human beings from different ways. Confucius poured rich humanistic care into his thought of "propriety, filial piety and benevolence" and affirmed human dignity and value. Ritual is not only a form of life, but also a cultural phenomenon containing human nature and emotional needs. The thought of filial piety reflects the children's duty of serving their elders and their love for others. His benevolent thought of "benevolent, people also" expresses a high degree of concern for people themselves.

The second is the values generated by the interaction between man and nature: the unity of heaven and man.

In dealing with the relationship between man and nature, the ecological view of the unity of man and nature seems to have become the core value orientation of this period. Confucianism and Taoism have expounded this ideal in different ways. Confucius advocated that the moral code of interpersonal relationship "benevolence" should be applied to the field between man and nature. If man can love nature, his behavior will be good, otherwise it will be evil. At the same time, Taoism expressed the attitude of protecting natural resources with the idea that everything is the same and nothing is noble or inferior. Benevolence towards all things, the unity of heaven and man, starting from people's rational emotions, made the ecological protection thought in this period more active and conscious than the ecological concept of pursuing advantages and avoiding disadvantages and following the natural laws in the Xia, Shang and Zhou dynasties.

[[File:H B H A N.jpg]]

Finally, it is the values generated by the interaction between people and themselves: ideal personality.

"Ideal personality" of the national self-cultivation concept. During this period, the value concept of dealing with the relationship between people and themselves has made a breakthrough under the guidance of the humanistic spirit. All schools have put forward the concept of self-cultivation with the ideal personality as the goal, from the son of heaven to the common people, in order to make social members meet the requirements of "heaven" for people's "Virtue" cultivation. Confucius put forward the self-cultivation thought with "benevolence, righteousness, courtesy, wisdom and faith" as the core content, and advocated that individuals improve their personality cultivation through a series of self-education methods such as determination, diligent thinking and introspection. Mencius emphasized the main role of moral practitioners and learners, and advocated self-cultivation methods such as "being intentional, having few desires, nourishing qi, sharpening ambition, knowing shame, correcting mistakes, thinking sincerely, reflexively, loyal and forgiving". During this period, Taoism also put forward the concept of self-cultivation education, which was guided by the principles of imitating nature, practicing the harmony between nature and Taoism, embracing simplicity and truth, and being weak and indisputable, and followed the path of teaching without words, promoting moral education, promoting emptiness and quietness, and abandoning wisdom.

'''3.Qin and Han Dynasties'''

The first is the values generated by people's interaction: the three cardinal principles, namely, the monarch is the subject, the father is the son, and the husband is the wife.

"Three cardinal principles" refer to the three main ethical and moral relationships between people in feudal society, that is, "the monarch is the subject, the father is the son, and the husband is the wife". Han Fei, a representative of Legalist school, once talked about these three relations: "the minister is the king, the son is the father, and the wife is the husband. If the three go along, the world will be governed, and if the three go against, the world will be in chaos. This is the common way of the world. In the Ming Dynasty, the monarch, the virtuous minister, and the Buddha will change." Confucius also talked about the hierarchical relationship between the emperor and his subjects. In the Analects of Confucius, Yan Yuan said, "Duke Qi asked Confucius about governance. Confucius said to him, 'the emperor, his subjects, father and son.' the public said: good! Faith is like a king without a king, a minister without a minister, a father without a father, and a son without a son. Although there are millet, I will eat it. 'after clarifying the hierarchical relationship between the emperor and his subjects, father and son, and husband and wife, the society can be in order, and the country can be peaceful and harmonious. Dong Zhongshu's "three cardinal principles" thought obviously inherited the moral education thought of pre Qin Confucianism, and at the same time integrated the relevant thoughts of Legalists, and put forward the theory of the relationship between monarchs and officials that adapted to the feudal rule of the Han Dynasty, It also uses religious theology and the theory of yin and yang to demonstrate the rationality of the thought of "three cardinal principles": "the heaven is revealed for the king, and held by the officials. The Yang is born for the husband, and the Yin is helped by the woman. The spring is born for the father, and the summer is raised for the son. The autumn is a coffin for death, and the winter is a pain and funeral. The three cardinal principles of Wang Dao can be found in the heaven." "The righteousness of monarch and minister, father and son, and husband and wife is based on Yin and Yang. The monarch is Yang, and the minister is Yin; the father is Yang, and the son is Yin; the husband is Yang, and the wife is Yin. The vagina does nothing alone.

[[File:V.jpg]]

The beginning should not be dedicated, and the end should not be divided. It has both meanings. It is the reason why the minister owes both to the king, the son to the father, the wife to the husband, the Yin to the Yang, and the earth to the heaven. " According to the view that Yang respects Yin and is inferior to Yin in the theory of yin and Yang, in these three relationships, the monarch, father and husband are Yang, and the minister, son and wife are yin. Yin must be completely subject to Yang, so the minister, son and wife must also be subject to the monarch, father and husband. After Dong Zhongshu's demonstration, the thought of "three cardinal principles" has achieved the supreme status of being in harmony with the way of heaven, thus making the feudal autocratic concept of political power, monarchy and husband's power become a natural and inviolable creed, and its purpose is to make the hierarchical order of patriarchal society absolute and eternal. This set of theories, which is very naive today, played a role in maintaining the feudal autocratic rule under the historical conditions at that time.

The second is the values generated by the interaction between man and nature: the coexistence of traditional gods and newly created gods.

During this period, people had long-term contact with nature. Before this, people worshiped nature extremely, and then changed into the unity of heaven and man. In the Qin and Han Dynasties, the object and focus of people's worship changed again. People changed from worshiping natural gods to the supreme ruler, and then to some outstanding and representative figures. At this time, traditional gods and newly created gods coexist.

There are many gods inherited from the pre-Qin period, including various natural gods such as wind, rain, thunder and lightning related to agricultural production, various functional gods that protect people from old age and death, ancestral gods that shade future generations, as well as loyal gods who make unremitting efforts to consolidate the state power but eventually die of immorality The ancient sages and sages who have paid a lot of blood for the development of national culture and the progress of Chinese civilization, and the plague God who has brought serious threats to human production, life and health.

In addition to the traditional gods, many new gods appeared in the Qin and Han Dynasties, such as emperors such as Liu Bang, contemporary saints and sages represented by Xunli, loyal and virtuous men represented by Luan Bu and Liu Zhang, imaginary gods represented by Bao Jun and Shi Xianshi, and local ordinary gods introduced by local people. Such as emperor Gaozu of the Han Dynasty and Emperor Xuandi of the Han Dynasty can be regarded as symbols of their deification.

Finally, the values generated by the interaction between people and themselves: five constants, namely benevolence, righteousness, propriety, wisdom and faith.

"Wuchang" refers to the five moral concepts of "benevolence, righteousness, propriety, wisdom and faith", which are the moral principles that individuals should achieve. It reflects the moral principles of China's feudal autocratic society. Mencius discussed the "four ends" of human nature from the perspective of the original goodness, that is, "compassion, benevolence, shame, righteousness, respect, courtesy, right and wrong, wisdom. Benevolence, righteousness, courtesy and wisdom are not from the outside, but from the inside."

Dong Zhongshu's "three cardinal principles and five standing principles" has normative and mandatory characteristics compared with the ethics and moral concepts of the pre Qin period. For example, Confucius emphasized the mutual restraint of the morality of both sides when talking about the relationship between the monarch and the minister. "The monarch and the minister should be polite, and the minister should be loyal to the monarch." the monarch and the minister are equal, and the minister has a certain restrictive effect on the monarch, that is to say, the loyalty of the minister to the monarch is based on the courtesy of the monarch to the minister, otherwise the minister can not be loyal to the monarch. Dong Zhongshu's "three cardinal principles and five permanent principles" unilaterally emphasized the absolute obedience of the lower to the upper, which made the Confucian ethics and morality into a feudal hierarchical rule theory, which was mandatory, and its purpose was to maintain and strengthen the centralization of power. This has played a decisive role in the relationship between human relations and morality in the traditional Chinese society, and has a far-reaching impact on the Chinese people's ideas and interpersonal communication. This concept of hierarchy still affects the Chinese people's thinking and values, whether overt or covert, tangible or intangible, and affects the socialist democratic process. Its negative impact should be highly valued and should be clearly criticized and rejected.

'''4.Song, Yuan, Ming and Qing Dynasties'''

The first is the value of interpersonal communication: filial piety and universal love.

From the end of the feudal separatist regime of the Five Dynasties and Ten Kingdoms by zhaokuangyin in 960 A.D. to the establishment of the Song Dynasty, to the middle of the Qing Dynasty, moral education has developed rapidly in the history of more than 800 years. Both the content and the form of moral education are constantly developing and changing, showing unique characteristics. This is not an accident, but a certain historical inevitability.

The ethics education in feudal society has always been the top priority of its education. It "standardized the obligations of people to each other, and its purpose is to achieve the harmony of interpersonal relations". Therefore, the content of moral education advocated by moral education textbooks in the song, yuan, Ming and Qing Dynasties always put "filial piety" in the first place. Teach children to be filial to their parents, to love their brothers and sisters, to push themselves to others, not only to love and respect their parents and relatives, but also to respect other people, so as to "love all".

During the Ming and Qing Dynasties, the feudal autocracy was continuously strengthened and Neo Confucianism was constantly flourishing. The rulers needed to further strengthen the imprisonment of the people's thoughts, and the Confucian ethics became more and more rigid. In this way, the ethical principles of "filial piety, benevolence and righteousness" and "universal love for the people" became the focus of moral education. Therefore, the length of moral education textbooks in this period was reduced and shortened, However, the content of human relations education has not been reduced. Moral upbringing textbooks such as children's language and Di Zi Gui still retain this important educational content. They not only teach children to be filial to their parents and teachers, but also give specific guidance in their lives. Therefore, it can be seen that the educational content of "filial piety and universal love" occupied an important position and played an irreplaceable role in the moral education textbooks in the song, yuan, Ming and Qing Dynasties.

The second is the values generated by the interaction between man and nature: the use of nature.

Urban public gardens, which began to flourish and develop in the Song Dynasty, are the garden types that can best embody political economy, social culture and landscape aesthetics, and are most closely related to urban life and spatial form. As an important part of urban and rural space, public gardens affect the daily life of urban and rural residents and the composition of urban and rural spatial form. They are one of the important material carriers of China's historical landscape garden culture. Compared with the royal gardens and private gardens of the same period, urban public gardens not only embody the Confucian concept of "sharing happiness", but also, as the stage of daily life of all levels of society, show a close relationship with the corresponding development of social economy and folk culture, which is a subject worthy of attention in the history of cities and gardens.

The utilization of water in Song Dynasty also reached a new height. Water conservancy has been a national public project in China since ancient times, which also makes Chinese society branded as a water conservancy society. From the large-scale flood control and water conservancy projects for national security carried out by Dayu in ancient times, to Dujiangyan in Chengdu Plain, zhengguoqu in Guanzhong, Lingqu in Guangxi and Jiangnan canal completed only in the Sui Dynasty in the Qin and Han Dynasties, water conservancy projects before the Tang and Song Dynasties often focused on large-scale agricultural and transportation water conservancy projects at the national level. By the Tang and Song Dynasties, water conservancy projects were gradually combined with the process of urbanization, and urban water conservancy projects were generally rising. Scenic spots formed by suburban lakes such as Hanzhou West Lake, Fushun West Lake, Hangzhou West Lake, etc. had been praised by poets in the Tang Dynasty. Under the influence of the gradual maturity of the landscape culture and the popularization and secularization of cities, the water conservancy facilities in the Song Dynasty were more garden like than those in the Sui and Tang Dynasties, and had become a necessary measure for various water conservancy projects, thus becoming an important public garden carrier in various places, forming a number of famous cities for the construction of water culture gardens, such as Hangzhou, Suzhou, Yangzhou, Nanjing, Guilin, Ningbo, Jinan, Yingzhou, etc, It has become a mature era for the construction of urban water culture gardens in ancient China.

Finally, the values generated by the interaction between people and themselves: valuing morality; Let go of human desires and preserve natural principles.

The Chinese nation has always been famous for its civilization and morality, and has the reputation of "a land of etiquette". In the song, yuan, Ming and Qing Dynasties, moral education textbooks emerged in endlessly. They are part of Chinese traditional culture and the inheritance of traditional culture with "valuing morality" as the core, and have extremely important value. Because only by emphasizing the cultivation of the spirit of "filial piety, benevolence and righteousness, benevolence and love", can it be conducive to the cultivation of the concept of loving oneself and others; Only by attaching importance to the establishment of the concept of "determination and morality, diligence and honesty" can we strengthen moral education and improve the moral quality of the whole people; Only by attaching importance to the cultivation of moral concepts and the training of moral behaviors, can it contribute to the cultivation of social morality. In a word, the moral education textbooks in song, yuan, Ming and Qing Dynasties are of great benefit to inherit and carry forward the excellent Chinese traditional culture with "valuing morality" as the core, and to the construction of the spiritual civilization world of the Chinese nation, future generations and even the whole mankind.

'''5.Since the Founding of New China'''

The first is the values generated by interpersonal communication: collectivism weakened and individualism strengthened.

In 1972, under the leadership of Deng Xiaoping, China began to implement reform and opening up, and the socialist market economy was gradually established. In this context, the values of the Chinese people have quietly changed. With the establishment of market economy, the society has stepped into a stage of rapid development, and social competition is becoming increasingly fierce. People get rid of the psychology of relying on the collective society and become self reliant, so as to improve their own ability and personal competitiveness. "Natural selection, survival of the fittest" has become people's Creed. The awareness of self-worth was significantly enhanced. Market economy requires full affirmation and respect for personal material interests. Therefore, an atmosphere of respecting knowledge and talents has been formed, which has strengthened people's growing "self-awareness". In the process of pursuing value, they began to pay attention to their personal interests and roles, and asked to put "self" in its proper position.

The second is the values generated by the interaction between man and nature: protecting nature.

In the early stage of reform and opening up, due to the urgent need of economic development, we are still repeating the old road of "pollution first, governance later" and other capitalist countries. For this reason, it has brought about such environmental problems as the sharp reduction of forests, water, soil and air pollution, soil desertification and rocky desertification, and the ecological environment is almost on the verge of collapse.

With the increasing expansion of international exchanges, the impact of the introduction of international environmental protection ideas on China, the positive appeals of domestic scholars and the increasingly serious domestic ecological problems, our party's view of nature has also undergone new changes. Silent spring reminds people that they must re-examine the relationship between man and nature and choose a new ruler to measure the relationship between man and nature. In particular, the Research Report "our common future" published by the United Nations World Commission on environment and development in february1987 put forward the idea of "sustainable development". It warns people that we should guide people from simply considering environmental protection to effectively combining environmental protection with human development. This report has had a profound impact on our party.

As the report of the 18th National Congress of the Communist Party of China incorporated the construction of ecological civilization into the "five in one" overall layout of the cause of building socialism with Chinese characteristics and into the important construction content of a beautiful China and the Chinese dream, the construction of ecological civilization has further risen to the will of the party and the country, our party's view of nature has ushered in new development, and the status of nature has been further confirmed. After the theory and practice since the reform and opening up, the concept that nature is the foundation of human survival and development has gradually taken root in the hearts of the people. In particular, China has implemented real-time monitoring of air quality since December 2011, and released PM2.5 monitoring data in the air quality index of major cities, which constantly reminds people to pay attention to environmental issues. However, the consensus of the whole Party has not yet been formed, and the backward concept of "pollution before treatment" has not been completely eliminated. Therefore, General Secretary Xi has repeatedly warned the whole party on the issue of environmental protection We have no other choice, because we cannot follow the old path of development of the United States and Europe in building a modern country.

Finally, the values generated by the interaction between people and themselves: patriotism, dedication, honesty and friendliness.

Patriotism has always been a personal character emphasized by the Chinese nation since ancient times, and it is also a symbolic collective spirit of Chinese society. Putting patriotism in the first place of socialist core values at the individual level fully illustrates its importance. As early as 2000 years ago in the bookofsongs, a song "Guofeng · Qinfeng · Wuyi" firmly expressed the patriotic spirit of unity and common resistance to foreign humiliations.

Dedication is an important value requirement for citizens' personal behavior. As an important part of the core values at the individual level of our citizens, the development of the country and the progress of the society are inseparable from the working state of dedication. Dedication is to require individual citizens to have a serious and responsible attitude towards their work or career, to maintain a sense of dedication and responsibility in spirit, and to adhere to diligent learning and improve professional skills in practice. Dedication is not only an important value criterion for citizens to participate in social work, but also a basic professional ethics requirement for citizens.

Honesty is undoubtedly an important core value in any society. Perhaps it is because the integrity standards before and after the reform have changed. People often express their dissatisfaction and worry about the current integrity with a nostalgic mood and a critical eye. We must admit that the integrity issue in China is indeed in a difficult construction process. There is an essential difference between the political "honesty" in the planned economy period and the contractual "honesty" under the market economy system. "Honesty" is bound to be fragile in the transformation from the traditional relational society to the modern open society.

The last is kindness. As the core value goal at the personal level, friendliness is the basic criterion for dealing with interpersonal relationships. As a social moral code and value orientation, friendliness requires people in the society to treat each other with an open-minded and kind-hearted attitude. In reality, the driving force of market economy to maximize people's interests has transformed the traditional acquaintance society into an open stranger society, resulting in the alienation of interpersonal relations and the lack of friendliness in the society. With the continuous deepening of China's social reform and opening up, many unknown contradictions and conflicts will be touched. To maintain a harmonious social environment and eliminate conflicts, contradictions, estrangements and misunderstandings in human relations, friendship is an important guarantee.

===Take the Essence and Discard the Dross of the Values that Have Been Handed down to this Day===
The above part lists three values in the five main periods, among which the values of interpersonal communication have gone through the changes from "requiring women to maintain chastity" to "benevolence", to "three cardinal principles, namely, the monarch is the subject, the father is the son, and the husband is the wife", to "filial piety and universal love", and finally to "the collective interest is weakened and the personal interest is enhanced". The values of communication between man and nature have experienced the changes from "worshiping nature and fearing nature" to "the unity of heaven and man", to "the coexistence of traditional gods and newly created gods", to "using nature", and finally to "protecting nature". The values of people's communication with themselves have gone through "respecting morality and cultivating morality" to "ideal personality", to "five constants, i.e. benevolence, righteousness, courtesy, wisdom and faith", to "valuing morality; eliminating human desires and preserving natural principles", and finally to "patriotism, dedication, honesty and friendliness". After thousands of years of development, these values are generally developing towards science and in line with the trend of the times. In this process, backward values have gradually disappeared in the long river of history.

The first is the values generated by interpersonal communication. The values in this aspect show an overall trend of equality, and selfish individualism has been eliminated. The second is the values of communication between man and nature. Due to the deepening of man's understanding of nature, the feedback from nature and the development of philosophy, protecting nature has become the mainstream values. Finally, the values of communication between people and themselves, as a whole, are developing in the direction of improving self morality.

===Influence of Values that Have Been Passed down to the Present===
On the whole, Chinese values are based on Confucianism, which leads to many details. From the perspective of the values spread from ancient times to now, the values pursued by Confucianism still occupy the mainstream position.

First, let's look at the characteristics of the system form of Confucian core values. The core values of the Confucianists are based on the five cardinal principles and the three cardinal principles. The five cardinal principles are based on benevolence and propriety, and emphasize the unification of propriety with benevolence. Benevolence and propriety are closely linked with the value order and value norms of the three cardinal principles, and can complement each other in terms of theoretical connotation and form. As far as the systematic structure of the core values of Confucianism is concerned, the five permanent principles and the three cardinal principles respectively regulate the basic values of human social life from the two levels of universality and particularity, while sex, heaven and Taoism constitute the theoretical basis for its transcendence, and at the same time, the individual personality perfection implemented in the life values constitutes a universal and special, metaphysical and metaphysical Group order and individual pursuit are perfectly combined as a justice system, which closely conforms to the fundamental national conditions of the autocratic monarchy hierarchical society based on the traditional family standard in China. In this sense, the form of the Confucian core values system is worthy of our reference, which inspires us to make the core concepts more prominent and the justice system more compact in the construction of socialist core values.

Second, the characteristics of the specific content of the Confucian core values system. The core values of Confucianism have a huge and far-reaching impact on the traditional Chinese society, and are people's basic living standards and even the ultimate spiritual concern. Huang Daozhou, a great Confucian in the Ming and Qing Dynasties, died in the war against the Qing Dynasty. His dying blood book "the principles of justice will last forever. Heaven and earth know me, and my family will have no worries". It points out the way for the creative transformation and innovative development of Confucian core values. As the core values of Confucianism, the three cardinal principles and the five constant principles are more integrated with the ethical relations and political rule of reality, and their specific norms should be changed with the development of the times. The five constant principles reflect more universal value pursuit, and should be combined with the life style of modern society to transform their ideological connotation. The three cardinal principles and the five constant principles correspond to the birth of heaven, the integration of all things The core values of Confucianism, such as inner sage and outer king, are also valuable ideological resources for us to construct a new value philosophy and value ideal today.

===Conclusion===
In the new era, with the interweaving of socialist modernization with Chinese characteristics, world modernization and economic globalization, cultural diversity and cultural conflict and integration in the process of international exchanges have become one of the important characteristics of the world, and the people's needs for values are also increasing. Contemporary Chinese values are both generated and dependent on cultural self-confidence. They point out the direction for integrating and leading diversified social thoughts and various social consciousness, and also converge into a powerful force to promote social harmony. Through the necessary sublation and innovation, we can further enrich and expand people's cultural vision and spiritual realm. At the same time, in the face of today's international society with cultural differences and diverse values, enhancing the recognition and self-confidence of contemporary Chinese values is of great significance for coping with the challenge of global diverse values, improving China's cultural soft power and its discourse position in the international community.

===Reference===
Yan Hui 晏辉.(2009). 现代语境下的价值与价值观[Values in the modern context]. Beijing Normal University Press北京师范大学出版社.

Liu Caihong 刘彩虹.(2014). 当代中国社会价值观念变迁与人的全面发展[The changes of contemporary Chinese social values and the all-round development of human beings]. Inner Mongolia University内蒙古大学.

Lin Hongtao 蔺宏涛.(2016). 社会主义核心价值观的源流研究[Research on the origin of socialist core values]. Hunan University 湖南大学.

Zhao Fujie 赵馥洁.(2004). 论中国主体价值观念的起源[On the origin of the concept of value subject in China]. Journal of Humanities ''人文杂志'', 000(005), 46-52.

Wang Chuanman 王传满.(2008). 夏商周:贞节观念滥觞[Xia, Shang and Zhou Dynasties: the beginning of the concept of chastity]. Journal of Hubei University of Economics ''湖北经济学院学报'',6(4):4.

Li Qiuxiang 李秋香.(2015). 文化认同与文化控制:秦汉民间信仰研究[Cultural identity and cultural control: a study of folk beliefs in the Qin and Han Dynasties]. Henna University 河南大学.

Mao Huasong,Zhang Xingguo 毛华松,张兴国.(2016). 城市文明演变下的宋代公共园林研究[Research on public gardens in Song Dynasty under the evolution of urban civilization].Chongqing University 重庆大学.

===Terms and Expressions===
values 价值观

matriarchal society 母系社会

improve virtues 敬德修德

benevolence 仁

harmony between heaven and man 天人合一

ideal personality 理想人格

the three cardinal guides as specified in the feudal ethical code 三纲

the five constant virtues as specified in the feudal ethical code 五常

Be filial to elders and friendly to others 孝亲泛爱

individualism 个人主义

collectivism 集体主义

to build socialism with Chinese characteristics, the overall layout is a five in one process: economic, political, cultural, social and ecological progress 五位一体

patriotism 爱国

be dedicated to work 敬业

be honest 诚信

be friendly 友善

===Questions===
1.What three values are involved in this paper?

2.What is the overall direction of these values?

3.Has collectivism been strengthened since the founding of new China?

===Answers===
1.The values of interpersonal communication, the values of interpersonal communication with nature, and the values of interpersonal communication with oneself.

2.These values are generally developing in the direction of science and in line with the trend of the times.

3.Yes.

==英语笔译崔晓凡 Cui Xiaofan 202170081566==
<center>'''China Central Plain Culture'''</center>

<center>Cui Xiaofan</center>

===Introduction===

The Central Plain of China was the political, economic, cultural and transportation center of ancient China, as well as the place where North and South cultures collided in the country, so there is a saying that "the ancients compete for the Central Plain can only establish the world". Central Plain culture is the sum of material culture and spiritual culture based on the Central Plains region. It is the foundation and backbone of Chinese culture.

Broadly speaking, Central Plain culture is the general term for culture in the middle and lower reaches of the Yellow River. Geographically, it mainly takes Henan as the core and radiates outside to neighboring areas in the middle and lower reaches of the Yellow River. In ancient times, Yuzhou lived in Kyushu, known as Zhongzhou, also known as the Central Plain, including most of Henan Province. Therefore, the Central Plain culture mainly relies on Henan Province. In a restricted sense, Central Plain culture refers to Henan culture. The birthplace of the world's major civilizations, as we all know, is surrounded by the major rivers in its territory, and China has always called the Yellow River the "Mother River". The middle and lower reaches of the Yellow River are the birthplace of Chinese civilization and the cradle of the Chinese nation.

A great quantity of prehistoric cultural artifacts have been discovered in Henan, according to archaeology findings. Four of the eight ancient capitals of China are located in Henan, namely Zhengzhou, Anyang, Luoyang and Kaifeng. Among them, the last capital of the Xia Dynasty was built in Luoyang Yanshi, Zhengzhou in the middle of the Shang Dynasty, and Anyang in the late Shang Dynasty. The civilization of the Xia, Shang and Zhou three dynasties can be said to be the cradle of Chinese civilization. On this basis, hundreds of thought, especially Confucianism, Taoism, Mohism and other ideas, originated in the Central Plain and occupied an prominent position in China's centuries-old feudal ruling mentality, and has been continuously inherited and developed. Therefore, from the perspective of historical development, the main feature of the distinction between Central Plain culture and other regional cultures in China is that it is closely tied to Chinese culture and is the source of Chinese culture. Central Plain culture plays an extremely important role in the formation and development of the Chinese nation and Chinese culture.

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Conclusion===

===References===

===Terms and Expressions===

===Questions===

===Answers===

==英语笔译邓阳林 Deng Yanglin 202170081567==

<center>'''A type of verse popular in the Yuan Dynasty'''</center>

<center>Deng Yanglin</center>

===Abstract===
Yuan Qu is a literary form prevailing in the Yuan Dynasty, the wisdom of the Yuan scholars, including Zaju and Sanqu, and sometimes it specially refers to Zaju. It embodies unique characteristics in ideological content and artistic achievement and owns a status as important as that of the Tang poetry and Song poem.The three kinds of literatures have become three important milestones in the history of Chinese literature. Generally speaking, the objects depicted and written in Yuan Opera are not limited to beauty, ugliness, elegance and vulgarity and it shows a rich and broad expressive force. Different from Tang poetry and Song poem, Yuan Qu revealed the profound reality of the time in an alternative way, including extensive subjects, plain words, lively forms, fresh styles, vivid description, and changeable techniques. It often describes revolting against the political dictatorship, scolding the dark fighting glory of the society, and is full of the mood of resistance. This paper mainly consists of six parts including introduction, literature review, methods and theories, text and conclusion, aiming at introducing the development process, social value and artistic value of Yuan Qu, so as to gain insight into the social status quo and folk suffering at that time.

===Key words===
Yuan Qu；the Yuan Dynasty; Guan Hanqing; Zheng Guangzu; Bai Pu

===Introduction===
After Tang poetry and Song ci, Yuan Qu, which is a flourishing literature, has its unique charm. On the one hand, Yuan Qu inherits the elegant and graceful poetry. On the one hand, the society of the Yuan Dynasty placed the scholars in the position of "eight prostitutes, nine scholars and ten beggars", political monopoly and social darkness, which made the Yuan Song radiate the brilliance of fighting and showed the mood of resistance. The sharp point is directed at social malpractice, the society in which "people who do not read are the best, those who do not read are the best, and those who do not know things boast of their beauty", and the world in which "people are ashamed of their lives and do not see money". The works describing love in the Yuan Dynasty are also more aggressive and bold than the poems of the past dynasties. All these are enough to keep its artistic charm forever.
The rise of Yuanqu had a profound influence on the Chinese national poetry development, cultural prosperity and outstanding contributions. As other art flower, it is not only a scholar xu chi lines as handy tool, but also to reflect the yuan dynasty social life provides the people happy new art form it arises immediately showed exuberant vitality.
This thesis aims to study the four masters Guan Hanqing of Yuan Qu; Ma Zhiyuan; Zheng Guangzu; Bai Pu and his works to understand the development of Yuan Qu, so that readers can have a general understanding of the rise and fall of Yuan Qu, so that the unique artistic characteristics of Yuan Qu for the world to understand.

===Literature Review===
Pan Chaoqing and Tu Ping pointed out in On the Inheritance and Development of Yuan Opera to The Humorous Culture of Song Dynasty that Yuan Zaju inherited and developed the basic form of Song Zaju, developed into a relatively complete drama structure, and performed a variety of drama styles. Is different from other art forms, the key is rooted in drama guan mu structure of internal texture, the drama structure has been mature art form, will not easily change by conversion of aesthetic fashion, but also as a comic effect the structure of the fragment, as well as the flexibility to thrust in the drama structure, and can be organically integrated into the drama, As a plot factor to show conflicts and shape characters, the widely used "three branches of law" and the "teasing" mode of two people are typical representatives.

In the Development Background of Yuan Opera and its Special Language Phenomenon, Wang Qinghua points out that Yuan Opera is mainly composed of miscellaneous songs of Yuan Dynasty, supplemented by sanqu, which is the inevitable result of its rich and complicated language for the audience of all levels. When we appreciate yuan qu, we should not only understand the background of its language formation, but also pay attention to the regional dialects, common falsities and common features, which are of great benefit to us to appreciate yuan literary works better.

Li Sheng pointed out in The Development of Opera Criticism from the Evolution of the Four Masters of Yuan Opera that Strictly speaking, the so-called "four masters of Yuan Opera" are the "Guan, Zheng, Bai and Ma" four people assessed by yuan People. Their arrangement order is influenced by the drama theory of each era and their position changes, from which we can also see the development of drama theory. Generally speaking, it has experienced the smooth development of the heavy tone and rhyme. To stress the standard of melody and lyrics of the emotional "nature", and finally to pay attention to the script writing such a process. Today we look at the "four everybody", natural need not limited to, zheng, white and Ma Siren, Mr Tan Zhengbi wrote the biography of yuanqu six people slightly, he will be wang shifu and georgie also included, reflecting the view of his opera, but we don't need to in the "four everybody" wenxuan, but from another Angle to look at it, There must be something else in it.

===Methods and Theories===
This paper adopts the method of literature research.It mainly refers to the method of collecting, identifying and sorting out literature, and forming a scientific understanding of facts through literature research. Literature method is an old and vigorous scientific research method.
General process
The general process of literature method includes five basic steps, which are: putting forward a topic or hypothesis, research design, collecting literature, sorting out literature and conducting literature review. The proposed topic or hypothesis of literature method refers to the idea of analyzing and sorting or reclassifying relevant literature according to existing theories, facts and needs. The first step in research design is to establish research objectives. Research objectives are designed into specific, operable and repeatable literature research activities based on the subject or hypothesis in an operable definition, which can solve special problems and have certain significance.
The main advantages
(1) The literature method transcends the limitation of time and space, and can study a wide range of social situations through the investigation of ancient and modern Chinese and foreign literatures. This advantage is not possible with other survey methods.
(2) The literature method is mainly written survey. If the literature collected is real, it can obtain more accurate and reliable information than oral survey. Avoid all kinds of recording errors that may occur in oral investigation.
(3) Literature method is an indirect and non-interventional survey. It only investigates and studies various literatures without contacting the respondents or intervening in any reaction of the respondents. This avoids all kinds of reactive errors that may occur during the interaction between the surveyors and the respondents in the direct survey.
(4) Literature method is a very convenient, free and safe survey method. Literature investigation is less restricted by the outside world, so as long as the necessary literature is found, research can be carried out anytime and anywhere; Even if there is a mistake, it can be remedied through re-study, so its safety factor is high.
(5) Document method saves time, money and high efficiency. Literature survey is based on the achievements of predecessors and others, which is a shortcut to acquire knowledge. It does not require a large number of researchers or special equipment, and can obtain more information than other survey methods with less manpower, money and time. Therefore, it is an efficient survey method.

===Zheng Guangzu and Yuan Qu===
Zheng Guangzu was born in the early years of the Yuan Dynasty (1264 AD). His courtesy name was Dehui, han nationality, and he was a famous composer of zaju and sanqu in the Yuan Dynasty. He lived in Xiangling, Pingyang (xiangfen County, Linfen City, Shanxi Province today). We know from zhong Sicheng's Book recording Ghosts, a drama writer of the same period as Zheng Guangzu, that he studied Confucianism as his career in his early years, and later was appointed as an official of Hangzhou Road, so he lived in the south. He was "upright" and not good at communicating with officials, so they looked down on him. As you can imagine, his official life is very difficult. The beautiful scenery of Hangzhou and its clever singing girls constantly aroused his feelings. Zheng Guangzu was engaged in the creation of zaju all his life and devoted all his talents to this folk art, enjoying a high reputation in the art circle at that time. Lingling people all respected him as Mr. Zheng, his works through the dissemination of many Lingling people, had a wide influence in the people. He had a close relationship with the Lingren in Suzhou and Hangzhou. After his death, he was cremated by lingyin Temple in Hangzhou.
Zheng Guangzu, one of the "four masters of Yuan Opera", was deeply influenced by Wang Shifu for his plays depicting the love lives of men and women. Its " Mei Xiang cheated the Hanlin Fengyue" and "fan Qingsuqian Girl left the Soul" two works are obviously influenced by "Romance of the Western chamber", but the achievements are different. " Mei Xiang" can be called the failure of The Yuan Song, and "A Beautiful Girl Leaving her Soul" is a masterpiece. There are various reasons for this phenomenon, but one of the important reasons is that the author adopted two different attitudes when learning and inheriting the Romance of the Western Chamber: imitation and innovation. "Innovation is the soul of a nation's progress and an inexhaustible driving force for its prosperity... Innovation requires constant emancipation of the mind, seeking truth from facts and advancing with The Times." Therefore, we can also deduce that only innovation can literary works have the development of inheritance in the real sense. " Mei Xiang" in "set number, appearance, all ritual" West Wing ", predecessors make this evaluation is too strict, but basically in line with the reality. Because it does too much imitation of the "Romance of the Western Chamber" traces, and finally annihilated in the full bloom of the Yuan Qu garden. In contrast, the author of "A Beautiful Girl Leaving her Soul" is not satisfied with the existing achievements of "Romance of the Western Chamber", but made some new development and development to it, thus achieving the brilliant author and work.

===Guang Hanqin and Yuan Qu===
Guan Hanqing (about 1234 - 1300), original name unknown, word Han Qing, name Yizhai (also known as Yizhai, Yizhai Sou), Han nationality, jiezhou (now Yuncheng, Shanxi Province), also born in Dadu (now Beijing)and Qi Zhou (now Anguo, Hebei Province), etc. [6] Founder of Yuan Zaju, Together with Bai Pu, Ma Zhiyuan and Zheng Guangzu, guan Hanqing is the first of the four masters of Yuan Qu.
His life was rich in drama. There are more than sixty plays, most of them lost. His drama, tragedy, comedy, broad themes, deeply exposed the dark and decadent social reality of the Yuan Dynasty. His works "Dou E Yuan", "Save the Wind", "Wangjiang Pavilion", "Lu Zhailang" and "Shan Dao Hui" are all popular works. His "grows DouE case" is the best the most glorious yuan drama script, it is an outrage to the rulers of the yuan dynasty a campaign by the tragedy of the pure, good DouE, revealed the social usury exploitation, bullies, wandered and yuan dynasty official graft, proposes the crimes, tackling a social chaos of the yuan dynasty, the ugly nature of malformation and eat people.
In the long-term creation practice, he has formed a profound theme, rigorous structure, lively and vivid image, sharp language simple zaju characteristics. He is a writer with the most works and the greatest achievements in the history of Chinese drama.

===Ma Zhiyuan and Yuan Qu===
Ma Zhiyuan (c. 1250 -- 1321 -- autumn 1324), also known as Dongli, was a writer of opera, sanqu and essayist in the Yuan Dynasty. And Guan Hanqing, Zheng Guangzu, Bai Pu said the "Four masters of Yuan Qu".
Ma Zhiyuan was born in a rich and have the family of literacy, keen to obtain fame when he was young, once seemed to prince borjigin, real gold sing and so was the officer, probably due to the death of borjigin, real gold after towns in jiangsu and zhejiang provinces services officer, yuan zhen years after early early (1295-1297) participated in the "yuan zhen book will", later lived in hangzhou, He died in the first year of Zhi zhi (1321) to the first year of Taiding (1324).
In the aspect of opera creation, Ma Zhiyuan experienced the transformation from Confucianism to Taoism in music thought. In the creation of sanqu, he has the characteristics of rich and profound thought content and superb artistic skills, and in the creation of zaju, he has the tendency of sanqu and the beauty of the combination of virtual and reality.
Ma Zhiyuan received Confucian education from his childhood. He was full of poetry and books, studied the six arts, followed the rites and music, and had a special liking for the art of guqin. The Confucian rites and music thought played a major role in his early musical life. After middle age, with the change of his political career, Ma Zhiyuan's music thought underwent a transformation from Confucianism to Taoism. At that time, Ma Zhiyuan specialized in the creation of zaju and sanqu, whether it is to express feelings and lament the world sanqu, or the fairy Taoist zaju, reveal the obvious Taoist thoughts.
Confucian thought of rites and music

Scholars and literati in the feudal society learned the six arts from their childhood, and paid attention to the shaping of people by rites and music, that is, "flourishing in poetry, standing in rites, becoming and music" (" The Analects of Confucius · Taibo "), so as to cultivate their morality and cultivate their temperament, so as to prepare for the future "learning the arts of literature and martial arts, and being a good emperor" (" Pang Juan night walking maling Road "). Like many ancient scholars, Ma Zhiyuan received Confucian education at an early age and abided by Confucian ritual and music culture. He "lived up to his dreams at night and respected his teachers" and "buried himself in poetic rites and pottery feelings" (" Happy Spring Comes · Six Arts · Ritual "), but he had his own understanding of some problems in Confucian ritual and music culture. In terms of The Times, these understandings have a certain progressive significance, which is mainly reflected as follows:

① As for the influence of "Qin Music" on people, literatures such as Zuo Zhuan and Bai Hu Tong argue that "Qin music" can enlighten people's mind by regulating their morality, while fu Qin can enlighten people, but restrict the artistic and aesthetic function of guqin. As a traditional literati, Ma Zhiyuan respected and loved guqin and believed that music had the role of cultivating emotions, regulating moods and relieving depression, which was more comprehensive than Confucianism's emphasis on guqin ritual and music restraint, which was more in line with the characteristics of "guqin music" art and had certain significance.
② As for the influence of music on politics, as early as in ancient times, there was a saying of "the voice of subjugations". However, Ma Zhiyuan realized that music itself was not the bane of the country, but because the emperor was addicted to music and ignored government affairs, it would delay government affairs and lead to the country's demise. That is, the rise and fall of the feudal dynasty is mainly determined by personnel, not music itself.

Taoist thought of retreat
Like many scholars, in the case of full of scriptures without serve, Ma Zhiyuan to born road, specializing in opera creation, in drunk, the piano to express their own feelings and ambitions, the creation of lines as sigh the sanqu and immortal, tao in the drama reveals obvious Taoist thoughts, he prowled the of Confucianism. Its main performance is:

(1) In the suite "Happy Spring come · Six Arts", Ma Zhiyuan thinks that since the "long-cherished night and sleep" to comply with the ethics still did not get the desired success and fame, it is better to break with the world of honor and disgrace, even if only get a "wave name"; At the same time, Ma Zhiyuan repositioned the role of "rites", that "body latent poem rites" can be tao sentiment, and yearning for peng Ying, drunk life.

(2) in the suites, four pieces of jade, sigh the Ma Zhiyuan described himself to the change in temperature of disappointment and desire to escape from this world, reveal their searches and riches and honour after middle age to the life, view of music: "stay away from dust dry zhangs wave, big to carefree happy", and "fight for fame and wealth, riches and honour, is crazy", and "in the life all MoGang, at any time sent Sue gave birth to the". At the same time, in the disillusionment again and again, Ma Zhiyuan in his later years to live in seclusion, shengxian tao interest, thus creating a lot of fairy drama. Deeply influenced by Quanzhen Religion, his plays of immortals and Taoism often show his determination to convert to religion and his pure and distant music creation thoughts.

Creation of the genre
The ideological content is rich and profound

Ma Zhiyuan's thought of sanqu is rich in content, involving the themes of chanting history, sighing the world, retreat, boudoir and narration in the Yuan Sanqu, and each of his achievements has expanded the theme range of sanqu. Its main performance is:

(1) In his works, Ma Zhiyuan expressed his views on life, reality and history by evaluating the achievements and losses of the ancients, and repinned his mind. He paid more attention to the value of life, and returned to nature.

(2) About half of ma Zhiyuan's extant sanqu is a sigh for the world to return to work, these works set Ma Zhiyuan unrecognized lonely anger, unfulfilled ambitions of the sad, detached from the unrestrained in a body, full of generous and carefree feelings, a profound reflection of the social reality at that time.

(3) Ma Zhiyuan's boudoir song mostly write men and women's love, acacia separation of the bitter, think women complain women's aspirations, performance think women, lovers sincere feelings and the pursuit of happiness wishes, write deep, meticulous, vivid, vivid and no powder gas, no vulgar frivolous language. For example: "After parting, no one can hear from you. Every one I see, every one I see, because THEY say, 'If I do not believe you, your ears are not hot.'" Use shallow, instinctive color to be like the language of spoken language to apply colours to a drawing strongly to come out, it is no longer the sad wan of meek, lament, reflected the hero to love bold force beg, give a person with happy wet feeling, show the loyalty that pursues to love and affection.

In the creation of narrative long set, Ma Zhiyuan to text as music, the structure of prose magnificent into the song, such as the Yangtze River flowing thousands of miles, there are "Play a child · Borrow a horse", "Shao Biao · Zhang Yuyan cursive", "a flower · Chant Zhuangzong pleasure" and "collection of sages bin · Thinking" and other narrative long set of masterpieces. In these works, Ma Zhiyuan or outline the character's character characteristics, or describe the character's mood and situation, shaped a very vivid character image: love horse as life of the horse master, open mind Of Zhang Yuyan, only know to treat the pear garden zhang Yue Fu after the Tang Zhuang Zong, Jinshan Temple inscription of su Xiaoqing.

The artistry is highly accomplished
Ma Zhiyuan makes the song exquisite art, long in the psychological description, is good at using a variety of rhetoric, to achieve a high artistic realm, the language of sanqu is clear and natural, the characters are lifely. full of painting and style elegant, unrestrained, old and spicy, pure Juan, artistic conception, improve the artistic conception of sanqu. Its main performance is:

① There are paintings in the song. Ma Zhiyuan gives full play to the richness and freedom of sanqu language, and gives subtle and vivid descriptions of color, form and state of things, arousing readers' association and imagination, and forming a vivid picture. Ma Zhiyuan, on the one hand, to seize the main characteristics of the things, not do XiSuo describe when pictorial synthesis, but subtly capture the most striking a and spectacular moment, put scenery neatly in a picture in the space, make the music scene with the layers, strewn at random, to highlight the rendering, like a picture show in the sight of the reader, and leave sufficient imaginary space to the readers. On the other hand, Ma Zhiyuan makes use of extensive use of luxuriousness in sensory language -- according to incomplete statistics, there are nearly 100 words of color in Ma Zhiyuan's sans-music. Some of his works have five or six or even more than ten words of color in just a few dozen words. The use of these words makes Ma Zhiyuan's sanqu more vivid, more bright, more picturesque, and can also trigger readers' association.

② Colorful language. On the one hand, Ma Zhiyuan often uses very popular and clear spoken language in sanqu, and rarely uses rare characters. The language of Sanqu is full of distinct personality in accordance with the specific situation of his works, and presents different styles in different themes, with the characteristics of swaying and colorful, gorgeous and matchless. On the other hand, Ma Zhiyuan is also good at the former verse for his own use, easy to use, like inadvertently coincidence, no trace with rich literary talent, elegant and free characteristics. Such as the Tang Dynasty Su flavor "fifteenth night of the first month" in the "fire tree silver, star bridge iron lock open" two sentences into "according to the star bridge fire tree silver" (" Green Brother · December · the first month "); The "gold well under wutong leaf" in Zhang Ji's "Princess Of Chu" in tang Dynasty was transformed into "Gold well carved at the beginning of Wutong Leaf" (" Green Brother · December · July "). In Tang Dynasty Li Bai's "Send congratulatory guests back to Yue", "If mountain Yin Taoist priest meet, should write Huangting in exchange for white goose" was changed into "write Huangting in exchange, Taoist Goose return" (" Whistle Everywhere · Zhang Yuyan cursive ").

The tendency of Sanqu
Sanqu and zaju belong to different genres. Sanqu is a lyric poem in which the writer expresses his feelings directly, and the writer can speak freely. Zaju belongs to the drama of spokespersons in nature, and it is the basic requirement to write the characters' personalized language and lyrics. However, Ma Zhiyuan created zaju in the way of sanqu, which made his zaju have lyric poet's way of thinking and writing style under the coat of representative body, showing the tendency of sanqu. Its specific performance is as follows:

① The lyrical poetics of the way of speech. Throughout ma Zhiyuan's existing all drama know, Ma Zhiyuan's drama is not completely spokespersons, in the character of the aspect of extreme indifference, no matter how the identity of the character, its recitals and lyrics of the tone is absolutely different, its feelings are similar -- or express anger, or express the heart of hiding. Such as "the thunder jianfu memorial in the middle of the night," Zhang Gao don't cry of promotion, the west huashan Chen tuan high lie, Chen tuan lines, etc, on the surface is Zhang Gao inconsolable, Chen tuan's escape calm, in fact is Ma Zhiyuan borrow the characters of express their cynical of love and the feeling of death, and its main tendency in the genre, In the way of speech, there is an obvious tendency of sanqu, that is, the tendency of lyric poetry.
② The plot unfolds without drama. Ma Zhiyuan wrote plays in the form of sanqu, plot is not the main aesthetic goal he pursues, so in terms of the requirements of dramatic plot, Ma Zhiyuan's drama has the nature of non-dramatic plot development. First of all, from dramatic action, from conflict, especially the characters inner conflict of will and to achieve attractive drama, also should have concentrated the faltering, tension, features, while the drama Ma Zhiyuan mostly lack of fundamental conflicts, such as "the west huashan Chen tuan high lie," the play throughout the absence of conflict is actually a hypothesis; "Ma Danyang three degrees of any wind child" and "Lv Dongbin three drunk Yue Yang floor" in the conflict, one party is holding a decisive force, the other party is completely in the position of the decision, lack of "put the soul on the fire kao" inner tension. Second, in the development of drama action, character destiny happened sudden turn constitute the plot climax, emotional elicits the most turbulent time constitute the emotional climax, the shorter the distance between them, the stronger the drama inherent drama, the distance is zero can produce the strongest dramatic effect, and the characters in the Ma Zhiyuan drama actions lack of inner logic, After the climax of the plot, a whole fold of the length is used to render feelings, and it is difficult to find a clear climax, but the plot development is subject to the expression of feelings, leading readers and viewers to immerse themselves in the character's feelings and feel the stagnation of action. Finally, to the fourth fold to narrative, Ma Zhiyuan's drama highlights its action of artificial and far-fetched plot, snake feet repeatedly appear but no drama, with an obvious "spent force" problem, such as "Ma Danyang Three times as the Wind child" and "midnight Lei Hujian Fu Tablet" and other dramas, the fourth fold of the narrative is optional.
③ Focus on lyrical self-entertainment. The purpose of drama creation is nothing more than two, one is for entertainment, the other is to have some sustenance. Like the majority of drama writers, Ma Zhiyuan engaged in drama creation is to amuse himself first, entertaining people in the second. Because of their own experience, Ma Zhiyuan on apparent contradictions feeling to the deep, understanding of social problems from anger to negative bishi, therefore in the creation of drama put on their fantastic in the first place, to borrow a drama, reality of the line to amuse themselves, borrow the characters, to convey, experiencing the naivete of the zaju creation motive and leading tendency and description is not, Or to reveal social contradictions and express the sound of injustice; Or the performance of immortal tao, to express the heart of retreat.

The beauty of reality
The artistic conception of literary works usually forms a related virtual image in addition to the concrete and tangible real image, so as to produce the artistic effect of complete speech and infinite meaning. In Ma Zhiyuan's drama, the beauty of "the image outside the image" and "the scene outside the scene" comes from the beauty of time and space, the beauty of galloping imagination, and the beauty of peace and dilute. These three kinds of aesthetic feeling are in harmony with each other and form the aesthetic effect of virtual reality in Ma Zhiyuan's drama.

The structure of drama has the beauty of the interlacing of time and space. One of the aesthetic characteristics of traditional opera is the virtual life, which includes the simplicity of stage design rather than heavy work, the performance props are more virtual than real, the characters sing more lyrical rather than narrative. This form of performance determines the characteristics of traditional opera freehand style, that is, simple and indulgent writing to depict the character's charm temperament, although the lack of western drama will be true to life on the stage realism, but increased the sense of space in the stage tense and the depth of the character's emotional diachronic state. This kind of aesthetic feeling is particularly evident in Ma Zhiyuan's dramas with the background of the present world. For example, in "Lonely Wild Goose Han Palace Autumn", the sentence pattern of reciprocating shows the ups and downs of the Emotion of Emperor Yuan of The Han Dynasty, and turns into the lonely figure of Emperor Yuan of the Han Dynasty after Wang Zhaojun left. The second compromise of Jiangzhou Sima Blue Shirt tears gives readers a sense of unpredictable things by describing the time of rapid progress, and conveys the vicissitudes of human feelings particularly clearly.

The figure has the beauty of galloping imagination. In the characterization of Ma Zhiyuan's drama, the characteristics of yuan dynasty painting are vaguely revealed: a vast and profound imagination space is constructed in the straightforward and concise style of writing and ink. Such as in "broken dream gu Yan Han Palace autumn" in shaping wang Zhaojun's image, to set off wang Zhaojun's beauty, wang Zhaojun will be compared to the Emperor of Han dynasty "came to this makeup behind, yuan to broad cold temple Chang e in this month is bright", leave infinite imagination space for readers. In Ma Zhiyuan with mass-tone he prowled the drama, the image of the word and not often virtual to real, more with the lyrics makes the intercourse of mental characters, such as "west huashan Chen tuan high lie" in "crested wild take a Taoist priest, with the wind the bright moon two idle people" will come out of a put in the world, beyond the meta born of the spirit of temperament.

The image selection has the beauty of peace and dilution. In Ma Zhiyuan's drama, the four images of mirror, flower, water and moon often appear in interlacing and uneven contrast, sketching the inner mood of the protagonist with obscure qubi brush, and harmonizing with Ma Zhiyuan's romantic lyrical temperament:

"Mirror" for the beauty of sad and lingering, such as in "broken dream gu Yan Han Palace autumn", After the Emperor of Han Yuan saw off Wang Zhaojun, back to the luan, facing Wang Zhaojun left the object, to think of people, full of sorrow and hatred to the mirror come clean.

"Flower" is the beauty of the desolation of the late evening, and women have a close relationship, and Ma Zhiyuan often lament the good female character in the drama "car crush residual flowers, jade people on, blow flute; Did not meet the official baby, is several degrees add white hair "(" broken dream gu Yan Han Palace autumn"), to the drama in bad character of the female is often cursed "a old gentleman pushed in the suburbs, ah you wave woman niang hug others sleep. Don't kill to how also bo elder brother, don't kill to how also bo elder brother, contend as I dream zhou Gong high lie in three pole day "(" Lv Dongbin three drunk Yueyang tower").

The beauty of "water" as the airy flow in the drama of Ma Zhiyuan, overall planning and water's charm lies in its plays phrasing of stream of consciousness, such as "the thunder jianfu memorial in the middle of the night," the sense of water in the stream of consciousness is in the plot ups and downs, outsize plot, character big zhong rape, emotions like earlier, all the various elements of art to the extreme, It has a fascinating charm.

"Moon" is a beautiful and smooth beauty. In Ma Zhiyuan's drama, the image of the moon has a poetic personality of Taoism, creating a quiet and elegant realm and a degree of human color of Buddhism, creating the beauty in the smooth beauty of Zen.

===Bai Pu and Yuan Qu===
Bai Pu (1226 -- 1310 A.D.) was a native of Yuzhou (now Jiuxian County, Hequ County, Shanxi Province). His original name was Huan, and his courtesy name was Renfu and Taisu, also known as Mr. Langu [3]. He was a native of yuzhou (now the hequ area of Shanxi), a native of Nanjing Bianliang (now Kaifeng, Henan), and a native of Zhending, Hebei (now Zhengding). In the seventeenth year of the Yuan Dynasty (1280), he moved to Jiankang (now Nanjing, Jiangsu province). He has written 16 kinds of operas, including two extant ones, Wutong Rain and Wall Top Horse. Another "Sounds of Nature collection", received words for more than 200, followed by more than 40 sanqu. Together with Guan Hanqing, Ma Zhiyuan, Zheng Guangzu, known as the four Masters of Yuan Qu.

White stinkwood
Famous opera writer of yuan Dynasty. And Guan Hanqing, Zheng Guangzu, Ma Zhiyuan known as the "Four Yuan Qu." Bai Pu was born in a bureaucrat and scholar-official family. His father Bai Hua was jin Zhenyou three years (1215) jinshi, the official to the Privy Council judge, and his father Bai Ben was Jin Zhang Zong Tai and Jian Jinshi, who had done the county magistrate. His uncle died early, but had a poem name. White and Yuan Haowan father and son for family friends, close. The children of the two families often communicate with each other in poetry and prose.

Born in such a family, Bai Pu should have enjoyed leisure and leisure, reading and learning, in order to gain fame in the future. [5] His youth, however, was ravaged by war, and he spent his days with his family in terror and bewilderment. Soon after Bai Pu was born, the City of Nanjing Bianliang of the Jin Dynasty was surrounded by the Mongolian army. Bai Hua, who was in the center of the Jin Dynasty, was busy all day for the survival of the Jin Dynasty and had no time to take care of his wife, children and family. [6] In 1232, in the first year of Emperor Aizong's reign, the Mongol army attacked the city with tree guns. Emperor Aizong decided to leave the city north and go to Guide (today's Shangqiu, Henan province). Bai Hua had to leave his family in Bianjing and followed Emperor Aizong across the river. In March of the following year, bianjing city was destroyed, the Mongolian army column plundered the city, the ordinary people were killed, wealth was unprecedented looting. In the war, Bai Pu mother and son lost, fortunately, yuan Haowen was also in the city, just put him and his sister up, in chaos and famine to save his life. At the end of April, Yuan Hao-wen took bai Pu's sisters and brothers north across the River. They lived in Liaocheng and then resided in the Shogunate of Zhao Tian-xi, the magistrate of Guan Family (now Guan County, Shandong Province). Although Yuan Hao-ask is also the minister of the country, life is very hard, but he sees Bai Pu elder sister and younger brother as one's own, care to. Bai Pu was dying of the plague. Yuan Hao-wen held him in his arms day and night, but on the sixth day he sweated and recovered. Bai Pu was clever and clever, so he was fond of reading since childhood. Yuan Hao-wen cultivated him carefully and taught him to read and learn the classics and conduct himself, so that he received a good education when he was young.

Bai Pu's father, Bai Hua, surrendered to the Southern Song after the fall of the Jin Dynasty and became junzhou Tirou (Palpin officer). Soon, Bai Huasui went north to the Yuan Dynasty. In the ninth year of Emperor Taizong of Mongolia (1237), when Bai Pu was 12 years old, some fugitive ministers of The Bai Hua Kai Jin Dynasty came to Zhending and attached themselves to shi Tianze, a Mongolian general who was in Charge of Zhending. In the autumn of the same year, Yuan Haowen returned to Taiyuan from the Guan family and passed zhending. He sent bai Pu and his sister back to Baihua, so that they could be reunited after being separated for several years. When the father and son met, Bai Hua felt great joy. He wrote a poem called "Man Tingfang · Shiliezi Xin" to express his feelings at that time: "Light lu tai, generals pavilion, ten years in the middle of a dream. Short coat horse, see zhenzhou mountain again. Naehan was drunk, but the sarong is still tall and broad. Today, children in front of the lamp, floating happy to survive ". He is also very grateful to Yuan Hao-ask generation for the care of the children of the grace, had a poem thank yue: "gu me really become a bereaved dog, Lai Jun had to protect the nest."

As the north settled down, baek and his son settled down in Jinjeong. From then on, according to his father's request, he wrote poems and studied for the examination. He was very progressive in the study of law fu, and soon became famous for his ability to write good poems. At that time, Yuan Haowen, in order to write the history books of the Jin Dynasty, often visited The capital, so as to come and go to Zhending, concerned about his studies, every home, to guide him to the path of learning, a poem praised Bai Pu said: "Yuan Bai tongjia old, zhulang only ru xian." Encourage him to work hard and succeed in his career. However, the Mongolian ruler of the brutal plunder, so that bai Pu heart wounds difficult to recover, he is full of hatred of the Mongolian ruler, war and chaos in the mother and child, so that he often mountains everywhere sigh, more feel for the ruler's sad service. Therefore, he gave up the pursuit of fame and wealth in the official circles, and to the subogized people to adapt, to poetry as a special occupation, with the song vent their depression and dissatisfaction in the chest.

As she grew older and experienced more, she became more knowledgeable. Yuan Shizu zhongtong two years (1261), Bai Pu 36 years old. In April of that year, Yuan Shizu ordered the various xuanfu generals to recommend those who could take the examination for literary talents to be employed. Shi Tianze, who had been working as xuanfu generals in Henan Road, recommended Bai Pu to be an official, but he declined. He not only against shi Tianze recommended the idea, consciously inconvenient to stay in Zhending for a long time, to facilitate this year to abandon home south travel, but also to express his withdrawal depression, never official road determination. However, the feelings of his wife and son could not be cut off, and he often suffered from his own contradictory feelings and felt very painful.

Bai Pu first arrived at Hankou and then entered Jiujiang. At the age of 41, he returned north to Zhending, passing bianjing. After that, he went south again, traveling between Jiujiang and Dongting, and settled down in Jinling in 1280, the 17th year of the Yuan Dynasty. Around this time, probably due to the death of his first wife, he had returned to Zhending for the bereavement of his wife. On this occasion, someone suggested that he become an official in the Central Court, but he declined. Shortly thereafter, he returned to Jinling. From then on, he mainly traveled around Hangzhou and Yangzhou, south of the Yangtze River, until he returned to Yangzhou at the age of 81. After that, there was no trace of him.

===Conclusion===
Generally speaking, Yuan Qu is an extremely important milestone in the history of Chinese literature. Its development has experienced the initial stage of rise and the middle stage of prosperity, and its development is closely related to the style characteristics of the "four masters of Yuan Qu" : Guan Hanqing, Bai Pu, Zheng Guangzu and Ma Zhiyuan. They used different styles to describe the social scene and human conditions at that time from different angles of the society, and indirectly predicted the future trend of the society. Therefore, Yuan Opera is not only a work of art, but also a magnificent painting of the society of the time.

===References===
*Shan Jingzhen单敬珍. ''Zheng Guangzu in the View of Acceptance''接受视野中的郑光祖[D]. Hebei Normal University河北师范大学,2008.
*Zhang Wei张巍. ''On reclusive Culture in Ma Zhiyuan's Literary Works''论马致远文学作品中的隐逸文化[D]. Liaoning Normal University辽宁师范大学,2011.
*Li Sheng李昇Zhang Wei. ''Development of Opera Criticism from the Evolution of "Four Masters of Yuan Qu"''从“元曲四大家”的演变看戏曲批评的发展[J]. Journal of Jiangsu Radio,2010,21(02):44-47.
*Pan Chaoqing, Tu Ping潘超青,涂平. ''On the Inheritance and Development of Humor Culture in Song Dynasty by Yuan Qu''论元曲对宋代诙谐文化的继承与发展[J]. Drama Art戏剧艺术,2015(06):43-51.DOI:10.13737/j.cnki.ta.2015.06.005.
*Jiang Xingyu蒋星煜. ''The Generation and Development of the Four Masters of Yuan Opera''元剧四大家说之产生与发展 [ J] . Drama Art戏剧艺术, 1990( 1) :80-88.
* ''Collection of Works on Chinese Classical Opera：Volume 1''中国古典戏曲论著集成:第一册 [ M] . Beijing: China Drama Press北京:中国戏剧出版社, 1959.
*Zhong Sicheng钟嗣成. ''Ghost Book (four kinds)''录鬼簿 ( 外四种 ) [ M] . Shanghai: Shanghai Ancient Books Publishing House上海:上海古籍出版社, 1978.
*Li Kaixian李开先. ''Li Kaixian Collection: Volume 1''李开先集:上册[ M] . Beijing: Zhonghua Book Company北京:中华书局, 1959.
*''Collection of Works on Chinese Classical Opera: Volume 4''中国古典戏曲论著集成:第四册 [ M] . Beijing: China Drama Press北京:中国戏剧出版社, 1959.
*Wang Xueqi王学奇. ''Annotated Yuan Qu Selections: Volume 1''元曲选校注:第一册 [ M] . Shijiazhuang: Hebei Education Press石家庄:河北教育出版社, 1996.
*Wang Guo-wei王国维. ''History of Opera in Song and Yuan Dynasties''宋元戏曲史 [ M] . Shanghai: Shanghai Ancient Books Publishing House上海:上海古籍出版社, 1998.

==英语笔译高智慧 Gao Zhihui 202170081568==
<center>'''The History of Chinese Noodles'''</center>

<center>高智慧 Gao Zhihui </center>

===Introduction===
The earliest known noodles found in China can be dated back to 4 thousand years ago. They were found in archeological findings near the Yellow River in China. However, first concrete written records of noodles come from the time when Eastern Han Dynasty reigned between 25 and 200 AD. There are many stories about the origin of noodles. To a certain extent, noodles also reflect the cultural traditions and customs of China, which essentially means "human nature" and "worldly common sense". There are thousands of varieties of noodles in China, according to the classification of the shape of noodles, seasoning gravy, cooking craft, and so on. Many noodles have local characteristics. Noodles are accepted by people from all over the world. The industrial revolution and the development of the food industry have successfully transitioned the way we produce noodles, from a traditional handicraft industry to mass production using machinery. In addition, the invention of instant noodles and their mass production also greatly changed the noodle industry. In essence, noodles are a kind of cereal food, which is the main body of the traditional Chinese diet. It is the main source of energy for Chinese people and the most economical energy food. Adhering to the principle of making cereal food the main food, is to maintain our Chinese good diet tradition, which can avoid the disadvantages of a high energy, high fat, and low carbohydrate diet, and promote health. The importance of the status of noodles in the dietary structure of residents China and the health impact should not be ignored.

===The Origin of Noodles===
Mix water and flour and knead into a dough, you now have a plethora of prospects in the palm of your hands. Noodles are the epitome of versatility and flexibility, and it's this adaptable nature that has contributed to its rise as a world renowned food. Noodles are eaten as pho in Vietnam, chow-chow in Nepal, seviyan in India and many other permutations and combinations throughout the globe. While the popularity of noodles is a widely accepted consensus, its origin is still a prominently debated subject. There are numerous contenders who have claimed to be the creators of the Noodle. Italians profess that they are the pioneers of this plant based food, whereas the Chinese argue that they invented this culinary sensation. In this paper I will endeavor to trace the geneses of this cereal food and subsequently attempt to end the age old dispute surrounding it.

We begin our historical research in the East Asian country, China. Noodles are believed to have originated here, as "Bing" or cake in English, during the early rule of the Han Dynasty. They were then diversified by experimentation and the evolution of additional shapes and cooking methods. Noodles further gained cultural prominence via folklore related to "health, religion, economy" and with the emergence of Chinese superstitions. (Zhang Na and Ma Guansheng, 2016) However, due to recent archeological discoveries it's likely that noodles were around much prior to the rise of the Han Rule. Excavation sites have revealed that wheat grains and early production apparatuses existed from the early to late Neolithic period – an astounding ten thousand years before now. More tangible evidence, which testifies to the existence of Noodles well into the past, was unearthed in 1999. "Noodles discovered among relics at the Lajia archeological site in Minhe(民和) County, Qinghai Province". After scientists analysed the noodles and bowl of noodles found at the site through radioactive dating, it was disclosed that noodles were crafted and cooked four thousand years ago during the early Xia Dynasty. These archaeological findings thus provide us with physical evidence which date back to periods long before the present day. They reveal that the noodle has been closely interwoven into the Chinese society and their culinary practices for eons.

China has the most promising data to support its claim of being the inventors of this simple wheat and water based dough. The discovery of the noodle remains and bowl occurred two thousand years prior to Horace's mentions of Lagane, which means pasta. With its physical, archeological evidence predating even the written records of Italian, Arabic and Mediterranean pasta, it truly does make China victorious in the contention. However, even though China may be the site of the first instances of noodles and they may have introduced some countries like Japan and India to them, this doesn’t necessarily mean that they were the ones who introduced the rest of the world to it. Italians were enjoying pasta long before Marco Polo brought back the secrets of the Chinese noodle trade. As there is very little documented data and only a few preserved artifacts related to Italian pasta, it’s not right to make any broad claims about its beginning. It is also plausible that pasta developed spontaneously in China and Italy at different time periods. New evidence is bound to be unearthed at some point in the future, which will give more concrete and reliable sources with information about who introduced the Italians to the noodle.

===Ancient Records of Chinese Noodles===
There were various kinds of shapes for noodles, such as sheets and strips. Sheets of noodles are cooked by pulling the dough into sheets and cooking in a pot with boiling water. In the Wei, Jin, and Northern and Southern Dynasties, the shapes of the noodles gradually increased. Two special kinds of noodles, called shui yin (水引) and bo tuo (馎饦), were included in the book Qi Min Yao Shu or Essential Techniques for the Welfare of the People (《齐民要术》)in the middle ancient era. Shui yin is cooked by pulling the dough into strips as thick as chopsticks, cutting these into segments 30cm long, soaking in a dish of water, then pressing them into flat noodles shaped as a leek leaf and cooking in a pot with boiling water. Bo tuo is especially smooth and delicious. In the Sui, Tang, and Five dynasty periods, there were more varieties of noodles. With the increase of noodle varieties, the methods and techniques of cooking have been continuously improved. There was a kind of cold noodle with a unique flavor, called Leng tao (冷淘), which was appreciated by the great poet Du Fu, describing it “as cold as snow when gliding through the teeth (经齿冷于雪)”. There was another kind of noodle with full tenacity, referred to as “one of the seven wonderful health foods”, which has a saying “wet noodles can be used to tie the shoe”. In the Song and Yuan dynasty period, fine dried noodles appeared, such as pig and sheep raw noodles and vegetable raw noodles sold in Linan (临安) city during the Southern Song period. Until the Ming and Qing Dynasty, there were more varieties of noodles. In the Qing dynasty, five spicy noodles and eight treasures noodles were included in Xian Qing Ou Ji 《闲情偶寄》 by dramatist Li Yu (李渔). These two kinds of noodles were made of five and eight kinds of animal and plant raw material powder, respectively, and mixed into flour, which were considered as top grade noodles.

[[File:Qi shan minced noodles.jpg]]

===Stories of Noodles===
Food is not only a source of human nutrition, it also plays many roles in the aspects of religion and economy, etc. People use special food to celebrate important events and festivals, for instance, we eat sweet dumplings in the Lantern Festival, we eat traditional Chinese rice-puddings in the Dragon Boat Festival, we eat moon cakes in the Mid-Autumn Festival, and we eat dumplings in Spring Festival.

In the aspect of noodles, Chinese people have lots of customs, which essentially mean “human nature” and “worldly common sense” materialized in the noodles. At birthdays, people eat longevity noodles; at the time of marriage and moving into a new house people eat noodles with gravy (打卤面), which means flavored life; on the day of lunar February 2 “dragon head (龙抬头)”, people eat dragon whiskers noodles (龙须面) to look forward to good weather. We eat different noodles in different seasons and different festivals.

Famous noodles in China have a unique value of traditional culture. Seafood noodles (三鲜伊面) are also called dutiful son’s noodle (孝子面). According to historical records, Yi Yin’s (伊尹) mother was perennially sick and bedridden. So he made noodles with eggs and flour, and then steamed and fried these noodles. Even if he was not at home it was convenient for his mother to eat these nonperishable noodles. The noodles were added to a soup made with chicken, pig bones, and seafood. Under the tender care of Yi Yin, his mother soon recovered. This was the reason why seafood noodles are also called dutiful son’s noodles. The processing method of seafood noodles in ancient time was very similar to industrialized manufacturing methods of instant noodles in modern times.

Sichuan (四川) dandan noodles (担担面)are known to every family. In the old days, hawkers sold noodles on the street with a shoulder pole, giving the name dandan noodles. There was a pot and stove on the shoulder pole, which made it convenient to cook noodles with full seasoning at any time. The business philosophy of wholehearted customer service is the essence for dandan noodles to stay prosperous.

Qishan (岐山) minced noodles (臊子面) with special flavor, also called ashamed son noodles, also has a story in Shaanxi (陕西). Qishan minced noodles were originally called sister-in-law noodles (嫂子面). Previously, there was a poor scholar, whose parents died when he was young. He was raised by his elder brother and sister-in-law. In order to let him read books for fame, his sister-in-law made noodles for him. His sister-in-law was not only good at cooking noodles, but also good at making gravy with meat and vegetables. Oil sprinkled over chili was also mixed in noodles to increase appetite. Under the care of his sister-in-law, he passed the provincial civil service examination as expected under the old Chinese examination system. Therefore, it was also called sister in law noodles. Later, many people followed the example of cooking noodles to seek fame for their children, but repeatedly failed. Feeling shame for their son, the noodles were also called ashamed son noodles, which was pronounced as sào zi in Chinese.

Guangxi (广西) vinegar-pepper old friend noodles (老友面) has a story about friendship. Once upon a time, there was a Zhou teahouse where a customer drank tea almost every day. For a few days, the teahouse owner Zhou found the regular customer did not come to tea. Out of concern for an old friend, he went to visit him. He discovered that the old friend was sick. The shopkeeper quickly made a bowl of vinegar-pepper noodle soup with sautéed garlic and fermented black beans and sent the noodles to his friend. The old friend ate the noodles in a sweat and then recovered. So vinegar-pepper noodles have another name old friend noodles.

Another famous type of Chinese noodles is the Crossing-the-Bridge noodles(过桥米线), which is a rice noodle soup from the Yunnan Province. Crossing-the-Bridge noodles also has an interesting story associated with it. The story described a boy who was ordered by his father to study for the Imperial Exams in the cottage of an island, and the boy was not allowed to leave the island until his studies were completed. Since the island was far away from his house, and the story took place in the coldest months of the year, all the meals that the family cook had cooked for the boy would become cold and unpalatable when the meals reach the boy. After being troubled by this problem for a long time, the cook finally came up with an idea and invented a new type of noodle dish, Crossing-the-Bridge noodles, by adding an extra layer of hot chicken broth and chicken fat to the noodle soup. According to the story, the noodle was invented to have the capability of keeping warm for a long time under cold winds and temperatures, so that when the cook brings the noodle soup across the bridge to the boy who was studying for the imperial examinations, the noodle soup would still be hot and warm enough to eat. “ ‘It is too hot!’ he said, and began laughing. ‘I know,’ said the cook, nodding happily. ‘It is the fat that keeps out the wind, the cold, and the bad spirits. Now that you have the nourishment you need, learning will come naturally and gracefully.’ The boy ate the delicious soup with a hunger that he did not know he had as he watched the chef skipping like a child across the bridge back to his kitchen.” Therefore, Crossing-the-Bridge noodles reflected the cleverness and mastery of the cook in cooking, as well as the love and care he had for the boy, and the passion he had for pleasing people with his food.

===The Classification of Noodles===
There are thousands of varieties of noodles in China, according to the classification of the composition of noodles, the shapes of noodles, and the different gravy seasoning. The main compositions of noodles are wheat and rice. Most kinds of noodles are made of flour (the powder made from wheat). There is also another special composition of noodles: rice noodles (米线). Rice noodles are frequently seen in Southern style cooking, such as Yunnan province: over-the-bridge rice noodles. In addition, noodles can be classified according to the thickness: they can be as thick as chopsticks or as thin as hair, such as the dragon beard noodles. Some can be classified according to the how they are made, such as hand-pulled noodles (拉面), shaved noodles (刀削面), and so on. They can also be classified according to the seasoning, such as Beijing fried bean sauce noodles (北京炸酱面) and Shandong noodles with gravy (山东打卤面). Others are classified according to cooking crafts, such as noodles mixed with scallion, oil, and soy sauce (葱油拌面), noodles with quick-fried eel shreds and shelled shrimps (虾爆鳝面), and so on.

China has a vast territory and abundant resources and mainly can be divided into the following areas: East China, Southern China, Central China, North China, Northwest China, Southwest China, Northeast China, Hong Kong, Macao, and Taiwan areas. There are also some local characteristic noodles. In East China, there are Shanghai noodles in superior soup (上海阳春面), Nanjing small boiled noodles (南京小煮面), Hangzhou Pian Er Chuan noodles (noodles with preserved vegetable, sliced Pork, and bamboo shoots in soup) (杭州片儿川面), Wenzhou vegetable raw noodles (温州素面), Zhenjiang pot noodles (镇江锅盖面), Shandong Fushan hand-pulled noodles (山东福山拉面), Suzhou Su style soup noodles (苏州苏式汤面), Fuzhou line noodles (福州线面), and Anhui flat noodles (安徽板面). In Southern China, there are Guangzhou wonton noodles (广州馄饨面). In Central China, there are Wuhan hot noodles with sesame paste (武汉热干面). In North China, there are Beijing fried bean sauce noodles, Shanxi shaved noodles (山西刀削面) and noodles with braised string bean (豆角焖面), Hebei dragon whiskers noodles (河北龙须面) (saute fine noodles with shredded chicken), fine dried noodles, sesame paste noodles (麻酱面), and Neimenggu braised noodles with string bean (内蒙古焖面). In Northwest China, there are Xinjiang pulled noodles (新疆拉条子), Shanxi oil-splashing noodles (陕西油泼面), Biángbiáng noodles (Biángbiáng 面), a type of noodle popular in the cuisine of China's Shaanxi Province, and serofluid noodles (浆水面), Henan stewed noodles (河南烩面), steamed noodles (蒸面), and Lanzhou hand-pulled noodles (兰州拉面). In Southwest China, there are Guizhou noodles with pig’s blood and internal organs (贵州肠旺面), Sichuan dandan noodles (四川担担面), bean curd pudding noodles (豆花面), zhazha noodles with chili oil hot pepper and pork-bone soup (渣渣面), burning noodles from Yibin (宜宾燃面), longevity noodles and bedding noodles (铺盖面). In Northeast China, there are Jilin cold noodles (吉林冷面). In Taiwan, Hong Kong, and Macao, there are Hong Kong strained noodles (捞面), rickshaw noodles (车仔面) and shrimp roe noodles (虾子面), southern Taiwanese-style noodles (担仔面), and clam noodles (花蛤仔面). Noodles are usually eaten as a staple food in or to the north of the Yellow River Valley, but eaten as breakfast in the southern region.

There are also some kinds of representative noodles. Beijing fried bean sauce noodles are a traditional Chinese food, popular in Beijing, Hebei, Tianjin, and other places. Beijing fried bean sauce noodles are cooked in the following way: first prepare the fresh-cut vegetables, blanch and set aside; next, put minced meat stir-fried with scallion, ginger, garlic, and soybean paste in hot oil; then boil the noodles and scoop them up, pour sauce on them; lastly, mix with the vegetables.

Lanzhou hand-pulled noodles, also known as one of the top ten Chinese noodles, are Islamic-style snacks in the Gansu Province. The noodles have special characteristics: “soup clear like mirror, the strong scent of cooked meat, thin noodles”. The noodles also have a set of standards: “clear (clear soup), white (white radish), red (red pepper oil), green (green coriander and garlic bolt), and yellow (yellow noodles)”. Locally, people named them “beef noodles”.

===The Industrialization of Noodle Production===
Since the advent of noodles, although the culture and heritage of the craft are different in various areas, noodles were always processed in a manual way. With the development of the industrial revolution, it realized the transition from a traditional handicraft industry to machine mass production. In the 1850s, machine-made noodles appeared in the market for the first time, and are still in use. At present, China is the world's largest consumer of noodles; the annual consumption and production value are amazing. Data showed that from 2007 to 2012, China's sales value of noodles increased from 8.6 billion yuan to 20.26 billion yuan. In recent decades, it can be said that the advent and development of instant noodles brought the greatest impact.

As early as before the invention of instant noodles, in the ancient East and West, there have been similar processing methods: noodles were boiled first, then fried with hot oil, and finally served with soup. In ancient China, there were similar noodles called Yi noodles (伊面). According to legend in the Qing Dynasty, Yi bingshou (伊秉绶) gave a banquet to celebrate his mother's birthday at home. There were so many guests that the rushed chef mistakenly put the cooked egg noodles into the boiling pan. Without an alternative solution, the chef scooped up these noodles, then fried them in hot oil, and finally served with soup. Guests unexpectedly praised the noodles, so the cooking craft has been handed down. In the early days, Yi noodles was written on the packaging of instant noodles.

In 1958, Taiwanese–Japanese Momofuku Ando (安藤百福) invented the instant noodles as fast food, and created a revolution in the world's eating habits(Zhao,2015,24). At that time one had to wait in line for a long time to eat a bowl of noodles, so he invented the convenient instant noodles. After the invention, Momofuku Ando also founded Nissin food company (日清公司) to sell chicken soup hand-pulled noodles (鸡汤拉面). The initial price was 35 yen. Imitation products immediately appeared which resulted in price competition. Ando soon realized that it was necessary to regulate the market, in order to maintain the reputation of the new products. In 1960, he won the lawsuit about the copyright of instant noodles, and registered the chicken soup hand-pulled noodles trademark in the 2nd year. In 1964, Ando founded Japan Hand-Pulled Noodle Industry Association and transferred the patent to the industry. Ando said that the purpose of this move was to expand the industry, so as to provide cheap instant noodles to the residents.

The Nissin food company started looking more actively for opportunities abroad after the invention of instant noodles. In 1963, it first cooperated with South Korea Miyaki food company (三养食品). In 1968, it once again cooperated with the international food company in Taiwan to launch the chicken soup taste instant ramen. At the beginning, the market of instant ramen with Japanese formula was not good. After adjusting the sauce and the noodles, it became the best-selling product in Taiwan. Most customers buy it as snack food.

According to official data of the World Association of instant noodles, since 2009 China's total consumption of instant noodles has been ranked first in the world. In 2013 the total consumption of instant noodles in the world reached a total of about 105.59 billion bags, while China ranked first for the total consumption of 46.22 billion bags, the per capita consumption reached 34 packets.

===The Nutritional Composition and Health of Noodles===
The basic raw material for making noodles is flour. Therefore, its main nutrients are basically the same as flour, including protein, carbohydrates, minerals, and low fat. Taking the ordinary fine dried noodles found in the market for example, 100 g fine dried noodles contain 10.3 g protein, 75.6 g carbohydrates, just 0.6 g fat, 129 mg potassium, 18.45 mg sodium, 11.8μg selenium, and so on.

Noodles are classified as cereal foods. Cereal food is the main body of the traditional Chinese diet, the main source of energy for the human body, and also the most economical energy food. With the development of the economy and the improvement of life, Chinese people tend to eat more animal food and oil. An authoritative survey found that in some of the more affluent families, the consumption of animal food has exceeded the consumption of cereal food. Animal food contains more energy and fat, but less dietary fiber, which is not conducive to the prevention and treatment of some chronic diseases. A report on the status of nutrition and chronic diseases of Chinese residents showed that the daily fat intake of Chinese residents was too much, providing more than 30% of the total dietary energy, while a deficiency of calcium, iron, vitamins A and D, and some other nutrients still existed(2015). Adhering to the principle of “making cereal food the main food”, the purpose is to maintain our Chinese good diet tradition, which can avoid the disadvantages of a high energy, high fat, and low carbohydrate diet. Therefore, the importance of the status of noodles in the dietary structure of the residents in our country and their health impact should not be ignored.

In the process of making noodles, eggs are added. Therefore, noodles contain the nutritional content of eggs, with the amount of nutritional content depending on the amount of added eggs. Protein amino acid composition of eggs is the closest to the needs of the human body with very high nutritional value. Eggs contain between 10% and ∼15% fat with 98% of the fat found in egg yolk; egg white contains very little fat. The fat in egg yolk is easily digested and absorbed and also contains a high content and full range of vitamins, including all the B vitamins, vitamin A, vitamin D, vitamin E, vitamin K, and trace amounts of vitamin C. Therefore, adding eggs can improve the nutritional value of noodles.

Salts are added in the process of making noodles. Excessive salt intake will increase the risk of high blood pressure. A report on the status of nutrition and chronic diseases of Chinese residents showed that the daily intake of salt was 10.5 g /d in 2012; however, the daily recommended intake of salt is 6 g/d according to Dietary guidelines for Chinese Residents and 5 g according to the World Health Organization. It is worth noting that the prevalent rate of high blood pressure for adults aged ≥18 years was 25.2% in 2012. This is an increase when compared with 2002 (rate was 18.8%). Therefore, food companies should try to reduce the addition of salt as much as possible.

In addition to the health impact of the original nutritional composition of noodles, we should also pay attention to the health impact of the cooking craft and other related factors.

Gravy: in order to improve the taste, people often eat noodles with gravy. Some kinds of gravy contain fat and salt. For example, fried bean sauce noodles contain more fat and salt. In order to avoid an increase in the risk of chronic diseases, we should add less gravy when eating noodles.

Ingredients: when cooking noodles, we can add eggs, vegetables, and other ingredients, so as to make noodles achieve the principle of “food diversification”, and promote health for people.

Instant noodles: the seasoning packet in instant noodles contains more salt, so we should add half a packet of seasoning when eating instant noodles, in order to reduce salt intake.

===Terms and Expressions===

soup cake 汤饼

Wei, Jin, and Northern and Southern Dynasties 魏晋南北朝

Qi Min Yao Shu or Essential Techniques for the Welfare of the People 《齐民要术》

fine dried noodles 挂面

pig and sheep raw noodles 猪羊庵生面

vegetable raw noodles 素面

five spicy noodles 五香面

eight treasures noodles 八珍面

longevity noodles 长寿面

noodles with gravy 打卤面

dragon whiskers noodles 龙须面

dutiful son’s noodle 孝子面

dandan noodles 担担面

minced noodles/ ashamed son noodles 臊子面

sister-in-law noodles 嫂子面

vinegar-pepper old friend noodles 老友面

Crossing-the-Bridge noodles 过桥米线

rice noodles 米线

hand-pulled noodles 拉面

shaved noodles 刀削面

Beijing fried bean sauce noodles 北京炸酱面

noodles mixed with scallion, oil, and soy sauce 葱油拌面

noodles with quick-fried eel shreds and shelled shrimps 虾爆鳝面

Shanghai noodles in superior soup 上海阳春面

Nanjing small boiled noodles 南京小煮面

Hangzhou Pian Er Chuan noodles (noodles with preserved vegetable, sliced Pork, and bamboo shoots in soup) 杭州片儿川面

Wenzhou vegetable raw noodles 温州素面

Zhenjiang pot noodles 镇江锅盖面

Shandong Fushan hand-pulled noodles 山东福山拉面

Suzhou Su style soup noodles 苏州苏式汤面

Fuzhou line noodles 福州线面

Anhui flat noodles 安徽板面

Guangzhou wonton noodles 广州馄饨面

Wuhan hot noodles with sesame paste 武汉热干面

Shanxi shaved noodles 山西刀削面

noodles with braised string bean 豆角焖面

Hebei dragon whiskers noodles (saute fine noodles with shredded chicken) 河北龙须面

sesame paste noodles 麻酱面

Neimenggu braised noodles with string bean 内蒙古焖面

Xinjiang pulled noodles 新疆拉条子

Shanxi oil-splashing noodles 陕西油泼面

serofluid noodles 浆水面

Henan stewed noodles 河南烩面

Guizhou noodles with pig’s blood and internal organs 贵州肠旺面

Sichuan dandan noodles 四川担担面

bean curd pudding noodles 豆花面

zhazha noodles with chili oil hot pepper and pork-bone soup 渣渣面

bedding noodles 铺盖面

Jilin cold noodles 吉林冷面

Hong Kong strained noodles 捞面

rickshaw noodles 车仔面

shrimp roe noodles 虾子面

southern Taiwanese-style noodles 担仔面

clam noodles 花蛤仔面

===References===
*Zhang Na,Ma Guansheng 张娜，马冠生.(2016).Journal of Ethnic Foods.

*Zhao Guanghui 赵光辉(2015).“被饥饿催生”的方便面的故事 [The story of instant noodles created by hunger].中国农资J China Agric,(28),24.

*National Health and Family Planning Commission Disease Prevention and Control Bureau 国家卫生健康委员会.(2015).《中国居民营养与慢性病状况报告(2015年)》Report on the Status of Nutrition and Chronic Diseases of Chinese Residents.

===Questions===
1.Which country is considered to be the inventor of noodles?

2.The first concrete written records of noodles can be dated back to which dynasty?

3.What are the representative noodles in the Gansu Province?

4.What is the basic raw material for making noodles?

===Answers===
1.China.

2.Eastern Han Dynasty.

3.Lanzhou hand-pulled noodles.

4.Flour.

==英语笔译何丽娜 He Lina 202170081569==

<center>'''Ancient Chinese Civilization--the Archaeological Ruins of Liangzhu City'''</center>

<center>He Lina</center>

===Introduction===
The Archaeological Ruins of Liangzhu City(良渚古城遗址)(ca. 3300-2300 BC),is located in the middle and lower reaches of the Yangtze River in China, and belongs to the late Neolithic archaeological culture. According to archaeological findings, the Liangzhu site is characterized by its exquisite jade, stone and black pottery craftsmanship which embody its social etiquette system, early urban planning and large-scale engineering construction as well as its social organization system, and the world's earliest large-scale plowed rice farming and early specialization of handicraft industry. (Zhou Yin,Wu Jin,2004:2) In addition, as a representative site of large prehistoric settlements in East Asia in the history of human civilization, the Liangzhu Site in China was approved for inclusion in the World Heritage List on July 6, 2019. This article will make a brief introduction and the summary in some aspects from geography, archaeological discovery, heritage elements of the Liangzhu ancient city ruins, the value of the heritage and the protection and inheritance of Liangzhu cultural sites, to further explore the extensive and profound influence of Liangzhu culture on Chinese civilization.

===Geographical Position===
[[File:0bf13104dc8815737bfc080cc8e01e5.png]]
Liangzhu Culture is located in the middle and lower reaches of the Yangtze River around Taihu Lake （太湖）which are in the southeast of China, and its distribution area is very broad. Its central settlements are clustered in Liangzhu Site, Liangzhu town（良渚镇） and Pingyao Town（瓶窑镇）, Yuhang District（余杭区）, Hangzhou city（杭州市）, Zhejiang Province（浙江省）. Its geographical coordinates are 119°56 '40 "~120°03' 228" EAST longitude, 30°22 '36 "~30°26' 17" north latitude, with a subtropical monsoon climate.(Liangzhu Archaaeological Site)

In terms of topography, Hangzhou is located in the junction zone between low hills which are stretching branches of Tianmu Mountain(天目山) and Hangzhou-Jiaxing-Huzhou Plain(杭嘉湖平原), the biggest accumulation plain in Zhejiang Province. And the whole plain is covered with river channels ,which is very suitable for rice cultivation and has convenient water conservancy and transportation.

[[File:R-C_(6).jpg]]

The site distribution area is just situated in the northwest of Hangzhou, enjoying the advantages of its natural geographical location. It is located in the alluvial plain in the transition zone between hills and plains, surrounded by mountains in the west, north and south, with some isolated hills scattered inside.

===Archaeological Findings===
In 1935, He Tianxing(何天行), a native of Hangzhou, made an investigation in the area where Liangzhu Site is seated and discovered a black pottery plate inscribed with ceramic inscriptions. Later, more than 100 cultural relics were discovered successively, and he wrote one of the earliest archaeological reports in China: Stone Tools and Black Pottery in Liangzhu Town, Hangzhou County. His discovery was the prelude to the archaeological culture of Liangzhu Culture. On this basis, after a year of arduous investigation, Shi Xingeng（施昕更） from The West Lake Museum in Zhejiang Province carried out several archaeological excavations near Liangzhu Town in 1936, and collected a number of prehistoric remains characterized by black pottery. In 1938, he published the book: Liangzhu: Preliminary Report on the Site of Black Pottery in the Second District of Hangzhou County. Their discovery caused a stir in Chinese academic circles, which greatly promoted the study of Yangtze Civilization and the development of fledgling Chinese archaeology. In 1959, Xia Nai(夏鼐), a researcher of the Institute of Archaeology, Chinese Academy of Social Sciences, officially named these findings Liangzhu Culture. (Zhou Yin,Wu Jin,2004:11-14)

After that, until the 1980s, a large number of sites were successively discovered in the Taihu Basin（太湖流域） around the middle and lower reaches of the Yangtze River. However, these sites were very scattered, and archaeologists' understanding of these sites was still in the initial stage on which the archaeologists only focused on single sites and failed to form an overall understanding.

From 1986 to 2006, with the excavations of Fanshan Royal Tomb (反山王陵)(1986) and Yaoshan Tomb（瑶山墓葬） (1987), many exquisite jade articles representing high status were unearthed, which made a major breakthrough in archaeology of Liangzhu site and gradually formed the concept of "Liangzhu Site Group". In 2007, the ruins of the ancient city were discovered. Later, the outer city of Liangzhu ancient City was preliminarily confirmed in 2010. After 5 years, Zhejiang Provincial Institute of Cultural Relics and Archaeology discovered and confirmed a large water conservancy system outside the ancient city. (Wang Ningyuan 2016:106)

With the efforts of the archaeological staff over the years, the ancient city of Liangzhu has been clearly shown to the world bit by bit, and the value of Liangzhu culture in the academic world has also been rising, exerting a world-class influence.

===subtitle 3===

===Subtitle 4===

===Subtitle 5===

===References===
Zhou Yin,Wu Jin周膺、吴晶(2004).''中国5000年文明第一证：良渚文化与良渚古国''[The First Evidence of The 5000-Year Civilization of China: Liangzhu Culture and Early State of Liangzhu].Hangzhou: Zhejiang University Press浙江大学出版社.
良渚遗址官网[Liangzhu Archaeologial site].https://www.lzsite.cn/classinfo.aspx?classid=1

===Terms and expressions===

===Questions===

===Answers===

==英语笔译胡良明 Hu Liangming 202170081570==
<center>'''A Study of the English Translation of Chu Ci by Xu
Yuanchong Under Three Beauties Principle'''</center>

<center>Hu Liangming</center>

===Abstract===
Qu Yuan’s ''Chu Ci'' is the first collection of romantic poetry in China, which has a very important position in the history of Chinese literature. In the middle and late 19th century, with the constant contacts and communication between China and foreign countries, domestic and foreign translators began to study and translate the ''Chu Ci'' and produced many indepth works. This thesis takes the English translation of ''Chu Ci'' by Xu Yuanchong as the research object, takes the Three Beauties Principle as theoretical basis, uses contrastive method, literature research and text analysis method, and analyses the English translation of ''Chu Ci'' by Xu Yuanchong from three aspects: beauty in sound, beauty in form and beauty in sense. It is found that Xu Yuanchong used rhetorical devices such as onomatopoeia, repetition, simile, personification and so on to reflect Three Beauties Principle in the process of translating ''Chu Ci'' into Chinese. The study can promote[?] the translation of Chinese classical literature by translators at home and abroad, thus promoting[?] the cultural exchange between China and foreign countries, and embody the advantages of Chinese literary theory in ancient Chinese ancient translation, which has an important[?] guiding role for future literary translation.

===Key words===
Chu Ci, Xu Yuanchong, Three Beauties Principle

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译黄琼 Huang Qiong 202170081571==
<center>'''Bamboo Weaving in Yiyang Hunan'''</center>

<center>Huang Qiong</center>

===Abstract===
Yiyang has a subtropical monsoon climate with high temperatures, cold winters and hot summers, and abundant precipitation. Bamboo mostly likes warm and humid climates, and Yiyang has abundant rainfall and heat, which is an ideal ecological environment for bamboo to grow, thus it is also known as the “Bamboo Capital of China”. Bamboo has always been a representative cultural image in China, which not only contains rich cultural values but also its artistic and economic values. Yiyang has a history of bamboo weaving for hundreds of years, and its bamboo products have long been famous, among which “Xiaoyu Bamboo Weaving Art” is a representative list of national intangible cultural heritage projects, and local bamboo products cover all aspects of production and life. This article not only introduces the art of bamboo weaving but also focuses on the process of weaving bamboo mats as an example to show the charm of Bamboo weaving.

===Key words===
Yiyang, bamboo weaving, Xiaoyu Bamboo Weaving Art, bamboo mat

===Literature Review===
Yiyang bamboo weaving art is a relative minority topic. More than 60 journals and papers can be found by searching "Yiyang Bamboo" on CNKI, but there are only a few articles, and the general research is not very in-depth. With "Yiyang Bamboo Weaving" as the keyword search, a total of 9 journals, and 13 papers are found. Zhang Jiang Shiqin's Research on the Development of Bamboo Culture Industry in Yiyang describes the development context, environment, current situation, and strategies for promoting the bamboo culture industry. Luo Fen's Research and Development of Yiyang Bamboo Weaving Art mainly introduces Yiyang bamboo weaving art, comprehensively uses various research methods, through sorting out Yiyang traditional bamboo weaving art, tries to put forward good solutions to the existing problems and follow-up development of Yiyang bamboo weaving. Jiang Xiangdong's Inheritance and Development of Hunan Traditional Bamboo Weaving, based on the actual situation of the development of Hunan traditional bamboo weaving, put forward several countermeasures such as "government support", "intensive management" and "talent training", which has practical guiding significance for the inheritance and development of Hunan traditional bamboo weaving art. Domestic research on Yiyang bamboo weaving art is very limited, there is no foreign paper on Yiyang bamboo weaving. Use "China Bamboo weaving" as the keyword to find literature on Google Scholar. The literature writers are all Chinese with few foreigners studying Bamboo weaving art, let alone Yiyang Bamboo weaving art. In addition, it is difficult to find any further theoretical works on Yiyang bamboo weaving. Moreover, the research on the bamboo weaving art in Yiyang is not comprehensive enough, and there is no in-depth discussion on the characteristics and causes of the bamboo weaving art in Yiyang.

===The Introduction to Bamboo weaving and its History===
Bamboo is always an important part of Chinese culture, and literati have often used it as imagery to express their high-minded sentiments. Bai Juyi said in ''The Annals of Bamboo Cultivation'': "The root of bamboo is firm, which is to establish the nature of bamboo. When a gentleman sees this nature of bamboo, he thinks of being upright and selfless, and not to be attached to the influential. When a gentleman sees the heart of bamboo, he thinks of accepting all useful things with an open mind. When a gentleman sees its knot, he thinks of refining his character and being consistent, no matter when things are going well or when he encounters danger."(竹性直，直以立身；君子见其性，则思中立不倚者。竹心空，空以体道；君子见其心，则思应虚受者。竹节贞，贞以立志；君子见其节，则思砥砺名行，夷险一致者。) In China, bamboo is both upright and steadfast in character, and also has a verdant and attractive posture, and has been loved by the literati since ancient times, along with plum blossoms and pine trees are known as the "Three Friends of Winter"(岁寒三友). The pine symbolizes evergreen; the bamboo symbolizes the way of a gentleman and the plum symbolizes pure. In addition to bamboo as cultural imagery, bamboo itself has great value. Bamboo has a long history of being used in architectural art. Bamboo buildings are houses of ordinary people. Southwest minorities such as the Dai nationality(傣族) still live in bamboo buildings. The Dai bamboo building is mainly made of bamboo, and the walls are also woven from bamboo, which has high air permeability, so the ventilation of the house is good. Bamboo can also be used as musical instruments. Traditional Chinese musical instruments such as flute（笛子）, xiao(箫 a vertical bamboo flute), sheng（笙 thirteen bamboo tubes of different lengths）, zheng(筝 the ancient Chinese traditional plucking instrument), erhu（二胡 a two-stringed bowed instrument with a lower register than jinghu） are inseparable from bamboo. Word-formation of these instruments shows that they are related to bamboo(⺮，汉字的偏旁部首，读作“竹字头”). A famous calligrapher of the Jin Dynasty, Wang Xizhi, wrote in the ''Preface to the Orchid Pavilion'': "Seated by the bank of brook, people will still regale themselves right by poetizing their mixed feelings and emotions with wine and songs, never mind the absence of melody from string and wind instruments."(It is the translation of Lin Yutang 林语堂：虽无丝竹管弦之盛，一觞一咏，亦足以畅叙幽情) Thus, since ancient China, bamboo has been used to refer to music.

The art of bamboo weaving in China is also popular, and Hunan Yiyang is also a city with a cultural heritage of bamboo art. Bamboo weaving art reflects the wisdom and value of the working people. With the development over hundreds of years, the craft is more and more advanced, not only embodies the essence of Chinese traditional handicraft but is also an important carrier of Hunan culture. In ancient times, restricted by economic conditions and transportation, ancient people could only use local materials to make tools needed for daily life. The origin of bamboo weaving can be traced back to the Neolithic Age. The Neolithic Age refers to the last phase of the Stone Age in archaeology, beginning about 10,000 years ago and ending from 5,000 to 2,000 years ago. During the Gaomiao culture of Hunan province, which dates back to more than 7,000 years ago, a bamboo mat was placed under the skeleton of a female body. There is no visual difference between this bamboo mat and today's bamboo mat products, but it has been charred (Jiang Xiangdong 2019, 146) More than 6,000 years ago, traces of bamboo weaving were found on cultural relics unearthed from Tujiatai site in Nanxian county （a county in Yiyang）during the Daxi Culture period（Pan & Tan 1994, 34）The Daxi culture dates from about 4400 to 3300 BC. The discovery of Daxi culture reveals a regional cultural heritage in the middle reaches of the Yangtze River, which is dominated by red pottery and contains colored pottery. Bamboo handles for spears were unearthed from the tomb sites of the Warring States Period. Yiyang bamboo weaving became a trade in the Ming Dynasty and was exported in the Qing Dynasty. The Yiyang Museum also displays bamboo products from the Qing Dynasty, including bird cages, baskets, and so on. In the old days, farmers used to make baskets of bamboo to carry things, make hats to hide from the sun and wind and rain, make backpacks to carry farming things, and bamboo fans made of bamboo became a tool for farmers to avoid the summer heat and keep cool. In summer, after a hard day’s work, farmers lie on top of the deck chair made of bamboo, shaking the fan, chasing away mosquitoes, listening to the cicadas, looking at the moon overhead, and chatting with neighbors. These show that Yiyang bamboo weaving has a long history.

[[File:Ancient Bamboo pruducts.jpg]] [[File:Room made of bamboo.jpg]]

===Yiyang' s Natural Environment and Bamboo===
Yiyang, a prefectural city under the jurisdiction of Hunan Province, is located in the central and northern part of Hunan province, on the south bank of Dongting Lake(洞庭湖). It has been a fertile "land of fish and rice"（鱼米之乡） in the south of the Yangtze River since ancient times. Yiyang has a humid subtropical continental monsoon climate with generally high temperatures, cold winters and hot summers, and abundant precipitation year after year. It rains a lot in July and generally has low sunshine throughout the year. The average annual temperature is 16.1℃-16.9℃, sunshine 1348 hours to 1772 hours and rainfall is 1230mm to 1700mm, which is suitable for growing crops. Yiyang's climate and ecological environment are very suitable for the growth of bamboo. Yiyang is rich in Phyllostachys heteroclada（水竹）and phyllostachys pubescens （楠竹）. Phyllostachys heteroclada has excellent elasticity and toughness, fine texture, and enjoys a cool and humid environment with excellent water absorption performance and a cool bamboo body. It is an excellent material for weaving various living and production appliances. Phyllostachys pubescens can be used to weave all kinds of utensils and crafts, branches as brooms, and young bamboo as raw materials for paper.

Yiyang has abundant bamboo resources. Taojiang County(桃江) is under the jurisdiction of Yiyang City of Hunan Province, known as the township of Bamboo. According to reports from Hunan province in recent years, Yiyang's bamboo forest covers an area of 2.36 million mu(about 177333 hectares）（Mu is a unit of land area under the municipal system in China. One mu is about 666.667 square meters. Fifteen mu equals one hectare）, and its rich bamboo resources support the development of the local bamboo industry. In 2020, the output value of the bamboo and bamboo industry in Taojiang County reached 12 billion yuan, and 200,000 farmers engaged in local bamboo production and processing（Wen, Xiong & Hu 2022, 44）, which shows how important bamboo is in the production and life of Yiyang people.

[[File: Bamboo Sea of Taojiang.jpg]]

There are different types of bamboo weaving art developed in Yiyang. According to the form, bamboo weaving can be divided into three-dimensional weaving, plane weaving, and mixed bamboo weaving（Guo Jie 2011, 90）. For example, the bamboo mats and fans commonly used by workers are plane weaving. Some bamboo baskets, bamboo boxes, and bamboo hats are woven in three dimensions. Whether it is flat or three-dimensional weaving, it requires a high level of skill and patience to complete beautiful bamboo weaving work.

Xiaoyu Bamboo Art(小郁竹艺) is an excellent traditional handicraft in Yiyang and is a representation of the development of Yiyang's bamboo industry. Xiaoyu Bamboo Art ware is beautiful in shape and fine in workmanship. In 2006, Xiaoyu Bamboo Art was listed in Hunan Province’s first batch of intangible cultural heritage protection lists. It was selected into the third batch of the National Intangible Cultural Heritage protection list in 2012. According to UNESCO, Intangible cultural heritage is traditional, contemporary, and living at the same time. It does not only represent inherited traditions from the past but also contemporary rural and urban practices in which diverse cultural groups take part. Intangible cultural heritage is not merely valued as a cultural good, on a comparative basis, for its exclusivity or its exceptional value. It thrives on its basis in communities and depends on those whose knowledge of traditions, skills, and customs are passed on to the rest of the community, from generation to generation, or to other communities. Intangible cultural heritage includes oral traditions and forms of expression; performing arts; social practice, ceremony, and festival activities; traditional crafts, and so on. Xiaoyu Bamboo Art belongs to the traditional handicraft so it is a kind of intangible cultural heritage. As one of Yiyang’s three national intangible cultural heritages, it can be seen that Yiyang has devoted a lot of effort to build the bamboo brand.

However, with the development of science and technology and the progress of people's living standards, more and more traditional handicrafts have gradually disappeared, and there are fewer and fewer craftsmen. Even Xiaoyu Bamboo art is facing development difficulties. How to inherit and develop bamboo weaving art is worth thinking about.

[[File: Xiaoyu Bamboo Art.jpg]]

===The Procedure of Bamboo Weaving--Bamboo Mat as an example===
Because Yiyang bamboo weaving products are numerous, due to the limitation of space, the following is a brief introduction to the weaving process of the bamboo mat. Yiyang is hot and humid in summer, and the bamboo mat woven with bamboo strips has always been a traditional antidote to the heat. As early as during the reign of Emperor Yuanshun (元顺帝 1333-1370), the people of Yiyang began to weave bamboo mats with Phyllostachys heteroclada（水竹）as raw materials, with a history of more than 600 years（Liu & Liu 2014, 98）. A handmade mat in Yiyang can be sold for around 800 to 1,500 yuan. This kind of bamboo mat is placed on top of the sheets in summer and is very cool. Every night before going to bed, it needed to wipe with hot water to absorb heat as the water evaporates. When people lie down on the bamboo mat, sweat is absorbed by the bamboo, then body temperature will drop and the bamboo becomes more warm and cool. The longer the bamboo mat is used, the better the heat dissipation performance is. With the use of time getting longer and longer, the surface of the bamboo mat is getting smoother and darker. The bamboo mat that has not been used at the beginning is yellow, and gradually becomes red, and finally becomes dark brown. A good mat will last 20 or 30 years without deterioration. Such durable bamboo mats cannot be made without excellent bamboo materials and meticulous workmanship by craftsmen. Although bamboo mat is a kind of flat weaving, it also requires a lot of skills. A series of steps are required to process the raw material before the product can be woven.

[[File:instruments.jpg]]

The first is choosing which bamboo to use as raw material. As mentioned above, there are many Phyllostachys heteroclada and phyllostachys pubescens in Yiyang, so these two kinds of bamboo are generally used. One reason is that this kind of bamboo is abundant, widely distributed, easily transported, and grows relatively quickly compared with other kinds of bamboo, making it easy to use materials. Second, this kind of bamboo is tough, not easy to break, and has high compressive strength, which is very suitable for use as bamboo weaving material. The bamboo mat in Yiyang is usually bamboo that has grown for 3-5 years, and the fiber of such bamboo has been finalized. The growing environment of water bamboo also affects the quality of bamboo. Phyllostachys heteroclada growing on the hillside has a dense texture, while Phyllostachys heteroclada growing near the lakes and fields has a loose texture. Although bamboo prefers wet and damp conditions, it cannot be processed if it grows with little or no sunlight. Selecting raw materials is also an art.

Secondly, after selecting the raw material, the bamboo should be fully soaked to make it shrink, and after soaking, the bamboo should be dried, and only after fully drying can the bamboo be treated. Generally, it takes a few days of exposure to dry the bamboo, but since it rains a lot in the summer in Yiyang, it usually takes a little longer. If want to shorten the work period, workers should look at the weather forecast in advance.

After the bamboo is dried, the knotted part of the bamboo needs to be scraped off, which is a step called Juan Jie（卷节）. It means that after selecting the right bamboo, the bamboo is initially treated with a gimlet knife（蔑刀）. First, the craftsman scrape off the protruding parts of the bamboo joints so that they are as flat as possible against the bamboo wall.

The middle of the bamboo is not unobstructed; there are bamboo joints inside the bamboo that also need to be removed. This step is called Qu Jie(去结)。The next step is to scrape the green surface of bamboo（刮青）. Bamboo woven products are usually yellow or dark red in color, not the green color of the bamboo surface. The layer of greenish skin on the outside of the bamboo is called bamboo green(竹青). The yellow part on the inside of bamboo is called bamboo yellow（竹黄）. The craftsman uses a knife to scrape the green off the outer layer of the bamboo. It is important to scrape the green from the top down so that the bamboo skin is not damaged. Scraping the green is a technical task; if the scraping is deep, it will affect the beauty and durability of the bamboo, while if the scraping is shallow, the residual green will also affect the beauty. In addition to this reason, there is another reason for scraping the green. The surface of the bamboo may leave spots, and removing the bamboo green can also remove the spots. There are also differences in the hue of the bamboo surface due to the age and growing environment of the bamboo, and most craftsmen choose to remove the bamboo green in order to unify the hue, although this step is very hard and time-consuming.

[[File:Gua Qing.jpg]] [[File:Bamboo sticks.jpg]]

The next step is called Qi Jian(起间). The craftsman uses a cleaver to split the bamboo in half, and on top of that, he keeps splitting it in half until it reaches the desired width. This ideal width depends on the bamboo sticks(竹篾 Zhu Mie). Bamboo sticks, called Mi Pian Zi in the Yiyang dialect, are thin strips of bamboo, which are the basic material for bamboo weaving, and with which the artisan can begin to weave. There are two types of bamboo sticks: thin sticks and thick sticks. The difference between thin and thick sticks is mainly in width, followed by thin sticks that are softer and more delicate, with better smoothness and comfort. After that, it is necessary to split the sticks(分蔑). Specifically, each section of bamboo is split into three parts: a surface layer, a middle layer, and an inner layer. The craftsman has to divide the bamboo into three layers, which are only about one millimeter thick, which tests the craftsman's experience and skill.

The next step is San Fang（三防）. This is to prevent mold, moths, and cracking. By doing San Fang, bamboo mats can be preserved and used for decades. Bamboo is prone to mold and attracts pests at the right temperature and moderation, resulting in poor quality bamboo. Mildew and insect infestation can also hinder the beauty of bamboo weaving. There are also many ways to prevent insects in bamboo. Physical methods include a high-temperature method, chemical methods include steaming, soaking, and smoking. In addition to preventing mold and insects, it is also necessary to prevent the bamboo sticks from cracking, for example, there is the pressurization method. The bamboo material is subjected to external forces that can eliminate internal forces and prevent cracking. Generally, the artisan puts the divided bamboo sticks into a pot and steams them in boiling water for about an hour. After the high temperature steaming, it can prevent insects and mildew, and also increase the softness of the bamboo for the next weaving step.

Then the artisan should dye the bamboo sticks. The dyeing of bamboo sticks is an extremely important process in the manufacturing process of bamboo weaving. Heat is used to increase the dyeing speed. The addition of surfactants to the dyeing solution(染液) is an effective means of improving the dyeing effect by giving it higher adsorption and surface activity. Dyeing solution composition, dyeing time, room temperature, and moisture content of the bamboo sticks all affect the dyeing effect of the sticks（Ref. Sun Delin, Liu Wenjin & Yao Wenliang 2012, 9）.In addition to dyeing with solution, workers can also dye the main material with hot oil. The dried bamboo material is placed inside the hot oil at 200 degrees Celsius. The bamboo material taken out appears purplish red. Bamboo dyeing is a very complicated procedure, and the color is unpredictable every time. Since each layer of fiber is different, this can lead to uneven absorption of the solution and differences in the resulting dyeing effect. The consistency of the color is the basis for the artistic effect of bamboo weaving. Inconsistencies in the color of the sticks affect the presentation of the bamboo weaving.

All the steps before weaving have been completed and the bamboo sticks are ready. Bamboo mats have nearly 20 working procedures, and each square meter weighs 470 grams above. Generally, bamboo mats are arranged with 14 or 16 sticks per 3.3 centimeters, and the high-quality products are 18 ~ 24 sticks. Bamboo mats can be woven into patterns such as phoenix tails, plum blossom scenes, interlocking locks, flowers and birds, insects and fish, figures, landscapes, paintings, and other patterns(Su Wei 2010, 7). The pattern of ordinary household bamboo mats looks like the Chinese character "ren"(人). This highly regular weaving technique is relatively simple. The next bamboo stick can be hidden under the previous bamboo stick so that the surface of the bamboo mat is smooth and flat. In addition, this style is also convenient for bamboo mat maintenance.

Weaving techniques are also very rich. There are two main weaving methods of the bamboo mat in Yiyang:Tiao 2 Ya 2 (挑2压2) and Tiao 3 Ya 3(挑3压3). Tiao 2 Ya 2 (挑2压2) means that the two sticks are on top and the two stricks are on the bottom, which is the most commonly used and delicate method of bamboo mat weaving. Tiao 3 Ya 3(挑3压3) means 3 bamboo sticks on top and 3 bamboo sticks on the bottom. Few people use this method at present(Liu & Liu 2014, 100). A good craftsman weaves a bamboo mat that is durable. Everything must be measured as if it had been.

Now let's introduce t bamboo mat with a “人” pattern, which is woven in the way of Tiao 2 Ya 2 (挑2压2). Start from the middle part of the right triangle on one side of the mat. The starting part is about five cun wide（寸, a unit of length, five cun about 16 centimeters）, and the length is about one meter in the right direction. When weaving the main part, the craftsman uses a bamboo board to press the whole starting part and sits cross-legged on the mat, picks up the sticks from both sides to the middle at the same time with both hands, then picks up the sticks with his index finger and put them into his palm. After all of them are picked up, pick up the bamboo board with the right hand and put it under the picked sticks, then put in the sticks to be woven, and knock them hard and evenly. Repeat this step. When most of the bamboo mat is finished, the artisan twists and closes the edges of the mat（扭边和收边）. The four sides of the mat are dipped in water to prevent the bamboo sticks from breaking, and then the reverse side of the sticks is twisted to 360 degrees to cover the sticks below. The craftsman squats barefoot on top of the mat, cuts the twisted sticks, leaving only one cun long, and sets the front sticks at a 30-degree angle into the back sticks, finishing one by one by pressing two. After closing the edge, insert the closed sticks into the seam of the mat, and arrange them in order, without overlapping and without breaking.

[[File:Bamboo mat.jpg]] [[File:Weaving.jpg]]

This technique is actually very complicated, and it usually takes 4 or 5 days for an old craftsman to finish weaving a cool mat. If a new man learns to weave bamboo mats, many mistakes will be made, such as wrong patterns, and he may even get injured. Nowadays, there are fewer and fewer men who know how to weave bamboo mats because there are technical requirements, not everyone can weave well, and fewer and fewer people are willing to spend time learning how to weave. The development and inheritance of the Yiyang bamboo mat are the results of thousands of years of polishing and perfecting.

===Conclusion===
Chinese bamboo weaving products have a long history, the production skills are very exquisite, and gradually to the direction of elegant art. Traditional bamboo weaving is the precious wealth of Chinese culture, but under the strong impact of industrial civilization, the status of handicrafts has been greatly inferior. At present, the Yiyang bamboo products processing level is still in the primary stage, and there is no high technology content. Most of them are made by hand, and a low production rate has always been a problem. Even though machine production is now vigorously developed, the quality of products is difficult to match that of hand weaving. The shape and color of bamboo products in Yiyang are slightly inadequate. The price of bamboo crafts is relatively low. There is a lack of good brands and few high-grade artworks that combine the advantages of product decoration effect, practical efficiency, innovation ability, and art appreciation in one. The art of bamboo weaving in Yiyang has survived thousands of years of weathering and it has been quite difficult to survive(Luo Fen 2013, 42). We need to research and develop new techniques, develop new ideas, pioneer and innovate on the basis of inheriting traditional handicrafts and do a good job of modernizing and transforming the art of bamboo weaving. First of all, set up a bamboo art industry association, organize and plan bamboo art expositions, and regularly host bamboo culture seminars, which can promote exchanges between bamboo weaving artists, bamboo weaving enthusiasts, and bamboo weaving researchers, and can also play a propaganda role. Second, increase the training of talents. We can introduce advanced technology from domestic and foreign places where the art of bamboo weaving is better developed, send Yiyang’s bamboo weaving artists and processing and production personnel to other regions to learn modern science and technology, or give appropriate financial subsidies to bamboo weaving inheritors. Yiyang bamboo weaving is an extremely representative traditional craft of Yiyang. It is also an indispensable part of our Chinese cultural treasures. The preservation and protection of Chinese traditional crafts is the top priority.

===References===
* Guo Jie 郭杰.(2011). 浅谈益阳竹编工艺[A Brief Discussion on Yiyang Bamboo Weaving Technology].''现代交际'' Modern communication,(06):90.
* Jiang Xiangdong 姜向东.(2019).湖南传统竹编的传承和发展[Inheritance and Development of Hunan Traditional Bamboo Weaving].''艺海'' The Sea of Art(01),146-149.
* Liu Yingwu & Liu Lang 刘英武 & 刘浪.(2014).茅竹湖水竹凉席装饰特征与制篾工艺探析[The Analysis of Decorative Features and Bamboo Sheet Technology of Maozhu Lake Bamboo Mat]. ''装饰'' Decoration (07),98-100.
* Luo Fen 罗芬.(2013).益阳竹编艺术的研究与开发[Research and development of Bamboo weaving art in Yiyang]湖南师范大学 Hunan Normal University
* Pan Yuehui & Tan Guoming 潘茂辉,谈国鸣.(1994).南县涂家台早期新石器时代遗址调查报告[Investigation report on the Early Neolithic site of Tujiatai, Nanxian County]. ''湖南考古辑刊'' Journal of Hunan Archaeology (00),34-43.
* Su Wie 苏伟.(2010). 益阳水竹凉席[Yiyang's Bamboo Mat]. ''湖南农业'' Hunan Agriculture (02),7.
* Sun Delin, Liu Wenjin & Yao Wenliang 孙德林,刘文金 & 姚文亮.(2012).竹篾染色工艺的优化研究[Optimization of Bamboo Sticks Dyeing Research].''包装工程'' Packaging engineering (05),9-12.
* Wen Aihua, Xiong Yanhui & Hu Dehe 文爱华,熊艳辉 & 胡德合.(2022).把乡里笋竹做成“世界宝宝”[Make Bamboo Shoots into "World Babies"]. ''湖南农业'' Hunan Agriculture(01),44-45.
* Xu Wei 徐薇.(2012).益阳小郁竹艺工艺与文化研究[Study on the Craft and culture of Yiyang Xiaoyu Bamboo Art] 湖南师范大学 Hunan Normal University.

===Terms and Expressions===
1. 竹编 bamboo weaving
2. 竹篾 bamboo split
3. 水竹 Phyllostachys heteroclada Oliver
4. 毛竹 Phyllostachys edulis
5. 亚热带季风气候 subtropical monsoon climate

===Questions===
1. What is the climate type of Yiyang?
2. What is the National Intangible Cultural Heritage of Yiyang?

===Answers===
1. subtropical monsoon climate
2. Xiaoyu Bamboo Weaving art

==英语笔译邝雨琪 Kuang Yuqi 202170081572==
<center>'''Chinese Mooncake Culture'''</center>

<center>Kuang Yuqi</center>

===Abstract===

===Key words===

===Introduction===
Chinese moon cake is the representative food of the Mooncake Festival, or more commonly known as Mid-Autumn Festival. It is a kind of round cookie with various fillings and different artistic patterns on the surface, depicting the legends of the festival and conveying auspicious meanings. During the festival, people sacrifice these cookies to the moon as offerings, eat them for celebration and present them to relatives and friends for good wishes. ......
===I ===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===II ===

===III ===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.
===Terms and Expressions===

===Questions===

===Answers===

==英语笔译黎溢佳 Li Yijia 202170081573==
<center>'''On Gender Discrimination in Chinese'''</center>
===Abstract===

===Key words===
'''Language; Cultural Factors; Gender Discrimination; Chinese'''
===Introduction===

==英语笔译李思敏 Li Simin 202170081574==

==英语笔译李思源 Li Siyuan 202170081575==

<center>'''Chinese Lantern Culture'''</center>

<center>Li Siyuan</center>

===Introduction===
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.

===The origin of Chinese Lantern civilization and typical kinds===
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony.
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories.
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.

===Some common cultural implications of Chinese lantern===

Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.

===The symbolic significance of lanterns in film and television works===
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.
===References===
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.
===Terms and expressions===
Calligraphy lanterns书法灯笼
Paper-cut lanterns 剪纸灯笼
Lantern Festival 元宵节
Spring Festival 春节
carrier 载体
auspiciousness 吉祥
reunion 团圆
bumper harvest 五谷丰登
Zhao Jun Out of the Frontier 昭君出塞
the fifteenth day of the first month of lunar year 正月十五
The Legend of Zhen Huan 甄嬛传

===Questions===
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?
===Answers===
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.

==英语笔译李婷 Li Ting 202170081576==
<center>'''Language Culture in Chinese Cuisine Names'''</center>

<center>Li Ting</center>

===Introduction===
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.

===Looking at Chinese Cuisine Names through Linguistics===
'''1. Meanings of Cuisine Names'''

In terms of the meanings of cuisine names, they can be briefly divided into the following three types:

The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182)

The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)

The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)

[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]

'''2. The Naming Methods of Dish Names'''

The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:

'''2.1 Named after Ingredients and Cooking Methods'''

This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on.

Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )

'''2.2 Freehand Naming'''

Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)

[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]

'''2.3 Named after a Person or a Place'''

There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154)

In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)

[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]

'''2.4 Named after Historical Allusions'''

Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)

[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]

'''2.5 Named after Numeral Abbreviations'''

Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )

'''2.6 Named after Animals and Plants Names'''

People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )

[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]

Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )

'''2.7 Named after Precious Metals and Jade'''

Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )

[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]

'''2.8 Named after Auspicious Words'''

In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)

'''3 Rhetorical Devices in Cuisine Names'''

When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.

'''3.1 Figure of Speech'''

The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)

[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]]

These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.

'''3.2 Hyperbole'''

Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.

'''3.3 Allusion'''

The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)

'''3.4 Personification'''

Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.

===The Cultural Connotation of Chinese Cuisine Names===
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.

'''1. The Good Meanings and Visions in Cuisine Names'''

Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.

'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names'''

Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)

In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.

'''3. Regional Features in Cuisine Names'''

There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.

The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)

The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)

Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)

===The Psychological Functions of Chinese Dish Names===
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.

It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)

The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)

In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)

===Conclusion===
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.

===References===
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.

* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.

* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188.

* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.

* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.

* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.

* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.

* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.

===Terms and expressions===
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁

The Braised Turtle in Brown Sauce：红烧甲鱼

Cold Noodles with Chicken Shreds：鸡丝凉面

Mapo Tofu：麻婆豆腐

Shrimp with green Vegetable：翡翠虾仁

Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子

Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙

Cut: 切 chop：剁 split：劈 scrape：剔

Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥

Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤

stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌

Corn Meatballs：玉米肉丸

Sweet and Sour Fish：糖醋鱼

Fried Shrimps with Tomato Sauce：茄汁虾仁

Diced Chicken with Cashew Nuts：腰果鸡丁

Diced Chicken with Green Pepper：辣子鸡丁

Pork Shreds with Fish Seasoning：鱼香肉丝

Steamed Perch：清蒸鲈鱼

Braising Carp with Soy Sauce：红烧鲤鱼

Quick-frying shredded Mutton with Scallion：葱爆羊肉丝

Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条

Pork Cooked with Green Chili：辣椒炒肉

Scrambled Egg with Tomato：番茄炒蛋

Hairy Crabs：大闸蟹

Golden Coin-shaped Scallops：金钱干贝

Sour and Hot Diced Chicken：酸辣鸡丁

Sweet and Sour Ribs：糖醋排骨

Cola Chicken Wings：可乐鸡翅

Braised Meat Balls in Brown Sauce：红烧狮子头

Tai Chi Shaped Taro：太极芋头

Stewed Assorted Delicacies：全家福

Wishful Bamboo Shoots：如意笋

Wen Si Tofu：文思豆腐

Dongpo Meat：东坡肉

Peking Duck：北京烤鸭

West Lake Fish in Vinegar Sauce：西湖醋鱼

Zhijiang Fried Duck with Varied Ingredients：芷江鸭

Meat in Tomato Sauce：乾隆樱桃肉

Murrel with Fresh Vegetables：将军过桥

Changban Slope：长坂坡

Two Winter：二冬

Three Delicacies：三鲜

Three Shreds：三丝

Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗

Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁

Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参

Fried Magnolia Slices：炒玉兰片

Fried Bamboo Shoots Slices：炒笋片

Salted Pork in Jelly：水晶肴肉

Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋

Jade and White Jade, Shrimp with green Vegetable：翡翠白玉

Mirror Box Tofu：镜箱豆腐

Squirrel-shaped Mandarin Fish：松鼠鳜鱼

Shrimp Ring with Green Vegetable：翡翠虾环

Golden Eggs：金钱蛋

Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝

Farewell My Concubine：霸王别姬

Chicken Slices with Hibiscus：芙蓉鸡片

Scallops with Hibiscus：芙蓉干贝

Clams with Hibiscus：芙蓉青蛤

The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕

The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡

Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠

Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠

Crusade against daddy：早生贵子

Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅

The Sacred Family of the Confucian Mansion：孔府衍圣公

Siraitia Grosvenorii：罗汉果

Prajna Dishes：般若菜

Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴

Yin and Yang Fish：阴阳鱼

Heaven and Earth Eggs：乾坤蛋

Mutton eaten with hands：手抓羊肉

Sweet and Sour Pork：咕咾肉

Pearl Bean Curd：珍珠豆腐

Golden Prawn：金钱明虾

Crispy Duck：脆皮八宝鸭

Spiced Beef：五香牛肉

Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会

Full of Prosperity：满园春色

===Questions===
1.How many naming methods are mentioned?

2.Who is the Four-Joy Meatballs associated with?

3.In the Chinese cuisine names, what is hibiscus often used to refer to?

===Answers===
1.Eight.

2.Zhang Jiuling

3.Egg white.

==英语笔译李欣 Li Xin 202170081577==

==英语笔译李颖 Li Ying 202170081578==

==英语笔译李媛 Li Yuan 202170081579==

==英语笔译李梓婕 Li Zijie 202170081580==
<center>'''Confucius Institutes'''</center>

<center>Li Zijie</center>

===Introduction===
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese.
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.

===Overview of Confucius Institutes===

===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===

===Analysis of the Current Situation of Confucius Institutes (Case Study)===

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answer===

==英语笔译梁思婷 Liang Siting 202170081581==

==英语笔译廖诗韵 Liao Shiyun 202170081582==

==英语笔译刘唱 Liu Chang 202170081583==
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory
--Taking League of legends as an Example'''</center>

<center>Liu Chang</center>

===Abstract===
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===Key words===
Skopos Theory; Game Translation; League of Legends

===Introduction===
(1)Research Background

With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material.

(2)Brief Introduction to League of Legends

League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.

(3)Purpose and Significance of Game Translation

As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.

===Literature Review===
(1) Review on Research of Skopos Theory of Translation

Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”
There are four stages of the development of the Skopos Theory of Translation:
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).

(2)Review on the Research of Game Translation

With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011).

(3)Summary

The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.

===Methods and Theories===
(1)An Introduction to Skopos Theory

Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text.
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.

(2)Basic Rules of Skopos Theory

(2.1)The Skopos Rule

In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15).

(2.2)The Coherence Rule

Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator.

(2.3)The Fidelity Rule

The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose.

(3)Summary

After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.

===Translation Under Skopos Theory===
(1)Translation Under Skopos Rule

LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals.

Example 1:

Original version: Xayah, Rakan

Chinese version：霞、洛

In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.

Example 2

Original version: Here’s a tip and a spear behind.

Chinese version: 一点寒芒先到，随后枪出如龙。

In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player.

(2)Translation Under Coherence Rule

The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: the outlaw

Chinese version: 法外狂徒

Nick name: 男枪

The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player.
Example 2:

Original version: The Deceiver

Chinese version: 诡术妖姬

In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.

(3)Translation Under Fidelity Rule

The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: Monkey King

Chinese version: 齐天大圣

In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.

Example 2:

Original version: The fist of Shadow

Chinese version: 暗影之拳

In this case, the translator just uses the literal translation to translate the title, also there is
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.

===Mistranslation in League of Legends===
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.

(1)Mistranslation Against Skopos Rule

In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.

Example 1:

Original version: Minotaur

Chinese version：牛头酋长

In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.

Example 2:

Original version：The Lady of Clockwork

Chinese version: 发条魔灵

In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.

(2)Mistranslation Against Coherence Rule

During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.

Example 1:

Original version: The might of Demacia

Chinese version: 德玛西亚之力

In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.

Example 2:

Original version: The Defender of Tomorrow

Chinese version: 未来守护者

In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.

(3)Mistranslation Against Fidelity Rule

During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.

Example 1:

Original version: The Rabble Rouser

Chinese version: 酒桶

In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.

Example 2:

Original version: The Hexplosive Expert

Chinese version: 爆破鬼才

In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.

(3)Summary
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.

===Conclusion===
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style.
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===References===
Chesterman, A. Readings in Translation Theory[M]. Helsinki: Oy Finn Lectura Ab. 1989.

Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.

Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.

Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.

Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.

Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.

Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.

Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.

Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.

Vermeer, H. Skopos Theory of Translation[M]. 1996.

Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.

Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.

Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.

Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.

Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.

Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.

Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.

Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.

Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009.

Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.

==英语笔译刘乐乐 Liu Lele 202170081584==

==英语笔译刘双英 Liu Shuangying 202170081585==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===Subtitle2===
===Subtitle2===
===Conclusion===
===References===

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insuffcient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===
Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, The Three-Body Problems, has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Literature Review===

===Methods and Theories===

===1. Chinese Science fiction===

1.1 Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her Frankenstein, published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and 20,000 Leagues Under the Sea, The Mysterious Island and Captain Grant's Daughter are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include The Time Machine, The First Man on the Moon and When the Sleeper Wakes. Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (Han Song, 2010: 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic Around the World in Eighty Days (then titled《八十日环游记》in Chinese translation) (Guo Yanli, 1998: 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel From the Earth to the Moon and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (Jiang Qian, 2007: 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by Five Weeks in the Balloon and wrote The Moon Colony, one of the earliest science fiction novels in China. In 1905, Xu Nianci published The New Mr. Fallo Tan, which was actually a sequel to the German Mr. Fallo Tan. Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. From Earth to Mars, written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as Science Fiction World, which was founded in 1979, and Science Fiction Ocean, which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (Kong Qingdong, 2003: 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (Wang Xueming, Liu Yi, 2015 : 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's Wandering Earth, The three-body problem, and Supernova Era, Hao Jingfang's Beijing Folding, Han Song's High Speed Rail, and Subway. After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''Dissemination of Chinese Contemporary Literature'''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===

===Key words===
Chinese Contemporary Literature; dissemination; Yu Hua; Liu Cixin

===Introduction===

===Dissemination of Chinese Contemporary Literature in Different Regions===

===Dissemination of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present). In the first stage, Chinese contemporary literature translated to English-speaking countries focused more on social and political aspects than on literary aspects. In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak. Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than propaganda; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and market. The English-speaking world and Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin'''</center>

<center>Liu Zhen</center>

===Introduction===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. It is sometimes referred to by the Chinese as "the father of Chinese music" or "the instrument of the sages." The Guqin is a very quiet instrument, with a range of about four octaves, and its open strings are tuned in the bass register. Its lowest pitch is about two octaves below middle C, or the lowest note on the cello. Sounds are produced by plucking open strings, stopped strings, and harmonics. The use of glissando—sliding tones—gives it a sound reminiscent of a pizzicato cello, fretless double bass or a slide guitar. The qin is capable of over 119 harmonics, of which 91 are most commonly used. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

===Origin===
According to legend, the qin, the most revered of all Chinese musical instruments, has a history of about 5,000 years. The legendary figures of China's pre-history—Fuxi, Shennong and Huang Di, the "Yellow Emperor"—were involved in its creation. Nearly almost all qin books and tablature collections published prior to the twentieth century give this story as the factual origin of the qin. The qin is mentioned in Chinese writings dating back nearly 3,000 years, and related instruments have been found in tombs from about 2,500 years ago. The exact origin of the qin is still a subject of historical debate.

===Development History===
The ancient form of the qin was short (almost a third of the size of a modern qin) and probably only played using open strings. This is because the surface of these early qins where not smooth like the modern qin, the strings were far away from the surface, which was engraved, and did not have markings for the harmonic positions.

Based on the detailed description in the poetical essay "Qin Fu" (琴赋) by Xi Kang (223–262), the form of the qin that is recognizable today was probably set around the late Han Dynasty. The earliest surviving qin in this modern form, preserved in both China and Japan, have been reliably dated to the Tang Dynasty. Many are still playable, the most famous perhaps being the one named "Jiuxiao Huanpei" 《九霄环佩》, attributed to the famous late Tang dynasty qin maker Lei Wei (雷威). It is kept in the Palace Museum in Beijing.

In 1977, a recording of "Liu Shui" (流水) (Flowing Water, as performed by Guan Pinghu, one of the best qin players of the twentieth century) was chosen to be included in the Voyager Golden Record, a gold-plated LP recording containing music from around the world, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecrafts. It is the longest excerpt included on the disc. In 2003, guqin music was proclaimed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.

===Construction and Strings===
According to tradition, the qin originally had five strings, representing the five elements of metal, wood, water, fire and earth. Later, in the Zhou dynasty, Zhou Wen Wang (周文王) added a sixth string to mourn his son, Bo Yihou (伯邑考). His successor, Zhou Wu Wang, added a seventh string to motivate his troops into battle with the Shang. The thirteen hui (徽) on the surface represent the thirteen months of the year (the extra 13th is the 'leap month' in the lunar calendar). The surface board is round to represent Heaven and the bottom board flat to represent earth. The entire length of the qin (in Chinese measurements) is 3 chi, 6 cun and 5 fen (三尺; 六寸;五分); representing the 365 days of the year (though this is just a standard since qins can be shorter or longer depending on the period's measurement standard or the maker's preference). Each part of the qin has meaning, some more obvious, like "dragon pool" (龙池) and "phoenix pond" (凤沼).

Until the Cultural Revolution, the guqin's strings were always made of various thicknesses of twisted silk (丝), but since then most players have used modern nylon-flatwound steel strings (钢丝). This is partly due to the scarcity of high quality silk strings and partly due to the newer strings' greater durability and louder tone.

Silk strings are made by gathering a prescribed number of strands of silk thread, then twisting them tightly together. The twisted cord of strings is then wrapped around a frame and immersed in a vat of liquid composed of a special mixture of natural glue that binds the strands together. The strings are taken out and left to dry, before being cut into the appropriate length. The top thicker strings (strings one to four) are further wrapped in a thin silk thread, coiled around the core to make it smoother. According to ancient manuals, there are three distinctive gauges of thickness that one can make the strings. The first is taigu (Great Antiquity) which is the standard gauge, the zhongqing (Middle Clarity) is thinner, whilst the jiazhong (Added Thickness) is thicker. According to the Yugu Zhai Qinpu, zhongqing is the best.

Although most contemporary players use nylon-wrapped metal strings, some argue that nylon-wrapped metal strings cannot replace silk strings for their refinement of tone. Furthermore, nylon-wrapped metal strings can cause damage to the wood of old qins. Many traditionalists feel that the sound of the fingers of the left hand sliding on the strings is a distinctive feature of qin music. The modern nylon-wrapped metal strings were very smooth in the past, but are now slightly modified in order to capture these sliding sounds.

Traditionally, the strings were wrapped around the goose feet (雁足) but a device has been invented, which is a block of wood attached to the goose feet, with pins similar to those used to tune the guzheng protruding at the sides, so one can string and tune the qin using a tuning wrench. This is helpful for those who lack the physical strength to pull and add tension to the strings when wrapping the ends around the goose feet. However, the tuning device looks unsightly and many qin players prefer the traditional manner of tuning; many also feel that the strings should be firmly wrapped around the goose feet so that the sound may be "grounded" into the qin.

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译龙翰良 Long Hanliang 202170081589==
<center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center>

<center>Long Hanliang</center>

===Abstract===

At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)

As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)

This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)

===Key words===

Chinese culture; Teaching Chinese as a second language; Cultural Exchange

===Introduction===

As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)

The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)

Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)

===Overall Design===
The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)

To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)

Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)

This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)

Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)

Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)

The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)

Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)

Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)

For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)

For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)

Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)

Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK.
Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)

The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)

The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)

The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)

===Test Assessment===
The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)

Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)

The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)

The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)

Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)

The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)

In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)

1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)

2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)

3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time.
At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)

Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)

As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)

===Means and methods===

Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)

After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)

Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)

We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)

One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)

For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)

First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)

For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)

This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)

The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)

There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)

The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)

However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)

Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)

===Textbook Compilation===
1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)

(1) Practicality

Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)

The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)

It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)

The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)

(2) Knowledge

The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)

Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)

(3)Scientificity

1. To teach standardized and common Chinese characters

The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)

The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)

In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)

2. The organization of teaching content should conform to the law of language teaching

The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)

The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)

The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)

(4)Interest

Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)

Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)

In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)

In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)

===Classroom Teaching===

Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)

This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)

The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)

The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)

Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)

In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)

The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)

It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)

Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)

At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：

1. Respect each other among different cultures and adhere to the principle of cultural equality.

2. Disseminate the essence of culture and avoid clamoring for attention.

3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)

In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)

===Training of TCSL Teachers===

With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

1. modern Chinese knowledge

Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

2. linguistic knowledge

The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

3. cultural knowledge

Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

4. foreign language knowledge

Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

===Conclusion===

After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)

===References===

Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.

Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.

Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.

Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)

国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm

===Terms and expressions===
Classroom teaching 课堂教学

HSK 中国汉语水平考试

Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）国家汉办

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区

mahjong 麻将

chow mein 炒面

===Questions===
1.What are the four links of the whole process and teaching activities of second language teaching?

2.When was HSK officially implemented?

3.What is the most important link of teaching activities among the four links of teaching activities?

4.What are the principles of spreading Chinese culture in Chinese education abroad?

5.What types of HSK exams are there?

6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?

===Answers===
1.Overall design, textbook compilation and selection, classroom teaching and achievement test.

2.The Chinese Proficiency Test (HSK) was officially implemented in 1990

3.Classroom teaching

4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.

Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.

Ⅲ. Handle sensitive issues properly and maintain national dignity.

5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).

6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.

==英语笔译罗姚林 Luo Yaolin 202170081590==
<center>'''Different Local Dialects in China'''</center>

<center>罗姚林 Luo Yaolin</center>

===Introduction===
Chinese dialects are branches of the Chinese language. The "Law of the People's Republic of China on the Common State Language and Script", promulgated on October 31, 2000, established Mandarin Chinese as the national language. During the development of Han Chinese society, there have been different degrees of differentiation and unification, thus making the Chinese language gradually produce dialects. There are various dialects of modern Chinese, and they are distributed over a wide area. The differences between modern Chinese dialects are phonetic, lexical, and grammatical, and the phonetic aspects are particularly prominent. Some domestic scholars believe that most dialects and common languages have certain phonological correspondence patterns, and many similarities in vocabulary and grammar, so they are not independent languages. Foreign scholars believe that people in each dialect area cannot talk to each other, so they are very independent languages, especially the dialects in Min language. Based on the characteristics of the dialects, the history of their formation and development, and the results of dialect surveys, the dialects of modern Chinese can be divided.

===the Origin of Chinese Dialects===

===Different Features of Dialects in China===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译马艳焕 Ma Yanhuan 202170081591==
<center>'''An overview on the study of Chinese folk stories '''</center>

<center>马艳焕</center>

===Abstract===
Shandong is a famous city of traditional culture with a long history. The traditional culture with local characteristics such as Dongyi culture and Qilu culture has left a valuable spiritual heritage for Shandong, in which folktales are loved by the people. The type of folktales roughly includes "myths", "legends", "stories" and so on, including natural change myths, hero myths, historical figures legends, religious figures legends, fairy legends, mountains and rivers legends, specialty legends, ghosts, foxes and spirits, animal stories, life stories, witty character stories and so on. This article will give an overview of the folk stories of Shandong Province, including the content of the story, the cultural and educational value carried by the story, the enlightenment to future generations, and so on.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592==
<center>'''Cultural Factors Behind the Spring Festival Travel Rush in China'''</center>

<center>聂薇</center>

===Introduction===
Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)

This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)

With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)

The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)
===The evolution of the Spring Festival travel rush===
As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)

In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)

(i) The difficulty of travelling during the Spring Festival in ancient times

Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)

In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)

Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem ''Longing for Going Back Home in the New Year'', “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)

(ii) The difficulty of travelling during the Spring Festival in modern times

The term "Spring Festival travel rush" was first used in 1980 by the ''People's Daily''. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)

With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)
===Cultural factors behind the Spring Festival travel rush in China===
The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)

(i) Confucian culture

In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)

The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)

It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)

The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)

In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)

A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, ''The Divine Child'', says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)

But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)

This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)

(ii) ceremonial culture

In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)

During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)

The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)

Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)

(iii) institutional culture

One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)

The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)

(ⅳ) the concept of family-and-nation

In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)

In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)

However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)

As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)

Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
===Way of relieving pressure from the rush===
Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
===The prevalence of the Anti-Spring Festival travel rush===
In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)

On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)

But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)

On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)

Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
===Conclusion===
No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)

The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)

Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)

The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)

It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)

The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)

Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)
===Terms and expressions===
Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）

The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

the system of urban-rural regional segregation：城乡区域隔离制度

the household registration system：户籍制度

the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
===References===
*Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29.
*Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33.
*Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82.
*Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36.
*Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87.
*Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
===Questions===
1.How long does the Spring Festival travel rush usually last?
A.30 days
B.40 days
C.50 days
D.60 days

2.Which one of the following group is not the main reason that results to the rush?
A.Migrant workers
B.Students
C.Those planning to visit relatives
D.Tourists

3.Which one of the following cultures is the main factor that encourages family reunion?
A.Confucian culture
B.Taoist culture
C.Buddhist culture
D.Christian culture
===Answers===
1.40days

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

<center>'''Chuanjing Work Songs'''</center>

<center>Sun Lijun</center>

===Introduction===

Work song, nicknamed haozi(号子) in Chinese, is a kind of folk song that is created and sung by the working people in the process of production, bearing a direct relation with the manual work. And the contents of Chuanjiang work songs are rich and colorful, the representative works are Kuixing Tower(《魁星楼》), Giant Turtledove(《大斑鸠》), Lanlong Work Song(《懒龙号子》) and so on. Moreover, work song truthfully reflects the labor conditions and the mental appearance of the boatmen, emerging as an indispensably organic part in those workers' life. Chuanjiang work song, as one kind of work songs, is a traditional folk music originated in the Southwest China, mainly in Sichuan Province and Chongqing Municipality just as its name implies. And Chuanjing work song is a form of folk singing, led by a labor singer and accompanied by a crowd of boatmen in order to unify action and rhythm. It is a song of life cast by blood and sweat of those boatmen when they are struggling with the dangerous shoals and rapids, which is indicative of the working people's hardworking and their courageousness. Affluent in cultural connotations and charismatic in language art, Chuanjiang work song is the crystallization of the labor and wisdom of people living in Sichuan and Chongqing, which demonstrates the unsophisticated nature and tenacious will of them, possessing very high cultural value. However, as time goes on, great progress has been made in science and technology and outstanding improvements have been achieved in raising people's material living conditions, thus there is no need for them to struggle to meet the basic needs. It is not an age of necessities nowadays though, with the acceleration of modernization, Chuanjiang work song has lost its material carrier of its existence and is slowly withdrawing from the stage of history. On May 20th, 2006, with the approval of the State Council of the People's Republic of China, Chuanjing work song was listed as the First Batch of National Intangible Cultural Heritage, and only after then it's protection and inheritance were gradually given attention by all parties, namely all walks of life and the rescue of this intangible cultural heritage became imminent. While just as a common saying goes, "Rome was not built in one day", the protection and inheritance of Chuanjiang work song are not an easy task, which needs massive investment of manpower, physical and financial resource. Mostly attracted by new high-tech products, many modern youngsters don’t have the least idea to understand and learn the Chuanjiang work song, not to mention that a sea of young people have never heard of Chuanjiang work song, which is a pity. Hence, there is a problem that still remains to be solved, that is how to raise youngsters' interests in and willingness to know more about Chuanjiang work song so as to better protect and inherit the endangered Chuanjiang work song.

===The History of Chuanjiang Work Songs===

Chuanjiang work song, which enjoys a long history and is unique among the work songs in Sichuan and Chongqing which is called Bashu area for short, is not only diverse in forms but also rich in contents.
From the Perilous Journey to the Land of Shu, which was composed by Li Bai, one brilliant and great poet in Tang Dynasty, we can tell that Bashu area had an extremely rugged landscape. "The westbound road to Shu, so steep, steeper than Heaven! I plod my way, step by step, sign after sign", these two lines from this poem Perilous Journey to the Land of Shu especially project a vivid picture for us to imagine and illustrate how peculiar and precipitous the Bashu area is since the ancient time! And Bashu area is crisscrossed by rivers and canals with more than 90 rivers and streams of various lengths, in addition to this, the overlapped peaks rise one above the other in Bashu area, inviting traffic inconveniences for this region. Hence, the cargo circulation and passenger transportation all were carried by wooden boats in the ancient time. According to some archaeological discoveries, the Neolithic stone anchors and the tracker's tome figures, which were excavated along the banks of the Yangtze River running through Bashu area, are the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song in Bashu area(Wu Mingshi, 2011:34-42).
However, it was around the middle of Qing Dynasty that the work songs gradually were on the upgrade. And the Chuanjiang work song was the fruit of those industrious boatmen's hardworking and life. According to the water potential and the depth, currents as well as other characteristics of the rivers, the dangers of reefs and submerged rocks to boats, the leader of those boatmen then created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen's rowing and pulling. And this is how Chuanjiang work song was produced. While after the founding of the People's Republic of China, the government began to set about the business of the regulation of inland waterway navigation, therefore rivers and lakes in the Chuanjiang River Basin were destroyed by explosions to the submerged reefs and rocks in order to dredge the rivers and build waterpower stations. So these turbulent rivers and treacherous shoals that inspired boatmen to sing work songs have been a thing of the past. As the motor ships gradually replaced the wooden boats, the old shipping industry lost its competitiveness and living space little by little. The figures of the boatmen of the old days who swept over the rapids and dangerous shoals and climbed the rocks while towing a boat are gradually vanishing from people's sight in modern times, what's more, the appealing sound of the Chuanjiang work songs is fading away, resulting in the adverse conditions faced by Chuanjiang work songs. And scholars in the academic circles generally believe that Chuanjiang work song is cultural treasure in the history of waterway transportation along the Yangtze River and its existence reflects the indomitable fighting spirit, heroic spirit and humorous traits of character of the working people in the Chuanjiang River Basin when in face of a hostile environment. Such kind of intangible inheritage culture is supposed and deserves to be protected well, carried forward and promoted well in order to make Chinese culture and language splendid and glorious.

===The Features of Chuanjiang Work Songs===

===The Geographical Distributions of Chuanjiang Work Songs===

===The Inheritance of Chuanjiang Work Songs===

===The Translation of Chuanjiang Work Songs===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594==
<center>'''The Influence of Chinese Traditional Philosophy in Contemporary Times'''</center>

<center>仝雨梦</center>

===Introduction===
Chinese traditional philosophy sprang up around the time of the Shang and Zhou Dynasties (1600 B.C.--- 256 B.C.), took shape at the end of the Spring and Autumn Period (770 B.C.--- 476 B.C.), and flourished during the Warring States period (475 B.C.--- 221 B.C.) when a hundred schools of thought were already competing. Developing for more than 3,000 years, Chinese traditional philosophy has long been an integral part of Chinese culture. Up to 1949, its development history can be broadly divided into three stages. First, the period of slavery and the period of transition from slavery to feudalism. Second, the period of feudalism. Third, the period of transition from feudalism to socialism. The philosophy of the first two stages is known as ancient Chinese philosophy. And the last is called modern Chinese philosophy.

===The Evolution of Chinese Traditional Philosophy===

===The Representative Schools of Thought===

===The Influence in Contemporary Times===

===Conclusion===

===References===

===Terms and Expressions===

===Questions===

===Answers===

==英语笔译童略雅 Tong Lueya 202170081595==

<center>'''A Brief Analysis of the Influence of Artificial Intelligence on Translators'''</center>

<center>Tong Lueya</center>

===Abstract===
The Internet, big data, artificial intelligence and other information technologies in the digital age have brought profound changes to the development of human society. Of course, translation is also affected without exception. Artificial intelligence is quietly changing the process of translation and the identity of the translator. Over recent decades, AI has developed rapidly and has been widely used in various fields. It has become the inevitable trend of social development. As a special human activity, translation has developed from the early mechanical machine translation to the current computer-aided translation (CAT), which is the embodiment of the integration of artificial intelligence technology and translation, and more and more people hold that this technology will replace manual translation. Based on the current development of AI and translation technology, this paper will explore the influence of the AI on translators, and then attempt to give some suggestions to them, so as to make full use of artificial intelligence to lead the development of translation and form a good situation of complementary advantages and mutual benefit.

===Key words===
Artificial intelligence; translator; influence; machine translation

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译庹树梅 Tuo Shumei 202170081596==
<center>'''Translation and Dissemination of Chinese Fairy Tales in the English-speaking World'''</center>

<center>Tuo Shumei</center>

===Abstract===

Chinese fairy tales are a literary style created by ancient Chinese people in the process of working life through long-term social practice. It is a literary style with a strong and distinctive national character, and is a bright and dazzling pearl in the treasury of Chinese culture. Internally, it is a source of cultural confidence, and externally, it is a channel for overseas readers to understand Chinese history, culture and society. Nowadays, with the increasingly frequent cultural exchanges between China and foreign countries, the English translation of Chinese mythological stories can help foreign readers better understand Chinese customs and traditions, and deepen their understanding of Chinese culture. Therefore, in order to tell Chinese stories and spread Chinese voices well, it is indispensable to tell Chinese Fairy Tales, spread Chinese mythological imagination and explain Chinese mythological wisdom.
The first chapter of this paper analyzes Chinese Fairy Tales from the perspective of its translation status and strategies in the English-speaking world. The second chapter analyzes Chinese Fairy Tales from the perspective of its dissemination in the English-speaking world and their dissemination strategies. Chapter 3 analyzes Chinese Fairy Tales from the perspective of how to improve its translation and dissemination in the English-speaking world. Chapter 5 analyzes Chinese Fairy Taliesin the English-speaking world from the point of view of its translation and dissemination significance.
===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译王思琪 Wang Siqi 202170081597==

==英语笔译王亚娟 Wang Yajuan 202170081598==

<center>'''Filial Piety in China'''</center>

<center>Wang Yajuan</center>

===Introduction===
Filial piety has been a trait of the Chinese nation since ancient times and has been passed down from generation to generation. As the core concept and main feature of traditional Chinese ethics, filial piety has long been enjoying priority and regiment to other qualities in the political and cultural life of traditional Chinese society. China's patriarchal social system predestines filial piety to go through a process from a religious ethic of ancestor worship to a family ethic and then to a political ethic. (Xiao Longhang 2006)
Since the pre-Qin period, monarchs have advocated respect for the elderly and used filial piety to educate the people; thinkers from various periods have put forward their ideas about respect for the elderly and have written books to preach them. In feudal society, when the system was highly prosperous, filial piety was closely linked to politics and became a criterion for selecting talents; in modern society, filial piety has also been given a new meaning in the modern era. (Fan Yan 2016) This article will focus on the origin and development of filial piety in China, analyze the cultural values and limitations of filial piety, and briefly compare and contrast filial piety in China and the West, aiming to give an analysis of the development of filial piety in China.

===The Evolution of Filial Piety in China===

===The Values and Limits of Chinese Filial Piety===

===Comparison of Chinese and Western Filial piety===

===Conclusion===

===Terms and Expressions===

===References===

===Questions===

===Answers===

==英语笔译肖冬晴 Xiao Dongqing 202170081599==
<center>'''On Verbal Humour in Chinese Sketch Comedy from the Perspective of Violating Cooperative Principle'''</center>

<center>Xiao Dongqing</center>

===Abstract===
As a common linguistic phenomenon, verbal humour is an important part of our daily communication. Grice’s cooperative principle is one of the major principle of pragmatics which is ubiquitous in people’s daily conversations. Therefore, it could provide a new perspective from which we analyse verbal humour. Chinese sketch comedy, also known as Chinese Xiaopin, is an art commonly performed by a group of comic actors or comedians presenting a series of short, amusing scenes called “sketches”. This thesis intends to work out the mechanisms of verbal humour in Chines sketch comedy from the perspective of violation of cooperative principle. It reveals in this special art form the violation of quantity maxim, quality maxim, relation maxim as well as the manner maxim in the process of analysing and proves that the violation of cooperative principle could avoid taking verbal humour at face value and arouse deeper thinking about this topic.

===Key words===
Verbal humour; Chinese sketch comedy; cooperative principle

===Introduction===
Humour plays an important role in people’s daily conversations. As a kind of lubricant of verbal communication, it creates an easy and comfortable environment, provides a happy and relaxing atmosphere and helps bring interlocutors closer. Researches and studies on this topic at home and abroad could date back to as early as the 4th century B.C. when the ancient Chinese poet Qu Yuan composed “There in front of me remains nothing but vastness and silence(眴兮杳杳，孔静幽默)” in his masterpiece ''The Nine Elegies'', meaning vastness.

However, the “humour” this paper talks about is the one transliterated by Lin Yutang. At home, researches on humour have greatly progress since the 1980s. Li Lanping (2002) believes that there are intrinsic connections between the principles in pragmatics and the triggering of humour. She discussed the relationship between the two parts under the guidance of the basic principles of pragmatics and the theory of conversational implicature. Yang Ting (2020), on the other hand, analysed the linguistic phenomenon of humour to further decipher the mechanism of it from the perspective of phonetics, semantics, pragmatics, contexts, figures of speech and logic of languages respectively. Ge Lingling (2011) focused on the translation of humour texts from the perspective of verbal humour so as to figure out the translation pattern of texts of this kind.

Abroad, researches on humour are multidisciplinary, involving anthropology, psychology, sociology, linguistics, semiotics and artificial intelligence which are ultimately centred on superiority theory, release theory and incongruity theory. For instance, Charles Gruner explained that wonder is an essential element of humour and that there is always a “winner” and a “loser” in humourous contexts. Freud the representative figure of release theory analysed the mechanism of humour from the perspective of psychoanalysis and divided jokes into intentional ones and unintentional ones(Cai Hui, Yin Xing, 2005:5). Kant was said to be the first to denote humour from the perspective of incongruity theory who pointed out that humour comes from a sudden twist from expectation and the inaccessibility of it(Cai Hui, Yin Xing, 2005:5).

There are studies concentrating on the mechanism of humour in comedy. For example, Dang Fengxiao and Cheng Xiongyong(2021) studied on the humourous language in sketch comedy from the perspective of speech act theory while Wei Ya'e studied the sketch comedy presented by Mahua Funage using logic rules. Looking across the border, Adesoye Ronke Eunice (2018) investigated humour and how it is achieved using phonological processes. Parashar Poorva and Tewari Paul (2020) analysed the humour in The Lonely Island and tried to work out its essence as well as how absurdism and stupid comedy provides insight into millennial and internet psychology. Alex Clayton (2020) studied humour from the perspective of rhetoric through vivid, highly readable analyses of individual sketches.

From all the above, it’s clear that the studies on humour are basically centred around linguistics, literature and figures of speech while researches abroad are involved with more disciplines ranging from anthropology to AI. What’s worth mentioning is that although humour was first brought forward in China, researches on this topic went through a far longer history in the west which could date back to the ancient Greek times. Meanwhile, researches on verbal humour in Chinese sketches are rare. Therefore, it’s necessary to work further on this subject. This thesis will adopt the cooperative principle to analyse the relationship between verbal humour in Chinese sketches and the violation of the principle in which the theoretical basis of cooperative theory, its classification as well as the detailed analysis of its four kinds of violation in Chinese sketch comedy will be covered.

===Cooperative Principle===
Conversational implicature as the core principle of pragmatics theory was first proposed by Oxford philosopher Herbert Paul Grice. Grice noticed that in daily conversations people do not say thing directly but tend to imply them. He believes that there is some regularity in conversation. “Our talk exchanges do not normally consist of a succession of disconnected remarks, and would not be rational if they did. They are characteristically, to some degree at least, cooperative efforts; and each participant recognizes in them, to some extent, a common purpose or set of purposes, or at least a mutually accepted direction.”(Herbert Paul Grice, 1975:45) In other words, we seem to follow some principle like the following: “make your conversational contribution such as is required, at the stage at which it occurs, by the accepted purpose or direction of the talk exchange in which you are engaged.”(ibid.) And this principle is known as COOPERATIVE PRINCIPLE, or CP for short.

To further specify the CP, Grice introduced four key categories of maxims, namely quantity maxim, quality maxim, relation maxim and manner maxim, each of which contains several specific maxims and sub-maxims. In simple terms, quantity maxim is to be informative, quality maxim is to be truthful, relation maxim is to be relevant and manner maxim is to be clear. These describe specific rational principles observed by people who follow the cooperative principle in pursuit of effective communication. Therefore, applying the maxims is a way to explain the link between utterances and what is understood from them.

Yet the use of terms such as “principle” and “maxims” does not mean that the CP and its maxims will be followed everywhere. Despite the wide use of CP in daily conversations, people would more often than not violate these principles in actual communication. When basic communication is interfered, it’s common for people to notice the violation of CP. As a result, the hearer has to make efforts to figure out the implicature so as to understand what the speaker means. Conversational implicature, in fact, is the direct cause of humour. Speaker only violates CP to achieve a sense of humour when the hearer manages to interpret the conversational implicatures under the surface and enjoys the pleasure brought by humour.

===Chinese Sketch Comedy===
Chinese sketch comedy first gained popularity after the Spring Festival Gala in 1984 when comedian Chen Peisi presented “eating noodles” on stage with his partner Zhu Shimao. Since then, this art form embodying acting and setting on stage sprung up like mushrooms across China and underwent refinement after years of development. Famous sketch comedians include Chen Peisi, Zhao Benshan, Fan Wei, Guo Da, Pan Changjiang, Song Dandan and so forth. The advent of the millennial witnessed the flourishing of this artistic form in which passionate performances of the younger generation, with Shen Teng, Ma Li, and Jia Ling taking the lead, engaged with great enthusiasm and produced a series of humourous yet educational works.

'''3.1 Historical origin'''

Chinese Sketch comedy got its name from art schools and performing groups. In the performing art community, the single or group performance which creates a simple scene through body and language is dubbed as “sketch comedy”, an event originally adopted to examine the basics of students of performing arts when teachers threw a topic during an interview and students were required to respond to that on the spot.

As a form of performance about small things in people's daily lives, Chinese sketch comedy has inherited qualities, and developed from other forms of comedy, such as stage play, xiangsheng, errenzhuan and comic drama and is generally believed to originate in the 1980s. Normally, sketch comedy revolves around just one topic, but with a lot of action and lively language. With the help of the promotion by the annual Spring Festival Gala, Chinese sketch comedy became a very popular artistic form in China. The first sketch comedy in China was“eating noodles” (in 1984) which was performed by Chen Peisi. Classic Chinese sketch comedy includes “Blind Date” performed by Zhao Benshan and Huang Xiaojuan in 1989, “The Adventures of Migrant Worker” led by Gong Hanlin and Zhao Lirong in 1996 and “Selling Crutches” by Zhao Benshan and Fan Wei in 2001, etc. Famous comedy groups in operation are DEYUNSHE initiated by Guo Degang, Mahua FunAge best known for its member Shen Teng, Big Bowl Entertainment led by Jia Ling, Zhao Benshan and his students, and Shanghai Xiaoguo Culture started by Li Dan, in which Mahua FunAge, Big Bowl Entertainment and Xiaoguo are still active on screen taking up sketch comedy, the Zhao’s team play “partially” for its fans in China’s northeast and DEYUNSHE mainly focus on passing on crosstalk to the next generation for the audience.

'''3.2 Features of Chinese Sketch Comedy'''

Chinese sketch comedy is sharp and witty, with simple plots, which represents as the most fundamental character that distinguish itself from other forms of art and performance. It may not be as sophisticated as other stage performances such as drama and opera, but it is able to render to its audience wisdom and thought-provoking perceptions based on its witty dialogue wrapped up in humour.

Chinese sketch comedy is also an art form that is highly narrative. As many of the topics are directly taken from the life of the people living in the grassroot, it appeals to all ages and entertains people from all works of life. Stories are the fundamental part of sketch comedies which are presented by the characters and the development of the plot interwoven with hookers of suspense, surprise and sudden changes.

Laughter is what sketch comedy aims to achieve ultimately. As the embodiment of stage play, xiangsheng, errenzhuan and comic drama, the modern sketch comedy manages to give the strengths of the artistic forms into full play with the help of modern technology, throwing humourous verbal “packages” consecutively and smoothly to the audience in the hope of eliciting ecstasy from them.

After giving a brief explanation of the theoretical basis and development of Chinese sketch comedy, the following chapter is to elaborate and exemplify the mechanism of humour in specific cases from the perspective of violation of CP in its four key categories, namely the violation of quantity maxim, quality maxim, relation maxim and manner maxim.

'''3.3 Classifications of Chinese Sketch Comedy'''

Chinese sketch comedy could be divided into different types with different names in accordance with the changing measurements. For example, from the size and scale of the art, Chinese sketch comedy could be classified into two types: multi-act ones and one-act ones. When looked from the perspective of the era of its theme, it could be divided into historical and modern ones. However, if it is categorised according to the effects of its artistic expressions, there are three kinds of Chinese sketch comedies, namely tragedy, comedy and tragicomedy.

===An Overview of Cooperative Principle Violation in Chinese Sketch Comedy===
As the kind of sketch comedy presented on stage are plenty, the cases this thesis is to select and analyse are mainly to taken from the ones presented by Mahua FunAge and Big Bowl Entertainment. Here is the detailed analysis of the comic dialogues:

'''4.1 Verbal Humour Resulted from Violation of Quantity Maxim'''

Quantity maxim requires that the contribution is as informative as required. In other words, the contribution should not be more informative than is required. However, this maxim is often violated in daily conversation when too much or incomplete contributions are made, which is especially common and humourous when it comes to sketch comedy jokes. For example:

Hao Jian: Oh my god! Are you feeling alright? Where did you hurt?

The old lady (lying on the road groaning): Oh, my elbow! Oh, my kneecaps! And my waist! None of them are painful!

The example above is taken from “To Help or not to Help”(《扶不扶》) in the Spring Festival Gala in 2014. In the opening part of the comedy, Hao the biker was intended to get his broken bike repaired after a car accident. On the way to the repair shop, an old lady with memory problems accidentally slipped on the ice and fell at the back of his bicycle, mistaking him to be the one who knocked her down. In this dialogue, the old lady was expected to answer where was painful. However, she adopted a funny “elimination” method carrying a bunch of irrelevant body parts as her reply. By creating a surprise contrary to what most of the audience would tend to presume, conversations of this kind produce a comic effect by violating quantity maxim.

Here is another case taken from “Making Friends”(《投其所好》) played in 2015:

Official: Is it true that you loved playing ping-pong in your spare time at your department?

Hao Jian(interrupts): I apologise. It was me being too playful. I now see that I was wrong and I swear that I’ll never play ping-pong again! If I were to commit it again, I would have my hands cut……

This satirical sketch comedy focused on the social phenomenon of “making friends” through bribery in order to get things done. In the part mentioned, what the official intended to do was to persuade Hao to practise more and try to be proficient in table tennis so as to flatter the new boss. However, Hao misunderstood the official. Instead of giving a “yes” or “no” to the question, he added up many remarks and even made an oath. It was the violation of quantity maxim in his clumsiness that made this part of acting hilarious.

'''4.2 Verbal Humour Resulted from Violation of Quality Maxim'''

Quality maxim requires the interlocutors to be sincere and talk about true things. It has two sub-maxims, namely “do not say what you believe is false” and “do not say that for which you lack adequate evidence.” But in real life, this maxim is also often violated by people who tries not to hurt other people’s feelings or who with special intensions. Here is an example from “The Real and Fake Teacher”(《真假老师》) made its debut on the stage of the Spring Festival Gala in 2018:

Teacher: Nice to meet you, Madam, I’m Xiaoming’s head teacher, Ms Jia.

Cleaner: You too! I’m Xiaoming’s mother, Jia (the surname ‘Jia’ and fake are homophones in Chinese. Here the cleaner accidentally blurted it out).

Teacher: Excuse me?

Cleaner: I mean, my family name’s also Jia.

Teacher: But I remember Xiaoming’s parent is called Wang Guixiang(apparently a girl’s name)…

Cleaner: And that’s his father.

Teacher: Zhang Xiaoming actually had a father named Wang Guixiang?

Cleaner: You see, we are from a quite complicated family…

In China, it is a tradition to name the child after the surname of one of the parents, normally that of the father. In this example, the cleaner tried to make a cover-up for her accident alleging the girlish name Wang Guixiang(meaning the fragrance of sweet-scented osmanthus) which has nothing to do with Xiaoming’s last name, belongs to the boy’s father. By stating consciously something fake one after another, the cleaner created a sense of humour.

Here is another example violating quality maxim from “Happiness of Today”(《今天的幸福》):

Wife: Tell me a little bit about your father please, baby.

Hao Jian: My dad is a huge success in the future! You know what, he even gets his name on the ''Fordes'' list!

Husband (poking Hao, whispering): It’s Forbes!

Hao Jian: Oh, right! Forbes made it later, too. Yet he still can’t hold a handle to my dad…

"Happiness of Today" was a sketch comedy inspired by the time-travelling drama and TV series such as “Palace”(《宫》) and “Treading on Thin Ice”(《步步惊心》). In this scene, Hao Jian was asked to play the son of the wife of his friend who travelled all along from the future back to the present to reassure the “mother” who’s in labour and mitigate her prenatal syndrome. In this example, Hao Jian was making up something that was clearly not true to humour his pregnant “mother”. What made this dialogue even more funny was his lack of knowledge about the “Forbes list” and the clumsy cover-up he made after correct hints from his partner.

'''4.3 Verbal Humour Resulted from Violation of Relation Maxim'''

Relation maxim is not only one of the most important maxims of the pragmatics theory, but also a protocol with which should be complied by all. It requires speakers to talk about things which are relevant to the topics. Violation of this maxim could bring about humour as well. The following examples are also taken from the sketch comedy “The Real and Fake Teacher”:

Xiaoming: You see, I am a high school student. Recently I have made some mistakes at school and my teacher is about to conduct a home visit. But the thing is, my parents are currently working abroad and I’m afraid my teacher be here at any minute, so I was wondering if you could, er, wow, that’s a little embarrassing…

Cleaner: Oh, I see. When will she arrive?

Xiaoming: She’ll be here at 10:00.

Cleaner: I’ll finish my job at 9:50 sharp.

In this example, what the student meant was to ask the cleaner to pretend as his mother so that there would be a parent present for the coming home visit. However, the cleaner misunderstood him and gave an irrelevant reply to the request. In this way, humour was generated.

Here is another example taken from this episode concerning the violation of relation maxim:

Teacher: You see, school education won’t do without the help of family education. After all, family is the place where goodness starts. These are the words of the famous educator Sukhomlynsky. I’m sure you must know about him, don’t you?

Cleaner: Eat… eat an apple, please.

In this case, the teacher quoted a motto from Sukhomlynsky, an influential educator from the Soviet Union to remind the “mother” the important role family and family education plays in a child’s development. However, the cleaner obviously had no idea of the educator and didn’t know how to respond. To avoid awkwardness and break the silence, she had only to hand the teacher an apple and divert her attention. In doing so, laughter was elicited from her irrelevant behaviour.

'''4.4 Verbal Humour Resulted from Violation of Manner Maxim'''

Unlike the three maxims above which focus on the contents conveyed in the process of talking, manner maxim mainly concentrates on the way how things are expressed. Its sub-maxims include to avoid obscurity of expression, to avoid ambiguity, to be brief and to be orderly. But this maxim is often violated in real life, too. Below is an example taken form the comedy “Happiness of Today” (《今天的幸福》) presented in the Spring Festival Gala in 2012:

Wife: My dear, what do you do then?

Hao Jian: (to the husband, whispering) Ah? Daddy, I don’t think we talked about this before …

Husband: Never mind. Just make up one! As if your mother were a master of the names of jobs.

Hao Jian: I scrub (the husband poking him)…wash…bathe…I study the epidermis of human beings!

Wife: Oh, you are a doctor then!

Hao Jian: You see, I specialise on ''dirt-ology''.

In this comedy, Hao was actually a bather whose main job was to help scrub and wash the dirt off the customers in a public bathhouse. When his “mother” asked him about his job, he described it in an obscure way and even coined a term to sound more professional. His words apparently violated the manner maxim, yet it is the obscurity that made the dialogue funny.

The second example in this section is another one taken from “The Real and Fake Teacher” about job inquiry:

Xiaoming’s father: What on earth do you do, Miss?

Teacher: Well, I can tell you with great proud that I am a gardener!

Xiaoming’s father: Gardener? Then why don’t you water the flowers outside right away?

The mechanism of humour in this example works a little bit differently from the one mentioned in the first place. Instead of using some obscure term to explain what she does, the real teacher Ms Jia selected the word “gardener” with dual meanings to make a self-introduction. Apparently, the package proved to be a success regarding Xiaoming’s father’s misunderstanding.

Here is another example taken from Jia Ling’s autobiographical sketch comedy “Hi, mom!” (《你好，李焕英》)debuted on the stage of “Comedy General Mobilisation”(《喜剧总动员》) in 2016. “Hi, mom!” was a play in which the heroine Jia Ling travelled through space and time to the 1980s to spend some time with her mother who had passed away in a car accident in the 21st century. In the prologue where the two heroines made their first appearance, here comes their dialogue:

Li Huangying: Come on, go inside and stay a while with your grandma!

Jia Ling: I can’t!

Li Huanying: What do you mean you can’t? She loves you a lot! How could you say such hurtful things?

Jia Ling: Because she can’t stop sewing my ripped trousers!

In the example above, Jia used ambiguity in her reply to her mother’s question. It was not until the viewers watch further that they found out why the granddaughter would be so reluctant when it comes to her grandma’s sewing trousers, an act that was supposed to seem loving and caring----it was about the contradiction in aesthetic taste between generations. In this way, Humour comes along with the explanation.

===Conclusion===
Humour plays an important part in people’s daily conversation which conveys abundant cultural connotations. Grice’s cooperative principle as the core of pragmatics, is also a guiding principle according to which people converse. Once CP is violated, pleasure in humour which comes along with it could be felt. As an artistic form playing an important role in modern China, Chinese sketch comedy has been entertaining its audience of all ages with its funny plots and packages embedded in verbal humour. This thesis selected the sketch comedy performed by Mahua FunAge and Big Bowl Entertainment on the stage of Spring Festival Gala as its corpus and studied the mechanism of verbal humour under the guidance of Cooperative Principle. It has been found that to a large extent, it is the violation of quantity maxim, quality maxim, relation maxim and manner maxim that generated the humour in sketch comedy. As an integral part of Chinese sketch comedy, verbal humour was created through constant violation of Cooperative Principle and its maxims.

However, limitations are inevitable as a result of time and the limited knowledge of the writer. Moreover, as the theories on linguistics are becoming increasingly abundant, analysis about verbal humour should be made from different perspectives and with diversified texts as well. Only through this process could verbal humour and its mechanism be further understood and Cooperative Principle further applied in research and studies.

===References===
*Adesoye Ronke Eunice (2018). Phonological distortion as a humorous strategy in Folarin Falana’s comedy skits[J]. The European Journal of Humour Research, 6(4): 60-74.

*Clayton , A. (2020). Funny How? Sketch Comedy and the Art of Humor. Horizons of Cinema, State University of New York Press.

*Dang Fengxiao，Cheng Xiongyong (2021). Analysis of Humorous Speech Act in the Skit Help or Not Help[J]. International Journal of Education and Management, 6(1).

*Grice, H.P.(1975). ''Logic and Conversation''[M]. New York: Academic Press.

*Parashar Poorva, Tewari Parul (2021). Locating humour in Absurdism and comedy in millennial humour[J]. Comedy Studies, 12(1): 65-74.

*Yao Xiaomin, Song Liya.Verbal(2019). Humour in English Jokes from the Perspective of Violation of Cooperative Principle[J]. Harbin: Northeast Forestry University.

*Cai Hui, Yin Xing 蔡辉, 尹星. (2005). 西方幽默理论综述研究[A Review of Western Humour Theory]. 外语研究Foreign Language Research(01):5-8+15.

*Ge Lingling 戈玲玲. (2011). 论幽默文本中本源概念的翻译模式——基于汉英双语平行语料库的研究[On the Pattern of Translating Alien Sources in Humourous Texts—— A Study Based on a Chinese-English Bilingual Parallel Corpus]. 外语学刊Foreign Language Research(01):117-122.

*Hu Zhuanglin 胡壮麟. (2017). 语言学教程[Linguistics: A Course Book]. Beijing: Peking University Press北京: 北京大学出版社.

*Li Lanping 李兰萍. (2002). 语用原则与英语幽默[On Pragmatic Principles and English Humour]. 天津外国语学院学报Journal of Tianjin Foreign Studies University(02):32-36.

*Wei Ya’e 魏亚娥. (2022). 幽默的产生与逻辑规律的违反——以沈腾春晚小品为例[The Generation of Humour and the Violation of Logic Law -- A case Study of Shen Teng's Spring Festival Gala]. 今古文创 JinGu Creative Literature(02): 95-97.

*Xu Jie, Zeng Xianmo 徐洁, 曾贤模. (2020). 以言致笑——从言语行为理论视角解析小品《扰民了您》中的幽默[Laughter through Words -- An Analysis of Humour in You Are Disturbing from the Perspective of Speech Act Theory]. 汉字文化Sinogram Culture(23):22-24.

*Yang Ting 杨婷. (2020). 认知视角下的言语幽默分析——以“生活大爆炸”为例[An Analysis of Verbal Humour from a Cognitive Perspective: A Case Study of ''The Big Bang Theory'']. Shaanxi: Shaanxi Normal University陕西师范大学.

===Terms and expressions===
Chinese sketch comedy 小品

Cooperative Principle 合作原则

quantity maxim 数量原则

quality maxim 质量原则

relation maxim 关系原则

manner maxim 方式原则

Spring Festival Gala 春节联欢晚会

packages “包袱”

sweet-scented osmanthus 桂花

===Questions===
1. What are the maxims of Cooperative Principle?

2. What’s the name of the first sketch comedy in China?

3. How do you categorise Chinese sketch comedy?

===Answers===
1. There are four maxims in total, namely quantity maxim, quality maxim, relation maxim and manner maxim.

2. The first sketch comedy in China is “eating noodles” played by Chen Peisi and Zhu Shimao in 1984.

3. Chinese sketch comedy could be divided into different types with different names in accordance with the changing measurements. For example, from the size and scale of the art, Chinese sketch comedy could be classified into two types: multi-act ones and one-act ones. When looked from the perspective of the era of its theme, it could be divided into historical and modern ones. However, if it is categorised according to the effects of its artistic expressions, there are three kinds of Chinese sketch comedies, namely tragedy, comedy and tragicomedy.

==英语笔译肖佳莉 Xiao Jiali 202170081600==
<center>'''The Various Schools of Thought and Their Exponents During the Period from Pre-Qin Times'''</center>

<center>Xiao Jiali</center>

===Abstract===
The Spring and Autumn period and warring States period is a very bright history in Chinese history, and a hundred schools of thought contend in such an era. Many scholars and schools of thought have emerged in this era, and these thoughts have had a very far-reaching impact on later generations. Zhuzi refers to the representatives of Guan-tzu, Lao-tzu, Confucius, Zhuang-tzu, Mozi, Mencius, Xun-tzu and other academic thoughts in the pre-Qin period, while Baijia refers to the representatives of Confucian, Taoist, Mohist, famous, Legalist and other academic schools. The hundred schools of thought are the general name of the pre-Qin academic thought figures and factions.So why was the Spring and Autumn and warring States period the coruscating period of all schools of thought in the pre-Qin period? This period basically laid the foundation of Chinese traditional culture or Sinology, and since then there have been almost no major breakthroughs or achievements.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译谢晓莹 Xie Xiaoying 202170081601==
<center>'''The Acrobatic Fighting in Peking Opera'''</center>

<center>Xie Xiaoying</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译熊嘉玲 Xiong Jialing 202170081602==
<center>'''Yue Opera'''</center>

<center>Xiong Jialing</center>

===Abstract===
Yue Opera, an important local opera in China, is one of the five types of Chinese opera. From the original "Chinese Folk Rap"（落地唱书）, it has developed into the second most popular opera in China and is one of the first batch of national intangible cultural heritage. Therefore, Yue Opera plays a very important role in China's art field. This article will give a general introduction to Yue Opera. The first is a brief introduction to the general situation of Yue Opera; In the first chapter, the author will introduce the historical origin and development of Yue Opera. In the second chapter, the author will focus on the introduction of the performance characteristics of Yue Opera, including its singing voice, role of business and so on; In the third chapter, the author will talk about the value of Yue Opera, such as its cultural value, social value and so on. The fourth chapter will mention the inheritance and development of Yue Opera. As one of Chinese operas, Yue Opera has a long history and rich cultural connotation. In today's cultural diversity and economic globalization, it can promote the spread of traditional Chinese culture to let the world see and hear Yue Opera.
===Key words===
Yue Opera;traditional Chinese culture;Chinese opera
===Introduction===
Yue Opera (Yueju in Pinyin) is the second largest opera genre in China, and some scholars consider it to be "the largest local opera genre". It is also one of the five major Chinese opera genres (Peking Opera, Huangmei Opera, Yue Opera, Pingju opera and Henan Opera). Originated in Shengzhou, Zhejiang province, prosperity in the whole country, spread to the world, it has experienced a historical evolution from male to female Yue Opera.In the development, it absorbed the elements of kunqu opera, drama, Shaoxing opera and other operas. It is called "Chinese opera" abroad. It is also known as "the most popular local opera".
Yue Opera is long in lyric, mainly singing, beautiful voice, real and moving performance, beautiful and elegant, with the spirit of jiangnan. Most of them are based on the theme of "talents and beauties", and there are various artistic schools. There are as many as 13 recognized schools. It was mainly popular in Shanghai, Zhejiang, Jiangsu, Fujian, Jiangxi, Anhui and other southern regions, as well as most northern regions such as Beijing and Tianjin. In its heyday, professional troupes existed all over the country except xizang, Guangdong, Guangxi and a few other provinces and autonomous regions. (Qian Hong, edited by the editorial board of Chinese Yue Opera Canon，2006)

Yue Opera is also the first batch of national intangible cultural heritage list. Among the modern emerging operas in China, the Yue Opera bred from the regional culture and modern art of the Yangtze River Delta is undoubtedly the most influential. Once upon a time, "Liang Shanbo and Zhu Yingtai" produced by "Shaoxing Women's Literary Opera" and "Shaoxing Women's Opera" were popular in Shanghai. The heroic deeds of the ten Sisters of Yue Opera, represented by Yuan Xuefen, against the bullying of the dark forces shocked the Chinese cultural circle; After the founding of the People's Republic of China, With the help of the movie a Dream of Red Mansions, Yue Opera became a national hit. Premier Zhou Enlai took the film liang Shanbo and Zhu Yingtai as one of new China's diplomatic means to promote the Opera overseas.(Liu,2022)
===The Historical Origin of Yue Opera===
Shengzhou, The Birthplace of Yue Opera

Yue Opera is one of the five major operas in China and the second largest in China at present. Yue Opera is called "the second in China" in terms of the number of performances and social popularity. In terms of its performing arts history and popular areas, it is probably far inferior to kunqu opera and Huangmei Opera. Due to language limitations, it is mainly popular in Jiangsu, Zhejiang and Shanghai. Yue Opera is generally spread in Shanghai, Zhejiang, southern Jiangsu and other places which are usually said wu language area. So Yue Opera is still a typical local opera. It originated from Shengzhou of Shaoxing in Zhejiang Province, which is the shengzhou city of Shaoxing in Zhejiang Province today. It is evolved from local folk songs and formed by absorbing the characteristics of Kunqu opera and Shaoxing opera in the development process. Shengzhou, the birthplace of Shaoxing opera, has been attracting celebrities from all sides to visit with its unique charm since ancient times. The beautiful scenery here, surrounded by beautiful mountains, with a long history, and its unique dynamic temperament, has created a unique charm and beauty in Shengzhou. The enchanting natural scenery has given here the magic charm, attracting the high sages and celebrities in succession to enjoy the scenery, leaving many immortal chapters spread through the ages for the later generations. With the growing popularity of folk poetry and lyrics, shengzhou people who are good at singing have integrated songs into their lives. Versatile shengzhou people thus became the original creator of Yue Opera art, Shengzhou has also become a fertile soil for the birth of Yue Opera art.

The Real Birth of Little Choir, the Predecessor of Yue Opera

From the year of 1906 , Yue Opera entered the stage role playing period. Therefore, it can be regarded as the origin of Yue Opera as the identity of opera. However, the little choir did not come into being suddenly, nor did it start out dressed up for the stage. From the xianfeng period in the 1850s and 1860s, it went through decades of embryonic stages. In terms of art classification, Chinese Folk Rap does not belong to opera, but to quyi. Therefore, it can not be called the "predecessor" of Yue Opera, but its original form of performance.

The origin of Chinese Folk Rap is that when farmers were resting in the fields after work, many people would compose and sing ditty that could reflect the aspirations of the common people, which always aroused the praise of farmers and gradually spread among them. The last few popular songs, everyone can sing. Researchers on the history of Yue Opera generally believe that the sign of the emergence of Chinese Folk Rap is that Jin Qibing and others began to sing Buddhist songs and folk tunes in front of rich households in the nearby countryside in order to make a living.(Pan,2009)

The early Chinese Folk Rap performers did not completely break away from agriculture while singing Chinese Folk Rap. For many performers, farm work is the main thing to support their families and is the job left to them for generations. It is unimaginable for them to completely break away from farm work. Therefore, during the spring ploughing season from January to February and March, the artists went back to their hometown in Sheng County to work on their fields. Qian Jingsong, Li Shiquan, Gao Binghuo and other artists who had been invited to the "stage" in Yuhang and Yuqian (now part of Lin 'an) talked with the villagers about their debut experience, which aroused the interest of many villagers. They urged artists to do the same at home. Guangxu period (1906) on the qingming Festival on the third day of march in the lunar calendar, on the vacant lot of dongwang village in Sheng County, the village civilian used rice barrel, the door panel set up the stage, invited many artists coarsely-dressed up to sing the Chinese Folk Raps, unexpectedly caused a stir in the countryside, attracted people from many villages to watch. The popularity of this form of singing book in the village even exceeded the artists' expectations.(Edited by Cultural and Historical Data Committee of Shengxian CPPCC,1992)

So they began to think about organizing theater groups to put on more scripted performances, and they came up with a low-key and elegant name for the form: Little Choir". In general, such performance formula has met the basic conditions of opera, so many researchers have always regarded this performance as the origin of Yue Opera. Stage at this time, not only clothing is very simple, Musical Instruments are also very simple. Although the form of "Little Choir" is primitive, the singing is monotonous, and the costumes are simple, but this pioneering move alone is enough to leave a brilliant first in the history of Yue Opera.
Since the birth of the "Little Choir" in Sheng County, it has spread quickly to the surrounding areas. As a literature and art originating in country life, it is not surprising that it first established itself in the country. At the same time, it is constantly exploring transformation, slowly infiltrating into the city,
After 1907, the "Little Choir" has been all over Athens County, and gradually to the neighboring Xinchang, Shangyu, Shaoxing, Yuyao, Fenghua and other places spread, both in the village and the town theater, where are warmly welcomed. For example, in Xinchang, only three or five years after the first contact with the "Little Choir", the number of newly established local opera troupe has reached 30 or 40 classes.

Performing in the countryside, the troupe must suffer from displacement. Therefore, it is always the ideal of the troupe to perform in a city with a large population, both male and female. Large and medium-sized cities for "Little Choir", is always tempting. On the one hand, large and medium-sized cities have strong consumption capacity and can obtain higher economic benefits. On the other hand, the fact that "Little Choir" can establish itself in big cities is the recognition of "Little Choir" by higher-level audiences, which is a kind of honor.(Pan,2009)

Shaoxing Civil Opera Period

In 1922, the development of Shaoxing Opera entered a new historical stage, that is, the Period of "Shaoxing Civil Opera". Because "Little Choir" was born in Shengzhou, which is subordinate to Shaoxing Prefecture, and the content of "Little Choir" is more focused on family ethics and love, so it is called "Shaoxing Civil Opera". Shaoxing Civil Opera period is the mature stage of the development of Yue Opera. It can be divided into two periods. In the early stage, there are all male actors, so it is called Shaoxing Civil Opera Male Troupe; in the later stage, there are mixed performances of male and female actors, and the transition to female troupe is called Shaoxing Civil Opera Female Troupe.

The Period of Women's Improvement in Shaoxing Civil Opera

In the history of The development of Yue Opera, the outbreak of the Anti-Japanese War is an important dividing line. Before this, Shaoxing Civil Opera, which was dominated by male classes, was in its heyday, with famous actors concentrated in Shanghai and female classes flourishing, but the activity area was mainly in Zhejiang. Although there were female classes in Shanghai, most of them were mobile, so their status was not high and their influence was limited in the whole Cultural pattern of Shanghai.

In the late 1930s, after the outbreak of the Anti-Japanese War, a large number of female classes came to Shanghai for development and rose rapidly. At the same time, male classes declined sharply and were soon replaced by female classes, gradually forming a kind of operas featuring all-female performances. Almost all the famous actors and drama companies were concentrated in Shanghai. The social and cultural environment of Shanghai has provided rich nutrition for the progress of Yue Opera art, promoted the reform of Yue Opera in the new environment, and provided a rare historical opportunity for its rapid development.

"New Yue Opera" Period

The reform of Yue Opera, which started in October 1942, opened up a new era in the history of Yue Opera and had a profound influence on the establishment of the form and style of Yue Opera. The "new Yue Opera" rising in the wave of reform in this period is obviously different from the original women's Yue Opera in terms of repertoire, music, stage image, deconstruction and operation mechanism of troupe. During the period of "New Yue Opera", Yue Opera achieved rapid development. A group of young actors, such as Yuan Xuefen, Yin Guifang, Fan Ruijuan and Fu Quanxiang, became the representatives of the new generation of Yue Opera.

The Development of Yue Opera After Liberation

After the founding of the People's Republic of China in 1949, under the leadership of the Communist Party of China, opera art began to enter the process of planned, deployed and focused reform, and Yue Opera also began to adapt to the new era of profound reform. In the early 1950s, a drama reform movement was launched nationwide. During this period, professional drama troupes in Shanghai and Zhejiang carried out the work of "Three reforms" to different degrees successively, which brought new changes to the appearance of Yue Opera. In March 1955, Shanghai Theatre was formally established, gathering a large number of professional talents with high artistic quality in the field of yue Opera, such as editing, directing, acting, music, beauty and so on.

The Revival of Yue Opera in the New Period

The "Cultural Revolution" that began in 1966 severely destroyed Yue Opera. After the end of the "Cultural Revolution", especially after the third Plenary Session of the eleventh Central Committee of the Communist Party of China in 1978, Yue Opera began a comprehensive revival in a new period, ushering in a new spring in the development history of Yue Opera

Under the influence of historical conditions, the revival of Yue Opera started from the modern opera performed by men and women. In 1977, the Shanghai Yue Opera reenacted the drama with a co-performance of male and female and was a great success, setting off the wave of the revival of Yue Opera. Soon after that, Shanghai Film Studio made "Xiang Lin's wife" into the first color widescreen style art film of Yue Opera and screened it in the whole country, re-expanding the influence of Yue Opera in the whole country. Traditional and historical operas have also been resumed, and women's Yue Opera has gained recognition and new vitality.
In 2006, on the 100th anniversary of the birth of Yue Opera, it was listed in the first batch of national intangible cultural Heritage list with the approval of The State Council. The future of Yue Opera will be more brilliant.

===The Performance Characteristics of Yue Opera===
First, the selection of materials for the Yue Opera plays is mainly based on the love and marriage stories of ancient talents and beauties. Such as Liang Shanbo and Zhu Yingtai, Jia Baoyu and Lin Daiyu, Fan Li and Xi Shi, Lu You and Tang Wan and so on. These stories have long been written and interpreted into various literary and artistic works and passed down from generation to generation among the people. After these stories were compiled into The Yue Opera, the artistic atmosphere of the story and the tragic color of the characters were enhanced, giving people a more vivid and profound impression.

Second, the music of Yue Opera is good at showing the feelings of young men and women. The singing style is based on the "Chinese Folk Rap" of Wuyue water town in the south of Yangtze River, absorbing the folk music of Sheng County. After Yuan Xuefen and lute zhou Baocai cooperation, so that the opera singing form a gentle lingering lyric style.

Third, the performances of Yue Opera are vivid, natural, elegant and moving. They are full of beauty and talent in the south of the Yangtze River, especially the performances of young girl's role, which combine the scholarliness of scholars with the beauty of young girls. The principle of "virtuality" and "stylization" and the aesthetic pursuit of "symbolism" and "freehand style" formed in the long-term artistic practice of Chinese opera performance have provided a theoretical basis for the formation of the performing art of young women in Yue Opera, so that female actors can play male roles without being restricted by their own gender. Under the guidance of virtual drama and freehand brushwork principle, the female students can not completely imitate the performance of men and force the unity of actors and roles, actors can use stylized performance to look at the male roles in the drama from the perspective of women. What she interprets is not the man in real life, but the man in the woman's mind, that is, the man that the woman idealizes, the man that the woman plays to the audience. This is just like the plum blossom and bamboo painted by Chinese painters in traditional Chinese paintings. They are not plum blossom and bamboo in nature, but plum blossom and bamboo in the artist's mind. Of course, the course of this success is not follow one's inclinations, is not subject to any condition, also need actors themselves have a certain external conditions and mental qualities, such as the tall figure, elegant temperament, generous demeanor, etc., so as to better shape the character image, conveys the verve of male role. Various schools of Yue Opera have blossomed.

Fourth, the stage presentation of the Yue Opera is fresh and elegant, which is often refreshing. The makeup of Yue Opera has absorbed the methods of drama and film, and is characterized by being close to nature, fresh and elegant, rather than exaggerated and colorful. Based on the paintings of ancient ladies in costume, the costumes are changed from complex to simple and gorgeous to clear and beautiful with the characteristics of simplicity and clarity. The scenery is simple and lively, the combination of virtual and real, with the performance of the actors, making full use of modern sound and light technology, giving people an immersive artistic feeling.(Liu,2022)

===The Value of Yue Opera===

Cultural Value

Cultural creation is based on traditional culture and under the influence of modern culture, absorbing new tunes, new choreography, new themes, new talents and new music of modern culture to generate a new round of cultural wave and a "new culture" that is different from the past and more adaptable. Yue Opera is "rich in expressive force, plain and smooth melody, fresh and beautiful with local flavor". It has beautiful melody, graceful and touching pronunciation, beautiful appearance but not coqueness. Both civic and military opera have their own strengths, and it is different from the softness and beauty of Peking Opera. It has a very high viewing value, which is why in recent years, Yue Opera has gained more and more audience's love, causing more and more attention. This is the cultural creation value of Yue Opera.(Jin,2012)

From the point of view of Marx's theory of literature and art, all arts (including literature, calligraphy, architecture, painting, opera, etc.) are the reflection of people's lifestyle and cultural psychology in a particular era and region. In the field investigation, we found that most of the people who adhere to Yue Opera are the older generation, because it used to be a part of their life, carrying their joys and sorrows, and relying on their understanding of life. Yue Opera touches the softest part of the heart of a generation in a casual way at some point. These cultural memories, no matter joyful, sad, beautiful or ugly, will become a kind of cultural nutrition and melt into the bones and blood of the whole regional culture and even the national culture, giving us reasons and directions to move forward. This is the cultural creation value of Yue Opera.This is the cultural inheritance value of Yue Opera.(Yang,2021)

Social value

Yue Opera originated in Shengzhou, Zhejiang province, China, so it is easy to explain why all the people in Shaoxing and Shengzhou can hum it and find pleasure in it. Obviously, in the region where It originated and developed, It has become a topic of conversation among the masses after dinner. In the folk, people are also used to organizing various performances and singing competitions of It to enrich their amateur cultural life. Therefore, in the traditional cultural matrix of Yue Opera, there is a kind of aesthetic value called social value, which has laid a solid foundation for extensive social communication among the masses. Therefore, Yue Opera gradually became a social means, which was of great significance in promoting social harmony and stability. Of course, with the continuous expansion of the overseas market of Yue Opera, it is also playing an important role in developing sino-foreign relations, consolidating sino-foreign friendship and realizing the combination of Chinese and foreign culture and art.(Jin,2012)

The Entertainment Value of Yue Opera.

As a unique type of traditional culture, History and culture have endowed it with a unique development environment, unique artistic charm, which make It a popular art form among the public. From the emergence and development of Yue Opera to its prosperity and growth, its entertainment value has been accompanied by it. Yue Opera can not only give people visual and auditory satisfaction, but also give the audience great psychological satisfaction, so as to relieve the pressure for the masses and delight the masses physically and mentally. A large number of excellent Plays of Chinese traditional Yue Opera, such as Butterfly Lovers and Peony Pavilion, brought people spiritual sustenance and was one of the important ways for people to interest their heart and soul at that time. For example, the twists and turns of the Story, the beautiful love story and the artistic stage design of the Yue Opera Peony Pavilion not only relieved people's living pressure, but also promoted people's self-cultivation.(Ye,2016)

The above research on the value of Yue Opera shows that this local opera has strong charm and development potential. Thus, we can see the reasons behind the "centennial brilliance" and strong influence of Yue Opera. Yue Opera has rich cultural value, including cultural creation value and cultural inheritance value. Shaoxing Opera also has certain social communication value, which can be called a social means. Yue Opera not only promotes social harmony, but even plays a great role in promoting the spread of Chinese culture and cultural exchanges. In addition, Yue Opera has its entertainment value. In daily life, it has enriched the lives of ordinary people and provided them with certain spiritual sustenance, which is of great significance.

===The Inheritance and Development of Yue Opera===
Yue Opera is one of the most important local operas in China. It has developed into the second most popular opera in China from the original Chinese Folk Rap. However, with the popularization of TV, the establishment of cinemas and the continuous expansion of the Internet, the influx of pop songs, European and American blockbusters and the change of modern people's value orientation, the traditional Yue Opera has been plunged into unprecedented crises. In today's era of vigorously protecting intangible cultural heritage and building a new socialist countryside, how to protect, inherit and develop folk Yue Opera is not only related to the survival of the opera itself, but also an important topic of "intangible cultural heritage" protection, as well as an important content to be studied in mass cultural work.(Zhang,2010)

Review the Inheritance Status of Yue Opera

Through visits to local cultural departments and literature review, we know that the performance of Yue Opera is faced with fewer and fewer audiences, and the troupe cannot survive. The number of professional Yue Opera troupes has decreased from more than 260 in the 1950s and 1960s to less than 35 now. Most folk yue troupes mainly cover the rural market, but because the market is small, they can not get a greater development. However, under the influence of various cultural and entertainment activities, the audience is mainly around 40 years old, and the younger generation is less interested in it. It can be seen that the audience of Yue Opera rarely come from the youth group, and the audience of Yue Opera is increasingly aging. Although Shengzhou is the birthplace of Yue Opera, its inheritance and development are not good. In terms of relic buildings, the original buildings about Yue Opera are very rare, and the original birthplace of Yue Opera for women can only be found in the only small village. The exhibition stand protecting the original Yue Opera props is also in disrepair and covered with dust. In terms of museums, most of the objects in the museum are restored by later generations. Props, costumes, Musical Instruments and singing stage are re-made by later generations.(Yang,2021)

Problems Faced by the Development of Yue Opera

From the early 1980s to the present, the significant reduction in the number of Yue Opera troupe is the primary problem facing the development of Yue Opera. In the early 1980s, there were seven professional Yue troupes and two professional folk Yue troupes in Jiaxing, while in the mid-1980s, there were only two professional yue troupes. Secondly, from the city to the countryside, the audience of Yue Opera is getting smaller and smaller, and the performance market is getting smaller and smaller. In the past, a company could put on a new play for two or three months. Now it can only put on two or three performances. The audience's enthusiasm for watching Yue Opera has also declined significantly. The third problem facing the development of folk Yue Opera is talent. The performance of Yue Opera has high requirements for talents. It not only requires actors to have beautiful looks and a loud voice, but also to be able to perform. Generally speaking, a good actor can play a role on the stage, no ten or five years is not out, that is to say, one minute on the stage, ten years of work off the stage. Now there is a shortage of talent in the field of Yue Opera. Fourth, repertoire creation is increasingly contracted. In the mass culture system, Yue Opera also received unprecedented cold. At present, cultural centers and art centers around the country mainly focus on the creation of music, dance and fine arts, and there is little interest in the Yue Opera of traditional Chinese opera. There are also few full-time cadres of Yue Opera of drama. In some cultural centers at the county level, full-time cadres of Yue Opera no longer exist.

The Reason Why Yue Opera Faces Confusion

Confusing in today's Yue Opera face of reason is various, but the main reason is that with the change of society and the continuous improvement of living standards. The broad masses of TV and home theater has been gradually into the people, families, people's interest constantly updated, more diverse cultural needs, and a variety of popular songs have taken young people's life. Culture is diverse, Yue Opera was gradually forgotten; Secondly, the propaganda of Yue Opera is not enough. Although the traditional Yue Opera has been quite popular with the masses, the propaganda is far less than that of Peking Opera in the whole country, which causes the dilution of Yue Opera in people's mind. The third is the lack of new strength of Yue Opera. Since the 1990s, fewer and fewer young people like Yue Opera, even fewer professional Yue Opera actors, and now the children basically do not even know what Yue Opera is; Fourth, the operating mechanism of the troupe is not working. It is far from enough for the professional troupe to rely on the financial allocation from the government alone. They have to perform outside to increase their income. (Zhang,2010)

Thoughts on Inheritance and Innovation of Yue Opera

1. Intensify Efforts to Cultivate Professional Yue Opera Actors

In the early 1950s, the period when Yue Opera flourished and developed was also the period when a large number of Art masters of Yue Opera came out. They internalized the art of Yue Opera into their lives, and their personalities and drama forms reached a harmonious unity, which became the highest condensation mode of Yue Opera art. Even when people at that time recalled the development of Yue Opera, the names of a large number of Yue Opera actors first appeared in their mind. Therefore, training a number of young actors to carry forward the Yue Opera with independent artistic life will be the first condition for Yue Opera to obtain its new development.

2. Intensify the Creation of Scripts for Yue Opera

In particular, the audience should choose the most concerned good subject matter, in the spread of "Butterfly Lovers", "Xianglin Sister-in-law" and other classic bridge based on the new culture and people's appeal, innovation. If shaoxing opera wants to get enough attention and attention in the contemporary era, it must have scripts that can reflect the values of The Times and express the demands of the people as a guarantee. This should give enough care and attention to the playwright, establish a long-term mechanism to stimulate and protect their creative enthusiasm.

3. Innovate the Promotion Method of Yue Opera

In the past, the art of Yue Opera was born as a kind of market culture of residents, but now, as a cultural heritage, Yue Opera is gradually transforming from popular culture to elegant art. Therefore, when it comes to effectively dealing with the cultural watch and spiritual breakout of Yue Opera, the first thing we need is to adjust our mentality towards the cultural phenomenon of Yue Opera. We do not advocate the Yue Opera itself directly to change to become a new culture, but should be advocated through the way of improvement and innovation make Yue Opera culture gradually in the masses of the people has the characteristics of a new era of traditional culture, such as development "Yue Opera" series of gen, create IP with Yue Opera character animation image, using new media communication way, Through a number of new channels, such as "live streaming of Internet celebrities", "school-enterprise cooperation" and "star endorsing", the new culture serves the traditional culture of Shaoxing opera and spreads the melody of Yue Opera among a wider social group. (Yang,2021)

===Conclusion===
As a traditional Chinese culture, Yue Opera has its own unique appreciation value. In today's multicultural world, we cannot abandon our traditional culture. We should try our best to inherit and carry forward our traditional culture, so that they can adapt to the changes of The Times and keep pace with The Times. But at the same time retain the traditional culture, let the world hear the voice of China.
===References===
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*Liu Wenfeng刘文峰(2022). 扬长补短，再创辉煌——关于越剧传承发展的思考[Develop Strengths and Complement Weaknesses to create Brilliance -- Reflections on the Inheritance and Development of Yue Opera]. 中国非物质文化遗产China's Intangible Cultural Heritage(01): 35-39.
*Pan Yuqi潘玉琪(2009). 越剧的诞生、发展及其人文背景研究（1906-1949）[Study on the Birth, Development and Cultural Background of Yue Opera (1906-1949)].复旦大学Fudan University.
*Qian Hong, edited by the editorial board of Chinese Yue Opera Canon钱宏主编，《中国越剧大典》编委会编著(2006)．《中国越剧大典》[The Grand Ceremony of Chinese Yue Opera]．杭州市：浙江文艺出版社、浙江文艺音像出版社Hangzhou: Zhejiang Literature and Art Publishing House, Zhejiang Literature and Art Audio and Video Publishing house.
*Yang Ruyuan杨汝远(2021). 论非遗文化在现代化进程中的守望与传承——以越剧为例[On the Watch and Inheritance of Intangible Cultural Heritage in the Modernization Process -- Taking Yue Opera as An Example]. 汉字文化Sinogram Culture(06): 175-177.
*Ye Haixiong叶海雄(2016). 越剧传统文化基质和审美价值探讨[Discussion on Traditional Culture Matrix and Aesthetic Value of Shaoxing Opera]. 戏剧之家,Home Drama(06): 52.
*Zhang Peiying张配英(2010). 浅论民间越剧的传承与创新[On the Inheritance and Innovation of Folk Yue Opera]. 大舞台Great Stage(10): 79.
*Edited by Cultural and Historical Data Committee of Shengxian CPPCC嵊县政协文史资料委员会编(1992)﹐《越剧溯源》[The Origin of Yue Opera]. 浙江人民出版社Zhejiang People's Publishing House(5): 23

==英语笔译颜媛 Yan Yuan 202170081603==

<center>'''An Analysis of Chinese Humor Language from the View of Formal Repetition'''</center>

<center>Yan Yuan</center>

===Abstract===
Multidisciplinary by nature,the study of humor has been approached from various perspectives,such as philosophy ,psychology,linguistics ,literature,sociology and anthropology.However,the previous research ,though somewhat comprehensive ,hasn't yet generated systematic and thus convincing theories concerning the definition,the working mechanism of humor as well as its linguistic expressions.A unanimous viewpoint is still in question.Whereas,the awkward situation has been reversed to some extent with the publication of the first academic works tackling Chinese humors ''The Linguistics of Humors'' by Professor Hu Fanzhu in 1987,which serves as an impetus for growing interest in and ensuing waves to the studies of humors .It's worthwhile to note that the works itself lays the way for future and further research and thus plays a milestone-like role.In this study we tried to study Chinese Humor language from the view of formal repetition without consideration of language units of all levels in traditional linguistics.Kinds of formal repetition are listed and given restrictions on it.
===Key words===
Formal Repetition; Chinese ; Humor Language
===Introduction===
Humor has always been an interesting topic in both ancient and modern times, and many people have studied the phenomenon from different perspectives,such as aesthetics,sociology ,psychology,linguistics,philosophy,etc.Theories about humor can also be described as a lot.Humor can be expressed in many different ways, in a dramatic way(comedy),in a pictorial way(cartoons), in a musical way, etc.Language, as a vehicle for the expression of human thought and ideas, is of course an important way and factor in constituting humor, and thus linguistic humor.Language is a complex system in which everything is based on relationships, and there is no such thing as a system of language system.The complexity of the language system is ,of course , a resource that can often used for humorous language. Humorous language is generated under certain conditions through certain linguistic elements and their relationships with each other.The current research on humor language in China is very one-sided and inadequate,mostly staying in the area of rhetorical patterns, words and the techniques of humor language formation,without a comprehensive, three-dimensional and explanatory study.In view of this,in this thesis we are interested in finding out the connection between the elements of the language system and their interrelationships with humor,i.e.,what forms or relationships are humorous?What forms or relationships are humorous and under what circumstances?In this way, we break the one-sidedness of the original research and think further about the study of humor language, deepen our understanding of the "surface structure"and "deep structure"of humor language , and identify some patterns between linguistic forms and humor language. It is an important reference for us to further understand the mechanism of humor language production and even the application of humor language.
===Literature Review===
As we are known,language is the most important communication tool for human being , though which people known the world and perceive it."The act of language , though not the whole state of human existence,is the basic state of human existence."(Qian Guanlian.2005) Heidegger said,"Man dwells in the dwelling built by language.Humor is also distinguishing feature of human beings (Nash,1985).Human beings mostly express humor through language, which can be divided into two man categories:oral language and written language. The spoken language is the basis of the written language, and the written language is only the expression of the spoken language.Therefore,humor can also be related to language through these two media,and the specific product is the general form of oral language humor,such as comedy ,skits and so on(Of course,they also include the body language of certain performs).Another form of expression is to record humorous scenes or stories in the form of words to make readers laugh,such as humorous stories in newspaper and magazines, humorous novels and so on. From this point of view, we can say that the relationship between language and humor is that language is the basis and the tool og humor.And without language, there would be no humor(except silent behavioral humor). This close relationship can be seen from the research history of language and humor.The research on the relationship between them has a long history and rich achievements.The study of humor has traditionally been concentrated and dominated within the disciplines of psychology,philosophy,and sociology. It was not until the the late 1970s that the study of humor in linguistics took its place and gained attention.Traditional linguistic studies of humor point out that humorous elements in oral jokes are more stable and explicit in phonological terms than in written jokes, and that linguistic humor arises when the first level of linguistic symbols(i.e., phonological or written units) moves to the second level(i.e.,the communicative system).This has led to a number of research approaches , such as ambiguity, which is prevalent in many humorous texts and can be divided into phonological-lexical ambiguity, semantic-pragmatic ambiguity,etc.
Since the publication of the first academic book titled ''Humor Linguistics'' in China, the study of humor linguistics in China has been exciting.Chinese scholars have studied humorous language,especially Chinese humor language, from perspectives.Mr.Hu Fanzhu's ''Humor Linguistics'' is the first linguistic book in China that systematically studies humor.Starting from a review of the history of laugh and the theory of "laugh" in China and the west.The book proposes that humor is a spiritual phenomenon with three levels,namely:humor in the broad sense is comparable to ludicrousness, humor in the normal sense refers to ludicrousness that appeals to reason,and the humor in the narrow sense specifically refers to humor that contains intellectual lightning and generosity, a sense of spirituality and life.The book was published and had a great impact on the academic world.A large number of similar books have been published, but it can be said that they basically do not deviate from the technical lines and research ideas outlined by Mr. Hu in that book.
According to incomplete statistics , in terms of published papers, we searched for 22 articles on the Chinese journals with the keywords "humor language"; 5 articles with the keyword " language humor";15 articles with the keywords "speech humor" ;9187 articles were searched by the keyword "humor". In terms of published monographs , in addition to "Humor linguistics", subsequent monographs on humor language or humor include Gua Tian's ''Humor Language Operations''
'',Gong Weicai's ''Humor Language Art'', Li Junhua's ''Humor Language'',Sun Shaozhen's ''Fundamentals of Humor'' and ''Fifty Methods of Humor Defense'' and so on. In terms of outstanding master's theses ''on China Journal Online'', there are 15 master's theses with humor language as the topic or keywords.
===Methods and Theories===

===Humor and The Definition of Humor===
'''1.1The origin and definition of humor'''
What is “humor”？There are many different answers to this question.People have interpreted and explained humor form a variety of perspectives, each with their own insights.However , it is a little known fact that the word “金数”is a foreign word in Chinese .The word “humor” in Chinese can be traced back to more than 200 years ago to the“Where silence and quietude reign” in “Longing for Changsha , The Nine Elegies，The Song of Chu”.Wang Yi notes，“Confucius is very good.As poetry written,“Confucius interpreted the word "默" as silence.The mountains in the south of the Yangtze River are high and the wild is very clean, and there is no voice in the desert.”In ''Shih Chi'',“默”（silence) is protrayed as "墨"(Chinese ink).It can be seen that at that time,the word "默"（humor） meant silence.Since then,the basic meaning of "默"(Humor) has not changed for more than 2,000 years.For example, Li Bai,a great romantic poet in Tang Dynasty,wrote in Song of River in Farewell to Cen zhengjun ,"And yet it is worrying to live alone in such a lonely place ."If we consider the meaning of the word "humor", that is , as an aesthetic category we want to study.It is an exotic and a foreign transliteration word in Chinese.In the last century,Mr.Lin Yutang was transliterated from English "Humor" .The reason why Mr.Lin transliterates "幽默" with the word "humor" is to consider their implied meaning(or instant impression meaning) and morpheme association color.Therefore, we can say that humorous words are both transliterated words and free translated words.Since then,the word "幽默" in modern Chinese has gradually deviated from its original meaning， that is , it no longer means "silent", but points to the meaning of humor.According to the related works published in China, there are definitions of humor as follows:

Humorous style is one of the key rhetoric style in Chinese......Humor is the use of language conditions to show the humorous interest in things.It is characterized by a light-heartedness and cheerfulness.It is based on " truth"

Humor is a rhetorical technique.

Humor is a spiritual phenomenon. This spiritual phenomenon has a broad sense,a common sense. There are three levels of humor.Humor in the broad sense is comparable to ridiculousness ,such as comic, witty ,gagging,funny......Humor in the narrow sense refers to the layer of spiritual phenomenon that is most aesthetically valuable.Humor in the conventional sense is a mental phenomenon that has an appeal to the "ridiculousness " of reason.

Humor,like the comedy we see in our daily life,is created for a purpose to make people langh.

From the above definition of humor,we ca know how complicated its definition is, different viewpoint are different.This in itself shows its complexity as an object of study , and we can simplify it without getting entangled in the complexity of the definition.Based on the above viewpoints, we are more inclined to Hu Fanzhu's understanding and definition of humor in his monograph ''Humor Linguistic'' , that is , humor is a spiritual phenomenon, which can be divided into three levels:broad sense,ordinary sense and narrow sense.To sum up, in this paper we can define humor as laughable, that is, having the effect of inducing laughter.
'''1.1.1 The definiiton of humor language'''
From the abpve definition of humor, we know that humor is a multidisciplinary research topic,people from philosophy,psychology,sciology,linguistics,literature and many other aspects of the phenomenon of humor research.This thesis mainly studies the humor language, and the so-called humor language is "created by the use of various elements of language vaiation humor.In dynamic terms, it is the atmosphere in which language is used,or a style of language;in static terms, it is a fuzzy collection of linguistic variants, or an aggregation of ways.”（Hu,1987)From this definition,we can draw the following two conclusions:firstly,humor language must be related to linguistic symbols,humor that dose not use linguistic symbols as a carrier is not within the scope of this study,such as Ding Cong's cartoons and mime act are certainly funnny, but they are not humor language; second , humor language shuld be created by the variation of linguistic elements, not just by the narration of language of language symbols.It is necessary to distinguish between humor expressed in language and humor created by language:
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译杨心怡 Yang Xinyi 202170081604==

==英语笔译杨紫微 Yang Ziwei 202170081605==
<center>'''Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theory of "San Hua"'''</center>

<center>Yang Ziwei</center>

===Abstract===
Classical Chinese poetry is a gem of Chinese traditional culture. As for the translation of classical Chinese poetry, Mr. Xu Yuanchong is one of the most influential translator of classical Chinese poetry, and his translated works have been unanimously recognized and highly praised by many people at home and abroad. With more than 60 years of translation experience, he has summed up a set of translation theories of his own, which can be summed up in ten words in Chinese as “美化之艺术，创优似竞赛”. This paper mainly focuses on the analysis of the application and embodiment of the mainly translation theories-- the method of "San Hua" (equalization, deepenization and generalization) in Xu Yuanchong's translation of Tang poetry.

===Key words===
Xu Yuanchong; “San Hua” ; Tang poetry

===Introduction===
For a long time, translation has been playing an important role as one of the means to promote cultural communication and communication. The translation of many literary works has also achieved high achievements, but the translation of poetry has been mediocre, and it is difficult to produce high-quality translations, especially for the translation of ancient Chinese poetry. Mr. Xu Yuanchong, a modern translation master, has been engaged in literary translation for more than 60 years and has translated numerous works. His focuses on the English translation of ancient Chinese poems and has formed the method and theory of poem translation in rhyme form. In translation, he emphasized the subjectivity of the translator, the creativity and artistry of translation, and innovated and developed the translation theories of his predecessors. He believed that the translated works could not only convey the beauty of the original text, but even surpass it. In particular, his translation theory of "the art of beautification" has proved to be successful in the English translation of ancient Chinese poems. This paper focuses on the application of Xu Yuanchong's theory of "San Hua" in the translation of Tang poetry, and analyzes and explores its role and expression effect in the translation of ancient Chinese poetry into English. This thesis consists of four main parts, we will learn a lot about the previous study of translation of Tang poetry, the introduction and application of the method of "San Hua" in the translation of Tang poetry as well as the value and influence of Xu Yuanchong's translation theories. The purpose of the thesis is to search for realizing the beauty in form, sense and sound as well as making readers and translators themselves comprehend, enjoy and take delight in reading translation of Chinese classical poetry.

===Literature Review===
In the past research, people focused on the analysis and exploration of the three aspects of beauty of Xu Yuanchong, therefore, the analysis and research of another theory-- "San Hua" is a field that few people pay attention to. In this thesis, I focus on the analysis and application of the method of "San Hua" in the translation of Tang Poetry. Then in the dissertation of A Study On Xu Yuanchong As A Translator （2006）written by Chen Youyang, he introduce the source and definition of the method of "San Hua" which originates from Qian Zhongshu's "the realm of sublimation". In the Literature and Translation (2016) of Xu Yuanchong, it explains the method of "San Hua" in details and gives some examples to demonstrate its application of equalization（等化）、generalization（浅化） and deepenization（深化）. In addition, it analyzes the relationship between the method of "San Hua" and the three aspects of beauty as well as the "San Zhi". "San Hua" is the method to achieve beauty in sound, sense and form, what's more, it produces the translation works that bring joy and pleasure to readers. Now that my thesis stresses on the analysis of Tang poetry through the method of "San Hua", then I should learn clear about the features and categories of Tang poetry. In the article The Discussion of English Translation of Tang Poetry (1994), Gao Yukun analyzes the characteristics and development of Tang poetry translation and he holds that Chinese classical poetry are translatable. Academic journals of Su Lin and Wang Chengcheng, both of them analyze the significance of the expression of the beauty in sense through the method of "San Hua". Since there are culture–laden words and allusions that are difficult to translate, the proper application of "San Hua" cam help us deal with it well. Then I introduce several Tang poems translated by Xu Yuanchong to illustrate the detailed application and appreciation through the method of "San Hua".
In conclusion, the method of "San Hua” is applied in literary and poem translation frequently and many translators praise it. Although sometimes in order to realize the three aspects of beauty, it causes some disputes in the accuracy and faithfulness of translation works, it makes great contributions to the translation field and spread of Chinese culture. Thus, the thesis will pay more attention to the analysis, application and appreciation of translation of Tang poetry through "San Hua" to get a clearer and deeper understanding of the translation method.

===Methods and Theories===
Research method: Literature analysis.
By reading journal articles data online and entity books such as "beautiful suffocation of tang poetry", the selection of classic poetry translation works explore the analysis theory of "three concrete application as well as the significance of the translation method, to explore the untranslatability phenomenon in ancient Chinese poetry and the translator's clever translation method in Chinese and English is how to build a bridge; At the same time, it studies the value and function of the "three Modernizations" translation theory in translation and cultural transmission.
Theories: "San Hua"--Equalization,deepenization and generalization.

===Subtitle 1===
The Previous Study on Translation of Tang Poetry at Home and Abroad

The Tang dynasty is one of the most prosper dynasties in Chinese history. At that time, the development of Tang poetry has reached the highest level and left Chinese people a large number of valuable assets. Tang poetry possesses a very significant position in Chinese culture.

The ancient poetry of the Tang Dynasty are mainly five–or–seven–character regulated verse（五言或七言诗）. There are also two kinds of modern poetry, one is called quatrains（绝句） and the other is called metrical verse（律诗）. What's more, the quatrains and the metrical verse have five characters and seven characters respectively, so there are basically six basic forms of Tang poetry: five-character ancient style poem, seven-character ancient style poem, five-character quatrains, seven-character quatrains, five-character metrical verse, and seven-character metrical verse. Ancient poetry requires a wide range of rhymes: in a poem, the number of sentences can be more or less, the chapter can be long or short, and the rhyme can be changed. However, modern poetry has strict requirements on rhyme and disciplines of metre: a poem has a limited number of sentences, that is, the quatrains consist of four sentences while the metrical verse of eight sentences. The rhyme schemes or level and oblique tone of the words in each line has a certain regularity, and rhyme cannot be converted. It also requires the middle four lines to be antitheses. The style of ancient poetry is handed down from previous generations, so it is also called gufeng or ancient style. And modern poetry has a strict meter, so some people call it metrical poetry.
The forms and styles of Tang poetry are colorful and innovative. It not only inherited the Han and Wei folk songs, Yuefu tradition, and greatly developed the style of free verse; It not only inherited the five and seven ancient poems of the previous generation, but also developed into a long epic narrative; It not only expanded the use of five-character and seven-character forms, but also created modern poetry with a particularly beautiful and neat style. It pushed the artistic characteristics of the harmony of syllables and the refinement of words to an unprecedented height, and found a most typical form for the ancient lyric poetry, which is still particularly popular with the people. However, due to the strict metrical restrictions in modern poetry, the content of the poem is easily fettered and cannot be created and played freely, which is a great defect brought by its advantages and creates troubles for its translation as well.

It is a hard work to produce high–quality and beautiful translation work of Tang poetry. Since there are not only various themes and styles in Tang poetry, but also allusions, numerals, images, phonetic words, customs, natural scenery, place names and etc. All of these pose greater troubles for translating Tang poetry. Therefore, different translators hold different views in translating Tang poetry and they have their own translation theories.

Since 80s century, there are lots of English versions of Tang poetry, such as Poetry and Prose of Tang and Song, which is translated by Yang Xianyi and Gladys, Xu Zhongjie's New Translations of Two Hundred Tang Poems, Wu Juntao's Translation of Du Fu's Poetry, Xu Yuanchong's New Translation of Three Hundred Tang Poems and Selective Translation of Li Bai's Poems, Zhang Tingchen and Bruce M.Willson's Translation of One Hundred Tang Poems and Weng Xianliang's Translation of Classical Chinese Poetry. In early times, some people thought that poems can not be translated. P.B.Shelly and R.Frost were supporters. Frost said that poetry is what gets lost in translation (Gao,1994). An Austrian philosopher, R. Jakobson believes that poetry is strictly untranslatable (Gao,1994). Although there were such opinions, most people believed that poems are translatable and many translators have explored and formed new translation theories. In addition, E.A. Nida's equivalent effect and functional equivalence theories support that poems can be translated because of language regularity. Among them, some hold to translate poems with English metrical verse, such as Xu Yuanchong and Wu Juntao; while others use free verse on poetry translation, such as Weng Xianliang and Wang Shouyi. Because of intricate features of Tang poetry, translation work is difficult to realize its original beauty in form, sound and sense at the same time, so the former pays much attention to maintain the beauty in form, sound and sense and pursues to realize the combination of sense and form, and the latter emphasizes the importance of sense and seek to reproduce the meaning of the original poem and convey the true feelings of the poet, but sometimes it lost the original beauty of rhyme and sound. As L. Wittgenstein said, "translating from one language to another is doing a ma-thematic task. And translating an emotional poem into another language is like addressing a ma-thematic problem..., which can be solved but lack of a systematic method" (Gao Yukun,1994,22). The French translator, Le Marquis d'Henvey–Saint–Denys also wrote in the preface of his translation work Collection of Tang Poetry in 1862, "Poem translation is taking great risk and it is also hard and painful, because we found that those true beauties lie in the poetry can not be expressed in any foreign language."

No matter what translation theories they use, all of them believe that the translation of poetry is an art. Under the guidance of Yan Fu's translating standards--faithfulness, expressiveness and elegance, they have been trying to achieve the beauty in form, sound and sense. Xu Yuanchong, who has been translating Chinese classical poetry for more than 60 years, made great contributions to the translation field and had remarkable achievements.

===Subtitle 2===
Main Ideas of Xu Yuanchong’s Literature Translation Theory

2.1 An introduction to Xu Yuanchong

Xu Yuanchong was born in Nanchang, the capital city of Jiangxi province in 1921. He graduated from the Department of Foreign Languages of Tsinghua University in 1943. He entered the Institute of Foreign Literature of Tsinghua University in 44 years and then went to Europe to study. After returning to China, he served as a professor of English and French in foreign languages schools in Beijing, Zhangjiakou and Luoyang. He has been a professor of international culture at Peking University since 1983. He has been teaching the course Translation and Appreciation of Ancient Chinese Poetry at Tsinghua University since 1999. Xu is a famous translator in our country and is called the only expert in translating classical Chinese poetry into English and French verse. He has been nominated for the Nobel Prize in Literature. Xu's business card reads "the only person who translates poetry into English and French". He advocated "Dare to be the first in translation studies", and was regarded as a crazy talent in the field of translation. "I used to like to go my own way by myself, I still like to go my own way by myself, and I will continue to like to go my own way by myself." This is the last thing Xu said to everyone.

Xu's 42 works are all translated works, except for a memoir--Remembrance of the Past, and three works on translation theory--The Art of Translation, On Chinese Verse in English Rhyme, and On Literary Translation. These translations can be divided into four categories. One is Chinese-English translation, including 22 titles such as 600 Ancient Chinese Poems, 300 Immortal Chinese Poems, The Book of Songs, Romance of the Western Chamber, and Selected Poems of Mao Zedong. The second is the Chinese translation, which includes 150 Poems of the Tang and Song Dynasties and 100 Selected Lyrics of the Tang and Song Dynasties and so on. The third type is the Chinese-English translation, including Dryden's All for Love, Scott's Quentin Duward and so on. The fourth category is French-Chinese translation, including Hugo's Selected Plays, Stendhal's Red and Black and other eight kinds. Among them, the most striking is that he translated the literary masterpieces of the past 3,000 years into English and French verse and published them one by one, which has initially outlined the development of verse in the history of Chinese literature. It can be called a great feat in the field of translation. Among his works, 300 immortal Chinese poems, published by the British Penguin Publishing Company, is listed in its "Penguin series". Mr. Xu Yuanchong is the first Chinese to publish translated books in this world famous publishing house.

In 2010, Xu Yuanchong was awarded the "Lifetime Achievement Award in Translation Culture" by the Translators Association of China. On August 2, 2014, Xu Yuanchong won the Northern Lights Award for Outstanding Literary Translation, one of the highest awards in the international translation circle. He is the first Asian translator to win this award.

2.2 A Detailed Introduction to the Method of “San Hua”--Equalization, Deepenization and Generalization

As we have mentioned that the beauty of sense is hard to reach, and these measures can help us to improve our translation capability and learn to deal with translation problems in a appropriate manner. These three measures are methodologies of translation. Xu was inspired by Qian Zhongshu's theory of " the realm of sublimation" and came up with the free translation methods.

Equalization aims to achieve the equivalence between the source language and the target language, and it can only be used when the surface meaning and the deep meaning of a poem are the same. It includes word formation, syntactic transfer, affirmation and negation and allusion transplantation, etc. For instance, Xu Yuanchong translates “孤山寺北贾亭西，水面初平云脚低”into " West of Jia Pavilion and north of Lonely Hill, Water brims level with the bank and clouds hang low". The translation of place names is consistent with the original work. This sentence belongs to literal translation and it is easy to understand. Another sentence“树深时见鹿，溪午不闻钟”is translated into " In the thick woods a deer is seen at times, Along the stream I hear no noonday chimes". It also uses the method of equalization and realize the functional equivalence.

Deepenization refers to the fact that when there are differences between English and Chinese in the process of translation, the expression of the source language and the target language is not consistent, it is necessary to complete the unspoken content in the source language in the translation, so that the target reader can understand it. This method mainly includes amplification, creating something out of nothing, splitting translation or adding some content in the translation that is not explicitly stated in the original text but has this meaning. Here are examples of Xu's translation of Tang poems:

(1)白雪却嫌春色晚，故穿庭树作飞花。
But white snow dislikes the late coming vernal breeze,
It plays the parting flowers flying through the trees.

In the translation, the words " dislikes, plays and flying" show us the lovely and brisk white snow with the personification. It expresses the poet's avid expectation for spring with the help of flying snowflakes.

(2)随意春芳歇，王孙自可留。
Though fragrant spring may pass away,
Still here's the place for you to stay.

This translation explicitly convey the deep meaning of the sentence. Although the spring is gone, but the autumn scenery is better. The poet is willing to stay. He likes to return to nature, loves the landscape and advocates quiet and pastoral life. It shows the poet's noble feelings and the pursuit of his ideal life.
In contrast to " deepenization", there are contents involving different cultures in the two languages. Sometimes it is not easy to translate directly, so we need to use a certain method, such as subtraction, to delete the culture-heavy contents in the original text and replace them with more general and understandable contents.

(3)相见时难别亦难，东风无力百花残。
It’s difficult for us to meet and hard to part；
The east wind is too weak to revive flowers dead.

In this translation, it omits the word “百”which has no influence on the meaning expression. In this way, Xu also maintains the beauty in form and sound. What's more, the word "flowers" has involved the meaning of hundreds of flowers. This is what we call subtraction, which is one of the methods of generalization.
Among them, deepenization is the best way to show us the beauty of sense. It is the high standard of literary translation and generally the translation work supersedes the original one. Thus, it is regarded as creation.
In the translation of Tang poetry, we have to be clear that which method we should use in the process of translation to achieve the three aspects of beauty, especially the beauty in sense. The ultimate goal of translation is to produce high–quality translation works which are better than the original ones.

===Subtitle 3===
The Analysis and Appreciation of Xu's Translation of Tang Poetry through the Method of “San Hua”
In this part, we will study Xu Yuanchong's translation methods of “San Hua” deeply and know more about their use in translation of Tang poetry.

3.1 An analysis of Happy Rain on a Spring Night through the Method of “San Hua”

春夜喜雨
（唐）杜甫
好雨知时节，当春乃发生。
随风潜入夜，润物细无声。
野径云俱黑，江船火独明。
晓看红湿处，花重锦官城。

Happy Rain on a Spring Night
Du Fu
Good rain knows its time right,
it will fall when comes spring.
With wind it steals in night;
mute, it wets everything.
Over wild lanes dark cloud spreads;
in boat a lantern looms.
Dawn sees saturated reds;
the town's heavy with blooms(Xu Yuanchong,2020,32).

This poem describes the poet's happy and brisk feelings to see the spring rain. It was written in the spring of 761 (the second year of Shangyuan). After a period of exile, Du Fu finally settled down in Chengdu, Sichuan Province due to the drought in Shaanxi Province and began a relatively stable life in the middle of Sichuan Province. When he wrote this poem, he had been living in a cottage in Chengdu for two years. He personally cultivated, planted vegetables and flowers, and socialized with farmers. He had a deep love for spring rain, so he wrote this beautiful poem describing the rain on a spring night that moistens everything.

Spring rain knows to adapt to the season. When all things germinate and grow, accompanied by the spring breeze, spring rain secretly in time to come at night to nourish all things silently. The country path and the clouds in the sky hide in the darkness, the lights of the fishing boats on the river are particularly bright. Till dawn, I saw that drizzle had moistened red flowers, which made them more charming. And beautiful flowers are full of Jin Guan City.
At first, from the perspective of the beauty in three aspects, this is a five–character metrical poem and every sentence is divided into two parts. The first part includes two syllables and the second part includes three syllables. When translated into English, there are five syllables in each sentence and the first part includes two or three syllables and the second part includes three or two syllables. Moreover, the first and second sentences rhyme and so do the third and fourth sentences in both original and translation works. These show the beauty in form and sound. With regard to the expression of beauty in sense, it is not hard to know that the title and the whole poem basically used equalization(等化) so that it is easy for us to understand. In the first sentence, in order to maintain the end rhyme, Xu reversed the order of words "when spring comes" but translated it into "when comes spring". The words "good rain" express the poet's love to spring rain, which sets the general tone for the poem. And in the second sentence, he used "steals" to describe the falling rain which adopted personification and presented us a lively and dramatic picture. He also reversed words in the sentence of "mute, it wets everything", such kind of inverted sentences also seen in the second and third lines. The clouds are spreading the sky gradually indicates the upcoming of the very rain. And "looms" also reveals the carefulness of Xu's word selection. Because of the sullen weather and distance, the light from a lantern in a boat is weak and flickering due to the wind, so he chose the word "looms". Besides, words like "saturated" and "heavy" are appropriate choices. As for “锦官城”, he just translated it into "the town", which is the use of generalization(浅化) that omitted the explanation to allusion.
As a whole, by means of the “San Hua”, readers can understand the poem without any difficulty and they can also feel the poet’s true feelings. Meanwhile, the choice of words, lengths of sentences and rhymes are pleasing to read and the meaning of the poem as well as the poet's true emotion are showed in the translation work. We can not only feel the poet's excited and surprised mood but also appreciate the musical beauty of the poem through reading it, which means this translation let readers enjoy and love it.

3.2 An analysis of The Sad Zither through the Method of “San Hua”

锦瑟
(唐）李商隐
锦瑟无端五十弦，
一弦一柱思华年。
庄生晓梦迷蝴蝶，
望帝春心托杜鹃。
沧海月明珠有泪，
蓝田日暖玉生烟。
此情可待成追忆，
只是当时已惘然。

The Sad Zither
Li Shangyin
Why should the sad zither have fifty strings?
Each string, each strain evokes but vanished springs:
Dim morning dream to be a butterfly;
Amorous heart poured out in cuckoo’s cry.
In moonlit pearls see tears in mermaid’s eyes;
From sunburnt jade in Blue Field let smoke rise.
Such feeling cannot be recalled again:
It seemed lost even when it was felt then(Xu Yuanchong,2020,124).

It is one of the most significant poems of Li Shangyin. From the title -- the Sad Zither, we can know that the main focus of the poem is "sad".

This poem has been variously annotated. Some people thought it was a mourning work, some thought it was patriotic, and some thought it was deploring with sighs for all his talent, and others thought it was a description of missing the poet's maid Jin Se. But most people agreed with the first idea.
In Xu's translation, most poems use the end rhyme and so does this. From the structure of the poem, we can see that forms of the original and translated works are the same. In regard to the full expression of its meaning, we can analyse it one by one sentence. The first couplet expresses the poet mourns for the lost golden years which we can see from words “思华年”, he translated “华年”into "springs" instead of "golden years" for the beauty of sound by means of generalization. Moreover, as the beginning of a year, spring represents vitality, energy and beauty which is like the most valuable years of people and expresses the poet cherish the golden years greatly. And "vanished springs" uses deepenization which told us that his golden years were lost forever and he was very regretful. Going forward, the second and third sentences include many allusions which is the most difficult task to deal with. The second couplet uses an allusion from Zhuangzi. It says that Zhuangzhou dreamed that he was a butterfly when he woke up from his dream, he found that Zhuangzhou was still there and he did not know where the butterfly was going. The poet took this as a metaphor for the beautiful situation he indulged in when he was young. “望帝春心托杜鹃”comes from a legend that in the late Zhou Dynasty, Shu monarch Du Yu abdicated and retired from public life, but he was unfortunately died. After death, his soul into the cuckoo, crying sadly and moving people's hearts. The poet used the story to convey his hatred and also the ardent miss for his wife. In Xu's translation, he did not translated these allusions directly into "Zhuangsheng" or "the emperor Wang", but omitted the subject. This is the adoption of generalization which avoids complicate and unnecessary explanation of allusions. Then he used the word "dim" actually showed the poet's confusion and melancholy, and "amorous heart" indicated the emperor Wang as well as the poet himself and the word "cry" expressed his sorrow for the vanished golden years and his dead wife directly. In this translation, Xu directly expresses the poet's true feelings which is hid in allusions, it is the method of specification in deepenization. In the third couplet, “沧海月明珠有泪”refers to the tears of mermaids that can turn into pearls. The poet combines the moon beads and tears into a hazy wonderland, expressing a kind of complex feelings of dis-consolation, which includes both the love for its high and clear, and the sadness for its cold and loneliness. And “蓝田日暖玉生烟”refers to the phenomenon that the jade mountain of Blue Field is often illuminated by the sun and the essence of the beautiful jade in it is rising gradually, which is as fine as hair from a distance, but nothing at all from a close look. The poet took advantage of the ideal scenery with high aesthetic meaning to express a kind of regret that can not be close to noble spirits. It is the same as the third allusion. Different from the second couplet, the first half of the third sentence roughly explained what the allusion talked about to readers while the second half used literal translation. If not understand these allusions, it will be hard for us to make it clear that what the poet want to express. Therefore, the proper translation of allusions is really formidable. The last couplet conveys the poet's grief and regrets again but it is much stronger than before. “可待成追忆”was translated into " cannot be recalled again" by Xu Yuanchong, which used negation translation in equalization. In fact, it emphasized that the beautiful days and loved ones were gone for good and it was too late to redeem for him. The word "lost" was tantamount to “惘然”that revealed the inner world of the poet. Xu had not translated“当时”into "when it was felt then" instead of “at that time”, which also belongs to the specification in deepenization, he described the feelings of the poet in details and made it clear to readers.

So from this piece of work, we can get to know that how difficult to deal with allusions properly because of the cultural differences between China and foreign countries. In my opinion, Xu did a really remarkable work. Through his translation, we can not only feel the beauty in form, sound and sense of the Chinese version, but also learn to make full use of the method of “San Hua” to help us understand its main idea and the poet's emotions. Particularly the translation of allusions that eliminates the tedious and unnecessary explanation of them which foreigners can not understand, and maintains the original beauty in form and expresses the important things involved in them as well.

3.3 An analysis of The Mourning Day through the Method of “San Hua”
清明
（唐）杜牧
清明时节雨纷纷，
路上行人欲断魂。
借问酒家何处有，
牧童遥指杏花村。

The Mourning Day
Du Mu
A drizzling rain falls like tears on the Mourning Day；
The mourner' heart is going to break on his way.
Where can a wine shop be found to drown his sad hours?
A cowherd points to a cot' mid apricot flowers(Xu YUanchong,2020,160).

The first line of the poem points to the natural conditions in which the poet is exposed, such as the time and weather. Tomb-sweeping day is one of the big festivals of the tang dynasty on which people will hold family reunion, visit a grave, outing, and attend various activities. Du Mu did not see the sun in the Qingming Festival in Chizhou（池州）, but only drizzle. The second sentence turns from the perspective of objective to the subjective, focusing on the poet's emotional world. He saw passers-by on the road were busy mourning their dead loved ones, and he felt very sad and grieve. In the third sentence, the poet's feelings mingled with scenes. He was very sad when traveled in the rain. The rain wet his clothes and the weather was chilly. Then the poet sought to drown his sorrows in wine, so he asked the way. The last line tells us to whom the poet asks for directions. "A cowherd points to a cot' mid apricot flowers" brings the reader into a completely new realm, which is completely different from the previous melancholy and misery. The cowherd's warm and sweet voice, distant apricot flowers blooming like brocade, the spring is in the air, and the wine flag at the village head is fluttering. The first two lines of the poem create a sad and sentimental picture, while the last two lines show a vivid and lively one, which is contrasted and interlaced with each other. It also shows us the change of emotions of the poet.

First and foremost, from the three aspects of beauty, Xu still adopts the end rhyme. The number of words in every sentence varies by only one or two, so from the perspective of form, the whole poem is relatively neat after translation.

Then what matters most is the adoption of the method of “San Hua” in the expression of the beauty in sense. Firstly, the title “清明”was not translated into "Pure Brightness Day" or "the Qingming festival", but "the mourning day" because the poem mainly talks about the scenes and poet's feelings on mourning relatives on this very day. And for target readers, especially foreigners, they do not understand what is the Qingming festival or Pure Brightness Day and what people do on this day. Comparatively speaking, " the mourning day" makes the main idea of the poem clear and it is also in line with the original meaning. Therefore, in this poem, Xu mainly used the method of deepenization. In the first sentence,"a drizzling rain" depicts the features of spring rain which is not thick and fast. "Fall like tears" is not showed in the original work, but it is implicated in the sentence. The falling rain is like mourners' tears on their way to visit their dead loved ones. Xu excavates and expresses the implicit meanings of the original text, which eases the burden to fully understand the poem. Then “路上行人” actually do not "pedestrians" or "travelers", but "mourners". Because on the mourning day, those people were engaged in paying respect to the dead and they hurried on the road due to the rain. Xu translated “欲断魂” into "heart is going to break" which belongs to free translation and expressed the mourner's deep sorrow. In the third line, "wineshop" points out that the poet wants to drink down his sorrow, and "drown his sad hours" makes it clear and touching. In the original text, there is also not the purpose why the poet looks for a wineshop, but Xu's translation reveals everything. It belongs to specification and amplification. The last sentence is the answer to the question before--There is a wineshop mid apricot flowers. If let us translate“杏花村”, it could be "apricot village". But after thinking twice, we will notice that it could not be an apricot village, but a cot hid among the apricot flowers which is more appropriate and beautiful. On the whole, through reading Xu's The Mourning Day, we tapped the implicit meaning of every sentence out. And in this English version, Xu directly expressed the poet's heartfelt sorrow, dis-consolation and gratification. In reading this poem, we sympathize with the poet, mourn with him, and find comfort in the discovery of a wineshop hidden in an apricot flowers.

In conclusion, through the analysis and appreciation of the three poems translated by Xu Yuanchong, we further understand the use of his translation methods ”San Hua” in poetry. In general, equalization and deepenization are used frequently in poetry while generalization is mostly used to deal with allusions and etc.
Generally speaking, to reverse the disadvantages of the target language, we can use the generalization method to make readers understand the text. Striving for the same high quality of translation as the original work, we can use the equalization method to make readers appreciate it. Developing the advantage of translation and make it surpass the original text, we can use the deepenization method to make readers admire it. This is Xu's skopos theory of literary translation.

===Subtitle 4===
The Influence of Xu's Translation Theories
As an expert of translation, Xu Yuanchong forms his own systematic translation theories which are applauded by most people. And these theories are clearly showed in every piece of his work. We have to admit that his translation theories indeed shed new lights on translation and make tremendous contributions to the exchange between Chinese and foreign cultures. His translation work not only let Chinese people enjoy the foreign literary works in a fresh manner, but also present the original beauty of Chinese literature to foreigners. Under the guidance of his specific translation theories, we get a clearer map to translate poetry, novel and etc.
Xu Yuanchong's translation theories “美化之艺术”is combined by extracting one word from predecessors' translation theories. It is based on their experiences and his own translation practice for more than sixty years. He inherited and developed these theories and explained them explicitly. Firstly, He believed that "elegant" no longer means quaint in today's world, but elegance or beauty. Xu said:"According to my own translation practice, I think Yan Fu's 'faithfulness, expressiveness and elegance' can be understood today as 'faithfulness to the original content, smooth translation form and giving play to the linguistic advantages of the translation.' "In my opinion,'faithfulness, expressiveness and elegance' can be understood as 'faithfulness, expressiveness and excellence'. Excellent is to give full play to the advantages of the target language, which is to use the best way of expression of the target language with words of beautiful meaning, sound and form, in other words, 'excellent' is' beautiful '." Secondly, he explains the relationship between science and art, translation words and taste or styles, truth and beauty with simple formulas. Xu says:" Chinese poetry often has multiple meanings with endless aftertaste, while English poetry expresses the literal meaning." Thus, the western science school put forward the theory of "equivalence", "equivalence of function", "equivalence of effect" and literal translation theories. Because the meaning is greater than the words, the Chinese school of art puts forward the theory of free translation and spiritual resemblance, giving play to the advantages of the target language, that is to say, the translator can not only translate all the contents of the original text but also contents are not showed in the original text. Therefore, the formula for literary translation is 1+1>2. Thirdly, he advocates literary translation should create beauty, so he proposes the advantage theory. The translation of cultural allusions is the most difficult. Literal translation cannot preserve beauty even if it can preserve truth. But if we adopt free translation, even if it can be beautiful, it is often hard to avoid distortion. A true translation can make readers comprehend it; a beautiful one can readers enjoy it, and a translation that preserves both truth and beauty will delight the reader. Therefore, the translation of poems should preserve the beauty of the original poems with as little distortion as possible. Since literary translation is an art and literary works are about people, so they have to be fascinating and exciting. If we only pursue truth without paying attention to beauty, it may be not a beautiful work, so the beauty of it is more significant than the truth.

===Conclusion===
Xu is a very confident, talented and prolific translator with strong character and innovative spirits in the translation field. He has a special calling card; in it there are two phrases "over sixty books published in China and aboard,the one and only person translated series of Classical Chinese poetry into English and French." In another calling card reads "without the title of academician, but he excels an academician; translated over one thousand classical Chinese poems to Europe and America". His translation theories and practices gained a wide range of recognition at home and abroad. Reading his translation of Tang poetry is an enjoyment. Nowadays, there are still many translators and translation theorists support his translation theories, particularly three aspects of beauty and the method of “San Hua”. Looking at the translation of Tang poetry in history, Xu Yuanchong's translation makes our eyes shine. The beauty of classical Chinese poetry, which is thought could not be translated, came to life in his writing. Under the guidance of the beauty in form, sound and sense, translators adopt approaches of equalization, generalization and deepenization to pursue their goals of letting readers comprehend, appreciate and even admire their translations.
Although some of his translation theories are still controversial and questioned by some translation staffs, as the saying goes:" There are spots even on the sun", this does neither affect his lofty status in the translation field, nor does it negate his great contribution to the inheritance and dissemination of translation field and culture. Mr. Xu Yuanchong devoted his whole life to the cause of translation and the pursuit of beauty. He spent most of his life summarizing his valuable translation experience and forming his own translation theory system, which is helpful for us to further understand translation and further practice it. His works let us appreciate the local conditions and customs of foreign countries, but also bring foreigners to enjoy the beauty of classical Chinese poetry. In this paper, we studied Xu's mainly translation theories and cited several Tang poems to illustrate his translation methods. Through the analysis of his works, we get a clearer picture on the use of his translation theories, and we also know more about the defects of his translation which casses our reflection. After all, translation theory system can not be completed in one day. It requires us to explore and improve it through trial and error.

===References===
*Chen Youyang(2006). A Study On Xu Yuanchong As A Translator. Fuzhou University.
*Duan Min(2003). A Study On Xu Yuanchong As A Translator. Sichuan University.
*Hu Xiaoyin(2003). On the Translation and Reception of Tang Poetry in Britain and The United States. Sichuan University.
*Wang Peng(2008). A Study of Xu Yuanchong's Poetry Translation Thoughts. China University of Petroleum.
*Xu Xiufeng(2006). On the Aesthetic Transference of Poem Translation (From Chinese to English)––Xu Yuanchong's Thought on Poem Translation. Ocean University of China.
*Zhu Lin(2004). A Study of Xu Yuanchong’s Translation Theories and Practice. Guangxi Normal University.
*Gao Yukun 高玉昆(1994).论唐诗英译[On the English translation of Tang Poetry].国际关系学院学报[Journal of the Institute of International Relations],(4).
*Lu Su, Xu Yuanchong 陆苏,许渊冲(2020).美得窒息的唐诗[Suffocating Tang Poetry].湖北：长江文艺出版社[Hubei:Changjiang Literature and Art Publishing House].
*Su Lin 苏琳(2020).“变通”译唐典音美意深远——从“三化论”角度看唐诗中典故的英译[The Translation of Allusions in Tang Poetry from the Perspective of "San Hua"].四川职业技术学院学报[Journal of Sichuan Vocational and Technical College],30(2):73~77.
*Qian Zhongshu 钱钟书(1981).林纾的翻译[Translation by Lin Shu].北京：商务印书馆出版社[Beijing: The Commercial Press].
*Xu Yuanchong 许渊冲(2016).文学与翻译[Literature and Translation].北京：北京大学出版社[Beijing: Peking University Press].
*Xu Yuanchong 许渊冲(2006).翻译的艺术[The art of translation].北京：亚洲传播出版社[Beijing: Asia Communication Press].

==英语笔译张国浩 Zhang Guohao 202170081606==

<center>'''The Influence of Electronic Language on Chinese Language and Culture in the Internet Age'''</center>

<center>Zhang Guohao</center>

===Abstract===

Language is the most important communication tool and the carrier of culture. Language itself is also a cultural phenomenon. The Chinese nation has a long history of thousands of years, and its language and culture are an indispensable part of Chinese traditional culture. With the development of electronic network and information technology, electronic language is also booming under this background. Electronic language is the product of the times. It has both positive and negative effects on Chinese language and culture. Starting with the analysis of the emergence and characteristics of electronic language, this paper focuses on the positive and negative impact of electronic language on Chinese traditional language and culture in the new media era, and further puts forward a series of measures to protect Chinese traditional language and culture.

===Key words===

New media; Electronic language; Language culture

===Introduction===

With the development of current information technology and network technology, a large number of electronic languages, also known as network languages, have appeared on the Internet. And they have increasingly penetrated into people’s daily life with the development of the Internet. Electronic languages reflect the current hot social issues, and have the characteristics of simplicity. With the increase of electronic languages, it is bound to have a certain impact on Chinese traditional language and culture. Electronic languages have both positive and negative effects on Chinese traditional language and culture. While expanding the vocabulary of modern Chinese, some vulgar and malicious electronic languages are eroding the traditional Chinese language and culture. How to make electronic language and Chinese traditional language and culture coexist harmoniously in the new media era is a topic that is worth studying and discussing. This paper will introduce the background of electronic languages, the characteristics of electronic languages and the impact of electronic languages on Chinese traditional language and culture, and explore measures to protect Chinese traditional culture in the new media era.

===The Electronic Language in the New Media Era===

'''1.1. The Emergence of Electronic Language in the New Media Era'''

After three technological revolutions, the new media era has finally arrived. With the rapid development of the Internet, the momentum of new media in people’s lives is also growing. And the electronic language that followed became one of the most important parts of it. Today, under the circumstance of the new media era, electronic language has developed with the development of the network. The continuous development of society has made the traditional language unable to meet people’s spiritual needs. People are now facing a colorful language world on the computer screen. While lamenting people’s strong adaptability, we have to say that this is the result of the transformation of the media. The media carrier has to decide the trend of culture. When we look at the characteristics of electronic language in the era of fresh media, it is not difficult for us to have such results.

'''1.2. The Definition of the Electronic Language'''

Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on. It was born in the electronic media and developed with the popularity of the network. Electronic language is participated by the public and can not be separated from the carrier of electronic media. It passes between the instructors of electronic media. Compared with the traditional language, there is no classical version of the electronic language because the electronic media has only appeared for a few decades. Therefore, the grammar and word order of it do not seem to conform to the traditional language norms.

'''1.3. The Characteristics of Electronic Language in the New Media Era'''

1.3.1 Electronic language is the combination of written language and spoken language.

According to different media, language can be divided into written language and spoken language. Written language has very restrictive grammar rules, a standard punctuation system and a very strong logic. With no intuitive feeling like spoken language, written language has a deterrent to people and help to form people’s rigorous rational thinking. However, spoken language is very flexible, and is not stick to one pattern. It has the characteristics of immediacy and transience, which makes spoken language not as easy to store and popularize as written language. There is a confrontation between written language and spoken language inadvertently, and this confrontation has been eased in today’s new media era. Electronic language acts as such a bridge. Electronic language not only has the expression environment of written language, but also has an obvious tendency of colloquialism. Whether it is online chat, forum post or mobile phone short message, it is not completely the same as the traditional expression. Since electronic language requires users to type what they want to say on the screen, and requires the receiver to browse the information through their eyes, so it has obvious characteristics of written style in this way. However, it is also influenced by the colloquial style, so there is obvious mutual penetration from both sides. Generally speaking, electronic language is a kind of colloquial written language, which fully integrates the two types to serve its own needs.

1.3.2 Electronic language is pictorial and vivid.

In the new media era, the recipients of electronic media can not learn the rich body language of the communicator from the electronic screen, but they can get some information by some vivid dynamic expressions sent by the messenger. People often use various symbols on the keyboard to create a lot of very vivid and humorous facial expressions to express their body language at that time, in which there is almost no difference between happiness and sadness in real life. These electronic languages are very interesting on the electronic screen and often make people laugh, which instantly shorten the distance between the information sender and the receiver. Through these vivid cartoon symbols which are different from words, the communicator penetrates parts of the meaning he wants to convey, making the virtual electronic media full of reality and immediacy. As a result, many relaxing and humorous electronic languages have emerged. They are not only humorous, but also easy to understand. This kind of relaxing and humorous style caters to the needs of modern people to relax their body and mind, so that the tense young generation can speak freely. When facing a boring topic, they can also discuss with each other in a humorous tone, which undoubtedly brings an unparalleled happy experience to the users of new media.

1.3.3 The expression of electronic language depends on the context and its meaning is vague.

Context refers to the speech environment, which includes both linguistic factors and non-linguistic factors. Contextual factors such as context, time, space, situation, object, and discourse premise, are all related to the use of words. Context includes specific time, specific space, specific scenes, specific characters and so on. Electronic context mainly refers to some new media such as electronic bulletin boards and e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Electronic context mainly refers to some new media such as e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Therefore, electronic language is bound to be misunderstood without a big context. The context of electronic language has always been open, allowing everyone to join freely. Different media will produce different languages. Electronic language is generated with the arrival of the new media era and will develop with the continuous development of the new media. The characteristics of electronic language are inseparable from the convenience of transmission, fast replication and various presentations of new media. Therefore, with the continuous development of new media, the era of electronic language has come.

1.3.4 Electronic language is highly dependent on network information technology media.

The intelligent terminals represented by computer, electronic information technology and Internet technology have created electronic language and the unique paralanguage of electronic language such as emoji, which not only makes up for the lack of body language such as expressions, movements and moods of language users, but also makes electronic language form multiple forms of expression, such as structured, semi-structured and unstructured forms. At the same time, network information technology has built a platform for the use of electronic languages, such as various forums, QQ groups, micro-blogs, We Chat and other virtual spaces, so that spoken or written languages and other different types of languages and dialects communicate with each other. Without the network information technology, the electronic language cannot exist. This technology also breaks the limitation of traditional spoken and written language, making the electronic language a super language without the limitation of time, space and region. Therefore, the modern information technology with computer, communication, network and electronic technology as the core is the material basis for the generation and use of electronic language.

===The Influence of Electronic Language on Chinese Traditional Language Culture===

The new media era is a multilingual society, so there is an obvious language-mixing phenomenon in electronic language. In electronic language, there is no absolute authority and anyone can speak freely, which makes the electronic language have a strong vitality and a huge impact on the traditional Chinese language and culture.

'''2.1 The Positive Influence'''

2.1.1 It can promote the development of Chinese language and culture

The electronic language has a variety of changes. Its simple, fast and vivid features not only meet the needs of the new media era, but also give people a fresh and lively feeling. Any language in the world is constantly updated and developed in use. Language innovation is an extremely important factor and a manifestation of vitality of a language. Without innovation, there is no development of language. Denying innovation and resisting innovation are equal to killing the vitality of a language. With the continuous development of electronic language, a large number of new words have emerged and the number of loanwords have increased. And with the extensive use of lettered words and numerals, Chinese vocabulary has been greatly enriched and developed. In the aspect of pronunciation, we use some homophonies to replace some Chinese words. For example, now we use “酱紫”to replace “这样子”. In terms of grammar, electronic language does not adhere to traditional grammar, which enriches and transforms the grammar system, and distorts conventions. In addition, electronic language has accelerated the demise of some old words. This series of characteristics makes the Chinese language fully nourished and breaks the barriers to knowledge. As a result, Chinese language spreads rapidly. At the same time, it adds the fun and color of people’s lives, making cultural exchanges unprecedentedly free and prosperous.

2.1.2 It can promote the transformation of reading methods.

In the era of new media, electronic language is constantly innovating and changing. With the continuous progress of technology, people’s reading methods are changing. Today’s electronic media reading is basically replaced by “hypertext” and “hyperlink”. People can read everything related to the text by clicking on links one by one, which is much more convenient than before. This way also satisfies people’s psychology of seeking knowledge and curiosity. In addition, with the popularization of high-tech products such as mobile phones and tablet PCs, mobile reading begins to prevail. People’s reading is no longer confined to a place. Through these new media, people can easily read anytime and anywhere, which generally improves the reading efficiency.

'''2.2 The Negative Influence'''

Firstly, the emergence of electronic language may make Chinese traditional language and culture be in danger of dating. Chinese traditional language and culture is the summary of experience of the continuous development of the Chinese nation. And it is also the national spirit gradually condensed in the long-term social practice. The language culture full of the fine tradition of the Chinese nation not only provided great power for the development of the Chinese nation in the past, but also will play an important role in the future of the Chinese nation. However, in today’s new media era, young students are the main users of electronic media. Since they are particularly sensitive to new things and electronic language has the characteristics of convenience, rapidity and image, it has a fatal attraction for young students who like to pursue new things. While they continue to create electronic language, they also continue to penetrate electronic language into their own lives, which makes Chinese traditional language and culture more and more distant from them. If things go on like this, it will inevitably lead to the dating of Chinese traditional language and culture, and make the future of traditional language and culture bleak.

Secondly, the trend of vulgarization of some electronic language has produced cultural garbage. In the new media era, electronic language constantly pursues individuality and innovation. However, there are also some shortcomings. The virtuality and obscurity of the network make it easy for both sides of the dialogue to relax or even unbridled in their communication, which results in the uncivilized electronic language. Some electronic languages abuse other people or even carry out personal attacks with rude words and dirty words, losing the minimum civilization. And information surplus will produce information garbage, making people consume more time to filter the information. This is a manifestation of information pollution. All these phenomena will seriously affect people’s normal life order. Nowadays, the vulgarization trend of electronic language is becoming more and more serious, and it begins to penetrate into the traditional media. If it is not guided as soon as possible, our traditional language and culture will be destroyed.

Thirdly, electronic language does not conform to grammatical norms. Since electronic language does not conform to grammatical norms and blindly pursues novelty and convenience, it violates Chinese language norms in many ways. Some typos and words and phrases with misinterpreted meanings will have a negative impact on the education of Chinese language. Although these nondescript languages are novel, their damages to Chinese or other languages are obvious. Adolescents are extremely sensitive groups and are willing to accept new things. However, their ability to generally distinguish between right and wrong is not strong. Therefore, in the process of learning, it is easy for them to be affected by these electronic languages, which makes them easy to develop bad habits of not using standard words and standard expressions. As a result, it is detrimental to the learning of traditional language and culture, and their appreciation ability will be decreased.

Fourthly, electronic language can form linguistic generation gap and cause communication difficulties. Electronic language represents a certain type of language and culture in the new media era, and has been widely used in the new media era. It continues to penetrate into the life of the young generation pursuing fashion. In this specific new media language environment, electronic language has its significance. However, when it leaves this specific environment, it will no longer become a tool for people to communicate with each other. If people do not understand it, it will hinder normal communication between people. In terms of the communication effect of a language, this generation gap misleads the communication between the communicator and the receiver, and has a great impact on the traditional language and culture. Many electronic languages cause generation gap between parents and children. Due to the non-standard use of language, parents often don’t know what their children mean. The gap between the two generations is hard to erase. Now, coupled with the novel electronic language, the generation gap between the two generations is bound to deepen and the communication between them will become more and more difficult.

===Measures to Protect Chinese Traditional Language and Culture===

First of all, the government should introduce relevant laws and regulations to regulate electronic language. The support of the government is like a beacon, which can guide Chinese traditional language and culture to a bright road. In this aspect, China has also made some attempts, such as popularizing Mandarin Chinese nationwide, which is not only the necessary measures to facilitate communication, but also can effectively regulate the Chinese language so as to promote effective dissemination of Chinese language and culture. In addition, in the aspect of creating a good new media environment, the role of national laws and regulations cannot be replaced by other methods. This kind of compelling force can guide the development of electronic language towards the right path. While standardizing itself, it will also promote the traditional language and culture and electronic language to absorb the advantages of each other, learn from each other, and finally achieve a win-win situation.

Secondly, the government should popularize the education of Chinese traditional language and culture. Education has always been the foundation of people’s livelihood. Improving education has no harm to the spread of traditional language and culture. In order to strengthen the proportion of Chinese studies and standardized the use of Chinese language in compulsory education, teachers should pay attention to the cultivation of students’ traditional language accomplishment. High school period can’t pay more attention to the science education but to grasp both sides. In addition, it is necessary to popularize quality education and improve the overall quality of students from all aspects in order to lay a good foundation for entering university. In the university curriculum, we should add the curriculum of Chinese traditional language and culture and the comparative appreciation of Chinese language and culture with other countries, especially in western countries. In this way, we can increase students’ appreciation ability, so that the majority of students can feel the charm of Chinese traditional language and culture, deepen the understanding of Chinese traditional language and culture in the process of comparison with other countries, and make more efforts to protect our traditional language and culture. Many attempts have been made in folk such as the rise of modern private school. Although there is a conflict with the law of compulsory education, but its spirit of exploration should be affirmed and supported.

Thirdly, we need greater efforts to enhance the development of traditional media. Under the pressure of new media, traditional media has a trend of decline. Newspapers are in danger of dying out in the new media age; book sales are also declining year by year. Although journals have entered the digital age, the cultural capacity of them is not high and the transmission channel is not unblocked. If all of these are not solved in time, the consequences will be serious. Moreover, traditional media is an excellent way to spread traditional language and culture. Therefore, it is necessary to continuously explore the new advantages of traditional media and learn advantages from other media, so as to make the traditional language and culture flourish in the traditional media.

Fourthly, The media should hold more programs about traditional culture. The traditional language and culture should be consciously or unconsciously integrated into the program, so that the audience can get spiritual sublimation. Traditional cultural programs may have low viewing rate due to their monotony and slow rhythms. This requires the media director to find a way. In this regard, CCTV’s ''Lecture Room'' is a good example. It integrates traditional language and culture into the program in a novel and unique way. It not only spreads Chinese traditional language and culture to the audience, but also leads to an active atmosphere and increase the attraction. As a result, the viewing rate will naturally be higher. In recent years, the film about traditional language and culture is also very popular. The film Confucius and Sacrifice have achieved good earnings. These films show the charm of Chinese traditional style to the world, and have a great significance for the inheritance and development of traditional language and culture. The media therefore has a long way to go in this regard.

Fifthly, we need to speed up the construction of websites that can inherit Chinese traditional language and culture. In the new media era, with the rapid development of science and technology, electronic language is also sweeping the whole network. How to open up a new world of Chinese traditional language and culture in this new field has attracted more and more attention. From my perspective, it is very important for us to adhere to our own principles in the virtual network. In order to protect the traditional language and culture and resist the invasion of electronic language, we must first make the traditional language itself become strong. It is a good choice to run a website that can inherit Chinese traditional language and culture. The website we want is not a pile of meaningless electronic language, but to carry forward the development of Chinese traditional language and culture. This is a spirit that needs to be firmly observed. There is no doubt that if all of these are truly achieved, it will be of great significance to the standardization of language.

===Inheritance and Innovation of Chinese Traditional Language and Culture through New Media Means===

The above measures are general protection measures for Chinese traditional language and culture. With the continuous development of the new media era and the continuous innovation of science and technology, we need to learn to use the means of new media to protect and inherit Chinese traditional language and culture. This part takes cultural TV programs as an example to discuss how to use TV cultural programs to effectively inherit traditional language and culture.

In recent years, TV cultural programs have become increasingly popular. Under this background, many TV media have participated in the creation of traditional cultural TV programs. The explosive and hot broadcast of TV cultural programs can not only give full play to the communication function of TV programs, but also realize the role of TV program communication in promoting traditional language and cultural spirit. Therefore, how to maintain the original intention of traditional cultural heritage of TV cultural programs is the main purpose of its development. At the same time, through the continuous optimization of the content of the program, it realizes the effective dissemination of traditional language and culture, and thus plays a good role in promoting the construction of a harmonious society.

The first thing is to innovate the program content so as to inherite our excellent language and culture. As a kind of mass media, TV has its own artistic variability. This is mainly because television provides a lot of communication channels, and also shows the diversity of traditional cultural content in the process of inheriting traditional language and culture. Therefore, television should be the main channel for inheriting traditional language and culture. When disseminating knowledge, TV cultural programs also choose higher quality traditional language and culture and realize the inheritance of high-quality traditional language and culture through the continuous innovation of communication forms, thus showing the vitality of traditional language and culture and the responsibility of mainstream media. As early as 2016, the State Administration of Radio made a new deployment for the innovation of radio and television programs. At the same time, it also guided radio and television stations at all levels to actively do a good job in building cultural self-confidence, encouraged radio and television stations to actively innovate, so as to lay a good foundation for the prosperity and development of socialism and high-quality traditional language and cultural programs. It also constantly promotes the effective integration between television media and traditional language and culture. The innovation and creation of excellent TV cultural programs can not only realize the inheritance of traditional language and culture, but also guide young people to actively undertake the main task of inheriting traditional language and culture, which provides reliable support for traditional culture education. At the same time, young people can be striven to be the promoter of traditional language and culture. Students have a certain leading ability and exemplary role. They can not only show the cultural confidence of contemporary young people through the program and enhance the educational function of traditional culture, but also accumulate traditional language and culture in the process of continuous exploration.

Secondly, television should improve the program structure so as to undertake the educational function. With the advent of the information age, there has been an ideological collision between various cultures, which has also affected the traditional consumption concept. With the rapid development of modern information technology, television, as an important cultural industry, plays an important role in cultural communication and transmission of Chinese cultural ideas. Under the background of cultural infiltration, China should actively publicize traditional language and culture and take it as the key content of its soft power development. Cultural strength is an important factor for the prosperity of a nation. TV cultural programs should actively enhance their comprehensive strength in the process of its development. At present, the diversified world culture is booming and the culture of various countries are infiltrating each other. The national cultural soft power plays a major role in the world development competition. TV media should actively undertake the task of spreading the traditional language and culture of the Chinese nation, and take TV cultural programs as the main way to enhance the development of national cultural soft power. In addition, the content of traditional language and culture spread by TV media should also have unique characteristics and highlight the advantages of traditional culture. Only by strengthening the dissemination of traditional language and culture can we lay a good foundation for the future development of China. At the same time, we can also spread the high-quality traditional cultural spirit for young people so that 5000 years of brilliant treasures can be inherited and carried forward. As an important carrier of socialist core values, television should realize the arduous task of carrying forward traditional culture, accelerate the popularization and inheritance of Chinese traditional language and culture and guide teenagers to correctly understand excellent traditional language and culture so as to realize the effective penetration of socialist core values. Although the Internet has had a great impact on the media, and also made the cultural communication have a new direction and mode, the television communication media still occupy a dominant position and should take the responsibility of the mainstream media. Therefore, TV cultural programs should take full use of the advantages of TV media, choose innovative communication methods, fully display the characteristics of traditional language and culture through the optimization of communication content. With the assistance of Internet media, we can inherit and carry forward traditional language and culture, and promote the sustainable development of traditional language and culture in the era of new media.

On the other hand, cultural TV programs should enrich their forms and highlight characteristics of Chinese language and culture. TV cultural programs should actively use the interactive mode of all media. Many TV cultural programs in their production process are integrated with variety show forms to attract audience attention. In addition to the traditional on-site interaction, TV programs should also actively mobilize the participation and interaction of off-site audience in the new media era. In addition, we should also actively enrich the stage manifestation of TV programs. Through the effective application of modern data technology, high-tech elements can be added to the broadcast of TV programs, so that the audience can be immersive and close the distance between traditional language and culture and them. Especially with the continuous improvement of people’s aesthetic level, the design of TV cultural programs should actively innovate the stage design, show the charm of cultural programs under the support of high-tech forces, and build a dynamic artistic space.

===Conclusion===

In a word, Chinese language and culture has a long history, which has made great contributions to the progress of human civilization. The inheritance of traditional Chinese language and culture needs our continuous efforts. In the new media era, the electronic language is characterized by humor and vague context, which makes it a double-edged sword. Therefore, it will also have an impact on the traditional language and culture in the process of its development, which has both positive and negative sides. This requires the state and society to actively guide the electronic language. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language. It is believed that electronic language can coexist peacefully with traditional language and culture and develop together through continuous efforts of all parties in the near future. At the same time, in the new information age, the mainstream TV media should actively take full advantages of new media, increase the dissemination of traditional language and culture through media integration, improve the national cultural soft power, and shoulder the arduous task of inheriting culture. In addition, we should also actively create original program content with our own characteristics. Under the influence of traditional language and culture, we should increase the communication effect through the form of media integration, so that the influence of traditional language and culture can be fully displayed.

===References===
*Cheng Liang, Yan Fuping 程亮，颜复萍. (2010). 新媒体时代传统文化的传播特征与对策研究 [Research on the Communication Characteristics and Countermeasures of Traditional Culture in the New Media Era]. ''中华文化'' Chinese Culture (04) 118-121.
*Cao Xue 曹雪. (2008). 电子传播时代的媒介复古 [Media Retro in the Era of Electronic Communication]. Linfen: Shanxi Normal University 山西师范大学.
*Duan Huining 段慧宁. (2019). 电视文化类节目对中国传统文化的创新传播——以《国家宝藏》为例 [The Innovative Dissemination of Chinese Traditional Culture by TV Cultural Programs——Taking ''National Treasureas'' an example]. ''传播力研究'' Research on Transmission Competence 3(22) 5-6.
*Feng Wei 冯薇. (2012). 试析网络语言对现代汉语的冲击与影响 [A Brief Analysis of the Impact of Network Language on Modern Chinese]. Guangzhou: South China Business College, Guangdong University of Foreign Studies 广东外贸大学南国商学院.
*Gao Ling 高凌. (2021). 新传播环境下电视人文节目如何传播传统文化 [How TV Humanities Program Spread Traditional Culture in New Communication Environment]. ''记者摇篮'' Journalist Cradle (11) 123-124.
*Huang Xiaoqin, Huang Huang 黄小琴，黄璜. (2011). 中国传统文化传播的绿色传播策略 [Green Communication Strategy of Chinese Traditional Culture Communication]. ''新闻与传播研究'' Journalism & Communication (11) 14-15.
*Lv Hongzhou 吕红周. (2010). 语言特征 [Linguistic Features]. ''外语学刊'' Foreign Language Research (09) 48.
*Luo Yingxia 罗英侠. (2007). 论网络语言对汉语言文化的影响 [The Influence of Network Language on Chinese Language and Culture]. Luoyang: Henan University of Science and Technology 河南科技大学.
*Xin Ke, Wang Lingling, Wang Lei 辛科，王玲玲，王磊. (2009). 浅析网络语言对中国语言文化的冲击 [A Brief Analysis of the Impact of Network Language on Chinese Language and Culture].''消费导刊'' Consume Guide (02) 08-10.
*Xu Miaomiao 许苗苗. (2009). 电子语言——创新结构与跨界应用 [Electronic Language——Innovative Structure and Transboundary Application]. ''文艺研究'' Literature and Art Studies (10) 99-106.
*Zhu Qinghe 朱清河. (2011). 跨文化传播视角下中国传统文化智慧 [Chinese Traditional Cultural Wisdom from the Perspective of Intercultural Communication] ''陕西师范大学学报'' Journal of Shaanxi Normal University (03) 143-151.

===Terms and Expressions===

*电子语言 electronic language
*文化垃圾 cultural garbage
*粗俗化 vulgarization
*普通话 Mandarin Chinese
*素质教育 quality-oriented education
*现代私塾 modern private school
*《百家讲坛》 Lecture Room
*《孔子》 Confucius
*《赵氏孤儿》 Sacrifice
*广电总局 the State Administration of Radio

===Questions===

*1. What is the definition of the electronic language?
*2. The expression of electronic language depends on the context and its meaning is vague. (T/F)
*3. Why is the viewing rate of traditional culture programs low?
*4. Adolescents are not extremely sensitive groups and are not willing to accept new things. (T/F)
*5. What are important measures to guide the healthy development of electronic language?

===Keys===

*1. Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on.
*2. T
*3. Traditional cultural programs may have low viewing rate due to their monotony and slow rhythms.
*4. F
*5. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language.

==英语笔译张姣玲 Zhang Jiaoling 202170081607==
<center>'''The comparison of the translations of Li Bai’s poem Changgan Xing(Ezra.Pound's Version and Xu Yuanchong's)'''</center>

<center>Zhang Jiaoling</center>

===Abstract===

As one of the representatives of Traditional Chinese culture, poetry and its English translation are favored by literati. Li Bai's masterpiece Changgan Xing has been translated by many Chinese and foreign scholars. This paper makes a comparative study of Ezra Pound's and Xu Yuanchong's translations under the guidance of functional equivalence theory, and finally points out the translation steps that should be followed when translating poems under the guidance of this theory.

===Key words===

Comparison; ChangGanXing; Ezra Pound; Xu Yuanchong; Functional Equivalence

===Introduction===

As a literary genre, poetry is rich in thoughts, emotions and imagination, with refined language and beautiful rhyme, and particularly strong imagery. The translation of poetry not only requires accurate reflection of the original content and its imagery, but also requires the translation to be consistent with the original in form and style. When it comes to Chinese poetry, especially Romantic poetry, one can easily associate it with the Poet Immortal Li Bai. He wrote more than 1000 poems throughout his life, which occupy an important position in the development of Chinese classical poetry. His poems is wild and unrestrained, dashing and bold, thus leaving a deep impression on readers. Li Bai's life was unusual in that he revered freedom, loathed the worldly officialdom, and lived his own life. His romantic life provided material for his poetry, and he left many masterpieces in the history of Chinese poetry. It is noteworthy that it was his rich life experiences that had a profound influence on his poetic creation. The poem Changgan Xing is a household Yuefu poem written by Li Bai. The whole poem is written in the form of a merchant woman living in Changganli self-talking, recalling her loving past with her husband and expressing her undying love for her husband in another country. The poem mainly describes the merchant woman’s memory of her and her husband’s innocent childhood, then their wonderful married life, and the protagonist’s endless missing of for her husband after his departure.

Xu Yuanchong is a professor at Peking University and a renowned translator. He has been engaged in literary translation for more than 60 years, and his achievements are so high that he was awarded the Aurora Borealis Prize for Outstanding Translation of Literature in 2014, one of the highest awards in the international translation community. He has been publishing his translations since 1956, and his major works include The Songs of Chu, Three Hundred Tang Poems, and Three Hundred Song Lyrics. Mr. Xu Yuanchong's translation works have promoted the exchange between Chinese and Western cultures and brought outstanding Chinese literary works to the world, especially his translations of classical Chinese poems. In addition, he put forward a series of translation theories, which enriched the traditional Chinese translation theory and promoted the development of translation studies. Mr. Xu Yuanchong's translation theory is mainly based on his "Three Beauties" principle, which holds that "the beauty of meaning means that translated poems should touch the reader's heart as much as the original poems do; while the beauty of sound is that they should have pleasant rhythm as the original poems have; and the beauty of form means that the translated ones should maintain the form of the original poem as much as possible.” Mr. Xu once talked about the relationship between the "Three Beauties" in his article on translating poems: "the beauty of meaning" is the most important, "the beauty of sound" the second, and "the beauty of form" is even less important. (Xu Yuanchong, 1979).

Ezra Pound (1885-1972), a leading representative of 20th century imagist poetry, was also a major founder of British and American modernist poetry. Both a poet and a translator, Pound translated many Confucian classics as well as classical Chinese poems. In 1915, Pound published his English translation of an ancient Chinese poetry anthology, Cathay, which was immediately received by Western society as "one of the best ten or so American poems of the 20th century”. Jeff Twitchell says, "Before Pound, China had no literature worthy of her name popular in English-speaking countries." (Jeff Twitchell, 1992) Pound's idea of poetry creation greatly influenced his idea of translation. Pound advocated translation without emphasizing fidelity to the meaning of the original text; what he sought was to reproduce the details and imagery of the original text in the translation. Imagery is the soul of the poetry translation, without which the translation of poetry would be meaningless.

This paper takes Li Bai's Changgan Xing as the object of study and compares and analyzes Pound's translation “TheRiver-Merchant’s Wife: a Letter” and Xu Yuanchong's translation “Ballad of a Trader’s Wife” under the perspective of Eugene Nida’s functional equivalence theory.

===Methods and Theories===

The term "dynamic equivalence" was first proposed by Eugene Nida in his 1964 book Toward A Science of Translating, emphasizing that "the relationship between receptor and messageIn such a translation (dynamic equivalent translation) one is not so concerned with matching the receptor-language message should be substantially the same as that existed between the original receptors and the message"(1964:159). In The Theory and Practice of Translation, Nida proposed that "Translating consists in reproducing in the receptor language the closest natural equivalence of the source-language message, first in terms of meaning and secondly in terms of style." (Nida & Taber 1982: 74). By the end of the 1980s, Nida replaced "dynamic equivalence" with "functional equivalence" in order to emphasize the concept of "function" and to avoid the misunderstandings of "dynamics" by some people, emphasizing that translation is a form of communication focused on reproducing the original language. Functional equivalence requires "not only the equivalence of the content of the message, but also, as far as possible, the equivalence of the form.” Nida clearly states that "the closest natural equivalence" is used to reproduce the original message. In the early 1990s, "functional equivalence" was further divided into two categories including the maximal level of equivalence and the minimal level of equivalence; the former is defined as “The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did" , which is the highest level pursued by the translation, while the latter is stated as “The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it”.(Nida 1995:224;1993:118) The highest level of functional equivalence is an ideal state, which is rarely achieved in texts other than those with little aesthetic value of factual information. The lowest level of functional equivalence is more realistic, and any translation below this level is unacceptable (Nida, 1993: 118). A good translation always lies somewhere between the two levels (Nida, 1995). The theory of "functional equivalence" is flexible, and there is considerable diversity between the highest and lowest levels. Compared with other translation theories that focus on a single theoretical criterion, the "functional equivalence theory" allows for diversity in the translation process. Translators have more autonomy to "deal with some of the problems of variability in different texts, of significant differences between readers, and of differences in the use of translation for research, for publicity, for pleasure, etc." (Nida, 1996: 114).

===On the level of word===

First, from the translation of the title, Xu Yuanchong translated it as "Ballad of a Trader's Wife", while Pound translated it as "The River-merchant's Wife: A Letter". Both of them are translated by understanding the whole poem, rather than simply translating it as "Changgan Xing". This is because the whole poem is mainly about the woman's longing for her husband through the description of various imagery. Such a translation is also closely related to the context in which the poem was composed. In the middle and lower reaches of the Yangtze River and the Han River valley, business was flourishing back then, and cities were prosperous with frequent trade contacts, and merchants were running their businesses from region to region. The wives of merchants had to wait and miss their husbands at home. Xu Yuanchong's and Pound's translations are all appropriate in this respect.

Every word in Changgan Xing is carefully chosen as it describes the merchant wife's longing for her husband. As words are the smallest unit in poetry, they are nevertheless the first step in translating poetry. In the first six sentences of this poem, Li Bai described the growth of two children, depicting the happy childhood of a boy and a girl playing merrily, leaving readers a good memory of the protagonist and her husband, and creating a pair of innocent and lively children images.

妾发初覆额，折花门前剧。
郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: While my hair was still cut straight across my forehead：
I played about the front gate：pulling flowers.
You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people：without dislike or suspicion.

Xu Yuanchong’s version: My forehead barely covered by my hair：
outdoors I plucked and played with flowers fair.
On hobby horse you came upon the scene：
around the well we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Analyzing the translation of these sentences, it is easy for us to see that Pound only tried to express the meaning of the original poem, while Xu tried to make the translation more like the original poem. In the first line, Pound chose the word "still" to emphasize the time and state, making the translation closer to the original. As for the understanding of the two’s playground, Pound translated it literally as "front-gate", while Xu chose "outdoors", the same thing was meant with their different choice of words. Then concerning the understanding and illustrating of an ancient toy made of bamboo, Pound chose "bamboo stilts," which is less faithful but easier for foreigners to understand, while Xu chose the word "hobby horse," which is easy to understand for the Chinese, but not so easy for foreigners. The word "bed" in modern times has a different meaning than it does in ancient times, so Pound chose "seat", while Xu chose "well" according to his understanding. In the last sentence, Li Bai described the friendship between two children, and Pound chose "two small people" to indicate their childhood, while Xu's "children twain" is a further explanation, which is more faithful to the original poem as it shows the happy sporting and innocent friendship between the boy and the girl.

These two lines delicately depict the shyness and sweetness of the newly married.

十四为君妇，羞颜未尝开。
低头向暗壁，千唤不一回。

Pound’s version: When I was fourteen: I married my master.
I never laughed: and I was shy.
I lowered my head and looked at the wall.
I had never looked back at one thousand calls.

Xu Yuanchong’s version: When I was fourteen：I became his bride.
I often turned my shyness face to the side.
I hung my head on the dark wall：
and I refused to answer his call.

In the translation of these two sentences, Pound chose to use "my master" to explain the meaning of "husband" to expresses the wife's respect and obedience to her husband, which is very appropriate for the time. Compared with Xu's choice of "he", "my master" seemed to be more appropriate. As for Pound's choice of the phrase "one thousand calls", it clearly showed the girl's shyness and her respect for her husband. Taking the fact that the girl is only 14 years old, and they live in a feudal society, so Pound's choice of words was very appropriate. As for Xu's choice of "dark wall", he actually misunderstood the original meaning, so his choice of words seemed to be inferior.

The following two sentences indicate the wife’s worries about her husband's business trip, showing her genuine concern and love for her husband, creating a heavier atmosphere for the reader.

十六君远行，瞿塘滟滪堆。
五月不可触，猿声天上哀。

Pound’s version: At sixteen years old：you leave：
you go to a distant place：in a swirling whirlpool.
You’ve been away for five months.
The monkey made a sad voice on the top of his head.

Xu Yuanchong’s version: When I was sixteen years old： he went far away：
through three Canyon covered with rock gray.
In the ship crash： when the spring flood was rising：
The crying in Gibbons seemed to come from the sky.

Pound chose to translate these two verses indirectly. The biggest problem with his translation is the misunderstanding of five months. In the original poem, Li Bai meant May. While Xu wisely skipped the time marker and used only phrases to express the time.

门前迟行迹，一一生绿苔。
苔深不能扫，落叶秋风早。
八月蝴蝶来，双飞西园草。
感此伤妾心，坐愁红颜老。

Pound’s version: You’ve dragged your feet when you go out.
Now：the moss are green：
different moss：too deep to clear them!
In autumn the leaves fall early in the wind.
The pairs of butterflies have turned yellow on
the lawn of the Western Garden in August.
They hurt me. I’m getting old.

Xu Yuanchong’s version: Now the green moss in front of our door are slight;
his footprints：hidden：can no longer be seen.
The moss cannot be washed away：the dense leaves will grow：
and when the wind blows： the leaves will fall early.
The yellow butterflies in the autumn will pass two on the
grass on the west side of the garden.
The scene would break my heart：
and I was afraid to sit alone：
and my cheeks would fade.

In these next four lines, in Li Bai's description, the protagonist was touched by the scene she saw and then fell into a constant state of anxiety. The description of the scene gives the reader an immersive experience as well. Pound's translation of these four lines also created a more vivid picture than Xu's. In order to show worry and fear, Pound chose the word "hurt" to imply the double meaning, referring to both psychological and physical injuries. The protagonist's mourning showed her helplessness as a feudal woman. Xu's choosing of "cheeks" and “fade” was even better, because women's cheeks are like roses which only shine their beauty in youth, while fading indicated her growth and fear of growing old.

===On the level of sentence===

In the translation process, when the translator has decided and embellished the words to be used, they must also take the entire sentence pattern into account.

郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people: without dislike or suspicion.

Xu Yuanchong’s version: On hobby horse you came upon the scene：
around the wall we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Through analysis, it is easy to see that Pound used different syntactic techniques, such as "playing" to express two actions at the same time, while Xu only used simple past tense to imply the time, which is slightly inferior.

The last two lines of the poem express the protagonist's hope and deep love for her husband, and her wishes of him coming home early and promises that she will meet him not far from home.

早晚下三巴，预将书报家。
相迎不道远，直至长风沙。

Pound’s version: If you are coming down through the narrows of the river Kiang：
please let me know beforehand.
And I will come out to meet you as far as Cho-fu-sa.

Xu Yuanchong’s version: O when are you to leave the western land?
Do not forget to tell me beforehand!
I’ll walk to meet you and would not call it far
Even to go to Long Wind Beach where you are.

By comparing the two translations, Pound used "If you are coming down" to express the wife’s longing for her husband; Xu chose direct words to show what the wife wanted to say to her husband, creating a more vivid scene. For readers, Xu's inner monologue is more touching than Pound's.

===On the level of culture===

1.Translation of Idioms and Allusions. There are two idioms and two allusions in the overall content of Changgan Xing. They are "青梅竹马（Qingmei Zhuma）" and "两小无猜（Liangxiaowucai）"; "抱柱信（Baozhuxin）" and "望夫台（Wangfutai）". The cultural interpretation of "Qingmei Zhuma": Qingmei refers to green plum; Zhuma is a bamboo pole played by children as a symbol of horse. It describes the innocence and playfulness of young children. Now it refers to the intimacy between men and women when they were young. Pound obviously failed to interpret the cultural meaning of it, and mistook it for the boy stepping on bamboo stilts and playing horse, which is a ridiculous mistranslation in Chinese readers’ eyes, but fills English readers with a surprised and fresh feeling and making them impressed on how romantic the young boys and girls in ancient China were! This unintentionally became his punch line. Professor Xu Yuanchong's translation cleverly replaces the "Zhuma" in the original poem with the "hobby horse", a common childhood game tool, so that English readers can easily appreciate the true meaning of the innocent game of boys and girls in the original poem according to their own life experience. This not only preserves the real intention of the original poem, but also makes it easy to be understood by English readers. It may seem to be unfaithful to the original poem in the surface, but in fact it is an evocative interpretation of the classical Chinese culture contained. In addition, "around the well" is even more impressive, vividly depicting the happy scene of boys and girls chasing and playing in the courtyard and by the well.

The allusion "Baozhuxin" is from Zhuangzi, a man named Weisheng made an appointment with a woman to met under a bridge, Weisheng arrived first, and suddenly the water rose, he kept his promise and refused to leave, so as a result, he was drowned while holding to the pillar of the bridge. Since then, people used "Baozhuxin" as a metaphor for keeping faith with love. "Wangfu tai" is taken from the Southern Dynasty Liu Yiqing’s The Book of Ghost Stories: there is a stone resembling a woman in Beishan, Yangxin County, Wuchang; Legend has it that: in the past, there is a chaste woman, her husband joined the army to save their country, so the woman together with their weak son bid farewell to him to this mountain, standing there lookout and turned into a stone, therefore got the name of “Wangfutai”. This is an allusion used to describe a wife missing her husband, or to describe the utmost sincerity. These two lines mainly express the wishes of the merchant woman to her husband, who should remember the vow he made on that day and never leave her and adhere to their love, so that the merchant woman will never have to climb up the mountain to look at her husband’s direction. These two lines contain both the wife to her husband's entrust as well as her hidden worry for him. Pound failed to translate these two allusions, and delivered a weak transformation in the cultural dimension. Xu Yuanchong's translation adopted the domesticating method, as he avoided a direct translation of the allusions but managed to convey the spirit of the allusions: that is men should keep their promises.

2.Translation of rhetorical devices. Figures of speech are used to express the true feelings of the protagonist. Therefore, translators must pay attention to the translation of those devices. The use of simile, metaphor, personification and other figures of speech are prominent features of Li Bai's poems. Both Pound and Xu Yuanchong are flexible in dealing with exaggeration in this poem, which can also reflect the translator's skills in choosing appropriate sentence patterns in translation. The change of words or sentence patterns will affect the feeling of translation, so the artistic conception of the original poem must be taken into consideration by the translator.

===Conclusion===

This paper mainly studies two translated versions of Changgan Xing. One is Pound's interpretation and translation. , because Pound himself knew little about Chinese as well as about Chinese historical background. Pound, American poet and literary critic, is a representative of the magist. He is one of the leading figures of postsymbolism. From the study of the Chinese classical poetry and the Japanese haiku, he put forward the theory of “poetic imagery”, and made great contributions to the study of Eastern and Western poetry. Pound does not understand Chinese. The Chinese classical poetry can be translated because he got Earnest Fenollosa’s private manuscript. Pound chooses 19 Chinese classical poems and translates them into English, including Li Bai’s Changgan Xing. Pound’s translation of Li Bai’s works has already been the second interpretation, which can cause misunderstanding to the poem. Although Pound’s translated poem has enjoyed a high popularity in the western literature and is named as one of the excellent translations, it has some obvious mistakes, which deserve our attention and discussion. The other translator is Xu Yuanchong, an expert in translation of the classical poetry, who has published numbers of works of translation and translation theories. As a representative of the imagist movement, Pound is very fond of imagist poetry which especially emphasizes the hazy beauty. Therefore, the interpretation of concrete words is not taken very seriously. In order to pursue the creation of hazy beauty, Pound’s interpretation of Li Bai’s poetry damages the poetic mood and rhythmic beauty of the original poem. And Pound himself also explained that he was eager to pursue the image of the poem and did not blindly interpret the meaning of poem but to grasp more details and compress the author’s thoughts and feelings. As the first translator to win the Aurora Borealis Prize for Outstanding Translation of Literature, one of the highest awards in the international translation community, he has made great contributions to Chinese literary translation. In his translation career, Mr. Xu not only translated a large number of Chinese and Western cultural classics, but also wrote several books on translation theory. In particular, his views of "Three Beauties" (beauty of sound, meaning and form) and "Three Perfections" (equalization, simplification and deepening) in poetry translation have been gradually accepted by the translation community. In particular, his principle of "Three Beauties" has been regarded by many scholars as the criterion for judging poetry translation. In Xu Yuanchong’s opinion, “to preserve the beauty in sense we may use the method of ‘paraphrase’ (free or liberal translation); to preserve the beauty in sound, we may use the method of ‘imitation’ (or adaptation); to preserve the beauty in form, we may use the method of ‘metaphrase’ (or literal
translation)” (2006: 131).
Different translations have distinctive styles. In the process of translation, complete equivalence with the original is not advocated. The translator's aim is to satisfy the needs of readers, not to cater to them. Choosing how to translate the original text is actually a balancing process between the target language and the source language. When translators try to translate some works, they can be guided by functional equivalence in order to be faithful to the original text. For functional equivalence to be achieved in poetry translation, the following steps need to be followed: The first step is to understand not only the literal meaning of the original text, but also the implied meaning of it, so as to achieve functional equivalence in poetry translation. The second step is to use one’s own words to express, to translate the allusion properly, and also to choose the appropriate rhetoric. Only in this way can the translation be easier to understand for its receiver.

===Terms and Expressions===
Changgan Xing; TheRiver-Merchant’s Wife: a Letter; Ballad of a Trader’s Wife: 《长干行》

"Three Beauties" (beauty of sound, meaning and form)：“三美”（音美，意美，形美）

"Three Perfections" (equalization, simplification and deepening)：“三化”（等化，浅化，深化）

functional equivalence theory：功能对等理论

Eugene Nida：尤金·奈达

Toward A Science of Translating：《翻译科学探索》

The Theory and Practice of Translation：《翻译理论与实践》

Zhuangzi：《庄子》

The Book of Ghost Stories：《幽明录》

the Aurora Borealis Prize for Outstanding Translation of Literature：“北极光”杰出文学翻译奖

poetic imagery: 诗学意象

===Questions===

1.What are the main methods adopted by Pound in his translation?

2.What are the main methods adopted by Xu Yuanchong in his translation?

3.Since there are many mistranslations in Pound’s version of Chang Gan Xing, is it ok for us to draw the conclusion that Pound’s translation is inferior than Xu’s?

4.Is it possible for us to find the best or a precisly equivalent translation of the original poem?

===Answers===

1.Free translation and domestication.

2.A combination of literal translation and free translation, domestication and foreignization.

3.No, it’s not. Different translations have distinctive styles. Pound’s translation has its own merits and demerits and so has Xu’s translation.

4.It is almost impoosible for us to find a precisly equivalent translation since there are always something untranslatable because of the cultural differences, and it is also difficult for us to choose the best version that everyone agrees on as each has one’s own standards.

===References===

*Eugene A. Nida. Toward a Science ofTranslating. Leiden: Brill, 1964.

*Eugene A. Nida. and C. Taber. The Theory and Practice of Translating. Leiden: Brill,1969.

*Wu Min Hua. Xu Yuanchong as a Touchstone for Ezra Pound’s Translation of Tang Poetry[J]. Comparative Literature: East & West,2021,5(1).

*Li Xingyuan,李幸原.生态翻译学视域下《长干行》三个英译本比较研究[A Comparative Study of Three English Versions of Changgan Xing from the Perspective of Ecological Transliteration][J].海外英语[Overseas English],2020(08):22-24.

*Zhang Yuan,张媛.《长干行》两个英译本的对比赏析[A Contrastive Appreciation of Two English Versions of Changgan Xing][J].延安职业技术学院学报[Journal of Yan 'an Vocational and Technical College],2019,33(06):57-60+73.DOI:10.13775/j.cnki.cn61-1472/g4.2019.06.018.

*Xu Yifan,许昳凡.目的论视角下《长干行》文化意象翻译研究——以埃兹拉·庞德译本为例[A Study on the Cultural Image Translation of Changgan Xing from the Perspective of Skopos Theory: A Case Study of Ezra Pound's Translation][J].作家天地[For Writers],2019(19):32-33.

*Liao qian, Luo Dijiang, 廖倩,罗迪江.许渊冲“三美”翻译原则和庞德创意翻译理论对比研究——以李白《长干行》为例[A Contrastive Study of Xu Yuanchong's "Three Beauties" Translation Principle and Pound's Creative Translation Theory -- A Case Study of Li Bai's Changgan Xing][J].牡丹江大学学报[Journal of Mudanjiang University],2018,27(12):103-105.DOI:10.15907/j.cnki.23-1450.2018.12.029.

*Tian Dong,Xiaolin Lin. Attitude in Appraisal Theory: A Comparative Analysis of English Versions of Changgan Xing[J]. International Journal of Comparative Literature and Translation Studies,2018,6(1).

*He Chunfang, Shi Huihui, 何春芳,石慧慧.论庞德对李白《长干行》的文化误译[On Pound's Cultural Mistranslation of Li Bai's Changgan Xing][J].湖北经济学院学报(人文社会科学版)[Journal of Hubei University of Economics:Humanities and Social Sciences][,2017,14(08):110-113.

*Zhang Qiaoping, 张巧平.诗学视域下李白《长干行》两英译本的对比研究——以庞德、许渊冲译本为例[A Comparative Study of the Two English Versions of Changgan Xing by Li Bai from the Perspective of Poetics -- A Case Study of the Two Versions by Pound and Xu Yuanchong][J].发展[The Development],2017(01):89-90.

*Han Lizhao, 韩立钊.《长干行》三个英译本的对比解读[A Contrastive Interpretation of the Three English Versions of Changgan Xing][J].西藏民族学院学报(哲学社会科学版)[Journal of Xizang Minzu University(Philosophy and Social Sciences Edition)],2015,36(03):138-141.

*Yang Meiru, 杨梅如.解析《长干行》的两个英译文本——基于许渊冲的“文化竞赛论”[An Analysis of Two English Translations of Changgan Xing -- Based on Xu Yuanchong's "Cultural Competition Theory"][J].考试周刊[Kao Shi Zhou Kan],2014(78):8-10.

*Wang Shanmei, 王善美. 功能对等视角下许渊冲与庞德英译中国古典诗歌之比较研究[A Comparative Study of Xu Yuanchong's and Pound's English Translations of Classical Chinese Poetry from the Perspective of Functional Equivalence][D].青岛大学[Qingdao University],2014.

==英语笔译张瑞 Zhang Rui 202170081608==
<center>'''An analysis of honorifics between Chinese and English'''</center>

<center>张瑞 Zhang Rui</center>

===Abstract===

The purpose of this paper is to study the use of honorifics in modern languages and the expressions of politeness in address forms. In this paper, English and Chinese are selected to study the corresponding expressions by means of data collection and analysis. The results show that the use of honorifics is influenced by language habits, cultural backgrounds, social changes and other aspects, and the development direction of honorifics is explored.

===Key words===
Honorific; personal pronouns; Comparison
===Introduction===

1.1 Background of research

In recent years, with the background of globalization, international communication and cross-culture contact has become an essential part in the modern world. When communicating with others, the question “How do I want to be addressed” might come to the mind. Languages, seen as human culture relics, have their own features that embody different customs in different societies. In everyday life, the use of language is an essential part which enables us to express, receive and communicate ideas as well as massages. Among different functions of languages, honorifics stand apart from other functions. Even though there are various forms of honorific used in different languages, the existence of honorifics serves one very purpose: to express your respect to others. The use of honorifics changes from one culture to another culture and different usages of honorifics in different languages deserve our attention.

1.2 Aims of research

Different honorifics have different meanings and are used for different purposes. Honorifics have developed along with the language itself. Theories that are used in the study of honorific include Language typology and linguistic anthropology theories.
Thus, in the following part, I’d like to illustrate the development of honorifics, similar and different uses of honorifics and the cultural connotations that honorifics indicate. Besides, the relationship between politeness and honorifics will be discussed.

===Literature Review===

2.1 Theoretical Framework

Moravcsik (2013) claims that Language typology aims to describe and explain the common properties and the structural diversity of the world's languages. Goals and tools for language typology are the key points, on which the author had put most attention and efforts to introduce and illustrate. And the author focused more on the similarities of different languages when looking into language patterns.

The key question raised is that: What is the reason for their differences and for their similarities? To find out the reasons, the author put his attention more on the similarities and differences in vocabularies, word structures, and word orders. By comparing the similarities of vocabularies, three reasons— shared historical origin, language contact and shared cultural environment (supported by respectful person pronouns)—are discussed. Then, the author talks about language types and universals with the examples of different word orders and sentence structures, and introduced the definition of language typology—the study of typologically and universally shared features of languages.

Another focus point is different kinds of statement types and corresponding statements. Statement types differ in mainly three aspects. First, the author gives the examples of alveolar nasals with the illustration of examples of food stores. Crosslinguistic statements are existential and universal. Existential statements tell us results under different language conditions. Based on universal statements, they differ in modality (absolute universals and statistical universals) and the universe they pertain to (unrestricted universals and implicational universals). Statistical statements are about probabilities: it is not only possible that the next language that you encounter has a particular feature – it is said to be probable. Absolute universals in turn are about certainties: they say that the next language you look at will have a particular feature. Difference between unrestricted universals and implicational universals lies in the relationship between implicans and implicatum as well as their complexity.

According to the relationship between terms, we can label the three implicational types: paradigmatic, syntagmatic and reflexive universals. According to their complexity, there are single implicans and/or implicatum and complex implicans and/or implicatum.

When it comes to language samples, we cannot inspect all languages. The reason for that is we cannot know what future languages will be like. Secondly, we don’t know about all the languages which have existed throughout human history. Thirdly, even with today’s extensive data bases, no linguist can consult all descriptions that are available. Thus, Matthew Dryer’s theory aims to find out a universally valid tendency based on genetic groups, geographic groups and measure of universal tendencies.
The type of a language influences the way it express meanings (金立鑫, 2006). For example, inflected languages, such as English, changes meanings by changing word forms, while isolating languages, such as Chinese, use isolated words to express special meanings.

2.2 Honorifics

Honorifics are one way we express our honor or respect to others. They are in both spoken or written languages. Different words are used to express different level of honorific. Honorifics are a simple language mechanic that allow us to express esteem or respect for the person we are speaking to. Most languages use honorifics up to some extent. But at the same time, in many languages, the need to use honorifics dissipates when we know someone well. For example, some languages like English consider it acceptable to address a senior without any title.

There are situations where one generally uses an honorific outside of official environments.

David (2013) surveys the use of honorifics in a variety of languages illustrate the forms of honorifics vary in different languages. According to the author, honorifics refer to the addressee, the utterance referent and the bystander of the discourse. How we make use of honorifics determines categories of honorifics. In most cases, we change words we use on occasions where we are supposed to revere others, so that we can communicate better. That means honorifics are lexically different. The use of honorific varies based on the situations. With different individuals’ status being expressed, there are three main types of honorifics.

The first type of honorifics is the addressee honorific, which aims to indicate the social status of the individual spoken to, or the hearer. Addressee honorifics express the social status of the person being spoken, which are normally higher than that of the speakers. Besides, people may use honorifics to show his politeness to the hearers, even though their social statuses are equal. For instance, honorifics in Javanese are involved in this type. And the contents of the conversations don’t matter.

The second type of honorifics is the referent honorific, which is used to express the status of the one being spoken about. Addressee honorifics change forms of words, while referent honorifics are marked by the lexicon. In some Indo-European languages, there is another second person pronoun used to express respect, such as tu/vous in French, or du/Sie in German, siz in Turkish, thee in Middle English. In Chinese the similar variation is 你/您. For example,

German Du isst Sie essen.
French Tu manges Vous mangez.
You eat.

The T-V distinction contains the terms T-form and V-form. The idea introduced by Brown and Gilman (1960) that the use of T-V distinction was governed by power and solidarity. The T-form refers to the Latin tu, the singular pronoun indicating informality. The V-form refers to the Latin vos, plural pronoun that indicates respect and formality. By choosing a different form of pronouns, relative social status of the speaker and the hearer is shown. However, in modern English this variation has disappeared.

Another type is the bystander honorifics, which express the status of someone who is nearby, but not participating in the conversation (the overhearer). This is the rarest form of honorifics, which is mostly seen in aboriginal languages in Australian languages—the "mother-in-law languages". In these languages people change their speeches when there are in-law or other tabooed relatives’ presence. The lexicon, morphology and phonology are all affected.

As far as I am concerned, the existence of honorifics results from the differentiation of communities and societies across the world. Honorifics are seen as an embodiment of speakers’ or hearers’ social status. On the other hand, the choices of honorifics also depend on whether it is formal or informal.
Chinese scholar 孙芮乔 (2019) takes English and Chinese honorifics as examples, illustrating the politeness strategies that honorifics follow. Face-saving viewing by Brown,P. and Levinson,S (1987) refers that all qualified social adults attaches importance to their face, which consists of positive(to be praised) and negative(not to interrupt others) faces. The politeness strategy thus follows these two aspects.

Honorifics have experienced a very long history. The use of honorifics might vary in different language. But the purpose seems to be clear: to contact with other social individuals more comfortably and efficiently.

2.3 Linguistic anthropology

Linguistic anthropology is one of the branches of anthropology. Unlike linguistics which is the scientific study of the language, linguistic anthropology gives its attention more to language as it relates to socialization and culture. Linguistic Typology analyzes, compares and classifies languages according to their common structural features and forms.
Tasks and aims of linguistic anthropology includes a) the classification of languages, i.e., the construction of a system to order natural languages on the basis of their overall similarity; b) the discovery of the mechanism of construction of languages, i.e., the construction of a system of relationships, a 'network' by means of which not only the obvious, categorial mechanisms of language can be read but also the latent ones.

According to Pier Paolo Giglioli (1990) in "Language and Social Context," anthropologists study the relationships between worldviews, grammatical categories and semantic fields as well as the influence of speech based on socialization and personal relationships, and the interaction of linguistic and social members and communities.

Another scholar Wierzbicka (1997) demonstrates that every language has its key concepts and that these key concepts reflect the core values of the culture. Further, she argues that within a culture-independent analytical framework one can study, compare, and even explain cultures to outsiders through their key concepts.

According to Alessandro Duranti (1997), linguistic anthropology is the study of language as a cultural resource and speaking as a cultural practice. As an interdisciplinary study of language, it covers interdisciplinary fields of language and puts its focus especially on the effects given by the different usages of language in society. Constitutive social acts represent the social orders that people follow interpsychological (between individuals) and intrapsychological (in the same individual). linguistic anthropology specializes in the questions and topics that are at the core of anthropological research, politics of representation, the constitution of authority, cultural contact and social change, etc. The author attached importance to the culture and language diversity theories, giving the idea that “What used to be thought of as outside of language is now more and more often seen as part of language”. In the following chapters, the author illustrated Meaning in linguistic forms Speaking as social action, Conversational exchanges and Units of participation.

The author introduced ethnographic methods. That means committed to traditional ethnographic methods including participant-observation and work with native speakers, linguistic anthropologists obtain local interpretive glosses of the communicative material they record. Otherwise, they also use elicitation techniques similar to those employed by typological linguists who are interested in grammatical patterns. Recently, these methods have been combined with new forms of documentation of verbal practices developed in such ﬁelds, like urban sociolinguistics, discourse analysis, and conversation analysis.

Duranti introduces linguistic anthropology as an interdisciplinary field that studies language as a cultural resource and speaking as a cultural practice. B discussing about linguistic diversity, grammar in use, the role of speaking in social interaction, the organization and meaning of conversational structures, and the notion of participation as a unit of analysis., the theories or methods of linguistic anthropology are introduced.

One example given by the author about the standards of acceptability is that pauses and overlaps are used to interpret what is going on. And these re-starts, cut-offs as well as other corrections that speakers make of their own talk. The author noticed that the position of the corrected item is typically at the word which leads to the new topic.
In the joint work of Zdenek, S., James M, S., & Nobuko, A. (2012), it is mentioned that society and culture are key elements that differs linguistic anthropology from linguistic. Linguistic anthropologists study language in its cultural framework and think about the rules for its social use. In this way, linguistic anthropology is defined as the study of language in its biological and sociocultural contexts. An obvious difference between linguistic and linguistic anthropology is that those who study linguistic anthropology have never isolated language from social intercourses but have in interdependence with cultural and social structure.

According to the author, the method that linguistic anthropologists commit to is participant observation—observe the day-to-day activities in the field places. And then, the author analyzed speech sounds, sentence as a link to social behaviors and nonverbal communications such as emotions and feeling. From chapter 3 to chapter 10 the author focused on the different aspects of language itself. In the following chapters, cultural elements were introduced to elaborate how language shapes communication and influences culture.

One example is the salespeople’s pronunciation of r-sound in New York City. The researcher, Labov who later gathers examples in a supermarket, assumed that salespeople in large department stores were likely to borrow prestige from their customers and hypothesized that “salespeople in the highest-ranked store will have the highest values of (r); those in the middle-ranked store will have intermediate values of (r); those in the lowest-ranked store will show the lowest values”, which was proved to be true. That means language reflects personal identity.

Christine Jourdan (2006) takes language as a tool of thought and perception and discussed how language influences our perception of the world.

Linguistic anthropology solves the problems such as how to collect language data and how language influences the understanding and perception of human societies. It aims at the actual use.

===Methodology===

3.1 Collection of examples and data

To compare different languages, we need a great number of data as well as examples. As loads of examples are gathered, the first problem that gets in the way is that: what are the most typical examples that we can use to support the theories? The subject of this paper is honorifics of languages: English and Chinese. Most examples were collected from actual use of languages including living honorifics that are used nowadays and ones that are in limited use or are already ‘dead’. To compare different examples, we need not only those we are using but also ones that appeared in the history and later were abandoned. Attentions are also put to clearly support the theories. The examples as well as terms are obtained from dictionaries, grammar books or Internet.

3.2 research questions

1) In different languages, the standards in choosing most proper words are quite different. Still, it shouldn’t be neglected that there are similar or even same forms of honorifics used in the different languages. So, here comes the first question: What are the culture connotations that differentiate the various uses of honorifics?
2)Languages in the same culture groups share many similarities. But as languages develop, uses of honorifics may go on separate ways. In the following part, I’d like to discuss: what are the elements that have made languages formed their own expressions and rules?
3) As we are studying and analyzing existing samples, it is also important that we get our eyes on the future: In which direction may honorifics develop? What are the development patterns of honorifics?

To sum up, by gathering, comparing and analyzing data and examples in different languages, the author focuses on above questions.

===Honorific examples in English and Chinese===

Nationality, language and religion—these are the elements that influence people of certain cultures. As languages reflect nationality, so do honorifics. Even though there may be as many forms of honorifics as languages, the very purpose is basically the same—express respect and communicate in a better way. It reflects the relationship between the speaker and the listener. Moreover, the use of honorifics shows difference in social status, distance as well as in occasions.

To compare different languages, we need a great number of data as well as examples. Most examples were collected from actual use of languages including living honorifics that are used nowadays and ones that are already ‘dead’. To compare different examples, we need not only those we are using but also ones that appeared in the history and later were abandoned. Attentions are also put to clearly support the theories.

4.1 English honorifics

In Modern English, honorifics are also frequently used. However, its honorific terms are relatively few compared with languages like others. Usually, a man is cited as Mr. and a woman Miss. By prefixing a person’s name could we express our respect to the listener. Such prefixes include: Mr, Mrs, Miss, Ms, Mx, Sir, Dr, Lady or Lord as well as titles or positions—President, General, Captain, Father, Doctor,etc. In Table 1 are some English honorifics that are frequently used.

Neutral Male Female
Mx Master Miss/Mrs
M Mr Ms
Gentleman Ladies
Sir Madam/Ma’am
Sire Dame
Lord/Baron Lady
Fr: (Father)
Br: (Brother) Sr: (Sister)
His/her Excelency
His/her Honour

Linguistically, there are basically three types of honorific terms in English: honorifics. that prefixes immediately a person’s name (Mr., Ms.); honorifics denoting the honored person's occupation (Doctor, Father); some honorifics completely replace a name or occupation, as "Sir" or "Ma'am", or "Your Honor”. Subordinates will often use honorifics as punctuation before asking people of higher status a question or after responding to an order: "Yes, sir" or even "Sir, yes, sir."

Based on the actual uses, there are common tiles, formal titles, and religious titles. Common titles, such as Mr., are frequently used in daily life. These honorifics don’t put too much emphasis on one’s social status. Their classifications are based on the natures of hearers—ages and genders. For formal titles, the difference of social status does make a difference. By addressing someone with his academic or professional titles, both politeness and respect is achieved. Under some circumstances these appellations are necessary. For example, “John Bercow, Speaker, Britain's First Commoner (that's an honorific for the class conscious of you out there), was greeting and welcoming his new intake in Portcullis House. He is master of this domain."(Simon Carr, "My Ill-Tempered Encounter With the Speaker." The Independent, May 12, 2010)

Affected by religions like Christianity, Judaism, Islam and Buddhism, there are also relevant terms for believers to express their respect in special situations. In some religious organizations, members follow certain religious orders where appellations also follow some rules. Here is an example from Bible:

But when you pray, go into your room, close the door and pray to your Father, who is unseen. Then your Father, who sees what is done in secret, will reward you.

Matthew 6:6
As we can see, English honorific terms mostly belong to the referent honorific and the bystander honorific, which means English users express their respect to the ones they are talking to and talking about in a direct way.

4.2 Chinese honorifics

Etiquette, one of characters that has been valued in Chinese’s society, reflects special features of Chinese culture. Choices of honorific terms or titles are an important element in the proper observation of etiquette. The history of Chinese honorifics could be divided by New Culture Movement into two periods: honorifics in Classical Chinese and in vernacular Chinese. There are general four types of honorifics: Respectful Language(employs modified words or substitutes called respectful vocabulary that convey a sense of respect for the addressee), Humble Language(Language employs modified words or substitutes called humble vocabulary that convey a sense of self-deprecation and humility for the speaker), Indirect Language(employs words called indirect vocabulary - e.g., euphemisms that are used to hide or beautify an otherwise unfortunate event or action.), and Courteous Language(employs specific words or phrases that have courteous and praising connotations intended to flatter the addressee). Most honorific appellations belong to the range of Respect Language and Humble Language, which will be talked about.

In Classical Chinese, the difference of social status and classifications breeds respectful and humble forms in the use of language. The honorific system is quite complex. A large number of fields, including pronoun substitutes, modified nouns, proper nouns, and pronouns, modified verbs, honorific adjectives, honorific idioms, and honorific alternatives for other neutral or deprecating words, indicate its complicacy. During a conversation or when writing a letter, using proper appellations is necessary. Speakers always employs humble terms to indirectly beautify the listener and respectful terms to directly for the same purpose.

Speaker（I, me） Listener（You）
某公
在下足下
先生
君侯
For example,
“某为医一生，未尝见此，君侯真天神也！” —《三国演义》第七十五回
As one indicates someone or something that is not present in the conversation, he would prefix XX with following prefixes and suffixes.
(the bystander honorifics)

Praise degradation
贵~（noble）鄙~（humble）
尊~（Respected）贱~（lowly）
令~（excellent）舍~（my/our）
贤~
~公

With the promotion of vernacular Chinese, New Culture Movement in China further hastened the demise of the traditional Chinese honorific system. In modern China, those terms representing traditional monarchy have been outdated in the history. Instead, salutations, such as 亲爱的/尊敬的/敬爱的, are frequently used in speeches and letters. Other appellations, according to one’s social position (老师，科长，处长)，age or gender (大伯，大婶，大爷) convey respect to the listener. The second person pronoun“您”and variants such as“您老人家”are also another form of honorifics in modern China.

===Comparison===

As time goes by, languages are changing initiatively or passively. Even though most languages do not look like its original forms, the inner spirits of the way languages used could somehow pass down with history. When it comes to honorifics, both eastern and western languages conform to that. Whether it is English or Chinese, honorifics in different periods of time reflected the specifically social conditions and social background of its time.

Nowadays, based on the above examples of these languages, we can find that concerns about elements like gender, age or the degree of intimacy. Thus, the use frequency, word choices, attitudes, classifications, existence basis and development levels vary greatly from each other. In the process of communications, languages, seen as the reflection of cultures, may have different methodologies. One of them is the use of honorific terms. Even though languages differ from each other in many ways, we can still find something common when honorific terms are employed. Nowadays, contacts between nations have never been so convenient and frequent. During the conversations, people would like to take certain methods to express ways in crosslinguistic communications. For example, the term Mr. /Miss. Is always welcome. There were also counterparts of the term Mr./Miss which were not used in their languages. So, it is international communication that has somehow contributed to the transformation of certain languages.

As far as I am concerned, two key elements are showing respect and avoiding taboos. The earth is seen as a small village where members can exchange different ideas though convenient technologies. Still, it comes first how we can communicate better and more effectively, how we can be respected by those from another culture? Face with these problems, language users may have increased their tolerance for wrong usages in their languages and tried to avoid taboos. In the following part, I would like to illustrate some points during the study.

5.1 T-V distinction

Of more than ninety languages, there is a different form of second personal pronoun to deliver formality. Such phenomenon is called T-V distinction, which is named from the Latin pronouns tu and vos. Originally in Latin, two terms differ only in singular/plural use. The idea introduced by Brown and Gilman (1960) that the use of T-V distinction was governed by power and solidarity. A powerful person to use a T-form but expect a V-form in return.

Take English and Chinese as examples. In Modern English, there is no such variation. The pronoun you is used both in formal and informal situations. And its function of showing respect towards addressee is not that clear as its counterparts in German or French. However, back in Middle English, the second person pronouns thou and ye conformed to the distinction, as T form (thou) was used by people with higher social status to lower ones and V form (ye) is used by people with lower social status to higher ones. But over time that was considered polite to use the formal meaning in more and more contexts until the informal meaning was lost. Besides, T form was used within lower classes, when addressing God and when the addressee was not absent. and V form was also used by upper-class members when talking to each other. Such usage was believed to have come into effect with imitation of French among Norman French nobility. Later as other pronouns demised in Modern English, leaving you as V singular and plural pronoun. English was discarded from T-V languages.
In modern Chinese, this distinction shows as 你/您. Its V form (您), however, didn’t exist in Middle Chinese when it was in Tang Dynasty. Later in Yuan Dynasty, it appeared in the form of 恁, which worked as second person plural pronoun in vernacular language. With Beijing dialect taking -們 as plural, the plural function of 您 was decaying as honorific function was accepted in the second half period of Qing Dynasty. As vernacular Chinese promoted across the country, the honorific 您 was accepted as out-of-date personal pronouns were abandoned.

As we can see, English and Chinese went on the separate ways on T-V distinction: while Chinese created a new word and changed its semantic functions, English deprived the word of its respective meaning. However, these changes ended up in the same direction.

Under the rule of feudalism for more than two thousand years, Chinese had developed the concept and psychology of distinguishing the dignity from the inferiority and the order of the nobleness deep in mind (蔡红艳, 2015). Influenced by Confucianism, Chinese people associate language communication with morality and ethics, and regard rhetoric as an important means to regulate interpersonal relationship. Complicated honorific systems and terms are just the evidence for that. Nowadays, the word 您 has taken the place of traditional appellations used at feudal times. In western culture, which values individualism democracy and equality, s seen as a tool to extend individual influence.

Simplification of the distinction reflects the pragmatism of English users. Today they generally indicate formal address by using a salutation and last name.

5.2 Development trend of Honorifics

In the modern society where feudal systems were discarded and different forms of democracy system were established in most countries, languages have also changed a lot. In the above discussion, we have talked about some elements that affect the use of honorifics. Based on that, we may find out some points of how honorifics develop in the next step.
The essence of honorifics is the recognition of different personalities. The change of honorific represents the change of how people view diverse personalities. In most countries, there are different kinds of social hierarchy, which offered social basis to the existence of honorifics. Social status, therefore, is the only standard for the use of honorifics, which has the supremacy and was matched with the feudal systems. Therefore, although the addressee character who possessed a higher social status was not respected by the speaker, he must use the honorifics with high respect blindly according to the social rules and principles at that time. The speaker, with a lower social status, was deprived of the basic personality as a man. Compulsory social standards directly influenced the use of the language. On the contrary, the existence of modern honorifics bases on the consciousness of social equality and mutual respect among people, emphasizing the respect for each other's personality, which is adapted to the modern social system. As social systems shifted from feudalism to democracy, people no longer use honorifics involuntarily in the process of communication. Instead, according to the relationships with each other, they would judge whether to use honorifics based on the degree of respect other, the contents as well as the environment. The voluntary use of honorifics follows the process of equalization of personalities. In this way, honorifics no longer serves traditional hierarchy, as people pay more and more attention to mutual respect, mutual recognition and equal personality. But that doesn’t mean extreme equality among people, which ignores the difference of age or ability.

The objects of using honorifics are no longer limited to people with social status in feudal system. The use of honorifics depends on the individual's judgment as well as the situation at that time. To whom honorifics are used, what honorifics are supposed to be used, what levels of respect one should present, all of these matters conforms to the specific circumstances. In this way, as honorifics changed from status use to social use, their functions are correspondingly changing. For language users, social characters honorifics, which contributes to the better communication, are increasing prominent. The number of people who study and use honorifics has increased dramatically. Honorifics have become an essential part of work and social life. It can be seen from this that the subject and object of using honorifics have been extended to all social members, and the purpose of using honorifics is mainly to serve as a "lubricant" for dealing with interpersonal relationships. The function and applicability of their use have changed qualitatively. In this way, the objects of honorifics are gradually used by lower classes that once was ignored.

Since the new social ideological basis of the existence of honorifics - mutual respect, basic personality equality has been deeply rooted in the minds of the people, honorifics are really freed from the shackles of the former absolute honorifics and identity honorifics, and develop towards the direction of relative honorifics and social honorifics. At the same time, in this process, people's ideological activity is greatly improved, and they should always use their proper honorifics according to different environments and different objects they face. However, with the popularity of honorifics, the semantic meaning of honorifics has turned upside down - the mutual change from high to low, from low to high, that is, the functional usage of honorifics has changed, which has appeared some sprouts in today's new trend of honorifics, and even some have been widely used. One of the main reasons for the emergence of the new expression of honorifics is the establishment of a new social ideology - basic personality equality and mutual respect.

Following the trend of economy development and globalisation, honorifics would focus more on the function of facilitating communications instead of distinguishing different ranks in a society. As far as I am concerned, honorifics are going to simplify itself: traditional honorific titles were abandoned while there might be new forms of honorifics which are easily accepted by large members.

===Conclusion===

As the clock ticks, languages are also changing. The change of languages follows the change of those who use the language. As we invent a word, abandon a word, or transform a word, the underlying changes of the language are going on. When something new appears, we give it a new word. When something old is no longer needed, we keep it in the vault. With small changes happening, the language might look like something different compared with its original forms. Through the study we can find that honorifics are used in many languages.
Here are my conclusions:

Firstly, in different languages, the appellation systems differ in scale. Languages such as Chinese have more complex appellations systems than western languages. The reason for the difference lies in the different historical political and cultural structures. They also differ in methodologies. The English language prefers to using different words to express respect while the Chinese language adds prefixes. Another difference between honorific expressions lies in the existence of self-depreciation terms, which shows different attitudes towards modesty that eastern cultures highly valued. The forms of address ale in a dynamic course，differ from period to period and vary from one situation to another.

Secondly, with globalization and international communication pushing forward, the appellation systems might be affected by another language. In different languages there might be some similar expressions that spread between nations. We can find honorific titles in a language and their counterparts in other language. As cultures are spreading across the world, religions for instance, we can find similar religious titles in related languages. Thoughts or new ideas from other countries may also influence one’s honorifics. Such as the appellation 先生 in Chinese, which was used to address teachers, now is commonly used to address other males— just like Mr. in English.

Thirdly, it is true that honorifics convey respect. But as learning a second or third language is welcomed by more and mor people across the world, individuals from a language without a complex honorific system would have difficulty learning a language with a complex honorific system. Besides, in translation honorifics might be a tough part. Whether to use honorifics or not actually reflects the conflict between cultures.

We may predict the development trend of honorifics. Even though expressions of honorifics in different languages are diverse, many languages are gradually simplifying themselves, as a result of economic development, political changes or mentalities changes. Honorific changes happen normally after social changes. The influence and restrictions between language and culture are two-way. This kind of relationship requires us to study honorifics as a social and cultural phenomenon, to put it under the broad social and national cultural background and to analyze problems and find rules. Certain changes of language contain rich national cultural connotation, condensing the cultural characteristics of national world outlook, philosophy, thinking mode, concept mentality, religious belief, folk custom and folk sentiment, aesthetic interest, etc., which is worth the future research.

===References===

Brown, P., & Levinson, S. (1987). Politeness: Some Universals in Language Usage. Cambridge: Cambridge University Press.

David, A. (2013). Honorifics: Types, Data, and Importance for Linguistic Theory. Frankfurt a.M.

Duranti, A. (2013). Linguistic anthropology. Cambridge: Cambridge University Press.

Giglioli, P. (1990). Language and Social Context. New York: Penguin Books.

Moravcsik, E. (2013). Introducing language typology. Cambridge: Cambridge University Press.

Jourdan, C., & Tuite, K. (2006). Language, Culture, and Society: Key Topics in Linguistic Anthropology. Cambridge: Cambridge University Press.

Zdenek, S., James M, S., & Nobuko, A. (2012). Language, culture and society: an introduction to linguistic anthropology. Boulder: Westview Press.

Cai Hongyan 蔡红艳.(2015).浅谈汉语敬语及英汉尊敬表达方式差异.[The differences between Chinese honorific and English-Chinese respectful expressions]. 南京：江苏经贸职业技术学院.

Jin Lixin 金立鑫.(2006).什么是语言类型学.[What is language typology]. 上海：上海外语教育出版社.

Sun Ruiqiao 孙芮乔.(2019).礼貌策略与敬语表达.[Politeness strategies and honorific expressions]. 大连：大连外国语大学.

==英语笔译赵宇翔 Zhao Yuxiang 202170081609==

<center>'''Zhao Yuxiang: Dunhuang Frescoes In Contemporary China'''</center>

<center>赵宇翔Zhao Yuxiang</center>

===Abstract===

===Key words===

===Introduction===
''' Introduction On Mogao Grottoes'''
''' Introduction On Dunhuang Frescoes'''
===The origin of Dunhuang civilization ===
''' The Origin of Mogao Grottoes'''
''' The Origin of Dunhuang Frescoes'''

===Dunhuang Frescoes Are Enjoying New Life: Taking the Skins in Honor Of Kings As Examples===
''' Yu Jian Fei Tian (Meet A Flying Apsaras)'''

''' Yu Jian Shen Lu (Meet A Fairy Deer)'''

''' Yu Jian Hu Xuan (Meet A Huxuan Dancer)'''

===The Future Inherence And Development Of Dunhuang Frescoes ===

=== Terms and expressions ===

=== Questions ===

===Answers ===

==英语笔译郑冬琴 Zheng Dongqin 202170081610==
<center>'''A Study on the Influence of Sino-German Cultural Differences on International Business Negotiation and Its Countermeasures'''</center>

<center>Zheng Dongqin</center>

===Abstract===
In 1972, China and Germany formally established diplomatic relations. Since then, trade exchanges between the two countries have become more frequent and the diplomatic relation has become closer. With the continuous improvement of China's opening up to the outside world, a large number of economic and trade exchanges have been carried out between China and Germany. In recent years, through the efforts of both governments, Germany has gradually become one of China's most important trading partners. However, "ten miles of different wind, a hundred miles of different customs". First of all, international business negotiation belongs to the field of economic activity, and also, it is a cross-cultural communication activity involving various cultural factors. Cultural differences between countries are often one of the most prominent obstacles in international business negotiations. In this thesis, the author studies and analyzes the impact of cultural differences on Sino-German international business negotiations from the following aspects: values, communication style, verbal and non-verbal behavior, dietary habits, corporate culture and fulfillment of contract. In view of the objective facts of the cultural diversity of the world, this thesis mainly discusses the cultural differences between China and Germany by means of illustration and comparative analysis, and then puts forward some useful countermeasures in order to provide some reference for negotiators to overcome some unnecessary barriers to negotiation.

===Key Words===
China; Germany; cultural differences; international business negotiation; influence; countermeasures

===Introduction===
In the era of highly developed economic globalization, the economic policies, political attitudes and cultural factors are playing an increasingly important role in international affairs and daily exchanges between different countries and regions. And among these main factors, culture is often a factor that cannot be underestimated. Because the success or failure of intercultural communication is determined by culture to a large extent. Fortunately, nowadays, we have a more open and inclusive world. Although there are some obvious or subtle distinction among different cultures, we are still able to carry out some effective international communication activities.
In October 1972, Germany and China formally established diplomatic relations. Since then, the exchanges between the two countries have been generally smooth in all aspects. For example, the leaders of China and Germany met at the UN General Assembly. In addition, the two countries frequently conducted high-level state visits and carried out various economic consultations. Especially since China's accession to the World Trade Organization, the trade exchanges between Germany and China has developed rapidly. Furthermore, in 2013, the Chinese government proposed "the Belt and Road" Initiative. With the development and promotion of this initiative, extensive cooperation and exchanges have been carried out between China and many other countries. In this case, China's foreign trade has reached a new level. Moreover, the China-Europe Railway Express has also greatly promoted the economic exchanges between Germany and China. Besides, in the last few years, the United States has launched a trade war against China, which has dramatically reduced the volume of trade transactions between China and the United States. To a certain extent, it has also created more opportunities for Sino-German trade transactions.
As an important trading partner of China, Germany often needs to conduct business negotiations with China. However, it is not easy to successfully reach the negotiation goal due to the complexity of international negotiations. They involves foreign policies, economic strategies and cultural differences. As we all know, the special negotiations with different modes of thinking and behaviors are more challenging than general negotiations. Whether we can correctly understand and deal with the cultural differences between China and Germany is crucial to the success of the negotiations. So negotiators need to master some useful business negotiation skills. They also should try to cultivate their keen awareness of cross-cultural communication. Only when they pay attention to the commonalities and differences between different cultures can they understand others better and communicate more effectively in cross-cultural activities, so as to promote the success of international business negotiations.

===Definition of Culture and Intercultural Communication===
1.1 The Definition of Culture

Regarding the definition of culture, different scholars hold different views. If we consider it in a narrow sense, culture refers to the behaviors, habits, traditions or beliefs peculiar to a particular region or organization. However, if we regard it as a broad concept, culture is considered to be the way of life of a country or a nation. It includes customs, religious belief, political system, science and technology, language and other elements. Culture is usually considered to be a broad concept in international business negotiations. Generally speaking, it refers to the modes of thinking and behaviors and the values of a country or a nation, which affects people’s social style to a great extent. It also embodies the characteristics of a particular social group. Due to the specific history and tradition, different countries or regions have developed their own cultural characteristics and cultural models. Due to the differences in traditional habits, value system and social styles, we can find that there are some trade frictions in Sino-German business negotiations.

1.2 The Definition of Intercultural Communication

"Communication between native speakers and non-native speakers, or between any people who are different in terms of language and cultural background, is called cross-cultural communication."(Zhuang Enping, 2004:8)In essence, it refers to the direct verbal communication between two parties. What it studies includes the differences in value orientation, way of thinking, language norms, customs and habits and so on, and it involves not only in-depth theoretical analysis, but also practical application. And only in this way can it better serve the intercultural communication activities.

===Concept and Characteristics of International Business Negotiation===
2.1 Concept of International Business Negotiation

"International business negotiation is a process of consultation. It involves two or more negotiators who are from different countries and represent different interests. They are meant to conclude a transaction with each other."(Salacuse.J.W, 1991:40) As we all know, there are inevitable conflicts of economic interests in negotiation. If negotiators are unable to reduce trade frictions and settle disputes, it will be very difficult for them to conclude a transaction in the end. In essence, international business negotiation belongs to a kind of cross-cultural communication activity. Therefore, culture plays an important role in international business negotiations. In a word, in foreign trade activities, we need to recognize the close relationship between culture and international business negotiation.

2.2 Characteristics of International Business Negotiation

2.2.1 Being Closely Related to National Policies

Essentially, international business negotiation is an international communication activity, which is closely related to national policies. Generally speaking, international business negotiation involves at least two countries or nations. Different countries or nations have different national policies. For example, a product is allowed to be sold in one country, but it may be explicitly prohibited in another country. From this we can see that national policies vary among many countries and affect economic activities to a large extent. Therefore, in international business negotiations, negotiators are supported to be very familiar with their own country's national policies. At the same time, they also need to have a basic understanding of the national policies of other countries and abide by a series of laws and rules governing foreign trade and economic relations, which can greatly help reduce unnecessary trade frictions.

2.2.2 Being Much More Complex

Negotiators who come from different countries and regions have different cultural backgrounds, values, ways of thinking, ways of behavior, languages and personal habits. Therefore, in the face of an unfamiliar cultural environment, it is inevitable that there will be some communication barriers and different opinions between negotiators, which will easily produce conflicts of interest and unpleasant phenomena in the negotiation process. At last, it will make the negotiation environment more complex. So it will be more difficult for both parties to come to an agreement.

2.2.3 Being both Conflicting and Cooperative

International business negotiation is a process of conflict and cooperation. If the interests of both sides are exactly the same, there is no need to negotiate. So it is normal that there are conflicts of opinions and interests between the two parties. International business negotiation, in fact, is a process of reducing differences through consultation so that the interests and objectives of both parties tend to converge and finally reach an agreement. If disputes escalate and differences widen, it is easy to lead to the breakdown of the negotiations. Therefore, it is very important for both parties to seek common ground while reserving differences in order to gain mutual benefits.

===The Embodiment and Causes of the Cultural Differences between China and Germany===

3.1 Difference in Values

"In the process of international business activities, time is an important concept worthy of our attention. However, people's view of time varies greatly since there are cultural differences between different nations."(Wang Tianwen,Wang Shimin, 2008:39) Germans are strictly punctual, doing only one thing at a time. The plans they made were highly binding. Even if things do not end within a specified period of time, they must stop without affecting the next arrangement or keeping the next person waiting. What's more, they think being punctual is a kind of basic courtesy as well as a sense of responsibility. If someone don't be punctual, it not only wastes the time of both parties, but also is a lack of honesty of someone. On the contrary, Chinese people tend to do many things at the same time or many people do the same thing together. They emphasize multiple participation and better completion of tasks. In most cases, people get along very well. Generally speaking, Chinese people have a more flexible schedule or plan, which does not emphasize that everything should be in accordance with a fixed schedule or a strict plan. Chinese people don't like to make appointments because they think plans can be changed depending on specific circumstances. Instead, they prefer to visit at any time. In most cases, even if an appointment is made in advance, the visitor may not come.

Due to the totally different modes of thinking between Chinese and Germans, people tend to have opposing or misunderstanding views on things. “The individualism＆collectivism dimension describes the extent to which the society is organized around individuals or the group.”(Xue Qi, 2006:6)The ideological core of Chinese culture is collectivism. The Chinese believe that everyone is not a separate individual, but an individual living in a social group. No matter what they do, they should follow the principle of collectivism, stick to the collective wisdom and give full consideration to the collective common interests. Otherwise, people will not be able to live in society and community, and may even be abandoned by society and group. In conclusion, it is obvious that Chinese people are more talkative and are fond of participating in various social activities. They often get together with relatives and friends, and attach great importance to the harmony of the group. In German culture, the basic unit of society is not the collective but the individual, and people attach great importance to the existence and achievement
of the individual. German culture also does not emphasize the maintenance of collective harmony and consensus of opinion. They tend to pay more attention to the expression of their personal opinions when considering problems, and will not easily make concessions even when they disagree with others. Moreover, Germans, who are deeply influenced by individualism, prefer to be quiet and alone, enjoying a good time by themselves. They think that frequent socializing is a waste of time.

3.2 Difference in Communication Style

"In order to better explain and show the diversity of world culture, the American anthropologist Edward T. Hall proposed the concept of high and low context culture."(Fan Lei,Fan Weiwei, 2001:148) As we all know, China and Germany are classified as two totally different contextual cultures. China is known as a high-context country. Chinese people attach great importance to the role of context in interpersonal communication. They often express their thoughts and feelings in a very implicit and euphemistic way. This makes it difficult for others to quickly understand what the speaker is really trying to express. While Germany is a typical low-context country, people usually express their views and true feelings directly and clearly. And they seldom say some nonsense or crack a joke that is irrelevant to the topic. This inevitably gives the impression that Germans are serious and difficult to approach. Therefore, different contextual cultures influence communication styles to a great extent.

In addition, the Chinese and Germans have completely different attitudes to the concept of face, which largely affects their communication styles. As is known to all, Chinese people prefer to attach great importance to their so-called honor and reputation. In interpersonal communication, they will feel very embarrassed and disgusted if others directly say something negative or rejecting. Because in their opinion, it is a kind of inconsiderate and damaging behavior of others' reputation. In Germany, people don't care much about so-called face. They do not express their thoughts and opinions in a roundabout way. Hence, sometimes it is easy to offend others unintentionally.

3.3 Difference in Verbal and Non-verbal Behavior

German, as a typical Germanic language, of course belongs to the Indo-European language family. Each language has its own characteristics. And accuracy is one of the labels of German. German has many prescribed sentence structures and grammatical rules, which are naturally reflected in its expression patterns. Germans often use words such as "have to" and "must", which tends to give people the impression of being rigid and arrogant. In fact, it is a manifestation of German conscientiousness and preciseness. There are also many words in German that require foreigners to understand their usage environment and idioms in detail so as to accurately understand the real intention of the other party. However, Chinese belongs to the Sino-Tibetan language family, which has rich and profound connotations and flexible and diverse sentence patterns. “Chinese people tend to speak in a euphemistic way, which usually gives people the impression of humility.”(Tong Fang, 2006:58) When expressing opinions, Chinese people are fond of adopting the mode of induction, explaining the reasons first and then drawing a conclusion. The Germans, on the other hand, prefer the deductive method, which states the conclusion first and then puts forward the reasons.

We also need to pay attention to nonverbal behavior because it is a critical part in intercultural communication. It consists of various gestures, body movements, eye contact and so on. The meanings of these behaviors may be quite different in different cultures. Therefore, negotiators should have a good command of different non-verbal signals of their own nations and other nations. Otherwise, it would be easy for them to misunderstand these signals, and then they may not be aware of the mistakes. In Germany, for example, silence signifies approval. While in China, the embodiment of politeness and respect to others is given priority. Therefore, people do not express their disagreement or dissatisfaction directly. If someone remains silent for a long time, he may disagree with something. In addition, Chinese people also like to use eyes and expressions to show their attitudes. So it is also important to learn to observe the changes of Chinese people’s expression.

3.4 Difference in Dietary Habit

Speaking of the dietary habit, we know that people from different countries and regions have different dietary habits. To be specific, Chinese people prefer to eat rice and drink tea while Germans prefer bread, noodles and coffee. In addition, Chinese people adopt the dinner party system.They believe that eating is not just to replenish the body's energy needs. What is more important is to meet people's spiritual and emotional needs through dinner. Eating in groups and chatting together can strengthen relationships with friends and family. In Germany, people prefer separate meals. Even though many people sit at the same table, everyone eats their own food and there is little interaction. In addition, by the way, the wine culture of China and Germany are distinctly different. Chinese people have the habit of toasting and encouraging people to drink in order to show the host's hospitality. If the guests enjoy drinking the wine provided by the host, the host will be wonderfully happy. In Germany, there is no such habit. Germans are used to drinking beer, usually alone, in a do-it-yourself way.

3.5 Difference in Corporate Culture

The outstanding characteristic of German enterprise culture is to pay attention to the cultivation of ability and solve the actual problems. Each employee is given sufficient space to think freely. It can greatly improve the quality and problem-solving ability of the participants. Another very important task of German corporate training is to let employees identify with the values of the company. As is known to all, German enterprises always put product quality in the first place. They believe that there are no both good and cheap products, only good or bad ones. Most German products are famous for their quality and become world-famous brands. However, Compared with the German enterprise culture, China's enterprise culture pays much more attention to the form of corporate culture. In this way, it naturally ignore the true connotation of corporate culture. Influenced by traditional culture, Chinese enterprises attach great importance to the paramount power of leaders and the harmonious relationship between teams.

3.6 Difference in Fulfillment of Contract

"In 1980, Hofstede put forward a four-dimensional model of national culture in The Effect of Culture. After the four dimensions, he put forward the fifth dimension, which is called the long-term orientation and short-term orientation."(Geert Hofstede, 1984:82)Specifically, long-term orientation is a type of behavior that fosters and encourages the pursuit of future returns. China is a long-term oriented country. Managers of Chinese enterprises pay attention to the development prospects and future profitability of the enterprise. And they are willing to make great efforts for achieving long-term goals. However Germany is a short-term oriented country. Germans are more concerned with the current profits of companies. When the adverse factors in economic activities increase, they will hold the attitude of uncertainty avoidance. In a word, as for international business negotiation, Chinese and German negotiators have very different views on the fulfillment of contract.

===The Impact of Cultural Differences between China and Germany on Negotiation===
4.1 Impact on Communication

First of all, in terms of verbal communication, due to the existing different cultural traditions of different countries, Chinese people are very roundabout. But Germans are straightforward. In the eyes of Germans, however, euphemism is not sincerity but pretence. “Chinese people always need to think again and again when they make decisions. To the Germans, this is a sign of indecision. Germans often bristle at such behaviour.”(Lin Zhengqi, 2016:40)Sometimes, the two sides of a negotiation have very different understandings of the same thing. For example, "dragon" is a mascot in all ages in China. It mainly stands for happiness and good luck. In Germany, however, it is an evil monster and is generally believed to bring misfortune to people.

When it comes to non-verbal communication, what i want to mention is body language. Different body languages deliver different messages. Sometimes, in different situations, even the same body language can convey completely different meanings. For example, Chinese people are used to nodding their heads repeatedly in conversation. People nodding their heads in different situations conveys different messages, such as encouragement, hesitation and agreement. Germans, on the other hand, often regard a nod as simply agreement. Therefore, in the process of international business negotiations, negotiators are easy to misunderstand the body language, which reduces the possibility of successful negotiations to a large extent.

4.2 Impact on Negotiation Mode

The mode of thinking of Chinese is totally different from that of Germans. The way of thinking of Chinese is subjective. They often attach great importance to the humanities and interpersonal relationship, which makes Chinese people be in the hope of making friends with foreigners before negotiations. They think that many problems are easier to solve if they have a close relationship with others. While Germans are objective in their thinking. They attach more importance to issues rather than relationship. Besides, they devote themselves to dealing with problems in a rational and efficient way. As a result, they don't want to take the time to build relationships before doing business. In the business negotiation, there will be some misunderstanding between the two countries. For example, Germans may make a bad impression on Chinese. In this way, Chinese would think that the Germans are so indifferent and serious that it is difficult to contact with them. While on the other hand, Germans may hold the idea that Chinese people are fond of cottoning up with others. As a result, both sides will think the other is insincere. Thus, there is little possibility of continuing negotiations.

4.3 Impact on Decision-making

Chinese and Germans have different values orientation, which will certainly affect the negotiators' behavior. Generally speaking, Chinese attach great importance to building an excellent negotiating group. And they have a strong sense of hierarchy and collectivism. Each person in the group is responsible for specific task, and there must be irreplaceable chief leader. In contrast, Germans emphasize individuality. Members of the group respect each other's views. In short, they are more inclined to show the independent personality of each individual. In international business negotiations, if cultural difference is not realized, it may well be impossible to carry on the negotiation successfully at the very beginning.

4.4 Impact on the Signing of the Contract

Influenced by the traditional Chinese culture, Chinese people are more inclined to pay much more attention to the feelings of others. And in their opinion, it is very important to build harmonious interpersonal relationships. Even in the process of international business negotiations, in order to maintain the good economic partnership that has been established, the Chinese sometimes take the initiative to make compromises and concessions to the terms of the contract. In the choice between emotion and law, they often choose the heartwarming emotion rather than the severe law. For them, rigid laws tend to damage the relationship between people, so it is worth doing a little harm to their own interests to maintain a harmonious relationship. However, for the Germans, the choice of emotion and law is just the opposite of the Chinese. They believe that rules and laws are the basis for settling the matter, so they often write almost all the details into the contract explicitly. “In case of breach of contract, compensation or return of goods must be made in strict accordance with the contract. ”(Chen Zhaoyang,Chen Jingliang, 2007:2)It is precisely because of the two different attitudes that there is a potential risk that the negotiation will break down during the signing of the contract.

===Countermeasures to Reduce the Impact of Sino-German Cultural Differences on Negotiation===
5.1 Recognizing the Existence of Cultural Differences

As we all know, the existence of cultural differences cannot be changed. So it is very important to overcome the cultural differences and reduce the conflicts in negotiations. There is no doubt that the recognition of the cultural diversity of the world is the premise of a correct understanding of cultural differences. "First of all, we should have a sense of identity with our own national culture. At the same time, it is necessary to respect the culture of other nations."(Dou Weilin, 2014:24) In international business negotiations, the excellent negotiators are supported to recognize and respect cultural differences in the first place. And then, they should try their best to adapt to it. Furthermore, it is essential that negotiators have a tolerant attitude towards cultural differences. Of course, striving for "common ground while reserving differences" is not the same as fully absorbing other cultures. One should hold a moderate view of foreign culture rather than totally tolerate or ignore it. Therefore, it is very important to respect the etiquette, customs and taboos of various countries and nationalities for a successful negotiation.

5.2 Making Adequate Preparations before the Negotiation

As the saying goes, "Opportunity favors the minds that are prepared". If the negotiators want to be in the active position in the negotiation, they must make full preparations in advance. Only in this way, the negotiators can deal with the various adverse situations that may appear in the negotiation process, and finally achieve the success of the negotiation.To be brief, the preparation for the negotiation includes the background of the negotiation, the purpose of the negotiation, the differences that may be encountered during the negotiation, the agenda, alternative plans and concession strategies and so on. The negotiation background includes negotiation place, negotiation time, negotiation expectation, scene layout, the number of participants and so on. Compared with the monoculture, the preparation of international business negotiation is more complicated because of the intercultural factor. As a result, different countries have different views on these issues. Before the negotiation, the negotiators should have a comprehensive understanding of the partners' expectations, customs, negotiation means and so on. For example, the Chinese and the Germans have very different notions of time. For the Germans, time is money, and they are very efficient when negotiating. In China, by contrast, the Chinese like to cement a partnership through brief chats before the negotiations begin.In a word, sufficient preparations before a negotiation can greatly improve the possibility of a successful negotiation.

5.3 Respecting Each Other's Customs

Custom is a very important concept. It is passed down over a long period of time. It has the characteristics of relative stability, variability and spontaneity. And custom is also the external embodiment of the lifestyle and values of a particular group of people. It includes modes of production, ways of life, manners and beliefs. Compared with the external elements of culture, such as language, body language and behavior, customs are more subtle and complex. If we are not careful enough, we may offend others unintentionally.Therefore, before international business negotiations, negotiators should have a full understanding of the customs of each other in order to avoid accidentally offending others. In the process of negotiation, it is especially important to respect the customs of each other. It can create a more harmonious atmosphere for negotiators to achieve the success of negotiations.

5.4 Eliminating Conflict through Effective Communication

In the cross-cultural negotiations, the two sides from different cultural modes often have communication barriers due to cultural differences. Negotiators must master the necessary cross-cultural negotiation skills to overcome the communication barriers in cross-cultural negotiation.Generally speaking, in international business negotiations, the following communication barriers are the most common. The first obstacle may be caused by the misunderstanding of speech expression, translation error, and even the meaning of a word or phrase. For example, Chinese people think red represents good luck, happiness and enthusiasm. In Germany, red is associated with evil, radicalism and brutality. The second obstacle is caused by different ways of expression. It is affected by negotiators' professional habits, professional knowledge and understanding ability. For example, most Chinese people speak tactfully, and they usually don't express their true intentions. In this case, negotiators need to communicate effectively to avoid some unnecessary conflicts. The third obstacle is caused by the psychological factors of the negotiators. It includes attitudes, biases, and negotiation experience.In short, in the negotiation, especially in the cross-cultural negotiation, negotiators should try to overcome the above three communication barriers. Therefore, negotiators can manage to avoid some unnecessary problems and troubles. If they are confronted with obstacles and difficulties, they need to break the deadlock through effective communication.

===Conclusion===
Due to the impact of a variety of uncertain factors, there is a more complex and changeable negotiation environment in international business negotiations. So it is very important to enhance sensibility of cultural differences, which can help to create more favourable conditions for effective communication and cooperation.
In view of the cultural differences between Germany and China, this thesis mainly compares Chinese culture with German culture, and then analyzes and explains the reasons for the differences. In addition, this paper adopts lots of cases to study and discuss the impact of cultural differences on business negotiations.Finally, it puts forward some specific coping strategies. Looking at the existing research results on this topic, it is not difficult to find that most of the previous scholars paid more attention to the study of business negotiation principles and skills, while ignoring the role of culture. However, this paper find that culture has great significance for the success of business negotiations.But I know there are some shortcomings in this thesis. For example, because cultural difference is a comprehensive concept, it's impossible for me to give examples one by one and conduct comprehensive research and analysis in this thesis. Therefore, I think that future scholars can make further analysis and research on this topic from other aspects so as to promote the improvement of this issue.

===References===
*Hofstede,Geert.(1984).Cultural Dimensions in Management and Planning. Asia Pacific Journal of Management(2)81-83.
*Salacuse,J,W.(1991).Making Global Deals: Negotiating in the International Marketplace. Boston: Houghton Mifflin Harcourt.
*Tong,Fang.(2006).Negotiation:the Chinese Style. Journal of Business & Industrial Marketing(1)58-60.
*Chen Zhaoyang,Chen Jingliang 陈朝阳,陈京亮.(2007).浅谈中德商务谈判差异[The Differences between Chinese and German Business Negotiations].商场现代化Mall Modernization(12)1-2.
*Dou Weilin 窦卫霖.(2014).跨文化商务交流案例分析[Case Studies on Cross-cultural Business Communication].Beijing:University of International Business and Economics Press对外经济贸易大学出版社.
*Fan Lei,Fan Weiwei 范蕾,樊葳葳.(2001). 跨文化交际失败实例分析及启示[Analysis of the Failure of Intercultural Communication and Its Implications].外语教育Foreign Language Education(1)148.
*Lin Zhengqi 林正奇.(2016).中德商务谈判文化差异案例的跨文化视角分析[A Cross-cultural Perspective Analysis of the Case of Cultural Differences in Sino-German Business Negotiations].华东理工大学硕士学位论文Master's Thesis of East China University of Science and Technology.
*Wang Tianwen,Wang Shimin 汪天文,王仕民.(2008).文化差异与时间观念的冲突[Cultural Differences and the Conflict of Time Concepts]. 学术研究Academic Research(7)37-39
*Xue Qi 薛琦.(2006).文化差异对中德商务谈判者谈判风格的影响[The Influence of Cultural Differences on the Negotiation Style of Chinese and German Business Negotiators].对外经济贸易大学硕士学位论文Master's Thesis of University of International Business and Economics.
*Zhuang Enping 庄恩平.(2004).跨文化商务沟通案例教程[Case Study of Intercultural Business Communication].Shanghai:Shanghai Foreign Language Education Press上海外语教育出版社.

===Terms and Expressions===
*high-level state visits 高层国事访问
*high context culture 高语境文化
*low context culture 低语境文化
*ten miles of different wind, a hundred miles of different customs 十里不同风，百里不同俗
*the Belt and Road Initiative “一带一路”倡议
*the China-European Railway Express 中欧班列
*Theory of Face 面子理论
*individualism＆collectivism 个体主义&集体主义
*Indo-European language family 印欧语系
*Sino-Tibetan language family 汉藏语系
*the dinner party system 聚餐制
*the individual dining system 分餐制
*four-dimensional model of national culture 民族文化的四维模式
*long-term orientation and short-term orientation 长期导向和短期导向

===Questions===
*1.Which of the following countries belongs to typical high-context culture?
A.China B.Canada C.German D.America
*2.Which of the following countries belongs to typical low-context culture?
A.China B.Japan C.North Korea D.German
*3.Which of the following countries are long-term oriented and short-term oriented countries respectively?
A.China and German B.Canada and China C.German and Canada D.America and German
*4.Which of the following countries takes the theory of face very seriously?
A.German B.UK C.China D.America
*5.When did Hofstede propose the four-dimensional model of national culture?
A.In 1979 B.In 1980 C.In 1981 D.In 1982

===Answers===
*1.A
*2.D
*3.A
*4.C
*5.B

==英语笔译钟青 Zhong Qing 202170081611==
<center>'''论文标题'''</center>

<center>Zhong Qing</center>

===Abstract===

The ''History of Imperial China'' is a series of general histories of China edited by Canadian historian Timothy Brook, which was published in Chinese by China's CITIC Publishing House in 2016. This article collects the administrative terms of each dynasty in the History of Imperial China, and explores the translation methods of them. There are a total of 201 administrative terms, spanning the six stages of the Qin and Han Dynasties, the Southern and Northern Dynasties, the Sui Dynasty, the Tang Dynasty, the Yuan and Ming Dynasties, and the Qing Dynasty. According to the statistics, % of the Chinese administrative terms use the word-for word translation method, % subtraction, and % amplification. It is found that in the same book, the same administrative term has different translations, badly affecting readability and coherency. In addition, many administrative terms are rendered into the counterpart in the foreign official system, which may be misleading to the reader. By analyzing the translation strategies of the administrative terms in the ''History of Imperial China'', this paper intends to fill some gaps in the study of English translation of administrative terms, and to provide reference for the translation of administrative terms in the English translation of Chinese works in the future.

===Key words===
''History of Imperial China''; Administrative Terms; Translation Strategy; Consistency

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文.
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译周皓熙 Zhou Haoxi 202170081612==

==英语笔译周哲 Zhou Zhe 202170081613==
<center>'''Confucian Teaching Thoughts'''</center>

<center>周哲 Zhou Zhe</center>

===Abstract===
The rise of the philosophic schools began with the practice of private teaching. So far as modern scholarship can determine, Confucius was the first person in Chinese history thus to teach large numbers of students in a private capacity, by whom he was accompanied during his travels in different states. According to tradition, he had several thousand students, of whom several tens became famous thinkers and scholars. The former number is undoubtedly a gross exaggeration, but there is no question that he was a very influential teacher, and what is more important and unique, China’s first private teacher. His ideas are best known through the Lun Yü or Confucian Analects, a collection of his scattered sayings which was compiled by some of his disciples.

===Key words===
Confucian teaching thoughts; kindness; The Analects of Confucius

===Introduction===
Ancient Chinese education is part of the brilliant and diverse ancient Chinese culture, the foundation on which it has been sustained and developed, and the driving force behind its constant innovation. It was passed down from generation to generation through ancient Chinese education. The school education, social education, family education and education in all kinds of craftsmanship were the guarantee of the continuity and development of all kinds of ancient Chinese culture, without which it would have been difficult to create, perpetuate and develop ancient Chinese material and spiritual civilization.

During the Western Zhou dynasty, there was not only a national school but also a country school, which gradually formed a systematic education based on ritual, music, archery, royalty, calligraphy and mathematics. During the Spring and Autumn and Warring States periods, private schools began to develop as a new form of educational organization, and a number of masters emerged, such as Confucius, Mo Zi, Mencius and Xun Zi, who shone with their wisdom.
Ancient Chinese education is a humanistic one. It takes the cultivation of a gentleman as the sole purpose and focuses on teaching people virtue and wisdom rather than mere knowledge. It attaches particular importance to moral education and virtue cultivation, emphasizing moral integrity, ethics and lofty spirituality, advocating the development of ambition, and highlighting a sense of moral responsibility. It also promotes the spirit and broad-mindedness. China has gradually formed a long-term and profound educational tradition, starting from Confucius and Mencius, Lao Zi and Chuang-Tzu, and down to Song and Ming philosophy, all paying special attention to self-cultivation by attaching great importance to inspiring students’ self-awareness and initiative, to be persistent in their determination, to refrain from excessive indulgence and to do self-examination and good deeds, and to be subtle and prevent the gradual corruption. In this way, a series of principles and methodologies of moral education and cultivation with unique Chinese characteristics have been gradually developed.
===Characteristics of Confucian Teaching Thoughts===
In general, ancient Chinese educational thought, broadly speaking, has the following distinctive features.

First, there is the comprehensive view, that is, the big view of education. Ancient Chinese educators recognized early on that education is a subsystem of the larger system of society as a whole, and that many educational problems are essentially social problems that must be examined and solved in the context of the entire social system. In turn, the solution of educational problems would inevitably promote the development and progress of society as a whole. For example, Confucius attached great importance to education and regarded population, wealth and education as the three major elements of "statehood". From the idea of "The root of a state is in the family. Mencius", he attached importance to the education of family ethics and social morality "filial piety, brotherhood, loyalty and faith". He saw the important role of education in governing the state and stabilizing the social order. This idea of placing education at the forefront of governing the state and the people, and seeing the moral cultivation of the individual and the improvement of social morality as the basis for governing the state and stabilizing it, is very profound. The Book of Rites and Learning summarizes the role of education in sixteen words: "To build a state and rule the people, teaching is the first thing to do" and "To transform the people into customs, it must be learned". The role of education encompasses two interrelated aspects: one is to cultivate the various talents needed by the state, and the other is to form a good social moral style. This is a summary of the function of education as outlined and summarized by Chinese philosophers, which is still relevant today.

The second is the dialectical view, that is, the unity of opposites. Ancient Chinese educators emphasized the need to give priority to moral education, while not neglecting the role of intellectual education. For example, Confucius said: "A wise man devotes his attention to what is essential in the foundation of life. When the foundation is laid, wisdom will come. ", "If he (a young man) has time and opportunity to spare, after the performance of those duties, he should then employ them in literary pursuits. " (Analects Xue Er); and at the same time he says: "First there is the mere love of morality: that alone, without culture, degenerates into fatuity."(Analects Yangguo), ""I cannot say," replied Confucius, "if he could be called a moral character."" Dong Zhongshu also said, "If one is benevolent but not wise, one loves but does not distinguish; if one is wise but not benevolent, one is wise but does not do." This is the ancient Chinese view of the unity of morality and wisdom: moral education and its practice come first, followed by intellectual education; moral education is carried out through intellectual education, and intellectual education mainly serves moral education; there is an interdependence and interpenetration between moral education and intellectual education, between "practicing oneself with shame" and "learning from literature" There is a relationship of interdependence and interpenetration between moral education and intellectual education, and between "acting with shame" and "learning from literature". The same is true of moral education. There is also a relationship of unity and opposition between the understanding of moral concepts, the establishment of moral beliefs and the practice of moral behavior. The relationship between teaching and learning, and between teacher and student, is both contradictory and unified, as revealed in everything from the Book of Learning to Han Yu's Teacher's Discourse.

The third is the inner view, which emphasizes the inner moral function and self-awareness of the subject of inspiration. Ancient Chinese education inspires the inner self-consciousness of each person and puts forward a set of principles, requirements and methods of "being human", so that people can get the pleasure of "being human" from it. "It is a set of principles, requirements and methods of being human, from which one can derive the pleasure of being human and express the noble spiritual pursuit of human beings. Unlike Western Christianity and Indian Buddhism, ancient Chinese education is not "sinful education" but "joyful education"; it does not rely on religious beliefs and prayers, and does not advocate leaving society and the family, but emphasizes accumulating moral and good deeds in school, family and daily life, and strengthening self-cultivation. Instead of relying on religious beliefs and prayers, it does not advocate leaving society and family, but emphasizes accumulating moral and good deeds in school, family and daily life, strengthening self-cultivation, i.e., this shore is the other shore, "the highest and the middle way". Ancient Chinese educational thought emphasizes the ability to be self-aware of values in one's heart, to introspect, to reflect on oneself, to be prudent, to cultivate oneself, to perfect oneself, and to seek harmony between the human order and the cosmic order. Its quest for the source of value is inward rather than outward, not listening to the call of God or waiting for the revelation of Buddha. The emphasis on inspiring inner enlightenment and trusting in the inner power of the subject is a very important feature.

===Ancient Chinese Confucianism in Teaching and Learning===
Ancient Chinese educators have accumulated and summarized a wealth of teaching experience and have put forward many valuable ideas and insights into teaching theory, teaching principles and methods, and the requirements for teachers. These ideas not only arose in ancient times thousands of years ago is rare and valuable, but also today still shine with wisdom and are rich in enlightening educational significance. It is the essence of our traditional educational thinking and a major contribution to the world's treasure house of educational thought.

1. Teaching according to the material, inspiration and guidance

One of the best recognized traditional teaching ideas is "teaching to the students according to their abilities". Confucius remarked, "You look at how a man acts; consider his motives; find out his tastes. What the student does, what the student experiences, and what the student's interests are. For students not only "But now, when I want to judge of a man, I have to look at what he does in his life as well as listen to what he says.", but also "But when he has retired, on examining into his life and conversation I find he has been able to profit by what I have said to him." (Analects For the Government), i.e. examining the student's words and actions in private after class to get a full picture of the student's characteristics and reality. He knows the character traits of his students well, sometimes analyzing them in terms of their strengths, sometimes in terms of their weaknesses, and sometimes making comparative analyses of different students. He is able to target the different character traits of the students and follow their advice, instead of preaching in a uniform manner. Sometimes the students asked the same question, but he gave different answers. A disciple, the intrepid Chung Yu, asked if he might at once carry out into practice any truth which he had learnt. "No." answered Confucius. "You have the wishes of your parents and of your old people at home to consult. How can you take upon yourself to carry at once into practice what you have learnt?" Another disciple on another occasion asked the same question. Afterwards another disciple ventured to enquire of Confucius why he gave two totally different answers to the same question.

"That is because," answered Confucius, "the one man is too diffident, I therefore said that to encourage him; the other man, however, is too forward; Therefore I said that to pull him back. Confucius also advocated different teaching according to the level of intelligence of the student: "Confucius remarked, "You may speak of high things to those who in natural qualities of mind are above average men. You may not speak to those who in natural qualities of mind are below average men."" (Analects Yongye)

Mencius inherited and exerted Confucius' idea of teaching according to students' abilities and emphasized the variation of teaching methods. In conclusion, ancient Chinese educators believed that there were differences in students' personalities and that each student's natural endowments were different, so teaching methods should also vary from person to person. They opposed the use of a model to bind students, but advocated the development of each student's personality through education. In terms of teaching methods, ancient Chinese educators paid special attention to inspiration and guidance to develop the intellectual potential of each student. Confucius then went on to say: "In my method of teaching, I always wait for my student to make an effort himself to find his way I also make him find his own illustrations before I give him one of my own. bearing of a subject in one direction and found that my student cannot himself see its bearings into other directions, I do not then repeat my lesson." " (Analects Shu Zi)

2. Learn from the past, learn and think

The first words of the Analects are those of Confucius: "Confucius remarked, "It is indeed a pleasure to acquire knowledge and, as you go on acquiring, to put into practice what It is indeed a pleasure to acquire knowledge and, as you go on acquiring, to put into practice what you have acquired."" (Analects Xue Er) He also said, "Confucius remarked, "If a man will constantly go over what he has acquired and keep continually adding to it new acquirements, he may become a teacher of men.""(论语-为政) Zhu Xi explained in his Four Books Collected Commentaries, "The old one, what he has heard of the old; the new one, what he has The new one, the present one. The words learn to be able to practice the old heard at times, and every time there are new gains."

Only by repeatedly learning and practicing can we firmly grasp what we have learned; only when we have become proficient in what we have learned and have integrated it, can we learn from the past and know the future, and explore the unknown from the known. This kind of thinking, which attaches importance to learning from the past without neglecting the exploration of new knowledge, is still inspiring today.

On the issue of dealing with the relationship between learning and thinking, ancient Chinese educators mostly advocated the combination of learning and thinking and the importance of learning and thinking together. Confucius remarked, "Study without thinking is labor lost. Thinking without study is perilous." (Analects of Confucius Weizheng) He advocated that study and thinking should go hand in hand, but should be based on study. But it should be based on study: "Confucius on one occasion remarked, "I have spent a whole day without taking food and a whole night without sleep, occupied with It was of no use. I have found it better to acquire knowledge from books."" (Analects Wei Ling Gong) He also emphasized the need to think on the basis of study: "Confucius remarked, "A man who does not constantly say to himself, 'What is the right thing to do?' I can do nothing for such a man."
" (Analects Wei Ling Gong). Xunzi inherited this idea from Confucius. He also said, "I have tried to think all day long, but I am not as good as what I have learned in a moment." He also asked that, on the basis of learning, one should "ponder in order to pass on" (Xunzi Persuading Learning), that is, to integrate what one has learned through thinking activities.

3. Make Steady progress Incrementally

Ancient Chinese educators generally valued the principle of gradual teaching. The students of Confucius praised him for his "good enticement in a gradual manner" (Analects of Confucius Zihan). On the one hand, he believed that teaching was a process of natural development, and that it should be self-improving, not lax or interrupted; on the other hand, it should not be impatient or prostrated. He said, "The gentleman's ambition is not to attain the Way without becoming a chapter." He compares the order of advancement in learning to flowing water, "not without a surplus of subjects", and "he who advances sharply, retires quickly" (Mencius On the Exhaustion of the Mind). Mencius also used the natural growth of seedlings as a metaphor for the process of education. On the one hand, he advocated plowing with all one's might and opposed indulgence; on the other hand, he opposed weeping seedlings to help them grow and rushing to success.

The "way of learning" proposed in the Book of Learning is also against "dilly-dallying". It says: "Those who are good at asking questions are like attacking hard wood, and those who are easy first are followed by their programs, and when they have been long, they say (get off) each other to solve them. Those who are not good at asking are the opposite. He who is good at asking questions is like a bell; if he knocks on a small one, he will make a small sound; if he knocks on a large one, he will make a large sound; if he is subdued, he will make his sound. Those who do not answer questions well do the opposite. This is the way to advance in learning. "This is the principle of gradual progress in teaching.

Zhang Zai believes that the teaching process "should not be slow, but should not be hasty. Because the difficulty of the material and the development of the student's body and mind are "gradual", which requires teaching must also adhere to the principle of "gradual", not dilly-dallying and teaching. Zhu Xi even more clearly put forward the "step by step and progressive, familiar with the reading and fine thinking" teaching ideas. He said: "gentleman teach people in order, first pass to the small near, and then teach to the large far", "such as mountain climbing, people more to the high place, do not know since the low place do not pay attention to, the end of the reason to the high place". He stressed that teaching should be insisted on from near and far, from easy to difficult, from shallow to deep, from concrete to abstract, from known to unknown. Zhu Xi also said: "the sages teach people, the lower learning up to, in an orderly manner, so engaged in the middle of it, and the important, about and not alone, no delusion over the sloppy drawbacks. Today's scholars of the word are mostly opposed to this, so its high fell into the empty illusion, the low drowned in hearing and seeing, and despairingly do not know where they will return to. He thinks that if one does not first engage in lower learning but deludes oneself to reach the top, one is prostrated, and then one is reduced to empty illusion; if one engages in lower learning but does not seek to reach the top, one is drowned in hearing and seeing. In the former case, one is impatient to advance without following a sequence, and in the latter case, one is not advancing despite following a sequence, both of which will waste energy and fail to achieve the goal. He believed that only by learning in a gradual and orderly manner and according to one's ability could one make steady progress.

In conclusion, ancient Chinese educators have realized that the accumulation of knowledge and the growth of intelligence is a gradual process, and it is impossible to finish it all in one go. They emphasized that teaching should pay attention to stages and rhythm, and should follow the natural course of events, which is in line with objective laws.

4. Kindness helps save mistakes

The idea of teaching for long goodness and saving mistakes was put forward in the Book of Rites Book of Learning. The Book of Learning says: "There are four failures of the scholar, which the teacher must know. When a man learns, he may lose much, or he may lose little, or he may lose easy, or he may lose stop. These four are not the same as the heart. He who knows his heart can then save it from its failures. He who teaches is also the one who grows good and saves his failures." This is to say, in the learning process, some students are greedy for more and more, too complicated and do not seek to understand; some students are too narrow in knowledge, holding on to the residue of the queue; some students are not focused on learning, shallow taste; some students are stagnant, afraid of difficulties and retreat. These four types of problems reflect the different psychological states of students towards learning, teachers only understand these psychological states, in order to help students overcome these problems in a targeted manner. Teachers must grasp the specific situation, take advantage of the situation, and be good at both promoting students' strengths and overcoming their weaknesses.

Many and few, easy and difficult are not fixed, and gains and losses can be transformed into each other. Wang Fuzhi said in the Book of Rites, Volume 18: "Although many, few, easy, and stop have their own faults, the many are convenient for the extensive, the few are easy to specialize, the easy are brave to act, and the stop is safe in its order, and each has its own good; to save its faults, it is good at carrying on." Although many, few, easy and stop have their own faults, they also contain certain positive factors. Teachers should observe their students comprehensively, understand the dialectic of teaching, and, according to the "difficulty of learning" and the "beauty and evil" of their "qualifications", explore, cultivate, and This is to make up for the shortcomings of the students, and to save them from their mistakes. This is the idea of making up for the shortcomings, and of saving the shortcomings from the good.

The Book of Rites and Learning also explicitly puts forward the idea of teaching each other. It says: "Although there are excellent dishes, we do not know their purpose if we do not eat them. Even though there is a supreme way, we do not know its goodness without learning. It is because learning is then knowing the inadequacy, teaching is then knowing the difficulty. Knowing inadequacy, one can then reflect on oneself; knowing difficulty, one can then strengthen oneself. Therefore, it is said: teaching each other also. The "Tuijin" says: "Learn and learn half. This is what it means!" Here is a profound exposition of the contradictory relationship between "teaching" and "learning" and the interdependence and mutual promotion of each other. Teaching benefits from learning, and learning improves day by day because of teaching. Teaching can help learning, and in turn, learning can help teaching, which is called "teaching and learning". "Teaching and learning" implies not only a unified relationship between teaching and learning, but also a mutually reinforcing and complementary relationship between teachers and students on an equal footing.

5. Teach by example, respect teachers and love students

Ancient Chinese educators, based on their experience in educational practice, put forward various requirements for teachers, and leading by example and teaching by example is one of the important ones.

Confucius said, "If one's body is right, one does not follow orders; if one's body is not right, one does not obey orders." "If you can't correct yourself, how can you correct others?" (Analects of Confucius Zilu) Here he emphasized the importance of "teaching by example", correcting oneself and others. He also said, "If you do not speak to a man who can speak to him, you will lose him; if you do not speak to him, you will lose him. Those who know do not lose people and do not lose words." (The Analects of Confucius Wei Ling Gong) He advocated the use of both "teaching with words" and "teaching without words" in teaching, using "teaching with words" if it is possible to use "teaching with words", and using "teaching with words" if it is not possible to use "teaching with words", that is, influencing and educating students through hints or one's own daily behavior. There is a certain psychological basis here. Confucius said, "I want to have no words", and he believed in the power of "teaching without words".

Xunzi proposed: "There are four teacher techniques, and Bo Xi is not with it. A strict teacher who is scrupulous can be a teacher; a teacher who is a senior citizen who believes can be a teacher; a teacher who recites and does not offend can be a teacher; and a teacher who knows the subtleties and discusses can be a teacher." (Xunzi Zhi Shi) He believed that a teacher must have four conditions (not including extensive knowledge): first, the teacher must have dignity and be able to make people respect him; second, the teacher must have high prestige and rich teaching experience; third, the teacher must have the ability to teach in an organized and systematic way and not violate the teacher's instructions; fourth, he must know the subtle theories and be able to explain them clearly. The Book of Learning also sets strict requirements for teachers, considering high moral character and academic excellence as essential for teaching and education, as well as the mastery of correct teaching methods and principles.

Yuan Hong, a Jin dynasty scholar, said in "The Records of the Later Han Dynasty The Chronicle of Emperor Ling": "A teacher of scripture is easy to meet, but a teacher of men is difficult to meet." It can be seen that the standard of "human teacher" is not only to impart knowledge, but also to be a teacher of others. This is the excellent traditional educational thinking of ancient China.

Ancient Chinese educators also advocated that students respect their teachers and teachers love their students, establishing a good teacher-student relationship. Confucius loved his students and cared about their moral and academic improvement, as well as their lives and health. He was happy to see the progress of his students; he often helped them when they were poor; he visited them when they were sick; and he was very sad when they died. He established a deep friendship with his students. Confucius said; "If you love, can you not work? If you are loyal, can you not teach?" (Analects of Confucius Xianwen) He also said: "Two or three sons think that I am hidden? I have nothing to hide from you. I have no line and I do not share with the two or three sons. (Analects of Confucius Shu-i) Confucius had "no selfishness and no concealment" for his students, and he had unlimited expectations: "The future generation can be feared, how can we know that the future generation will not be the present?" (Analects of Confucius Zihan). He also believed that when a righteous cause needed to be taken up, the younger generation should be bold enough to go forward and take responsibility, even in front of their own teachers, without having to be humble, "when benevolence does not let the teacher go" (Analects Wei Ling Gong). The students of Confucius admired Confucius for his high morality, profound knowledge, and good teaching. Yan Yuan said, "If you look up to a person who is high, you will learn from him. If you look ahead, you will not be able to follow. The master was good at enticing people, and he taught me with literature and rituals, and I could not stop. Since I have exhausted my talent, as if there is a stand-alone Zhuoer. Although I want to follow him, the last thing I want to do is to do so." (Analects of Confucius Zihan) After the death of Confucius, the students built a house next to his tomb and kept mourning for three years, weeping bitterly when they parted. Tzu Kung could not bear to leave, so he stayed alone for another three years. He said, "The inaccessibility of Confucius is like the inaccessibility of heaven. (The Analects of Confucius Zihan) The student expressed his infinite nostalgia and admiration for Confucius.

Mozi also emphasized respect for teachers and love for students in his educational practice, and Mozi's teachers and students were able to live and die together and share the hardships. Mozi and his students "took fur and brown as their clothes, took crawling as their clothing, and never rested day and night, taking self-hardship as their ultimate goal" (Zhuangzi The World). The students followed Mozi "to the fire and to the edge of the sword, not to be deterred from dying", and this teacher-student relationship was gradually built up through life and death and common suffering.

Xunzi to whether the "valued teacher heavy Fu" to the height of the rise and fall of the country to understand, and advocate students over teachers. He said: "When a country will rise, the teacher will be valued but not the teacher; ...... when a country will fall, the teacher will be despised but not the teacher." (Xunzi Ontario) He believed that students not only have the relationship of inheritance of knowledge and learning to their teachers, but also bear the responsibility of surpassing the wisdom of their predecessors and advancing the academic level. He said in figurative language: "Learning cannot be done. Green, taken from the blue and green in the blue; ice, water for which and cold in the water." This shows that there is no end to learning, and that it is the law of academic development that "the blue is better than the blue".

Some educators of the Song Dynasty were also models of respect for teachers and love for students. Hu Aigong, on the one hand, advocated "strict teacher-disciple manners"; on the other hand, he also advocated deep affection and cordial relationship between teachers and students. He treated all students as his sons and brothers, and they respected him as their father and brother. Roy Cheng was so kind and friendly that students often felt "like sitting in the spring breeze and harmony" when they got along with him. Cheng Yi, on the other hand, is stern and rigid, some students see him sitting in meditation and dare not be alarmed, waiting in the door until the snow is more than a foot deep, leaving a "Cheng door standing snow" of the good story. Zhu Xi once criticized the shortcomings of the indifferent relationship between teachers and students in government schools, "teachers and students see each other, indifferent as people walking on the road". He carried forward the spirit of Confucius "teach people tirelessly", follow the good advice, tireless, have deep feelings for students. His pupil Huang You said in his "Acts of Zhu Zi": "Zhu Zi's lectures on the classics, through the ancient and modern world, were often given until midnight. Although the disease is detached, to the students asked to discern, it is removed from the body of the disease, a day without lectures, is tense often thought worried." Reflects the sentiments of a great teacher. Zhu Xi's requirements for students is strict, but not passive precautions, but positive guidance, do not focus on the form of the provisions of the provisions, but rather to inspire students to consciously comply. Enthusiastic teaching, the method proper, in order to deepen the teacher-student friendship, close teacher-student relationship. These experiences of Zhu Xi, which contain universal laws, reflect the fine tradition of respecting teachers and loving students in the history of ancient Chinese education, and are often praised and drawn upon by later generations.

===Conclusion===
Compared with foreign education, ancient Chinese education has these characteristics: it is not mechanical and dull, but flexible and varies from person to person and from time to time; it is not subdivided and detailed, but comprehensive and integrated; it is not merely teaching knowledge and technology, but the unity of morality and wisdom; it is not detached from teachers and students and disconnected from education and life practice, but teaching and learning together and integrating education into life practice; it is not pivoted on the system of knowledge, but on It is not a pivot on the system of knowledge, but on life, and aims at the building and cultivation of the human style from generation to generation.

===References===
*Mao Lirui(1985-1988), Shen Gouqun, eds. General History of Chinese Education. Shandong; Shandong Education Press

*Sun Peiqing(1992), ed. History of Chinese Education, Shanghai: East China Normal University Press

*Wang Bingzhao, Guo Qijia, Liu Huahua, He Xiaoxia, Gao Qi(1994). A Concise History of Education in China (Revised). Beijing; Beijing Normal University Press

*Guo Qijia(1998). Ancient Chinese Schools. Beijing: The Commercial Press

==英语笔译朱丽娟 Zhu Lijuan 202170081614==
<center>'''Eco-awareness in Traditional Chinese Culture'''</center>

<center>Zhu Lijuan</center>

===Abstract===
The traditional culture of the Chinese nation is brilliant,which contains many profound ideas of ecological civilization and ecological development. These thoughts not only provided the moral foundation for the continuous development of Chinese civilization for five thousand years, but also provided the theoretical premise for the sustainable development of modern ecology and ecological civilization construction. Confucianism, Taoism and Buddhism occupy a very prominent position in Chinese traditional culture and have the greatest influence on later generations. This paper mainly discusses the ecological thoughts of Confucianism, Taoism and Buddhism, so as to provide value guidance for properly handling the relationship between man and nature.

===Key words===
Ecological thoughts;Confucianism;Taoism;Buddhism

===Subtitle 1===
1. Harmony between man and nature.

The core of ecological thought in Chinese traditional culture：Integration of nature and human. The ecological thoughts in ancient China gestate in the traditional culture. Confronted with the ecological problems which bothers the whole mankind, people surprisingly discover that the Chinese ancient philosophy has provided enormous enlightening accomplishments for the problem, or it contains the creative principles to cope with such contradictions and conflicts when we are pondering and searching for the solutions to the crisis, which is the wisdom of "Correspondence between Heaven and Human." "Correspondence between Man and Nature" is an elementary proposition of Chinese traditional philosophy. It is not only a basic spirit of China's traditional culture, but also is the optimal plane pursued by Chinese culture.On the one hand, the word "heaven" refers to "the vast nature," and it also refers to "the highest principle" and "the highest power." On the other hand, the word "unity" attaches importance to the process of a harmonious and unified status, which refers to the state of harmony between man and nature.

The ideology of "Integration between man and nature" lasted for more than 2,000 years, which was publicized, explained and developed by most ancient philosophers and became the basic style of Chinese culture and even Oriental culture. According to Ji Xianlin, a master of oriental culture, "harmony of heaven and mankind" is an elementary form of China's culture and this ideology is concentrated expression for the philosophy in oriental culture. This thought has established the foundation of ancient China philosophy, and it has exerted far-reaching influence on development of traditional culture. It is not only worth carrying forward, but also related to the future of mankind. "Harmony between man and nature" is regarded as a consistent ideological tradition in Confucianism. Confucius as "Yi Zhuan," once said,"Anciently, when the sages made the Yi, it was with the design that (its figures) should be in conformity with the principles underlying the natures (of men and things), and the ordinances (for them) appointed (by Heaven). With this view they exhibited (in them) the way of heaven, calling (the lines) yin and yang; the way of earth, calling (them) the weak (or soft) and the strong (or hard); and the way of men, under the names of benevolence and righteousness. (According to the book Yi Zhuan, there is a contribution made by Confucius: He regarded heaven, earth and man as three resources and regarded them as natural laws, which were finally used to establish an orderly world system. )

In addition, the contribution made by Mencius lies in his mode of mind and nature, completely showing your mind so that you know your nature and heaven. For Meng Zi, people do not need to know their mind or heart, but only show or appear completely in your spirit so that they can recognize human nature and the heaven. Dong Zhongshu believes that There is a natural order to things. Only by following such guidelines in order to achieve the integration between man and nature. Zhang Zai accepted the idea of the universal nature of heaven, and for the first time combined these two parts. As mentioned tree types of knowledge from Zhang Zai: the knowledge from seeing and hearing;the knowledge based on virtue;the knowledge from sincerity. Xunzi believes that Heaven has its seasons; Earth its resources; and Man his government. This, of course, is why it is said that they "can form a Triad." When man abandons what he should use to form the Triad yet longs for the benefits that result from the Triad, he suffers from delusion! The concept of "harmony between man and nature" is also expressed in Xunzi's viewpoint, which expresses the ecological concept of harmony between man and nature.

Similarly, Taoism advocates "Harmony between heaven and man." Laozi first expressed the ideology of "Correspondence between man and nature". He proposed that Man law the law of the heavens, France Road, Imitation of Nature. Zhuangzi also believes that not to receive (as evils) the inflictions of Heaven is easy; not to receive (as benefits) the favours of men is difficult. There is no beginning which was not an end. The Human and the Heavenly may be one and the same. Based on Taoist view, harmony between man and nature is the key for all things in nature to maintain its differences, but also to realize a comprehensive and coordinating relationship between humna and nature. Any destruction of nature will lead to the destruction of the relationship between man and nature, which is opposed by Taoism.

To sum up, the thought of "harmony between man and nature" is the main line of thought running through the main schools in ancient China. "Harmony between man and nature" contains different levels of content, and different philosophical schools and philosophers have different views on it. For example, Taoism pays more attention to "nature" and Confucianism pays more attention to "humanity". However, the basic meaning of this thought is the internal unity of man and nature. The concept of "harmony between man and nature" has undergone a long process of development and it complex in its content. however, it embodies the profound understanding of the relationship between man and nature in traditional China culture. Therefore, the concept of "harmony between man and nature" is the core of ecological thought in traditional Chinese culture.

===Subtitle 2===
2.Taoism thought of the nature law.

Taoism is one of the main schools in the history of ancient Chinese philosophy, which contains rich ecological thoughts. F. Capra, a contemporary humanistic physicist, once said, "As far as I am concerned, among the traditional schools of philosophy that contend with a hundred schools of thought, Taoism provides the deepest and most perfect ecological wisdom. It emphasizes that in the process of natural circulation, all phenomena and potential of individual and society are basically the same." With Laozi and Zhuangzi as the representatives, Taoist philosophy systematically discusses the relationship between heaven and man. The believes in nature is the quintessence of Taoism, and this concept has established the strong foundation for a rich ecological thought.

In Taoism, "Tao" is the beginning and nature for the whole world. The basic, eternal principle of the universe that transcends reality and is the source of being, non-being, and change. Laozi proposed that Tao gives birth to one, and one gives birth to two, and two gives birth to three and three gives birth to all things. What's more, he also pointed out the myriad things under the heavens are born of being, being is born of non being. That is to say, the Too of Tao-ism is the unitary "that" from which springs the production and change of all things in the universe.In other words, people and everything in the universe, everything and on everything, the reason things are unified into the same to my heart.The relationship between "one" and "ten thousand" is not only the relationship between mother and son, but also the relationship between unity and diversity. As the foundation of the existence of all things, "one" represents "nature", where "nature" represents the whole nature. In other words, all things are an integral part of nature, and man is also a thing in all things, that is, a part of nature.

It was the first time that Laozi explicitly put forward the "nature" in the history of philosophy in China, where he discussed the relationship between man and nature. "Man laws the land, the land laws the sky, the sky laws the Tao, and the Tao laws the nature. There were three means of the nature in Taoism: one was the natural in nature, the second was spontaneousness and own so, the third was nature in the life meaning.That is to say, human beings should take "Tao" as the law, because it is the basis of the existence of all things in the world. According to Lao Tzu, everything in nature, including human life, is the result of creation of nature, which is naturally generated and has no master, which is the basic meaning of "Tao follows nature. In Taoism, man is a part of nature.The movement and change of all things in nature are regular.Tao, heaven, earth and man all exist naturally. They exist and move according to the nature of nature, and are constantly changing. Laozi believes that human behavior should conform to nature and follow the operation law of all things in nature. "Knowing often means knowing, not knowing often, making mistakes and being fierce". That is to say, it is wise to act according to the laws of all natural things. If you don't act rashly according to the laws of all natural things, you will inevitably lead to danger. Taoism believes that since man was born in the process of "Tao" giving birth to all things, man should follow the example of heaven and earth, adopt an attitude of conforming to nature to all natural things, and "dare to do things to assist the nature of all things", that is, "inaction". "Natural inaction" is the direct embodiment of "Tao follows nature". Taoist "inaction" does not mean inaction, but does not deliberately act recklessly or force arbitrarily. Therefore, Laozi emphasized that we should do things in an inaction manner, so as to achieve the effects of "doing nothing" and "doing nothing" in nature and human life.

In a word, "Tao follows nature", as Taoist thought and Taoist doctrine, contains rich ecological thoughts, which has important ecological significance in today's deteriorating ecological environment.

===Subtitle 3===
3. Anthropocentrism.

Confucian culture represents the mainstream of Chinese traditional culture, in which the ecological thought about the relationship between man and nature is a very important aspect. Confucianism has always valued man's position in all natural things, but it does not have rich and clear ecological thoughts similar to Taoism. Confucian ecological thoughts are often combined with their theory of caring for heaven, earth and man, thus forming a unique mixture of ecological thoughts with both anthropocentrism and natural centrism. Some outstanding thinkers of ancient Chinese Confucian school put forward many precious ecological thoughts from the study of interpersonal relationship, and formed a relatively complete ecological ideological system. They advocate that man is a part of nature, and man is similar to all things in nature, so man should adopt a obedient and friendly attitude towards nature, and seek harmony between man and nature as the ultimate goal.

Man is a part of nature and a product of nature, which occupies a very special position in nature. It can be said that the most important role of man in nature is "counselor's education". The Doctrine of the Mean expounded the unity of man and nature earlier: "Only the sincerity of the world is to do its best; If you can do your best, you can do your best; If you can do your best, you can do your best; If you can do your best, you can cultivate the towering land; If you can cultivate the towering land, you can participate with heaven and earth. "(Chapter 22) That is to say, only by adhering to the principle of sincerity can we give full play to our good nature; Only by giving full play to one's good nature can one influence others and give full play to their good nature; Only by giving full play to the good nature of all people can we give full play to the good nature of all things; Give full play to the good nature of all things, and you can participate in the cultivation of all things in heaven and earth. People are in contact with everything in nature anytime and anywhere, and treat things with honesty, which is the fundamental attitude to deal with the relationship between people and things. To treat things with sincerity means to respect, sympathize with, love and understand all things, and promote the growth and development of all things by the way of cultivating heaven and earth, instead of using, controlling and destroying all things as external things unrelated to life.

Mencius expounded the relationship between man and nature with the moral category of "sincerity". He pointed out: "Honest body has a good way, don't know about good, don't be honest with its body. It is a sincere person, and the way of heaven is also; He who thinks honestly is the way of man. ". ("Mencius Li Lou") That is to say, he has taken "sincerity" as the theoretical goal of the unity of man and nature. How can people achieve sincerity to achieve the realm of sincerity? Mencius pointed out: "Those who do their best know their nature. If you know its nature, you will know the sky. Save your heart and raise your sex, so things are also ". (Mencius devotes himself to it) is a process of "devoting himself to it", "intellectuality" and "knowing heaven". Mencius' theory of devotion, understanding and knowing heaven advocates achieving the goal of sincerity and realizing the harmony and unity between man and heaven through moral cultivation. Therefore, Mencius put forward that "everything is prepared for me", that is to say, the fundamental principles of everything in the world exist in people's nature, and they only need to be brought into full play. The Doctrine of the Mean also emphasizes the importance of human cultivation, and holds that as long as human efforts are made, the highest point of human nature can be reached and the work of cultural education can be realized. Therefore, the Doctrine of the Mean points out: "Secondly, music can be sincere, sincerity is shape, shape is writing, writing is clear, Ming is moving, movement is changing, change is changing, and only sincerity in the world can be changed. "(Chapter 23) The process from" music "to" energy "is not only a process of self-improvement of human nature, but also a process of dealing with the relationship between man and all things; It is not only a process of achieving" energy ", but also a process of" counselor's education ". Xunzi also proposed: "When the day comes, the land has its wealth, people have their governance, and husbands are called able to participate. "(Xunzi's Theory of Heaven) That is to say, people in heaven and earth have their own functions. Only by understanding the differences between people in heaven and earth can we achieve the realm of" participating with heaven and earth ".

When people reach the realm of "sincerity", they will naturally be able to cultivate all things, which is called "counselor". The Doctrine of the Mean says: "So sincere interest-free. Endless is long, long is micro, micro is far away, far is thick, and thick is clever. Beat thick, so the load is also; Clever, so the cover is also; Far away, so things are also. Strive for thick land, smart sky, long and boundless. In this way, you can't see the chapter, change without moving, and do nothing. "(Chapter 26) That is to say, only when heaven and earth are thick and long-standing can they cover all things; Only when the way of heaven and earth is sincere and interest-free can everything be produced. When people reach the realm of "sincerity", they can achieve everything like heaven and earth, and help to cultivate heaven and earth, which is the greatness of human nature.

===Subtitle 4===
4.Buddhist:equality of all beings.

Buddhism, as one of the world famous religions, has a long history, is extensive and profound, and has abundant documents, including many valuable ecological thoughts. After Indian Buddhism was introduced into China, Chinese Buddhists combined the essence of Indian Buddhism theory with the theory of Chinese traditional philosophy and re-elucidated and innovated philosophical thoughts. Chinese Buddhism contains a large number of ideological portrayal of natural ecology and spiritual ecology, and contains rich ecological theories, which is an important link and resource between Chinese traditional culture and ecology.

Equality of all beings is a basic concept of Buddhism. As an important concept of Buddhism, "sentient beings" expresses the core idea of Buddhism about the symbiotic relationship between human beings and other living bodies, human beings and nature. Buddhism divides everything in nature into two categories: Things with emotion and life, such as people and animals, were originally called "sentient beings" and later called "sentient beings"; Things without emotion, such as vegetation, tiles, mountains and rivers, etc., are called "ruthless beings". With the advancement of history and the influence of Chinese traditional culture, the content of "sentient beings" has continuously expanded its extension, and has been promoted from the initial "sentient beings" to cover both sentient and ruthless universe. Buddhist "equality" can be divided into four levels: Equality between all beings and Buddha, equality between people, equality between people and animals, equality between affection and ruthlessness. That is to say, all things in the universe, namely Buddha, man, animals, plants and inorganic matter, are equal.

In Chinese Buddhism, Tiantai Sect, Huayan Sect and Zen Sect all believe that all sentient beings have Buddha nature. Zen believes that not only sentient beings have Buddha nature, but also low-level life such as ruthless vegetation has Buddha nature. Ji Zang pointed out in Volume 3 of Mahayana Metaphysics: "According to the right, according to the right, all living beings have Buddha nature, then vegetation has Buddha nature. Therefore, not only all living beings have Buddha nature, but also vegetation has Buddha nature...... Therefore, if all living beings become Buddhas, all vegetation will become Buddhas. "That is to say, all phenomena in nature are in the causal relationship of interdependence and mutual restriction, and all life is an organic part of nature. Without nature, life cannot exist. The so-called "green bamboo is full of Dharma body; Gloomy yellow flowers are nothing more than Prajna", that is to say, flowers, trees, birds and animals all have Buddha nature, so we must care for every grass and tree in nature and build an interdependent, harmonious and free environment.

Buddhism believes that life is very precious to human beings and all animals and plants that can't talk. Human beings become masters of nature because of their superb thinking ability, but they can't harm other things. As small as dust, as large as the universe, and all living beings are in the same life flow, and "all living beings have Buddha nature", all things may reach the highest level and comprehend Buddha nature. Buddhism's concern for life is most concentrated in the compassion of all living beings. Compassion is the foundation of Buddhism and Taoism. "Compassion is the greatest in all Buddhism" (Great Wisdom Theory). In Buddhism's view, "harmony with happiness" is called "kindness", and "pulling out bitterness" is called "sadness". It teaches people to be merciful to all life. "Great kindness is happy with all sentient beings, and great compassion pulls out all sentient beings' sufferings" (Great Wisdom Theory). The former means giving happiness to all people and creatures, while the latter means pulling out the pain of all life.

===Conclusion===
Therefore, we can sum up the traditional culture of the ecological thinking inherent in the characteristics possessed.

First of all, The traditional China culture of ecological thought boasts deep the philosophy of "life." The "God" is the Word of God. "Yi" play to the thought of Confucius, said: "It's easy. " He said,"The great virtue of heaven and earth is born." Life is the growth of all things, is to create life. Life, is born and born, create and create. The meaning of the word is that the world takes "life" as its way and "life" as its virtue. Later generations of Confucian thinkers inherited this idea from Confucius and the Yi Zhuan, emphasizing that human benevolence and kindness originated from "the heart of heaven, earth and creatures." Thus,"life" refers to "benevolence," and "life" is good. In the Song Dynasty, Zhou Dunyi said,"Heaven gives birth to all things with yang and makes all things with yin." Life is benevolence; success is righteousness. " Cheng Yi of Song Dynasty said,"The nature of life is benevolence." Zhu Xi of the Song Dynasty said,"Benevolence is the vitality of heaven and earth." "It's the end of the world. " Therefore, the "benevolence" advocated by Confucianism is not only to kiss and love people, but also to extend from kissing and loving people to loving all things in heaven and earth. Because people and the universe, belong to a big life world. Mencius said,"To be close to one's family is to be kind to the people; to be kind to the people is to love things." Zhang Zai of Song Dynasty said,"People are my compatriots, and things are my friends." (All the people of the world are my brothers, and all the things in heaven and earth are my companions.) Cheng Ying of the Song Dynasty said,"Man and heaven and earth are one thing." He also said,"The benevolent takes the heavens and the earth and all things in them as one." "Benevolent and all things." Zhu Xi said,"All things in the world are one." So a lot. These words are said, people and all things are the same, is equal, so people should put the love to the universe.

A letter from Zheng Banqiao, a great painter in Qing Dynasty, fully expressed this thought of Confucianism. Banqiao said in the letter, the heavens and the earth, an ant insect, Xinxin love to read, this is the heart of the day. "The heart of God is the heart of God." So he said he was most opposed to "cage birds." "I want to entertain, he in prison, what feeling what reason, and must bend the nature of things to suit my nature!" Is the Wolf butch, that is, put them far away, don't let them harm human beings, people also have no right to any killing. Man and all things, so people and all things are equal, people can't think of themselves as the master of all things. This is the Confucian concept of great benevolence. Banqiao then and he said, really love birds will be a variety of trees, make a bird bird home. When I wake up in the morning, there are birds chirping. The birds are very happy, and so are the people. This is called "each has his own day." The so-called "each suitable for its day," is that all things can be in accordance with their natural nature to survive. In this way, as the same kind of people and all things also can get real happiness, get the greatest aesthetic feeling.

Secondly, associated with the consciousness of ecological philosophy and ecological ethics, there is also a kind of ecological aesthetics consciousness in China traditional culture. Ancient China thinkers believe that nature (including human beings) is a life world, the universe contains up life, business, this kind of life, business is the most worth watching, people in this kind of viewing, experience the state of man and all things, to get great spiritual pleasure. Cheng Ying said: "The business of all things is the most impressive." The "business of all things" is a favorite of the Song and Ming scholars. "I like to see the grass in front of the window." Asked why he didn 't, he said: "I don't know what you mean." He also said,"Observe the biological meteorology of heaven and earth." Zhou Dunyi experienced from the growth of grass in front of the window that there is a kind of "business" in heaven and earth, which is shared by "me" and all things. The experience gave him a kind of happiness. Cheng fish, always, and said: "I want to see you." He also likes to watch the newly hatched chickens, because the young chickens are lively and lovely, which can best reflect "business." He has a poem to describe their own happiness: "All things are content to watch quietly, and the four seasons are happy with people." "The clouds are light and the wind is light near noon, and the flowers follow the willows across Maekawa." He experienced the "business" between man and all things, experienced the harmony between man and nature, and obtained a kind of happiness. This is the "joy" of the "benevolent."

Finally, this ecological consciousness of "loving and thinking" and "business" of observing all things in heaven and earth is clearly reflected in ancient China literary and artistic works. Ancient China painters emphasized the expression of the "vitality" and "business" of all things in the world. Dong Qichang, a painter of the Ming Dynasty, said that the reason why painters live long is that "there is nothing but vitality before their eyes." In the Song Dynasty, Dong Di emphasized in the postscript to Guangchuan Painting that the artist's painting must be "born from business and obtained naturally." The painter Zhu Yunming said,"Or say: 'Plants are heartless, how can they be intentional?' I don't know that there is a kind of business between heaven and earth. The creation is wonderful, and it is as wild as it is indescribable. " So the king of Qing Dynasty is the painting fish tactic said: "The fish must be lively to get its swimming image." "I admire his happiness leisurely and agree with others." China painters never draw dead fish, dead birds, Chinese painters of flowers, birds, insects, fish, are up, business is abundant. The image world of flowers, birds, insects and fish of China painters is a life world in which human beings and all things in the world are integrated, which embodies the ecological consciousness of Chinese people.

The same is true China ancient Chinese literature.The poems of Tang and Song Dynasties show the beauty of flowers, birds, trees and people.Such as "swallows fly in the mud, mandarin ducks sleep in the warm sand.""I'm a friend of the mountain birds and flowers. "(Du Fu)"Men and birds are not in disorder, and animals are mutually close."(Wang Wei)"A pine and a bamboo are true friends, and a mountain bird and a mountain flower are good brothers."(xin qiji) some poems filled with gratitude to the nature, such as du fu "peach":"Gao Qiu always gives the poor people real life, and his eyes are still full of flowers when he is old."That is to say, the nature (here is the peach tree) not only for people to life necessary food items, and give a person with aesthetic enjoyment.This is a very profound thought.In the qing dynasty great writer pu songling's novel "liao zhai zhi yi" also runs through the consciousness of the people and the universe.The beauty of "liao zhai zhi yi," is the beauty of man and all things.The poetry of "liao zhai zhi yi," is one of the people and all things of poetry.In this literary work, flowers and trees, birds and animals insect fish can translate into a beautiful girl, and love with people.For example, the two girls in "Xiangyu" are the peony and winter resistance of the Qing Palace at the foot of Laoshan Mountain, one is Xiangyu and the other is crimson snow."The winter is two feet long, the peony is more than ten feet tall, and the flowers are bright like brocade."The breeze and the qing dynasty palace reading Huang Sheng love each other, crimson snow and Huang Sheng for friends.Only to infamy, there is a tourist saw white peony, love, just dig it move home.White peony so dead.Huang Sheng is very sad, as "crying flower poem" 50, every day to the peony growth chanting.Then Jiang Xue almost died. The Taoist priest of Xiagong Palace wanted to cut down the tree to build a new house. Fortunately, Huang Sheng stopped him. Later, the peony grew again. Huang Sheng dreamed of Xiangyu. Xiangyu asked Huang Sheng to water her with a glass of water every day. From then on, Huang Sheng added more and more irrigation. The flower bud grew fatter and fatter. The next year, a flower bloomed. The flower was as big as a plate. There was a little beauty sitting in the pistil. "In a flash, it floated down, and the Xiangyu also." From then on, the three of them lived a happy life. Later, Huang Sheng became seriously ill. He said to the old monk: "In the future, there will be red buds growing under the peony, and I will be the one who puts out five leaves." In the second year after Huang's death, there will be fat buds protruding from the fruit. The old Taoist priest irrigated it diligently. For three years, it was several feet tall, but it did not bloom. After the old Taoist priest died, his disciples did not care for it and cut it off when they saw it did not bloom. As a result, the white peony soon withered and died. Then, Nai Dong also died. These image worlds created by Pu Songling are full of love for the life between heaven and earth. It shows that man and all things belong to a big life world, that man and all things-one, life and death together, solidarity. This is what people now call "ecological beauty,""ecological beauty" is "man and all things one" beauty.

This kind of ecological consciousness in China traditional culture embodies the universal values of all mankind today, which is full of modern implication. To sum up, Chinese traditional culture contains rich and profound ecological thoughts. These thoughts have always been respected by scholars at all times and in all countries, so it is of great practical significance to explore and carry forward Chinese traditional ecological thoughts for the construction of ecological civilization in China.

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语口译段小蝶 Duan Xiaodie 202170081615==
<center>'''Chinese Movies Going Global'''</center>

<center>Duan Xiaodie</center>

===Abstract===
With the acceleration of China's economic and social development and the process of globalization, the going global of culture has become one of the unecessary parts of China's construction in the new era. China's cultural transmission is achieving remarkable results in many aspects, such as foreign trade and exchanges of culture, And China's position in international societies is becoming prominent, and China's voice is gradually gaining attention. However, at the same time, the difficulties that have emerged when Chinese culture has gone out cannot be ignored; the international competitiveness of cultural products is weak, the concept of international dissemination is unscientific, there is a lack of a reasonable system of evaluating results, and there is still a certain distance between the overall situation and the goal of a culturally strong country. As a kind of cultural medium, the film has become an important value carrier under the globalization, and is an important link and key to the cultural outflow; the cultural outgoing movement has also created a platform and opportunity for the international dissemination of the film.
The international spread of literature and film helps the enhancement of the soft power of Chinese culture. Therefore, under the perspective of cultural outgoings, from the microscopic point of view, through the interpretation of chinese film cases and the analysis of the experience of other countries' films and television, we can sum up the development status of international transmission of Chinese television and film, and put forward countermeasures and suggestions for the overseas broadcast of Chinese films and television, which have great practical significance and research value.
===Key words===
Chinese Movies; Culture Going Global; Countermeasures and Suggestions
===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语口译方楚晗 Fang Chuhan 202170081616==
<center>'''Bullet Screen in Chinese Online Video Sites'''</center>

<center>Fang Chuhan</center>

===Abstract===

===Key words===

===Introduction===
“Bullet screen”, or “dan'mu” in Chinese, is an emerging new feature on online video sites in China and Japan, which allows real-time comments from viewers to fly across the screen like bullets. Mostly used for virtual nods and zingers, this “social viewing” feature is phenomenally popular with the younger crowd.
===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语口译胡雯雯 Hu Wenwen 202170081617==

<center>'''Chinese Baijiu Culture'''</center>

<center>Hu Wenwen</center>

===Abstract===
Chinese Baijiu can be compared with wine in France, but it is made of rice. We have a long history of Chinese Baijiu, which develops with our own culture. And more importantly, we have cultivated a kind of special culture about Baijiu on the table.

===Key words===

===Introduction===
Baijiu is one of the main beverages in Chinese people's life. China has a long history of baijiu making, with a wide variety of famous bajiu spreading with a good reputation at home and abroad. Yellow rice wine is one of the earliest baijiu in the world. About 3000 years ago, in the Shang and Zhou dynasties, the Chinese people created the liquor koji double fermentation method and began to brew a large amount of rice wine. Chinese Baijiu has permeated the entire 5000 year history of Chinese civilization. It plays an important role of literary and artistic creation, cultural entertainment, food and cooking, health care and other aspects in Chinese people's life.
Chinese Baijiu culture is an important part of Chinese food culture. Wine is one of the most ancient foods of mankind. Its history almost began with the history of human culture. Since the emergence of baijiu, as a material culture, baijiu has a variety of forms. Its development process is synchronized with the history of economic development. Baijiu is not only a kind of food, but also has spiritual and cultural value. As a kind of spiritual culture, it is embodied in many aspects, such as social and political life, literature and art, and even people's attitude towards life, aesthetic taste and so on. In this sense, drinking is not just drinking but also drinking culture.
As to drinking etiquette, Chinese people pay attention to people with whom they drink . It depends on who they drink with and what they want, to be more specific, the atmosphere of drinking; drinking etiquette reflects the respect for drinkers. Who is the host ? Who is the guest? What about the fixed seats and toast sequence for them respectively. When toasting, you should start from the host. If the host doesn't finish, others are not qualified to propose a toast. If you mess up the order, you will be punished. The toast must start from the most distinguished guest. Your container must be full when toasting, which also shows respect for the person you drink with. The younger generation should take the initiative to toast the elders, which is the same for the juniors and superiors, and we also regard‘ bottom-up’ as a sign of respect.
When we talk about purpose of drinking，Chinese baijiu is often used as a tool. People drink for pursuing something they hope for other than alcohol itself. Green plum baijiu is used to prove who is a hero; Beimoting is used to eliminate all the worries within you; The Seven Sages singing wildly in the bamboo forest and drink to seek refuge in spirit. In the eyes of Chinese people, baijiu is more used as a tool for communication. Therefore, there is a lack of scientific and systematic theoretical analysis and evaluation of baijiu itself in Chinese baijiu culture, and more attention is paid to the wonderful effect brought by drinking baijiu.

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语口译黄天琪 Huang Tianqi 202170081618==
<center>'''Marriage Culture in China'''</center>

<center>Huang Tianqi</center>

===Introduction===
Marriage is something related to all of us. It is the start of family and kinship. Most of our life will be spent within a marriage. And an unhappy marriage will ruin many things. This starts by lowering the quality of our life, threatening the quality of our children’s life, and then forming a family without happiness and warmth. Eventually, this will have a bad impact on the harmony of the society. Judging from all these, we can see that how important marriage is to our life and society. Besides, marriage represents not only a union between couples, but also a union of two families. In the past, marriage was often arranged by parents, while today’s young people prefer to choose spouse that they love by themselves. However, it is still common that parents hold sway over the marriage of their children. Marriage culture is a part of social culture, which can reflect people’s mentality and views towards marriage in a particular period. In the following, marriage system, wedding customs, and dissolution of marriage will be covered.

===Marriage System===
From the earliest group marriage to monogamy, marriage system has become increasingly rigorous, which is conducive to ensuring family stability and social peace. China went through primitive society, slave society, feudal society, modern society, and it is now contemporary society. The characteristics of marriage system in each period are distinctive. From the evolution of our marriage system we can see that each change has been in line with the change in the political and economic system. The marriage system is a guarantee of social stability, and the main evolutionary history includes the following periods.

Group Marriage

Under this marriage system, a group of men and a group of women are married to each other. The specific forms of the group marriage are not necessarily the same between different regions and races, and even differ greatly. The process of its development has not been simultaneous throughout history. Group marriage showed itself in China as a natural and chaotic situation where people lived in groups without social obligations. At that time, no constraints were imposed on the interaction between men and women. There were no clear and fixed spouse, no restrictions on elders and children, and no concept of parents or siblings.

Consanguineous Marriage

With the development of human history, people gradually differentiated themselves from each other and formed different groups or tribes. Soon, blood relation became the identification standard. At that time, parents and children have blood relation were not allowed to marry each other, while siblings could. This is what we called consanguineous marriage. This kind of marriage were recorded in ancient Chinese literatures as legends. For example, Fengsu Tongyi describe that Fuxi and his sister Nüwa married each other and lived together.

Sub-Consanguineous Marriage

The main difference between sub-consanguineous marriage and consanguineous marriage is that consanguineous marriage only prohibited intermarriage between the parents and their children, while sub-consanguineous marriage also prohibited marriage between siblings of the same generation. The most important feature of the sub-consanguineous marriage system is that brothers can share a wife and sisters can share a husband, but the "wife" or "husband" must be someone from another clan. Sub-consanguineous marriage facilitated the natural selection of marriage partners, which is significant for improving the quantity and quality of the population.

Dual marriage

Dual marriage refers to the marriage between adult men and women from different clans in a long or short period of time, which is not stable. Under this marriage system, the spouses are not married for love, but for personal interests and needs. People usually obtain a spouse through exchanges of goods or forceful competition.

Monogamy

Monogamy means that when two people are married to each other, they can only maintain this marriage with each other for the rest of their lives, or at any period in their lives. Under this system, no one may have two or more spouses at the same time, and people’s marriage is more stable and can last longer. Monogamy is the result of the development of material and spiritual civilization. This marriage system is also more progressive and reasonable.

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Wedding Customs===

===Dissolution of Marriage===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.
===Terms and expressions===
Group Marriage 群婚

Consanguineous Marriage 血缘婚

Fengsu Tongyi 《风俗通义》

Fuxi 伏羲

Nüwa 女娲

Sub-Consanguineous Marriage 亚血缘婚

===Questions===
===Answers===

==英语口译兰绮 Lan Qi 202170081619==

<center>'''Chinese Panda Diplomacy'''</center>

<center>Lan Qi</center>

===Introduction===

Gift-giving is a common courtesy in diplomatic activities. And this kind of diplomatic culture has a profound history. Via exchanging gifts, a cordial and friendly bond can be built upon two countries. Diplomatic gifts are not only limited to some still-life items, but also can be some living creatures, such as animals. China has a history of presenting panda as a diplomatic gift to forge diplomatic relations with other countries, which is known as Chinese Panda Diplomacy. Panda, listed as an endangered species in 2008 and a vulnerable species in 2016, is endemic to China. It’s the national animal or say, national treasure of China. It is recorded that panda diplomacy can date back to the later Tang Dynasty when Emperor Wu ever gave two pieces of skin of pandas as a gift for foreign envoys. And after the founding of People’s Republic of China, China has been carrying out diplomatic activities through giving panda as gifts, lend panda to other countries for traveling exhibitions or signing commercial leases of pandas to show friendliness. In the 26 years from 1957 to 1982, China gave a total of 23 pandas to 9 countries. Panda, as a national treasure of China, has served as a messenger of friendship abroad many times and has made indelible contributions to the development of friendly relations with foreign countries.

===Origin and History of Chinese Panda Diplomacy===

====Panda as a gift====

Animals play an important role in China's diplomatic activities. As early as the Yongle period of the Ming Dynasty, Zheng He brought back many "qilin" (giraffes) from the African continent on his way to the West, which was called "qilin diplomacy". These giraffes were transported to China as tribute from African countries, and although they were not "gifts" in the modern sense of diplomacy, they fully illustrate the phenomenon of using "animals" as a medium to express messages in national exchanges. At that time, the Ming Dynasty was strong and the African continent was still very primitive, so the "giraffes" represented the awe and dependence of a weak country on a strong country. In modern society, animals can be found everywhere in diplomacy. In the early years of New China, China befriended the Soviet Union under a "one-sided" foreign policy. Between 1954 and 1959, the Beijing Zoo exchanged animals with the Soviet Union's State Zoo, and in 1957, China gave the giant pandas Ping Ping and An An to the Soviet Union. This "animal diplomacy" reflected China's quest to consolidate the Soviet-led socialist camp in the 1950s and its desire to receive assistance and support from the Soviet Union as a means of countering the U.S. blockade.(Zhang Enming, 2018,66-70) Vietnam, which is in the same socialist camp as China, also gave two Asian elephants to China in 1953. These two elephants had participated in the Vietnam War, so in addition to the usual diplomatic rituals, the two elephants also implied Vietnam's gratitude for China's support in the war.There is also a close animal exchange between China and North Korea. Since 1959, African lions, South China tigers, and Korean leopards have been gifts exchanged between the two countries. Behind these gifts are the development strategies of the two countries and the complex game of international relations. Whether it is the "Korean leopard" of North Korea or the "Asian elephant" of Vietnam, the animals chosen in animal diplomacy are all national protected animals that can represent the image of the country and have certain profound connotations at the same time. In China's cultural context, the panda is naturally the most appropriate choice.

"Panda diplomacy" begins with Wu Zetian. In recorded history, on September 18th, in 685 AD, the first year under the reign of Wu Zetian, the Chang'an palace guards and two animal handlers clustered round two tall, spacious and red-colored cages and set off from Chang'an on a stagecoach, sailing eastward. They went to Yangzhou, boarded a sea ship, and accompanied the Japanese envoys to Japan. This time, Wu Zetian gave two "white bears" and 70 furs to Emperor Tenmu of Japan. The "white bears" here are actually giant pandas. Westerners first heard about giant pandas from the French missionary Arman David. David was the first Westerner to study the wildlife of China in 1869, when David traveled across the ocean to give a panda specimen as a gift to the French Natural History Museum. This was the first panda to be welcomed in the West. Although only a specimen, this masterpiece of the creator was the first panda in the West. driven by panda fever, many people began to travel to China in search of pandas. (Lin He,2010,6-17)

Technically speaking, the first time giant panda served as the highest-level national gift was in 1941 when the Song sisters, Song Qingling and Song Meiling presented a pair of pandas to the United States as a token of appreciation for their relief of Chinese refugees.After the founding of New China, giant panda became an important gift for the country's diplomacy. In the modern era of friendship between China and foreign countries, pandas are treated like "heads of state" when they arrive as a national gift.(Xie Jianping,2021,93) China's most famous "panda diplomacy" dates back to 1972, when President Nixon's visit to China. Premier Zhou Enlai announced at a banquet to welcome President Nixon. Premier Zhou Enlai announced at a banquet to welcome President Nixon that giant pandas Lingling and Xinxin would be given to the United States. The "Panda Diplomacy" laid a solid brick for China to open its doors and go global.And in September 1972, when diplomatic relations were established between China and Japan, China decided to present two pandas. On November 4th , 1972, a grand ceremony was held in Ueno Park in Tokyo to accept the gift. At the ceremony, the Japanese director said, "This pair of pandas is the best gift from the Chinese people to the Japanese people, and November 4 is a symbol of friendship between the people of Japan and China." Between 1957 and 1982, China gave 23 giant pandas to nine countries: the Soviet Union, North Korea, the United States, Japan, France, the United Kingdom, Mexico, Spain and Germany. Britain, Mexico, Spain and Germany.(Sun Jiahua, Xia Jun, 2005,51)By the 1970s, giant pandas were sent around the world by China, and "panda diplomacy" reached its peak.

Here is a list of the giant panda as a national gift.

{| class="wikitable"
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | '''Date of gift'''
| style="height:40px; width:200px; text-align:center;" | '''Giver'''
| style="height:40px; width:200px; text-align:center;" | '''Name of Giant Panda'''
| style="height:40px; width:200px; text-align:center;" | '''Recipient'''
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | November 9,1941
| style="height:40px; width:200px; text-align:center;" | Republic of China
| style="height:40px; width:200px; text-align:center;" | Panda
| style="height:40px; width:200px; text-align:center;" | United States Joint Committee for the Relief of Chinese Refugees
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | November 9,1941
| style="height:40px; width:200px; text-align:center;" | Republic of China
| style="height:40px; width:200px; text-align:center;" | Pandi
| style="height:40px; width:200px; text-align:center;" | United States Joint Committee for the Relief of Chinese Refugees
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | May 1946
| style="height:40px; width:200px; text-align:center;" | Republic of China
| style="height:40px; width:200px; text-align:center;" | Lianhe(Union)
| style="height:40px; width:200px; text-align:center;" | The United Kingdom
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1957
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Pingping
| style="height:40px; width:200px; text-align:center;" | Soviet Union
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1958
| style="height:40px; width:200px; text-align:center;" | The Beijing Zoo
| style="height:40px; width:200px; text-align:center;" | Jiji
| style="height:40px; width:200px; text-align:center;" | Austrian animal trader: Heini Demer
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1959
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Anan
| style="height:40px; width:200px; text-align:center;" | Soviet Union
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | NO.1
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | NO.2
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Lingling
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Sanxing
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Dandan
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | April 1972
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Lingling
| style="height:40px; width:200px; text-align:center;" | The United States
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | April 1972
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Xingxing
| style="height:40px; width:200px; text-align:center;" | The United States
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | October 1972
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Lanlan
| style="height:40px; width:200px; text-align:center;" | Japan
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | October 1972
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Kangkang
| style="height:40px; width:200px; text-align:center;" | Japan
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | December 1973
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Yanyan
| style="height:40px; width:200px; text-align:center;" | France
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | December 1973
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Lili
| style="height:40px; width:200px; text-align:center;" | France
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | April 1974
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Jiajia
| style="height:40px; width:200px; text-align:center;" | The United Kingdom
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | April 1974
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Jingjing
| style="height:40px; width:200px; text-align:center;" | The United Kingdom
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | September 1975
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Yingying
| style="height:40px; width:200px; text-align:center;" | Mexico
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | September 1975
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Beibei
| style="height:40px; width:200px; text-align:center;" | Mexico
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | September 1978
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Shaoshao
| style="height:40px; width:200px; text-align:center;" | Spain
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | September 1978
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Qiangqiang
| style="height:40px; width:200px; text-align:center;" | Spain
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1980
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Huanhuan
| style="height:40px; width:200px; text-align:center;" | Japan
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | November 1980
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Tiantian
| style="height:40px; width:200px; text-align:center;" | West Germany
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | November 1980
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Baobao
| style="height:40px; width:200px; text-align:center;" | West Germany
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1982
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Feifei
| style="height:40px; width:200px; text-align:center;" | Janpan
|} (From: 熊猫外交_百度百科 (baidu.com) )

Due to the deterioration of the panda's living environment and the fear that the very limited number of giant pandas in China was dwindling, China stopped the purely political mode of gift to foreign countries after 1982, and many countries have invited Chinese pandas to "visit" them in various ways, and China has also organized dozens of "Giant Panda Visiting Missions". During the Los Angeles Olympics, the International Olympic Committee invited a pair of Chinese pandas to go on display. During this period, however, China's gift of pandas was limited at home, such as Hong Kong and Taiwan. In fact, as early as 1988, the mainland had expressed its intention to send pandas to Taiwan. In March 2001, the mainland was ready to send pandas to Taiwan, and the then executive president, John Chang, said positively in the Legislative Yuan that "if it is in line with the Washington Convention, we certainly welcome it. However, there was no follow-up, and the panda's visit to Taiwan became an empty talk again. If we follow the model of the United States, Japan and other foreign countries and "lease" pandas to the mainland, Taiwan will not only need to set aside a huge budget of tens to millions of dollars each year to provide the mainland with funds for research and improvement of panda habitat, but the lease will be "country-to-country", which would turn into a lease from the mainland to Taiwan, and Taiwan would become a foreign country, which did not meet the political requirements.It was not until 2005 that the two sides of the Taiwan Strait decided to adopt an "animal exchange and breeding conservation program", whereby the Taipei Muzha Zoo and the Wolong Reserve in Sichuan would exchange animals between the two sides of the Taiwan Strait, avoiding the highly sensitive political controversy. However, the Taiwan authorities, led by Chen Shui-bian at the time, refused to accept the gift of pandas to Taiwan on the grounds that it had political significance. On Dec. 23, 2008, the mainland gifted giant pandas Tuan Tuan and Yuan Yuan to Taiwan finally arrived in Taipei without incident. From 1988 to 2008 2008, the pandas' journey to Taiwan took a total of 20 years.(Lin He,2010,6-17)

====Panda Touring and Leasing====

In 1982, in response to a global call to protect endangered animals, the government of the People's Republic of China announced that it would stop giving pandas abroad starting in 1982. This marked the end of "panda diplomacy" under the traditional political gift model. But a new model, panda leasing, emerged.

During the 1984 Olympic Games in Los Angeles, China temporarily loaned two pandas, Yongyong and Ying Xin, from the Beijing Zoo to the Los Angeles Zoo for a three-month tour to show China's support for the Los Angeles Games. This was the beginning of the giant panda tour abroad. Since then, giant pandas from various zoos in China have been traveling abroad for as short as a few months or as long as a year.

Giant panda touring exhibitions are an activity that can be both politically charged and commercially beneficial. For example, the aforementioned tour at the Los Angeles Zoo during the Los Angeles Olympics was a largely diplomatic event, while the subsequent exhibition at the San Francisco Zoo was a distinctly commercial loan. The traveling exhibition brought considerable economic benefits to the zoos and other institutions where the giant pandas were housed, but it also affected the reproduction and development of the pandas to some extent.

After the mid-1990s, various measures taken to address the problems caused by commercial leasing have greatly reduced the opportunities for giant pandas to go on tour abroad, essentially ending the trend of mainly adopting the touring approach to panda diplomacy. However, in rare and exceptional cases, there are still those who go abroad for short periods of time to conduct diplomatic activities. For example, when the International Olympic Committee held its 112th plenary session in Moscow, Russia, in 2001 to decide on the host country for the 2008 Olympic Games, China sent giant pandas Benben and Wenwen to Moscow as cultural ambassadors to support China's bid.

====Joint Research on Giant Panda====

In the early 1990s, a growing number of environmental groups resisted giant panda leasing. In 1994, two pandas from the Chengdu Research Base of Giant Panda Breeding went abroad for the first time as "research and exchange ambassadors" to the Shirahama Safari Park in Japan. Since then, many zoos around the world, including Wakayama in Japan, Seoul in Korea, and Atlanta and Washington in the United States, have begun long-term cooperative research with China. On September 12, 2007, the State Forestry Administration announced that "China would no longer give pandas to foreign countries, but could still conduct cooperative research with foreign countries. But apparently, the "panda diplomacy" did not come to an end. Instead, China's "panda dance" has gone further and further.

On November 28, 2009, the Chinese giant panda Wang wang and Funini arrived in Australia. This was the first time that Chinese pandas set foot in Oceania. According to the 1975 Convention on International Trade in Endangered Species, foreign zoos can only acquire pandas on a lease basis, in the name of scientific research. At present, China has started cooperative research on giant panda breeding, physiology and other aspects with nine zoos in five countries. The number of giant pandas involved in cooperative research is 30. Among the 24 pandas that went abroad in the pas, only five offspring are still alive, including one from Japan and Germany and three from Mexico. They are still transmitting the friendship of the Chinese people together with the pandas that have gone abroad on lease or in scientific cooperation.
(Lin He,2010,6-17)

==="Giant Panda" as a medium and symbol in International Communication===

People are mediums because they can generate and transmit information. Animals, which have long been known to human culture at all levels, are also mediums. Although animals cannot directly produce human "verbal messages," they can convey a wealth of information through their biological characteristics and the cultural context they carry. Thus, the panda has been promoted from a symbolic "diplomatic gift" to a "diplomatic medium" with a diffuse message in diplomatic activities. The "panda medium" was born. Since the animal is the medium, the message conveyed by the "panda medium" itself is also worth interpreting. The "panda symbol", as an energetic reference, naturally evokes our imagination of the "panda" animal and the range of impressions and connotations it generates.

In terms of the emotions embedded in the form of communication, traditional linguistic symbols are often used in international communication activities to make serious and politically significant statements. Whether it is a logical formal document or a poetic letter, it is labeled as "politicized", with an emotional undertone of gaming and mediation behind it. The "panda symbol" is an effective way to reconcile the audience with emotions from multiple senses. When people watch videos of "cats and dogs" on social media, they are often so enthralled by the appearance and sound of the "cute" creatures that they let go of their guard and engage in pure emotion. The popular "panda" has also conquered audiences in such a communication process. It can be argued that China's international communication activities, in which the national ideology is embedded in the "panda symbol", are not only more subtle and secretive in form, but also more acceptable to the public. Such communication is often invisible and more profound.

From the audience's point of view, the content of international communication through the medium of language and writing requires a certain level of literacy. A "knowledge gap" is created on top of the language barrier, causing greater disruption to communication. The "panda medium" is able to build a bridge over the gap, and as the threshold for understanding the "panda symbol" is lowered, audiences with lower literacy levels are also included, further expanding the audience base for China's foreign communications.The image of "panda" is naive, gentle and lovely. In international communication, this animal image conveys the message of "peace" and "friendship". Today, in the face of Western "threat theory" and "suspicion theory", the "panda symbol" undoubtedly represents the value of China's peaceful rise. At the same time, the "black and white" color covering the panda is reminiscent of the Chinese "Taiji" symbol, which contains the Chinese idea of "harmony" and a deep cultural temperament. This symbolic feature is good for constructing a national image and eliminating stereotypes. In addition, as an endangered species, the panda has received worldwide attention for its conservation, and China's protection of the panda is well known. Out of its love for the panda as an animal itself, as well as universal ecological values, China's conservation work for the giant panda has been praised and recognized globally. This has further enhanced China's standing in the international community and won wide recognition among global citizens. The "panda symbol" provides opportunities for China's foreign communication activities. In China's international communication activities, the panda has crossed the language barrier, established a good national image, and earned China a reputation. The "panda medium" has opened up new ideas for the study of international communication channels.

As an important medium in diplomatic activities, giant panda has the following four positive effects on China's international communication.

1. Building a good national image
For a country, a good national image not only enhances national cohesion, improves the country's recognition and credibility in the eyes of the public, but also helps the country to carry out international affairs in the international community. The "Giant Panda" can leave a deep first impression on the audience. It is so delightful that many people who do not know China can instantly fall in love with this "cute" animal and learn about China. The panda itself becomes a symbol of China in the minds of other citizens, which helps the international community to understand China as a "cute" and "peaceful" country, which plays an important role in building a positive national image.

2. Creating communication topics
The existence of the "panda medium" creates a middle ground for China's diplomatic activities with other countries and creates communication topics. Topics such as "panda conservation and research," "panda habits," and "newborn pandas" etc. can trigger discussions in the social media of different countries. When common topics occur, communication between countries becomes possible.

3. Creating economic value
Just like the "Kung Fu Panda" movies on Hollywood, the giant panda as a medium can give rise to related cultural industries and many cultural products. The development of cultural industries not only drives the popularity of cultural symbols in the world, but also increases the country's international communication power. The global popularity of Disney movies has not only created huge commercial value, but also impressed people with the success of the American movie business, as well as the understanding of American culture. The "giant panda" medium is expected to open up a new cultural industry through which Chinese culture can go global. This will create economic value while increasing cultural influence, which will be a double benefit. Of course, the development of cultural industries needs to be kept in moderation, and excessive commercial development will be counterproductive.(Zhao Lijun, 2017,15-19)

===Problems in Panda Diplomacy===

"Panda diplomacy" has indeed played an important role in China's diplomatic activities, but there are also many problems, making it to play its role as a diplomat.

1. Political misinterpretation
No matter how cute the panda is, the image of China behind it is not accepted and recognized by everyone. The "panda" cannot conquer everyone, so the practice of "panda diplomacy" has certain limitations. The sharp ideological struggle has led many political parties and political elites in many countries to perceive the cultural connotation of the "panda" symbol and interpret it as a cultural invasion. As a result, there are constant media reports reminding people that "pandas are after all carnivores" and "the bite force of a panda is no weaker than that of a brown bear". These statements are contrary to the image of the panda that China is trying to create, trying to remind people of the other side of the "panda symbol". The "panda medium" itself does not have strong explanatory power or tendencies, so audiences' interpretations are often easily influenced by the rhetoric. When political bias intentionally misinterprets the panda image, it can also be portrayed as a beast with a bloody mouth. The connotation of the "panda symbol" at this point will bring negative communication effects.

2. Single content will cause aesthetic fatigue
The "panda symbols" on the Internet is still based on the daily life of pandas and lacks artistic processing and cultural connotation. Such a single content presentation is likely to cause aesthetic fatigue among audiences. Unlike various cats and dogs , pandas have a more fixed and single form, so it is difficult to refresh the image in the public's mind. Once the audience finds the "panda image" boring, it will be difficult to raise interest and the communication effect will be weakened.

3. Over-commercialization and dissipation of public interest
The popularity of panda-related products stems from the public's love for the panda image on the one hand, and from smart marketing tactics on the other. The public's interest in the panda image is a direct motivation for them to buy peripheral products. When commercial companies take advantage of the "panda fever" to over-market, people are inevitably suspicious of the panda image and even question whether the cute panda image is originally a scam by the business. As a unique animal in China, overseas people associate "Chinese businessmen" with "panda marketing". When interest is dissipated, not only will the panda industry suffer, but the international influence of the "panda symbol" will also decline, which will directly affect China's international communication power.(Lan Jianfeng, 2020, 96-100)

===Solutions===

1. Refine the connotation of the symbol to reduce political misinterpretation
In order to reduce the misinterpretation and misinterpretation of the "panda symbol" by political forces, China should extract the core connotation of the "panda symbol" in its international communication behavior and amplify the connotation of "peace" and "cuteness" so that audiences will have a positive cognitive association with it.

2. Enrich the content of communication
In order to break the monotony of the "panda symbol", it is necessary to add more cultural connotations. We should combine other elements of Chinese culture with the panda and deepen the processing of cultural creation, not only to show panda's behavior in nature as a living creature, but also to raise it to the level of a cultural symbol so that the panda symbol can have a wider cultural value.

3. Moderate exploitation of commercial value
As a national treasure of China, the "panda" has a high commercial value, but if it is over-exploited without restrictions, it will lead to a negative impression of "panda products" and also make the symbol of "panda" be labeled as as "expensive". Therefore, the commercial development of panda products should follow the laws of economics, tap into both its commercial value and cultural value.(Lan Jianfeng, 2020, 96-100)

===Conclusion===

China has used different media in its international communication activities. "Panda diplomacy" allows the animal "panda" to be taken out of the picture and become a medium. The "panda medium" refers on the one hand to the panda animal, which is able to express messages through its own form and movements, and on the other hand to the abstract concept of "panda", behind which lies the "and culture" and "Meng" culture. The "panda medium" is also a reflection of the highest ideals we expect from the development of media technology in real life. The "panda symbol" is a strategically important element of international communication. The "panda symbol" constitutes the deeper meaning of the "panda medium" and is transmitted through the "panda medium". "The panda symbol overcomes the barrier of "language symbols" in international communication, and uses concrete images and the perception of the five senses to share more meanings and evoke more resonance. From the initial gift of giant pandas, to their subsequent lease, cooperation in research, and then to their visits as emissaries, pandas are in fact a microcosm of China's diplomacy's gradual progress toward confidence and maturity. "Panda diplomacy" is a way for China to exercise its soft power, and pandas have gradually become a metaphorical animal for China in the Western media. The Chinese themselves, for their part, have come to associate the panda The Chinese themselves, too, have made the panda and this metaphor an important cultural promotion.(Fu Lan, 2019,61) As goodwill ambassadors, pandas have traveled around the world, playing a role that human diplomatic envoys cannot, and greatly improving relations between China and the rest of the world. "Panda diplomacy" is just a miniature experiment in China's international communication activities today. The "panda medium" and the "panda symbol" are also just a novel attempt in the foreign communication strategy. We look forward to seeing the "panda medium" play an even greater role in the international communication in the future, and we look forward to seeing more forms of "mediums" emerge, so that China's international communication power can continue to improve and the Chinese story can be told better.

===References===

[1]浮澜.熊猫“外交官”[J].新湘评论,2019(04):61.

[2]林禾,余里.中国“熊猫外交”揭秘[J].传承,2010(04):16-17.

[3]蓝剑锋.中国国际传播活动中的“媒介”与“符号”——以“熊猫外交”为例[J].今传媒,2020,28(12):96-100.

[4] 孙佳华，夏俊．“熊猫外交”的秘密往事［J］．政府法制，2009( 21) : 51．

[5]谢建平.“熊猫外交”始于武则天[J].文史天地,2021(01):93.

[6]赵丽君，郑保卫．国家形象视角的“熊猫外交”研究［J］．新闻爱好者，2017(12) :15－19．

[7]张恩铭．简述 20 世纪 50 － 70 年代中国的动物外交活动［J］．惠州学院学报，2018，38( 4) : 66 － 70．

===Terms===

Giant Panda 大熊猫

Panda Diplomacy 熊猫外交

Tang Dynasty 唐朝

Emperor Wu/ Wu Zetian 武则天

Emperor Tenmu (日本）天武天皇

Kung Fu Panda 功夫熊猫

===Questions===

1. When does the "Panda Diplomacy" begin ?

2. What roles giant pandas have played in China's international communication ?

3. What are the problems in panda diplomacy ?

4. How to deal with the problems in panda diplomacy ?

===Answers===

1. It begins with Wu Zetian.

2. It helps build a good national image and creates communication topics and economic value.

3. It may trigger political misinterpretation. And its single content will cause aesthetic fatigue. Moreover, over-commercialization may dissipate public interest

4. Refine the connotation of the symbol to reduce political misinterpretation; Enrich the content of communication; And make moderate exploitation of commercial value

==英语口译李丹 Li Dan 202170081620==
<center>'''''Differences of Tea Culture between China and the UK'''''</center>

<center>Li Dan</center>

===Abstract===

The British afternoon tea, with various ingredients such as sugar and milk, is popular all over the world and is completely different from the traditional Chinese tea. But there is in fact a connection between the two. The English afternoon tea was developed after the introduction of Chinese tea to the UK and its localisation. Originated in China, it was first used as a medicinal herb, and was later influenced by Confucianism, Taoism and Buddhism, resulting in a distinctive Chinese tea culture. Tea was introduced to Europe in the 16th century, and many countries began to consume it, except for the long-established Britain which established a British tea culture distinct from that of China, changing not only its native way of life, but also influencing the spiritual life of its citizens. However, instead talking about the similarities between the two, the author is just going to focus on the differences. Chinese tea and the British tea vary in types, utensils, etiquettes, which is overt, yet they are also quite different in their development and philosophies. After that the reasons behind them would be discussed. In doing so, the paper intends to deepen the understanding of both, and to make reflections on how to pass on traditional Chinese culture.

===Key words===
tea culture; traditional Chinese culture; differences

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语口译李立飞 Li Lifei 202170081621==
<center>'''Memes in China'''</center>

<center>李立飞</center>

===Abstract===
This paper discusses the distinctive features of memes in China in the context of digital culture. As China is a more politically complicated country and has a totally different mindset compared with Western countries, memes in China are usually closely related to every Chinese citizen's life, rather than only confined to a certain circle (such as video games and anime). In this paper, I will analyse Chinese memes in 3 dimensions: Geng(梗), Biaoqingbao（表情包）, and Guichu（鬼畜）, which represents text, picture and video respectively.

===Key words===
memes; digital culture; netizen

===Introduction===
A meme is an idea, behavior, or style that spreads by means of imitation from person to person within a culture and often carries symbolic meaning representing a particular phenomenon or theme. A meme acts as a unit for carrying cultural ideas, symbols, or practices, that can be transmitted from one mind to another through writing, speech, gestures, rituals, or other imitable phenomena with a mimicked theme. Supporters of the concept regard memes as cultural analogues to genes in that they self-replicate, mutate, and respond to selective pressures. In the vernacular discourse of netizens, the phrase “Internet meme” is commonly applied to describe the propagation of content items such as jokes, rumors, videos, or websites from one person to others via the Internet. According to this popular notion, an Internet meme may spread in its original form, but it often also spawns user-created derivatives. .....
===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语口译莫雨婷 Mo Yuting 202170081622==

<center>'''Chinese Animal Symbolism'''</center>

<center>Mo Yuting</center>

===1.1 Introduction===

Since ancient times, people started living with the existence of animals. Due to different geological environments, cultural backgrounds, customs, and religions, the symbolic meanings of animals vary in different countries. Animal symbolism evolves with languages and cultures. According to Claire Kramsch: “On one hand, language as an integral part of human being permeates his thinking and way of viewing the world, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps permeate the culture, and the changes in language uses reflect the cultural changes in return.” (Claire Kramsch, 1998).

In the past, China was an agricultural society in which animals played an important role in people’s daily life. Some animals have been tamed by human beings, while others are still wild animals. For different animals, Chinese people have different attitudes and emotions. And many symbolic meanings of animals will show up in myths, fables, fairy tales, proverbs, idioms and etc.

The earliest Chinese animal symbolism could date back to the Western Zhou period (1046-771BC). The Book of Songs, one of the earliest anthologies of verse in China, used various animals, such as horses, rats, fish, birds, etc., to narrate stories and express emotions. These animals are given different symbolic meanings.
Animal symbolism evolves with Chinese culture, and it takes the Chinese language as a carrier. Chinese people are very familiar with the 12 animal zodiac, and some of the 12 animal symbolic meanings have changed with time. It shows a strong relationship between symbolic meanings and Chinese culture. In addition, many Chinese idioms will use animal symbolism to express different meanings. For instance, the Chinese four-character idiom “龙腾虎跃” (spirited dragon and dynamic tiger) shows a positive meaning, while “贼眉鼠眼” (people with furtive eyes) has a negative meaning. This article will focus on the 12 animal symbolism in the Chinese zodiac and animal symbolism in Chinese four-character idioms and show more details by giving more related examples and pictures.

===1.2 Animal symbolism in Chinese zodiac===

The origin of the Chinese zodiac is related to Chinese people’s animal worship. According to the ancient artifacts, a complete zodiac system appeared before the Qin Dynasty. The earliest literature recording the same 12 zodiacs as today’s was Lunheng (《论衡》) written by Wang Chong, a philosopher and writer active during the Han Dynasty.

Rooted in Chinese people’s daily life, language, culture, and custom, the 12 animals of the Chinese zodiac have unique symbolism and cultural connotations. (Ma Dan 2006, 1) The symbolic meanings of the 12 zodiac animals differ in terms of their characteristics and different cultures. They are also influenced by the changes in people’s ideas and ideologies. One animal may have more than one symbolic meaning, it can be positive or negative, and these meanings will also change with time.

===1.2.1 Rat===

The Chinese zodiac begins with the rat. Rat is not a good sign in Chinese culture. According to the ancient folk story “Great Race”, the kindhearted Ox carried the Rat and the Cat across the river because they couldn’t swim. However, the Rat was cunning and tricky. As the Ox was about to reach the other side of the river, the Rat pushed the Cat into the river, jumped off the Ox, and rushed to the Jade Emperor. It becomes the first sign in the Chinese zodiac and the Ox second. People usually associate negative meanings with rats because they look ugly, live in dirty places, and always steal food. They also ruin farmers’ crops and destroy the environment. Thus, in China, the mainstream is that the symbolic meaning of rats is negative. Chinese people will use some words or idioms including the character “rat” to abuse others or to describe those people who have bad habits.

===1.2.2 Ox===

The symbolic meanings of the Ox are complicated and depend on different contexts and situations. For most Chinese people, the Ox symbolizes those people who are tall, strong, hard-working, and patient without complaints (Ma Dan 2006, 3). The reasons for the positive symbolism of the Ox may lie in the history and development of Chinese agriculture. China has been an agricultural society for a long time, and oxen are an important tool of production and a common form of transport (Liu Shanshan 2014, 15). Oxen are large and strong, they can work the whole day for farmers. In some contexts, the symbolic meaning of the Ox can be negative. People will describe those who are stupid, poor, or with low social status by using the symbolism of the Ox.

===1.2.3 Tiger===

Tiger is a symbol of justice and braveness. In Chinese culture, tigers are regarded as the kings of the animal world. Chinese people show their reverence for tigers. Earlier in the Spring and Autumn period, people in Chu State(楚国) conveyed deep reverence for tigers, which was reflected in the totem of tigers in Chu culture. Ancient Chinese regarded tigers as a kind of mysterious animals, some minorities even took tigers as the incarnation of God (Liu Shanshan 2014, 16). Today, tigers still have positive symbolic meanings in Chinese culture, which can be referred to people who are excellent and brave with great talents or people who are healthy, spry, and strong.

===1.2.4 Rabbit===

Rabbits are quiet, docile, and agile. In Chinese culture, rabbits symbolize activeness, flexibility, and quick movement (Shi Juanzhi, He Ling 2011, 1). Chang’e and the Jade Rabbit are well known to Chinese people. In Chinese folklore, the Jade Rabbit plays an important role in making the elixir. Thus, the image of the Jade Rabbit symbolizes health and longevity. Rabbits are also used to describe fleeting times. Apart from these positive symbolic meanings, there are some negative symbolic meanings of rabbits. For example, Chinese people will describe those people who are timid and cunning by using some words or idioms (Ma Dan 2006, 3).

===1.2.5 Dragon===

Dragon is the only mythological sign of the Chinese zodiac. It is a unique animal full of Chinese characteristics. Chinese people’s worship of dragons is deeply rooted. In ancient times, people believed that the Dragon King controlled the weather and rainfall. They regarded floods as a bad sign indicating that the Dragon King was in a rage, so they built many Dragon King temples to appease the Dragon King and pray for good weather and better harvests.

In Chinese culture, the dragon is an honorable and noble animal symbolizing power and right. Especially in feudal society, the emperor believed that he was the son of the dragon. His people and servants used words such as “龙体”(dragon’s body, means the emperor’s health),“龙袍”(dragon robe, means imperial robe),“龙椅”(dragon throne, means the emperor’s chair) to describe things related to the emperor (Liu Shanshan 2014, 18).

In addition, Chinese people are known as the Descendants of Dragon. In people’s daily life, many words and idioms including the symbolism of dragons are used to describe great things and outstanding talent. For example, a famous Chinese idiom says: “望子成龙，望女成凤”, which is frequently used by many parents who hold high hopes for their children. It means parents hope their children will have a bright future.

===1.2.6 Snake===

The snake has always been portrayed in a negative image in Chinese culture. It is a kind of cold-blooded, vicious, and greedy animal, which usually terrifies human beings. In Chinese mythology, the Classic of Mountains and Seas, also known as Shan Hai Jing (《山海经》), records nine types of snakes that can make various strange noises. The appearance of snakes always signifies misfortune (Song Zhima 2009, 2). Thus, Chinese people always associate snakes with bad things or villains.
In some cases, snakes still have positive symbolic meanings. Chinese people use the four-character idiom “灵蛇之珠” to praise graceful and flowing calligraphy (Liu Shanshan 2014, 19). In Chinese mythology, Nüwa, the mother goddess with a human face and snake body, creates human beings. Thus, snakes also signify power, immortality, and exuberant vitality in Chinese culture (Song Zhima 2009, 2).

===1.2.7 Horse===

Horses are large and sturdy animals with patience and stamina. In ancient times, the horse was an important means of transport and a kind of military resource (Liu Shanshan 2014, 20). They were closely related to a country’s military and people’s lives. In the Tang Dynasty, Han Yu, a Chinese historian poet, philosopher, politician, and one of the Eight Great Prose Masters of the Tang and Song, wrote Discourse on Horse (《马说》). In this discourse, Han compared gifted talent to swift horses, and the talent of scouts to Bole. This is the origin of the Chinese words “千里马（swift horse）” and “伯乐（Bole, talent of scout）”. The two words are still used today.

In Chinese culture, horses usually have positive symbolic meanings. Some Chinese characters are used to describe battle scenes, like “千军万马” (a big army includes many soldiers and horses). People also refer to horses as those people who make great contributions to the country or wise men (Liu Shanshan 2014, 20).

===1.2.8 Goat===

Goats are lovely and gentle animals, but they are also very timid. In Chinese culture, whether the symbolism of goats is positive or not depends on different situations. But in most cases, the symbolic meanings of goats are negative. In Chinese, the sheep is often used to describe those people who are weak, helpless, and vulnerable (Liu Shanshan 2014, 21). For example, Chinese people always use the four-character idiom “羊入虎口”(a lamb in a tiger's den) to describe weak people in a dangerous circumstances. It compares weak people to goats. Another famous idiom frequently used by Chinese people is “亡羊补牢，为时已晚” (mend the fold after the sheep is lost), which comes from the Annals of the Warring States. It means it’s too late to do something.

Notes: The Chinese character “羊” is a general word, which can be expressed by different English words like goat, sheep, and lamb.

===1.2.9 Monkey===

Speaking of the monkey, Chinese people are very familiar with the character: Monkey King, or Sun Wukong. Monkey King is a legendary mythical figure best known in the book: Journey to the West（《西游记》）, one of the Four Great Classical Novels. He has unique powers and a spirit of rebellion and defiance, and he is the symbol of pursuing freedom (Zhao Leping 2018, 40-41). In Chinese culture, monkeys signify people who are bright, smart, and humorous.

However, in modern society, the symbolic meanings of monkeys are not always positive. In some cases, people associate monkeys with naughty children who are noisy and like playing tricks. In addition, people usually use the four-character idiom “尖嘴猴腮” to describe people with pointed mouths and thin angular faces.

===1.2.10 Rooster===

The rooster is the tenth sign of the Chinese zodiac. It is a common animal with a long history and various connotations. The Chinese character “鸡” appeared on the oracle bone script written 8,000 years ago. In traditional Chinese culture, dragon and phoenix are mythological animals, while the rooster is a kind of special fowl. In the past, people would raise chickens in their farm yard. Chicken and eggs were important agri-products. Roosters usually crow when the sun rises, so they signify diligence and prophecy. They are also known as “messengers of the sun”.

Nonetheless, the symbolic meanings of roosters are not always positive. In ancient times, the rooster was the sign of a bad omen. People would use “偷鸡摸狗” to describe thieves, or “牝鸡司晨” to describe women who seize power (Liu Shanshan 2014, 21-22).

===1.2.11 Dog===

In Chinese culture, the image and connotation of dogs have dramatic changes. In modern society, people like dogs. Many people believe that dogs are loyal animals that are people’s best friends. Some people raise pet dogs and treat them as their companions. In some cases, dogs even become a member of a family. Today, Chinese people’s attitudes towards dogs are greatly influenced by western countries (Liu Shanshan 2014, 22).

However, in ancient times, people’s attitude towards dogs was totally different. In the past, dogs played an important role in guarding the doors, so people regarded them as their servants. In traditional Chinese culture, people usually associate dogs with derogatory meanings. For example, the four-character idiom “狼心狗肺” is used to describe people who are despicable and shameless (Liu Shanshan 2014, 22). In addition, the famous two-part allegorical saying “狗拿耗子，多管闲事” is used to criticize those who like sticking their noses into other people’s businesses (Ma Dan 2006, 12).

===1.2.12 Pig===

China has a long history of raising domestic hogs. Pigs are very common but useful animals in ancient China. They are fat, have big ears and short legs, and grow very fast. And pork is a kind of delicious food. Thus, in the past, raising pigs was an important means of livelihood for farmers. They could earn money from it, so in ancient times pigs symbolized wealth and fertility.

But in Chinese culture, most symbolic meanings of pigs are derogatory. The cultural connotation of pigs is similar in both China and western countries. People always relate pigs to bad things. Pig is the symbol of laziness, greediness, ugliness, and stupidity (Ma Dan 2006, 5). The typical character based on the pig which is best known in China is Pigsy, also known as Zhu Bajie in the book Journey to the West.

===1.3 Animal symbolism in Chinese Mythological Stories===

After introducing the animal symbolism of the Chinese zodiac, this article will continue to introduce and explain animal symbolism by taking more Chinese four-character idioms as examples. Chinese animals, animal symbolic meanings, and four-character idioms are large in numbers with various types. Thus, this part will be mainly divided into two parts: the animal symbolism in Chinese mythological stories and fables.

===1.3.1 Animals in Chinese Mythological Stories===

Mythological animals play an important role in Chinese culture. These animals do not exist in reality, but they have rich cultural connotations. In ancient times, people couldn’t explain some natural phenomena in a scientific way, so they associate these phenomena with some animals and deify them. Thus, animals such as birds, dragons, and turtles in many Chinese mythological stories signify good fortune, and they have different magic powers. Dragon, Phoenix, Qilin, Turtle, and Pixiu (貔貅) are five famous Chinese mythological animals bringing good fortune. This part will focus on introducing the first three animals, their images and characteristics, and their symbolic meanings in Chinese culture.

===1.3.2 Dragon===

As mentioned before, the dragon is the fifth sign of the Chinese zodiac. The origin of the dragon dates back as early as 8,000 years ago. It is a mythological animal with a long body, two horns, and numerous scales (Mao Huijun 2016, 1). The image of the Chinese dragon was roughly established in the Shang and Zhou Dynasties. In the Han Dynasty, Yinglong became the symbol of feudal imperial power, which was a winged dragon in ancient Chinese legend. As the Classic of Mountains and Seas recorded, Yinglong had the main characteristics of later Chinese dragons: the power to control the sky and the noble mythical status (Xiao Congrong 2021, 92-93). Since the Tang and Song Dynasties, the image of the Chinese dragon symbolizing imperial power was changed into the wingless Yellow Dragon in modern times.

In Chinese culture, dragons usually have positive symbolic meanings. In imperial society, dragons signified supreme power and were identified with the Emperor of China, also known as “真龙天子” in Chinese. Today, dragons still can be used to describe those excellent people or talent. For example, the Chinese four-character idiom “人中龙凤” (the dragon and phoenix) or “人中之龙”(the dragon) is used to praise outstanding people with good personalities who are different from common people. In addition, dragons also appear in some idioms such as “游云若龙” (floating clouds look like flying dragons) to describe smooth and delicate calligraphy.

===1.3.3 Phoenix===

In Chinese, “凤” is the name of female phoenixes, and “凰” refers to male phoenixes. Similar to dragons, phoenixes are mythological animals. They play an important role in Chinese traditional culture and usually have positive symbolic meanings. The earliest origin of the phoenix dates back to the Stone Age. Among the existing Chinese classical books, The Book of History (《尚书》) was the first one to record stories of the phoenix (Ainiwajiang Kuerban 2021, 7). In the first mythological book The Classic of Mountains and Seas, it recorded that the phoenix was one kind of magic birds and described the image of the phoenix: it was an animal having colorful feathers with different patterns on its head, wings, back, and chest (Yuan Ke 1998, 75).

In Chinese culture, the phoenix symbolizes beauty, good fortune, happiness, and peace. People always associate the phoenix with the dragon, both of which are noble mythological animals. For example, the four-character idioms “凤凰来仪” and “龙凤呈祥” both refer to auspicious omen. In imperial society, the dragon signifies the Emperor and the phoenix refers to the Empress. Until today, its positive connotation still exists. People use “凤凰于飞” (a female phoenix and a male phoenix fly into the sky) to describe couples who deeply love each other (Ran Shugui 2012, 2). People also associate the phoenix with the Qilin because they are rare and precious. Thus, the phoenix also symbolizes excellent people or good things that are rare and precious, and “凤毛麟角” (the feather of a phoenix and the horn of the Qilin) is a common idiom used to express that meaning.

===1.3.4 Qilin===

Those who are interested in Chinese culture may be very familiar with the dragon and the phoenix, but not so familiar with Qilin (also known as Kylin). Qilin is a hooved chimerical creature in Chinese mythology. The earliest article recorded the Qilin was Book of Rites: The Conveyance of Rites. The name of the Qilin first appeared in The Classic of Mountains and Seas (Xu Xiujuan 2003, 3). Qilin generally has Chinese dragon-like features: similar heads with antlers, eyes with thick eyelashes, manes that always flow upward, and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse (Liscomb, Kathyln 2016, 341-378).

Similar to the dragon and phoenix, Qilin is a symbol of auspicious omens in Chinese culture. Ancient people believed that it could bring good fortune. As for people with relatively high social status, they would put a pair of Qilin statues in front of their gates so as to keep away from bad luck and maintain good fortune.
Furthermore, Qilin plays an important role in Confucianism. According to Chinese mythology, Qilin is a kind of docile animal which represents auspiciousness, harmony, and graciousness. Many Confucian classics such as Spring and Autumn Annals (《春秋》) and Book of Rites recorded stories about Qilin (Ma Laiping 2021, 5). Those unique qualities of Qilin stay in line with the philosophies of Confucianism. Thus, the image of Qilin is deeply related to Confucianism.

In modern society, people still associate Qilin with good luck and fortune. For example, the four-character idiom “麟凤一毛” means that good things regardless of their sizes have been collected. In addition, Qilin is frequently used to describe outstanding people, especially men. For instance, “天上麒麟”(Qilin in the sky) is used to praise others’ sons who are gifted in literature (Ran Shugui 2012, 2).

===1.4 Animal sybolism in Chinese Fables and Four-character Idioms===

===1.4.1 The Origin of Chinese Fables===

Before cutting to the chase, a brief introduction will be given to Chinese fables. The word “寓言” (fable) first appeared in the book Zhuangzi (《庄子》). Ancient books recorded that Chinese fables existed in the late Spring and Autumn Period. During this turbulent period, fables were usually used to exhort the emperors by telling them lively stories (Zheng Wenjun 2014, 8). Bao Yanyi, a professor who specializes in ancient Chinese and researches related to fables, explains the definition of fables in Yu Yan Ci Dian (《寓言辞典》, a dictionary about Chinese fables): fable is a literary genre composed by fictional stories. It aims to let people understand moral saws by learning these stories. So it tells that a fable is usually composed of a fictional story, simple and short words, and philosophies.

===1.4.2 Chinese Fables & Four-character idioms===

With the development of Chinese culture and language, some famous fables have been passed down from generation to generation. In order to remember and convey the meanings of these fables, people shortened these fables and turned them into four-character idioms. In general, four-character idioms are concise, but with profound meanings and connotations. Some of them can be understood literally, while others can hardly be understood unless people know the history and origins (Zheng Wenjun 2014, 9).

===1.4.3 Animal symbolism in famous Chinese four-character idioms===

===1.4.3.1 “对牛弹琴”(play the heptachord before an ox)===

Dating back to the Warring States Period (475-221 BC), the story was related to a famous musician named Gong Sunyi who played the heptachord well. At that time, people enjoyed his performance and respected him. One day, Gong Sunyi came to a suburb. Coincidentally, he saw an ox grazing on the grass, so he decided to play heptachord on a whim before it. However, the ox was indifferent to his great performance and continued eating grass. He tried to play different music to impress the ox but in vain. At last, when he was making animal sounds, the ox responded to him, raised its head, and wagged its tail (Yang Yu 2017, 240).

This is the origin of the Chinese idiom “对牛弹琴”. It tells a simple truth: people should not explain something profound to someone stupid, or people should have different responses to different people (Zheng Wenjun 2014, 9). In this story, the ox has a negative symbolic meaning, which refers to those who are stupid and illiterate. In western culture, there are some similar idioms to express the same meaning like casting pearl before swine or talking to a brick wall.

===1.4.3.2 “老马识途”(an old horse knows the way)===

The idiom relates to a historical event, which was recorded in the book Han Feizi (《韩非子》). During the Warring States Period (475-221 BC), Qi State was ready to fight with Shanrong (山戎), a nordic ethnic group frequently attacking Yan State. When the army headed to the destination, it was in Spring. After winning the battle, it was in Winter and the landscape had been greatly changed. The army of Qi State was lost in the forest on their way back home. Guan Zhong (管仲), the Prime Minister of Qi State, thought for a while and found a solution. He believed that old horses were familiar with the route, so he asked soldiers to unleash the reins of several old horses and let them lead the way. Finally, they found the right way and came back to their country (Zheng Wenjun 2014, 9).

As mentioned above, the symbolic meanings of horses are usually positive. This allusion compares the old horse to a man with rich experience who can take a leading role in a group especially when the group is in some difficult situations.

===1.5 References===

[1] 北京周报网（2013）《中国文化中的蛇》

[2] Ran Shugui冉淑贵. (2012). 成语中动物意象符号及其形成原因

[3] Zhang Shu 张树. (2019). 汉语动物成语研究

[4] Ma Dan 马丹. (2006). 论汉语成语中十二种生肖动物的象征意义及其教学

[5] Shi Juanzhi 史娟芝, He Ling 贺玲. (2011). 中国生肖动物词汇的象征含义及其翻译

[6] Liu Shanshan 刘姗姗. (2014). 汉语十二生肖动物类成语研究

[7] Song Zhima 宋志玛. (2009). 谈《山海经》中的蛇形象

[8] Zhao Leping 赵乐屏. (2018). 《西游记》孙悟空形象研究

[9] Miao Huijun 苗慧君. (2016) 英汉动物词汇象征意义对比

[10] Xiao Congrong 肖聪榕. (2021) 探究中华龙纹设计的历史流变

[11] Ainiwajiang Kuerban 艾尼瓦江·库尔班. (2021) 中国民间文学凤凰形象的符号意义及其在当代的传承与发展研究

[12] Yuan Ke 袁珂. (1998) 中国神话大词典

[13] Xu Xiujuan 许秀娟. (2003) 麒麟文化的变迁与中外文化交流发展的关系

[14] Liscomb, Kathyln. (2016) The Zoomorphic Imagination in Chinese Art and Culture

[15] Lv Fulun 吕复伦. (2011) 麒麟及其文化

[16] Ma Laiping 马来平. (2021) 儒家文化视域中的麒麟文化探究

[17] Zheng Wenjun 郑文珺. (2014) 动物寓言成语与对外汉语教学

[18] Yang Yu 杨雨. (2017) 国学知识问答录

===1.6 Terms and expressions===

The Book of Songs 《诗经》

12 animal zodiac/Chinese zodiac 十二生肖

spirited dragon and dynamic tiger 龙腾虎跃

people with furtive eyes 贼眉鼠眼

dragon’s body 龙体

dragon robe 龙袍

dragon throne 龙椅

parents hope their children will have a bright future 望子成龙，望女成凤

The Classic of Mountains and Seas 《山海经》

Discourse on Horse 《马说》

a big army includes many soldiers and horses 千军万马

a lamb in a tiger's den 羊入虎口

mend the fold after the sheep is lost 亡羊补牢，为时已晚

Journey to the West 《西游记》

sticking one’s nose into other people’s businesses狗拿耗子，多管闲事

The Book of History 《尚书》

Book of Rites: The Conveyance of Rites 《礼记·礼运》

Spring and Autumn Annals 《春秋》

Zhuangzi 《庄子》

Han Feizi 《韩非子》

play the heptachord before an ox/casting pearl before swine/ talking to a brick wall 对牛弹琴

an old horse knows the way 老马识途

===1.7 Questions===

1. When did the earliest Chinese animal symbolism appear?

2. Who wrote the earliest literature Lunheng (《论衡》) recording the same 12 zodiacs as today’s?

3. From which ancient folk story, we can know that the Rat exceeds the Ox and becomes the first sign of Chinese zodiac?

4. Why Chinese people in ancient times built many Dragon King temples?

5. What are the five famous Chinese mythological animals bringing good fortune?

6. Which book recorded the earliest article about Qilin?

7. The story of “对牛弹琴” happened in which period?

8. What is the connotation of the four-character idiom “老马识途”？

===1.8 Answers===

1. It appeared in the Western Zhou period.

2. Wang Chong.

3. Great Race.

4. Because they wanted to appease the Dragon King and pray for good weather and better harvests.

5. Dragon, Phoenix, Qilin, Turtle, and Pixiu.

6. It was Book of Rites.

7. It happened in the Warring States Period.

8. It means a man with rich experience can take a leading role in a group.

==英语口译彭慧璇 Peng Huixuan 202170081623==

<center>'''Foot Binding in China'''</center>

<center>Peng Huixuan</center>

===Introduction===

Foot binding, a custom of breaking and tightly binding the feet of young girls in order to change their shape and size, persisted in China for a millennium. Feet altered by foot binding were known as lotus feet, and the shoes made for these feet were known as lotus shoes. The different sizes of feet are different levels of "lotus", feet longer than four inches are called “iron lotus”, those about four inches are called “silver lotus”, and those shorter than three inches are “gold lotus”. In late imperial China, bound feet were considered a status symbol and a mark of feminine beauty.

There are various views on when foot binding began, including the Xia dynasty, Shang Dynasty, Spring and Autumn period, Sui dynasty, Five Dynasties and Ten Kingdoms period, and Song Dynasty. According to the scholar Gao Hongxing’s book “The History of Footbinding”, foot binding began in the late Northern Song Dynasty and entered its heyday in the Ming and Qing Dynasties. (Gao, 1995:1) Later, the popularity of foot-binding spread to women of all social ranks. After the overthrow of the Qing Dynasty, Sun Yat-sen officially banned foot-binding. During the May Fourth Movement, foot-binding became the target of the revolutionary movement, with many denouncing the destruction and oppression of women by foot-binding. After the founding of New China, foot binding was completely abolished, and Chinese women were completely liberated from that.

In this article, the author provides further details on the history and specific process of foot binding. At the same time, the reasons for foot binding will be further discussed in detail, including cultural and social factors. In addition, the paper will describe the impact of foot binding on Chinese women, on China, and on the world in general. Finally, the views on foot-binding will be mentioned, as well as traditions similar to foot-binding in other countries, such as the Victorian corset and their impacts.

===Origin and History of Foot Binding===

正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

===Practice of Foot Binding===

===Reasons of Foot Binding===

===Impacts of Foot Binding===

===Views and Interpretations of Foot Binding and Similar Practice in Other Countries===

===Conclusion===

===References===

[1]高洪兴. 缠足史[M]. 上海文艺出版社, 1995.

===Terms and expressions===
iron lotus铁莲
silver lotus银莲
gold lotus金莲

===Questions===

===Answers===

==英语口译时友洁 Shi Youjie 202170081624==
<center>'''Makeup Revolution in Ancient China'''</center>

<center>Shi Youjie</center>

===Introduction===
Makeup involves dressing and grooming in terms of its broad sense, while in a narrow sense, it refers to the makeup on one's face. By applying cosmetics, a particular feature of the face will be highlighted to be more charming. In ancient China, makeup is generally called “粉黛（fen dai）”，“打扮（da ban）”，“容妆（rong zhuang）”, and in most circumstances, females tend to makeup more than males. Ancient China has witnessed a clear process of evolution about makeup, in which women's makeup in different dynasties will be mainly displayed and analyzed in this paper.
Throughout history, only a few words about makeup has remained owing to the traditional preference of ancient Chinese. On the one hand, the history book prefers to narrate a male with his story of nobility, virtue or great success, or record events of historic importance, leading to a shortage of details about public daily lives, not to mention the makeup. On the other hand, the ancient Chinese artists root for preserving the essence and aroma rather than the details and forms of a painting. This is why modern archaeologists have found it difficult to investigate ancient Chinese makeup. As hard as it may be, some types of makeup in different dynasties can be accessed by a small number of records.
Despite a few historical sources, to learn the evolution of make is still significant, for it is not only the aesthetics but also the national context of ancient China that is behind the makeup. Analysis of ancient Chinese in a visual aspect is only scratching the surface, while the economic, political and cultural background that makeup mirrors is worth studying further.
Many of the unearthed artifacts about makeup can be traced back to prehistoric times at the earliest, which allow us to study makeup customs such as body painting, tattooing, ear piercing, etc at that period. But it was not until the Western Han and Eastern Han Dynasties that the makeup culture was formed with a standard aesthetic appreciation. Subsequently, distinctive aesthetic preferences were bred in Wei, Jin, Northern and Southern Dynasties, the Sui and Tang dynasties, and the Song, Yuan, Ming and Qing dynasties respectively.
This paper will focus on makeup preferences in four major times: prehistory, the Western Han and Eastern Han Dynasties, the Sui and Tang dynasties, and the Song, Yuan, Ming and Qing dynasties, with an aim to provide insights about the integration between makeup and historical background.
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===References===

===Terms and expressions===

===Questions===

===Answers===

==英语口译伍佳惠 Wu Jiahui 202170081625==

<center>'''Chinese Dragon Culture'''</center>

<center>Wu Jiahui</center>

===Introduction===
The Chinese dragon, also known as long, loong, or lung, is a legendary creature in Chinese mythology, Chinese culture, and Chinese folklore as a whole. For thousands of years, the dragon has permeated all aspects of Chinese society, becoming a cultural cohesion and accumulation. The dragon has become a symbol of China, a symbol of the Chinese nation, and a symbol of Chinese culture. To every Chinese descendant, it carries national emotions.

The creature can be found in the mythology of many ancient cultures, but nowhere else in the world is the creature quite so revered as in China. The Chinese dragon is a benevolent creature that delivers fertilizing rain to the earth. Strength, good luck, and awe-inspiring might are the spiritual meanings of the dragon. The oriental dragon is widely regarded as a spiritual or supernatural sign of heavenly power. As a result, it has long served as the emperor’s symbol.

The Chinese dragon is easily identified by its long serpentine body which is usually wingless, and its anthropomorphic face with beards. The dragon is considered the most auspicious year sign, so the image is embroidered on the robes of emperors, portrayed in the most valuable materials, such as gold jewelry and jade sculptures. In addition, it has endless references in performing arts and literature.

Generally speaking, the dragon was everywhere in ancient China and looms as large nowadays in the Chinese psyche as ever.

===Subtitle 1===

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===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语口译夏晶 Xia Jing 202170081626==

<center>'''On Differences of Table Manners between China and West'''</center>

<center>Xiajing</center>

===Abstract===

===Key words===

===Introduction===
Manners are different in every country. Some manners that we consider are polite in China are not necessarily polite in other countries. We are more familiar with the dining separately in the West and dining together in China. Chinese people advocate the values of collectivism, so Chinese people like to eat together that the table atmosphere in China is lively and harmony. And the Chinese hosts like to serve the dishes for their guests. But in the West, as western philosophy tends to focus on individualism and personal development, individualist values predominate in western countries. So, people just like to eat the food on their plate. What’s more, it is not a mistake although western people can’t understand the way we serving dishes to guests. This is just a cultural difference between China and West.
Likewise, table manner culture is a part of the diet culture, and the difference between Chinese and western cultures. Sometimes, different etiquette is an important reason of misunderstandings between different cultures, leading to the failure of intercultural communication. Learning the differences and the origin of table manners between China and the West in the aspect of various religions belief, values and cultural connotations, not only can enhance the understanding of the target language culture, but also can perform well during cross-cultural communication, so as to avoid the misunderstanding caused by improper behavior or manner. In addition, communication etiquette becomes more and more important as the bridge and ties to link communication among people. Avoiding abruptness and rudeness, which ensure the activities of diplomacy can successfully. Therefore, understanding table manners habits and characteristics is of great importance to promote the development of Chinese diplomacy.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
Sizhi Xiong. The Mystery of Chinese Diet. [M] Henan. Henan people press. 2014.

==英语口译向师琦 Xiang Shiqi 202170081627==
<center>'''The Collision between Confucian Culture and Chinese Modernist Literature'''</center>

<center>Xiang Shiqi</center>

===Abstract===
As the traditional political culture of China, Confucianism permeates all aspects of Chinese national thought, behavior and political life. While influencing Chinese political culture, Confucianism is also constantly being combined with the most popular culture of the times. As the most dominant culture in China today, Chinese modernist literature is merging and colliding with Confucian culture. This paper aims to examine the connotations of Confucianism and Chinese modernist literature in political culture and to analyze the positive and negative influences of Confucianism on the fusion of Chinese modernist literature. It is hoped that the study will enable people to understand, inherit and carry forward the excellent Confucian culture, thereby further improving the overall quality of the nation and enhancing the effectiveness of ideological and political education.

In Chinese history, Confucianism has been the official guiding ideology of feudal society since Emperor Wu of the Han Dynasty adopted Dong Zhongshu's advice to "dismiss a hundred schools and revere only Confucianism". As the mainstream of traditional Chinese culture, Confucianism has played a pivotal role in the history of feudal China for over 2,000 years and has had an immeasurable impact on shaping the national character and spirit of the nation. Exploring the collision between Confucianism and modern Chinese culture is of great theoretical and practical significance to the development and construction of modern Chinese culture.

As the backbone of ancient Chinese thought and culture, traditional Confucianism has always occupied a dominant ideological position from the two Han dynasties to the Ming and Qing dynasties. At the same time, the values advocated by Confucianism became the core values of traditional society. It is therefore of great importance to study the collision between Confucian culture and modern Chinese culture.
===Key words===
Confucian culture; Chinese modernist literature; political culture; national comprehensive quality; ideological and political education
===Introduction===
Confucian culture is a cultural school with Confucianism as its guiding ideology. Confucianism was created by Confucius in the Spring and Autumn Period, who advocated blood relations, social achievements, self-cultivation and moral rationality. Its central ideas are forgiveness, loyalty, filial piety, fraternal respect, courage, benevolence, righteousness, propriety, wisdom and faithfulness. In the new era of socialism with Chinese characteristics, inheriting the essence of Confucian culture plays an important role in promoting China's socialist modernization. The inheritance of Confucian culture can effectively promote the five-pronged construction of China's political, economic, cultural, social and ecological civilization. Each of us should be the disseminator of excellent traditional culture and contribute to the great rejuvenation of the Chinese nation.

In the course of the development of Confucian culture, how to integrate modern Chinese literature with it is significant. Based on this, a large number of scholars and research institutions have carried out research and analysis on it. The earliest scholars who studied the integration of Confucian culture and contemporary modern culture were Japanese scholars. Japanese scholars believed that the role of traditional Confucianism itself was limited and that it should be interrelated with the culture related to modernization. Korean scholars believed that Confucianism lies in the development of contemporary culture. The influence of Confucianism on politics and the corresponding political spirit should be fully considered. American scholars made a full study and analysis of the integration of Confucianism and modern culture, mainly from the past, modern and corresponding values, pointing out the profound connotation of Confucianism and Confucianism. Want to change in the evolution of modern society and its corresponding role.

As China's traditional political culture, Confucian culture runs through all aspects of China's national thinking, behavior and political life. Confucian culture influences Chinese political culture while it is also constantly combined with the most popular culture of the times. As the most mainstream culture in China today, Chinese modernist literature is blending and colliding with Confucian culture. The purpose of this paper is to study the connotation of Confucian culture and Chinese modernist literature in political culture and to analyze the positive and negative effects of Confucian culture on the integration of Chinese modernist literature. Through this study, we hope that we can make the people understand, inherit and carry forward the excellent Confucian culture, so as to further improve the overall quality of the people and enhance the effectiveness of Ideological and political education.

This essay aims to explore the collision between Confucianism and modern Chinese culture. The structure of this paper is as follows:
The second section of this paper will specifically analyze the contemporary value of Confucianism. In the third section of this paper, I will introduce the combination of Confucianism and modern Chinese literature. In the third section, I will give some ways to realize the value of excellent Confucian culture in Chinese modernist culture. The next part will illustrate the contemporary insights from Confucian culture. And in the final part, I will make a brief summary of this paper.

===The Contemporary Values of Confucianism===
For our country, Confucianism is the hallmark of Chinese culture, as well as the unique spiritual symbol and soul of China, which under its own characteristics can make China stand among the nations of the world. In the current multicultural context, various cultures are flooding into China and impacting Chinese culture. If China does not have its own culture, especially Confucianism, then China will have lost its soul. For this reason
The leaders of the country also attach great importance to culture and have been close to Confucianism three times in one year, considering the study of Confucius and Confucianism to be "an important way to understand the historical origins of the spiritual world of Chinese people today".

For schools, Confucian culture is conducive to the realization of the ideological and political education objectives of universities, as Confucian culture advocates such moral cultivation methods as "self-reflection" and "prudence", which are in line with the standards of socialist successors required to be cultivated by the ideological and political education objectives of universities. At the same time, Confucian culture is also conducive to the formation of a correct worldview, and outlook on life and values, helping university students to fully understand their responsibilities and missions; secondly, Confucian culture can enrich the content of ideological and political education in universities, combining Confucian culture with ideological and political education in universities, allowing university students to achieve the purpose of patriotic education through the understanding, appreciation and analysis of Confucian culture, and enhancing Finally, Confucianism culture has certain significance for the teaching concept of colleges and universities. Teachers should respect students, pay attention to them, try to explore the bright spots in their bodies, and at the same time constantly promote students' self-education so that they can see their own value.

Personally, society as a whole is gradually modernizing, but at the same time this has brought about some problems for mankind. In addition to the often mentioned environmental problems between man and nature, there are also problems between man and man, such as the alienation of man, the lack of morality and the confusion of life. Confucian culture is an excellent culture with rich connotations and abundant wisdom, which can give full play to its own characteristics and provide valuable guidance and direction to solve these problems of people.

===The Combination of Confucianism And Chinese Modernist Culture===
The Confucian culture was combined with political systems, political relations and certain economic bases within a certain period, which in turn led to the formation of the corresponding political culture. In the course of its historical development, Confucianism has been the dominant ideology of traditional Chinese political culture. We can see that Confucian culture has changed in connotation accordingly from ancient times to the present day, but its corresponding development has a historical inheritance. Confucian culture followed the idea of "harmony" in its early emergence, followed the idea of putting people first and emphasizing "people" in the course of its historical development, and in its later years, it emphasized the idea of "applying knowledge to the world and learning from it", stressing the unity of knowledge and practice. In terms of political culture, Confucianism emphasizes the idea of integrity in politics. It emphasizes that the moral quality of politicians and the ability of saints should be raised to a certain level. It emphasizes that the upper class of the state should have the awareness of the people.
In the course of its continuous development, Confucianism has continued to merge with contemporary culture. Its corresponding basic characteristics are mainly manifested in the following three points.
As the dominant culture of modern Chinese culture, modern Chinese literature represents contemporary Chinese thought and influences, to a certain extent, people's daily behavior and habits. In some important cultural and literary works, it even represents the dominant thought of the era. Contemporary mainstream modern Chinese literary culture emphasizes the same core values as Confucianism. The values of benevolence, righteousness, propriety, wisdom and trust permeate people's daily lives while guiding their habits and daily behavior.
The collision between contemporary Chinese modernist literature and Confucianism is conducive to the better dissemination and development of Chinese political culture in three main ways, corresponding to the following:
1) Promoting education in worldview
The integration of ideas is conducive to a better grasp of Marxism, further promoting people's worldview education and helping them to establish a correct worldview. The integrated Confucian culture embodies simple materialism and dialectics, which has much in common with the core ideas of Marxism.

2) It is conducive to improving life outlook education
It is conducive to helping educators to develop a correct outlook on life and helping people to develop a "selfless" outlook on life, as well as a view of life in the service of the people.

3) Promotes education on collectivism
It is conducive to helping people develop a sense of family and country, a sense of subordination of individual interests to national, social and collective interests, and a collective consciousness that "the rise and fall of the world is the responsibility of the individual".

===Ways to Realize the Values of Excellent Confucian Culture in Chinese modernist Culture===
In terms of the integration and collision of excellent Confucian thought with contemporary Chinese literature, the methods and relevant details of realizing the value of excellent Confucian thought in Chinese modernist culture are as follows.

(1) Consciously accepting the influence of excellent Confucian culture and improving personal moral cultivation
The corresponding details are mainly reflected in the need to improve the ability to discriminate, cope with the impact of cultural diversity, practice excellent culture, achieve the unity of knowledge and action, internalize the value connotation of culture in the heart, to externalize the value connotation of excellent Confucian culture in action, and to advocate the practice of Confucian cultural thought in study, life and work. I would like to combine it with contemporary Chinese culture.

2) Emphasis on school education, allowing Confucian culture to enter schools
Its concrete measures are mainly reflected in entering primary school campuses to play an enlightening role, entering secondary school campuses to play an inculcating role, and entering university campuses to play a guiding role.

3) Use social power to create an educational atmosphere
Adhere to academic taste, classics to the masses and popularize Confucian culture. Enterprises should incorporate excellent Confucian culture and promote a correct view of interests. Enterprises should combine Confucian culture with contemporary cultural products and integrate relevant Confucian culture into the institutional and spiritual culture of the enterprise. In terms of cultural popularization, the power of parks and grassroots mass organizations can be used to popularize Confucian culture.

===Contemporary Insights from Confucian Culture===
(1) Incorporate the essence of Confucian culture into the ideological and political education of university students

Confucian culture has important inspirations for the ideological and political education of contemporary university students. The Confucian culture emphasizes the need to establish ambitious aspirations. Confucius said: "The three armies can be more handsome, but a man cannot take away his will. During university studies, students should set up ambitious ideals, study diligently, strive to build a solid foundation of theoretical knowledge, enrich their skills in practical exercises, improve their skills to serve the people and strive for the communist cause for the rest of their lives. At the same time, students should pay attention to cultivating the quality of being helpful to others, and be good at helping their classmates to answer questions and solve problems in their studies. The excellent Confucianism, such as "loving people with benevolence" and "restoring rituals to oneself", should be introduced into the ideological and political education of students, and we should practice them in our study life. To become a good youth of the new era. Finally, contemporary students should also adhere to the principle of honesty, as no one can be established without trust. There are many other essences in Confucian culture, which should be incorporated into the ideological and political education of students.

(2) Promote the integration of excellent Confucian culture into the contemporary economic development of China

Confucian culture advocates faith, and in contemporary society, faith means being honest and trustworthy and not deceiving others. Only in this way can we create a good business and consumer environment and implement the concept of honesty in all aspects of production, management, exchange and consumption, so as to speed up the healthy flow of economic activities and create more wealth for the people. In reality, all major merchandising platforms must operate in good faith, abide by their principles, put consumers first and provide them with the best services to achieve steady and rapid economic growth.
In reality, all major merchandising platforms should operate with integrity, abide by their principles, put consumers first and provide them with the best services, achieve steady and rapid economic growth and realize common prosperity for all people at an early date. As for Confucianism, we should remove the essence of the culture, remove the falsehoods and preserve the truth, effectively promote the integration of good Confucian culture into the construction of the contemporary Chinese economy, and contribute to the achievement of high-quality and sustainable development of the Chinese economy.

(3) Promote the core values of socialism and disseminate the essence of Confucian culture

The core values of socialism in the new era are "wealth and strength, democracy, civilization, harmony, freedom, equality, justice, rule of law, patriotism, respect for work, honesty and friendliness". There are many similarities with the Confucian culture, for example, there are also similarities between "the people are precious" and "democracy", as Mencius also emphasized: "The people are precious, the community is second, and the ruler is light. There is a degree of similarity, albeit a difference in degree, with today's emphasis on full respect for the subjectivity of the people and the promotion of their democracy. "Ritual" is consistent with civilization in that it emphasizes the need for people to live in peace and be courteous in dealing with others and building a harmonious socialist society. It requires people to treat each other with honesty and integrity in daily life and to exercise self-discipline. "Justice" and "rule of law" are a transcendence of "benevolence" and "righteousness", and it can be seen that the core values of socialism are similar to the essence of Confucianism. In promoting the core values of socialism, we should combine them with the essence of Confucian culture, promote advanced socialist culture and advance the construction of socialist modernization in China.

(4) Strengthen education on gratitude and build a harmonious socialist society

Education on gratitude is very important for the development of society. Thanksgiving education mainly includes: "filial respect for parents, respect for teachers, love for others, love for the motherland, and gratitude for nature." Respect for teachers means respecting teachers in academic life, humbly accepting their advice and striving to improve oneself to become even better. Loving others means having a loving heart and treating those around you with kindness. We should also love our country, which is a great land in which we are growing up healthy and strong, and cherish it and be grateful to it. Learn to be grateful to nature, live in harmony with nature, respect the laws of nature, act in accordance with objective laws, and strive to build a harmonious socialist society. The ideas of filial piety and fraternal brotherhood emphasized in Confucian culture are similar to gratitude education. In contemporary society, only when a person learns to be grateful can he or she go farther and higher. If we all learn to be grateful, then society will certainly become more harmonious.

(5) Advance the ecological conservation and build a beautiful China

The ancient sages of China emphasized the "unity of heaven and man", which means that the relationship between man and nature should be well coordinated to achieve a harmonious co-existence between man and nature. In Confucianism, man and nature as a whole must be in a relatively stable state, and both "too much" and "not enough" will result in an ecological imbalance, thus disrupting both. In Confucianism, man and nature as a whole must be in a relatively stable state. Without ecological balance, the evolution of life and mankind would be unsupported. If ecology flourishes, civilization will flourish; if ecology fails, civilization will fail. To build an ecological civilization, we must take the carrying capacity of the resources and environment as the basis, the laws of nature as the guideline, sustainable development and harmony between man and nature as the goal, and firmly follow the path of civilized development with development in production, prosperity in life and good ecology, so as to build a beautiful China.

===Conclusions===
Generally speaking, Confucian cultural values have existed for thousands of years and have been the source of their longevity in the construction of family and state culture into a dualistic structure of family and state, shaping the Chinese people's traditional virtues of hard work, and respect for the elderly and love for the young. This is constructive and the path to the construction of core socialist values. The Chinese people's traditional virtues of hard work, respect for the old and love for the young have been shaped by the dual structure of the family and the state. Therefore, a sound institutional mechanism for the construction of core socialist values should be established to ensure that the core socialist values are The Chinese people's traditional virtues of hard work, respect for the elderly and love for children has inspired the construction of socialist core values. The core values of socialism should play a leading role in the construction of culture in China.

The transmission of traditional Confucian culture needs to be passed on and innovated from generation to generation. And a nation without innovation and change can hardly stand in the forest of the world's nations. Confucianism is not only the source of strength of contemporary Chinese culture, but also the core of the traditional culture and national spirit of the Chinese nation, and an important basis for our next generation to establish themselves in the world and build socialism. The development of individuals and nations needs to be rooted in the soil of culture and draw on its nourishment.

===Questions===
1. What are the central ideas of Confucian culture?

2. When was Confucianism created?

3. Where did the earliest scholars who studied the integration of Confucian culture and contemporary modern culture come from?

===Answers===
1. Forgiveness, loyalty, filial piety, fraternal respect, courage, benevolence, righteousness, propriety, wisdom and faithfulness.

2. Japan.

3. The Spring and Autumn Period.

===References===
*[1]张奇.儒家文化的传承及其当代启示[J].边疆经济与文化,2021(05):110-112.
*[2]徐茜妍.试论传统儒家文化的现代价值[J].汉字文化,2021(11):194-195.DOI:10.14014/j.cnki.cn11-2597/g2.2021.11.086.
*[3]勾宇威.论新时代育人理念对优秀儒家文化的借鉴与发展[J].高校马克思主义理论教育研究,2021(04):122-128.
*[4]董雅华.论儒家文化的价值重估与传承[J].天津师范大学学报(社会科学版),2016(02):27-32.
*[5]邓雨巍,陈立勇.从传统到当代:儒家文化与铁人精神的时代关联[J].长江丛刊,2020(32):1+10.
*[6]张珊.儒家文化价值观的构建路径及其当代启示[J].现代交际,2020(19):218-220.
*[7]邹广胜.儒家文化的当代反思[J].中央社会主义学院学报,2019(02):81-88.

==英语口译向望 Xiang Wang 202170081628==
<center>'''Fandom Culture in China'''</center>

<center>Xiang Wang</center>

===Introduction===

A fandom is a subculture composed of fans characterized by a feeling of empathy and camaraderie with others who share a common interest. It can grow around any area of human interest or activity. Fandom culture, or the so-called "fanquan" culture, refers to online youth communities that coalesce around shared obsessions with celebrity idols. Fanquan, literally meaning "fan circles," are highly organized groups of passionate, loyal fans who voluntarily use their time, money and expertise to make their idols, usually budding pop singers or actors, as popular and influential as possible. China has seen a meteoric rise in fandom culture in recent years.

===The Evolution of Fandom Culture===

===Comparison of Fandom Culture between China and Other Countries===

===The Impact of Fandom Culture===

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语口译徐舞 Xu Wu 202170081629==
<center>'''The Analysis Of "Chi+O"'''</center>

<center>Xu Wu</center>

===Abstract===
The structure of "Chi + object" widely exists in Chinese, and studies on this kind
of phenomenon emerge in an endless stream. The word "Chi" ranks 105th in the top
8000 words and 77th in the 4000 words commonly used in daily life. Therefore, it is of
typical significance to choose the verb "Chi" with object as the research object. Based
on the research results, this paper attempts to make a comprehensive and multi angle
investigation and research on the phenomenon of "eat" with object through corpus data
statistics. This paper mainly discusses the phonetic distribution, semantic types and
deep semantic structure of the object after "Chi". Finally, it comes to the conclusion:
from the phonetic point of view, the object is mostly monosyllabic and disyllabic; From
the perspective of word meaning, food objects are the first; From the perspective of
deep semantic structure, patient object is still the most typical type of object. Secondly,
by summarizing the diachronic changes of "Chi" with object, we find that the types of
object increase after "Chi". The reasons include the change of word meanings, cultural
influence, network development and so on.

===Key words===
Chi; Object

===Introduction===
"Chi"(eating) has a crucial impact on human life. Its purpose is not only to maintain life, but also to meet people's spiritual needs, and it has become a manifestation of people's enriching life. In Chinese, there are multiple "Chi" structures to describe people's experiences, expressing their inner feelings and thoughts, the semantic and syntactic features of which can always be predicted from the constituent terms. This phenomenon has attracted many scholars to conduct a lot of research on the structure of "Chi" from different perspectives. In modern Chinese, "Chi", as a transitive verb, appears frequently, and it is usually followed by objects, which is also very complicated. Therefore, it has certain scientific value to choose this topic for research.

===Literature Review===
Through extensive reading and material analysis, the following research directions can be summarized.

1.Analysis from the Perspective of Verb-Object Semantic Relationship Classification

Different scholars hold different views on the semantic relationship of verb-object collocation. Xu Wenhong (2001) believes that verbs, nouns and adjectives usually appear after "Chi". At the same time, he divided the "O" in the "Chi+O" structure into abstract and concrete nouns, and then divided concrete nouns into categories such as place, object, method, and tool. Guo Jimao (1998) believes that in order to carry out the semantic analysis of the verb-object relationship, we should firstly distinguish between the definite object and the non-specified object. Fan Xiao (2006) believes that typical objects and atypical objects should be distinguished. Typical objects often appear in verb-object phrases, such as subject objects and result objects. The relationship between these verb-object phrases is the relationship between the verb and the following object. relationship, such as "Chi" and "He"(drink), while atypical objects such as manner objects and instrumental objects are not common.

2.Analysis from the perspective of cultural linguistics

Wen Suolin (1994) believes that many things and concepts in Chinese are used with "Chi", which reflects the characteristics of traditional Chinese culture and psychology. Xie Xiaoming and Xiong Jinxing (2006) studied the cultural characteristics of common verbs such as "Chi" and "He" with objects based on the differences of national civilization, local products, and characteristics of folk culture.

3. Analysis from the perspective of English and Chinese

Wang Yingxue (2009) expounded the metaphors related to the action of "Chi" in Chinese and English, and compared the similarities and differences between "Chi" and "He" in English and Chinese. Hao Ran (2010) compared the differences of eating and drinking verbs at the cultural level, listed 21 eating and drinking verbs and their corresponding English vocabulary, and summed up the cultural similarities and differences of Chinese and English eating and drinking verbs. Ding Xiaoyu (2015) analyzed the syntactic structure and characteristics of "Chi" in English and Chinese in terms of syntactic generation, and came to the conclusion that English expressions adopt a grammatical passive structure.

4. From the perspective of teaching Chinese as a foreign language

Liu Hongyun (2013) proposed corresponding teaching strategies by analyzing the structure of "Chi+ O". However, since the article focuses on analyzing "Chi + O" from a cultural point of view, and regards this collocation as an idiom for teaching, the teaching plan proposed on this basis is debatable. Li Liye (2017) explained the reasons for choosing "Chi" and "He" verbs as the research objects, and also classified the verbs while conducting etymological analysis respectively.

5. From the perspective of metaphor and metonymy

Xie Xiaoming (2002) took "Chi" and "He" as a case study from the perspectives of dialect, Putonghua and classical Chinese. It mainly discusses the influence of metaphor and metonymy on the change of verb meaning from the perspective of cognition. Jia Yanzi and Wu Fuxiang (2017) conducted lexicalization and categorization research on the concepts of "Chi" and "He" in Chinese, and explained the motivation from the perspective of metaphor and metonymy. The phenomenon of "Chi" and "He" followed by unconventional objects is regarded as the semantic extension of "Chi" and "He".

===Research Significance and Corpus Sources===

"Chi" is the most basic way of human behavior, and it is a high frequency verb in modern Chinese. Therefore, it is typical to choose the situation of "Chi + O" as the research object. Based on the research results, this paper hopes to pave the way for the overall research by examining the situation of "Chi + O", and bring some new inspirations to the research in this direction. At the same time, in the process of research, the necessary research and discussion are carried out on the theoretical issues involved, and efforts are made to obtain theoretical gains. The final conclusions can make the research of modern Chinese characters develop in a deeper and updated direction.
This paper uses the Media Language Corpus of Communication University of China. Through the statistics of the Media Language Corpus of the Communication University of China, 25,429 corpora were obtained, and 13,096 corpora that met the requirements were obtained after screening.

===The syllable distribution of "Chi" with object in modern Chinese===

1.Syllables
Voice is ubiquitous, and people are inseparable from voice in the process of daily oral communication. Voice is the material shell of language symbols, a product formed by the development of human society, and a convention. Speech includes several units of different sizes such as phonemes, syllables, etc. Among them, the unit of speech that is most easily perceived by the human ear is the syllable. Syllable is the most natural structural unit in speech, to be precise, syllable is the smallest unit that can be freely combined segment structure unit [1]. In Chinese, a syllable often corresponds to a Chinese character. According to the number of syllables, words can be divided into single-syllable words, two-syllable words, three-syllable words and so on. The following will count and analyze the syllable distribution of the object after "Chi" according to the corpus data.

2.Statistics
Enter the word "Chi" in the corpus and we will find 25429 records. Among them, there are 13,096 records with the object of "Chi". After summarizing, it is found that the syllables with the object after "Chi" are more diverse, such as the one-syllable object "difficulty", "suffering", "melon", etc.; "breakfast", etc.; objects with three syllables such as "ice cream", etc.; and even objects with four or more syllables, as shown in the following table:

Syllable Type Total Percentage
Monosyllable 7128 54.43%
Two-syllable 4736 36.16%
Three-syllable 1006 7.68%
Four-syllable 144 1.24%
Four or more syllables 58 0.49%<math>Insert formula here</math>

3.Conclusion
There are various types of objects after "Chi", including monosyllabic, two-syllable, three-syllable, four-syllable and even five-syllable and so on. Among them, the frequency with single syllable is the highest, accounting for more than 54% of the total. Specifically, The more commonly used collocations include "Chi Ku"(endure hardship), "Chi Gua"(eat melon) etc., most of which are abstract nouns that are subject objects and express results. The two-syllable object ranks second, accounting for 36% of the total. The more commonly used collocations include "Chi Da Can"(eat a substantial meal), "Chi Huo Guo"(eat a hot pot), "Chi Di Bao"(receive a subsistence allowance), etc. , which covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, with three syllables such as "Chi Banlangen"(take a medicine), "Chi Qiaokeli"(eat chocolate). In addition, there are objects with four syllables and above, such as "Chi Da Yu Da Rou"(eat a substantial meat); five syllables such as "Chi Fan Shi Zhi Fang Suan"(eat trans fatty acids) and so on. According to this rule, the syllables of the object after "Chi" can be expanded infinitely according to its name, such as "Chi Qiaokeli Bingjilin"(eat chocolate ice cream) with a six-syllable object.

===The word meaning distribution of "Chi" with object in modern Chinese===

1.Word meaning

"Word meaning" can be divided into two categories, one is conceptual meaning, the other is color meaning, which is divided from the perspective of content. Conceptual meaning reflects the content of objective things, which is objective and cannot be changed according to people's subjective guesses; on the contrary, color meaning is more subjective, such as emotional meaning [2]. From a conceptual point of view, word sense types include food, place, tool, and so on. In the following, from the perspective of conceptual meaning, statistics and analysis of the object after "Chi" will be carried out.

2.Statistics

According to the corpus data statistics, the word sense types of the object after "Chi" are mainly concentrated into five categories, namely tools, food, places, abstract nouns and common sayings. Here is a special description of the category of abstract nouns, which mainly includes four types: one is typical abstract nouns such as "power" and "bitter"; the second is adjective words such as "fragrance" and "spicy"; the third is Words with symbolic meanings such as "soft rice", "free rice"; fourth, some phenomena and activities, such as "subsistence allowances" and so on. The above is the author's classification criteria, and the specific distribution is shown in the following table:

Word Meaning type Total Percentage
Tool 440 3.37%
Food 10736 81.99%
Place 24 0.19%
Abstract noun 1680 12.84%
Colloquialism 210 1.61%<math>Insert formula here</math>

3.Conclusion

There are many types of word meanings with objects after "Chi", especially with the development of the times, the scope of which has been expanded. By summarizing and summarizing, according to the different meanings of words, its objects can be divided into the above categories. According to the chart, it can be seen that the object of food is the most frequently used, accounting for more than 80% of the total. The second is the use of abstract nouns, accounting for more than 12% of the total. Specifically, it includes four types: one is typical abstract nouns as objects, such as "difficulty", "hardship", etc.; the other is some adjective objects, including"eat spicy"; The third is some symbolic words, such as "Chi Ruan Fan"(live relying on one’s wife); the fourth is some social activities or phenomena as objects, including "Chi Di Bao"(live by receiving a subsistence allowance), "Chi Fang Zu"(make life by rent). The third is the object of tools, which accounts for only 3.37%, including "Chi Zhuo"(people eat around a table). From here we The evolution of language can already be seen. The least proportion of the total is the location noun, which is less than 1%, but it has obvious characteristics of the times, such as "Chi Can Guan"(eat at restaurant) and so on. There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, such as "Chi Ding Xin Wan"(feel relieved), etc. The frequency of use is not high in comparison, only accounting for the total number of 1.61 percent.

===The semantic structure of "Chi" with object in modern Chinese===

1.Semantic structure

According to Xing Fuyi, the meaning of language is semantics. People will have a certain understanding of external objective things, and semantics is the result of expressing this understanding formed in the mind in the form of language. From this, we can deduce that the semantic structure refers to the semantic relationship between the language units hidden in the structure [3]. Starting from the semantic relationship of verb-object, objects can be divided into receiver objects, result objects, source objects, instrumental objects, source objects, location objects and so on. The following will stand in this perspective, classify and summarize the objects after "Chi".

2.Statistics

As mentioned above, from the perspective of deep semantic structure, the objects after “Chi” in the corpus can be divided into many types, such as subject objects, location objects, result objects, source objects, reason objects, and tool objects. Among them, there are four major categories of objects in terms of statistics, including objects of reception, objects of location, objects of results and objects of tools. The specific distribution of these four categories of objects is shown in the following table:

Object type Total Percentage
Recipient object 10792 82.41%
Object of place 212 1.62%
Result object 1472 11.24%
Instrumental object 836 4.73%<math>Insert formula here</math>

(3)Conclusion

According to the statistical data, it can be found that the frequency of use of the subject object after "Chi" is the highest, accounting for more than 80% of the total. The classification situation is consistent. The second is the result object, that is, some words that express the result, and some also have the part of speech of adjectives, such as "Chi Jin"(be surprised or shocked), "Chi Ku"(suffer) and so on. The proportion of place object and tool object is relatively low, at 1.62% and 4.73% respectively. Some typical collocations include "Chi Shi Tang"(eating in the cafeteria). To sum up, from the perspective of the phonetic distribution of objects after "Chi", monosyllabic words are the most frequently used, followed by two-syllable objects, and objects with three or more syllables are relatively low; From the perspective of lexical type, food objects are the most frequently used, followed by abstract nouns, tool objects are the third, and place nouns are the least frequently used. From the deep semantic structure analysis, the use frequency of the subject object after "Chi" is the highest, the most typical of which is the food object, followed by the result object, and the proportion of the location object and the tool object is relatively low.

===Reasons===
Among the diachronic changes of "Chi" with objects, one of the most notable features is that the number of object types has increased, from the original subject object to other types such as tool object, location object and so on. The reasons include cultural influence, network development and changes in word meaning. From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" various expressions to express inner feelings and evaluation of objective things, which also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of online buzzwords has also penetrated into the “Chi+O", thus promoting the evolution of "Chi +O".

===Conclusion===

The culture of the Han nationality is rich and colorful, and "Chi + O" is one of the language structures widely used in society. On the basis of the existing research results, through the statistical corpus data, this paper makes an all-round and multi-angle sorting and analysis of the phenomenon of "Chi" with an object.

First of all, from the perspective of the phonetic distribution of the objects after "Chi", monosyllabic words are used most frequently, accounting for more than 54%; disyllabic objects are the second, accounting for 3%. Sixteenth, it covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, and according to this rule, the syllable of the object after "Chi" can be expanded infinitely according to its name.

Secondly, from the perspective of the lexical type of the object after "Chi", the object of food is the most frequently used, followed by the use of abstract nouns. The third is the object of tools, and the least is the noun of place. We can see from these two categories but have obvious characteristics of the times, such as "Chi Shi Tang"( eat at canteen) . There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, and the frequency of use is not high in comparison, accounting for only 1.61%. It can be seen that the word meaning of the object after "Chi" is diverse, and it has exceeded the type of object that the original meaning of "Chi" can bring, reflecting the flexibility of language.

Finally, from the deep semantic structure analysis, the use frequency of the subject object after “Chi” is the highest, and the most typical one is the food object. The second is the result object, the proportion of place object and tool object is relatively low.
By summarizing the above conclusions, and comparing the characteristics of objects with objects after "Chi" in different periods, we have drawn a significant conclusion that the number of types of objects after "Chi" has increased. The analysis shows that the reasons include cultural influence, network development and word meaning changes.

From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" It also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of network buzzwords has also penetrated into the "Chi + O" structure, thus promoting the evolution of "Chi +O".

===References===
[1]Shi Feng石锋, Liu Zhangcai刘掌才.汉语作为第二语言的语音教学问题[Problems in Phonetics Teaching of Chinese as a Second Language][J].天津师范大学学报(社会科学版),2021(02):1-9.

[2]Wang Xinqing王新清.从文化和认知视角看汉语“吃”的隐喻[The Chinese metaphor of "eat" from the perspective of culture and cognition][J].湖南广播电视大学学报，2014(02):22-25.

[3]Cao Xianghua曹向华.论汉语动宾类惯用语语义认知机制与类型[On the Semantic Cognitive Mechanism and Types of Chinese Verb-Object Idioms][J].河北科技大学学报(社会科学版),2020,(01):77-83.

===Terms ans Expressions===
Chi+O 吃+宾语 phonetic distribution 音节分布 semantic types 词语义类型 deep semantic structure 深层语义结构 recipient object 受事宾语 metaphor 隐喻

metonymy 转喻 Media Language Corpus of Communication University of China中国传媒大学媒体语言语料库 conceptual meaning 概念义 color meaning 色彩义

===Questions===
Where does the word "Chi" rank in the top 8000 words that are used most frequently?

How many types can word meaning be divided into and what are they?

What’s the main reasons why the number of object types after “Chi” increased?

===Answers===
It ranks 77th.

Two types. They are conceptual meaning and color meaning.

They are cultural influence, network development and changes in word meaning.

==英语口译张静芝 Zhang Jingzhi 202170081630==

==英语口译张旻丰 Zhang Minfeng 202170081631==

==日语笔译曹梦然 Cao Mengran 202170081632==

==日语笔译胡梦琪 Hu Mengqi 202170081633==

<center>'''Huangmei opera'''</center>

<center>Hu Mengqi</center>
===Introduction===
Huangmei opera, formerly known as Huangmei tune, tea - picking opera, originated from Huangmei, Hubei province, and developed in Anqing, Anhui Province.
Huangmei Opera, together with Beijing Opera, Yue Opera, Pingju Opera and Henan Opera, is known as the "Five Major China Operas." It is also one of the main local operas in Anhui Province. There are also professional or amateur performing groups of Huangmei Opera in Hubei, Jiangxi, Fujian, Zhejiang, Jiangsu, Hong Kong and Taiwan, which are widely welcomed.
Huangmei opera is a kind of opera which is formed and developed gradually by folk song, Yangge, Tea Song, pick-tea lantern dance and flower - Drum tune, which precedes the countryside and then enters the city. It has absorbed the factors of Han opera, Chu Opera, Gaoqiang opera, tea - picking opera, Peking Opera and many other operas, and gradually formed its own artistic characteristics.
Huangmei Opera's singing is simple and smooth, with bright and quick lyric, good at expressing emotions. The performance is simple and meticulous, famous for its authenticity and vivacity. A song Fairy Couple makes Huangmei opera popular in the north and south of the river, and has a high reputation overseas.

===Development===
The development history of Huangmei opera was roughly divided into three stages:
The first stage was from the end of Qianlong in Qing Dynasty to around the Revolution of 1911. The tunes produced and spread to the three provinces of Anhui, Hubei and Jiangxi were influenced by the local opera performances and combined with some folk arts, gradually forming some small operas. Further development led to the complete story of the operas. From the Reign of Emperor Kangxi and Emperor Qianlong of the Qing Dynasty to the reign of Emperor Guangxu, the traditional repertoire was very rich, and artists could perform more than 200 plays. Among them, many were based on Huang Mei's real people and real events, such as Dacidian and Cross the Jieling and so on; Some were the People's dissatisfaction with class oppression, the disparity between the rich and the poor, and their yearning for a free and beautiful life at that time. Such as Buckwheat story, Fairy Couple and so on; Some also showed the life segments of rural workers, such as Spinning cotton yarn, Selling bucket basket and so on.
The second stage was from the Revolution of 1911 to 1949. At this stage, Huangmei Opera gradually became professional and moved from the rural stage to the urban stage. After Huangmei opera entered the city, it was co-organized with Peking Opera, and was influenced by Yue opera, Yang Opera, Huai Opera and Pingju Opera from the North in Shanghai, which changed greatly in both the content and form of the performance. In addition to the arrangement and transplantation of a number of new plays, the music has also carried out a preliminary reform of the traditional singing, and the content was more understandable.
The third stage is from 1949 to now. After the founding of the People's Republic of China, Huangmei opera has been rapidly restored and developed. Anhui Province Huangmei opera troupe was established in Hefei in 1953. Thirteen counties in Anqing area have also set up professional troupes. In 1954, Huangmei opera Fairy Couple participated in the East China Opera observation and performance conference and was successful. The play was also made into a film twice, causing a sensation at home and abroad. A number of newly created and adapted outstanding plays such as Emperor's Female Son-in-Law and Hillock of Sand have been staged one after another. In Hong Kong and Macao, there was a prosperous scene of Huangmei opera sung in Mandarin and Cantonese. Decades after the liberation of huangmei opera has created a large number of outstanding actors, in addition to have outstanding contributions to huangmei opera singing art Yan Fengying, Wang Shaofang older generation of artists, such as young and middle - aged actors such as Ma Lan, Han Zaifen also won the audience's attention and love.

===Features===
'''Tune''':Huangmei Opera's singing style belongs to the plate - Type variation, which has three major tunes: Coloratura, Choi Tune and Main Tune. Coloratura is mainly used in small operas, the melody is simple, beautiful and cheerful, with a strong atmosphere of life and folk song minor color; Choi tune‘s melody is cheerful, has been widely used in the Coloratura small operas. The main tune is commonly used in the traditional original opera of Huangmei opera, which is divided into flat words, fire attack, two lines and three lines, among which flat words is the most important singing tune in the original opera, with serious, solemn, beautiful and generous melody. Huangmei opera is known for its lively lyricism, simple, fresh exquisite and moving singing, with rich expressive force, and easy to understand, easy to popularize, loved by the masses around. In the musical accompaniment, the early Huangmei opera by three people to play the drum, cymbals, small gongs, big gongs and other percussion instruments, at the same time to participate in the vocal accompaniment, known as "three strokes and seven singing." After the founding of the People's Republic of China, Huangmei opera formally established the accompaniment system with Kao-hu as the main instrument.

'''Types of Roles''':After the performance of the whole opera, the types of the roles gradually developed into the lead, the female lead, the painted face, the old lead and clown. Although there is a division of types in the profession, few people specialize in one profession. After the 19th year of the Republic of China, Huangmei opera troupe often performed with Hui and Beijing Opera troupe. Due to the need of performing plays, there appeared some new roles, but they were not fixed. At that time, the Huangmei troupe was mostly semi - Professional, with only 12 people in general. Due to the small number of people in the troupe, when performing the whole opera, it was often an actor who has to play several roles. Therefore, in Huangmei opera, although the roles in the opera are standardized, the actors do not have strict branches.

'''Dress and makeup''':The costumes of Huangmei opera are the continuation of the traditional costumes of the Han nationality, but most of them were in the Tang, song and Ming dynasties. Compared with Beijing Opera costume, it is less colorful, gorgeous and coquettish, more elegant and beautiful, natural and meaningful, forming a romantic period of its own. Huangmei opera makeup heavy eyebrows. Different from Beijing Opera's thick ink description of the eye outline, gorgeous face, Huangmei opera costumes pay attention to Halo dye, pay attention to the charm, similar to the ancient lady's light makeup, true and simple. For example, the young lead’s eyes rises, eyebrow peak slightly gathered, elegant and beautiful; the female lead eyes with feelings, looking forward to between, natural a stretch of billows romance in them.

===Current situation of the development ===
Huangmei Opera has gone through a lot of difficulties from its origin to its development. It is not easy to be loved and recognized by the public and successfully listed in the first batch of national intangible cultural Heritage list approved by The State Council on May 20, 2006. However, Huangmei Opera is also facing severe difficulties and crises both in the inheritance and development at home or the transmission and export abroad.

'''Domestic problems of Huangmei Opera''':First, there is a shortage of students majoring in opera in art colleges： "Opera industry should be able to withstand loneliness. In today's society, people are becoming more and more impetuous, and fewer and fewer people are willing to learn opera. At the same time, the depressed opera market has led to low wages and made many people reluctant to study opera." Although the local government has invested a lot, Huangmei Opera colleges and universities still face practical problems such as fewer students and employment difficulties for graduates. When considering future employment prospects, many Huangmei Opera lovers will choose majors with wider employment channels, resulting in a serious shortage of students majoring in Huangmei Opera.
Second, the construction of professional courses needs to be strengthened: Professional colleges are limited by resources and funds, as well as performance venues, personnel integration, follow-up costs, return on investment and other restrictive factors, and it is difficult to build professional practice and training platforms for students by their own strength, which affects the construction of relevant majors. Opera performance is a very practical art, and there are few opportunities for students majoring in Huangmei Opera to participate in large-scale performances. Only some excellent students can get the practice opportunity to perform on stage, which affects the educational effect of Huangmei Opera to a certain extent. Some art students unilaterally think that performing skills and vocational skills are the first, and cultural courses are only secondary courses, or even redundant. They focus on professional skills and performance training, and do not pay enough attention to the learning of cultural courses.
The third is the professional teachers to grow: Because of the financial support, their scale and supporting policies and reasons, related colleges and universities currently facing the teacher education level is not high, through teachers, inadequate protection of the professional guidance, age, levels of structural imbalances, Huangmei Opera teacher talent construction in local colleges need to be strengthened. Due to regional economic conditions, material benefits, academic research platforms and other objective reasons, it is difficult for local undergraduate universities to introduce high-level professionals.

'''Abroad problems of Huangmei Opera (Take English-speaking countries as an example)''':First, the difficulties in the translation of Huangmei Opera scripts mainly focus on the rhythm of lyrics, sentence style and translation of padding syllables. In the process of script translation of Huangmei Opera, if the above language features of script lyrics cannot be translated flexibly, the beautiful singing style and profound cultural connotations of Huangmei Opera will be difficult to convey to foreign audiences.
The second is the controversy over the use of Huangmei Opera translation. The academic circle has not reached a consensus on whether the translation of Huangmei Opera should be used as lyrics or subtitles. Different purposes directly affect the strategies adopted in translating scripts into English. If it is directly used in English singing, in addition to factors such as the rhythm of the lyrics, it is necessary to consider the equivalence of the pinyin of the script lyrics and the syllables of the English lyrics, so as to match the rhythm of the accompaniment, which undoubtedly greatly increases the difficulty of English translation. If it is only used for subtitle, the problem of syllable equivalence is not considered, but how to present subtitle in actual performance is a big problem. Simultaneous interpretation is bound to affect the audience's hearing effect, and rolling English subtitles on the stage will interfere with the audience's line of sight. These problems can’t be properly solved, which is also an important reason why Huangmei Opera can’t open the market in foreign countries.
The third is the acceptance of Huangmei Opera by foreign audiences. Compared with the language-centered forms of western operas, Huangmei Opera relies more on singing, costumes, dancing and music. This huge difference in the form of expression is bound to affect the cultural acceptance of Huangmei Opera. If we blindly cater to the cultural acceptance mentality of the Western audience and change the performance form of Huangmei Opera, it will lose its charm. How to improve the foreign audiences‘ acceptance of Huangmei Opera while retaining its unique charm as far as possible is a long-term proposition to be faced in English translation of Huangmei Opera.

===Solutions and Summary===
There are many things we can do to address these development challenges.

'''Solutions to domestic problems''': Increase support for Huangmei Opera education: Relevant departments should continue to increase input in manpower, finance, material and other aspects of Huangmei Opera art education, strive to break the limitations of performance venues and practice, and build a more scientific new mode of artistic talent training. Anqing, where Huangmei Opera is popular, has a good cultural foundation and humanistic concept of Huangmei Opera. Art colleges and universities should make full use of their cultural resources, establish cooperative relations with other schools at all levels, implement policies such as exemption of examinations for majors and tuition subsidies, and ensure high-quality students to enter the inheritance field of Huangmei Opera. Colleges and universities should set up art appreciation courses of Huangmei Opera, show cultural characteristics of Huangmei Opera, effectively inherit local opera culture, and train students' artistic sentiment and artistic style of discovering, appreciating and loving beauty.
Innovating the teaching form of Huangmei Opera: The basic artistic accomplishment of opera performers is a compulsory course of Huangmei Opera and other opera education, and it is also the most basic and important link of traditional opera teaching practice. In the art teaching of Huangmei Opera, theory teaching should be combined with the creation and arrangement of opera fragments to improve the basic skills and professional skills of actors. Innovating classroom teaching content, enhancing students' perception of artistic beauty and appreciation of opera culture, and comprehensively improving the performance skills of opera major students; Professional teachers should lead students out of the classroom, visit the daily rehearsals and professional performances of the troupe, enter the park and other places, and join the Huangmei Opera ticket club, feel the strong atmosphere of the folk Huangmei Opera, so as to enhance the appeal of opera culture; Using multimedia and other modern technological means; Set up online course selection system, create wisdom classroom, combine with opera theory teaching research results, improve the practical effect of course teaching.
Integrating opera culture gene into campus culture construction: Colleges and universities should give play to the important role of student organizations and associations in the inheritance of traditional opera, encourage opera societies to actively carry out opera culture activities, promote and inherit opera culture. Professional colleges and universities can build characteristic campuses full of cultural elements of Huangmei Opera and create a rich atmosphere of opera culture by building buildings with elements of Huangmei Opera, designing cultural signs of Huangmei Opera in the campus landscape, promoting Huangmei Opera art with propaganda boards and electronic screens, etc. "At the same time, using appropriate media to spread the practice of inheriting Huangmei Opera, an intangible cultural heritage, will greatly enhance the effectiveness of inheritance. The use of media can make the spread of cultural characteristics become more prominent, cultural identity is easier.

'''Solutions to foreign problems''': The translation of the cadence, sentence style and backing words of Huangmei Opera needs to be flexible. In the process of English translation, it is appropriate to adopt the domestication translation method, or alternative methods such as Rhyme, alliteration or assonance. The style of the sentence carries the beauty of the melody of Huangmei Opera. In the process of English translation, it is also appropriate to adopt the domestication translation, referring to the English poem foot. Such as iambic foot, trochaic foot, anapaestic foot, dactylic foot and meter (tetrameter and pentameter) to realize the change of the lyrics of Huangmei Opera. A large number of interlining words exist in the lyrics of Huangmei Opera. Although they have no real meaning, they reflect the psychological emotions of the characters and cannot be translated. In the process of English translation, transliteration, annotation and other means should be used as appropriate to retain the rhyming effect of the script lyrics of Huangmei Opera to the maximum.
Clarify the auxiliary position of Huangmei Opera translation in the process of external communication. The charm of Huangmei Opera lies in its singing and beautiful stage form. In order to successfully spread the culture of Huangmei Opera, the key lies in making foreign audiences intuitively feel the audio-visual charm of Huangmei Opera performance. The translation of Huangmei Opera can remove language barriers for foreign audiences to appreciate it better, but it cannot change the auxiliary role of Huangmei Opera translation in the external communication of Huangmei Opera culture. After leaving the stage, the culture of Huangmei Opera was translated into English as a general literary work, and the external dissemination of Huangmei Opera became rootless water. Therefore, the translation of Huangmei Opera should be used as subtitles rather than lyrics for performances. There are two situations when the translation of Huangmei Opera is used as subtitle. One is to record the Huangmei Opera repertoires into audio and video products or upload them to video websites. In this case, English or bilingual subtitles are required. Another kind is in view of the Huangmei Opera
Troupe live performances, the situation is more complex, because both in the stage provides electronic English subtitles or provide simultaneous interpretation for overseas audience, is bound to affect the audience's visual and sound effects, the most feasible way is before the performance, to provide the audience play introduction and translation of manual, not lost in the audience as much as possible in the plot, In order to enjoy the stage performances of Huangmei Opera Troupe.
Formulate a long-term plan for English translation and external communication of Huangmei Opera. In essence, the English translation of Huangmei Opera belongs to the act of "translation". Under the current national conditions of "cultural power" and "going out" of Chinese opera, there is an urgent demand to promote the traditional excellent culture of China. However, in the process of external communication of Huangmei Opera, the nature of blending from "marginal culture" to "central culture" determines that its cultural acceptance is not high in the early stage of communication. For nearly half a century, the "going out" project of Chinese opera, which has been adhering to the "faithful" translation, has achieved little effect in the overseas market, which also indicates that the translation and external dissemination of Huangmei Opera will be a long and tortuous process.

'''summary''': In general, as an important cultural heritage, huangmei Opera has the obligation to make efforts for its survival and development, whether it is the government, the society, the troupe itself or the general public.

===References===
[1]Li Li李莉.安徽黄梅戏场域的历史变迁与审美特质[Historical changes and aesthetic characteristics of Anhui Huangmei Opera field ] [J].安庆师范大学学报(社会科学版),2022,41(02):28-31.

[2]Ding Aihua丁爱华,Zhu Jun朱军.黄梅戏英译：现状、问题与对策[Present Situation, Problems and Countermeasures of Huangmei Opera ] [J].北京印刷学院学报,2021,29(S2):70-72.

[3]Chen Changwen陈昌文,Sheng Xia盛霞.新世纪以来黄梅戏发展缺憾与策略思考[The shortcomings and strategies of Huangmei Opera development since the new century ] [J].安徽理工大学学报(社会科学版),2021,23(05):42-46.

[4]Wei Hong魏泓.生态系统观下黄梅戏英译研究[A study on the English translation of Huangmei Opera from an ecosystem perspective ] [J].重庆第二师范学院学报,2021,34(01):42-46.

[5]Sheng Xia盛霞.安徽民歌对传统黄梅戏的影响[The influence of Anhui folk songs on traditional Huangmei Opera] [J].安庆师范大学学报(社会科学版),2020,39(04):102-106.

===Terms and expressions===
Huangmei opera 黄梅戏
pick-tea lantern dance 采茶灯（舞）
flower - Drum tune 花鼓调
Fairy Couple 《天仙配》
three roles opera 三小戏
three strokes and seven singing 三打七唱
Dacidian 《大辞店》
Cross the Jieling 《过界岭》
Buckwheat story 《荞麦记》
Spinning cotton yarn 《纺棉纱》
Selling bucket basket 《卖斗箩》
Emperor's Female Son-in-Law 《女驸马》
Hillock of Sand 《砂子岗》
Yan Fengying 严凤英
Wang Shaofang 王少舫
Ma Lan 马兰
Han Zaifen 韩再芬
plate - Type variation 板式变化体
Coloratura 花腔
Choi Tune 彩腔
Main Tune 主调
flat words 平词
fire attack 火攻
two lines 二行
three lines 三行
cymbals 钹
small gongs 小锣
big gongs 大锣
percussion instruments 打击乐器
vocal accompaniment 帮腔
kao-hu 高胡
the lead, the female lead, the painted face, the old lead and clown 生旦净末丑
the first batch of national intangible cultural Heritage list 第一批国家级非物质文化遗产名录
padding syllables 衬词
Rhyme 押韵
Alliteration 头韵
assonance 类韵
domestication translation 归化译法
foot 音步
iambic foot 抑扬格
trochaic foot 扬抑格
anapaestic foot 抑抑扬格
dactylic foot 扬抑抑格
meter (tetrameter and pentameter) 格律（四音步和五音步）
transliteration 音译法
notation 注释法

===Questions===
1. How many stages are Huangmei Opera divided into? What are the corresponding periods?
2. According to the field investigation, where is the origin of Huangmei Opera?
3. List two representative works and artists of Huangmei Opera respectively.

===Answers===
1. The development history of Huangmei opera was roughly divided into three stages: The first stage was from the end of Qianlong in Qing Dynasty to around the Revolution of 1911. The second stage was from the Revolution of 1911 to 1949. The third stage is from 1949 to now.
2. Anqing, An hui Province.
3. Fairy Couple, Emperor's Female Son-in-Law; Yan Fengying, Han Zaifen.

==日语笔译张白鹭 Zhang Bailu 202170081634==
<center>An Analysis of Chinese Translation of Modern Japanese Literature</center>

<center>Zhang Bailu</center>

===Abstract===
There are great similarities between China and Japan in the history of modern development. Before the 100-day Reform and before the Meiji Restoration, Both China and Japan went through periods of isolation. Then they opened their doors under fire from western powers. In order to meet the challenge of the West, the two countries reformed their systems and launched enlightenment movements in ideology. In this process, there has always been a great deal of continuous translation of Western books. Translation activities provide a strong impetus for the modernization of China and Japan, and translation culture is an important part of the modern culture of the two countries, which provides us with the necessity of research. This paper takes the translation of Natsume Soseki, Ryunosuke Akutagawa and Yasunari Kawabata as the research object, and summarizes the main ideology of modern China reflected in their translation.From the research process, we can find out how the selection of translation objects and texts is influenced by the mainstream ideology.
The translated texts mainly focus on the novels of the three writers, to understand the reasons for the changes in the content and attitude of translation studies in different periods in modern China, and to explain the reasons in detail in terms of ideology. Soseki Natsume and Ryunosuke Akutagawa were among those who changed their translation topics in modern Chinese translation studies of Japanese literature. This paper studies the translation and introduction of the two from the period before and after the May 4th Movement and the reform and opening up. Kawabata Yasunari is the first Japanese writer to win the Nobel Prize for Literature. The study of his translation and introduction is of great significance not only to translation studies, but also to the study and grasp of major Asian literary schools and ideologies.
===Key words===
Translation Activities;Japan;Ideology

===1 Introduction===
The introduction of Natsume Soseki (1867-1916) was first introduced by Zhou Zuoren. In his article "The Development of Japan Fiction in the Past Thirty Years," he argued that Natsume Soseki advocated "low wandering taste" and "abundant literature." "The History of the Literary Revolution":"The novel of nature, where the novel must touch the life; Shu-Shih said that what is not touched is also fiction, as well as literature. And why is it so urgent? We can enjoy life slowly and calmly. " However, the translation of Natsume Soseki's novels is Lu Xun's earliest. Published in 1923,"modern Japan stories" chose two short stories of Soseki Natsume, one is "hanging picture," the second is "Mr Clay cob." The two novels have a strong tendency of prose. Although these two works are not important works of Natsume Soseki, but Lu Xun's translation, in the translation of works of Soseki, is groundbreaking. Natsume Soseki's fame, and all of his creation of the most outstanding novel, is Zhou Zuoren mentioned "we are a cat"(a translation of "I am a cat"). It is doubtful whether the work was published in an official translation in the 1920s. In 1936, Zhou Zuoren wrote an article, entitled "<I am a cat>," are reviewed in detail "I am a cat," and explains the difficult translation. The first anthology of Natsume Soseki's works translated and published in China is Natsume Soseki Collection selected by Zhang Kebiao. The book was published in 1932 by Shanghai Kaiming Bookstore. Adduction medium-length decimal "boys," short works "the Tower of London" and "the preface to the head of a dog than the tail of a Lion. Translation before ZhangKeBiao wrote "about Soseki Natsume" translation of the preface. This translation sequence introduces Natsume Soseki's life, thoughts and creation in detail. The introduction of these situations is mainly based on Natsume Soseki's early creation. The "Edo-citizen" character of Natsume Soseki is emphasized, and the creation ideas of "light and free taste,""margin" and "low wandering taste" are advocated.
Akutagawa Ryunosuke (1892 - 1927) was a representative figure of the New Intellectualism School, an important school in the history of modern Japan literature, and one of the several first-class writers in Modern Japanese Literature. In the ten years from the late 1920s to the 1930s, there were more than 20 China translations of Akutagawa Ryunosuke's novels (including a small amount of prose and essays), and seven translations were published, accounting for one fifth of Akutagawa's novels. It can be said that most of Akutagawa's good works have been translated and introduced. The earliest translation of Akutagawa Ryunosuke works is Lu Xun. In 1921, Lu Xun published the translation of "Nose," which is the first novel of Akutagawa translated in China and one of the most wonderful works of Akutagawa Ryunosuke. When LuXunYi out of his Dragon interface after two novels, until 1927, five or six years, no longer appear his Dragon interface works of translation. Akutagawa's suicide in 1927 had a great impact on the Japanese literary world, and the China literary world was also shaken, which became an opportunity for China to translate a large number of Akutagawa's works in the next few years.
Kawabata Yasunari (1899-1972) is a famous Japan writer, the winner of the Nobel Prize for Literature in 1968. Kawabata published as early as 1926 for the Izu dancer, began in 1935 published masterpiece "snow country." But before the 1980 s, Kawabata translation only Fan Quan in 1942 out of the "article"(Shanghai Fudan publishing house), it is a pity that the translation has been difficult to find, the total bibliography during the period of the Republic of China and so on also not description, translation of what title is unknown. In 1968, Kawabata won the Nobel Prize for Literature, fame at home and abroad in Japan. However, it was during the so-called "Great Proletarian Cultural Revolution" in China that it was impossible to respond properly to Kawabata Yasunari's award. Until the 1980s, Kawabata Yasunari's works were ignored by the literary translation circle in China. In the early 1980s, Kawabata Yasunari's translation became a hot topic in the translation of Japan literature in China. Old translator Han Shi girder and Ye Weiqu, Yue-Mei Tang first began to translate Kawabata's works. Later, new translators appeared for six consecutive years to study and translate Yasunari Kawabata's works such as Ancient Capital and Thousand Cranes, and they all had translations. By the 1990s, the "Japan literature craze" that had been in full swing in the 1980s had generally cooled down, but the translation and publication of Kawabata Yasunari's works remained in full swing.

===2 the Translation of Natsume Soseki===
In the history of Japan literary translation in China, Natsume Soseki's works have always been valued. After the reform and opening up, Natsume Soseki's translation and introduction were translated and published in large quantities. Previously translated works, such as "I am a cat,""brother,""grass pillow" and so on, have appeared six new translations.
Liu Zhenying's translation of I Am a Cat is an elaborate work and a representative work in his life's translation literature. In addition, Liu Zhenying wrote a preface of more than 10,000 words for the translation, which shows that his understanding of I am a Cat and Natsume Soseki has changed compared with before. He no longer treats I am a Cat from the perspective of "critical realism," but focuses on the unique features of the work, discussing and analyzing the humorous, funny and humorous aesthetic features of I am a Cat; He also stated that he did not agree with Hu Xue's view that I Am a Cat was "a self-criticism of petty bourgeois intellectuals" in his essay "Natsume Soseki's Life, Times and His Satires," and that such a view did not understand the true meaning of humor and satire through the mouth of the intellectuals in his works.
1930-1960 S Natsume Soseki's translation, focused on "I am a cat,""a""grass pillow" and other early works; In the 1980s-1990s, the focus of the topic selection began to shift to the middle and late period, and a series of important works of Natsume Soseki in the middle and late period were translated and published successively. The most important of his works are his two long trilogies. The "pre-trilogy" Sanshiro (1908), Since Then (1909) and The Door (1910); The "post-trilogy": After the Vernal Equinox (1912), Pedestrians (1912), and Heart (1914). Natsume Soseki's first trilogy, centered on love and family, describes the inner longing, loss and anguish of petty bourgeois intellectuals. The former trilogy has changed a lot in style compared with the lively and witty early works such as I Am a Cat and Brother. Brush strokes on the inner world of the characters, the story of the work and narrative also played down. The "post-trilogy" further focuses on psychological description, and in a sense they can be regarded as a kind of psychological novel. The third part of the "post-trilogy" is "Heart." When hefinds out that his friend k is also in love with her, he proposes to her first. k committed suicide soon. "Sir" and miss married life is happy, but when he learned that k because of the friendship and love of despair and suicide, he has a deep sense of guilt. He analyzed his own egoistic behavior and psychology, realize oneself and his uncle is a kind of person, others property shudder, eventually committed suicide due to unbearable pain. From the perspective of morality and conscience, the author makes a penetrating analysis and criticism of human's egoism nature in line with the moral Creed of "putting heaven to private affairs." In his later works, Heart is the highest level of art, and some scholars even regard it as the representative work of all his works.
Concentrated published wash stone works in the middle and late, is the Hunan People's Publishing House and Shanghai Translation Publishing House. In 1982, 1983, Hunan People's Publishing House published de-Wen Chen translation of "three or four lang""from then on" singles; In 1984, Hunan People's Publishing House published the first and second volumes of Chen Dewen's translation of Selected Novels of Natsume Soseki, among which the first volume received the trilogy of "Sanshiro,""From then on,""Door" and so on. Shanghai Translation Publishing House in 1983, 1984 and 1985, has published the Japanese literary translator Shu-Wen Wu (born in 1943) translation of "three or four lang""later" and "door"; In 1988, the Shanghai Translation Publishing House combined the three works into a single book entitled "Love Trilogy," which was published as one of the "Japan Literature Series" of the publishing house. This is a high quality translation. Wu Shuwen's translation, language color, age, beautiful and smooth. Particularly commendable is in front of the translation, the crown has three having substance in speech of the preface. A is Wu Shuwen himself wrote the "first-generation sequence"
, The second article is written by Liu Zhenying from look on coldly to rebel, the third article is written by Lv Yuanming the anguish of the pressure. The three articles analyze and expound the meaning and connotation of Soseki's works from different angles, which not only help readers understand Natsume Soseki's works, but also add a strong academic atmosphere to this translation.
Natsume Soseki in his later years, there are two important works, namely the autobiographical novel "the grass." The title "The Way" contains the meaning of "waste time." "Light and shade" is the last work of wash stone, the author failed to finish the book died. The book also appeared in two versions, one is the channel of literature and art publishing house in 1985 Lin Huaiqiu, Liu Jieren translation of "bright and dark"; One is the 1987 Shanghai Translation Publishing House in ray translation of "light and shade."
In this way, most of the works of Natsume Soseki's life (especially novels) have been translated into Chinese. Only the novel "corn poppy grass"(1907) and so on a few important works, no translation for various reasons. ("The Chinese language" is used in the translation of the Chinese language, which is very difficult to translate.) The general readers in China can basically understand the broad and profound "Shushi Literature" systematically by means of the translation.

===3 the Translation of Akutagawa Ryunosuke===
The earliest translation of Akutagawa Ryunosuke is Lu Xun's Nose. "Nose" is written by an ancient monk oversize long nose. Monk for his long a deformity of long nose and times by others laugh at, the heart is very painful, when he learned from China, finally put the nose short some time, but more explicit laughed at by others. Later, long nose back to the original state before treatment, the monk has the feeling of relief, thought: This time no one laugh at me again. This novel profoundly reveals the people designed to other people's misfortune for happy dark selfish psychology, reflects the people in the dilemma of the society. The full text is only more than four thousand words, written refined implicative, impeccable. Lu Xun at the same time in front of the translation attached titled "<nose> translator note" essay, I'm afraid that is China's first article introduces his Dragon interface. It is said that "The Japan are a very popular writer. Most of the themes used in his works are uneasiness after hope has been achieved, or feelings when uneasiness is being felt. " He added,"I am not satisfied with him about these two things. One is the multi-purpose old material, sometimes close to the translation of the story; Second, the atmosphere of the veteran is too strong, easy to make readers unhappy. " In the same year, Lu Xun and the "Rashomon" translation. Rashomon is a story about a servant who is fired by his master and has no other way to go, taking shelter under the gloomy and decadent Rashomon while considering whether to "starve to death or become a robber." She saw an old woman on the rostrum of Rashomon, in order to make a wig sold dead hair is pulled out. Servant think it is too ugly, come forward to stop. The old woman said,"If you don't do it, you will starve to death," which made him determined to become a robber. He kicked down the old woman, stripped the old woman's clothes, and roared off. This novel profoundly reveals the survival of the selfish instinct, people in the delicate decomposition between justice and crime. Although Lu Xun's attitude towards Akutagawa's "historical novels" is still appreciative, his "dissatisfaction" and criticism still exist. He believes that Akutagawa's novels are "too experienced," meaning that Akutagawa's novels are too philosophical and philosophical, giving people a profound and experienced sense of being a philosopher or transcending mortals. Lu Xun's novels is the purpose of enlightenment, is to transform China's backward national character, and not like his creation as a means to explore the true meaning of life, the pursuit of artistic life. For his type of abstract philosophy to explore, Lu Xun is clearly able to shrug off.
After LuXunYi out of his two novels, until 1927, five or six years didn't appear again his Dragon interface works of translation. After Akutagawa committed suicide, it is wonderful that from 1927 to the early 1940s, when he committed suicide, it was the climax period of China translation and introduction of Akutagawa Ryunosuke's works. In July 1928, Shang Yihe edited the translation of "his Dragon interface stories" published by Beijing Mandarin society. This is the first collection of Akutagawa Ryunosuke's works published in China in the 1920s and 1930s. Translator Shang Yihe had studied in Japan, after returning to China in 1925 constantly translated Japanese literature. "Akutagawa Ryunosuke Collection of Stories" is also Tang Yihe's first translation. The translation of the selected works and "novel monthly" in the "Akutagawa Ryunosuke album" selected items are not repeated, some novels-such as "spider silk"--is quite distinctive masterpieces. "Spider silk"(and "spider silk") in full only two thousand words, based on Buddhist stories. The novel still shows people's absolute self-interest instinct, but also a strong fatalism.
The translation of Akutagawa Ryunosuke continued to be valued after the reform and opening up. The first published is the old translator LouShiYi translation of the Akutagawa Dragon interface novel eleven, published by Hunan People's Publishing House in 1980. The book received translation of the title has "rashiomon""hell change""in the death of the people""old plain light sound honour" Akiyama figure "" the Mang Bush "gratitude""Fu's chastity "" sixth Princess "" play Samadhi,"a total of 11 short works. These novels were translated by Lou Shiyi during the special historical period from April to June 1976. Lou Shiyi translated Akutagawa Ryunosuke's works in a special period when the political environment was very dangerous. He was surprised that also can be published. Lou Shiyi's translation of Akutagawa's works under this circumstance became the first translation of Akutagawa Ryunosuke published after the reform and opening up. Most of the works, except Rashomon and Akiyama, were not translated during the climax of Akutagawa's translation in the 1930s, and were first translated by Lou Shiyi. Among them,"the jungle" and "hell" belong to all the works of Akutagawa Ryunosuke the most representative works. LouShiYi hundreds of novels in his, choose such works, is a aesthetic vision.
Akutagawa Ryunosuke is one of the Japan writers who have the most readers in China. Due to his strong philosophical works, writing techniques, superb novel skills, it is not easy for ordinary readers to deeply understand. But in the literary accomplishment higher readers, his works are very popular. In the 1980s-1990s, many articles about Akutagawa Ryunosuke were published in academic journals. Some textbooks and monographs on Japan literature history and Oriental literature history included monographs or special sections to describe Akutagawa. However, compared with the studies of Natsume Soseki, Kawabata Yasunari and Mishima Yukio, the study of Akutagawa Ryunosuke in China is a little cold and cheerless, and there is no special biography or research works.

===4 the Translation of Kawabata===
The translation of Kawabata Yasunari quickly became a hot spot in the translation of Japan literature in China in the early 1980s. 1985 was a bumper year for Kawabata Yasunari's translation. This year, a total of seven or eight Kawabata works translation, including Han Shi girder, Jin Fuyi, Shanghai Wenyi publishing house "ancient capital," Guo to shun, Shaanxi People's Publishing House "Thousand Cranes," Tang Yuemei translation, foreign literature Publishing house "dancer," Ye Weiqu translation, People's Literature Publishing House "Kawabata novels," etc.
As an active translator of Japan literature after the 1980s, Ye Weiqu made a positive contribution to the translation and dissemination of Kawabata Yasunari's literature in China. In the 1990s, he edited four series of Kawabata Yasunari's works.
Kawabata's works were translated and published continuously on a large scale and in a large density, which is unprecedented in the history of Japan literary translation in China in the 20th century. Kawabata life most of the works, have the Chinese translation. These translations promote the spread of Kawabata Yasunari among China readers and contribute to the prosperity of translated literature in China. At the same time, they also clearly show that the translation of Japan literature in China has entered the era of commercialization and marketization after the reform and opening up, especially after the 1990s. This in the translation of Kawabata works mainly as follows: Some books of the subject design of cross repetition, the same work many people translation, a variety of translation, the same kind of (article) translation is packaging, repeated published many times there are a lot of.
Kawabata Yasunari's persistent high fever in China is a cultural phenomenon worth studying. There are about three reasons:
First, the Nobel Prize for Literature and its winner's reverence and worship psychology, is quite popular in the readers and the literary world. The notion that a "Nobel Prize winner" is equal to a "world-class writer" is not fully substantiated in logic and fact, but is widespread in feeling and impression. As the second winner of the Nobel Prize in Literature in Asia, Kawabata Yasunari is more rare and valuable than many winners in Europe and America, which can arouse the recognition, attention and resonance of China readers at the level of "Oriental Literature."
Second, Kawabata Yasunari in contemporary Japan, is one of the biggest hot spots of literary studies, although different critics and researchers controversial, but on the whole is very high. There are a lot of articles, books and materials to study Kawabata Yasunari. This kind of situation cannot but affect the translation and introduction of Kawabata Yasunari in China.
Third, Kawabata's works, with strong Japanese national style, in the literature type, writing, meaning and so on various aspects has the specificity, is a great literary writing, literary research and literary criticism, rare text.
Due to the works of Sichuan side from the fine point of the pen, no Western literature classical literature and profound, so readers will not produce down to read the sublime feeling; And because of his work only write feeling and feeling, no absurd conception of Western modernism literature and philosophical speculation, and therefore does not feel deep to read. After reading it, only a little bit of "feeling" and emotional appeal are left. However, if you want to use logical, theoretical language to summarize and promote the "feeling" and emotional appeal, will feel very difficult. At this moment will realize that he did not read Kawabata. Kawabata Yasunari's works have a deep relationship with the traditional Japan literature and traditional aesthetic culture. His works are mostly through the description of love and sex between men and women, to show his Japan "human feelings," Japanese "feeling" and Japanese "beauty consciousness." In order to understand the Japanese "beauty" in Kawabata Yasunari from the perspective of Japan traditional culture and aesthetics, the China General readers must study and explain it by scholars and critics. And kawabata works mostly involved prostitute (e.g.,"snow country"), incest and incest consciousness (e.g.,"thousand cranes""mountain sound"), sexual perversion and sexual delusion (e.g.,"sleeping beauty""one arm"), such as the content of the hong DE, decadent, in sexual morality is strict in China to understand these things, is a culture of the diaphragm. How to look at these works, also insist on critics and researchers to guide the reader.
Kawabata Yasunari's translation and introduction also had a certain impact on the creation of Chinese writers. In contemporary Japan writers, Kawabata is probably only one of the most China writers attaches great importance to the people. Although Kawabata as an authentic Japan writer and difficult to imitate, but after all, he can give writers provide a possible reference. Even some writers because reading Kawabata and took to the road of writing.

===Conclusion===
No matter which Japan writer is studied, translated and introduced, the final achievement belongs to translated literature. "Translation" is different from "foreign literature," then, further said,"foreign literature history" is different from the "translation of literature history."
All kinds of books and textbooks published in China, such as the history of foreign literature (such as the history of United Kingdom literature and the history of Japan literature), the history of regional literature (such as the history of oriental literature and the history of European literature), or the history of literature in general (such as the history of world literature and the history of foreign literature), are all based on the historical facts of foreign literature and the works of writers and writers. They use China to tell, but it is about the original, rather than translation. When we use Chinese to describe "other culture" and "other literature," this is itself a generalized "translation" phenomenon. And we use Chinese writing of foreign literature but ignored the translator and translation of this link, in an attempt to go beyond the translation and directly face the original. And the vast majority of readers of literary history and foreign literature, they can't also don't have to read the original, what they read, is the translation of literature. This is our various "foreign literature" encountered contradictions and embarrassment. In addition, over the past century, China's translation works, has accumulated tens of thousands of kinds. Translations account for more than a third of all published literary books. For such a large amount of cultural and literary wealth, now the general "foreign literature" works but not also can not put them into the scope of research and discussion. However, it is difficult for ordinary works on the history of China Literature to fully and comprehensively display the rich contents of translated literature. This means that translated literature is an independent branch of literary studies, and the history of translated literature should be one of the three major fields of literary history studies, which are juxtaposed with the history of foreign literature and the history of China Literature. The history of foreign literature, the history of China Literature and the history of translation literature constitute a complete knowledge system of literary history.
The study of translated literature and its history in China is still weak. There are many reasons for this situation. There are political, cultural, and literary ideas. It is a common practice to regard "translated literature" as "foreign literature," which is the primary reason for restricting the study of translated literature and the history of translated literature.
Secondly, an important issue in translating literature is the choice of translation. Generally speaking, the history of translation literature should first be the history of famous works. As for non-famous works and non-famous translations, they can be regarded as a general "phenomenon" in the history of translation literature. Generally speaking, the historical status of the translation is determined by three conditions. First, the original is famous masterpieces, this is a prerequisite to determine the status of translation. Second, the translator is famous. A translator is regarded as a famous translator, first of all, because of his accurate and reliable grasp of the topic of translation, and secondly, the reliability of the quality of translation. Third, among the famous translation, the first translation and particularly important. First translation, means to fill the blank, and fill the blank itself has its historical significance. Of course, this is not to say that the translation is not important. However, in the sense of filling in the blank, the second translation cannot replace the first translation.
To study the phenomenon of "translation" of Japanese literature in China, i.e. the so-called translation activities of Japanese literature, is to understand the history of communication between the Chinese and Japanese nationalities with complicated relations since ancient times, and the differences between nationalities can also be revealed from different literary works and ideologies. To grasp the ways of understanding and accepting different cultures by predecessors, to promote communication between nationalities, and to provide a new vision for the future development of China and Japan.--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 13:08, 22 June 2022 (UTC)

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==朝鲜语笔译刘安莉 Liu Anli 202170081635==
<center>'''China's Network literature IP'''</center>

<center>Liu Anli</center>

===Introduction===

Network literature refers to the newly produced literary works, quasi - literary texts and network artworks containing some literary elements, which take the Internet as the exhibition platform and communication medium, and express themselves by means of hypertext connection and multimedia deduction.Among them, the network original works mainly.Network literature is produced with the popularization of the Internet.IP is the abbreviation of "Intellectual Property" in English, meaning "intellectual property" in Chinese.In today's people often say that "IP adaptation,""literature IP" in the "IP" has already exceeded the original meaning of the word. In recent years, the rise of a new word "network literature IP," the meaning of the summary is the network of popular literary works through adaptation, processing, and ultimately into a series of TV series, movies, online drama, stage drama and other derivative products. In short, the most talked about "network literature IP" form is the mutual conversion between literature and film and television. In recent years, The popularity of a large number of online literature IP drama adaptations has made the public pay special attention to online literature IP dramas. Due to the high topic degree, attention degree and large audience, commercial capital has also begun to pay attention to the adaptation market of "Network literature IP."

===Internet literature IP popularity===
By the end of December 2021, the total number of online literature users in China has reached 502 million, an increase of 41.45 million compared with the same period last year, accounting for 48.6% of the total number of Internet users, and the number of readers has reached the highest level in history. According to the Assessment Report on the Adaptation Potential of Network Literature IP Film and Television Drama in 2019-2020（《2019—2020年度网络文学IP影视剧改编潜力评估报告》） released in February 2021, the total output value of downstream cultural industry driven by online literature IP in the first two years accumulatively exceeds CNY 1 trillion. As an important way of industrialization of network literature, film and television drama is the most intuitive form of shaping China image and telling Chinese stories. "In 2021, network literature provides more high-quality and rich content and innovative and diversified forms for film and television drama creation, and gives birth to several head dramas and phenomenon-level hits, becoming the protagonist of film and television drama adaptation. "According to Douban's（豆瓣） Baidu（百度） index ranking of 2021 series, the TOP 20 list includes 12 works adapted from online novels, such as "My Heroic Husband （赘婿）,""SWORD SNOW STRIDE （雪中悍刀行）,""Shangyang Fu（上阳赋）,""You Are My Glory（你是我的荣耀）" and "RATTAN （司藤）," covering comedy, fantasy, history, metropolis and other subject areas. In the maoyan（猫眼） research institute to this year's drama market observation data, Net article IP change screenwriter in the hot list TOP 10 occupies 8 seats, Big production drama as high as 80% of the proportion reflects the net article in the content development potential. Adapted from the novel of the same name network drama "My Heroic Husband "（赘婿） Feature film effective broadcast up to 4.849 billion; Adapted from the novel of the same name, "Soul land"（斗罗大陆）has been broadcast more than 4.3 billion times by the end of the game, ranking No.1 in the bone flower popularity list for 27 consecutive days.
Network literature has not only made remarkable achievements in film and television adaptation, but also provided users with an "amplification effect" of IP content through all-round and all-link operations such as animation, audio, short drama, offline travel and derivatives. The linkage of different art forms has contributed to the breaking of the circle of multi-form output of network literature. Among the 114 new animation dramas for teenagers launched throughout the year, There are 72 IP adaptation works. According to the " 2020- 2021 China Online Audio Industry Research Report" of Ai Media Consulting（艾媒咨询的《2020—2021年中国在线音频行业研究报告》）, 86.2% of users prefer to listen to IP audio content when the audio column types are close to each other. Take the IP adaptation audio works of Yuewen Group（阅文集团） in 2021 as an example, not only the themes of the works are diversified, covering fantasy, suspense, romance, science fiction, immortal chivalrous, games, cities, history, light novels and other categories, but also the number of clicks in the whole year reached 12 billions.

===The Background of IP Adaptation of Network Literature===
There are three points: the development of network technology, the increase of audience demand and the drive of film and television interests.
First of all, the emergence and prosperity of the Internet, so that people's way of life has undergone tremendous changes, but also greatly promoted the development of network literature. The development of network technology has enriched the channels and ways for people to obtain information and entertainment. More and more literary creators choose to share their works and create by using the network platform. People pay more and more attention to network literature, and the creation of network literature is more and more open, free and vigorous. At the same time, the film, TV series and other industries keep up with the pace of the times, reform the production mode, for the network literature IP adaptation provides a good opportunity.
Secondly, the network literature works spread fast, spread wide range, convenient and interesting, deeply loved by the majority of network users. According to the popularity of network literature and network literature IP discussed above, we can feel the great demand for network literature works and IP adaptation works of network literature.
In addition, compared with the original script, the adaptation cost of network literature works is lower, with fans, in the selection of works, adaptation, topic effect and a series of processes, each link will bring huge attention, can bring considerable economic benefits to the works and film and television industry. The advantages of these interests also drive the development of network literature and network literature IP adaptation.

===Characteristics of IP Adaptation of Network Literature===
rich in subject matter types
The network literature develops rapidly, the creator base is big, the work type is rich, contains the ancient and modern, Chinese and foreign. The film and television works adapted from network literature include costume dramas, such as Empresses in the Palace（甄嬛传）, Ruyi's Royal Love in the Palace （如懿传）, Shangyang Fu（上阳赋）, etc., modern dramas such as You Are My Glory（你是我的荣耀）, The King's Avatar （全职高手）, RESET （开端）, etc., non-realistic themes such as Love and Redemption （琉璃）, Fights Break Sphere （斗破苍穹）, RATTAN（司藤）, etc. These works include various styles, which can meet the needs of audiences of all ages and different hobbies. In the development of film and television industry, the traditional original script and old-fashioned plot have been difficult to attract the audience's attention, while the bizarre and novel network learning provides a variety of choices, so a large number of different types of network literature works have been adapted into film and television works, or good response.
Stable audience
Now people's living standards generally improve, in the pursuit of material life, the spiritual world also has a certain pursuit. A good literary work is loved by readers because of its ups and downs of plot and distinct personality of characters, which meets people's spiritual needs. With the rapid development of Internet technology and the increasing popularity of mobile devices, more and more people are reading through mobile phones. Network novel because of small, convenient, cheap, can be anywhere at any time in the mobile phone to watch and other characteristics and widely liked by netizens. For example, novels such as Empresses in the Palace（甄嬛传）, The King's Avatar （全职高手）, The Journey of Flower（花千骨）, and Treading On Thin Ice（步步惊心） are all works of great concern on the Internet. The development of online literature has gradually flourished, and the reading volume of online novels has become higher and higher, resulting in a fixed fan base. To adapt to film and television, it is inevitable to find actors to play. These star actors also have a fixed fan base, which provides guarantee for the audience rating. Some well-known stars often have 70 - 80 million fans. A random Weibo post had hundreds of thousands of reposts, and the fan effect they generated was very large. The higher the attention, the higher the value.

===Problems in IP Adaptation of Network Literature===
Copyright disputes and plagiarism disputes

The IP film and television adaptation of network literature is the use of literary works by film and television producers, which may lead to disputes. Copyright involves the authorization, adaptation, sale and consumption of literary works. The consideration of copyright is an important reason for many film and television adaptations. In 2019,"Better Days "(少年的你）once appeared at the forefront of public opinion because of plagiarism, and in December 2020, Jing M.Guo's "The Yin-Yang Master: Dream Of Eternity "（郭敬明的《晴雅集》）plagiarism incident was boisterous, even caused more than 100 film and television people's boycott. Network literature review threshold is low, and the IP adaptation fever has made some people more profit-seeking psychology, in the process of creation or adaptation only ratings theory, only flow theory, thus falling into copyright disputes or plagiarism disputes. The copyright transaction is chaotic and the definition of copyright is vague, which will affect the word-of-mouth and dissemination of works, thus bringing resistance to the adaptation of network literature IP film and television.

Severe cuts, poor plot coherence

The profit channel of online literature is mainly its serial presentation and fan reward. In order to obtain greater economic benefits, the number of words in a work often reaches millions or even tens of millions. In terms of film and television drama policy, in 2019, the State Administration of Radio and Television stipulated: The shooting and production of TV dramas and online dramas shall not exceed 40 episodes, and the creation of short dramas within 30 episodes shall be encouraged. Under this policy, "NOVOLAND:EAGLE FLAG （九州缥缈录）,""They Are Flying（飞行少年）" and other TV series urgently changed the number of episodes, the film and television industry ushered in a big change. It is not advisable to delay the plot and inject water into the content, but the IP screenwriter of network literature will be separated from the original work, and serious deletion will also lead to problems such as incoherent plot and plot loopholes. How to balance the quality and integrity of the network literature IP film and television adaptation is a big problem. At present, the common practice of film and television investment institutions to choose network literature is click rate and ranking list, and the top 10 network literature in click rate is almost a novel, narrative rhythm is slow, involving many characters. To select the essence of the original work within the limited number of episodes is a big test for the ability of the screenwriter and director, which is also the main reason why it is difficult to realize the film and television adaptation of the network novel "Stellar Transformations（星辰变）."

blindly follow the trend, the emergence of mechanical reproduction of the era of works of art

Under the background of pan-entertainment era, the charm of literature withers, and the artistry appears vulnerable to the commercial challenge. Literature and film and television belong to the same category of art and should have literary and aesthetic value. The paid reading of network literature leads to excessive commercialization of the subject matter and content of online literature, blindly catering to the market, and light weight. The absence of literariness has laid hidden dangers for the sustainable development of IP film and television adaptation of network literature. Although network literature is an important way for mass entertainment, However, if the market still blindly follow the wind, excessive entertainment as the direction of literary creation and film and television adaptation, the IP film and television adaptation of network literature will stagnate after a short prosperity, and finally perish.

===IP adaptation strategy of network literature===
enhance copyright awareness

Since 2016, the state has promulgated a series of copyright protection schemes to prohibit infringement and plagiarism, and the quality of the people has also increased accordingly. Payment schemes have also reduced the occurrence of plagiarism and piracy. For some relatively mature network literature works, can carry on the appropriate adaptation, should be reasonable, accord with the fact logic, rather than blindly pursue the topic, the explosion point, create some completely illogical plot, lead to the film and television drama quality is low, the quantity is reduced, the type homogeneity.
It is a win-win process to adapt network literature into film and television works, which can not only promote the development of network literature, but also make the film and television industry flourish. While pursuing their own interests, the producers of film and television dramas should respect the law and the intellectual property rights of the original works, and realize mutual benefit and win-win results within the legal scope. We should not only resolutely crack down on infringement, but also enhance people's awareness of safeguarding their rights. Individuals should also strengthen their legal awareness in their lives, fight bravely in the face of infringement and learn to safeguard their rights. With the joint efforts of the state, society and individuals, the network literature industry will certainly have a more healthy and green development, and the film and television industry will also receive more attention.

for high-quality production

Although literature and film and television belong to two different artistic categories, exquisite content is the common magic weapon for both to win. Only by understanding the characteristics of content creation and narrative structure of both, and developing a set of interactive production mode through integration and reconstruction, can we lay a solid foundation for the successful combination of the two. One is the conversion of IP content from text to image. First of all, the film and television adaptation should be logical, and the adaptors should choose and reconstruct the literary works properly. Secondly, the plot of the picture should be reasonably exaggerated. Especially in the film and television adaptation of fantasy and ghost themes, we should appropriately enlarge the characteristics of characters, so as to make the original characters more plump and fit their identities. Thirdly, we should improve the professionalism of production, expand the audience scope on the basis of stabilizing the original fans, and meet the double expectations of literature and film and television audiences. The second is the reconstruction of space-time narrative in film and television adaptation. In time, film and television can be through the lens, elements, the picture mosaic so that people have emotional resonance. In space, the network novel to text symbols as the main carrier of construction environment background, and television writers can use sound and picture language so that the audience intuitive perception, but also can be a novel space for replacement, displacement.

Focus on value delivery

The Internet is a free creation, highly virtual space, so inevitably there will be some vulgar and violent content. TV producers adapted network literature is the most critical step in the choice of the content of the work and the theme of sublimation. Adapting network literature works into mainstream values of the film and television works, not only can successfully pass the review, more important is to rectify the excessive pursuit of online readers 'preferences, modular writing caused by commercial drawbacks, For example, in the process of adapting THE Longest Day In Chang An（长安十二时辰） into a film and television play, on the one hand, it recognizes the spirit of women's inspiration, focusing on the description of Tan Qi（檀棋）'s independence and rational love; On the other hand is the respect for traditional culture, the play's clothing, props, architecture, etiquette, customs and so on are the screenwriter read a large number of books, rigorous and sophisticated results. The play's strong sense of national responsibility and the spirit of family and country is also advocated by today's society to carry forward the mainstream values, greatly enhanced people's cultural consciousness and confidence. Network literature film adaptation in the dissemination process should also make full use of the dissemination platform. Network novel dissemination platform is the novel website, The communication platform of film and television drama is television and cinema. Under the background of media convergence, the adaptation of network literature IP can try new paths, such as inserting film and television pictures and videos into literary works; In the process of film and television play broadcast to provide original novel links; In the chatter, fast hand and other new media broadcast wonderful clips, call on the audience to participate in the creation of film and television drama, decide the trend of the plot by themselves, etc. In a word, the network literature IP film and television adaptation has become the new trend of the times, in order to make this new phenomenon have sustainable vitality, we must grasp the profound connotation of the theme, give play to the value guiding role of the film and television drama.

===Conclusion===
The popularity of film and television adaptation of network literature IP shows that the IP industry chain on the market is becoming more and more mature. With strong content advantage and huge market capacity, network literature has become an important engine of cultural industry. Network literature and film and television, animation, games, audio books, derivatives development and other fields of extensive linkage, the formation of the whole cultural industry chain, creating considerable economic benefits. In addition, the network literature plays an increasingly important role in the overseas dissemination of China culture. In recent years, there have been numerous overseas "fans" of China online literature, and the "sea fever" of Chinese online literature has become a global cultural phenomenon. In just a few years, the overseas dissemination mode of China online literature has been continuously upgraded, completing the evolution from content to mode, from region to world, from output to linkage, and taking solid and powerful steps in disseminating Chinese culture, displaying China's image and promoting mutual learning among civilizations. The film's main feature is "strong storytelling, strong character creation, and strong camera sense." "The hardcore of online fiction is telling a good story. Network literature stories should not only have waves, ups and downs, soul-stirring conflicts and open-minded bridges, but also have certain scarcity and strong identification. In addition, the shell of the story plot must be able to connect with the current social reality and the public psychology, and generate empathy with more audiences before it can become the head IP. "
With a good story and a good text, we still need to go through the two barriers of adaptation and production. To adapt the network literary works into film and television, we should fully respect the original works, and can't be quite different from the original works in terms of story plot and characterization. At the same time, we should conform to the development and changes of the times, add new popular elements to make the stories and characters more full. Network literature, film and television production should have a sense of quality and the spirit of the craftsman, presenting excellent script, well-made, excellent interpretation, the value of positive excellent works. In the shooting process, to the actor selection and clothing, makeup, props on the heart, but also pay attention to the network literature behind the values and reality fit. Network literature film and television production to coordinate the interests of all parties. In the network literature IP film and television drama adaptation tide, the emergence of a lot of market and public praise double recognition of high-quality works, but there are also plagiarism imitation, shoddy, follow the wind pile up and other phenomena. To this, on the one hand for piracy and infringement of the crackdown can not relax, to pass legislation and other measures, in the identification of infringement, punishment and compensation and other aspects of efforts; On the other hand, it is necessary for all parties in the IP industry chain to "cherish their own feathers," take the creation of high-quality content as the initial intention, coordinate the interests of creators, platforms, investors, producers and other parties, gradually improve the operation and supervision system, and create a healthy environment for the sustainable development of the industry chain.

===References===
Zhu Kaige朱凯歌,Xu Lu吕璐.论网络文学IP改编的现状与发展[On the Current Situation and Development of IP Adaptation of Network Literature][J].2020（10）:167-168.

Mao Tengfei毛腾飞.解读网络文学IP改编的成功之道[Analysis the Successful Way of IP Adaptation of Network Literature][J].新闻研究导刊，2016（10）:295.

Mu Xiangxiang母翔翔.IP改编电影发展现状及反思[The Development Status and Reflection of IP Adapted Films][J].电视指南，2018（13）:52.

Li Zijia李子佳.热播网络文学改编剧改编策略研究[Research on the Strategy of Adapting Popular Network Literature to Screenplay][J].四川戏剧，2020（6）:130-133

Jiang He江河.网络文学影视改编的发展及应对[The Development and Countermeasures of the Adaptation of Network Literature and Film][J].新闻传播，2020（20）:90-91

===Terms and expressions===
network literature网络文学

IP adaptation IP改编

copyright protection 版权保护

mainstream values 主流价值观

My Heroic Husband 赘婿

SWORD SNOW STRIDE 雪中悍刀行

Shangyang Fu 上阳赋

You Are My Glory 你是我的荣耀

RATTAN 司藤

Soul land 斗罗大陆

Yuewen Group 阅文集团

Empresses in the Palace 甄嬛传

Ruyi's Royal Love in the Palace 如懿传

The King's Avatar 全职高手

RESET 开端

Love and Redemption 琉璃

Fights Break Sphere 斗破苍穹

The Journey of Flower 花千骨

Treading On Thin Ice 步步惊心

Better Days 少年的你
The Yin-Yang Master: Dream Of Eternity 晴雅集

NOVOLAND:EAGLE FLAG 九州缥缈录

They Are Flying 飞行少年

Stellar Transformations 星辰变

THE Longest Day In Chang An 长安十二时辰

===Questions===
1.What is network literature?

2.Please summarize the background of the IP change in network literature.

3.What are the characteristics of IP adaptation of network literature？

===Answers===
1. Network literature refers to the newly produced literary works, quasi-literary texts and network artworks containing some literary elements, which take the Internet as the exhibition platform and communication medium, and express themselves by means of hypertext connection and multimedia deduction.

2. There are three points: the development of network technology, the increase of audience demand and the drive of film and television interests.

3. Rich in subject matter types ;Stable audience.

==朝鲜语笔译王思佳 Wang Sijia 202170081636==

===Introduction===
Nanyue longevity culture culture is a wonderful flower growing on the land of Nanyue. It is the epitome and representative of Chinese longevity culture, and also a beautiful scenery line famous at home and abroad. In the ancients 'view, Nanyue was not a mountain, but a god, which decided the life span of each dynasty, controlled the country's chaos, natural disasters and agricultural prosperity, that is to say, the rise and fall of the country depended on it. Nanyue is regarded as secular Shoushan. Everyone has a good desire to pursue happiness, health and longevity. In ancient , the important way form people to express their desire was to worship Nan Yue,the Longevity Mountain which was called "Jugaku" ,and it was the result of the convergence and integration of different pursuits and ideals of ancient people. The folk custom of Nanyue longevity is formed and developed in the specific natural and historical cultural environment, with distinct local characteristics. It takes "Jugaku" as the background, celebrates longevity, praying for longevity and congratulating life as the content, and adopts the forms of sacrifice, holding Dharma meeting, facing the mountain and holding birthday wine, etc., forming a unique and colorful folk custom. This folk custom has been passed down from ancient times to the present, with both inheritance and development and innovation. It is a gorgeous flower on the laurel of Nanyue longevity culture.
===The origin of Jugaku===
Nan Yue is also known as the "Jugaku," which is an ancient legend in the history of China. According to legend that before the warring states period, the society will spread a saying: The stars in the sky correspond to the things on earth one-to-one.The stars in the sky are divided into "twelve degrees," and the countries and states on the earth are also divided into "twelve fields." The changes of light and shade of the stars in the sky predict the changes of human things and the good and bad of people's destiny. The seven stars in the sky are shaped like a giant bird, called "Suzaku". One of which is named Zeng（轸）, corresponding to Chu（楚） and Jingzhou（荆州） on the ground. In the Han dynasty this statement is more concrete, the sky has a star of changsha that corresponds to the changsha county on the ground. In the Tang Dynasty, some people linked the change of the brightness of the Changsha star with the longevity of people and the prosperity of their descendants. The Changsha star was in charge of the longevity of the human world. If the star was bright, people's longevity would be long and their descendants would flourish. Because the Hengshan Mountain belonged to Changsha County in the Qin Dynasty and Changsha State in the Han Dynasty, and its main body was made of granite, which had a solid and long-lasting natural character, people called it "Jugaku." From then on, it became a holy mountain and its social status became higher and higher.
First of all, it is regarded as the custody god of the country. In the ancients , Nanyue was not a mountain, but a god, which decided the lifespan of each dynasty, controlled the country's chaos, natural disasters and agricultural prosperity, that is to say, the rise and fall of the country depended on it. Therefore, from the Tang Dynasty to the Qing Dynasty, the supreme rulers of the past dynasties were very awed by Nanyue Mountain and regarded it as the guardian god of the country. It is said that Emperor Huizong of the Northern Song Dynasty wrote the word "Jugaku" on the Yellow Emperor Rock of Jinjian Peak of Nanyue Mountain, indicating that Nanyue Mountain was the "Longevity Mountain" of the country. Emperor Kangxi（康熙） of the Qing Dynasty sent envoys to offer sacrifices to the Nanyue Temple and wrote inscriptions on the temple to explain its historical origins and merits. It is said that Emperor Yongzheng（雍正）, a shrewd and thrifty man, had forbidden the construction of temples at a large cost. When he heard that the Nanyue Temple was to be repaired, he regarded Shouyue as the god of protecting the country and approved the repair by the court. In addition, the people of all ages hoped for peace and social stability.
Second, it is regarded as a religious shrine.Of the five mountains of China, only the Southern Mountain was located in Jiangnan.The mountain qingfeng - xiangguang fracture tall and straight, beautiful scenery, quiet environment, two major religions in ancient China ------ Taoism and Buddhism, have come to these tasks and seek development.The mountain has "Qingyutan Fudi（青玉坛福地）“，”Guangtiantan Fudi（光天坛福地） and so on. So it is also known as the "Shoushan." Therefore, it is an ideal place for people to convert to Taoism, cultivate true and refine Tao in order to achieve immortality. Buddhism also calls Nanyue the birthplace of the two branches of Buddhism. Dharma is inherited all over the world. The two jungles , Nantai(南台) and Fuyan(福严) are known as the "source of the world's Dharma" and the "court of the world." Nanyue God is also a Buddhist God. There is a special hall dedicated to the worship of Fuyan and Longevity. In addition, Yanfeng Temple（雁峰寺）, the first peak of Nanyue, also has a native new Buddha - Buddha Amitayus. Therefore, Nanyue is a holy place of Buddhism and a paradise for worshipping Buddha.
Third, it is also regarded as secularist Shoushan. Everyone has a good desire to pursue happiness, health and longevity. The ancient people express the desire of the important way or form, is to make a pilgrimage to Nan Yue.People makes a pilgrimage to the Nanyue, often combined with filial piety, mostly praying for their parents. The Ten Wish Songs(十愿歌) passed down through the ages reflect this characteristic. Of course, there are also those who pray for their own longevity. For example, some emperors sent envoys to the mountain on their birthdays or when they were suffering from serious illness. People prayed for both longevity and blessing, but they put praying for longevity first, because there is no longevity, and there is no way to talk about happiness. Therefore, people used to call the Nanyue Mountain "Shoushan."
In short, the South Mountain is called "Jugaku," which is the result of the convergence and integration of different pursuits and ideals of ancient people. When this kind of social pursuit and ideal under the condition of also cannot be free to know and realize, can only be transformed into a beautiful legend, give people with spiritual comfort and satisfaction.
===The Mystery of Longevity of Nanyue People===
It is no doubt that Jugaku can bless people longevity, which is a kind of hope and good wishes of people, however, Jugaku's people is longevity, it is indisputable fact. According to statistics, the average life expectancy of the ancient people in our country is less than forty years old, seventy is one of the few old.And people who live in the mountain, enjoy life over the age of seventy, numerous similar cases. According to the "YueZhi (岳志)" 's record, jin dynasty Wei Huacun (魏华存) enjoy life of eighty-three years old, In the Liang dynasty Liao Chong (廖冲) lived more than one hundred years old; In the Tang Dynasty Sima Chengzhen lived more than 90 years old. And so on.People who are now living in the mountains, the elderly are more. According to 1999 statistics, Nanyue Mountain's Yuelin Township, has 2064 people, of which 70 - 79 - year-old 123 people, 80 - 89 - year-old 65 people, 90 - year-old three people, is really worthy of the name of the elderly area. So, Shouyue people the mystery of longevity where it?
First, the mountain plant coverage rate is high, the scenery pleasing to the eye, the air is fresh, the temperature is pleasant. Nanyue is known as the "Five Mountains of Unique Beauty." Its mountains are beautiful. Vegetation covers almost all the peaks, ridges and valleys. The mountains are green, as if they are a green ocean. It has beautiful scenery, luxuriant forests and bamboos everywhere, flying springs and dysprosium, and attractive natural and cultural landscapes. It is especially famous for its "four wonders" all over the world. Therefore, it is widely said that "when returning from Huangshan Mountain, you don't look at the mountains, and when returning from Nanyue Mountain, you don't look at the mountains." Its pleasant temperature, Sheng Department, the mountain hot Xiren, while the mountain breeze blowing, the day to wear long - sleeved clothes, at night to cover thin quilt. People live here, such as home fairyland, beautiful environment, fresh air, mood stretch, its life naturally higher.
Second, There are clear springs everywhere in Nanyue, the water quality is good, most of the food people eat from the mountains, not contaminated. Here mountain belt Collins, clear spring all over. According to the load, the mountain famous springs have ZhuoXi Spring(卓锡泉), tiger Spring(虎跑泉), White Turtle Spring(白龟泉), Wan Xian Spring(万仙泉), Guandao Spring(万仙泉), heart washing Spring(洗心泉), crystal Spring(碧泉), Ziqi Spring(紫气泉), lazy residual Spring(懒残泉), general Spring(将军泉), lion Spring(狮子泉), Suo Luo Spring(娑罗泉), Sun Spring(太阳泉), Jade sand Spring(玉砂泉), etc. Jade sand Spring is located on the top of the mountain, where the water flows through a large rock (known as the "broken rock source(断石源)"). Sun spring in ZhuRongFeng(祝融峰), is located in the unique top, water should be insufficient, however, this spring Mimi flow day and night, through one thousand never dried up, daily water for thousands of people to drink. These springs are pure, sweet and refreshing. Long - term drinking can make people live longer. Therefore, people call the mountain stream formed by the confluence of many springs on the mountain "Shoujian." In addition, the food, vegetables, fruits and tea eaten by people living on the mountain are generally produced from the mountain and have not been polluted. Edible wild fruits and plants are good natural foods and are beneficial to human health. It is recorded that Chen Chongzheng, a famous celebrity in Nanyue Mountain of Northern Song Dynasty, only drinks clear spring water or eats melon spring every day. He is over 80 years old and "walks like flying" on the mountain. The reason why he is so healthy is that he has good drinking water and food.
Third, nanyue specialty, some have strong body fitness, add in the effect of life. As the saying goes, a party of soil and water to generate a unique property. Nanyue specialty variety, wide range of uses, some are rare medicinal herbs, some are food and fruit with special efficacy.Lingzhi (Ganoderma lucidum), also known as "red ganoderma" by Nanyue people because of its reddish brown cover, has the function of replenishing vital essence, strengthening bones and muscles, and is mainly used for treating diseases such as fatigue, palpitation and insomnia.Nanyue ganoderma lucidum, top grade, is the world as the god of life.Polygonatum sibiricum is sweet and mild in nature. It is beneficial to the middle warmer, calming the five internal organs, benefiting the spleen and bones, benefiting the heart and lung, dredging the bones and muscles, and eliminating rheumatism. Kiwi fruit, commonly called "rattan pear," is a wild fruit in Nanyue Mountain. Its skin is brown, and its flesh is light green. It has high nutritional value. Its medicinal effect is mainly used to quench thirst, relieve fever, help digestion, cure diarrhea, and lower urinary tract infection. In addition, the mountain also produces medicinal materials such as angelica dahurica, radix bupleuri, poria cocos, rhizoma arisaematis, baiyao, schisandra chinensis, fructus momordicae, angelica sinensis, and caulis sinomenii, as well as cloud tea, bamboo rice, fragrant rice, Arhat taro and other products. Long - term people living in the mountains, it is easier to pick these herbs, but also easy to eat these products with special efficacy; In addition, the mountain hard production and living conditions, caused the people strong physique, it's for nanyue life high and create the conditions.
===Nanyue Longevity Folklore===
The folk custom of longevity in Nanyue is formed and developed under the specific natural and historical cultural environment, with distinct local characteristics. It takes "Jugaku" as the background, celebration , prayer and celebration as the content, and adopts the forms of sacrifice, holding Dharma meeting, facing the mountain and holding birthday wine, forming a unique and colorful folk custom. This kind of folk custom has been passed down from ancient times to the present. It is not only inherited, but also developed and innovated.
Worship Nanyue. Nanyue is generally held in October of the lunar calendar every year. It is said that this time is the birthday of Nanyue Saint Emperor (also known as Nanyue God), and the sacrificial ceremony is very grand.Specification has always been very high, to be held by the court authorized and afford or designated host.Ceremonies procedures, offerings, quantity and display, the priest knelt down etiquette, etc., the court has expressly provided.Offering sacrifices to the mountains is not only for the celebration of the longevity of the Nanyue Saint Emperor, but also for the country and the people.Cooperate with sacrifice, generally organized a grand folk activities, religious activities and cultural and sports activities, such as religious law will be held, the public organization dragon dance team and play a lion.In accordance with the drama, folk stories to carry out cross - dressing parade, the ancient town of four streets and Kuixing Temple Pavilion stage performances, martial arts performances, etc., the audience for a long time up to tens of thousands of people. Merchants took the opportunity to publish the market, trading is very active. October 6 to 10, 2000, Hengyang City, Hengshan held here in the Chinese Longevity Festival and temple fair. Most of the traditional folk activities retained, but also added the Chinese Longevity Tripod inauguration ceremony, public sacrifice Nanyue Shengdi Fa Hui, high - altitude tightrope walking challenge,"the world Nanyue, The fireworks evening party and other large - scale activities set four Guinness World Records, with more than 300,000 domestic and overseas tourists. The economic and trade negotiations and the signing of the contract for the utilization of foreign capital amounted to 120 million US dollars. It was a colorful and eye - catching occasion.
Pilgrimage to Nanyue.It is also known as the "South Mountain Incense," which means that people pray for longevity, disaster elimination and blessing. Every year from the middle of July to the end of September, commonly known as the "South Mountain Fragrance Period," pilgrims from all over the world come to worship. Pilgrims in rural areas, they are in droves, less than a dozen people, more than hundreds of people, head red towel, chest hang sachets, mouth sing the yue song. Some still uniform clothing, neat queue, action to listen to password, just like trained troops.There are many forms of pilgrimage.Have to burn incense, incense in hand, with sweet bursa, knee with cotton or cloth, each line into a few steps (generally divided into three steps, five steps, seven steps, nine steps), then knelt down and worship.The old from the door, has been to worship to ZhuRongFeng.And hungry incense burning, on the way back and forth pilgrimages can't eat, can only drink water.They usually wore green clothes and straw sandals. In their rucksacks, they carried a small ladle to scoop up spring water for drinking on the road. From the first to the fifteenth day of the eighth month of the lunar calendar, the peak period of pilgrimage is sometimes as many as 100,000. The streets, temples, hotels and shops are crowded everywhere. The market is extremely prosperous. On both sides of the street, in front of and behind the temple, there are rows of shops and stalls, all kinds of small and exquisite handicrafts and tourist souvenirs, local famous products, specialties and foreign commodities. In the past, pilgrims to Nanyue Mountain were all on foot, some of which had to travel hundreds of miles, and all the temples and temples along the way had to be burned and worshiped. Even if they traveled day and night, it would take half a month to go back and forth. Now, most of them take modern means of transportation, some even rent special cars, usually three to five days is enough. Since the 1990s, the number of burning incense and starving incense has gradually decreased, and pilgrims have taken into account the increase in sightseeing besides pilgrimage.
Worship Shou Buddha.Prevailing in the first peak back to the wild goose peak wild goose peak temple. Legend has it that the life of the Buddha lay family name is zhou, Jin Zhen, chenzhou in tang dynasty, was born in the lunar February 8. 16 becoming a monk, ZongHui, enjoy life of one hundred and thirty-nine. Ming and Qing dynasties, and reincarnation for monks, in tin wild goose peak temple, to pass on one's experience, wild goose peak temple to build longevity Buddha hall as a memorial. Every year, on the eighth day of the second month of the lunar calendar, a grand Dharma meeting is held in the temple. Men and women from all over the world gather in Yanfeng Temple to celebrate the life of Buddha and pray for their families. In front of the temple, a stage is set up to sing opera, or a martial arts contest is set up to attract the audience. The merchants outside the temple have a market, and the market is crowded with people. It is commonly called "rush on February 8." In the 1940s, when the Japanese invaders invaded Hengyang, the temple on the peak was destroyed by Japanese artillery fire, and the custom of "praying to Buddha" ceased. In the 1980s, the Longevity Buddha Hall was rebuilt. On this day every year, although there is no city on the peak, there is an endless stream of pilgrims and tourists. Do Longevity wine.Hengyue people value everyone's birthday.Every tenth birthday is called "Dasheng(大生)", which is celebrated with birthday wine.People who turn 60 years old is called "sexagenarian," and from then on, every tenth birthday is called "Shoudan(寿诞)" and needs to be solemnly organized to celebrate birthday. Relatives and friends to go to congratulate, send birthday presents, generally like birthday plaque(寿匾), birthday couplet(寿联), birthday noodles(寿面), cloth, etc. On birthday plaque, screens and couplets, there are many auspicious folk words: "Happiness is as immense as the Eastern Sea, and longevity is as great as the Southern Mountain." In the poem,"Southern Mountain" originally refers to the mountain in the south. Later, some people think that "Southern Mountain" refers to the Southern Mountain, so it has become a common sight in the local area. In addition, relatives also need to send birthday peaches, that is, rice cakes are made into peach shapes, with red dots on them. When the couple is still alive, they wish "double longevity" and the gifts are increased. The host family should sign to thank the guests. In the evening of birth, noodles are usually served.
===Conclusion===
Nanyue Jugaku Culture involves a wide range of aspects, in the system and customs are also involved. In today's fast-paced life, we urgently need the Nanyue longevity culture to guide us. We need such thoughts to promote the harmonious development of human and society. Nanyue longevity culture is the foundation of Chinese health preservation. We should Promote and inherit such excellent culture.
===References===
[1]Wu Changyun 吴长云.(2001).南岳与寿文化[Nanyue and longevity culture ].湖南文史Hunan literature and history (02):72-73.
[2]Cao Yiyun 曹译匀.(2011)对南岳文化景观的解读[Interpretation of the cultural landscape of Nanyue].旅游纵览Travel Overview (12):96-97.
[3]Zhou Wei 周巍.(2002).寿岳说寿[Shouyue Shuo Yue].新闻天地News World (06):35-37.
[4]Li Chengxiu 李程秀.(2020)南岳寿文化的现代养生价值研究[Study on Modern Health Preservation Value of Jugaku Culture in Nanyue] .文化创新比较研究A Comparative Study of Cultural Innovation (07):43-44.
[5]Han Xia 韩霞.2017.中国寿文化与道教思想略论[China Judaku Culture and Taoist Thought].人文天下Humanistic world (05):38-41.
===Terms and expressions===
寿岳 Jugaku
朱雀 Suzaku
寿山 Shoushan
法嗣 Dharma
无量寿佛 Buddha Amitayus
寿佛 Shou Buddha
花甲之年的人 sexagenarian
===Questions===
When the “Worship Nanyue” event starts？
What is the secret of Nanyue people's longevity?
Which religions have come to Nanyue to seek refuge and development?
===Answers===
It is held in October of the lunar calendar.
Fresh air, pleasant climate, good water quality; health strong body; medicinal material that improve health and prolon life.
Taoism and Buddhism.

==朝朝鲜语笔译徐盖 Xu Gai 202170081638==
<center>'''Jiangxi Nuo'''</center>

<center>Xu Gai</center>
===Introduction===
Nuo culture, in which Nuo dance, also known as ghost play, is the oldest dance of entertaining gods in Han nationality, which worships gods, dances ghosts, drives away plagues and avoids diseases. "Nuo" is a social and cultural phenomenon with strong religious and artistic color, which has a long history and is widely popular in the Han nationality. It originated from the natural worship, totem worship and witchcraft consciousness of the ancestors of the Han nationality. The ancient ancestors lived and multiplied in conquering nature. Their desire for survival needed the help of religious ideas to surpass themselves, so they created the witch Nuo culture.Jiangxi Nuo, is an important part of Chinese Nuo. Nuo is a cultural phenomenon that spirits chase ghosts and pray for disaster. Jiangxi Nuo is a part of Chinese Nuo, which has the characteristics shared by Chinese Nuo. However, Jiangxi Nuo is a regional Nuo culture, and it has experienced thousands of years of accumulation and inheritance, forming a distinctive feature of unique search.

===The origin of Jiangxi Nuo===
Jiangxi Nuo, also known as Gan Nuo, is an important part of Chinese Nuo. It is well-known at home and abroad for its long history, primitive form, rich varieties and its own cultural system. It is called the "living fossil" for studying the development of Chinese and even human civilization. Jiangxi Nuo, rich and thick, began in the early Han Dynasty, and for more than 2,000 years, Nuo has never stopped. Nuo dance, which entertains people, was born out of the ancient Nuo ceremony, and it is more common in many rural areas, especially in Nanfeng and Shangli counties, which can be called the living fossil of Chinese Nuo culture. According to statistics, since the end of the Qing Dynasty, there are more than 150 Nuo classes in Nanfeng County, which not only retain the Nuo temples in the Ming Dynasty and the ancient Nuo ceremonies, but also spread more than 80 traditional programs and more than 2000 kinds of Nuo masks, with more than 2000 existing Nuo artists. Lixian County has been known as "a general in five miles, a god in ten miles" since ancient times. Now there are more than 20 ancient Nuo temples in Ming and Qing Dynasties, which inherit more than 50 percent of the classical Nuo dance. There are more than 400 kinds of ancient Nuo masks and more than 20 mask carvers.

===The distinctive features of Jiangxi Nuo===
Jiangxi Nuo preserved the primitive ancient Nuo ritual completely. The "Nuo Dance" in Shiyou Village, Nanfeng County is the remains of the extremely rare ancient Nuo ritual in China. In addition to its scale, it is eye-catching similar to the basic aspects of the palace Nuo in the Han Dynasty in Hanshu Yiwenzhi. Pengze county Laowuwan's "beating wild cats" is full of the meaning of ancient villagers' exorcism, and it is a kind of epidemic-fighting ceremony with religious significance, which is rare in today's Chinese exorcism culture.

Jiangxi Nuo has a traditional character and rich categories. After thousands of years of secularization and entertainment, a considerable part of Nuo in China has died out, and some of it has been transformed into a cultural form with Nuo culture. Jiangxi Nuo has always maintained the tradition of taking masks as the core of all activities. In Nuo activities, Nuo masks are not only the image code or artistic makeup, but also the soul of these activities. They still enjoy people's awe and admiration, even though they are engaged in Nuo dances and operas. The variety of Jiangxi Nuo is also rare in Chinese Nuo culture. In terms of its nature, it can be divided into Nuo sacrifice and Nuo art; From the aspect of expression, there are three types: open Nuo, closed Nuo, literary Nuo and martial Nuo. In terms of artistic mining, there are "Nuo Opera" and "Nuo Dance" which complement each other. It is because of this richness that Jiangxi Nuo can keep its life and vitality in the long course of social development. Jiangxi Nuo has formed its own cultural system and occupies a place in folk culture. In the course of its development lasting for thousands of years, Jiangxi Nuo has constantly adapted itself to the development of the times, absorbed nutrition from Buddhism, Confucianism and Taoism, and gradually formed a Jiangxi Nuo culture system which includes beliefs, specific sacrificial ceremonies, sacrificial sites, and Han folk customs and cultural activities influenced by Nuo. For example, Jiangxi Nuo has no divine spectrum, but it has a sacred Nuo temple. Nuo sacrifice is just a primitive religious ceremony without any precepts, but there are still laws and regulations that believers must abide by; Nuo Sacrifice has no philosophical thought necessary for any religion, but it draws ideas such as cause and effect, loyalty and righteousness from Buddhism and Taoism. Jiangxi Nuo is not a mature religion, and there are no scriptures, but there are still Liao prayers that have been formed and handed down from generation to generation. It is particularly noteworthy that after a long period of secularization and entertainment, Jiangxi Nuo has formed its own unique art, that is, Nuo dance, Nuo opera, and the carving and making of Nuo masks. Among them, mask making has surpassed the significance of religious sacrifice and become a striking Han folk handicraft, just as the European church choir has become a folk chorus art. Jiangxi Nuo has spread all over Jiangxi in history, and it is relatively concentrated in the half-moon zone from Wuyuan in the east to Pingxiang in the west, among which Nanfeng, Le 'an and Guangchang in Fuhe Valley are the most concentrated areas in Jiangxi Nuo. In addition, Xiushui, Wanzai and Pengze also have Jiangxi Nuo activities. The Nuo temples in Pingxiang and Nanfeng are dedicated in time, and they are not lonely.

===Nuo mask===
Chinese Nuo culture includes Nuo temples, Nuo masks, Nuo dances, Nuo operas, Nuo symbols, Nuo costumes, Nuo weapons and other complex whole, including anthropology, ethnology, folklore, religion, drama and many other aspects. Nuo mask is an important part of Nuo culture. It is used in Nuo ceremony, Nuo dance and Nuo opera. There are many kinds of Nuo masks in Jiangxi with different shapes, all of which are carved by willow and camphor wood, and then painted and painted, showing rough simplicity and magnificent Zhuang Dian. Pingxiang Xiang Dong Nuo Mask is an excellent folk traditional sculpture with a long history. East Hunan is under the jurisdiction of Pingxiang, the coal capital of the south of the Yangtze River, and is the west gate of Jiangxi. The surviving Nuo mask carving in xiangdong district originated from the Qing Dynasty, was passed down from Taizhang, Hunan Province, and has been handed down for three generations. It inherited the techniques of Nuo mask carving in the Song Dynasty, with mature technology, simple and delicate carved masks and complex craftsmanship, which is a rare cultural heritage in China's carving field.In 2006, Pingxiang Xiangdong Nuo Mask was listed as the first batch of national intangible cultural heritage list with the approval of the State Council.

===Nuo dance===
Nuo dance is a traditional dance in Jiangxi Province. Nuo dance is a kind of folk dance widely spread around the world, which has the functions of exorcising ghosts, fighting epidemics and offering sacrifices. It is the dance part of Nuo ceremony, and it is usually performed from the New Year's Day to the 16th day of the first month. Pingxiang Nuo dance footwork has the cultural style of Chu witch, the dancers' movements are bold and unrestrained, and their posture is full of shock; Enjoying Nuo dance is divided into three genres: "having fun", "playing the ancient drama" and "rolling Nuo God". It performs for nothing and is good at martial arts. Wuyuan Nuo dance is simple and vivid, and its performance forms can be divided into solo dance, duet dance, trio dance and group dance. Jiangxi Nuo dance integrates totem culture, Taoist culture, folk culture and other connotations.

===Conclusions===
There are still many introductions about Jiangxi Nuo. Jiangxi Nuo is like this. It comes from the people and returns to the people. In this process, firewood and fire were handed down from generation to generation, blooming in Ganpo and spreading all over the world. It is ancient, carrying the continuation and expectation of thousands of years of culture; It is also sacred and awesome.

===References===
[1]Xu Qun徐群 .论赣傩的文化特征及赣傩舞的表达 [On the Cultural Characteristics of Jiangxi Nuo and the Expression of Jiangxi Nuo Dance ] [[J ] .时代文学（下半月），2009 (2 ) :207 - 208.
[2]Liu Juan刘卷 .赣傩艺术视觉审美特征研究[Research on the Visual Aesthetic Characteristics of Jiangxi Nuo Art] [J ].湖南医科大学学报 :社会科学版，2009(5) :186 -187.
[3]Fu Hongling 付红玲，Wang Qi王琦 . 江西萍乡傩舞艺术特征初探[On the Artistic Features of Jiangxi Nuo Dance][J ].艺海， 2011(4) :90-91.

===Terms and expressions===
Nuo culture 傩文化 Gan Nuo 赣傩 Nuo Mask 傩面具 Nuo temples 傩庙

===Questions===
1.When did Jiangxi Nuo begin? How many years ago?
2.Why did ancestors create Nuo culture?What was their purpose?
3.When was Pingxiang Xiang Dong Nuo Mask listed in the first batch of national intangible cultural heritage list?

===Answer===
1.Jiangxi Nuo began more than 2,000 years ago in the early Han Dynasty.
2.Their desire for survival needed the help of religious ideas to surpass themselves, so they created the witch Nuo culture.
3.In 2006

==朝鲜语笔译徐文慧 Xu Wenhui 202170081639==
<center>'''The “scholar's four jewels”'''</center>

<center>Xu Wenhui</center>
===Introduction===
The"scholar's four jewels"are unique calligraphy and painting tools in China, namely writing brush, ink, paper and inkstone. Brush, ink, paper, inkstone commonly known as the "scholar's four jewels", its name originated from the Northern and Southern Dynasties, since the Song Dynasty, it refers to xuan brush (Xuancheng, Anhui), Hui ink (She County, Anhui), xuan paper (Jing County, Xuancheng, Anhui), she inkstone (She County, Anhui) and so on. As the essence of Traditional Chinese culture, the scholar's four jewels have been accumulated and deposited for thousands of years, and their cultural connotation has been recognized by people more and more, and their value has far exceeded its own function. For example, When CAI Yong wrote‘Bi Fu' in the Eastern Han Dynasty, he endowed the "integrity" of the brush and the "roundness" of the brush with imago features beyond the function of the brush.
Chinese calligraphy is a profound art with a long history. It has entered the door of the palace of art as early as the Qin and Han Dynasties, and has become an indispensable artistic treasure in Oriental history, and developed into a broad and profound knowledge. Calligraphy is not only an important part of Chinese culture, but also a symbol of the characteristic cultural spirit of the Chinese nation. "To do a good job, you must sharpen your tools." The unique artistic flavor of Chinese calligraphy is inseparable from the "scholar's four jewels" spread through the ages, and it is with brush, ink, paper and inkstone that the myriad forms of calligraphy can be depicted. Even a highly skilled calligrapher, sometimes encountered tools "do not go well", can only be overjoyed, frustrated. Today, brush, ink, paper and inkstone have been included in the national intangible cultural heritage list, jointly promoting the development of calligraphy art. (Zhao 2021:28)

===Origin and history===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)

===Features===

===The charm of The “scholar's four jewels”===

===Conclusions===

===References===
赵悦.在文房四宝中感受书法的魅力,2021.09, 28

===Terms and expressions===

===Questions===

===Answer===

==外国语言文学 Akira Jantarat 202121080009==
<center>'''The emergence of new linguistic forms in Chinese (neologisms)'''</center>

<center>Akira Jantarat</center>
===Abstract===
===Key words===
Chinese, New linguistic, Neologisms

===Introduction===
Language is important to humans because in addition to being a tool for communication It is also a tool for learning and developing human thinking. It is also a tool for transmitting culture and occupation as well as enhancing the unity of people who speak the same language. Language is a symbolic system that functions as a tool of social communication, consisting of sound, vocabulary, and grammar. "Vocabulary is the most important component of language" (Chenyuan, 2000, p.209)

"Neologisms" are new words or phrases. It's a popular word that was created. or adapted for use in daily life but has not yet been officially recognized. Nevertheless, The more modern the vocabulary, the more people are interested. And "Neologisms" include not just new words, it also new constructional patterns, newly innovated in parts of speech (David Crystal, 1996, 73) Nowadays, technology plays a huge role in the daily life of people of all genders and ages. As a result, words or sentences are spoken in Simplified Chinese become a dynamic vocabulary. and are constantly evolving into new words. No matter what language, when old words are not enough to satisfy the need for expression After something new is born, society or person will have an impulse to make words quickly, to be used in the memorization process, or the process of summarizing the main characteristics of things. And when a new word is accepted and widely used in society, that word will become an old word.

Therefore, the objective of this study is to study the factors for the emergence of a new linguistic form in Chinese or “Neologisms in Chinese”.The study of phenomena created by human society It is very important to Chinese linguistic researchers and social researchers. And also a matter that should not be ignored, because we are about to enter a decade that has changed from the original.

===Literature Review===
Nowadays, the number of words that we use in our daily life is increasing. The research of new words is becoming more comprehensive and systematic as well. Researching new vocabulary by researchers has resulted in many new words being enriched and increasing awareness of the importance of language. At the same time, many linguistic researchers have taken into account and researched the factors and emergence of new words. This reflects the importance of research on the factors of lexical formation intensified. Here's a summary and an introduction to previous research.

'''Definition of a new word'''

Wang (1992) explains that although the current definition of the new term captures the characteristics of the new word from different angles, The nature of creating new words will consist of "Reconstruction, new borrowing, new meaning and new use" of new words.

Lu (1984) pointed out that Some new words and new meanings might be new. But some words are not very new. But it's just an omission from the general dictionary.

'''The birth of a new word in Chinese'''

Hongyin Tao's research titled Chinese language in a global context provided information that Language as a symbolic system is often determined by internal and external factors. Factors outside language such as social identity, culture, tradition, progress, creativity, technology, and conservation. and also said In the context of globalization, English is often seen as a hegemony language. English is growing in popularity to communicate over the Internet. This is one of the results that has enabled China to create a more modern economy, society, and culture and keep up with the evolution of the world.

===Methods and Theories===
===Background===
'''Definitions of Neologisms'''

A neologism is a relatively recent or isolated term, word, or phrase that may be in the process of entering common use, but that has not been fully accepted into mainstream language. (James M. 2006) Neologisms are often driven by changes in culture and technology. (McDonald, 2005) Neologisms are mostly spread through mass media exposure (Sayadi, 2011), such as Facebook, Twitter, WeChat, Television, etc. Generic brand name designations such as "可乐" for Coca-Cola or "五G" for 5G are spread through popular uses, which have been updated by the media.These terms also express the concept or a concept, that is used instead of explaining certain events or situations that are difficult to explain, to make it easier to understand, and show the culture, concepts, and values of present people.

===Impact===
Language and social structure are in a co-change state, which is a major change in society since the reform and opening of the country. Which makes new words grow, even more, no matter, that society and culture are constantly changing. Because human needs are endless, the change will be fast or slow depending on the factors involved. Whether it is the level of education of people in social communication and changes over time Language and society belong together. must always go together If society changes language, it changes. it is related This is due to the factors that cause change, such as discovery, conflict, competition, and social and cultural change. Can be summarized as follows.

'''language and society'''

The language change is not abrupt, but gradually, the change is caused by the presence in many aspects, one of which is the society in which the language Existing profound changes in social life are manifested in aspects such as politics, economy, culture, education, health care. Science and technology, new things are constantly emerging, new ideas and new ideas. It continues to encourage new vocabulary. (Han Xiaoyu,2011)

Liu Xiaohong (1998) and Liu Lanmin (2005) mention the motivation for word formation and factors affecting word formation which will be divided into 2 aspects. First, the "internal factors" of language, namely pronunciation, grammar, meaning, and word formation. And the second side is external factors of a language, such as the social and geographical environment including the purpose and motivation of word-formation.

Language is the most important human tool. The language used is one of the human conditions for building society. Comparing modern and ancient China, we can see that the vocabulary is richer and the forms of words and sentences are more diverse as well, the development of society will play a role as a historical witness of the language. Communication between different societies will promote language development as well. ()

'''cultural surge'''

society and culture It is inseparable. It is like a coin with two sides. Each society has a different culture and language. The cultural exchange of society occurs only when communication and transmission are communicated through the use of mediums, it is the language, and at the same time, both culture and language support and develop each other. Language reflects the nature of the nation, not only contains the history country's culture but also the way of life and the way people think. The influx of foreign cultures into China whether western culture or cultures from neighboring countries all affect the existing traditional culture. Of course, that affects the language as well. and giving rise to new languages in China Which will be divided into the following points:

-western culture-

China's great openness to the outside world began during the Yuan Dynasty. Openness brought the winds of Western science into China, and the westward journey of Genghis Khan and Kublai Khan has opened the door of western culture to China and has an effect on the present day. ()

And we cannot deny that Western culture is now a very popular culture in China or Asia, whether in sports, food, or even music. Therefore, the arrival of the West that used English for communication has resulted in some words in Chinese being developed in the form and writing style. However, when everyone realized and understood the meaning thus resulting in a common understanding, for example, New Chinese characters with homophones such as “克隆” pronounced kelong (Clone) 、 “台风” pronounced taifeng (typhoon) 、"榴莲" pronounced liulian (durian) 、"跑酷" pronounced paoku ( Parkour). () And the words that take from abbreviations and Pinyin characters written in characters and not Chinese characters, such as "五G手机"、"ATM"、"HSK" (Simplified of Hanyu shuiping kaoshi, which means Chinese language standard test), etc., and include to the words that are used in everyday life such as "哈哈" (haha) 、"AA制" (Algebraic Average)、 "巧克力"（Chocolate）、"比特币"（Bitcoin）, etc.

English mania in Chinese educational institutions, combined with the rapid development of technology, is the driving force of the modernization of the world. This has resulted in an increase in English rates in China. Can we decide what country this word comes from? Yes, it is challenging, Because the cultures have been mixed until it becomes common for us to use English or words that are adapted from English in everyday life.

-Eastern culture-(Korea)

The Korean wave emerged from a globalized world with borderless communication. Through K-pop cultural products such as music, TV series, movies, novels, cartoons, and animation. The South Korean government has supported the policy of promoting the industry in the entertainment sector. As a result, the Korean trend quickly gained popularity. Due to the freshness that is the choice of the world market It also makes people around the world more interested in the story of the Korean nationality. The success of this K-pop Contributed to the popularity of Korean, especially among young people. As a result, the Korean language is accepted and taught widely and rapidly in many countries.

In China, more young people watch Korean dramas. And use more of the Korean language in daily life such as（“오빠” read oppa, Chinese “欧巴”）mean brother 、（“습니다“ read seubnida, Chinese“思密达” ）mean I did, etc.

'''The Development and communication through technology'''

Since China's reform and opening up, the technology world has also developed. Currently, the forms of computer communication are more diverse. For example, Email SMS or 微信 Wechat、qq、微博 Weibo, which is the media most used by Chinese teenagers to communicate through a typed format on a computer or mobile phone.

According to Beijing Zhiyan Kexin Consulting's analysis of the size and usage rate of instant messaging users in China in 2021. Indicate that at present instant messaging has impacted people's lives and jobs. And that message's influence will be extended in the future. Now, instant messaging has become the most popular. Internet applications among Chinese netizens，on June 2021, the instant messaging usage rate in China was 97.3%.()

This means access to technology is a high proportion of the Chinese population. And the advancement of technology has spread to all people with mobile phones. This is not only now but also in the future and technology or social media affects the spread of new words that are added to everyday life. Several researchers have commented on this happening.“Media publishing and distribution play an important role in the cross-regional popularity of languages and words. And the advent of the Internet age has accelerated the spread of the new Internet term.”（Han Xiaoyun, 2011）

“The essence of the rapid growth of new words is the development of society and the advancement of time. Thousands of households are familiar with new words that are rapidly gaining popularity. and the modern media technology represented by the network is indispensable.”()

For example, the most common Chinese words "木有" muyou for "没有" meiyou means 'have not'， "神马" shenma for "什么" shenme means 'what', or "给力" geili. , the original meaning was 'give power', now usually ‘cool, awesome, exciting’. It also uses numbers or letters to communicate instead of words, such as "886" for "拜拜了" which mean ‘bye-bye‘， or even in mobile games that are popular trends in 2021 such as "YYDS" is the most popular word in 2021. The original meaning is "eternal god", which originated from the mouth of "Shan Niruo", the LOL anchor of League of Legends. one buzzword of the year. "()

There is also "Barbie Q" is “BBQ” Babecue, means ‘barbecue’. The top gaming master on Douyin was beaten to death by his opponent. After he spoke the “Barbie Q” word in the live broadcast, “Barbie Q” now has another unique meaning “apocalyptic”. Or even “GG” that is not the meaning of brother (“哥哥” gege) but is “Good Game”. When the losing side is over, "GG" congratulates the opponent using "GG", which means “Good Game”. However, as the word GG becomes more and more used in China, the winner has shifted from congratulation. There was a bit of mockery, so today's GG has another meaning like 'You are done', etc. This is an example of how the Internet affects the spread or evolution of new words. Live broadcast Affects the occurrence of increasing vocabulary in daily life. And this might be creative or it could be a language disaster.

'''National Language'''

Language development is greatly affected by economic development. And areas with economic development in addition to financial growth New things and new ideas are also increasing. Sometimes, there dont have enough languages that can meet the needs of users. Therefore it is necessary to borrow some existing words. in different regions as a shortcut to the formation of new words. For instance, Beijing, Guangdong, Shanghai, Hong Kong, and Taiwan, are considered political and cultural centers. including the economic city of the country, It's not surprising that new neologisms have emerged in these regions and have influenced other regions of China.()

===Conclusion===
===References===

==比较文学与跨文化研究 Mahzad 202021080004==
Chinese Mythology and its Impact on Chinese Cinema

Chinese mythology incorporates a wide range of folklore, history, and religious belief across numerous time periods and people, including the present day. Many of these myths are intricately bound to philosophy, religion, tradition, and society.
Also, it has been one of the richest sources for Chinese artists and writers to draw upon over the centuries.

Journey to the West is considered to be one of the most important books in Chinese history, and traditional artwork commonly features legendary figures, such as the Five Emperors or the Eight Immortals.

==英语语言文学 Mimi 2020GBJ002301==
Chinese modern literature