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2026-06-29T12:23:45Z

Hu Xinyin: Created page with "The Doctrine of the Mean: A Comparative Study of Confucian and Aristotelian Thought Abstract While both Confucian Zhongyong and Aristotelian ethics posit a “mean” as cen..."

The Doctrine of the Mean:
A Comparative Study of Confucian and Aristotelian Thought

Abstract
While both Confucian Zhongyong and Aristotelian ethics posit a “mean” as central to moral excellence, this paper demonstrates fundamental differences in their metaphysical foundations, practical applications, and ultimate aims. Confucian Zhongyong emphasizes dynamic contextual appropriateness rooted in sincerity (cheng, 诚) and relational harmony, whereas Aristotle’s doctrine focuses on rational calculation between excess and deficiency. Through analysis of primary texts and contemporary scholarship, this paper shows that Confucian Zhongyong offers a distinctively process‑oriented approach to ethical cultivation that complements and enriches Western virtue ethics. Understanding these differences is crucial for cross‑cultural philosophical dialogue and for appreciating the continued relevance of Zhongyong in modern contexts, including leadership and business ethics.

Part 1: Introduction and Historical Context

The Doctrine of the Mean, known in Chinese as Zhongyong (中庸), occupies a central position in Confucian philosophy as both a text and a guiding principle for ethical conduct. As one of the Four Books of the Confucian canon, the Zhongyong is traditionally attributed to Zisi (子思), the grandson of Confucius, and was later compiled as a chapter in the Classic of Rites before being elevated to canonical status by the Neo‑Confucian scholar Zhu Xi in the twelfth century. The term itself carries profound meaning: zhong (中) signifies bending neither one way nor another—a state of equilibrium—while yong (庸) represents constancy and unchanging principle. Together, they describe a path of moral cultivation that maintains balance and harmony while remaining steadfast in ethical commitment.

The philosophical significance of Zhongyong extends far beyond its textual origins. Confucius himself acknowledged the importance of the concept of the mean in the Analects, stating: “The virtue embodied in the Doctrine of the Mean is of the highest order. But it has long been rare among people” (Confucius, Analects 6:29). This acknowledgment of its rarity underscores the challenge inherent in practicing the mean—it is not merely a passive state of moderation but an active, demanding ethical ideal. The text of the Zhongyong expands upon this foundation, exploring how individuals can cultivate themselves to achieve harmony with the cosmic moral order, famously declaring: “When the passions, such as joy, anger, grief, and pleasure, have not awakened, that is our true self or moral being. When these passions awaken, and each and all attain due measure and degree, that is the moral order” (Zhongyong, Ch. 1).

This metaphysical grounding distinguishes the Confucian Doctrine of the Mean from superficially similar concepts in Western philosophy. While the term “golden mean” often evokes Aristotle’s ethical framework, the Chinese concept operates within a distinct cosmological and ethical system. The Zhongyong conceives of moral order (dao, 道) as both immanent in human nature and transcendent in the cosmos—a duality that requires the individual to cultivate sincerity (cheng, 诚) as the foundation for harmonizing inner disposition with outer action. Recent scholarship has emphasized that understanding Zhongyong requires more than a simple translation; it demands an appreciation of the relational ontology underlying Confucian ethics, in which individuals are understood as embedded in networks of social roles and reciprocal obligations.

The contemporary relevance of the Doctrine of the Mean has attracted increasing scholarly attention, particularly in the fields of leadership studies, business ethics, and cross‑cultural management. A systematic comparison of Aristotle’s doctrine of the mean with the Confucian Zhongyong reveals that the Confucian version emphasizes experience and adaptability over fixed rational calculation and highlights the continued relevance of Zhongyong thinking to business activities in East Asian societies. Research has also shown that Zhongyong continues to shape decision‑making processes and interpersonal dynamics in East Asian societies, influencing everything from organizational culture to conflict resolution strategies.ri

Part 2: Comparative Analysis—Confucian Zhongyong and Aristotelian Mean

2.1 Metaphysical Foundations
The metaphysical underpinnings of Confucian Zhongyong and Aristotelian mean reveal fundamental differences in their respective worldviews. For Aristotle, the mean is determined primarily through rational calculation—specifically, practical wisdom (phronesis) identifying the intermediate point between two extremes relative to the individual. This means it is not mathematically exact but context‑dependent, requiring the virtuous person to discern the appropriate response in each situation. Aristotle’s framework operates within a teleological cosmology where each entity has a natural end (telos), and virtue consists in fulfilling one’s function excellently. It is worth noting that for Aristotle, virtue also involves habituation and emotional disposition, but the determination of the mean rests on rational deliberation (Colgrove, 2024, examines the doctrine from an analytic perspective, defending it against counterexamples and clarifying its proper use in moral reasoning, p. 3).

By contrast, Confucian Zhongyong is grounded in a cosmology of dynamic balance and relational harmony. The Zhongyong conceives of the mean as inseparable from the cosmic order: “Our true self or moral being is the great reality of existence, and moral order is the universal law in the world. When true moral being and moral order are realised, the universe becomes a cosmos, and all things attain their full growth and development” (Zhongyong, Ch. 22). This passage reveals that the mean is not merely a human calculation but a participation in cosmic harmony. Sincerity (cheng) serves as the bridge between the individual and the universal moral order—through sincere cultivation, one aligns personal conduct with the dao (Chen, 2019, p. 450). This distinction has significant implications: while Aristotle’s doctrine employs rational principles and practical wisdom, Zhongyong emphasizes experience and adaptability, focusing on internal sincerity and external harmony. Wang (2025b) elaborates this point through an exegetical analysis of Zhu Xi’s commentary, demonstrating how the Neo‑Confucian tradition interpreted the Zhongyong as a text about the dynamic interplay between human nature and cosmic principle (p. 38). This contrast has important consequences for how each tradition approaches moral development and ethical decision‑making.

2.2 The Role of the Ideal Person

Both traditions articulate an ideal of human excellence, yet their conceptions differ in crucial respects. For Aristotle, the phronimos (practically wise person) embodies the mean through rational deliberation, possessing the intellectual virtue to discern the appropriate response in any situation (Colgrove, 2024, p. 5). The Aristotelian mean is thus closely tied to intellectual excellence and the capacity for sound judgment. Aristotle’s ethical framework explicitly ties the mean to the rational soul’s capacity for regulation, making virtue a function of correct reasoning.

In the Confucian tradition, the Junzi (君子), often translated as “superior person” or “exemplary person,” represents the ideal of moral cultivation. Wang (2025a) provides a comprehensive conceptual analysis of the Junzi in relation to Zhongyong, arguing that the Junzi functions as a model of “leadership sentiment”—the emotional and ethical tone that influences followers and organizational culture (p. 102). The Junzi is not merely intellectually refined but also embodies a constellation of virtues including wisdom, benevolence, propriety, and sincerity, as outlined in the Zhongyong text itself (e.g., chapters 20–26). Importantly, the Junzi achieves the mean not through abstract calculation but through continuous self‑cultivation and attunement to social roles and relationships. Chen (2019) proposes reading the Zhongyong as “focusing the familiar”—an interpretive strategy that treats the text as a guide to making everyday actions and relationships morally significant, rather than as a treatise on abstract metaphysics (p. 455). This approach emphasizes the text’s concern with rendering the ordinary and everyday ethically significant through sincere engagement.

The Junzi ideal also carries political and social dimensions that distinguish it from the Aristotelian conception. Guo and Huang (2025) examine how Roger Ames’s translation of the Zhongyong constructs Confucian ethical discourse through the lens of “Confucian role ethics,” arguing that the Junzi is fundamentally defined by the quality of one’s relationships rather than by abstract individual attributes (p. 110). This emphasis on moral exemplarity rather than rational deliberation reflects the Confucian assumption that ethics is fundamentally relational and social, not merely an individual intellectual achievement. The Junzi maintains harmony with others while preserving personal principles, adopts the mean without partiality, and remains steadfast in adversity (Wang, 2025a, p. 104).

2.3 Practical Application and Decision‑Making

The practical implications of these philosophical differences become apparent when examining how each tradition approaches concrete ethical decisions. Aristotle’s mean provides a framework for evaluating actions by assessing whether they fall short of or exceed appropriate standards. Honesty, for instance, is the mean between secretiveness and boastfulness; courage is the mean between cowardice and recklessness. Colgrove (2024) notes that this framework offers clear analytical tools for moral evaluation, though challenges remain in applying it to complex cases where the determination of the mean is contested (p. 12).

Confucian Zhongyong, by contrast, emphasizes process and contextual appropriateness over fixed measurements. The mean is not a static midpoint but a dynamic balance achieved through ongoing cultivation and attention to the particulars of each situation. This process‑oriented approach allows Zhongyong to guide leaders toward approaches that harmonize competing interests while maintaining ethical integrity, but also cautions that misapplying Zhongyong—prioritizing harmony at the expense of correctness and legitimacy—can harm business activities and society. The emphasis on sincerity is intended to ensure that actions proceed from genuine moral commitment rather than mere calculation—a dimension that prevents Zhongyong from devolving into expediency when properly understood.

One significant area of convergence lies in the rejection of rigid rule‑following in favor of contextual judgment. Both traditions recognize that moral excellence cannot be reduced to adherence to abstract principles but requires cultivated discernment. However, the Confucian tradition places greater emphasis on emotional cultivation and relational attunement, while Aristotelian ethics prioritizes rational deliberation and intellectual virtue. Wang (2025a) suggests that the Confucian approach integrates cognitive and affective dimensions more seamlessly, offering resources for ethical leadership that purely rational models may lack (p. 107).

Part 3: Contemporary Relevance and Applications

3.1 Leadership and Organizational Ethics
The Doctrine of the Mean has gained renewed attention in leadership studies, particularly regarding its applicability to modern organizational contexts. Recent scholarship has explored how Zhongyong can inform ethical leadership. Wang (2025a) proposes that Zhongyong represents a distinct form of “leadership sentiment”—the emotional and ethical tone set by leaders that influences followers and organizational culture (p. 99). Unlike purely rational models of leadership, the Confucian approach integrates cognitive and affective dimensions, emphasizing the leader’s role in fostering positive relationships and cohesive work environments.

The relevance of Zhongyong to business ethics has been examined in several studies. Compares the two doctrines of the mean and identifies specific implications for business activities in East Asian societies; Zhongyong thinking can guide managers toward balanced decision making that considers multiple stakeholder interests. However, the Confucian emphasis on harmony, if not properly grounded in sincerity and ethical principle, may lead to decisions that prioritize surface‑level agreement over substantive ethical correctness.

Wang (2025b) contributes to this discussion by examining how Zhu Xi’s exegetical approach to the Zhongyong can illuminate contemporary interpretive practices. The Neo‑Confucian tradition’s emphasis on reading the Zhongyong as a coherent text about the unity of human nature and cosmic principle offers a model for integrating textual study with practical ethical cultivation (p. 40). This integration of theory and practice remains relevant for contemporary leadership development programs that seek to cultivate both technical competence and moral character.

3.2 Cross‑Cultural Philosophical Dialogue

The comparative study of Confucian and Aristotelian ethics has contributed to broader discussions about the relationship between Eastern and Western philosophical traditions. The recognition that both traditions articulate forms of the “mean” has facilitated productive dialogue, yet emphasizes the importance of understanding their differences rather than prematurely assimilating them. The comparison reveals that Aristotle’s doctrine employs rational principles and practical wisdom, while Zhongyong emphasizes experience and adaptability, focusing on internal sincerity and external harmony.

Guo and Huang (2025) examine how translation choices in Ames’s English rendering of the Zhongyong shape Anglophone readers’ understanding of Confucian ethics (p. 111). They argue that Western renderings sometimes distort Confucian concepts by imposing familiar frameworks, such as translating zhong as “golden mean” without adequately conveying its relational and cosmological dimensions. This finding has significant implications for cross‑cultural philosophical exchange, highlighting the need for interpretive approaches that respect the distinctive character of Confucian ethical discourse.

Chen’s (2019) “focusing the familiar” approach, as defined earlier, also has implications for how the Zhongyong might be taught and understood in non‑Asian contexts, suggesting that its wisdom lies not in esoteric doctrines but in a way of attending to everyday life. This dimension of the text, Chen argues, is often lost in translations that treat it primarily as a metaphysical treatise.

3.3 Challenges and Criticisms

Despite its enduring influence, the Doctrine of the Mean faces significant challenges in contemporary application. Critics have raised concerns that the emphasis on harmony may inhibit critical thinking and individual expression, particularly in organizational and political contexts. Zhongyong thinking can promote reluctance to express genuine feelings and thoughts, potentially undermining transparency and innovation. These concerns are particularly acute in intercultural environments where Western and Eastern values intersect.

Another challenge concerns the relationship between Zhongyong and social justice. If the mean is defined in terms of existing social roles and relationships, does it risk legitimizing unjust social arrangements? Wang (2025a) suggests that while Confucian philosophy contains resources for criticizing injustice through concepts of ren (benevolence) and yi (righteousness), the extent to which Zhongyong can support progressive social transformation remains an open question (p. 108). Guo and Huang (2025) address this issue by emphasizing that Confucian role ethics, properly understood, is not a defense of static hierarchy but a framework for dynamically negotiating one’s responsibilities in relation to others (p. 112).

Colgrove (2024) offers a different kind of challenge from an analytic philosophical perspective, subjecting the Aristotelian doctrine of the mean to rigorous logical scrutiny. While Colgrove ultimately defends the doctrine against various counterexamples, the analysis highlights the need for precision in articulating what the mean is and how it is determined (p. 18). This kind of analytic scrutiny, while focused on the Aristotelian tradition, also has implications for how the Confucian Zhongyong might be philosophically defended.

Summary
The comparative analysis has revealed that Confucian Zhongyong offers a distinctively process‑oriented approach to ethical cultivation that complements and enriches Western virtue ethics. The Junzi ideal, as analyzed by Wang (2025a), embodies a form of leadership sentiment that integrates cognitive and affective dimensions, offering resources for ethical practice that purely rational models may overlook. Understanding these differences is crucial for cross‑cultural philosophical dialogue and for appreciating the continued relevance of Zhongyong in modern contexts, including leadership, business ethics, and organizational behavior.

However, challenges remain, particularly regarding the tension between harmony and individual expression, and the relationship between Zhongyong and social justice. Misapplying Zhongyong can harm business activities and society, while Wang (2025b) and Guo and Huang (2025) demonstrate the importance of careful interpretive approaches that respect the distinctive character of Confucian ethical discourse.

Future research should continue to explore the practical applications of Zhongyong in intercultural contexts and investigate how this ancient wisdom can be adapted to address contemporary ethical challenges. The Doctrine of the Mean, properly understood and appropriately applied, remains a vital resource for thinking about ethical cultivation and harmonious living in an increasingly complex and interconnected worl

References
 Chen, S. (2019). Reading Zhongyong as "Focusing the Familiar". International Comparative Literature, 2(3), 442458.
 Colgrove, N. (2024). Defending the Doctrine of the Mean Against Counterexamples: A General Strategy. Pacific Philosophical Quarterly, 105(3), 267290.
 Guo, W., & Huang, J. (2025). 儒家角色伦理观:安乐哲《中庸》英译的儒家伦理话语建构研究 [Confucian Role Ethics: A Study on Confucian Ethical Discourse Construction in Roger Ames's Translation of The Zhongyong]. 外语研究, (5), 107112.
 Wang, B. X. (2025a). Zhōngyōng-Confucian leadership sentiments: A conceptual analysis. International Journal of Cross-Cultural Management, 25(1), 97112.
 Wang, L. (2025b). The Exegetical Mechanism of Classical Argumentation Interpretation: A Case Study of Zhu Xi's Commentary on the Doctrine of the Mean. Journal of Beijing Normal University (Social Sciences), (2), 3341.

Terms and Expressions
English Chinese
Zhongyong 中庸
Cheng 诚
Junzi 君子
Dao 道
Ren 仁
Yi 义
Li 礼
Phronesis 智
Equilibrium 平衡
Mean 中
Confucian Role Ethics 儒家角色伦理

Questions
1. How does the Confucian conception of the mean differ from Aristotle's doctrine of the mean, and what are the practical implications of these differences?
2. What role does sincerity (Cheng) play in the Confucian Doctrine of the Mean, and why is it considered essential for achieving equilibrium?
3. How might the Doctrine of the Mean be applied to contemporary leadership and business ethics, and what challenges arise in such applications?
4. In what ways does the Junzi ideal compare to the Aristotelian phronimos, and what do these comparisons reveal about differences in ethical frameworks?
5. What are the key criticisms of the Doctrine of the Mean in contemporary contexts, and how might defenders of the tradition respond?

《中庸》：儒家与亚里士多德思想的比较研究

摘要

尽管儒家“中庸”与亚里士多德伦理学都将“中道”视为道德卓越的核心，但本文论证了二者在形而上学基础、实践应用和终极目标上存在根本差异。儒家“中庸”强调基于“诚”与关系和谐的动态情境适宜性，而亚里士多德的学说则侧重于在过度与不足之间进行理性计算。通过对原始文本及当代学术研究的分析，本文表明儒家“中庸”提供了一种独特的、过程导向的伦理修养方法，能够补充并丰富西方的美德伦理学。理解这些差异对于跨文化哲学对话，以及认识中庸在现代语境（包括领导力和商业伦理）中的持续相关性至关重要。

一、引言与历史背景

《中庸》作为文本和伦理行为的指导原则，在儒家哲学中占据核心地位。作为儒家经典“四书”之一，《中庸》传统上归为孔子之孙子思所著，后作为篇章收入《礼记》，至十二世纪经宋儒朱熹注解后升格为经典。“中庸”一词本身蕴含深意：“中”指不偏不倚——一种平衡状态；而“庸”则代表恒常与不变的原则。二者结合，描述了一条在保持平衡和谐的同时，始终坚守道德承诺的修身之道。

中庸的哲学意义远超其文本渊源。孔子本人在《论语》中亦承认“中”这一概念的重要性，言道：“中庸之为德也，其至矣乎！民鲜久矣。”（《论语·雍也第六》）。此语既是对其至高地位的肯定，也揭示了践行中庸的挑战——它并非消极的折中状态，而是一种积极、高要求的道德理想。《中庸》文本在此基础之上展开，探讨个体如何修养自身以实现与宇宙道德秩序的和谐，其开篇明义：“喜怒哀乐之未发，谓之中；发而皆中节，谓之和。”（《中庸》第一章）。

这种形而上学根基将儒家“中庸”与西方哲学中表面相似的概念区分开来。虽然“黄金中道”一词常让人联想到亚里士多德的伦理框架，但中国这一概念运行于一个独特的宇宙论和伦理体系之中。《中庸》将“道”视为既内在于人性，又超越于宇宙的道德秩序——这种二重性要求个体以“诚”的修养为基础，以调和内在性情与外在行为。当代学术研究强调，理解“中庸”需要的不仅仅是简单翻译，更要求我们领会儒家伦理所基于的关系本体论，即个体被视为嵌入社会角色与相互义务网络中的存在。

中庸在当代的相关性日益引起学界关注，尤其在领导力研究、商业伦理和跨文化管理领域。对亚里士多德的“中道”学说与儒家“中庸”的系统比较表明，儒家版本更强调经验与适应性，而非固定的理性计算，并突显了中庸思想在东亚社会商业活动中的持续相关性。研究亦表明，中庸持续影响着东亚社会的决策过程和人际动态，其影响范围从组织文化到冲突解决策略。

二、比较分析——儒家中庸与亚里士多德中道

2.1 形而上学基础

儒家“中庸”与亚里士多德“中道”的形而上学根基揭示了二者世界观的根本差异。对于亚里士多德而言，“中道”主要通过理性计算来确定——具体而言，即实践智慧（phronesis）辨明相对个体而言介于两个极端之间的中间点。这意味着它并非数学意义上的精确，而是依情境而定，需要德性之人判断在每个具体情境中的适当回应。亚里士多德的框架运行于目的论宇宙观之下，其中每个实体皆有其自然目的（telos），美德即在于卓越地实现其功能。值得注意的是，对亚里士多德来说，美德还涉及习惯养成与情感倾向，但对“中道”的判定仍依赖于理性 deliberation（Colgrove, 2024，从分析哲学视角考察了这一学说，为其辩护，反驳反例，并阐明其在道德推理中的正确运用，第3页）。

相比之下，儒家“中庸”则基于动态平衡与关系和谐的宇宙观。《中庸》将“中”视为与宇宙秩序不可分割：“唯天下至诚，为能尽其性；能尽其性，则能尽人之性；能尽人之性，则能尽物之性；能尽物之性，则可以赞天地之化育；可以赞天地之化育，则可以与天地参矣。”（《中庸》第二十二章）。此段揭示“中”不仅是人的计算，更是对宇宙和谐的参与。“诚”充当了个体与普遍道德秩序之间的桥梁——通过真诚的修养，个人行为与“道”相合（Chen, 2019, 第450页）。这一区别意义重大：亚里士多德的学说运用理性原则与实践智慧，而中庸则强调经验与适应性，关注内在真诚与外在和谐。Wang (2025b) 通过对朱熹注疏的解释学分析详述了此点，展示了宋儒传统如何将《中庸》解读为关于人性与天理动态互动的文本（第38页）。这种对比对各自传统如何处理道德发展和伦理决策具有重要影响。

2.2 理想人格的角色

两种传统都阐述了对人类卓越的理想，但其概念在关键方面存在差异。对亚里士多德而言，phronimos（具实践智慧之人）通过理性 deliberation 体现“中道”，拥有辨别任何情境下适当回应的理智德性（Colgrove, 2024, 第5页）。因此，亚里士多德的“中道”与理智卓越及正确判断能力紧密相连。亚里士多德的伦理框架明确将“中道”与理性灵魂的调节能力挂钩，使美德成为正确推理的功能。

在儒家传统中，“君子”代表道德修养的理想人格。Wang (2025a) 对君子与中庸的关系进行了全面的概念分析，认为君子扮演着“领导情感”的典范角色——即影响追随者与组织文化的情感和伦理基调（第102页）。君子不仅具有智识修养，更体现了智慧、仁爱、礼义和诚信等诸种美德，正如《中庸》文本（如第二十章至二十六章）所概述。重要的是，君子实现“中”并非通过抽象计算，而是通过持续的自我修养以及对社会角色和关系的调适。Chen (2019) 提出将《中庸》解读为“聚焦于熟悉”——一种解释策略，将文本视为使日常行为和关系具有道德意义的指南，而非关于抽象形而上学的论文（第455页）。此方法强调文本关注于通过真诚的参与，使普通和平凡的事物获得伦理意义。

君子理想还带有政治和社会维度，使其区别于亚里士多德的概念。Guo 和 Huang (2025) 考察了安乐哲（Roger Ames）对《中庸》的翻译如何通过“儒家角色伦理”的视角构建儒家伦理话语，认为君子的根本定义在于其关系的质量，而非抽象的个体属性（第110页）。这种对道德示范性而非理性 deliberation 的强调，反映了儒家的基本假设：伦理本质上是关系性的和社会的，而不仅仅是个人智识上的成就。君子在与他人保持和谐的同时坚守个人原则，无偏无倚地持守中道，并在逆境中坚定不移（Wang, 2025a, 第104页）。

2.3 实践应用与决策

这些哲学差异的实践意义，在考察每种传统如何处理具体伦理决策时变得明显。亚里士多德的“中道”提供了一个评估行为的框架，通过判断行为是否低于或超过适当标准来进行评估。例如，诚实是隐秘与吹嘘之间的中道；勇敢是怯懦与鲁莽之间的中道。Colgrove (2024) 指出，这一框架为道德评价提供了清晰的分析工具，尽管在应用于“中道”判定存在争议的复杂案例时仍面临挑战（第12页）。

相比之下，儒家“中庸”更强调过程与情境适宜性，而非固定的衡量标准。“中”不是一个静态的中点，而是通过持续的修养和对每个情境具体细节的关注而实现的动态平衡。这种过程导向的方法使中庸能够引导领导者采取协调各方利益、同时保持道德完整性的方法，但也需警惕误用中庸——以牺牲正确性和正当性为代价优先追求和谐——可能损害商业活动和社会。对“诚”的强调旨在确保行为源于真正的道德承诺，而非纯粹的算计——这一维度在正确理解下可防止中庸蜕变为权宜之计。

一个重要的趋同点在于，两者都拒绝僵化的规则遵循，而青睐情境判断。两种传统都认识到，道德卓越不能归结为对抽象原则的遵守，而是需要经过培养的辨识力。然而，儒家传统更侧重于情感修养和关系调适，而亚里士多德伦理学则优先考虑理性 deliberation 和理智德性。Wang (2025a) 认为，儒家方法更无缝地整合了认知和情感维度，为纯粹理性模型可能缺失的伦理领导力提供了资源（第107页）。

三、当代相关性与应用

3.1 领导力与组织伦理

《中庸》在领导力研究中获得了新的关注，尤其是在其适用于现代组织环境方面。近期学术研究探索了中庸如何为伦理领导力提供启示。Wang (2025a) 提出，“中庸”代表了一种独特的“领导情感”——即领导者设定的、影响追随者和组织文化的情感和伦理基调（第99页）。与纯粹理性的领导力模型不同，儒家方法整合了认知和情感维度，强调领导者在促进积极关系和凝聚力工作环境中的作用。

中庸与商业伦理的相关性在若干研究中得到检验。有研究比较了两种“中道”学说，并指出了其对东亚社会商业活动的具体启示；中庸思维可以引导管理者进行平衡的决策，考虑多方利益相关者的诉求。然而，儒家对和谐的强调，若未能以真诚和道德原则为根基，可能导致优先考虑表面共识而非实质性道德正确性的决策。

Wang (2025b) 通过考察朱熹对《中庸》的注疏方法如何阐明当代解释实践，为这一讨论做出了贡献。宋儒传统将《中庸》解读为关于人性与天理统一的连贯文本，为整合文本研习与实践伦理修养提供了模型（第40页）。这种理论与实践的结合，对于寻求同时培养技术能力和道德品格的当代领导力发展项目仍然具有现实意义。

3.2 跨文化哲学对话

对儒家与亚里士多德伦理学的比较研究，促进了关于东西方哲学传统关系的更广泛讨论。对两种传统都阐明了“中道”形式的认识，促进了富有成效的对话，但同时强调理解其差异而非过早地进行同化的重要性。比较表明，亚里士多德的学说运用理性原则和实践智慧，而中庸则强调经验与适应性，关注内在真诚与外在和谐。

Guo 和 Huang (2025) 考察了安乐哲英译《中庸》时的翻译选择如何塑造了英语读者对儒家伦理的理解（第111页）。他们认为，西方译本有时会因套用熟悉的框架而曲解儒家概念，例如将“中”译为“golden mean”而未充分传达其关系性和宇宙论维度。这一发现对跨文化哲学交流具有重要意义，突显了需要尊重儒家伦理话语独特性的解释方法。

Chen (2019) 的“聚焦于熟悉”方法，如前所述，也对如何在非亚洲语境中教授和理解《中庸》具有启示，表明其智慧不在于深奥的教义，而在于一种关注日常生活的方式。Chen 认为，文本的这一维度往往在将其主要视为形而上学论文的翻译中丢失。

3.3 挑战与批评

尽管影响深远，《中庸》在当代应用中仍面临重大挑战。批评者担心，对和谐的强调可能抑制批判性思维和个人表达，尤其在组织和政治语境中。中庸思维可能促使人们不愿表达真实感受和想法，可能损害透明度和创新性。这些担忧在东西方价值观交汇的跨文化环境中尤为突出。

另一个挑战涉及中庸与社会正义的关系。如果“中”是根据现有的社会角色和关系来定义的，它是否有使不公正的社会安排合法化的风险？Wang (2025a) 认为，虽然儒家哲学通过“仁”和“义”等概念包含批判不公的资源，但中庸能在多大程度上支持进步的社会变革仍是一个开放性问题（第108页）。Guo 和 Huang (2025) 通过强调儒家角色伦理——在正确理解下——并非为静态等级制辩护，而是一个动态协商个人对他人责任的框架，来回应此问题（第112页）。

Colgrove (2024) 从分析哲学的角度提出了另一种挑战，对亚里士多德的“中道”学说进行了严格的逻辑审视。虽然 Colgrove 最终为这一学说辩护，反驳了各种反例，但该分析突显了精确阐述“中道”是什么以及如何判定的必要性（第18页）。这种分析性的审视，尽管集中于亚里士多德传统，也对如何从哲学上为儒家“中庸”进行辩护具有启示。

总结

比较分析表明，儒家“中庸”提供了一种独特的、过程导向的伦理修养方法，能够补充并丰富西方的美德伦理学。如 Wang (2025a) 所分析的“君子”理想体现了一种整合认知与情感维度的领导情感形式，为纯粹理性模型可能忽略的伦理实践提供了资源。理解这些差异对于跨文化哲学对话，以及认识中庸在现代语境（包括领导力、商业伦理和组织行为）中的持续相关性至关重要。

然而，挑战依然存在，尤其是在和谐与个人表达之间的张力，以及中庸与社会正义的关系方面。误用中庸可能损害商业活动和社会，而 Wang (2025b) 以及 Guo 和 Huang (2025) 的研究则证明了尊重儒家伦理话语独特性的细致解释方法的重要性。

未来的研究应继续探索中庸在跨文化语境中的实践应用，并研究这一古老智慧如何被调整以适应并应对当代伦理挑战。在正确理解和适当应用下，《中庸》仍然是思考在一个日益复杂和互联的世界中进行道德修养与和谐生活的重要资源。

问题

1. 儒家的“中”的概念与亚里士多德的“中道”学说有何不同？这些差异的实践意义是什么？
2. “诚”在儒家《中庸》中扮演什么角色？为何它被视为实现“中”的关键？
3. 《中庸》如何应用于当代领导力和商业伦理？在此类应用中会出现哪些挑战？
4. “君子”理想与亚里士多德的“phronimos”相比如何？这些比较揭示了伦理框架的哪些差异？
5. 在当代语境下，对《中庸》的主要批评有哪些？传统的捍卫者可能如何回应？

File:Hu Xinyin The Story of Minglan Spring 2026.pptx

2026-06-19T14:12:49Z

Hu Xinyin:

Overview on Chinese Culture Spring 2026

2026-06-19T14:11:52Z

Hu Xinyin: /* Session 12 — May 25 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月21日→5月25日) */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Thu 14:30-16:10 Room 409 / Mon 8:00-9:40 Room 601 (调课周) | 上课时间：周四14:30-16:10 409教室 / 调课周一8:00-9:40 601教室

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cài Lányǐng (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cáo Héfēng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cáo Shīqín (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chén Shuānglín (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cuī Xīnyàn (崔心彦): Traditional Chinese Dance 98
* Dínà (迪娜·代买克): Panda-Kultur 80
* Hǎo Yuán (郝圆): Calendar, The 24 Solar Terms 88
* Mǎ Qīng (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00-9:40, Room 601 / 调课：3月30日周一 8:00 601教室)=
* Gāo Yáng (高扬): Erhu 91
* Huáng Zǐyuè (黄梓玥): Spring Festival Couplets 80
* Hú Xīnyǐn (胡馨尹): Mahjong 92 [[Media:Hu Xinyin_Mahjong_Spring_2026.pptx]]
* Huáng Rúguǒ (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas（山海经）95
* Lǐ Sīchéng (李思成): The Four Pillars of Destiny（八字）91
* Péng Yìlín (彭熠琳): Tea 85

=Session 7 — Apr 16=
14:37-14:52 Shēn Yìkē (申奕珂): Stand-up comedy（单口喜剧） keyword on ppt, setup-punch line 93 pronounciation: comendians, 小罗、付航（小土豆）
为什么学着这个屏幕寒假跟我一起看吗？你是现场看的吗？还是你们觉得这个幽默怎么样？然后我们决定问一下谁给你十分要拒收，谁给的举手，所以你们一定要举手，不是OK三个人3678 90 10 12觉得很

14:57-15:12 Wǔ Shèngqiú (伍胜球): Hunan Rice Noodles（湖南米粉）米2分4 film 5 min. zu lang, pronounciation, too much text on slides, interactive: do you prefer flat or round noodles? Regional differences 89

15:25-15:40 Wú Wànghuī (吴旺辉): The Four Treasures of the Study 96 performed calligraphy while he showed a film about traditional paper making.

15:42-15:55 Xiàng Jiāyíng (向佳滢): Milk Tea 93 [[Media:Xiang Jiaying_Milk Tea_2026.pptx]]

15:55-16:10 Qín Shàngyì (秦尚易): Live Streaming E-commerce（直播电商） 92

=Session 8 — Apr 20 (Mon 8:00-9:40, Room 601 / 调课：4月20日周一 8:00 601教室)=
* Chén Shuānglín (陈双麟): The Chinese characters
* Yáng Shīxuān (杨诗萱): Jiangxi Cuisine（赣菜）
* Zēng Yǒngqí (曾咏琪): Zhang Qian and the Silk Road
* Zhāng Zǐhán (张子涵): Calligraphy

=Session 9 — Apr 27 (Mon 8:00-9:40, Room 601 / 调课：4月27日周一 8:00 601教室)=
* Cài Lányǐng (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Lǐ Fāngfēi (黎芳菲): Zhuazhou（抓周）
* Lín Gǎng (林港): Science Fiction and Fantasy
* Shēn Wěibīng (申伟兵): Chinese Imperial Examination
* Zhāng Níng (张宁): Study on the Chinese Zodiac（十二生肖的文化内涵及现代价值研究）

=Session 10 — May 11 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月7日→5月11日) — Student Presentations (Round 2)=
* Cáo Héfēng (曹河丰): Chinese Dreamcore（中式梦核）
* Cáo Shīqín (曹诗琴): Buytogether / PDD（拼多多）
* Cáo Yì'ān (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua
* Chén Shuānglín (陈双麟): “Tao Te Ching”(《道德经》
* Zhōu Yǐngwēi (周颖微): Guzheng

=Session 11 — May 18 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月14日→5月18日)=
* Cuī Xīnyàn (崔心彦): Guangdong Herbal tea（广东凉茶）
* Dínà (迪娜·代买克): China's Four Great Classical Novels
* Gāo Yáng (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Hǎo Yuán (郝圆): Luosifen
* Zhū Shùwén (朱树文): Training Schools（补习班）

=Session 12 — May 25 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月21日→5月25日)=
* Hú Xīnyǐn (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）[[Media:Hu Xinyin_The Story of Minglan_Spring_2026.pptx]]
* Huáng Rúguǒ (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Lǐ Fāngfēi (黎芳菲): Temple Fair（庙会）
* Mǎ Qīng (马晴): Shandong cuisine（鲁菜）
* Wáng Péigèn (王培亘): Blind Box（盲盒）

=Session 13 — May 28 (Thu 14:30-16:10, Room 409)=
* Huáng Zǐyuè (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Péng Yìlín (彭熠琳): Peking Opera
* Qín Shàngyì (秦尚易): Danmu（弹幕）
* Wú Wànghuī (吴旺辉): Gods and Immortals
* Zhōu Yǐngwēi (周颖微): Jujube Cake（酸枣糕）

=Session 14 — Jun 01 (Mon 8:00-9:40, Room 601)=
* Lǐ Sīchéng (李思成): Sunzi's Art of War（孙子兵法）[[Media:Sunzi_Binfa_Spring_2026.pptx]]
* Shēn Yìkē (申奕珂): Traditional Chinese Pigments（中国传统颜料）[[Media:Pigments_Spring_2026.pptx]]
* Wǔ Shèngqiú (伍胜球): Black Myth: Wukong（黑神话悟空）[[Media:Black_Myth_Wukong_Spring_2026.pptx]]
* Xiàng Jiāyíng (向佳滢): Table Manners[[Media:Table_Manners_Spring_2026.pptx]]

=Session 15 — Jun 11 (Thu 14:30-16:10, Room 409)=
* Yáng Shīxuān (杨诗萱): The Yingge Dance（英歌舞）
* Zēng Yǒngqí (曾咏琪): Eight Major Cuisines of China
* Zhāng Níng (张宁): The Four Talented Women of Ancient China
* Zhāng Zǐhán (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 (Thu 14:30-16:10, Room 409) — Final Session=
* Cáo Yì'ān (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Lín Gǎng (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Shēn Wěibīng (申伟兵): Involution (内卷) in Modern Chinese Education
* Zhū Shùwén (朱树文): TCM Health Preservation - Dietary Therapy（中医养生——食疗）

=Semester Paper Topics=

Each student writes one semester paper. You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same (length, bilingual, parts: Topic, student name, student immatriculation number, abstract, Part 1, 2, 3, summary, Terms and expressions, Questions, Answers, Sources [please provide a screenshot of the original pdf or a photo of the paper source hold with your hand]) as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

<div style="background: #fff3cd; border: 1px solid #ffc107; padding: 12px; border-radius: 4px; margin: 1em 0;">
'''Source Verification Requirement / 参考文献验证要求:'''

All sources used for your paper — whether academic articles, books, or websites — must be submitted as PDF files via email to martin@woesler.de. This applies to every source listed in your references.

所有用于撰写论文的参考资料——无论是学术论文、书籍还是网页——均须以PDF文件形式发送至 martin@woesler.de。每一条参考文献均需提供对应的PDF。

* PDFs under 10 MB: send directly as email attachment / 10MB以下的PDF：直接作为邮件附件发送
* PDFs over 10 MB: do '''not''' send by email — instead, provide a download link (e.g. cloud storage link) / 超过10MB的PDF：'''请勿'''通过邮件发送，请提供下载链接（如网盘链接）
</div>

----

You can choose the topics here: https://dcg.de/ai/uni/thesis_topics.php?course_id=25&lang=zh

(Login required.)

*Cai Lanying 蔡蓝颖: Shaman Culture
*Cao Hefeng 曹河丰: The Electronic Wooden Fish: The Cultural Practice of “Cyber-Buddhism”
*Cao Shiqin 曹诗琴: Three Silver Hair Ornaments of Fuzhou
*Cao Yi'an 曹亦桉: 在此输入您的学期期末论文题目...
*Chen Shuanglin 陈双麟
*Cui Xinyan 崔心彦
*Dina 迪娜·代买克
*Gao Yang 高扬
*Hao Yuan 郝圆 Grinding Tea
*Huang Ruguo 黄如果
*Huang Ziyue 黄梓玥
*Hu Xinyin 胡馨尹 Doctrine of the Mean
*Li Fangfei 黎芳菲
*Lin Gang 林港 Chinese Web Novels
*Li Sicheng 李思成 Huagu opera
*Ma Qing 马晴
*Peng Yilin 彭熠琳
*Qin Shangyi 秦尚易
*Shen Weibing 申伟兵
*Shen Yike 申奕珂 Grinding Ink
*Wang Peigen 王培亘
*Wu Shengqiu 伍胜球 Chinese Science Fiction: The Three-Body Problem
*Wu Wanghui 吴旺辉
*Xiang Jiaying 向佳滢
*Yun Jian
*Yang Shixuan 杨诗萱
*Zeng Yongqi 曾咏琪
*Zhang Ning 张宁
*Zhang Zihan 张子涵 Gathering Around the Stove for Tea
*Zhou Yingwei 周颖微
*Zhu Shuwen 朱树文

Overview on Chinese Culture Spring 2026

2026-06-19T14:11:26Z

Hu Xinyin: /* Session 12 — May 25 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月21日→5月25日) */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Thu 14:30-16:10 Room 409 / Mon 8:00-9:40 Room 601 (调课周) | 上课时间：周四14:30-16:10 409教室 / 调课周一8:00-9:40 601教室

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cài Lányǐng (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cáo Héfēng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cáo Shīqín (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chén Shuānglín (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cuī Xīnyàn (崔心彦): Traditional Chinese Dance 98
* Dínà (迪娜·代买克): Panda-Kultur 80
* Hǎo Yuán (郝圆): Calendar, The 24 Solar Terms 88
* Mǎ Qīng (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00-9:40, Room 601 / 调课：3月30日周一 8:00 601教室)=
* Gāo Yáng (高扬): Erhu 91
* Huáng Zǐyuè (黄梓玥): Spring Festival Couplets 80
* Hú Xīnyǐn (胡馨尹): Mahjong 92 [[Media:Hu Xinyin_Mahjong_Spring_2026.pptx]]
* Huáng Rúguǒ (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas（山海经）95
* Lǐ Sīchéng (李思成): The Four Pillars of Destiny（八字）91
* Péng Yìlín (彭熠琳): Tea 85

=Session 7 — Apr 16=
14:37-14:52 Shēn Yìkē (申奕珂): Stand-up comedy（单口喜剧） keyword on ppt, setup-punch line 93 pronounciation: comendians, 小罗、付航（小土豆）
为什么学着这个屏幕寒假跟我一起看吗？你是现场看的吗？还是你们觉得这个幽默怎么样？然后我们决定问一下谁给你十分要拒收，谁给的举手，所以你们一定要举手，不是OK三个人3678 90 10 12觉得很

14:57-15:12 Wǔ Shèngqiú (伍胜球): Hunan Rice Noodles（湖南米粉）米2分4 film 5 min. zu lang, pronounciation, too much text on slides, interactive: do you prefer flat or round noodles? Regional differences 89

15:25-15:40 Wú Wànghuī (吴旺辉): The Four Treasures of the Study 96 performed calligraphy while he showed a film about traditional paper making.

15:42-15:55 Xiàng Jiāyíng (向佳滢): Milk Tea 93 [[Media:Xiang Jiaying_Milk Tea_2026.pptx]]

15:55-16:10 Qín Shàngyì (秦尚易): Live Streaming E-commerce（直播电商） 92

=Session 8 — Apr 20 (Mon 8:00-9:40, Room 601 / 调课：4月20日周一 8:00 601教室)=
* Chén Shuānglín (陈双麟): The Chinese characters
* Yáng Shīxuān (杨诗萱): Jiangxi Cuisine（赣菜）
* Zēng Yǒngqí (曾咏琪): Zhang Qian and the Silk Road
* Zhāng Zǐhán (张子涵): Calligraphy

=Session 9 — Apr 27 (Mon 8:00-9:40, Room 601 / 调课：4月27日周一 8:00 601教室)=
* Cài Lányǐng (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Lǐ Fāngfēi (黎芳菲): Zhuazhou（抓周）
* Lín Gǎng (林港): Science Fiction and Fantasy
* Shēn Wěibīng (申伟兵): Chinese Imperial Examination
* Zhāng Níng (张宁): Study on the Chinese Zodiac（十二生肖的文化内涵及现代价值研究）

=Session 10 — May 11 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月7日→5月11日) — Student Presentations (Round 2)=
* Cáo Héfēng (曹河丰): Chinese Dreamcore（中式梦核）
* Cáo Shīqín (曹诗琴): Buytogether / PDD（拼多多）
* Cáo Yì'ān (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua
* Chén Shuānglín (陈双麟): “Tao Te Ching”(《道德经》
* Zhōu Yǐngwēi (周颖微): Guzheng

=Session 11 — May 18 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月14日→5月18日)=
* Cuī Xīnyàn (崔心彦): Guangdong Herbal tea（广东凉茶）
* Dínà (迪娜·代买克): China's Four Great Classical Novels
* Gāo Yáng (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Hǎo Yuán (郝圆): Luosifen
* Zhū Shùwén (朱树文): Training Schools（补习班）

=Session 12 — May 25 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月21日→5月25日)=
* Hú Xīnyǐn (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）[[Media:Hu Xinyin_The Story of Minglan_Spring_2026]]
* Huáng Rúguǒ (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Lǐ Fāngfēi (黎芳菲): Temple Fair（庙会）
* Mǎ Qīng (马晴): Shandong cuisine（鲁菜）
* Wáng Péigèn (王培亘): Blind Box（盲盒）

=Session 13 — May 28 (Thu 14:30-16:10, Room 409)=
* Huáng Zǐyuè (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Péng Yìlín (彭熠琳): Peking Opera
* Qín Shàngyì (秦尚易): Danmu（弹幕）
* Wú Wànghuī (吴旺辉): Gods and Immortals
* Zhōu Yǐngwēi (周颖微): Jujube Cake（酸枣糕）

=Session 14 — Jun 01 (Mon 8:00-9:40, Room 601)=
* Lǐ Sīchéng (李思成): Sunzi's Art of War（孙子兵法）[[Media:Sunzi_Binfa_Spring_2026.pptx]]
* Shēn Yìkē (申奕珂): Traditional Chinese Pigments（中国传统颜料）[[Media:Pigments_Spring_2026.pptx]]
* Wǔ Shèngqiú (伍胜球): Black Myth: Wukong（黑神话悟空）[[Media:Black_Myth_Wukong_Spring_2026.pptx]]
* Xiàng Jiāyíng (向佳滢): Table Manners[[Media:Table_Manners_Spring_2026.pptx]]

=Session 15 — Jun 11 (Thu 14:30-16:10, Room 409)=
* Yáng Shīxuān (杨诗萱): The Yingge Dance（英歌舞）
* Zēng Yǒngqí (曾咏琪): Eight Major Cuisines of China
* Zhāng Níng (张宁): The Four Talented Women of Ancient China
* Zhāng Zǐhán (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 (Thu 14:30-16:10, Room 409) — Final Session=
* Cáo Yì'ān (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Lín Gǎng (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Shēn Wěibīng (申伟兵): Involution (内卷) in Modern Chinese Education
* Zhū Shùwén (朱树文): TCM Health Preservation - Dietary Therapy（中医养生——食疗）

=Semester Paper Topics=

Each student writes one semester paper. You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same (length, bilingual, parts: Topic, student name, student immatriculation number, abstract, Part 1, 2, 3, summary, Terms and expressions, Questions, Answers, Sources [please provide a screenshot of the original pdf or a photo of the paper source hold with your hand]) as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

<div style="background: #fff3cd; border: 1px solid #ffc107; padding: 12px; border-radius: 4px; margin: 1em 0;">
'''Source Verification Requirement / 参考文献验证要求:'''

All sources used for your paper — whether academic articles, books, or websites — must be submitted as PDF files via email to martin@woesler.de. This applies to every source listed in your references.

所有用于撰写论文的参考资料——无论是学术论文、书籍还是网页——均须以PDF文件形式发送至 martin@woesler.de。每一条参考文献均需提供对应的PDF。

* PDFs under 10 MB: send directly as email attachment / 10MB以下的PDF：直接作为邮件附件发送
* PDFs over 10 MB: do '''not''' send by email — instead, provide a download link (e.g. cloud storage link) / 超过10MB的PDF：'''请勿'''通过邮件发送，请提供下载链接（如网盘链接）
</div>

----

You can choose the topics here: https://dcg.de/ai/uni/thesis_topics.php?course_id=25&lang=zh

(Login required.)

*Cai Lanying 蔡蓝颖: Shaman Culture
*Cao Hefeng 曹河丰: The Electronic Wooden Fish: The Cultural Practice of “Cyber-Buddhism”
*Cao Shiqin 曹诗琴: Three Silver Hair Ornaments of Fuzhou
*Cao Yi'an 曹亦桉: 在此输入您的学期期末论文题目...
*Chen Shuanglin 陈双麟
*Cui Xinyan 崔心彦
*Dina 迪娜·代买克
*Gao Yang 高扬
*Hao Yuan 郝圆 Grinding Tea
*Huang Ruguo 黄如果
*Huang Ziyue 黄梓玥
*Hu Xinyin 胡馨尹 Doctrine of the Mean
*Li Fangfei 黎芳菲
*Lin Gang 林港 Chinese Web Novels
*Li Sicheng 李思成 Huagu opera
*Ma Qing 马晴
*Peng Yilin 彭熠琳
*Qin Shangyi 秦尚易
*Shen Weibing 申伟兵
*Shen Yike 申奕珂 Grinding Ink
*Wang Peigen 王培亘
*Wu Shengqiu 伍胜球 Chinese Science Fiction: The Three-Body Problem
*Wu Wanghui 吴旺辉
*Xiang Jiaying 向佳滢
*Yun Jian
*Yang Shixuan 杨诗萱
*Zeng Yongqi 曾咏琪
*Zhang Ning 张宁
*Zhang Zihan 张子涵 Gathering Around the Stove for Tea
*Zhou Yingwei 周颖微
*Zhu Shuwen 朱树文

Overview on Chinese Culture Spring 2026

2026-06-19T14:06:31Z

Hu Xinyin: /* Session 12 — May 25 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月21日→5月25日) */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Thu 14:30-16:10 Room 409 / Mon 8:00-9:40 Room 601 (调课周) | 上课时间：周四14:30-16:10 409教室 / 调课周一8:00-9:40 601教室

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cài Lányǐng (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cáo Héfēng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cáo Shīqín (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chén Shuānglín (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cuī Xīnyàn (崔心彦): Traditional Chinese Dance 98
* Dínà (迪娜·代买克): Panda-Kultur 80
* Hǎo Yuán (郝圆): Calendar, The 24 Solar Terms 88
* Mǎ Qīng (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00-9:40, Room 601 / 调课：3月30日周一 8:00 601教室)=
* Gāo Yáng (高扬): Erhu 91
* Huáng Zǐyuè (黄梓玥): Spring Festival Couplets 80
* Hú Xīnyǐn (胡馨尹): Mahjong 92 [[Media:Hu Xinyin_Mahjong_Spring_2026.pptx]]
* Huáng Rúguǒ (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas（山海经）95
* Lǐ Sīchéng (李思成): The Four Pillars of Destiny（八字）91
* Péng Yìlín (彭熠琳): Tea 85

=Session 7 — Apr 16=
14:37-14:52 Shēn Yìkē (申奕珂): Stand-up comedy（单口喜剧） keyword on ppt, setup-punch line 93 pronounciation: comendians, 小罗、付航（小土豆）
为什么学着这个屏幕寒假跟我一起看吗？你是现场看的吗？还是你们觉得这个幽默怎么样？然后我们决定问一下谁给你十分要拒收，谁给的举手，所以你们一定要举手，不是OK三个人3678 90 10 12觉得很

14:57-15:12 Wǔ Shèngqiú (伍胜球): Hunan Rice Noodles（湖南米粉）米2分4 film 5 min. zu lang, pronounciation, too much text on slides, interactive: do you prefer flat or round noodles? Regional differences 89

15:25-15:40 Wú Wànghuī (吴旺辉): The Four Treasures of the Study 96 performed calligraphy while he showed a film about traditional paper making.

15:42-15:55 Xiàng Jiāyíng (向佳滢): Milk Tea 93 [[Media:Xiang Jiaying_Milk Tea_2026.pptx]]

15:55-16:10 Qín Shàngyì (秦尚易): Live Streaming E-commerce（直播电商） 92

=Session 8 — Apr 20 (Mon 8:00-9:40, Room 601 / 调课：4月20日周一 8:00 601教室)=
* Chén Shuānglín (陈双麟): The Chinese characters
* Yáng Shīxuān (杨诗萱): Jiangxi Cuisine（赣菜）
* Zēng Yǒngqí (曾咏琪): Zhang Qian and the Silk Road
* Zhāng Zǐhán (张子涵): Calligraphy

=Session 9 — Apr 27 (Mon 8:00-9:40, Room 601 / 调课：4月27日周一 8:00 601教室)=
* Cài Lányǐng (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Lǐ Fāngfēi (黎芳菲): Zhuazhou（抓周）
* Lín Gǎng (林港): Science Fiction and Fantasy
* Shēn Wěibīng (申伟兵): Chinese Imperial Examination
* Zhāng Níng (张宁): Study on the Chinese Zodiac（十二生肖的文化内涵及现代价值研究）

=Session 10 — May 11 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月7日→5月11日) — Student Presentations (Round 2)=
* Cáo Héfēng (曹河丰): Chinese Dreamcore（中式梦核）
* Cáo Shīqín (曹诗琴): Buytogether / PDD（拼多多）
* Cáo Yì'ān (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua
* Chén Shuānglín (陈双麟): “Tao Te Ching”(《道德经》
* Zhōu Yǐngwēi (周颖微): Guzheng

=Session 11 — May 18 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月14日→5月18日)=
* Cuī Xīnyàn (崔心彦): Guangdong Herbal tea（广东凉茶）
* Dínà (迪娜·代买克): China's Four Great Classical Novels
* Gāo Yáng (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Hǎo Yuán (郝圆): Luosifen
* Zhū Shùwén (朱树文): Training Schools（补习班）

=Session 12 — May 25 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月21日→5月25日)=
* Hú Xīnyǐn (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）[[Media: Hu Xinyin_The Story of Minglan_Spring_2026.pptx]]
* Huáng Rúguǒ (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Lǐ Fāngfēi (黎芳菲): Temple Fair（庙会）
* Mǎ Qīng (马晴): Shandong cuisine（鲁菜）
* Wáng Péigèn (王培亘): Blind Box（盲盒）

=Session 13 — May 28 (Thu 14:30-16:10, Room 409)=
* Huáng Zǐyuè (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Péng Yìlín (彭熠琳): Peking Opera
* Qín Shàngyì (秦尚易): Danmu（弹幕）
* Wú Wànghuī (吴旺辉): Gods and Immortals
* Zhōu Yǐngwēi (周颖微): Jujube Cake（酸枣糕）

=Session 14 — Jun 01 (Mon 8:00-9:40, Room 601)=
* Lǐ Sīchéng (李思成): Sunzi's Art of War（孙子兵法）[[Media:Sunzi_Binfa_Spring_2026.pptx]]
* Shēn Yìkē (申奕珂): Traditional Chinese Pigments（中国传统颜料）[[Media:Pigments_Spring_2026.pptx]]
* Wǔ Shèngqiú (伍胜球): Black Myth: Wukong（黑神话悟空）[[Media:Black_Myth_Wukong_Spring_2026.pptx]]
* Xiàng Jiāyíng (向佳滢): Table Manners[[Media:Table_Manners_Spring_2026.pptx]]

=Session 15 — Jun 11 (Thu 14:30-16:10, Room 409)=
* Yáng Shīxuān (杨诗萱): The Yingge Dance（英歌舞）
* Zēng Yǒngqí (曾咏琪): Eight Major Cuisines of China
* Zhāng Níng (张宁): The Four Talented Women of Ancient China
* Zhāng Zǐhán (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 (Thu 14:30-16:10, Room 409) — Final Session=
* Cáo Yì'ān (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Lín Gǎng (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Shēn Wěibīng (申伟兵): Involution (内卷) in Modern Chinese Education
* Zhū Shùwén (朱树文): TCM Health Preservation - Dietary Therapy（中医养生——食疗）

=Semester Paper Topics=

Each student writes one semester paper. You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same (length, bilingual, parts: Topic, student name, student immatriculation number, abstract, Part 1, 2, 3, summary, Terms and expressions, Questions, Answers, Sources [please provide a screenshot of the original pdf or a photo of the paper source hold with your hand]) as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

<div style="background: #fff3cd; border: 1px solid #ffc107; padding: 12px; border-radius: 4px; margin: 1em 0;">
'''Source Verification Requirement / 参考文献验证要求:'''

All sources used for your paper — whether academic articles, books, or websites — must be submitted as PDF files via email to martin@woesler.de. This applies to every source listed in your references.

所有用于撰写论文的参考资料——无论是学术论文、书籍还是网页——均须以PDF文件形式发送至 martin@woesler.de。每一条参考文献均需提供对应的PDF。

* PDFs under 10 MB: send directly as email attachment / 10MB以下的PDF：直接作为邮件附件发送
* PDFs over 10 MB: do '''not''' send by email — instead, provide a download link (e.g. cloud storage link) / 超过10MB的PDF：'''请勿'''通过邮件发送，请提供下载链接（如网盘链接）
</div>

----

You can choose the topics here: https://dcg.de/ai/uni/thesis_topics.php?course_id=25&lang=zh

(Login required.)

*Cai Lanying 蔡蓝颖: Shaman Culture
*Cao Hefeng 曹河丰: The Electronic Wooden Fish: The Cultural Practice of “Cyber-Buddhism”
*Cao Shiqin 曹诗琴: Three Silver Hair Ornaments of Fuzhou
*Cao Yi'an 曹亦桉: 在此输入您的学期期末论文题目...
*Chen Shuanglin 陈双麟
*Cui Xinyan 崔心彦
*Dina 迪娜·代买克
*Gao Yang 高扬
*Hao Yuan 郝圆 Grinding Tea
*Huang Ruguo 黄如果
*Huang Ziyue 黄梓玥
*Hu Xinyin 胡馨尹 Doctrine of the Mean
*Li Fangfei 黎芳菲
*Lin Gang 林港 Chinese Web Novels
*Li Sicheng 李思成 Huagu opera
*Ma Qing 马晴
*Peng Yilin 彭熠琳
*Qin Shangyi 秦尚易
*Shen Weibing 申伟兵
*Shen Yike 申奕珂 Grinding Ink
*Wang Peigen 王培亘
*Wu Shengqiu 伍胜球 Chinese Science Fiction: The Three-Body Problem
*Wu Wanghui 吴旺辉
*Xiang Jiaying 向佳滢
*Yun Jian
*Yang Shixuan 杨诗萱
*Zeng Yongqi 曾咏琪
*Zhang Ning 张宁
*Zhang Zihan 张子涵 Gathering Around the Stove for Tea
*Zhou Yingwei 周颖微
*Zhu Shuwen 朱树文

File:Hu Xinyin Mahjong Spring 2026.pptx

2026-06-19T14:03:38Z

Hu Xinyin:

Overview on Chinese Culture Spring 2026

2026-06-19T14:03:11Z

Hu Xinyin: /* Session 5 — Mar 30 (Mon 8:00-9:40, Room 601 / 调课：3月30日周一 8:00 601教室) */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Thu 14:30-16:10 Room 409 / Mon 8:00-9:40 Room 601 (调课周) | 上课时间：周四14:30-16:10 409教室 / 调课周一8:00-9:40 601教室

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cài Lányǐng (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cáo Héfēng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cáo Shīqín (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chén Shuānglín (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cuī Xīnyàn (崔心彦): Traditional Chinese Dance 98
* Dínà (迪娜·代买克): Panda-Kultur 80
* Hǎo Yuán (郝圆): Calendar, The 24 Solar Terms 88
* Mǎ Qīng (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00-9:40, Room 601 / 调课：3月30日周一 8:00 601教室)=
* Gāo Yáng (高扬): Erhu 91
* Huáng Zǐyuè (黄梓玥): Spring Festival Couplets 80
* Hú Xīnyǐn (胡馨尹): Mahjong 92 [[Media:Hu Xinyin_Mahjong_Spring_2026.pptx]]
* Huáng Rúguǒ (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas（山海经）95
* Lǐ Sīchéng (李思成): The Four Pillars of Destiny（八字）91
* Péng Yìlín (彭熠琳): Tea 85

=Session 7 — Apr 16=
14:37-14:52 Shēn Yìkē (申奕珂): Stand-up comedy（单口喜剧） keyword on ppt, setup-punch line 93 pronounciation: comendians, 小罗、付航（小土豆）
为什么学着这个屏幕寒假跟我一起看吗？你是现场看的吗？还是你们觉得这个幽默怎么样？然后我们决定问一下谁给你十分要拒收，谁给的举手，所以你们一定要举手，不是OK三个人3678 90 10 12觉得很

14:57-15:12 Wǔ Shèngqiú (伍胜球): Hunan Rice Noodles（湖南米粉）米2分4 film 5 min. zu lang, pronounciation, too much text on slides, interactive: do you prefer flat or round noodles? Regional differences 89

15:25-15:40 Wú Wànghuī (吴旺辉): The Four Treasures of the Study 96 performed calligraphy while he showed a film about traditional paper making.

15:42-15:55 Xiàng Jiāyíng (向佳滢): Milk Tea 93 [[Media:Xiang Jiaying_Milk Tea_2026.pptx]]

15:55-16:10 Qín Shàngyì (秦尚易): Live Streaming E-commerce（直播电商） 92

=Session 8 — Apr 20 (Mon 8:00-9:40, Room 601 / 调课：4月20日周一 8:00 601教室)=
* Chén Shuānglín (陈双麟): The Chinese characters
* Yáng Shīxuān (杨诗萱): Jiangxi Cuisine（赣菜）
* Zēng Yǒngqí (曾咏琪): Zhang Qian and the Silk Road
* Zhāng Zǐhán (张子涵): Calligraphy

=Session 9 — Apr 27 (Mon 8:00-9:40, Room 601 / 调课：4月27日周一 8:00 601教室)=
* Cài Lányǐng (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Lǐ Fāngfēi (黎芳菲): Zhuazhou（抓周）
* Lín Gǎng (林港): Science Fiction and Fantasy
* Shēn Wěibīng (申伟兵): Chinese Imperial Examination
* Zhāng Níng (张宁): Study on the Chinese Zodiac（十二生肖的文化内涵及现代价值研究）

=Session 10 — May 11 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月7日→5月11日) — Student Presentations (Round 2)=
* Cáo Héfēng (曹河丰): Chinese Dreamcore（中式梦核）
* Cáo Shīqín (曹诗琴): Buytogether / PDD（拼多多）
* Cáo Yì'ān (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua
* Chén Shuānglín (陈双麟): “Tao Te Ching”(《道德经》
* Zhōu Yǐngwēi (周颖微): Guzheng

=Session 11 — May 18 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月14日→5月18日)=
* Cuī Xīnyàn (崔心彦): Guangdong Herbal tea（广东凉茶）
* Dínà (迪娜·代买克): China's Four Great Classical Novels
* Gāo Yáng (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Hǎo Yuán (郝圆): Luosifen
* Zhū Shùwén (朱树文): Training Schools（补习班）

=Session 12 — May 25 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月21日→5月25日)=
* Hú Xīnyǐn (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）[[Media: Hu Xinyin_The Story of Minglan_2026.pptx]]
* Huáng Rúguǒ (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Lǐ Fāngfēi (黎芳菲): Temple Fair（庙会）
* Mǎ Qīng (马晴): Shandong cuisine（鲁菜）
* Wáng Péigèn (王培亘): Blind Box（盲盒）

=Session 13 — May 28 (Thu 14:30-16:10, Room 409)=
* Huáng Zǐyuè (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Péng Yìlín (彭熠琳): Peking Opera
* Qín Shàngyì (秦尚易): Danmu（弹幕）
* Wú Wànghuī (吴旺辉): Gods and Immortals
* Zhōu Yǐngwēi (周颖微): Jujube Cake（酸枣糕）

=Session 14 — Jun 01 (Mon 8:00-9:40, Room 601)=
* Lǐ Sīchéng (李思成): Sunzi's Art of War（孙子兵法）[[Media:Sunzi_Binfa_Spring_2026.pptx]]
* Shēn Yìkē (申奕珂): Traditional Chinese Pigments（中国传统颜料）[[Media:Pigments_Spring_2026.pptx]]
* Wǔ Shèngqiú (伍胜球): Black Myth: Wukong（黑神话悟空）[[Media:Black_Myth_Wukong_Spring_2026.pptx]]
* Xiàng Jiāyíng (向佳滢): Table Manners[[Media:Table_Manners_Spring_2026.pptx]]

=Session 15 — Jun 11 (Thu 14:30-16:10, Room 409)=
* Yáng Shīxuān (杨诗萱): The Yingge Dance（英歌舞）
* Zēng Yǒngqí (曾咏琪): Eight Major Cuisines of China
* Zhāng Níng (张宁): The Four Talented Women of Ancient China
* Zhāng Zǐhán (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 (Thu 14:30-16:10, Room 409) — Final Session=
* Cáo Yì'ān (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Lín Gǎng (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Shēn Wěibīng (申伟兵): Involution (内卷) in Modern Chinese Education
* Zhū Shùwén (朱树文): TCM Health Preservation - Dietary Therapy（中医养生——食疗）

=Semester Paper Topics=

Each student writes one semester paper. You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same (length, bilingual, parts: Topic, student name, student immatriculation number, abstract, Part 1, 2, 3, summary, Terms and expressions, Questions, Answers, Sources [please provide a screenshot of the original pdf or a photo of the paper source hold with your hand]) as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

<div style="background: #fff3cd; border: 1px solid #ffc107; padding: 12px; border-radius: 4px; margin: 1em 0;">
'''Source Verification Requirement / 参考文献验证要求:'''

All sources used for your paper — whether academic articles, books, or websites — must be submitted as PDF files via email to martin@woesler.de. This applies to every source listed in your references.

所有用于撰写论文的参考资料——无论是学术论文、书籍还是网页——均须以PDF文件形式发送至 martin@woesler.de。每一条参考文献均需提供对应的PDF。

* PDFs under 10 MB: send directly as email attachment / 10MB以下的PDF：直接作为邮件附件发送
* PDFs over 10 MB: do '''not''' send by email — instead, provide a download link (e.g. cloud storage link) / 超过10MB的PDF：'''请勿'''通过邮件发送，请提供下载链接（如网盘链接）
</div>

----

You can choose the topics here: https://dcg.de/ai/uni/thesis_topics.php?course_id=25&lang=zh

(Login required.)

*Cai Lanying 蔡蓝颖: Shaman Culture
*Cao Hefeng 曹河丰: The Electronic Wooden Fish: The Cultural Practice of “Cyber-Buddhism”
*Cao Shiqin 曹诗琴: Three Silver Hair Ornaments of Fuzhou
*Cao Yi'an 曹亦桉: 在此输入您的学期期末论文题目...
*Chen Shuanglin 陈双麟
*Cui Xinyan 崔心彦
*Dina 迪娜·代买克
*Gao Yang 高扬
*Hao Yuan 郝圆 Grinding Tea
*Huang Ruguo 黄如果
*Huang Ziyue 黄梓玥
*Hu Xinyin 胡馨尹 Doctrine of the Mean
*Li Fangfei 黎芳菲
*Lin Gang 林港 Chinese Web Novels
*Li Sicheng 李思成 Huagu opera
*Ma Qing 马晴
*Peng Yilin 彭熠琳
*Qin Shangyi 秦尚易
*Shen Weibing 申伟兵
*Shen Yike 申奕珂 Grinding Ink
*Wang Peigen 王培亘
*Wu Shengqiu 伍胜球 Chinese Science Fiction: The Three-Body Problem
*Wu Wanghui 吴旺辉
*Xiang Jiaying 向佳滢
*Yun Jian
*Yang Shixuan 杨诗萱
*Zeng Yongqi 曾咏琪
*Zhang Ning 张宁
*Zhang Zihan 张子涵 Gathering Around the Stove for Tea
*Zhou Yingwei 周颖微
*Zhu Shuwen 朱树文

Overview on Chinese Culture Spring 2026

2026-06-19T14:02:43Z

Hu Xinyin: /* Session 5 — Mar 30 (Mon 8:00-9:40, Room 601 / 调课：3月30日周一 8:00 601教室) */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Thu 14:30-16:10 Room 409 / Mon 8:00-9:40 Room 601 (调课周) | 上课时间：周四14:30-16:10 409教室 / 调课周一8:00-9:40 601教室

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cài Lányǐng (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cáo Héfēng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cáo Shīqín (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chén Shuānglín (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cuī Xīnyàn (崔心彦): Traditional Chinese Dance 98
* Dínà (迪娜·代买克): Panda-Kultur 80
* Hǎo Yuán (郝圆): Calendar, The 24 Solar Terms 88
* Mǎ Qīng (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00-9:40, Room 601 / 调课：3月30日周一 8:00 601教室)=
* Gāo Yáng (高扬): Erhu 91
* Huáng Zǐyuè (黄梓玥): Spring Festival Couplets 80
* Hú Xīnyǐn (胡馨尹): Mahjong 92 [[Media:Hu Xinyin_Spring_Mahjong_2026.pptx]]
* Huáng Rúguǒ (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas（山海经）95
* Lǐ Sīchéng (李思成): The Four Pillars of Destiny（八字）91
* Péng Yìlín (彭熠琳): Tea 85

=Session 7 — Apr 16=
14:37-14:52 Shēn Yìkē (申奕珂): Stand-up comedy（单口喜剧） keyword on ppt, setup-punch line 93 pronounciation: comendians, 小罗、付航（小土豆）
为什么学着这个屏幕寒假跟我一起看吗？你是现场看的吗？还是你们觉得这个幽默怎么样？然后我们决定问一下谁给你十分要拒收，谁给的举手，所以你们一定要举手，不是OK三个人3678 90 10 12觉得很

14:57-15:12 Wǔ Shèngqiú (伍胜球): Hunan Rice Noodles（湖南米粉）米2分4 film 5 min. zu lang, pronounciation, too much text on slides, interactive: do you prefer flat or round noodles? Regional differences 89

15:25-15:40 Wú Wànghuī (吴旺辉): The Four Treasures of the Study 96 performed calligraphy while he showed a film about traditional paper making.

15:42-15:55 Xiàng Jiāyíng (向佳滢): Milk Tea 93 [[Media:Xiang Jiaying_Milk Tea_2026.pptx]]

15:55-16:10 Qín Shàngyì (秦尚易): Live Streaming E-commerce（直播电商） 92

=Session 8 — Apr 20 (Mon 8:00-9:40, Room 601 / 调课：4月20日周一 8:00 601教室)=
* Chén Shuānglín (陈双麟): The Chinese characters
* Yáng Shīxuān (杨诗萱): Jiangxi Cuisine（赣菜）
* Zēng Yǒngqí (曾咏琪): Zhang Qian and the Silk Road
* Zhāng Zǐhán (张子涵): Calligraphy

=Session 9 — Apr 27 (Mon 8:00-9:40, Room 601 / 调课：4月27日周一 8:00 601教室)=
* Cài Lányǐng (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Lǐ Fāngfēi (黎芳菲): Zhuazhou（抓周）
* Lín Gǎng (林港): Science Fiction and Fantasy
* Shēn Wěibīng (申伟兵): Chinese Imperial Examination
* Zhāng Níng (张宁): Study on the Chinese Zodiac（十二生肖的文化内涵及现代价值研究）

=Session 10 — May 11 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月7日→5月11日) — Student Presentations (Round 2)=
* Cáo Héfēng (曹河丰): Chinese Dreamcore（中式梦核）
* Cáo Shīqín (曹诗琴): Buytogether / PDD（拼多多）
* Cáo Yì'ān (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua
* Chén Shuānglín (陈双麟): “Tao Te Ching”(《道德经》
* Zhōu Yǐngwēi (周颖微): Guzheng

=Session 11 — May 18 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月14日→5月18日)=
* Cuī Xīnyàn (崔心彦): Guangdong Herbal tea（广东凉茶）
* Dínà (迪娜·代买克): China's Four Great Classical Novels
* Gāo Yáng (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Hǎo Yuán (郝圆): Luosifen
* Zhū Shùwén (朱树文): Training Schools（补习班）

=Session 12 — May 25 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月21日→5月25日)=
* Hú Xīnyǐn (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）[[Media: Hu Xinyin_The Story of Minglan_2026.pptx]]
* Huáng Rúguǒ (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Lǐ Fāngfēi (黎芳菲): Temple Fair（庙会）
* Mǎ Qīng (马晴): Shandong cuisine（鲁菜）
* Wáng Péigèn (王培亘): Blind Box（盲盒）

=Session 13 — May 28 (Thu 14:30-16:10, Room 409)=
* Huáng Zǐyuè (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Péng Yìlín (彭熠琳): Peking Opera
* Qín Shàngyì (秦尚易): Danmu（弹幕）
* Wú Wànghuī (吴旺辉): Gods and Immortals
* Zhōu Yǐngwēi (周颖微): Jujube Cake（酸枣糕）

=Session 14 — Jun 01 (Mon 8:00-9:40, Room 601)=
* Lǐ Sīchéng (李思成): Sunzi's Art of War（孙子兵法）[[Media:Sunzi_Binfa_Spring_2026.pptx]]
* Shēn Yìkē (申奕珂): Traditional Chinese Pigments（中国传统颜料）[[Media:Pigments_Spring_2026.pptx]]
* Wǔ Shèngqiú (伍胜球): Black Myth: Wukong（黑神话悟空）[[Media:Black_Myth_Wukong_Spring_2026.pptx]]
* Xiàng Jiāyíng (向佳滢): Table Manners[[Media:Table_Manners_Spring_2026.pptx]]

=Session 15 — Jun 11 (Thu 14:30-16:10, Room 409)=
* Yáng Shīxuān (杨诗萱): The Yingge Dance（英歌舞）
* Zēng Yǒngqí (曾咏琪): Eight Major Cuisines of China
* Zhāng Níng (张宁): The Four Talented Women of Ancient China
* Zhāng Zǐhán (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 (Thu 14:30-16:10, Room 409) — Final Session=
* Cáo Yì'ān (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Lín Gǎng (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Shēn Wěibīng (申伟兵): Involution (内卷) in Modern Chinese Education
* Zhū Shùwén (朱树文): TCM Health Preservation - Dietary Therapy（中医养生——食疗）

=Semester Paper Topics=

Each student writes one semester paper. You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same (length, bilingual, parts: Topic, student name, student immatriculation number, abstract, Part 1, 2, 3, summary, Terms and expressions, Questions, Answers, Sources [please provide a screenshot of the original pdf or a photo of the paper source hold with your hand]) as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

<div style="background: #fff3cd; border: 1px solid #ffc107; padding: 12px; border-radius: 4px; margin: 1em 0;">
'''Source Verification Requirement / 参考文献验证要求:'''

All sources used for your paper — whether academic articles, books, or websites — must be submitted as PDF files via email to martin@woesler.de. This applies to every source listed in your references.

所有用于撰写论文的参考资料——无论是学术论文、书籍还是网页——均须以PDF文件形式发送至 martin@woesler.de。每一条参考文献均需提供对应的PDF。

* PDFs under 10 MB: send directly as email attachment / 10MB以下的PDF：直接作为邮件附件发送
* PDFs over 10 MB: do '''not''' send by email — instead, provide a download link (e.g. cloud storage link) / 超过10MB的PDF：'''请勿'''通过邮件发送，请提供下载链接（如网盘链接）
</div>

----

You can choose the topics here: https://dcg.de/ai/uni/thesis_topics.php?course_id=25&lang=zh

(Login required.)

*Cai Lanying 蔡蓝颖: Shaman Culture
*Cao Hefeng 曹河丰: The Electronic Wooden Fish: The Cultural Practice of “Cyber-Buddhism”
*Cao Shiqin 曹诗琴: Three Silver Hair Ornaments of Fuzhou
*Cao Yi'an 曹亦桉: 在此输入您的学期期末论文题目...
*Chen Shuanglin 陈双麟
*Cui Xinyan 崔心彦
*Dina 迪娜·代买克
*Gao Yang 高扬
*Hao Yuan 郝圆 Grinding Tea
*Huang Ruguo 黄如果
*Huang Ziyue 黄梓玥
*Hu Xinyin 胡馨尹 Doctrine of the Mean
*Li Fangfei 黎芳菲
*Lin Gang 林港 Chinese Web Novels
*Li Sicheng 李思成 Huagu opera
*Ma Qing 马晴
*Peng Yilin 彭熠琳
*Qin Shangyi 秦尚易
*Shen Weibing 申伟兵
*Shen Yike 申奕珂 Grinding Ink
*Wang Peigen 王培亘
*Wu Shengqiu 伍胜球 Chinese Science Fiction: The Three-Body Problem
*Wu Wanghui 吴旺辉
*Xiang Jiaying 向佳滢
*Yun Jian
*Yang Shixuan 杨诗萱
*Zeng Yongqi 曾咏琪
*Zhang Ning 张宁
*Zhang Zihan 张子涵 Gathering Around the Stove for Tea
*Zhou Yingwei 周颖微
*Zhu Shuwen 朱树文

File:Hu Xinyin The Story of Minglan 2026.pptx

2026-06-19T13:59:58Z

Hu Xinyin:

Overview on Chinese Culture Spring 2026

2026-06-19T13:59:17Z

Hu Xinyin: /* Session 12 — May 25 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月21日→5月25日) */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Thu 14:30-16:10 Room 409 / Mon 8:00-9:40 Room 601 (调课周) | 上课时间：周四14:30-16:10 409教室 / 调课周一8:00-9:40 601教室

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cài Lányǐng (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cáo Héfēng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cáo Shīqín (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chén Shuānglín (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cuī Xīnyàn (崔心彦): Traditional Chinese Dance 98
* Dínà (迪娜·代买克): Panda-Kultur 80
* Hǎo Yuán (郝圆): Calendar, The 24 Solar Terms 88
* Mǎ Qīng (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00-9:40, Room 601 / 调课：3月30日周一 8:00 601教室)=
* Gāo Yáng (高扬): Erhu 91
* Huáng Zǐyuè (黄梓玥): Spring Festival Couplets 80
* Hú Xīnyǐn (胡馨尹): Mahjong 92 [[Media:Hu Xinyin_Mahjong_2026.pptx]]
* Huáng Rúguǒ (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas（山海经）95
* Lǐ Sīchéng (李思成): The Four Pillars of Destiny（八字）91
* Péng Yìlín (彭熠琳): Tea 85

=Session 7 — Apr 16=
14:37-14:52 Shēn Yìkē (申奕珂): Stand-up comedy（单口喜剧） keyword on ppt, setup-punch line 93 pronounciation: comendians, 小罗、付航（小土豆）
为什么学着这个屏幕寒假跟我一起看吗？你是现场看的吗？还是你们觉得这个幽默怎么样？然后我们决定问一下谁给你十分要拒收，谁给的举手，所以你们一定要举手，不是OK三个人3678 90 10 12觉得很

14:57-15:12 Wǔ Shèngqiú (伍胜球): Hunan Rice Noodles（湖南米粉）米2分4 film 5 min. zu lang, pronounciation, too much text on slides, interactive: do you prefer flat or round noodles? Regional differences 89

15:25-15:40 Wú Wànghuī (吴旺辉): The Four Treasures of the Study 96 performed calligraphy while he showed a film about traditional paper making.

15:42-15:55 Xiàng Jiāyíng (向佳滢): Milk Tea 93 [[Media:Xiang Jiaying_Milk Tea_2026.pptx]]

15:55-16:10 Qín Shàngyì (秦尚易): Live Streaming E-commerce（直播电商） 92

=Session 8 — Apr 20 (Mon 8:00-9:40, Room 601 / 调课：4月20日周一 8:00 601教室)=
* Chén Shuānglín (陈双麟): The Chinese characters
* Yáng Shīxuān (杨诗萱): Jiangxi Cuisine（赣菜）
* Zēng Yǒngqí (曾咏琪): Zhang Qian and the Silk Road
* Zhāng Zǐhán (张子涵): Calligraphy

=Session 9 — Apr 27 (Mon 8:00-9:40, Room 601 / 调课：4月27日周一 8:00 601教室)=
* Cài Lányǐng (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Lǐ Fāngfēi (黎芳菲): Zhuazhou（抓周）
* Lín Gǎng (林港): Science Fiction and Fantasy
* Shēn Wěibīng (申伟兵): Chinese Imperial Examination
* Zhāng Níng (张宁): Study on the Chinese Zodiac（十二生肖的文化内涵及现代价值研究）

=Session 10 — May 11 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月7日→5月11日) — Student Presentations (Round 2)=
* Cáo Héfēng (曹河丰): Chinese Dreamcore（中式梦核）
* Cáo Shīqín (曹诗琴): Buytogether / PDD（拼多多）
* Cáo Yì'ān (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua
* Chén Shuānglín (陈双麟): “Tao Te Ching”(《道德经》
* Zhōu Yǐngwēi (周颖微): Guzheng

=Session 11 — May 18 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月14日→5月18日)=
* Cuī Xīnyàn (崔心彦): Guangdong Herbal tea（广东凉茶）
* Dínà (迪娜·代买克): China's Four Great Classical Novels
* Gāo Yáng (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Hǎo Yuán (郝圆): Luosifen
* Zhū Shùwén (朱树文): Training Schools（补习班）

=Session 12 — May 25 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月21日→5月25日)=
* Hú Xīnyǐn (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）[[Media: Hu Xinyin_The Story of Minglan_2026.pptx]]
* Huáng Rúguǒ (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Lǐ Fāngfēi (黎芳菲): Temple Fair（庙会）
* Mǎ Qīng (马晴): Shandong cuisine（鲁菜）
* Wáng Péigèn (王培亘): Blind Box（盲盒）

=Session 13 — May 28 (Thu 14:30-16:10, Room 409)=
* Huáng Zǐyuè (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Péng Yìlín (彭熠琳): Peking Opera
* Qín Shàngyì (秦尚易): Danmu（弹幕）
* Wú Wànghuī (吴旺辉): Gods and Immortals
* Zhōu Yǐngwēi (周颖微): Jujube Cake（酸枣糕）

=Session 14 — Jun 01 (Mon 8:00-9:40, Room 601)=
* Lǐ Sīchéng (李思成): Sunzi's Art of War（孙子兵法）[[Media:Sunzi_Binfa_Spring_2026.pptx]]
* Shēn Yìkē (申奕珂): Traditional Chinese Pigments（中国传统颜料）[[Media:Pigments_Spring_2026.pptx]]
* Wǔ Shèngqiú (伍胜球): Black Myth: Wukong（黑神话悟空）[[Media:Black_Myth_Wukong_Spring_2026.pptx]]
* Xiàng Jiāyíng (向佳滢): Table Manners[[Media:Table_Manners_Spring_2026.pptx]]

=Session 15 — Jun 11 (Thu 14:30-16:10, Room 409)=
* Yáng Shīxuān (杨诗萱): The Yingge Dance（英歌舞）
* Zēng Yǒngqí (曾咏琪): Eight Major Cuisines of China
* Zhāng Níng (张宁): The Four Talented Women of Ancient China
* Zhāng Zǐhán (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 (Thu 14:30-16:10, Room 409) — Final Session=
* Cáo Yì'ān (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Lín Gǎng (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Shēn Wěibīng (申伟兵): Involution (内卷) in Modern Chinese Education
* Zhū Shùwén (朱树文): TCM Health Preservation - Dietary Therapy（中医养生——食疗）

=Semester Paper Topics=

Each student writes one semester paper. You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same (length, bilingual, parts: Topic, student name, student immatriculation number, abstract, Part 1, 2, 3, summary, Terms and expressions, Questions, Answers, Sources [please provide a screenshot of the original pdf or a photo of the paper source hold with your hand]) as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

<div style="background: #fff3cd; border: 1px solid #ffc107; padding: 12px; border-radius: 4px; margin: 1em 0;">
'''Source Verification Requirement / 参考文献验证要求:'''

All sources used for your paper — whether academic articles, books, or websites — must be submitted as PDF files via email to martin@woesler.de. This applies to every source listed in your references.

所有用于撰写论文的参考资料——无论是学术论文、书籍还是网页——均须以PDF文件形式发送至 martin@woesler.de。每一条参考文献均需提供对应的PDF。

* PDFs under 10 MB: send directly as email attachment / 10MB以下的PDF：直接作为邮件附件发送
* PDFs over 10 MB: do '''not''' send by email — instead, provide a download link (e.g. cloud storage link) / 超过10MB的PDF：'''请勿'''通过邮件发送，请提供下载链接（如网盘链接）
</div>

----

You can choose the topics here: https://dcg.de/ai/uni/thesis_topics.php?course_id=25&lang=zh

(Login required.)

*Cai Lanying 蔡蓝颖: Shaman Culture
*Cao Hefeng 曹河丰: The Electronic Wooden Fish: The Cultural Practice of “Cyber-Buddhism”
*Cao Shiqin 曹诗琴: Three Silver Hair Ornaments of Fuzhou
*Cao Yi'an 曹亦桉: 在此输入您的学期期末论文题目...
*Chen Shuanglin 陈双麟
*Cui Xinyan 崔心彦
*Dina 迪娜·代买克
*Gao Yang 高扬
*Hao Yuan 郝圆 Grinding Tea
*Huang Ruguo 黄如果
*Huang Ziyue 黄梓玥
*Hu Xinyin 胡馨尹 Doctrine of the Mean
*Li Fangfei 黎芳菲
*Lin Gang 林港 Chinese Web Novels
*Li Sicheng 李思成 Huagu opera
*Ma Qing 马晴
*Peng Yilin 彭熠琳
*Qin Shangyi 秦尚易
*Shen Weibing 申伟兵
*Shen Yike 申奕珂 Grinding Ink
*Wang Peigen 王培亘
*Wu Shengqiu 伍胜球 Chinese Science Fiction: The Three-Body Problem
*Wu Wanghui 吴旺辉
*Xiang Jiaying 向佳滢
*Yun Jian
*Yang Shixuan 杨诗萱
*Zeng Yongqi 曾咏琪
*Zhang Ning 张宁
*Zhang Zihan 张子涵 Gathering Around the Stove for Tea
*Zhou Yingwei 周颖微
*Zhu Shuwen 朱树文

Overview on Chinese Culture Spring 2026

2026-06-19T13:58:41Z

Hu Xinyin: /* Session 12 — May 25 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月21日→5月25日) */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Thu 14:30-16:10 Room 409 / Mon 8:00-9:40 Room 601 (调课周) | 上课时间：周四14:30-16:10 409教室 / 调课周一8:00-9:40 601教室

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cài Lányǐng (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cáo Héfēng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cáo Shīqín (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chén Shuānglín (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cuī Xīnyàn (崔心彦): Traditional Chinese Dance 98
* Dínà (迪娜·代买克): Panda-Kultur 80
* Hǎo Yuán (郝圆): Calendar, The 24 Solar Terms 88
* Mǎ Qīng (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00-9:40, Room 601 / 调课：3月30日周一 8:00 601教室)=
* Gāo Yáng (高扬): Erhu 91
* Huáng Zǐyuè (黄梓玥): Spring Festival Couplets 80
* Hú Xīnyǐn (胡馨尹): Mahjong 92 [[Media:Hu Xinyin_Mahjong_2026.pptx]]
* Huáng Rúguǒ (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas（山海经）95
* Lǐ Sīchéng (李思成): The Four Pillars of Destiny（八字）91
* Péng Yìlín (彭熠琳): Tea 85

=Session 7 — Apr 16=
14:37-14:52 Shēn Yìkē (申奕珂): Stand-up comedy（单口喜剧） keyword on ppt, setup-punch line 93 pronounciation: comendians, 小罗、付航（小土豆）
为什么学着这个屏幕寒假跟我一起看吗？你是现场看的吗？还是你们觉得这个幽默怎么样？然后我们决定问一下谁给你十分要拒收，谁给的举手，所以你们一定要举手，不是OK三个人3678 90 10 12觉得很

14:57-15:12 Wǔ Shèngqiú (伍胜球): Hunan Rice Noodles（湖南米粉）米2分4 film 5 min. zu lang, pronounciation, too much text on slides, interactive: do you prefer flat or round noodles? Regional differences 89

15:25-15:40 Wú Wànghuī (吴旺辉): The Four Treasures of the Study 96 performed calligraphy while he showed a film about traditional paper making.

15:42-15:55 Xiàng Jiāyíng (向佳滢): Milk Tea 93 [[Media:Xiang Jiaying_Milk Tea_2026.pptx]]

15:55-16:10 Qín Shàngyì (秦尚易): Live Streaming E-commerce（直播电商） 92

=Session 8 — Apr 20 (Mon 8:00-9:40, Room 601 / 调课：4月20日周一 8:00 601教室)=
* Chén Shuānglín (陈双麟): The Chinese characters
* Yáng Shīxuān (杨诗萱): Jiangxi Cuisine（赣菜）
* Zēng Yǒngqí (曾咏琪): Zhang Qian and the Silk Road
* Zhāng Zǐhán (张子涵): Calligraphy

=Session 9 — Apr 27 (Mon 8:00-9:40, Room 601 / 调课：4月27日周一 8:00 601教室)=
* Cài Lányǐng (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Lǐ Fāngfēi (黎芳菲): Zhuazhou（抓周）
* Lín Gǎng (林港): Science Fiction and Fantasy
* Shēn Wěibīng (申伟兵): Chinese Imperial Examination
* Zhāng Níng (张宁): Study on the Chinese Zodiac（十二生肖的文化内涵及现代价值研究）

=Session 10 — May 11 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月7日→5月11日) — Student Presentations (Round 2)=
* Cáo Héfēng (曹河丰): Chinese Dreamcore（中式梦核）
* Cáo Shīqín (曹诗琴): Buytogether / PDD（拼多多）
* Cáo Yì'ān (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua
* Chén Shuānglín (陈双麟): “Tao Te Ching”(《道德经》
* Zhōu Yǐngwēi (周颖微): Guzheng

=Session 11 — May 18 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月14日→5月18日)=
* Cuī Xīnyàn (崔心彦): Guangdong Herbal tea（广东凉茶）
* Dínà (迪娜·代买克): China's Four Great Classical Novels
* Gāo Yáng (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Hǎo Yuán (郝圆): Luosifen
* Zhū Shùwén (朱树文): Training Schools（补习班）

=Session 12 — May 25 (Mon 8:00-9:40, Room 601 / 谭老师调课：5月21日→5月25日)=
* Hú Xīnyǐn (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）[[Media: Hu_Xinyin_The Story of Minglan_2026.pptx]]
* Huáng Rúguǒ (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Lǐ Fāngfēi (黎芳菲): Temple Fair（庙会）
* Mǎ Qīng (马晴): Shandong cuisine（鲁菜）
* Wáng Péigèn (王培亘): Blind Box（盲盒）

=Session 13 — May 28 (Thu 14:30-16:10, Room 409)=
* Huáng Zǐyuè (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Péng Yìlín (彭熠琳): Peking Opera
* Qín Shàngyì (秦尚易): Danmu（弹幕）
* Wú Wànghuī (吴旺辉): Gods and Immortals
* Zhōu Yǐngwēi (周颖微): Jujube Cake（酸枣糕）

=Session 14 — Jun 01 (Mon 8:00-9:40, Room 601)=
* Lǐ Sīchéng (李思成): Sunzi's Art of War（孙子兵法）[[Media:Sunzi_Binfa_Spring_2026.pptx]]
* Shēn Yìkē (申奕珂): Traditional Chinese Pigments（中国传统颜料）[[Media:Pigments_Spring_2026.pptx]]
* Wǔ Shèngqiú (伍胜球): Black Myth: Wukong（黑神话悟空）[[Media:Black_Myth_Wukong_Spring_2026.pptx]]
* Xiàng Jiāyíng (向佳滢): Table Manners[[Media:Table_Manners_Spring_2026.pptx]]

=Session 15 — Jun 11 (Thu 14:30-16:10, Room 409)=
* Yáng Shīxuān (杨诗萱): The Yingge Dance（英歌舞）
* Zēng Yǒngqí (曾咏琪): Eight Major Cuisines of China
* Zhāng Níng (张宁): The Four Talented Women of Ancient China
* Zhāng Zǐhán (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 (Thu 14:30-16:10, Room 409) — Final Session=
* Cáo Yì'ān (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Lín Gǎng (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Shēn Wěibīng (申伟兵): Involution (内卷) in Modern Chinese Education
* Zhū Shùwén (朱树文): TCM Health Preservation - Dietary Therapy（中医养生——食疗）

=Semester Paper Topics=

Each student writes one semester paper. You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same (length, bilingual, parts: Topic, student name, student immatriculation number, abstract, Part 1, 2, 3, summary, Terms and expressions, Questions, Answers, Sources [please provide a screenshot of the original pdf or a photo of the paper source hold with your hand]) as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

<div style="background: #fff3cd; border: 1px solid #ffc107; padding: 12px; border-radius: 4px; margin: 1em 0;">
'''Source Verification Requirement / 参考文献验证要求:'''

All sources used for your paper — whether academic articles, books, or websites — must be submitted as PDF files via email to martin@woesler.de. This applies to every source listed in your references.

所有用于撰写论文的参考资料——无论是学术论文、书籍还是网页——均须以PDF文件形式发送至 martin@woesler.de。每一条参考文献均需提供对应的PDF。

* PDFs under 10 MB: send directly as email attachment / 10MB以下的PDF：直接作为邮件附件发送
* PDFs over 10 MB: do '''not''' send by email — instead, provide a download link (e.g. cloud storage link) / 超过10MB的PDF：'''请勿'''通过邮件发送，请提供下载链接（如网盘链接）
</div>

----

You can choose the topics here: https://dcg.de/ai/uni/thesis_topics.php?course_id=25&lang=zh

(Login required.)

*Cai Lanying 蔡蓝颖: Shaman Culture
*Cao Hefeng 曹河丰: The Electronic Wooden Fish: The Cultural Practice of “Cyber-Buddhism”
*Cao Shiqin 曹诗琴: Three Silver Hair Ornaments of Fuzhou
*Cao Yi'an 曹亦桉: 在此输入您的学期期末论文题目...
*Chen Shuanglin 陈双麟
*Cui Xinyan 崔心彦
*Dina 迪娜·代买克
*Gao Yang 高扬
*Hao Yuan 郝圆 Grinding Tea
*Huang Ruguo 黄如果
*Huang Ziyue 黄梓玥
*Hu Xinyin 胡馨尹 Doctrine of the Mean
*Li Fangfei 黎芳菲
*Lin Gang 林港 Chinese Web Novels
*Li Sicheng 李思成 Huagu opera
*Ma Qing 马晴
*Peng Yilin 彭熠琳
*Qin Shangyi 秦尚易
*Shen Weibing 申伟兵
*Shen Yike 申奕珂 Grinding Ink
*Wang Peigen 王培亘
*Wu Shengqiu 伍胜球 Chinese Science Fiction: The Three-Body Problem
*Wu Wanghui 吴旺辉
*Xiang Jiaying 向佳滢
*Yun Jian
*Yang Shixuan 杨诗萱
*Zeng Yongqi 曾咏琪
*Zhang Ning 张宁
*Zhang Zihan 张子涵 Gathering Around the Stove for Tea
*Zhou Yingwei 周颖微
*Zhu Shuwen 朱树文

Overview on Chinese Culture Spring 2026

2026-04-09T06:39:35Z

Hu Xinyin: /* Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上) */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cai Lanying (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cao Hefeng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cao Shiqin (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chen Shuanglin (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cui Xinyan (崔心彦): Traditional Chinese Dance 98
* Dina (迪娜·代买克): Panda-Kultur 80
* Hao Yuan (郝圆): Calendar, The 24 Solar Terms 88
* Ma Qing (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上)=
* Gao Yang (高扬): Erhu 91
* Huang Ziyue (黄梓玥): Spring Festival Couplets 80
* Hu Xinyin (胡馨尹): Mahjong 92 [[Media:Hu Xinyin_Mahjong_2026.pptx]]
* Huang Ruguo (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Wang Peigen (王培亘): The Classic of Mountains and Seas（山海经）
* Li Sicheng (李思成): The Four Pillars of Destiny（八字）
* Peng Yilin (彭熠琳): Tea
* Qin Shangyi (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shen Yike (申奕珂): Stand-up comedy（单口喜剧）
* Wu Shengqiu (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiang Jiaying (向佳滢): Milk Tea

=Session 8 — Apr 23=
* Yang Shixuan (杨诗萱): Jiangxi Cuisine（赣菜）
* Zeng Yongqi (曾咏琪): Zhang Qian and the Silk Road
* Zhang Ning (张宁): Chinese Clothing
* Zhang Zihan (张子涵): Calligraphy

=Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)=
* Zhou Yingwei (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cao Hefeng (曹河丰): Chinese Dreamcore（中式梦核）
* Cao Shiqin (曹诗琴): God of Wealth（财神）
* Cao Yian (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dina (迪娜·代买克): China's Four Great Classical Novels
* Hao Yuan (郝圆): Luosifen

=Session 12 — May 21=
* Huang Ruguo (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hu Xinyin (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Peng Yilin (彭熠琳): Peking Opera
* Qin Shangyi (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shen Yike (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wu Shengqiu (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiang Jiaying (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yang Shixuan (杨诗萱): The Yingge Dance（英歌舞）
* Zeng Yongqi (曾咏琪): Eight Major Cuisines of China
* Zhang Ning (张宁): The Four Talented Women of Ancient China
* Zhang Zihan (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhou Yingwei (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cai Lanying (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cao Yian (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chen Shuanglin (陈双麟): Wushu
* Cui Xinyan (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gao Yang (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huang Ziyue (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Li Sicheng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wang Peigen (王培亘): Blind Box（盲盒）
* Wang Peigen (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

<div style="background: #fff3cd; border: 1px solid #ffc107; padding: 12px; border-radius: 4px; margin: 1em 0;">
'''Source Verification Requirement / 参考文献验证要求:'''

All sources used for your paper — whether academic articles, books, or websites — must be submitted as PDF files via email to martin@woesler.de. This applies to every source listed in your references.

所有用于撰写论文的参考资料——无论是学术论文、书籍还是网页——均须以PDF文件形式发送至 martin@woesler.de。每一条参考文献均需提供对应的PDF。

* PDFs under 10 MB: send directly as email attachment / 10MB以下的PDF：直接作为邮件附件发送
* PDFs over 10 MB: do '''not''' send by email — instead, provide a download link (e.g. cloud storage link) / 超过10MB的PDF：'''请勿'''通过邮件发送，请提供下载链接（如网盘链接）
</div>

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

File:Hu Xinyin Mahjong 2026.pptx

2026-03-30T11:57:50Z

Hu Xinyin:

Overview on Chinese Culture Spring 2026

2026-03-30T11:47:33Z

Hu Xinyin: /* Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上) */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cai Lanying (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cao Hefeng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cao Shiqin (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chen Shuanglin (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cui Xinyan (崔心彦): Traditional Chinese Dance 98
* Dina (迪娜·代买克): Panda-Kultur 80
* Hao Yuan (郝圆): Calendar, The 24 Solar Terms 88
* Ma Qing (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上)=
* Gao Yang (高扬): Erhu 91
* Huang Ziyue (黄梓玥): Spring Festival Couplets 80
* Hu Xinyin (胡馨尹): Mahjong 92[[Media:Hu Xinyin_Mahjong_2026.pptx]]
* Huang Ruguo (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Li Sicheng (李思成): The Four Pillars of Destiny（八字）
* Peng Yilin (彭熠琳): Tea
* Qin Shangyi (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shen Yike (申奕珂): Stand-up comedy（单口喜剧）
* Wu Shengqiu (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiang Jiaying (向佳滢): Milk Tea

=Session 8 — Apr 23=
* Yang Shixuan (杨诗萱): Jiangxi Cuisine（赣菜）
* Zeng Yongqi (曾咏琪): Zhang Qian and the Silk Road
* Zhang Ning (张宁): Chinese Clothing
* Zhang Zihan (张子涵): Calligraphy

=Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)=
* Zhou Yingwei (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cao Hefeng (曹河丰): Chinese Dreamcore（中式梦核）
* Cao Shiqin (曹诗琴): God of Wealth（财神）
* Cao Yian (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dina (迪娜·代买克): China's Four Great Classical Novels
* Hao Yuan (郝圆): Luosifen

=Session 12 — May 21=
* Huang Ruguo (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hu Xinyin (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Peng Yilin (彭熠琳): Peking Opera
* Qin Shangyi (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shen Yike (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wu Shengqiu (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiang Jiaying (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yang Shixuan (杨诗萱): The Yingge Dance（英歌舞）
* Zeng Yongqi (曾咏琪): Eight Major Cuisines of China
* Zhang Ning (张宁): The Four Talented Women of Ancient China
* Zhang Zihan (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhou Yingwei (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cai Lanying (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cao Yian (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chen Shuanglin (陈双麟): Wushu
* Cui Xinyan (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gao Yang (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huang Ziyue (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Li Sicheng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wang Peigen (王培亘): Blind Box（盲盒）
* Wang Peigen (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

File:03 Mahjong Spring 2026.pptx

2026-03-30T11:45:32Z

Hu Xinyin:

Overview on Chinese Culture Spring 2026

2026-03-30T11:44:23Z

Hu Xinyin: /* Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上) */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cai Lanying (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cao Hefeng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cao Shiqin (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chen Shuanglin (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cui Xinyan (崔心彦): Traditional Chinese Dance 98
* Dina (迪娜·代买克): Panda-Kultur 80
* Hao Yuan (郝圆): Calendar, The 24 Solar Terms 88
* Ma Qing (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上)=
* Gao Yang (高扬): Erhu 91
* Huang Ziyue (黄梓玥): Spring Festival Couplets 80
* Hu Xinyin (胡馨尹): Mahjong 92[[Media:02_Mahjong_Spring_2026.pptx]]
* Huang Ruguo (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Li Sicheng (李思成): The Four Pillars of Destiny（八字）
* Peng Yilin (彭熠琳): Tea
* Qin Shangyi (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shen Yike (申奕珂): Stand-up comedy（单口喜剧）
* Wu Shengqiu (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiang Jiaying (向佳滢): Milk Tea

=Session 8 — Apr 23=
* Yang Shixuan (杨诗萱): Jiangxi Cuisine（赣菜）
* Zeng Yongqi (曾咏琪): Zhang Qian and the Silk Road
* Zhang Ning (张宁): Chinese Clothing
* Zhang Zihan (张子涵): Calligraphy

=Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)=
* Zhou Yingwei (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cao Hefeng (曹河丰): Chinese Dreamcore（中式梦核）
* Cao Shiqin (曹诗琴): God of Wealth（财神）
* Cao Yian (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dina (迪娜·代买克): China's Four Great Classical Novels
* Hao Yuan (郝圆): Luosifen

=Session 12 — May 21=
* Huang Ruguo (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hu Xinyin (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Peng Yilin (彭熠琳): Peking Opera
* Qin Shangyi (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shen Yike (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wu Shengqiu (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiang Jiaying (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yang Shixuan (杨诗萱): The Yingge Dance（英歌舞）
* Zeng Yongqi (曾咏琪): Eight Major Cuisines of China
* Zhang Ning (张宁): The Four Talented Women of Ancient China
* Zhang Zihan (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhou Yingwei (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cai Lanying (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cao Yian (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chen Shuanglin (陈双麟): Wushu
* Cui Xinyan (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gao Yang (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huang Ziyue (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Li Sicheng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wang Peigen (王培亘): Blind Box（盲盒）
* Wang Peigen (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。